A Tribute to Jack Johnson



A Tribute to Jack Johnson
Artist Miles Davis
Album Title Tribute to Jack Johnson
Date of Release Apr 7, 1970 (recording) inprint
Genre Jazz
Tones Uncompromising, Urgent, Raucous, Fiery, Earthy, Eerie, Rebellious, Angry
Styles Jazz-Rock, Fusion
Time 52:26


None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard" better. Containing only two tracks, the album was assembled out of no less than four recordings sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is lineup: the credits on the recording are incomplete. For the opener "Right Now," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Miles, it was picked up on Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Miles rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meanwhile, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. There is this groove that gets nastier and nastier as the track carries on, and never quits, though there are insertions by Macero of two Miles takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Miles, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Miles' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Peter Brock) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to chilling, overall high-energy rockist stance of the album. Jack Johnson is purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Teo Macero. — Thom Jurek

1. Right Off (Davis) - 26:52
2. Yesternow (Davis) - 25:34




Paul Davis - Illustrations
Miles Davis - Trumpet
Herbie Hancock - Keyboards
John McLaughlin - Guitar
Steve Grossman - Saxophone, Sax (Soprano)
Paul Martin - Art Coordinator
Billy Cobham - Drums
Michael Henderson - Guitar, Guitar (Bass)
Teo Macero - Producer, Engineer
Mark Wilder - Digital Remastering
Chip Deffaa - Liner Notes
Nedra Olds-Neal - Digital Producer
David Gahr - Photography

1991 CD Columbia CK-47036
1991 CS Columbia CT-47036
1971 LP Columbia 30455
Columbia S 30455
Columbia 30455
1990 CS Sony 30455
1992 CD Sony 47036
1997 CD Sony 65342
Miles Davis
A Tribute to Jack Johnson


1. Right Off - (26:54)
2. Yesternow - (25:36)


Total time: 52:26

Miles Davis - trumpet; John McLaughlin - electric guitar; Steve Grossman - soprano sax; Herbie Hancock - electric keyboards; Michael Henderson - electric bass; Billy Cobham - drums. On track 2 add: Bennie Maupin - bass clarinet (part 3); Sonny Sharrock - electric guitar; Peter Brock - vocals.

Recorded Feb. to Apr. 1970 in NYC.
Produced by Teo Macero.


1970 LP CBS KC 30455 (US) CBS 70089 (GB) CBS 70216 CBS-Sony SOPC 57110
CBS-Sony SOPN 99 CBS-Sony 20AP1405
CD Sony 471003-2 Sony 32DP-709 (Japan)




--------------------------------------------------------------------------------


Miles Davis(tp)Bennie Maupin(bcl)John McLaughlin,Sonny
Sharrock(el-g)Dave Holland(el-b)Jack DeJohnette(d)

-New York City, February 18, 1970-

Yesternow (part 3) Columbia KC 30455

Miles Davis(tp)Steve Grossman(sop)Herbie Hancock(org)John
McLaughlin(el-g)Michael Henderson(el-b)Billy Cobham(d)

-New York City, April 7, 1970-

(a) Right off (part 1) Columbia KC 30455
(b) Right off (part 3) -
Right off (part 4) (MD out) -
Yesternow (part 1) -
(c) CO.108409 Right off (part 1) Columbia 4-45350
(d) CO.108410 Right off (part 2) -

-Notes: (c) and (d) are excerpts of the LP versions (a) and
(b), respectively.
On the LP the two titles 'Right off' and 'Yesternow'
are completed by tracks with Miles Davis playing to
pre-recorded material, e.g., from the "IN A SILENT WAY"
session.



--------------------------------------------------------------------------------

Miles Davis' odd soundtrack for a documentary on the boxer Jack Johnson did not really fit the movie (it was far too modern) but stands alone very well as a strong piece of music. On this straight reissue of the original Lp, the two lengthy jams (25 minute plus versions of "Right Off" and "Yesternow") feature fine playing by a sextet comprised of Davis' trumpet, Steve Grossman's soprano sax, keyboardist Herbie Hancock, guitarist John McLaughlin, electric bassist Michael Henderson and drummer Billy Cobham. Even listeners who write off Miles' fusion years will find moments of interest on this set. ~ Scott Yanow, All-Music Guide


Herbie Hancock Keyboards
Teo Macero Producer
John McLaughlin Guitar
Steve Grossman Sax (Soprano)
Michael Henderson Guitar (Bass)
Billy Cobham Drums

CD SONY 7464 47036 4



--------------------------------------------------------------------------------



MILES DAVIS

TRIBUTE TO JACK JOHNSON
(CBS/Sony CSCS 5153; TT = 52:54)

