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MILES ELECTRIC

The title of my article refers to the eponymous album composed by trumpeter perhaps best known in the history of music: Miles Davis (1926-1991)

The latter consists of the most beautiful of the entire catalog jazz tracks of all time, has sold millions of records alternating different styles of expression with regard to the sound of his trumpet.

This is an issue to be explored carefully, because somehow the key that gives us the opportunity to enter (although minimally) in the genius and daring of our Davis. We pass style Bebop early in Cool (with the 'release of another great album "Bags' Groove"), to free jazz , acid and modal played with quintets and sextets of absolute value (in this group we can find people from "tough" as Cannonball Adderley, John Coltrane , Bill Evans etc etc. ..)

So as you can see, the American trumpet player did not miss anything ever done in his long and varied career.

Many music critics have always seen a great innovative way to his creations, rightly considered as one of the most influential musicians of the last century.

all remember and love, but today I want to talk about a further change sought by Davis: the famous electric turning.

" In a Silent Way "(consisting of only two long songs Shhh / Peaceful and In a Silent Way / It 's About That Time of 18:00 and 19:56 minutes respectively) after it was thought after the release of" Filles de Kilimanjaro "of 1969.

The transition to a sound closer to rock shortly after it happened, helped by record label (Columbia ) that produced all his works.

It was the time that he wanted: the beginning of the '70s would bring a great new impetus to the music, giving a Turning to the record companies decided to younger audiences.

This, in turn, listened to a heavier risk by the eclipse of the purest jazz.

Columbia pushed Davis to change their style very much to put aside the best jazz musicians of the new wave / rock: John McLaughlin, Herbie Hancock , Chick Corea, Dave Holland and Joe Zawinul.

Davis agreed, and wrote the album in question, giving visibility to the phenomena mentioned above, changing fundamental aspects during recording (multi-track recordings, electric piano, organ, double bass!, Electric and acoustic guitars) and removing the dust from one genre nearly consumed by the years.

The first track is beautiful (to me much stronger than the second), and feels like the instruments should be to seek harmony with the trumpet that sudden jerks and pauses "thoughtful." very important solos of the young McLaughlin, true alter-ego of Davis.

In the second track (written by the recently departed Joe Zawinul) feels more improvisatory vein of the group is not "study" and more "genius", is a digression disconnected from the central theme of the song, again slightly during the performance.

He came out a sensational job with a good number of sales, by putting the basis for the emergence of a new genre: fusion .

In later years he continued to base its production, with another wonderful album, looking for the perfect composition of her personal jazz / rock and even going to touch the funk.

finish with a couple of his quotes, and thanks to my iPod every day to host at least one work of Miles Davis.

"Do not play what's there. It sounds that there is no"

"Why play all these notes when we can play only the best? "

Mcfly

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ONE STORY Summary of the week

It was with a "great" music I would go back to living my path marked by much excitement, because every word I write take a moment to say to an artist, for a story that gave me something.

The big question in Mr. Pat Metheny, jazz guitarist / fusion world-renowned, behind dozens of collaborations with other giants of the music ( Ornette Coleman , Michael Breker , Jaco Pastorius , Antonio Onorato , Herbie Hancock etc etc)

Metheny is was one of the few jazz musicians to have brought hybridized with other genres in contexts before then unknown: great commercial success, and even concerts crowded locations such as large stadiums always full of people eager to listen to the "beauty" of those particular notes.

Everything might suggest a lowering of quality art expressed, but this does not apply to the entire repertoire (very large, a real workhorse of the staff) when the guitarist statunitense.Per critics and audiences have come together in a large auditorium dreamy.

And it is hoping to dream that I approached the last work that I "discovered": "Secret Story" of the far 1992.Prima to hear the album I felt a strange sensation of fear sensazione.Una, such as that experienced by a child before discarding a gift: the feeling of finding something well below their expectations.

This definitely comes from my mixed feelings about everything I had previously heard of Pat Metheny: frescoes sound great affinity with his group tested ( Pat Metheny Group ), continue traveling on the notes of his guitar and warm pasty.

not want to lose everything ...

But I say right now, this feeling was further from the truth as I experienced in the last tempi.Anzi the album is amazing, going to install in the first three to four works of the musician.

In fact it was a dream to hear the whole album (composed by 14 songs) transmitting that desire "crazy" to consume the work and to dissect to study it in depth, in the smallest details.

The sound, as usual, you can catalog it in the attitude of classic jazz guitarist to come out of the box and use strictly jazz massive but never out of place electronic scores.

Ultimately everything has been studied in great, making it very smooth and cohesive, the many instruments in play (guitar, keyboards, piano, xylophone, drums, various wind instruments, electric bass, bass, percussion and other instruments) you can not find in-depth individual only after many plays.

This may want to say one thing: the intention of the musician to create a sound wave so compact that we can lay safe closing your eyes and see what they have seen him that wide open spaces, endless expanses where we can admire the immensity of the horizon , great sunsets with a light heart-rending, nature is so beautiful to reconcile us with our inner self.

Starting from the first track (Above the Treetops) that introduces us with a song of many voices interwoven with each other, interrupted by the guitar magic, and then set off together and go into much more rhythmic and methenyana Facing West, passing Central to the songs that give the feeling of spaciousness undisputed (Finding and Believing, Rain River, Always and Forever, See the World, As a Flower Blossoms).

The journey ends with introspection, to see within themselves the love, romance can move as impressive, resting on a tear the last four songs (Antonia, The Truth Will Always Be, Tell Her You Saw Me, Not to Be Forgotten [Our Final Hour]). Even the cover for me with all these images side by side it suggests that this work is in part born of the multiplicity of past experiences and merged into a deep inspiration.

short, a masterpiece of music in general .... thank Mr. Metheny.

Mcfly