By Allen Huotari and Glenn Astarita

Miles at the Millenium: Eight years after his death and nearly four decades since releasing his first album, the music of Miles Dewey Davis III still manages to piss people off. Of course, Miles probably wouldn't have it any other way, but even he might be surprised as to the unusual degree that his work persists in arousing controversy and confrontation amongst the jazz listening public (if you haven't yet done so, check out some of the postings to the Miles Davis thread on AAJ's "Talkin' Jazz". Whew...passionate doesn't even begin to describe some of y'all. But this is a good thing...).

Furthermore, it's difficult if not futile to speculate as to what Miles would have thought about the unprecedented quantity of scholarly analysis that his body of work has drawn from academic circles (it's been suggested that only Charlie Parker and John Coltrane have suffered...er...endured a more rigorous examination).

Finally, owing to the emergence of the Internet with numerous websites and discussion groups dedicated to Miles, and the explosion of digital recording technology with it’s consequent flood of remastered, repackaged, and archival releases, it cannot be disputed that Miles has more fans now than at any other time in his career (and yes, it would appear that careers do continue long into the afterlife).

But all things considered, these would appear to be very good things, as new listeners (both young and old) discover this vast, remarkable, and thought provoking musical legacy that continues to spark inspiration and inflame aspiration amongst contemporary musicians.

From this standpoint, it should hardly be startling to reflect on the staggering number of Miles Davis tribute recordings that have been released over the past several years. Although it certainly leaves the motives of the musicians releasing them open to accusations of commercial opportunism and artistic exploitation, and undoubtedly calls into doubt the tastes of a jazz consuming public (who show a rapacious appetite for these projects), it cannot be questioned that, at the core, these recordings, and their corresponding commercial viability, arise primarily out of sincere love for Miles' music. Largely these recordings are not simply cover versions, but are deeply personal and honest testimonies as to the influence and inspiration Miles' music continues to wield (but what else to expect from a jazz deity...or demon as the case may be).

What is startling however, is the sudden appearance of tribute recordings that draw from Miles most controversial and critically reviled part of his career, his so-called "first electric period" from 1969-1975. Thirty years after Miles seemingly betrayed his audience by not simply abdicating his "jazz crown", but apparently kicking it disdainfully into the gutter, and nearly a quarter century after retreating from public view, the music of IN A SILENT WAY, BITCHES BREW, ON THE CORNER, GET UP WITH IT, AGHARTA, and PANGAEA begins to reveal it's subliminal and subversive resonance.

With two prominent recordings released in 1998, Bill Laswell PANTHALASSA: THE MUSIC OF MILES DAVIS 1969-1974 (Sony) and the double cd from guitarist Henry Kaiser and trumpeter Wadada Leo Smith YO MILES ! (Shanachie) and the promise of one mammoth document in 1999-2000, a box set from drummer Bobby Previte’s “The Horse You Rode In On” project, the electric music of Miles is at last receiving it’s proper acknowledgement from high profile musicians.

But what is most valuable about these recordings, is the painstaking effort gone into transforming Miles' work, not only interpolating it but more importantly, extrapolating from it. All of the musicians mentioned in this article did not recently discover electric Miles, they grew up with it, learned from it, digested it, and assimilated it into their own work, without necessarily emulating it. Consequently, given the means and opportunity to pay tribute, the outcomes are a set of uniquely individual statements, as infused by the artists own personalities as that of Miles'. Ultimately, these say more than any critical or theoretical analysis is ever capable of. Of course, this is not to say that academy and scholarship is worthless, but jazz is all about listening, not reading, right?

On that nearly heretical note, submitted for your consideration are three recent releases, all of which interpret, reinterpret, and re-reinterpret the music of Miles Davis.

MARK ISHAM MILES REMEMBERED: THE SILENT WAY PROJECT

Historically, when trumpeter-composer and film soundtrack specialist Mark Isham sets his mind on something or focuses on a specific project or theme, the results generally prove to be rewarding. A true Renaissance man in every sense, Isham is a skilled technician, gifted composer and arranger. Here, Miles gets a bit of an uplift as Miles Remembered: The Silent Way Project features Isham’s current working band. These performances were derived from gigs at the Baked Potato in North Hollywood, CA.