(a) Right Off (M. Davis) 4.7.70 27:06
Part 1
Unknown ballad
Part 2
Part 3
(b) Yesternow (M. Davis) 25:46
1 Yesternow 4.7.70
2 Unknown ballad (same trumpet solo as on (a)) 4.7.70
3 Shhh/Peaceful 2.18.69
4 Willie Nelson 2.18.70
5 Unknown (same trumpet solo as on (a) and (b2)) 2.??.70

On (a) and (b1-2): On (b3):
Miles Davis trumpet Miles Davis trumpet
Steve Grossman soprano saxophone Wayne Shorter soprano saxophone
John McLaughlin guitar Josef Zawinul organ, electric piano
Herbie Hancock electric piano, organ Herbie Hancock electric piano
Michael Henderson Fender bass Chick Corea electric piano
Billy Cobham drums John McLaughlin guitar
Dave Holland bass
On (b4): Tony Williams drums
Miles Davis trumpet
Bennie Maupin bass clarinet On (b5):
Chick Corea electric piano Miles Davis trumpet
John McLaughlin guitar unknown big band (cond. Teo Macero)
Sonny Sharrock guitar, echoplex Brock Peters narration
Dave Holland bass
Jack DeJohnette drums

Originally issued on Columbia KC 30445 [LP]; CBS/Sony SOPC 57110
[= 20AP 1405] [LP]; 32DP 709 [CD]; Columbia CK 47036 [CD]

src: http://www.cs.cf.ac.uk/Dave/mclaughlin/disc/full/19.html
A TRIBUTE TO JACK JOHNSON
"I could put together the greatest rock and roll band you ever heard," boasted Miles in December 1969. Five months later he attempted to prove his point with a small ensemble featuring Stevie Wonder's bassist Michael Henderson and John McLaughlin on heavily distorted rock guitar. "Right Off" is a glorious, high-energy boogie, with some amazing playing by Miles. "Yesternow" makes elegant and spacious use of the bass riff from James Brown's "Say It Loud, I'm Black And I'm Proud." This exhilerating album is the closest Miles ever came to playing straight rock 'n roll.
src: http://www.miles-beyond.com/recommend.htm
From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Wed, 15 May 2002 08:58:29 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP#5 Selection


It is May 15. Walter is reaching into the hat...and he picks up.....


TRIBUTE TO JACK JOHNSON - Miles Davis !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!


Due to the fact I believe fewer members probably own TJJ and JM is a
sideman, I have made an executive decision and added the following JM
sideman albums to JMMP #5:

Carla Bley's Escalator Over the Hill
Wayne Shorter's Super Nova and Moto Grosso Feio
Things We Like from Jack Bruce (You can find Sam Enchanted Dick from this
album on the Verve Best of JM)
Mountain in the Clouds from Miroslav Vitous
James Taylor's One Man Dog (Someone- Interesting tune)


First order- for those of you who do not own Tribute to Jack Johnson (Miles
Davis)...go out and buy it. You will not be disappointed as it is an
absolute "must have" for any JM fan !

Second, if you just can't get hold of TJJ, I am hopeful the additional
albums listed will give you an opportunity to participate fully.

Third- If you can do neither, I am still hopeful that the words from others
will prove informative and entertaining.

Regards,

Walter




From munrostuart@hotmail.com Tue Jun 11 11:26:51 2002
Date: Sat, 18 May 2002 07:56:36 -0700
From: Stuart Munro
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: [OW] JMMP#5 - Tribute to Jack Johnson et al.


Hello all: Sandy's Love, Devotion and Surrender post...that was another
absolute honker of a post there from Sandy, global expert in word alteration
and all things JM & OW. He has used the word "gobsmacked." This seems to be
a relatively new word in popular usage. I first heard gobsmacked on
Coronation Street, and then again here on OW. As someone who is required to
keep up with standard Scottish Irving Welch usage, "gobsmacked" has been
added to my collection of remarks.;-)

Thanks to Sandy, Mark, Kenny, Rod, Julian, Rajiv, Walter, Massimo, etc etc,
and just everyone on OW who takes the time to write and send good material.
I'm learning tons about JM that I previously had no notion of. And Nick,
it's always slightly embarrassing to find a non native English
speaker/writer whose usage and command of English is certainly superior to
my own.!!!

Jack Johnston really IS difficult to talk about. This below from my first
post to OW.

"It was in April of 1970 that I got a copy of Jack Johnson. I listened very
intently to it for an entire week. I had never imagined that such a thing
could take place in a recording studio. Captured on that vinyl, there was an
electric atmosphere and an intensity, and what seemed to be a kind of
psychic interplay between Miles and John. They anticipated each other's
phrasing. Never before had I been so utterly captivated by such an eloquent
musical conversation. I was an 18-year-old kid in Scotland, and I heard what
I thought was the new sound of America, and while listening to it, I felt
like I was driving a Lamborghini. To me, it was incredibly exciting.
Although I rarely listen to it these days, Jack Johnson remains as one of my
personal favorites. If I ever end up having a formal funeral, I'll have them
play Jack Johnston loud."

