So this past week I did some thinking and would really like to add a section of the blog to the idea of a series of "best of's." I am a big fan of www.jazz.com's dozens column that focuses on the dozen whatever is the subject. In my great moment of being the sage that I am I decided on the "Crazy Ates"....i mean come on it goes well with the whole breadstick thing...get it? Ates, like 8 but a play on words for eating, as in eating breadsticks..eh, eh?? forget about it.
So you may hate the title but live with it. I decided that the first incarnation of the 8's would be a list of my favorite or in this case what I feel is the top 8 best trumpet solos performed by Miles Davis.
From his late 50's style which became much more energetic when he decided to form a sextet with cannonball, bill evans, trane, jimmy cobb, and paul chambers to his classic, searching, freer second great quintet of the 60's this was a time where 99% of the material coming out of Miles' horn was brilliant.
1. Straight, No Chaser from the album '58 Sessions:
This solo is a bridge. When I hear the opening lick Miles plays, I hear that the birth of cool days are past and the experimenting is on the horizon. Now this was a crucial year for Miles, in just months he would record his landmark album Kind of Blue, that is celebrating its 50th anniversary this year. Thats what most people think when they think about Miles's sextet but I like to think of this album as the tour for the album Milestones which would be recording afterwards in the same year. Milestones stands as a corner stone in modern jazz, an album comprised of great tunes and amazing playing from all 6 members.
I love that this has his very much used lick around this time period where he would smear a series of notes and then play short punching quarter notes (check out 1:20 for a great example)
Miles playing on this blues in F from the Newport Jazz Festival again is just captivating. Its brisk and mellow at once. It shows Miles' influence from Fats Navarro and Dizzy Gillespie but has that plays in the middle register, always cool and collected style that made Miles who he was, especially in the 1950's. This style is still emulated today, even by yours truly. A great piece of music.
2.Miles from the album Milestones:
Like I was saying, Milestones is one of my favorite albums. Its never end swing feel and its fiery approach is so mind boggling. Miles' solo on this modal track is one of the first solos I transcribed in college(of course after all the ones from Kind of Blue that all jazz musicians are expected to learn in order of paying some sort of dues to the jazz gods.)
This solo is mellow and well thought out. Its based on a series of motives or ideas that Miles expands upon throughout the solo. A great solo to hear for a young trumpet trying to get his feet wet!
I find myself relearning this solo every time I listen to it. The feel of rhythm section on this tune is outstanding. Especially the bridge where instead of a straight walking feel Paul Chambers creates an ostinato that grooves so hard.
3.Orbits from the album Miles Smiles:
It was very hard picking this track out of not only the 1960's Miles book but this track alone from its fellow tracks on this album. Miles immediately picks up energy and dexterity in this solo right after a brilliant melody by Wayne Shorter. As avant garde as this solo gets, it grooves so hard. Towards the end of Miles' solo he finishes on a motif that is the last few bars of the actual melody. I find myself humming it throughout the whole tune. This track is the opening tune to the album and I get so excited every time knowing, that so much good music is yet to be heard in the preceding tracks, Its almost as if this was Miles' way of introducing a whole piece of music that would just blow you away.
Miles was just getting over poor health and getting into the jist of his new and adventurous band and this solo is like a big "whose my bitch" punch to the nuts to the jazz world, reminding us that Miles was still the coolest mofo in jazz.
4. All Blues from the album Kind of Blue:
Of course you can not have a best of list without mentioning Kind of Blue. In true words, I actually hate talking about Miles in a formal fashion because you always have to mention this album. Don't get me wrong: it IS a masterpiece, but because I had to spend years transcribing it, analyzing it, and reading about it I ended up getting to a point where I didn't want to listen to this CD. I couldn't think of KOB as an album but this item that stood all by itself and needed to be listened to only in certain circumstances, wearing a radiation suit and having a Bible present. It took me from about 2006 to maybe about 3 months ago before I was able to sit with clearer ears and listen to this record. I remembered how much I love All Blues, what an incredible tune. It grooves with this mesmorizing vamp underneath a blues form. Miles's solo starts with a motif which is "sssoooo Miles" and it works. He bases this motif on three notes and he develops it, constantly playing these same three notes in different variations and I just love it. I find myself taking the same approach everytime I perform this tune. Miles was once again saying enough.
5. Agitation from the album E.S.P.:
This was the 3rd album I bought under Miles Davis' name back in high school. I remember getting it at the Virgin Megastore on a trip to NYC and listened to it on the train ride home. When I got to Agitation, I was so confused. It wasn't anything I had heard before. Of course though I was only 17 and had no idea what hell I was listening to....not the best album to start of on.
Miles comes in after a very well played solo by Tony Williams and just when you don't think about it, Miles creeps in on Harmon mute with that decending line that was to become the only part of the melody. After every other performance that would be the only reconizeable line in the whole tune. Its a free formed jazz odessy and it changes so much. After a medium opening, it begins to pick up the pace, only to come back to a slower medium tempo. Its a vehicle to play over and its amazing. Its surprising on an open form you actually hear Herbie comping behind Miles in a more open and loose vibe. Its more of a cause and effect that happens between the trumpet and piano. At one point Miles is just playing long flowing lines and Herbie just plays two chromatics behind me....gets me everytime!!
I love that every other performance of this tune is taking at break neck speed and sounds fresh even today but nothing compares to this.
6. Riot from the album Nefertiti:
OK so I have a little back history with this album. I bought this cd senior year from Phil, who looking back on this I think because even it confused and terrified him everytime he listened to it. Now this album is def not the first Miles album you listen to. For a pair of uneducated and immature ears this album freaked me out. I didn't know what I was listening to, and trying to play it cool when I got to college like it actually made sense to me. Its a chromatic/free orgy. Most tracks either have no piano behind the solos or don't follow the chord changes and to a 18 idiot, you don't pick up on that.
Needless to say, it was my favorite, because it bothered me so much. The track to stand out was Riot, a piece by Herbie, actually the shortest on the album. I love the melody and changing meter. Miles' solo is sleak, paced and hipnotic. It was the first point where I knew I wanted to sound exactly like Miles. The harmony behind him from Herbie Hancock is modal, only based on two scales and the bass and drums sound like an atmosphere for Miles to work off of and through.
Like I said this track is quick, Miles' solo is only about a minute long, but its art. I love when I realize its been a while since I last heard it and get to hear it almost for the first time again.
7. Flamenco Sketches from the album Kind of Blue:
This is by far the best song on this album. The best part is there's two versions so when you listen to it you get it twice. Miles's playing is so beautiful, exposed and thrilling. Everytime I hear this tune I get chills. Its wonderful and thats all that needs to be said. Listen to it for yourself if you need any more details.
8. So What from the album Live in Tokyo:
Best Performance of this tune ever. Miles is on fire and Tony Williams is right there with him. This solo represents that "out with the old, in with the new"playing you hear in the early 60's from Miles. You hear his classic sounds and licks but with a more pushing, reaching vibe. I can't get enough of the all out fury from him with Tony behind him. They play off each other in incredible form and to top it off at a blazing tempo. Of course we get the added bonus of the only time Sam Rivers recorded with the band. Sam is one of my favorite tenorman and what a treat hearing him in this context. Happy Happy Joy Joy