The Silent Way Project should easily rank as one of the best and brightest of the recent Miles Davis tributes. The twin guitars of Peter Maunu and Steve Cardenas indulge in bold, brash, crunch-style chords on Miles’ “Right Off”. Here, Isham heightens the intensity with mid-high register soloing and phrasing which signifies the urgency and manner of the original recording; although Isham and company turn things up a notch or two. Isham’s composition “Internet” seems to borrow or reshape familiar Miles Davis themes from Miles’ late 60’s, early 70’s period. On this piece, Isham’s fast and furious wah-wah style trumpet captures the essence of Miles vigorous forays into hard core rock-funk yet the memorable theme stabilizes this composition on solid turf. The 15 minute rendition of “Spanish Key” (from Bitches Brew) features hard edged funk guitar work, a solid, driving backbeat and pounding bass lines by the excellent Doug Lunn. On this track, Lunn punches out a linear pattern through well-defined “thumping” notes, which help drive this piece into submission. Here, the boys eventually delve into some powerhouse, in your face jamming, as Isham’s charter is to direct traffic while invoking the dual guitarists to shed some vociferous licks. “Spanish Key” is churned out in climactic fashion, which most assuredly brought the audience to their feet...!

Other highlights are Isham’s gorgeous, lush phrasing on Miles’ “Ife”, and more hardcore funk in the classic Miles tradition on “Black Satin” replete with crescendos, vivid expressionism, and spectacular soloing. “Great Expectations” alters the proceedings a bit as Isham engages in ethereal dreamscapes via enticing patterns enhanced by a touch of reverb and echo.

After spinning this CD repeatedly, it appears that Isham’s The Silent Way Project may in fact serve as the 90’s paragon for attempting to translate, reinvent, or render music from Miles Davis’ electric-period. A fine tribute indeed ...

Personnel: Mark Isham: Trumpet; Peter Maunu: Guitar; Steve Cardenas: Guitar; Doug Lunn: Bass; Michael Barsimanto: Drums

Web: www.columbiajazz.com

UMO JAZZ ORCHESTRA with TIM HAGANS ELECTRIFYING MILES

One of the world’s jazz scenes that deserves far greater recognition (especially by North American audiences) is Finland. This small northern European country (located between Sweden and Russia for those of you who are geographically challenged) while best known for it’s freezing, inhospitable winters and warm, friendly people, has also borne a disproportionately large number of world class artists, architects, and musicians. Unsurprisingly, the Finnish people have taken up a deep, abiding love for jazz and numerous jazz bands, record labels, magazines, and festivals have emerged over the past 30 years. But what is fascinating is that Finnish jazz, which could have been largely stark and forbidding given it’s geographical location, is instead largely fiery and passionate. While maintaining a distinct cultural flair (Finns are fiercely proud of their native culture), Finnish jazz nevertheless bears a closer resemblance to American than European jazz (hmmm…any Finnish readers of AAJ out there? Rather than turn this review into a history lesson, perhaps a feature article or two on Finnish jazz is in order?).

The representatives of Finnish jazz under scrutiny herein is the UMO Jazz Orchestra who are reportedly the best known big band in Finland. Founded in 1975, but becoming a full time professional organization in 1984, the UMO has developed a repertoire of over a thousand jazz works, ranging from ‘30’s era classics to contemporary and experimental pieces. Over it’s existence, UMO has collaborated with Gil Evans, McCoy Tyner, Thad Jones, Bob Brookmeyer, Joe Henderson, John Scofield, Carla Bley, and Django Bates and has proven to be a fertile training ground, “graduating” many of Finland’s top flight jazz performers.

For Electrifying Miles, the UMO plunges headlong into tackling the Miles Davis legacy accompanied by special guest soloist, Tim Hagans. The title is somewhat misleading as this isn’t “acoustic” Miles done “electric”, but rather refers to the effect the music will have on the listener (i.e., “electrifying” equals exciting, thrilling, breathtaking). The purpose of this recording is to illustrate how the members of UMO feels the music of Miles might sound as performed by a large ensemble in a contemporary setting.

With these definitions and objectives in place, Electrifying Miles delivers the proverbial goods. From the opener, the aptly titled “High Speed Chase” (a late period Miles piece) with it’s rapid fire mute work from Mr. Hagans (who also arranged the piece), to the closer, “Calypso Frelimo” and it’s appropriately manic electrified trumpet leads, the listener is guided through a musical journey of possibilities and potentials.

