Once again the furthest away from another sampler. This is my second day into an actual CD case, a sort of make-believe apple crate that has been shaped into a single row to hold CDs. I collected as many of the wooden cases for holding CDs that I could come across in the attempt to pretend I was organizing them. It's also how I was able to make estimates as to how many CDs I have. Now I have a lot of beat up wooden racks that I drag around with the CDs and none of it is organized.
On the Corner
I know that I have two of this album because I know I've listened to it before but this one was unopened. I think it might have been a double set of On the Corner and Big Fun that I had, now that I think of it.
On the Corner might be that turning point, the sort of 'missing link' I've had with Miles Davis' fusion efforts where I've never been able to connect albums like Bitches Brew and Live/Evil to Tutu. On this album Miles discovered looping, over-dubbing, and using multiple tape machines. This is a kind of 'layered cake' recording that could be argued is anathema to jazz if one considered the interplay of the performers to be an essential element. In contrast, though, even in 'straight jazz' engineers had been stitching together solos and the like for a while. If Miles were to craft the texture over which he would select his soloists, whose to say that you can't do it that way?
While the tracks (four in total going for a little over fifty minutes) are long and have a tendency wander, this is still more accesible by bounds than the previous, more caustic fusion experiments. Which is not to say that there isn't some stuff on here that will make whoever else is listening ask you, "What the hell are you listening to?" (wah wah sitar...you heard me...)
This is about as far from the last Miles Davis that went in to the Albatross.
Even if it's fusion I'm still weirded out by the fade out.
Three in One
He's holding three trombones on the cover, so I was afraid that 'three in one' might be like the 'What More Flutes 4' thing where he just used three different trombones (well, bass trombone is pretty awesome...), but instead its a general philosophy "general representation of the African musical continuum through US and Caribbean." According to the liner notes, that is.
And Wallace doesn't leave you guessing what three elements he might have used on any particular track, on the back they're all labeled (including Cubop...).
This guy might have been my instructor had I not become obsessed with going to a UC. He's an instructor at CSU San Francisco where I had initially thought about double majoring in music and film. But instead I went to UC Santa Cruz. I liked the mascot...
I don't know what is about certain CDs or certain music, but every now and then I feel like I should be listening to it live in a beer garden. Not that I spend a lot of time in beer gardens, nor do they usually have music that would appear in the Albatross...but I get the impression anyway. This is one of those CDs.
- Back in a Few...
- Day 73: Glenn Gould "Glenn Gould at the Movies" & ...
- Day 72: Duke Ellington "Mood Indigo" & Don Byron "...
- Day 71: Miles Davis "On the Corner" & Wayne Wallac...
- Days 61-70 Sampler
- Day 70: Flora Purim "Perpetual Emotion" & Dorthry ...
- Day 69: Mrs. Miller "Wild Cool & Swingin' Vol.3" &...
- Day 68: Louisiana Gumbo & Sonny Rollins "Without a...
- Day 67: Miles Davis "Boppin' the Blues" & Traditio...
- Day 66: Keith Jarrett "The Survivors Suite" & Fred...
- ▼ November (10)