I can imagine that JM was beside himself with joy at this point in his life,
having arrived in New York and connected with Miles almost immediately. They
record Jack Johnston together, and it then becomes Miles's own personal
favorite recording. What an achievement for JM. It boggles the mind.

Every second of Right Off is etched into my memory. Neither Jazz nor rock
nor fusion, it lives on as a unique landmark recording. I notice that it
still receives 5* reviews on Amazon. And well it should.

I've wondered which guitar JM used on Jack Johnston. I tend to think it was
his short scale Gibson Melody Maker. He was playing that guitar when I saw
Lifetime play. Technically, the recording is excellent in terms of the sound
quality, the pacing and timing of the various chapters unfolding. (various?
woops, I lapsed into genuine old fashioned English spelling there) The pause
right before the Bb guitar section comes in....that is a hallowed moment.
The repeated Hendrix quote fits brilliantly. Every time I have seen JM play
live, he has quoted from players he likes, albeit sometimes ever so briefly.

For some time, I tried unsuccessfully to locate the movie which used Jack
Johnston as soundtrack. I managed to find one movie about the life of Jack
Johnston. It was a decent movie, but unfortunately it was the wrong movie.
Can anyone post the title of the right movie. I'd love to see it.

For obvious reasons, it's all a bit of a haze 30 years later. However,
around this time of my life I was going to music festivals like the one on
following link:

http://tinpan.fortunecity.com/ebony/546/plumpton-festival-1969.html

If one scrolls down to the band lineup, we see an awesome array of bands, on
for well under $10, for the entire weekend. I tend to look back on that
period as a very fertile time for music. For me, the recording of Jack
Johnston takes center stage and stands out as one of the greatest recordings
ever.

Stuart.











From morrone@italway.it Tue Jun 11 11:26:51 2002
Date: Sat, 18 May 2002 17:54:32 +0200
From: Massimo Morrone
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: Re: [OW] JMMP#5 - Tribute to Jack Johnson et al.

[ The following text is in the "ISO-8859-15" character set. ] [ Your display is set for the "ISO-8859-1" character set. ] [ Some characters may be displayed incorrectly. ]


"What was a reality to Johnson was a living-color nightmare for the
anti-Johnson Americans who couldn't get ready for his truly
sophisticated attitude. And the more they hated him, the more money he
made, the more women he got and the more wine he drank. Hate is the
opposite of Love and both gain momentum".

Nice is the back cover of the album with J.J. on his yellow Rolls with
his happy friends and the Arc de Triomphe on the back.
It reminds me of a naked Miles and his blonde lady playing "Dingo" in a
Paris apartment or the pics of him with Jeanne Moreau while recording
"Ascenseur pour l'Echafaud" in the studio.
The music on this album speaks for itself.
It's a fine blend of Trane's licks (Steve Grossman) over the solid
groove of a tight rhythm section. Herbie adds various colours while
Miles is beyond the part. The interaction between JmL and Miles'
phrasing tells a lot of their encounter.
The very modern way of assembling the music by Teo Macero does the rest.
Innovation, freshness....Miles always chose the right people at the
right moment!
Right Off/Yesternow.

best
Mass

--
------------------------------------
http://www.italway.it/morrone/
------------------------------------ <> <>
/_
ciao >





From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Sat, 18 May 2002 12:04:24 -0400
From: Walter Kolosky
To: one-word@cs.cf.ac.uk
Subject: Re: [OW] JMMP#5 - Tribute to Jack Johnson Documentary



----- Original Message -----
From: "Stuart Munro"
To:
Sent: Saturday, May 18, 2002 10:56 AM
Subject: [OW] JMMP#5 - Tribute to Jack Johnson et al.

> For some time, I tried unsuccessfully to locate the movie which used Jack
> Johnston as soundtrack. I managed to find one movie about the life of Jack
> Johnston. It was a decent movie, but unfortunately it was the wrong movie.
> Can anyone post the title of the right movie. I'd love to see it.


The music actually ended-up being used in a Documentary called "Jack
Johnson- Breaking Barriers"

I have seen only parts of this, but it does look like an interesting
documentary. The music comes and goes and generally plays below the
narration. This tape is available commercially here
http://cdnow.com/cgi-bin/mserver/SID=1514560618/pagename=/RP/MOVIES/mv_item.
html/itemid=900801

and many other sites.

My source for the title is the discography of the official Miles site.

