Saturday, November 6, 2010

Day 71: Miles Davis "On the Corner" & Wayne Wallace "Three in One"

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.

Miles Davis
On the Corner

Miles Davis continues to add to his lead as most represented artist in the Albatross. This time with one of his early fusion experiments. Not as 'grindy' as Bitches Brew, this one is a little more funk oriented. Not satisfied with having one fusion pioneer with him, the album has both Herbie Hancock and Chick Corea. And a bunch of other people that became prominent in the new fusion jazz. Because if you're in Miles' band, that kind of means something.

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 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.

Wayne Wallace
Three in One

Alright, so now I feel completely stupid scoffing at the notion of 'Cubop' and thinking it was made up for the first CD I came across that had it. I officially feel humbled and ridiculous in light of the fact that I apparently have been sitting on a small goldmine of cubop. I'm sorry. Can the Albatross stop mocking me now?

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.

No comments:

Post a Comment