Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for 1,000 backers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!

297

Miles Davis Tribute Band: Rotterdam, the Netherlands, July 10, 2011

Miles Davis Tribute Band: Rotterdam, the Netherlands, July 10, 2011
R.J. DeLuke By

Sign in to view read count
Miles Davis Tribute Band
North Sea Jazz Festival
Rotterdam, the Netherlands
July 10, 2011

As bassist Marcus Miller noted during the Miles David Tribute Band set at the North Sea Jazz festival in Rotterdam, it hardly seems like Davis has been gone for 20 years. Maybe, he surmised, it's because the spirit of Miles lives on in all who were in his employ over the years. The spirit lives on for many fans, too.

To mark the two-decade anniversary of Davis' passing, the band is touring Europe (as well as some U.S. dates) and played some outstanding music on July 10 in Rotterdam, Holland.

This tribute version brought together Herbie Hancock and Wayne Shorter, and with those icons on the same stage interpreting songs associated with their former boss, it was already noteworthy. Regardless of the outcome. Throw in funky bass master Miller, who brings something considerably different with his electric axe that, for example, Ron Carter would have brought with his upright, and add the trumpet of Sean Jones, who owns some of the hottest chops around, and you've really got something. Sean Rickman on drums was something of a wild card, but the multi-instrumentalist, who's played bass with Steve Coleman and MeShell NdegeOcello, filled the bill with technique to spare and a penchant for the modern sound these arrangements were suited for.

The music was superlative. These musicians didn't take the stage and play the music in the style reminiscent of the time in which it was created—Hancock and Shorter did that years ago with the VSOP band, and again after Miles died with the classic group (Tony Williams and Carter added), with Wallace Roney on trumpet. Jimmy Cobb has been doing the older style with the Kind of Blue band.

This band brought a fresh sound to the music, a contemporary edge that amalgamated many of the songs Miles Davis fans love, but presented them in a unique way. The merger of the music was highly arranged at points, with the band playing unison snippets from certain Davis chestnuts in the middle of some tunes. Also, it was played pretty much seamlessly, almost as a suite, one composition melding into another. But the arrangements were very sharp and contained great solo moments.

Hancock and Shorter are now elder statesmen in jazz, but are among the handful of its most creative talents. Doing this music in its original style isn't where their heads are at now—it never was where Miles' head was at—and the results were terrific.

The concert began with a slow, stately piano intro by Hancock, but the band quickly jumped in, Rickman and Miller stoking the fire for a version of "Walkin'" where a funky bottom led the way for excursions by Jones and Shorter, who played short, hip, choppy phrases, in unison at times and with quick trade-offs at others. Their bursts of energy set the tone for the hour-long set. From there the band flew into "Directions," thunderous and edgy, Hancock on electric keyboards now. Shorter was in excellent form as he dashed off short, quicksilver runs on soprano sax, snaking around the pulsating rhythms, giving way to Jones' sparkling explorations that swooped and swirled. His tone and technique were stellar.

"In a Silent Way" was the next segue, Miller laying down the familiar bass line with a thick, sumptuous sound. Again, Jones and Shorter both added the statements jointly but on different paths, all improvisations sounding good. Miller played some bass clarinet as the music slowed—his growing proficiency on the instrument showed as he glided, giving way to a serene statement by Shorter.

The last tear-jerker ballad of Davis' career, Cyndi Lauper's "Time After Time," was reconstructed with a magical touch, Miller still on bass clarinet and Hancock sketching out the tune on keyboards, Jones and Shorter harmonizing the ballad with an ethereality. It had a searching quality as the musicians stretched the limits far more that Miles did.

Rhythms switched to African influences and soon Miller's bass was playing the familiar opening strains to Shorter's "Footprints." The song's composer danced over the rhythms in playing his well-loved head, and Hancock took off on an acoustic piano exploration that careened and cascaded in his inimitable style.

The set concluded with another of Davis' popular tunes from his final years, the simple but infectious "Jean Pierre," bolstered by the polyrhythmic funk of Rickman's drums. The drummer was up to the task all night and an important part of the steering wheel that negotiated all the subtle turns during the evening.

The music was not trumpet-centric, relying on Jones—a fantastic player—to carry the day just because he was filling the legendary trumpeter's role. That was a good decision. He played very well, but each segment was a canvas for the whole band, with individual solos emerging, but never really dominating a particular tune. In total, they presented some magical Miles Davis moments in a way that was unique to the group, but identifiable for the fan. That could have been a fine tightrope to walk, but these excellent musicians pulled it off.

Photo Credit

North Sea Jazz

Tags

Related Video

comments powered by Disqus

More Articles

Read Mary Ellen Desmond: Comfort and Joy 2017 Live Reviews Mary Ellen Desmond: Comfort and Joy 2017
by Victor L. Schermer
Published: December 15, 2017
Read Jazztopad Festival 2017 Live Reviews Jazztopad Festival 2017
by Henning Bolte
Published: December 13, 2017
Read Vivian Reed at Feinstein's/54 Below Live Reviews Vivian Reed at Feinstein's/54 Below
by Tyran Grillo
Published: December 12, 2017
Read Henry Threadgill at Tilton Gallery Live Reviews Henry Threadgill at Tilton Gallery
by Kurt Gottschalk
Published: December 10, 2017
Read The Brian McCarthy Quartet At FlynnSpace Live Reviews The Brian McCarthy Quartet At FlynnSpace
by Doug Collette
Published: December 10, 2017
Read Mindi Abair at The Empress Theatre Live Reviews Mindi Abair at The Empress Theatre
by Walter Atkins
Published: December 8, 2017
Read "Redwood City Salsa Festival 2017" Live Reviews Redwood City Salsa Festival 2017
by Walter Atkins
Published: October 17, 2017
Read "Rigas Ritmi 2017" Live Reviews Rigas Ritmi 2017
by Bruce Lindsay
Published: July 12, 2017
Read "Brilliant Corners 2017" Live Reviews Brilliant Corners 2017
by Ian Patterson
Published: March 27, 2017
Read "Kim Nalley's Tribute to Nina Simone" Live Reviews Kim Nalley's Tribute to Nina Simone
by Walter Atkins
Published: March 31, 2017
Read "Lance Canales & The Flood At Biscuits & Blues" Live Reviews Lance Canales & The Flood At Biscuits & Blues
by Walter Atkins
Published: June 27, 2017

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!