While I am sure Larry Coryell deserves a lot of credit for his innovations in fusion the concept of jazz-funk fusion probably starts with this album. Basically what Miles and his quintet are dealing with here is transitions of both a musical and personal nature. Herbie Hancock and Chick Corea alternate (on various cuts) on electric piano and the same goes for Ron Carter and Dave Holland. I’ve heard it said that had to do with the fact that while he had nothing against fusion jazz,Ron Carter wasn’t as comfortable playing electric bass as he was an acoustic one.
But no matter who is playing what this album is,as they might’ve said in the late 60’s,”now”. For the past several album Miles and his Quintet created a unique type of jazz that blended be-bop with avant garde techniques and on this album,Miles’s strong influence from soul and R&B (from listening to Sly Stone and James Brown and perhaps his wife Betty Mabry) has had an impact on the music as well. For one Tony Williams,always a rock and R&B fan himself was still improvising on drums as only he could but his general rhythm has a funkier,more syncopated tone here…at times.
That being said,perhaps that colliding with the Fender Rhodes soloing “Frelon Brun” is definitely in on the new jazz-funk style completely.Even though they wiggle and wobble between what Herbie Hancock calls “jazz and rock n roll back beats” jumping in and around each other “Petits Machins” and the title song both illustrate something of the same feeling.”Toute De Suite” and the alternate take of it presented here are as we see now yet another innovation:the beginnings of what we might call “acid jazz” now;mid-tempo funky rhythms,LOTS of Fender Rhodes solos and a bluesy jazz feel-amazing tune either way you cut it.
In dedication to his wife Davis also included “Mademoiselle Mabry”,a elongated blues showcasing,as the rest of these songs do a very pretty melody. One thing Miles managed to do on this album was maintain his melodic jazz flair and also cloth it in a brand new setting. This is definitely one of those albums where Miles begins to lean heavily into the style that would soon become known as fusion.Not too long after this Miles would release his landmark In a Silent Way and it was off to the races for him;his songs developed more concise grooves and became even longer in length. Nonetheless this will always hold a very special place in Miles’ vast musical legacy.
Originally posted on May 6th,2008
LINK TO ORIGINAL REVIEW HERE!
Listen to “Frelun Brun”,a key funk/jazz process number on YouTube here.
Filed under 1960's, Betty Mabry, Chick Corea, Dave Holland, drums, electric jazz, Fender Rhodes, Fusion, Herbie Hancock, jazz funk, Miles Davis, Ron Carter, Tony Williams, trumpet, upright bass, Wayne Shorter
Miles found himself in 1968 in a very new world of music. Psychedelic sounds were everywhere and different sorts of music were bleeding together into all kinds of combinations and ending up becoming a whole new form.Sly & The Family Stone and Hendrix were popularizing it and on one of his later album with his classic quintet Miles very obviously had his ears all the way open. On the majority of this album Miles,a musician who had been edging towards a kind of avant garde sound on his previous few albums such as Miles Smiles and now a new kind of rhythm was coming into the equation.
From “Paraphernalia” to “Black Comedy” onto “Country Son”,even with the presence of George Benson,Miles was putting everything happening musically here into the context of rhythm. Believe it or not this was part of the beginning of the jazz-funk movement of the 70’s. Recently a discussion I had with my good friend from Oakland (who I realize I name drop a lot in these reviews) bought up the point that much of jazz even at this point was not as on the stop as it seemed;that there was a deeper understanding among jazz musicians who were able to translate their musical traditions from a basic theme into something very original.
The themes here do seem to be buried somewhat if your not listening close enough.But the truth is it’s because their all based in some form of communal rhythm: Wayne’s sax,Ron’s bass and Tony?Well let’s just say that his drumming on everything here is far heavier-not necessarily loud but full of a weighty bottom that stands as more then steady support for Miles’ playing,itself usually associated with “tugging at you a little softer” by his own description. The tune that pulls everything together here is the opener “Stuff”. It opens it all up-EVERYTHING Miles would do on his breakthrough electric albums such as Bitches Brew and even to some extent On the Corner begins here.
