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Wchicken Miles Davis dead in September 1991, an invisible trumpeter, a neighbor, whom this writer likes to hear using old-fashioned words, began to pay tribute to Miles’ music as a voice. It was a personal tribute to the unique sounds of instruments, and unique ideas, that greatly enriched the music of the 20th century.
This month is Miles’ 100th birthday, and the buzz of celebrations of the musical life that led him to be called (by Duke Ellington, he says) the “Picasso of jazz” for the many genres he explored. Featured this month is his 1957 film soundtrack Ascenseur pour l’Échafaud – now repackaged on vinyl and CD with restored audio, beautiful images and revealing stories.
Composed by Davis from a slightly smaller piece of music, the song was adapted directly to the screen featuring New Wave crime thriller director Louis Malle Ascenseur pour l’Échafaud (Lift to the Scaffold), one long night in a Paris studio in December 1957. His excellent local quartet also included Kennyp to destroy New York and Clarke to launch New York. spacey, ethereal soundworld (a method that less than a year can also decorate the space of Miles’s classic Kind of Blue) in the story that follows two lovers who think they killed her difficult husband, and the difficulties, fun, joy and fear that fill the long wasted night.
Dreaming of adulterous noises indicates wrong expectations; there are car-chasing scurries (Miles fast-bop horn virtuosity was dangerous in this period), desolate bluesy accompaniments for the actress Jeanne Moreau confused wandering in search of her friend, bar-room noise in the trumpet / tenor-sax counterpoint between Miles and the saxist Barney Wilen stands alone, but without music Barney Wilen – all without images. Burning slowly, but standing still with the glow and warmth of Miles Davis forever.
I’m going out again this week
Norwegian guitarist, composer and singer Hedvig Mollestad’s power trio Weejuns acknowledges Miles Davis’ 1969 Bitches Brew and Bitches Blues (Rune Grammofon). Collaborating with Supersilent keyboardist Ståle Storløkken and drummer Ole Mofjell, Mollestad explores the fringes and ventures into the realms of visual and sci-fi through the most unique and dramatic ensembles of 1970s jazz. A very different and carefree guitarist, Jeff Parker (as well as the Tortoise of indie music and Chicago’s Association for the Advancement of Creative Musicians), reveals a fascinating way of moving patiently from minimalism to pop music with his long-awaited Happy Today (International Anthem/Nonesuch). And Jason Milesformer Miles Davis keyboard player from the albums TuTu, Amandla and Music From Siesta, revisits the groove-centric era in his own way, showing Miles’ appreciation for Prince, and his sympathy for creating a symphony in a trumpet-like group including trumpeter Randy Brecker and saxist Ada Rovatti on Miightles Davis Milita 100.