Although Miles’ groups popularized all of the works selected for this recording, it must be noted that not all of the pieces chosen here are Miles’ compositions. Wayne Shorter’s classics “Prince of Darkness, “Sanctuary”, and “Nefertiti” are given exceptionally fine readings. Special kudos go to conductor Eero Koivistoinen for his outstanding arrangement of “Nefertiti”. If you’ve never heard “Nefertiti” before, it can be described as one of those rare tracks that you will remember forever after hearing only once but will nevertheless return to again and again. This arrangement further honors the original. On this occasion, the familiar, memorable melody is continually transposing to a new key resulting is a stately grandeur that cannot fail to provoke the listener. Furthermore, Mr. Hagans eschews all effects on “Prince of Darkness” and “Nefertiti” the making these tracks the most traditional of the lot and thus most likely to appeal to conservative listeners and/or big band purists.

Listeners who want to blister their tympanic membranes are immediately referred to “Spanish Key” and the aforementioned “Calypso Frelimo” (which immediately follows “Nefertiti” to great effect). “Spanish Key” is arranged by keyboardist Jarmo Savolainen and features his solo on Fender Rhodes in addition to solos by Mr. Hagans (electrified trumpet), Pertti Päivanen (bass clarinet, convincingly reprising the masterful role of Benny Maupin), conductor Eero Koivistoinen (tenor sax), and Raoul Björkenheim (guitar). Although “Spanish Key” also utilizes the dual drummers plus percussionist format of the original, the UMO breathes bright, fresh life into this timeless composition. “Calypso Frelimo”, arranged by guitarist Raoul Björkenheim (who has several highly recommended recordings of his own available from Cuneiform and ECM), is similarly propelled by double drums plus percussion and takes the UMO to the brink of musical apocalypse (pun intended). This track simply scorches, pulling out all the stops, with Hammond organ, Fender Rhodes, and electrified trumpet helping create a thick, molten mass of sound. Celebratory, exuberant, play this one loud (if you dare).

Considering that seven different arrangers cover eight tracks spanning over twenty years, a legitimate criticism of this disc might be a lack of cohesion or uniformity. Furthermore, since Mr. Hagans is possessed of a strongly individual musical identity, and despite remarkable similarities in reproducing Miles sound and style, it is rarely perceived that Miles is an actual participant to the proceedings. A better analogy might be to imagine Miles’ spirit hovering over the band or lurking in the shadows at the side of the stage, influencing and directing through power of his presence alone. But with that in mind, it is clear that despite a broad input from creative souls, the results rarely stray too far from the mark, which is again to imagine what Miles might have done with these songs in 1999. The project can thus be assessed as successful.

In conclusion, this disc is probably best appreciated by those already familiar with the works being performed. Although Electrifying Miles should certainly prompt new or unfamiliar listeners to seek out the originals, a full appreciation of this disc might be obtained by hearing the originals first. Although staunch big band enthusiasts might not enjoy the more aggressive moments on this disc and while there are others who simply find the bold and brassy big band sound to be harsh or strident, the big eared (i.e., open minded) listener is encouraged to give this disc a chance. Bottom line: a must hear for Miles enthusiasts and a big “kiitos” (Finnish for “thanks”) to the UMO for the adventure.

Tracklist/composer/arranger

“High Speed Chase” Miles Davis, Tim Hagans

“Prince Of Darkness” Wayne Shorter, Kari Heinila

“Spanish Key” Miles Davis, Jarmo Savolainen

“What It Is” Miles Davis/John Scofield, Jarno Kukkonen

“Sanctuary” Wayne Shorter, Raoul Bjorkenheim

“Fast Track-Come Get It” Miles Davis, Jarmo Saari

“Nefertiti” Wayne Shorter, Eero Koivistoinen

“Calypso Frelimo” Miles Davis, Raoul Bjorkenheim

Personnel

conductor: Eero Koivistoinen

reeds: Pentti Lahti (asax, ssax, fl), Jouni Järvelä (asxa, ssax, cl), Teemu Salminen (tsax, bcl, cl, fl), Janne Murto (tsax, fl), Pertti Päivinen (bars, bcl, fl)

trumpets and fluegelhorns: Esko Heikkinen (concert master), Timo Paasonen, Teemu Mattsson, Mikko Petttinen

trombones: Markku Veijonsuo, Mikko Mustonen, Pekka Laukkanen, Mikael Långbacka (btrb)

double bass: Pekka Sarmanto (tracks, 2,5,7)

drums: Markus Ketola (tracks 2,3,5,7,8)