Regards,

Walter








From rasibley@concentric.net Tue Jun 11 11:26:51 2002
Date: Sat, 18 May 2002 20:31:33 +0900
From: Rod Sibley
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: [OW] JMMP#5 - Tribute to Jack Johnson et al.


Hi Guys & Gals,

Stuart wrote:

>I've wondered which guitar JM used on Jack Johnson. I tend to think it was
>his short scale Gibson Melody Maker.

Stuart, back in June 2000 we talked [again] about John's gear. The
Gibson that John was using at that time was a Les Paul Junior that had been
modified with a humbucker in the neck position. We know that it was
modified because Junior's only had a P-90 single coil pickup in the bridge
position.

However, you might be able to help us narrow down the time it was used.
John started using the LP Junior around the time that he became a Chinmoy
disciple. The only time I've been able to narrow this down is "Spring
1970". This could mean March, April, May, or June.

The sessions for 'Right Off' on "ATTJJ" were held on April 7th, 1970.
Sooo...

>He was playing that guitar when I saw Lifetime play.

...if you saw Lifetime in late March or early April, then there is a
good chance that the Les Paul Junior is the guitar used on "ATTJJ".

Do you remember when you saw Lifetime? THANKS!

Have a great weekend,

r





From elmetti@libero.it Tue Jun 11 11:26:51 2002
Date: Mon, 20 May 2002 00:12:15 +0200
From: Francesco Mataloni
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: [OW] JMMP#5 - Tribute to Jack Johnson


[ Part 1, Text/PLAIN 81 lines. ] [ Unable to print this part. ]


Hi everyone, here are my VERY  personal impressions about "Tribute to
Jack Johnson".

Right Off

Miles Davis said of Bill Evans: "He plays the piano the way it should be
played". I bet he thought, likewise, that JML plays the guitar the way it
should be played. I mean, listen to the first half of "Right Off": how
could exist a different way to play the guitar on there? It’s
absolutely perfect.

I love the guitar in Right Off; (maybe the OW guitarists could think
it’s easy to play that way) I dig it from two different points of
view:

1) (an intellectualistic one) It sounds to me like a "parody of
rock-blues guitar", a PopArt work (?) in a way. This was my impression
when I heard it for the first time; I was listening to something
absolutely familiar ( a "cosmeticized-civilized B.B.King?"), but it
didn’t seem a guitar solo, there was no "speech" quality, only a
vamp, a series of rock-blues licks transferred to a new landscape.

I presume those were Miles’ directions –he wanted a "sound",
not a solo.

Such an operation would not succeed, without a perfect mastery of the
rock-blues idiom, which obviously JML has –as well as he masters
any other idioms of modern guitar. So, JML is Miles’ PERFECT
instrument to achieve that specific sound & mood.

2) the musical taste: the guitar seems an additional percussion which,
occasionally, can scream and even "launch" Miles’ trumpet. JML
always knows where to place accents, when to stop, how long to sustain a
sound: "he’s got that swing". I am crazy about the bit right before
Miles’ entry (thanks to Cobham’s cymbals as well).

And the trumpet… Miles is Miles, as always. His usual
introspective, solipsistic style becomes definitely dramatic here ("Davis
sounds like he feels threatened"- liner notes), he plays short elliptical
phrases and "civilized" -I mean, not like free jazz- screams. It’s
a style which has the purpose of building up a specific landscape he has
in mind (this is my humble opinion).

Steve Grossman adds Coltrane-rooted phrases, but he doesn’t turn me
on that much (he’s no Coltrane).

Cobham-Henderson are the untiring engine –again, they are a living
instrument of Miles’ ideas.

Last but not least, the smooth echo effect (Teo Macero’s idea, I
presume) is a very successful ingredient.

Yesternow

While Right Off stands alone – being not comparable (to my
knowledge) to any previous or following of Miles’ musics-
"Yesternow" is perfectly fitted in those days’ Miles-tones.
There’s even a bit of "In A Silent Way" –around 12 – 14
minutes from the beginning.

Liner notes: "Listen to him on Yesternow- forlorn, pensive, the
inimitable cry-caught-in-the-throat that he gets".

Miles is beyond – his trumpet has the artistic sophistication as
well as the corporeity of a human being breathing close to the listener.
But, again, I remain amazed by the guitar too: JML, by means of his
humility and his will to learn from the genius whom is playing with,
succeeds –now and then- in reaching the same depths.

OK, I did the best I can; maybe will add more in next posts.

Thank you for having read it until the end J

Francesco.



From johnstrad37@hotmail.com Tue Jun 11 11:26:51 2002
Date: Mon, 20 May 2002 17:17:58 -0400
From: John Campbell
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: [OW] JMMP#5 - Tribute to Jack Johnson


One thing I have noticed in the reviews of Jack Johnson is only a slight nod
to Teo Macero. From what I've read Macero probably had as much an influence
on the outcome of the music as Miles or JM did. Also Michael Henderson kicks
ass! on bass on this recording. The beautiful looped Miles solo on yesternow
was one of the most imaginative uses of echo I had heard at this time. The
question is was Miles reacting to his own solo or was Teo manipulating the
music?