Herbie’s newly found electric piano soloing,the bass leading the whole way from the bottom up and…….a rhythm that comes in and around the psychedelic stew to what is possibly Miles’ first released tune in the funk genre,then a fairly new genre to most people. Even though not psychedelic music in the traditional sense of the word,everything from the trippy album cover all the way down to the rhythms and instrumentation all bleeding together find the influence firmly in place. This is the kind of jazz and funk I can imagine having a lot of appeal to people who usually listened to things like Country Joe & The Fish or even the Grateful Dead. And even for them Miles and the kind of rooted,complex funky music his quintet were making on albums like this will hopefully bring them into a good place to begin grooving to rhythms that were at once communal,improvisations AND jamming!
Originally posted July 6th,2009
LINK TO ORIGINAL REVIEW HERE!
*Listen to “Stuff”,Miles’ second quintet presenting prototype jazz/funk fusion.
Filed under 1960's, Columbia Records, drums, electric piano, funk process, Herbie Hancock, jazz funk, Miles Davis, Psychedelia, Ron Carter, Saxophone, Tony Williams, trumpet, upright bass, Wayne Shorter
Yep, for years this had me pretty fooled. With a title such as ‘Collection’ it instantly implies an anthology. Well it is and it isn’t. What this offers IS a collection in fact,of the two albums Tony Williams and his New Lifetime released in the mid 70’s namely 1975’s Believe It (with which this CD shares the same basic cover art) and the following years Million Dollar Legs. Both albums are very different and both quite special. The term Lifetime has been used not only for Tony’s first acoustic solo album for Blue Note but also for another group he formed earlier in the 70’s.
And so it continued with these albums,this edition of the band featuring Allan Holdsowrth,Alan Pasqua and Tony Newton on bass and vocals were applicable. With years of experience and prestige in Miles Davis’s classic 60’s quintet Williams had the opportunity to keep going nearly indefinitely without the need to prove himself musically. All the same,even before the fusion years Tony Williams was a huge classic rock fan (Beatles,Rolling Stones,etc) so by the time the electric period of jazz/fusion came in he was more than prepped as a musician for the thudding loudness of rock n roll drumming and on all of the tunes here that’s very apparent.
Not only that but this is fusion that takes more cues even than usual from it’s rockier side with Holdsworth laying down some particularly gritty rock guitar solos on crawling,churning heavy jazz rockers such as “Fred”,the intense and tight “Red Alert”,”Mr’Spock” and Tony’s own composition “Wildlife” whereas “Snake Oil” and “Proto-Cosmos” favor a somewhat more funk centered sound with a bit more subtlety. By the time we get to “Sweet Revenge” from the second album presented there was a big change in sound. The thudding rock rhythms and guitar solos were replaced by a streamlined funk/fusion sound complete with horn charts,more prominent synthesizer textures and even pop/R&B style vocals from Tony Newton on “You Did It to Me”.
Now that’s not to say Williams neglected the heavier rock fusion element to his sound as “Million Dollar Legs”,”Joy Filled Summer”,”What You Do To Me” and the extended 9 minute workout of “Inspirations Of Love”, with it’s memorable catchy melody and BAAAAD drum solo from Tony towards the end show that he had absolutely no intention of neglecting his way with jazz musicianship and improvisation. Much as with his old boss Miles,Tony was able to allow huge changes in his music while still maintaining a style that was distinctly his as well as contributing positively to the continuing development of the then still relatively new genre of fusion.
*Review originally posted on November 5th,2010
Filed under 1970's, Alan Pasqua, Allan Holdsworth, Amazon.com, Blue Note, drums, jazz fusion, jazz rock, New Tony Williams Lifetime, Tony Williams, Uncategorized