Ron Carter came to fame via the second great Miles Davis Quintet in the early 1960′s, which also included Herbie Hancock, Wayne Shorter and Tony Williams. Carter joined Davis’s group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E.S.P., the latter being the first album to feature only the full quintet. It also featured three of Carter’s compositions (the only time he contributed compositions to Davis’s group). He stayed with Davis until 1968 (when he was replaced by Dave Holland), and participated in a couple of studio sessions with Davis in 1969 and 1970.
Hat tip/Paulo Ricardo
- Miles Davis – trumpet
- George Coleman – tenor saxophone on “Seven Steps to Heaven”, “So Near So Far”, “Joshua”
- Victor Feldman – piano on “Basin Street Blues”, “I Fall in Love Too Easily”, “Baby Won’t You Please Come Home”, “So Near So Far” (alternative), “Summer Night”
- Herbie Hancock – piano on “Seven Steps to Heaven”, “So Near So Far” (master), “Joshua”
- Ron Carter – bass
- Frank Butler – drums on “Basin Street Blues”, “I Fall in Love Too Easily”, “Baby Won’t You Please Come Home”, “So Near So Far” (alternative), “Summer Night”
- Tony Williams – drums on “Seven Steps to Heaven,” “So Near So Far” (master), “Joshua”
After the unfinished sessions for Quiet Nights in 1962, Davis returned to club work. However, he had a series of health problems in 1962, which made his live dates inconsistent and meant that he missed gigs, with financial repercussions. Faced with diminishing returns, by late 1962 his entire band quit, Hank Mobley to a solo career, and the rhythm section of Wynton Kelly, Paul Chambers, and Jimmy Cobb to work as a unit. The departure of Chambers especially was a blow, as he had been the only man still left from the original formation of the quintet in 1955, the only one never replaced.
With club dates to fulfill, Davis hired several musicians to fill in: Frank Strozier on alto saxophone and Harold Mabern on piano, with George Coleman and Ron Carterarriving early in the year. For shows on the West Coast in March, Davis added drummer Frank Butler, but when it came time for the sessions, Davis jettisoned Strozier and Mabern in favor of pianist Victor Feldman. With a lucrative career as a session musician, Feldman declined Davis’ offer to join the group, and both he and Butler were left behind in California. Back in New York, Davis located the musicians who would be with him for the next six years, Herbie Hancock and Tony Williams; with Carter and Coleman, the new Miles Davis Quintet was in place. Williams, then only 17 years old, had been working with Jackie McLean, and Hancock had already scored a hit single with “Watermelon Man“, done by percussionist Mongo Santamaria.
The assembled group at the April recording sessions finished enough material for an entire album, but Davis decided the uptempo numbers were not acceptable, and redid all of them with the new group at the May sessions in New York. Two of the ballad tunes recorded in Los Angeles were old – “Baby Won’t You Please Come Home” written in 1919 and a hit for Bessie Smith in 1923, while “Basin Street Blues” had been introduced by Louis Armstrong in 1928. None feature Coleman; all are quartet performances with Davis and the rhythm section. Read the rest of this entry »
Unfortunate to hear a great artist lay out a thoughtful, passionate, lucid description of the problem– the decline of jazz in the U.S.–then offer a predictable, depressingly misguided solution: “make the government subsidize it!”
Did the Mahavishnu Orchestra depend on taxpayer subsidies? Did Miles Davis need a government check in order to flourish? Unthinkable. If music is dynamic and alive, people will beat down the doors to go see it. If it’s boring, people will ignore it.
What Is the Future of Jazz in New York? (punditfromanotherplanet.com)
Who Should Pay for the Arts? (city-journal.org)
If it’s waning, drained of its creative force, or is replaced by other artistic innovations, people will look elsewhere. Should it be put on life support? Kept alive artificially? Turned into a social program for talented but neglected musicians? There are technical revolutions, new media disruptions, that are still unfolding, that influences these outcomes, more than lectures about taste, or lowering standards just to get a gig.
The End of Jazz (punditfromanotherplanet.com)
Islam and American Jazz (punditfromanotherplanet.com)
He’s right, jazz one of America’s great original art forms. And he’s right that should be supported, not neglected. It’s part of our history. (though what kind of future it has, organically, is questionable) Foundations, philanthropy, and so on, absolutely, if that’s required to preserve it as a museum piece, or classical artifact. Or, if cities and states have the popular will to support it with government arts funding, then let public policy respond to that. But it won’t make audiences love it, it won’t lure them come see it. Only the music itself can do that. Read the rest of this entry »
Album : Call It 95
Herbie Hancock – Piano
Omar Hakim – Drums
“I never saw anything like what Harry Reid did. To watch him, was to watch a master at work.”
“This was an opportunity cost of time. We could have been talking about jobs, farm bill, immigration, any number of issues that need to be addressed, and I commend the Speaker for coming around for bringing it to the floor. I salute — I never saw anything like what Harry Reid did. To watch him, was to watch a master at work. He was superb, intellectually, politically astute, and just the sheer stamina of it all. And it was a sign of the respect that his members have for him.”
Nancy excused herself from the podium, put on sunglasses, congratulated her staff and associates, then got into a van with an unnamed member of the press corp, where they remained for 20 minutes.
According to a White House source, and confirmed by others in the parking lot, Nancy and the journalist reportedly smoked a doobie while listening to the 1970s jazz-rock-fusion Supergroup Mahavishnu Orchestra‘s “Between Nothingness and Eternity“, at extremely high volume.
“I had to cut sound on my microphone, the noise from the van was bleeding in” a TV reporter complained.
Asked later about her taste in music, Nancy was eager to discuss early-’70s rock-funk and jazz. “Jan Hammer’s keyboard work is amazing”, Nancy said, walking to her office. “Though I really like John McLaughlin‘s earlier work, in Lifetime, with Tony Williams, and Bitches Brew, with Miles Davis. Have you ever heard McLaughlin’s solo album, Devotion? There’s a song on there “Don’t let the Dragon Eat your Mother” that totally kicks ass”. She added “The engineering on the album isn’t ideal, but McLaughlin’s guitar solos are mind-melting”.
h/t Hot Air