Altogther a fine example of late sixties, early seventies Miles and JM and
one of the most underrated albums for either performer.

Take Care,

John







From sandyfreeze_ow@yahoo.ca Tue Jun 11 11:26:51 2002
Date: Wed, 22 May 2002 13:25:12 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] JMMP SF-Arts YesternOW


[ Part 1, Text/PLAIN 8 lines. ] [ Unable to print this part. ]


HellOW, Is a TAB worth a thOW-sand words?
TtJJ ,at least, YesternOW...C- sample here , pre-pick-ting the
M.O. "Awakening" pentatonic riff in A- , if nothing else.
http://www.geocities.com/guitalife/imf/awaktab.html

http://www.geocities.com/guitalife/gtramk.html
~` K\/k alternate picKing
E|,---------|,---,-------,---,---------|,----,---,---,----------|E
B|;----;----|--------------------------|------------------------|B
G|----------|K8------------------------|------------------------|G
D|-----K8p10|^---K10k8---K8--:--:-:--:-|-------------------K8p10|D
A|K8p10-----|---------K10^---K10k8-----|^--^--,---,---K8p10-----|A
E|:-:--:-:--|----:--:-;--`--------K11k9|K11k9+------------------|E
~` `~
With the first cut's (Right Off) odd take on E7 and Bb7 tritonal
switcheroo, the next sample is a step away from "The Dance Of Maya" 's
second chord and Hope's fourth chord, for what that's worth.

~` Bb 13 voice McLaughlin plays in the YestrnOW "chillin' out" vamp.
E|---------|E
B|Z3+++++++|B
G|Z0+++++++|G
D|Z6+++++++|D
A|.........|A
E|Z7+++++++|E
~` `~
yOWser.
Tabbe or Knot Tabbee, THAT is the question
Plucking 'augh', Sandy Freeze


________________________________________________________________________________
Find, Connect, Date! Yahoo! Canada Personals


From sandyfreeze_ow@yahoo.ca Tue Jun 11 11:26:51 2002
Date: Thu, 23 May 2002 13:25:59 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] JMMP SF-Arts YesternOW fret Correction


[ Part 1, Text/PLAIN 19 lines. ] [ Unable to print this part. ]


HellOW, Is a TAB worth a thOW-sand words?
TtJJ ,at least, YesternOW...C- sample here , pre-pick-ting the
M.O. "Awakening" pentatonic riff in A- , if nothing else.
http://www.geocities.com/guitalife/imf/awaktab.html

http://www.geocities.com/guitalife/gtramk.html
~` K\/k alternate picKing
E|,---------|,---,-------,---,---------|,----,---,---,----------|E
B|;----;----|--------------------------|------------------------|B
G|----------|K8------------------------|------------------------|G
D|-----K8p10|^---K10k8---K8--:--:-:--:-|-------------------K8p10|D
A|K8p10-----|---------K10^---K10k8-----|^--^--,---,---K8p10-----|A
E|:-:--:-:--|----:--:-;--`--------K11k9|K11k9+------------------|E
~` `~
With the first cut's (Right Off) odd take on E7 and Bb7 tritonal
switcheroo, the next sample is a step away from "The Dance Of Maya" 's
second chord and Hope's fourth chord, for what that's worth.

~` Bb 13 voice McLaughlin plays in the YestrnOW "chillin' out" vamp.
E|---------|E
B|Z3+++++++|B
G|Z0+++++++|G /\
D|Z6+++++++|D / \
A|.........|A/ \
E|Z6+++++++|E^^^^^^6th Fret Correction
~` `~
yOWser.
Tabbe or Knot Tabbee, THAT is the question
Plucking 'augh', Sandy Freeze


~` PosI PosII PosIV picK and Roll

E|r1++.\..r3++.\..r5++.\..|E

B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze

G|m0++...\m2++...\m4++...\|G

D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)

A|----Z3++----Z5++----Z7++|A

E|----Z3++----Z5++----Z7++|E

http://www.geocities.com/guitalife


________________________________________________________________________________
Find, Connect, Date! Yahoo! Canada Personals


From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Thu, 23 May 2002 15:15:15 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP #5 -Tribute to Jack Johnson et al.


Like many on this list, I discovered JM's playing with Miles years after the
fact. Once I heard Mahavishnu, I read more about JM and learned about his
association with Davis. Still, I believe it was several years before I
actually looked in the Miles Davis bin at the store. One day, I picked the
record up, attracted by its cover and personnel !

