[JPL] Miles/Hard Bop

Jae Sinnett jaejazz at yahoo.com
Thu Mar 24 11:04:06 EST 2005


Rick, 
 
You're right. If there's one blaring exception to what I described in my Miles post it's his "Milestone" recording - particularly the "Dr. Jekyll" track. That in my opinion is certainly in the Hard Bop style. My point had more to do with Miles not being totally comfortable with Hard Bop but not avoiding it. I think actually with those Blue Note sessions HE was dealing with Bop concepts as opposed to Hard Bop because he was more grounded in that style - although still not completely comfortable technically. The differences in those styles can be subtle and I guess debated. In my opinion, Mile's melodic and rhythmic phrasing was designed to technically get through those up tempo pieces during the sessions in question. Much of his line construction was cliche laced and heavy in simple chromaticism. This would certainly make it easier to deal with those tempos. Miles always played better - slower. Now, if you would listen to Clifford, Fats and of course Diz play those tempos, you would
 hear something totally different because they had superior technique. Of course my friend Wallace Roney would probably go upside my head for saying that and for sure would disagree :>)
 
Jae Sinnett
 
Rick McLaughlin <rick at rickmclaughlin.com> wrote:
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Jae,

Thanks for posting that. Interesting to see your point of view. But what
do you think about the Blue Note sides or the LP "Milestones" (first - or
second - one on Columbia)?

Rick McLaughlin
http://www.rickmclaughlin.com 

-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of Jae Sinnett
Sent: Tuesday, March 22, 2005 10:57 PM
To: jazzproglist at jazzweek.com
Subject: [JPL] Miles/Hard Bop

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Blaise,

>From my perspective I don't think Miles personally really ever totally 
>crossed over into the so called hard bop concept. By the time he had 
>his sixties quintet together with Tony, Herbie, Ron and Wayne I don't 
>think folk identified that as Hard Bop although it's energy was 
>certainly based on that idea. It was very new harmonically and 
>rhythmically and I really to this day don't think it's sound has ever 
>been clearly identified - other than progressive. His band mates tapped 
>into the Hard Bop energy but not so much him. His trumpet style didn't 
>fit that hard driving, loud and fast sound that Hard Bop was producing. 
>This was one of the reasons that he delved into the so call "modal 
>period" in the later 50's. The music was generally slower with 
>considerably fewer chord progressions and dynamically softer. This 
>style played more into his strengths as a trumpeter than Hard Bop. If 
>you listen to those mid 50's recordings with Philly Joe and Trane 
>(During the tail end of the Hard Bop
movement) there were very different sonic textures behind Miles than
Coltrane or Cannonball but he embraced and liked those differences in his
band. My two cent. 

Jae Sinnett
WHRV FM Norfolk VA
www.jaesinnett.com 

Tom Mallison wrote:
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One of the significant changes in the presentations of Miles Davis came with
his new quintet that featured Herbie/Wayne and Tony. The" Live" in Berlin CD
recently released on Columbia really captures this change with very good
liner notes. Herbie and Tony at the age of 18 really kicked butt and
launched a new direction for Miles. ALOHA to All. Tom


> [Original Message]
> From: Blaise Lantana
> To: 
> Date: 3/22/2005 6:33:30 PM
> Subject: RE: [JPL] This List
>
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> Dog Communications, Inc.
> For more information visit us at http://jpl.yellowdog.com To become a 
> sponsor contact Tony Gasparre at tony at yellowdog.com or 585-235-4685.
>
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> Thanks for the reminder, Steve. 
>
> Just go a question from a listener about the difference between be bop 
> and Hard bop, the eras and the sound and when Miles crossed the line 
> from one
to
> the other. I'd appreciate some input and opinions from you all.
>
> Blaise Lantana
> Music Director
> KJZZ Phoenix
>
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