Miles Davis: 1949 - 1959. Kind Of Blue
“ La vita senza musica è impensabile... la musica senza vita è pura accademia... ecco perchè il mio approccio con la musica è un abbraccio totale.” (L.Benrstein)
Il jazz abbraccia questa filosofia ed è musica d'arte nel senso di esprimere il cuore di chi suona, aiutando l'uomo a confrontarsi con se stesso. Il jazz si rivolge a tutti nello stesso modo autenticamente umano dei quadri di Van Gogh, the brush strokes of light of Caravaggio, Michelangelo dell'immaginifica conception of Paradise. So jazz is met, not consumed without pain because it contains a cry, a vision of expression that is nothing but the deepest point of being human.
There is an art form in Japan, where the artist is confronted with a blank canvas, a brush and the color black, and is obliged to be spontaneous. In this form of art is not perfection that suggests the emotion but the interpretation in the message, in the artist must be free from conditions that subject only by those of his own heart. This art form, if you like, thanks to the so-called improvised interpretation, is very similar to jazz ...
The artist is completely naked, and lacking any form of defense, so the objective difficulties in preserving the integrity of the soul, lived, and, in a sense, to deal with criticism and misunderstanding . This is the soul of jazz. The unconditional embrace the music through improvisation, draws the listener.
The convening of the band consists of Julian "Cannonbal" Adderley, Wynton Kelly, Paul Chambers, Jimmy Cobb, Bill Evans and John Coltrane for the recording session Kind of Blue by Miles Davis came to an end of a first trumpeter of the artistic evolution of Saint Louis.
After Birth Of The Cool, Miles was killed by a phase of artistic misunderstanding that the U.S. welcomed the return from French tour with Tadd Dameron, Kenny Clarke and James Moody. In France, the cool jazz with sounds clear and "night", was much appreciated and allowed Davis to enter the front door in Parisian intellectual circles. In the U.S., however, the cool was seen as an artistic expression created by a "black to play the white" (Chet Baker, Jerry Mulligam) not receiving, so any attention to each community . Poi, il distacco da Juliett Greco (amata follemente in Francia), la morte di Fats Navarro (vecchio amico), il primo divorzio e il senso di solitudine, spinsero Davis verso una forma di depressione che Miles cercò di superare rifugiandosi nella tossicodipendenza da eroina.
Solo nel 1954, dopo essere andato a Saint Louis per sottoporsi alle cure disintossicanti del padre, Davis riuscì a recuperare la sua verve artistica. Gli album Dig , Blue Haze , Bags' Groov e e Miles Davis and the Modern Jazz Giant e Walking (anche se di tono inferiore rispetto alle future produzioni) rappresentano un passaggio fondamentale della creatività davisiana: l'inizio dell'uso sistematico della sordina; la gestione dello spazio musicale, ereditata da Ahmad Jamal; la collaborazione con Horace Silver per il primo disco di hard bop ( Walking , 1954), in cui la sezione fiati - in tutte le tracce - suona all'unisono eccependo il lavoro solistico tipico del be bop, herald the work of Miles Davis cesellante subsequent year. These will, in fact, the years in which Davis will refine the technique and clean languid typical of his style, inputting, executions in the sound with a minimalist approach to solo improvisation and harmonic structures characterized by simple and straightforward.
The defining moment of change, the moment that indicates that the worst is over, is the legendary solo on Round Midnight the Newport Festival of 1955, accompanied by Thelonius Monk, Davis draws on a white canvas with a brush dipped in the innermost of his heart, a warm embrace, sad and heartening that accompanies the listener towards a vision in which the trumpet is at the center of the frame and the floor, with low notes, muted and slow, is the frame of a painting that was offered for sale by Columbia in 1955.
In 1954, reinvigorated by the new wave of success, Davis founded the first of his famous quintets: John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums. This is one of the largest formations of hard bop, which produced 4 major albums for Prestige Records - Relaxin ' , Steamin' , Workin' , Cookin' – caratterizzati da un suono asciutto ed incisivo dove la tromba di Davis s'inserisce con un fraseggio che enfatizza il registro medio dello strumento.
Il sodalizio con Gil Evans, dopo Birth of The Cool, continuò con una serie di dischi, in cui Davis recita il ruolo dell'unico solista che s'inserisce con eleganza in finissime tessiture orchestrali. Miles Ahead of 1957 is an example of the wonderful cast.
In 1957, Davis, tired of the drug problems of the components - the first between Coltrane and Chambers, who came often late and without tools to the tests and concerts -, the sextet broke up and went to France by Juliette Greek. Here was hired by Louis Malle for recording the soundtrack of the film "Elevator to the Gallows" where used an innovative process: incision was derived from the sound material, almost completely improvised, born while the musicians watched the scenes of the film.
Once back in USA, Davis wheeled out the idea of \u200b\u200bthe quintet, and after reingaggiato Coltrane, who had been detoxified, and Cannonbal Adderley, alto sax, he resumed his artistic career in the world of hard bop . Milestone (1957) the album is symbolically more valid this time when the title track presents a Davis whose improvisational style, simple yet melodic, will then be called modal.
Also the 1958 is the latest collaboration as a sideman for the fantastic album with Adderley Somethin'Else .
The year 1959 is one of those destined to go down in music history.
born in 1959, a few months of each other, two of the most important album of music: Giant Steps by John Coltrane and Kind of Blue of Miles Davis.
For Kind of Blue - universally recognized as one of the most beautiful and elegant disc - Davis called his sextet for the recording session at the offices of the Columbia Records 30th Street in New York.
The musicians found themselves in a recording studio without ever having read the sheet music. In each, the last time, Davis gave the steps to be performed without specifying times or exit and entry nor their order of execution. Everyone was left free to interpret and to vent his instinct that the following steps davisiane suggests. Commenced to play. Davis back on the console, facing the crew, looking into his eyes Coltrane, Adderley, Evans, Kelly (piano, only Freddie Freeloader ), Chambers and Cobb, told each time entry and exit.
Every musician was using a brush dipped in his soul made bare, dipping and painting constantly. On the record you listen to extraordinary strokes that embrace the listener and accompany him in Paradise.
On March 2, were recorded S or What , Freddie Freeloade r e Blue in Green . Il 22 aprile Flamenco Sketches e All Blues .
Le takes di registrazione hanno dato origine a leggende: si dice che ciascun brano sia stato eseguito una sola volta. In realtà, per rispetto al tormento d'animo vicino ad ogni forma d'arte, non è vero che ci sia stata una sola registrazione per ogni brano. Litigi accesi, discussioni, la voglia to proceed along different paths, leading to the final break between the major components of the sextet. When mixing the hard choices were the first take and was the order of tracks that Miles had thought that the two different recording sessions.
In laying bare the soul of the artist is defenseless, is troubled. Vibra. Then he flies off to Heaven.
" This album must have been made in heaven ." (Steve Cobb)
Good music.
Marco Assanti
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