At that time I was working as a security guard at night. This was one of
several jobs I held down while working and paying my way through college. I
seem to remember I bought the album during the day, but I didn't get a
chance to play it until I had come home from my midnight to 8 A.M. guard
shift. Of course, when I came home those early mornings, I was exhausted
and needed to sleep. So, I would choose 3 records, put them on the
turntable and go to sleep by them. (You know you are a true Mahavishnu fan
when you use those records to relax and go to sleep.) At any rate, I placed
Tribute to Jack Johnson on the turntable.

Whoa! This album caught me instantly. It rocked more than any record I had
ever heard. I was thrilled that it almost seemed to be a John McLaughlin
album. That is how much he dominated. But, those of us who have heard this
record a hundred times know there is much more to it than just John's
amazing playing. For instance, Herbie Hancock's organ. Awesome. The way
Right Off builds from JM's monsterous repeated licks, all the way up until
and through Miles' simple but righteous trumpet. What an introduction for
John to the masses. (Even though JM shines also on In a Silent Way- this
was the breakout!)(Ironically, not very many people bought the album).

Michael Henderson on Bass. What can you say, except I wish he had taken a
different musical path after this? Billy's playing is also out of this
world. Steve Grossman's sax is there, but I don't notice it much.

Right Off is definitely the master piece. But, the last several minutes of
Yesternow are fantastic. The great actor Brock Peter's "I'm Jack Johnson.
Heavyweight Champion of the world.........." narration at the end of this
record is a tour de force of music and voice and is quite possibly the most
memorable end of any tune.

For those of you who have never heard this masterpiece; I pity you. You
have missed a very important moment in Jazz Fusion history. But one great
thing about recorded music is that you can listen to it any time and get
caught up. I advise you to pick up this rock-blues-funk-boogie-jazz record
as soon as possible. Your life will be better for it and you will listen to
it time and time again.


One side note and pet peeve about TJJ. I want anyone who plays on a record
to get credit. There are many who believe that the great guitarist Sonny
Sharrock played on various parts of side two. In particular, there is a
passage which has been described as a call and response with JM.
Personally, I have never been able to pick out such a passage. Teo Macero,
who mixed the album, also has claimed that Sonny does not appear. But,
plenty of people do claim it, I guess Sonny himself did as well. The fervor
in which these people claim this as if to indicate Sonny was a great reason
the record was good is misplaced. If Sonny does appear, I give him credit
for making some sound effects, but no lasting impression. I think his fans
doth protest too much. It reminds me of a story when I was a teenager
hanging out with my buddies drinking some beer in a car before we went into
a nightclub. We were checking out the girls as they walked by and rating
them. (We were young). Suddenly the conversation turned to talk of Farah
Fawcett who was the sex symbol at that time. We actually had an argument
over whether she was so good looking. (As if any of us could ever get a
girl 25% as attractive!) At any rate, my friend Lou said, "If it wasn't for
her hair, she would not be attractive at all." Someone else replied, "What
do you mean if it wasn't for her hair she wouldn't be attractive? How many
attractive bald women do you actually know?" You get my point? Without
McLaughin, the album is not a masterpiece. Without Sonny, it still is.

*****Please don't forget to comment on the Et al albums as well. I will be
posting my comments very soon.

Regards,

Walter




From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Tue, 28 May 2002 12:35:59 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP #5 Jack Johnson ET AL.


ET AL:

A couple of records on this list I do not have in CD form so I will be
going from memory.

Jack Bruce: Things We Like:

John is great on this record. The tune that stands out is Heccch Blues
(SP?). You can find Sam Enchanted Dick (Which I have always found to be a
disturbing title), can be found on the John McLaughlin retrospective put out
by Verve. But on Hecch Blues, Mclaughlin plays a rushed blues with a
distortion and feeling found on the LifeTime records. This album is worth
having.

Escalator over the Hill- Carla Bley...Sure it is a bit dated and I love the
fact we now have access to the video on its making, even though there are
some hilarious non-intentioned moments. Did we all dress and talk that way?
At any rate, there are strong moments from JM on this album and if you are
interested in his early days in New York it is worth the extra money to pick
up this recording.

Moto Grosso Feio - Wayne Shorter...a very interesting record with Shorter,
Ron Carter, JM, Chick Corea, Dave Holland and Tony Williams using the
pseudonym Michelin Prell..(This info came from a One-Word member). JM plays
12 string acoustic, Corea plays marimba....this recording is in the vein of
In A Silent Way. Apparently these guys got together in a studio and jammed
using instruments they were not really known for. I have always enjoyed
this record. It is meditative.

