Miles Davis - гений ХХ-го века

Miles Davis - "I like street sound in jazz".

Отличный трибьют Майлзу (НА период 69-75) - концертник в знаменитом клубе Yoshi командй Children on the Corner "Rebirth". Children on the Corner это пианист Michael Wolff со сайдменами Майлза Sonny Fortune, Michael Henderson, Badal Roy, Ndugu Chancler и Barry Finnerty.

Коли речь зашла о трибьютах, то стоит вспомнить вот об этом альбоме - Tribute to Miles. Хэнкок, Шортер, Картер, Уильямс - золотой состав 60-х годов. В роли Майлза Дэвиса - Уоллес Роуни (Wallace Roney).
1994 год, лэйбл Qwest

Вокальные интерпретации музыки Майлза находим на альбоме Traveling Miles Кассандры Уилсон.

Traveling Miles is a riveting and haunting excursion into music played by, written by or inspired by Miles Davis. Using string and percussive instruments to weave compelling rhythms and fascinating textures, Cassandra Wilson's innovative concepts and sultry vocal style continue to grow and amaze. Traveling Miles is produced by Cassandra Wilson
http://www.bluenote.com/detail.asp?SelectionID=9734

Участвуют Dave Holland, Regina Carter, Pat Metheny.
1999 год, Blue Note

2kalina
Wallace Roney cлышал на концерте - живой трибьют трибьют Майлзу

Ещё вспомнил. Наверно самый крутой трибьют-альбом получился у знаменитого даб-эмбиент продюсера Билла Ласвелла.
Panthalassa: The Music Of Miles Davis 1969-1974
Columbia, 1998
http://www.amazon.com/exec/obidos/tg/detail/-/B0000062GA/ref=m_art_li_2/002-2896956-994...

Музыка Майлза сегодня

Wallace Roney @ Jazz Bakery October 18 - 23, 2005

Trumpeter Wallace Roney performs at Jazz Bakery in Culver City, CA from Tuesday October 18 - Sunday October 23, 2005. He will be presenting music from his new CD “Mystikal” on High Note Records. Roney, a purveyor of excellent jazz in the tradition of Herbie Hancock, Miles Davis and John Coltrane, will be playing with a quintet that includes Eric Allen on drums, Adam Holzman on keyboard, Antoine Roney, saxophone, Clarence Seay on bass, and Val Jeanty on turntables.

The group, with this basic personnel, has been together five years. “Everytime we play, the music is being extended, ” Roney says. “I don't think you give up something to do something else. If you do, that seems like you didn't like what you were doing before. You add to it.” A graduate of Art Blakey's Jazz Messengers, Grammy Award winner and extraordinary trumpeter RONEY has worked alongside everyone from Miles Davis to Sonny Rollins while forging his own idiosyncratic path. His dark-toned trumpet is one of the sweetest in jazz, but be prepared – he'll whip up a post-bop frenzy in the blink of an eye.

Miles to Miles: In the Spirit of Miles Davis
Jason Miles | Narada Jazz

Не трибют, а музыка Джейсона Майлза пропитана духом Майлза - продолжение в современном звучании.

Умерла певица и пианистка Shirley Horn. Ее трибут I Remember Miles в 1998 году получил премию Грэмми.

Music of Miles Davis on Tour

Trumpeter Eddie Henderson leads a swingin' group comprised of seasoned veterans and young, talented musicians with Jazz at Lincoln Center Presents: Music of Miles Davis. The band consists of Eddie Henderson (trumpet/leader), Jimmy Cobb (drums), Wayne Escoffery (tenor saxophone), Dave Kikoski (piano), Edward Howard (bass) and various dates for two alto players, Steve Wilson and Antonio Hart.

The tour will travel to: Atlanta, Georgia; Appleton, Wisconsin; Detroit, Michigan; Sprint, Texas; Mesa, Arizona; Costa Mesa, California; Malibu, California; Napa, California; Lancaster, California; and Anchorage, Alaska.

Dr. Henderson will select the set list from the following Miles Davis repertoire: So What, On Green Dolphin Street, Blue in Green, Someday My Prince Will Come, Old Folks, All Blues, 'Round Midnight, Prince of Darkness, Freedom Jazz Dance, Footprints, If I Were a Bell, Gingerbread Boy and Masqualero.

Jazz at Lincoln Center President/CEO Derek E. Gordon explains, “Part of our mission is to produce concerts where audiences can experience the music of the great jazz masters. Miles Davis is by far one of the most recognized and influential figures in jazz. The significance of his music speaks volumes. With these fine musicians, including trumpeter Eddie Henderson and Miles' alumnus drummer Jimmy Cobb, the music lives on.”

