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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