James Taylor's One Man Dog- This song, SOMEONE, was written by JM. (Both
music and lyrics)!!!! John of course solos. It is not a bad song really.
It just misses being pop star material and I don't suggest you go out and
buy the record for this one cut. But it sure is fun to hear Taylor singing
John's lyrics. JM has a nice solo section. All in all..a pleasant little
pop tune.

Super Nova- Wayne Shorter- The liner notes are not descriptive enough on
this album. And in fact, the music seems to lack focus. It is free,
clearly ensemble in nature...JM seems to take no star turns. There are some
worthwhile moments, but I do not recommend the album for JM fans unless you
are a completist. I would describe this album as cacophonius.

Regards,

Walter




From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Tue, 28 May 2002 12:39:25 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP#5 - 3 day warning!!!!!!


There are only three days left to comment on Tribute to Jack Johnson et al.
!!!!! (If you forgot the other albums (et al), refer to my last post in
which I make my comments on them.

Regards,

Walter






From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Tue, 28 May 2002 14:00:42 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP#5 - Mountain in the Clouds


...Forgot this one...

A very satisfying outing led by bassist Miroslav Vitous, using a lot of bow,
who never became the big star we all thought he would become. There is a
lot JM on this recording and it is superlative. I can only imagine the
scene at about this time. It is the late 1960's and the young jazz cats are
hanging out creating something new. Nothing like the boring Young Lions
trying to replicate something old 25 years later! In addition to the
playing of Vitous and JM, this album is also notable for the inclusion of
Joe Henderson. Also called Infinite Search, this album is worth having.

Regards,

Walter




From lasse.nikkarev@kolumbus.fi Tue Jun 11 11:26:51 2002
Date: Tue, 28 May 2002 23:52:43 +0300
From: Lasse Nikkarev
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Vs: [OW] JMMP #5 Jack Johnson ET AL.




> Moto Grosso Feio - Wayne Shorter...a very interesting record with Shorter,
> Ron Carter, JM, Chick Corea, Dave Holland and Tony Williams using the
> pseudonym Michelin Prell..(This info came from a One-Word member). JM plays
> 12 string acoustic, Corea plays marimba....this recording is in the vein of
> In A Silent Way. Apparently these guys got together in a studio and jammed
> using instruments they were not really known for. I have always enjoyed
> this record. It is meditative.

Michelin Prell is not Tony Williams, as it was previously believed. Micheline is a Belgian female drummer also known as Micheline Peltzer (daughter of alto sax man Jacques Peltzer). She also played in a funky Belgian jazz group Open Sky Unit (whose 1st LP was recently re-issued by WhatMusic). If you check http://www.whatmusic.co.uk you can read her interesting interview.

Thanks, Lasse








From Kenny.Haughan@vships.com Tue Jun 11 11:26:51 2002
Date: Wed, 29 May 2002 13:23:01 +0100
From: "Haughan, Kenny"
Reply-To: one-word@cs.cardiff.ac.uk
To: "'one-word@cs.cardiff.ac.uk'"
Subject: RE: [OW] JMMP#5 Selection


This is just a "by the way"
Sam enchanted Dick brought to mind that the first ever live concert I ever
went to when I was 15 was to see "Coliseum", maybe 1970. Dick H Smith, Clem
Clemson, Chris Farlowe, John Hiseman.
It was an ear opener for a young lad. I was amazed at the volume they played
at. DHS literally blew my ears off, but all the quickfired mazy runs he
played just went over my head. I was most impressed by CC, I think because I
loved the bluesy/bending guitar sounds which I was into, but had never
experienced in a live concert.The audience were a very enthusiastic bunch of
hairies and DHS was particularly appreciated by them.
Kenny


-----Original Message-----
From: Walter Kolosky [mailto:smsi@attbi.com]
Sent: 15 May 2002 13:58
To: one-word JM mail list
Subject: [OW] JMMP#5 Selection



It is May 15. Walter is reaching into the hat...and he picks up.....


TRIBUTE TO JACK JOHNSON - Miles Davis !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!


Due to the fact I believe fewer members probably own TJJ and JM is a
sideman, I have made an executive decision and added the following JM
sideman albums to JMMP #5:

Carla Bley's Escalator Over the Hill
Wayne Shorter's Super Nova and Moto Grosso Feio
Things We Like from Jack Bruce (You can find Sam Enchanted Dick from this
album on the Verve Best of JM)
Mountain in the Clouds from Miroslav Vitous
James Taylor's One Man Dog (Someone- Interesting tune)


First order- for those of you who do not own Tribute to Jack Johnson (Miles
Davis)...go out and buy it. You will not be disappointed as it is an
absolute "must have" for any JM fan !

Second, if you just can't get hold of TJJ, I am hopeful the additional
albums listed will give you an opportunity to participate fully.

Third- If you can do neither, I am still hopeful that the words from others
will prove informative and entertaining.