Eddie Henderson (trumpet) grew up in San Francisco and studied trumpet at the San Francisco Conservatory of Music. He is a practicing physician who also chose his deep love of music as a duel profession. The strikingly beautiful tone and musicality of Dr. Henderson's trumpet playing was admired by Miles Davis who encouraged him to pursue a career in music. Dr. Henderson worked with John Handy, Tyrone Washington, and Joe Henderson, in addition to his own group. He gained recognition for his work with the Herbie Hancock, Art Blakely, Charles Earland, John Handy and Joe Henderson. Dr. Henderson was strongly influenced by Mr. Davis' work of his early fusion period and in the 1970s he led a rock-oriented group. In the '90s, he returned to playing acoustic hard bop and continues to swing for audiences around the world.

Jimmy Cobb (drums) was handling the drum chair during the Kind of Blue sessions, which also included John Coltrane on tenor, Julian Adderley on alto, Bill Evans on piano (with Wynton Kelly sitting in on “Freddy the Freeloader”) and Paul Chambers on bass. Mr. Cobb is largely self-taught, though he studied briefly with Jack Dennett, a percussionist in the National Symphony Orchestra. He played engagements with Charlie Rouse, Leo Parker, Frank Wess, Billy Holiday, and Pearl Bailey in Washington. After leaving the city in 1950 he played with Earl Bostic, Dinah Washington, Cannonball Adderley, Stan Getz, and Dizzy Gillespie. In 1958 he replaced Philly Joe Jones in the Miles Davis group, with which he remained until 1963. He then joined Paul Chambers in the Wynton Kelly Trio, which toured and recorded both on its own and with Wes Montgomery and J.J. Johnson. He accompanied Sarah Vaughan through the 1970s and later played with Richie Cole, Sonny Stitt, Nat Adderley, and Ricky Ford. Lately, he's been fronting his own band called “Cobb's Mob.” Mr. Cobb's style of drumming is in the classic hard-bop tradition of Elvin Jones, Max Roach, and Art Blakey. As an accompanist he plays forcefully, aggressively, and slightly ahead of the beat; as a soloist he uses the entire drum set.

Wayne Escoffery (tenor saxophone) studied with Jackie McLean as one of his prize pupils at the Hartt School of Music in Hartford, CT. While at Hartt, he played with Curtis Fuller, Eddie Henderson, Philip Harper, Claude Williams, and Albert Heath, among others. Mr. Escoffery then attended The Thelonious Monk Institute of Jazz Performance at The New England Conservatory of Music in Boston. At the institute, he toured with Herbie Hancock and studied and performed with George Coleman, Jimmy Heath, Don Braden, Clark Terry, Ron Carter, Barry Harris, Charlie Persip and others. In 1999, he moved to New York City where he jumpstarted his career and began working with Carl Allen, Eric Reed and The Charles Mingus Big Band. As well as working with his own quartet and quintet, Mr. Escoffery currently performs with Ben Riley's Monk Legacy Septet, The Mingus Band, Abdullah Ibrahim's Akaya, The Carolyn Leonhart Group, as well as Jazz at Lincoln Center's Music of the Masters series.

Dave Kikoski (piano) was born in Milltown, New Jersey and got his first music lessons from his father, a part-time musician who sat his son at the piano and taught him songs by Count Basie and Duke Ellington as well as the basics of Chopin and Beethoven. In high school he played in the school jazz band as well as rock bands. Mr. Kikoski attended Berkley School of Music with fellow students Branford Marsalis, Donald Harrison, Ralph Moore, Teri Lynn Carrington as well as his future wife, Cecilia Tenconi, a reed player from Argentina. He has several of his own releases and has played as a sideman on more than two dozen others. He has played with Roy Haynes, Randy Brecker, Red Rodney, Billy Hart, Craig Handy, Ron Carter, Al Foster, Ralph Moore and many more.

Steve Wilson (alto & soprano saxophone, flutes) is a native of Hampton, Virginia and began his formal training at age twelve. “Adept in almost any setting, Steve Wilson has the rare ability to say more with less, and to let the space between each note breathe and resonate.” (George Varga, The San Diego Tribune). It is these qualities that have earned Mr. Wilson the enviable position of being on the bandstand, and in the studio with the greatest names in jazz. A musician's musician, Mr. Wilson had been documented on over 90 recordings with the likes of Chick Corea, Dave Holland, Dianne Reeves, O.T.B., Donald Brown, Billy Childs, Don Byron, Bill Stewart, James Williams and Mulgrew Miller. Mr. Wilson has six recordings under his own name. His sidemen read as a who's who: Lewis Nash, Cyrus Chestnut, Kevin Hays, Steve Nelson, Gregory Hutchinson, Dennis Irwin, James Genus, Larry Grenedier, Ray Drummond, Ben Riley, Mulgrew Miller, Nicholas Payton, and his current working quartet of Bruce Barth, Ed Howard and Adam Cruz.

