MILES DAVIS – SAN FRANCISCO 1970
As the 1960s wound to a close, Miles Davis was fearlessly
forging ahead into new musical directions. Following the transitional In a
Silent Way, the groundbreaking double album, Bitches Brew would signal an
entirely new musical form that found Davis embracing electronic instrumentation
and amplification. By 1970, Davis was performing before the largest audiences
of his career, often opening for popular rock bands of the era. He had opened
for The Band at the Hollywood Bowl, and on Fillmore East bills for headliners
Laura Nyro and Neil Young & Crazy Horse. He also played a multi-night run
in April '70 opening for the Grateful Dead at Fillmore West. These performances
brought Davis a new younger audience that might not have understood the genesis
of his music, but dug it just the same. It's a telling comment on Miles'
relentlessly forward-looking vision that a mere sixteen months after recording
Bitches Brew, and barely eight months after releasing it to unprecedented
commercial success, he had effectively dropped most of its material from his
live repertoire. On this performance, Davis focuses primarily on new
compositions (What I Say, Honky Tonk, Funky Tonk, and Yesternow), with only
eleven minutes of the hour-plus performance exploring established cuts Bitches
Brew and Sanctuary. Yesternow, a ferocious track Davis had recorded the
previous April for the Tribute to Jack Johnson film, is followed by the title
track from Bitches Brew, concluding with another new composition, Funky Tonk.
During the nearly 35 minutes of music contained in these last three pieces, the
group's power and precision is nothing short of astounding. Apart from the
set-closing cue of The Theme, little of this music derives from Miles' jazz
period, nor does it fall into the free jazz category that it is so often
mistakenly associated with. This music is much funkier, often comprised of
deep, one chord, cyclical grooves that have little in common with jazz. ~
Amazon
CECIL RAMIREZ - PARTY IN THE BACK
"Party In The Back" is Cecil's homage to the
R&B grooves that he grew up with, listened to and played as part of an
R&B band on tour in the 80's. The album is a collection of 7 hook-laden
original tunes and 3 covers of Cecil's favorite songs. Cecil invited some of
his buddies to play on Party In The Back and the album features amazing guest
performances by sax men Michael Lington, Darren Rahn, & Phil Denny;
guitarist Adam Hawley; and pianist and producer Brian Culbertson playing synth
solos on the new single "Remember The Time".
About "Party In The Back:, Cecil says, "I wanted
to create an album that showed where my music is today, but still reflected
where I came from. Playing gigs in the 80's with a 7-piece group was a unique
experience; I have great memories of the music and musicians I met during that
time. Hopefully, the album will take listeners on a fun trip back to where they
were in the 80's." From reviewer Jonathan Widran: Well known for his
performances at Brian Culbertson's Napa Valley Jazz Getaway, elegant funk
pianist Cecil Ramirez creates a dynamic contemporary style rooted in a classic,
R&B throwback vibe on a mix of covers and originals. A dual celebration of
soulful sensuality and high octane grooves, PARTY IN THE BACK rolls with big
name invites like Culbertson (featured on a wild jam version of Michael
Jackson's "Remember The Time"), Michael Lington, Darren Rahn, Phil
Denny and Adam Hawley. Ramirez's lush ivories provide the melodic thrust on the
bright, bouncy "J Street," the dreamy, laid back "Weekend in
Napa" and the perfectly titled, divinely disco-fied "Party in the
Back." Keep the fun front and center and find the PARTY IN THE BACK! ~ CD Universe
BOBBY HUTCHERSON - HAPPENINGS
"Happenings" was vibraphonist Bobby Hutcherson's fourth Blue
Note release as a leader. Where its predecessors "Dialogue" and "Components" were
packed with challenging avant-bop, "Happenings" instead brings things down a
notch. With pianist Herbie Hancock, drummer Joe Chambers, and bassist Bob
Cranshaw on board, Hutcherson keeps the tone fairly light, performing his original
compositions (the exception is Hancock's "Maiden Voyage") with a
mellow, swinging style that emphasizes modal exploration. The performances are
all top-notch, and the album still weighs in as one of the best in Hutcherson's
fine catalogue. Personnel: Bobby Hutcherson (vibraphone, marimba); Herbie
Hancock (piano); Bob Cranshaw (bass); Joe Chambers (drums). Recorded at the Van Gelder Studio, Englewood Cliffs, New
Jersey on February 8, 1966. ~ CD Universe
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