The Olympic Rhythm Section:

guitar: Raoul Björkenheim

Hammond organ, Fender Rhodes: Jukka Hakoköngäs

grand piano, synthesizer, Fender Rhodes: Jarmo Savolainen

electric bass: Harri Rantanen (tracks 1,3,4,6,8)

drums: Anssi Nykänen (tracks 1,3,4,6,8)

percussion: Mongo Aaltonen

web: http://www.musicfinland.com/umo

MILES DAVIS/VARIOUS DJs PANTHALASSA -THE REMIXES

Not too long ago, American media mogul, billionaire Ted Turner came under fire for tampering with old black & white movie classics as Turner and company decided to “colorize” many of these Hollywood gems. Debates ensued for better or worse. Would it be disrespectful and sinful to deconstruct Rembrandt’s “The Night Watch” and mesh it with a pop art piece such as Andy Warhol’s familiar if not simplistic Campbell’s Tomato Soup Can? Thankfully, these situations generally don’t occur. However, much could be said of the distinct correlation relating to artistic endeavors whether it is a valuable or historical oil painting or Miles Davis’ classic In A Silent Way. Well, these are some concerns that ring loud and clear when speaking of the Arts.

The follow up to producer Bill Laswell’s well received Panthalassa: The Music Of Miles Davis 1969-1974 could very well be perceived by some as being a paradigm for contention or ensuing debates. Laswell’s mix translations on the 1998 Panthalassa, featured some clever modern day re-engineering, whereas Miles Davis/Various DJ’s - Panthalassa-The Remixes may appear to some as being a cut and paste job. Now, Miles’ early 70’s music is being transformed into Hip-Hop, electro-funk and turntable hysteria.

On Panthalassa – The Remixes, Laswell, along with DJ’s King Britt, Doc Scott, DJ Cam, Jamie Myerson and DJ Krush offer translations of Miles’ early 70’s electric period into rhythmic, melodic and 90’s hipster type fare. Of course Miles’ original performances are included and are prominently featured throughout. Miles compositions such as “In A Silent Way” and “Rated X” are given hip hop and ultra-funk treatment whereas Laswell’s rendition of “On The Corner” is titled “Subterranean Channel Mix”. Here, Laswell’s ongoing fascination with East Indian music is conspicuously exhibited while Miles’ brash horn statements remain intact in the mix.

Many of these pieces are melodic, danceable, groovin’ and at times thought provoking. The contention here is that many of these Miles compositions evolved out of having the tape rolling in the studio as the musicians were improvising and feeding off each others ideas. In retrospect it could be said that Miles pioneering attitude during this time period opened the doors for fusion, hip-hop and jazz-funk. Panthalassa – The Remixes is a daringly creative project, which brings to light Miles’ versatility and paradoxical nature, especially during his early 70’s period. However, debates continue to this day as to the validity of Miles’ musical accomplishments during this timeframe, especially in lieu of his storied past of prior decades. Now, what if some artist or producer decided to reconstruct/remix music from Milestones or Seven Steps To Heaven? Could or would the populace come to grips with hearing John Coltrane’s classic rendering of My Favorite Things remixed into ambient electronic backwashes? As with most art, the individual is afforded the perception to hear or see things that spark the mind’s eye. Panthalassa – The Remixes fashions a bold statement or two; therefore, the music represented here will be sure to either captivate or annoy those who possess notions of what should and shouldn’t be.

Tracks/Personnel: “Shhh (SEA4 Miles Remix)” remixed by King Britt & Philip Charles; “Rated X” remixed by Doc Scott; “In A Silent Way” remixed by DJ CAM; “On The Corner (Subterranean Channel Mix)” remixed by Bill Laswell; “Rated X” remixed by Jamie Myerson; “Black Satin/On The Corner” remixed by DJ Krush (* available on vinyl only)

Web: www.columbiarecords.com

As concluding remarks to the preceding reviews, perhaps jazz fans LISTENING, discussing, arguing, and even fighting over Miles' music, whatever incarnation it may take, will remain the most honest and pure tribute that can exist at a non-musical level. Hopefully your opinions as individual jazz fans will continue to present fresh and ever changing perspectives on a music that refuses to sit still, a music as restless and enigmatic as the man who created it (but as for any of that "Miles at the Millenium" stuff...well...heck...let's not even bother to go there, okay?). – gra & ajh