Antonio Hart (alto saxophone) attended the then new Baltimore School for the Performing Arts. Mr. Hart's real study of jazz began at the Berklee College of Music in Boston. He met Roy Hargrove there and spent three years touring the world and recording Hargrove's first three records. Mr. Hart considers Hargrove to be his brother in life and music. He also used Hargrove on his first recording For The First Time. During his first few years on the road, he also worked on a Masters Degree at Queens College. There he had the opportunity to learn from the great Jimmy Heath and Donald Byrd. Mr. Hart's 1997 release, Here I Stand, on Impulse records, earned him a Grammy nomination for “Best Jazz Instrumental Solo.” He has been a guest on more than 80 recordings. Since then, Mr. Hart has recorded seven CDs as a leader. Mr. Hart balances his time as a fulltime Professor at the Aaron Copland School of Music, Queens College and traveling on the road with his band, The Dave Holland Big Band and The Dizzy Gillespie Big Band.

Edward Howard (bass) was born and raised in Washington D.C. He studied with bassists Marshall Hawkins and Buster Williams. Today Mr. Howard has a long-standing tenure with the Roy Haynes Quartet. Since joining Haynes in 1982, Mr. Howard has toured extensively and recorded three cd's with the grand master of the drums. Mr. Howard was also bassist in Clifford Jordan's quartet from 1983-1992 and has performed with musicians like Pat Metheny, Jaki Byard, Greg Thomas and Eddie Henderson.

Miles Davis was on of the most consistently innovative musicians in jazz history. A primary force in the development of jazz from bebop through fusion, his concise, lyrical phrasing, introspective style, and boundless invention serve as a model to jazz musicians of all instruments. Born on May 25, 1926, in Alton, Illinois, Miles Dewey Davis III was raised in a black middle class neighborhood in East St. Louis. The son of a dental surgeon and a music teacher, Mr. Davis took up the trumpet at age 13. He began playing professionally just two years later. Days after graduating from high school, Mr. Davis received his first big break when he was allowed to sit in with the Billy Eckstine Orchestra. There he met trumpeter Dizzy Gillespie and alto saxophonist Charlie “Bird” Parker, pioneers of an emerging style of jazz called bebop.

Young Mr. Davis was entranced by their incredible technique, twisting solos, and complex rhythms. He quickly followed them to New York City, where he enrolled in The Juilliard School. Before long, Mr. Davis was performing regularly with Parker, who had become his idol. By the late 1940s, Mr. Davis was leading his own groups and developing his own, unique musical approach. He organized a nine-piece band with an unusual horn section that played lush, relaxed-sounding arrangements by Gil Evans and others. Their recordings, eventually released as Birth of the Cool, inspired many of the band's musicians, including saxophonists Gerry Mulligan and Lee Konitz, and pianist John Lewis, and are considered the beginning of the cool jazz movement.

Mr. Davis soon grew restless with both bebop and cool jazz. He and his colleagues drummer Art Blakey, pianist Horace Silver, and others, missed the driving swing and soulful, blues-based melodies upon which jazz was built. They developed a new style called hard bop, filling bebop with powerful grooves, singable melodies, and thick, earthy tones that brought jazz back to the juke joint. In 1955, Mr. Davis made an informal appearance at the Newport Jazz Festival. The dazzling performance earned Mr. Davis a contract with Columbia records and spurred the formation of his first, now classic, quintet, featuring pianist Red Garland, bassist Paul Chambers, drummer Philly Joe Jones, and saxophonist John Coltrane. Alto saxophonist Julian “Cannonball” Adderley would eventually join the group to make one of the most celebrated recordings in jazz history, KIND OF BLUE (which includes drummer Jimmy Cobb). The recording, which featured pianist Bill Evans, highlighted a new “modal” approach to improvisation and composition that offered the musicians an alternative to the fast-moving harmonies of bop.

Mr. Davis' exploratory impulse was relentless and by the early 1960s, the quintet's personnel had changed completely. This second quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams, shared this willingness to experiment. Their music featured unusual song forms and varied textures and rhythms. Together, they tested the possibilities of new electronic instruments and eventually began incorporating elements of rock and R&B into their music. By the late 1960s and early 1970s, these experiments had developed into a new genre called fusion. From the mid-1970s through the early 1980s, Mr. Davis was semi-retired, but he made a comeback in 1982. As a living legend, Mr. Davis performed and recorded a diverse blend of pop and jazz until his death on September 28, 1991.

Miles Davis - The Cellar Door Sessions 1970

Miles Davis' "the Cellar Door Sessions 1970" will be released December 27 by Columbia/Legacy Jazz. Previously available as a fraction of the music herein and only initially issued domestically (in edited form on the two-LP set, “Live Evil, ” “The Cellar Door Sessions 1970” was recorded December 16-19, 1970 at a club in Washington, D.C., where the great trumpeter-bandleader Davis was at the helm of one his most stimulating groups.

The sextet on the Cellar Door's bandstand - Davis, saxophonist Gary Bartz, keyboardist Keith Jarrett, electric bassist Michael Henderson, drummer Jack DeJohnette, and percussionist Airto Moreiera - is a sheer marvel of kinetic energy. Adding another dimension of excitement on the final two discs is the blazing guitar of John McLaughlin. With the exception of young Henderson, who had made his bones as a Motown session ace and touring with Stevie Wonder, every member of this Davis band has subsequently proved to be a major figure in jazz; in his own way, each has placed a highly personal stamp on improvisation during the past 35 years. In 1969, the year Davis (1926-1991) recorded “In A Silent Way” and “Bitches Brew, ” he told Downbeat's Don DeMichael, “I could put together the greatest rock 'n' roll band you ever heard.” Well, here it is, and if the Davis group is not working the same blues-rockin' side of the street as the Rolling Stones (then billed as “the greatest rock 'n' roll band in the world”), they're breaking on through to another side - the fearless and peerless jazz side of funkmeisters James Brown and Sly Stone, and rock deity Jimi Hendrix.

The 28 performances spread out over these six discs, running nearly six hours, add up to an inestimable document of the musical crossbreeding spearheaded by Miles and his crew. Bringing additional luster to this deluxe package is a number of previously unpublished photographs, as well as individual essays of four unforgettable nights by each of the six men who, with their leader, created the music that elevates the Cellar Door.

сёдня в магАзине купил книжу:
"Майлс Дэвис. Автобиография" (при участии Куинси Троупа)
"Miles Davis. Autobiography. w. Quincy Troupe"
Издательство "Ультра.Культура-Екатеринбург. София-Москва" 2005 г. 540 страниц.
Спрашивайте в магазинах.

С той недели запоем читаю книжку, хотел тоже сообщить на форум, но john lee hooker опередил. Произведение изрядное: "разговорный" стиль, джазовая атмосфера, информация из первых рук и, конечно, харизма мистера Дэвиса! Думаю, это обязательное чтение для молодых музыкантов, особенно джазовых. Ну, и для всех любителей, конечно...

john lee hooker, Игорь Цалер

Интересно, как перевод? Были опасения по этому поводу.

Интересно, как слово fuck и все его поизводные перевели? Не сократилась ли книжка процентов так на 50?

Мне кажется, перевод вполне ничего себе. Фамилии и имена не переврали (Гил Эванс не стал Джилом), крепкие словца сохранены (обошлось без факов, но гребаных мерзавцев, говнюков, лабухов и уродов ненормальных хватает), музыкальные термины на месте (если что - есть сноски). Особенно радует сохранение музыкальной ауры, правильная передача особенностей музыкантского рассказа (говорю как брат четверых музыкантов, сын одного и племянник еще одного - и с джазом все знакомы не по наслышке).
Некоторые странности, конечно, есть (скажем, название Blood, Sweat And Tears оставили по-английски, а Modern Jazz Quartet перевели как "Современный джазовый квартет" - сразу и не поймешь, о чем речь), но никакого криминала.

Я автобиографию МД несколько лет назад в оригинале прочел. Гы, у вас там в городе забавные издательства. Вот попалась случайно книжечка Ефима Барбана "Черная музыка, белая свобода". Издана там же в Свердловске тиражом 200! экз. Увидите - хватайте! Библиографическая редкость. А какой тираж у Майлза Девиса?

>> Я автобиографию МД несколько лет назад в оригинале прочел. Гы, у вас там в городе забавные издательства. Вот попалась случайно книжечка Ефима Барбана "Черная музыка, белая свобода". Издана там же в Свердловске тиражом 200! экз. Увидите - хватайте! Библиографическая редкость. А какой тираж у Майлза Девиса?

5 тысяч экземпляров. Да уж, у нас в Екатеринбурге много чего интересного издается. Барбан - это что! Настоящее удовольствие получите, если найдете такую же черненькую (только потоньше) книжку "Jazz" профессора Уральского университета Зайцева Г.Б. Из нее Вы узнаете, что рок - это стиль джаза, что рэп - это апогей хард-рока и что свое название "Битлз" произошло от слова "битломания". Я уж не говорю, что "Dark Side Of The Moon" записали Deep Purple... Настоящая сенсация, а не книга. Редкость и полная уникальность - я горжусь, что успел купить это пособие для студнетов факультета искусствоведения.

В оригинале бы тоже с удовольствием почитал...