Regards,

Walter





From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Wed, 29 May 2002 08:41:26 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP #5 - 2 days left


2 days left to comment on Jack Johnson et al.




From rasibley@concentric.net Tue Jun 11 11:26:51 2002
Date: Wed, 29 May 2002 13:01:09 +0900
From: Rod Sibley
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] JMMP#5 - "IS" aka "MitC"


Aloha Amigos and Amigo-ettes

INFINITE SEARCH (aka "Mountain in the Clouds")

I decided to write a little about this one because I thought that there
would be more comments about "Jack Johnson". I am reviewing the
Atlantic/Rhino CD reissue.

One thing about trading, it allows you to get stuff that you'd never buy
;-). As an admitted Neanderthal when it comes to John's early work, I never
would have bought this of my own free will and money. But there are some
nice people on this List that take pity on my ignorance and try to help me
get with the program. So someone threw in a tape of "MitC" as part of a
trade, which I bought on CD as "Infinite Search". Knowing that it was early
JMcL, I tossed the tape in a pile of others. Months later after I had
absolutely nothing new to listen to and no money to buy anything, I put
"MitC" in the tape player.

"IS" falls in that period where John had been in the U.S. a few months
and was becoming the next best thing since buttered toast. I usually have
trouble with John's pre-MO stuff because...well...it ain't MO stuff;
"Devotion" and "MGB" being the exceptions to the rule. Jazzer John's stuff
tends to go through me like prune juice.

I've thought about why I'm in the minority when it comes to John's early
work. Awhile ago I was reading an article on guitarist John Martyn. Martyn
knew JMcL in his early period in England. He recalls that even though JMcL
became one of the Greats of the guitar, "back then John was just your
average jazz guitarist, even though he was a *good* jazz guitarist" (slight
paraphrasing on my part; I'll look for the article if anyone balks too
much).

The above sort of explains the problem that I have with most of John's
early stuff. Back in my pre-McLaughlinphoria days, I was listening to
musicians like Kenny Burrell, Grant Green, Wes Montgomery and others who
were playing a more "traditional" form of jazz guitar. And to my ears, they
were going that "thing" better than John was. John's early stuff doesn't do
anything for me because he hadn't found his "voice" yet; he was still
developing it.

I believe that had I "grown up" with John's "Extrapolation" and Lifetime
stuff, then I would have had the appreciation that most here do. But "BOF"
is the record that I started with, and it set the JMcL standard with me.
And working backward in the JMcL discog from there, most of the early stuff
just doesn't light any fires. But occasionally, I find something from that
period that I can listen to. "IS" is one of those recordings.

One thing that is fun about listening to John's early stuff is that you
hear the beginnings of ideas and phrases that are still in a raw state that
eventually become part of his arsenal. And listening to John as a sideman
requires a different mindset because his playing is usually restrained. It
doesn't have that "sheer abandon" quality of his Mahavishnu playing.
Alright, on with our show:

Mini Bio: Vitous is from Czechoslovakia, plays bass, was one of the
founding members of Weather Report, and recommended Jan Hammer to John for
the MO gig.

I *think* "Infinite Search" is his first solo record. The other
musicians on this recording are: Joe Henderson, tenor sax; Herbie Hancock,
electric piano; Jack DeJohnette, drums; Vitous, bass; and JMcL, guitar. The
tracks are:

'Freedom Jazz Dance': I don't know what it is about DeJohnette's drumming,
but whenever he's on a record, I can't concentrate on what the other
musicians are doing. I consciously block out everything else and listen to
Jack. He just dominates and overwhelms my ears with the way he plays. I
sometimes wonder how the MO would have sounded if DeJohnette had been the
drummer ;-). John is understated on this tune. His rhythm work is sparse.
It's almost as if he flashed back to his session days and forgot that he's
allowed to play. He starts off his solo slowly, but somewhere along the
line it starts feelin' good to him and he loosens up and get's off a couple
of good licks. Johnny is good, but he ain't no Mahavishnu. Herbie is tasty
on the Rhodes and Joe Henderson can do no wrong on his horn. Vitous is a
strong player, but on this recording I think he overplays...a lot.

'Mountain In The Clouds': This is basically a "duet" with DeJohnette;
although Vitous overdubs two basses on this track. This song works because
it gives Vitous a track where he's *supposed* to be soloing all of the
time.

"IS" was re-released (in 1972?) as "Mountain in the Clouds". According
to The Bible, the original "IS" didn't have a song called 'Cerecka'; which
is the CD version I have. I have 'Cerecka' on that tape I got as a trade.
Best I can describe it is a sort of "free jazz" piece, which frankly I
don't miss on the CD. The song sequence is different between "IS" and
"MitC". "MitC" also has a different mix than "IS": JMcL is panned over to
Herbie's side on a few tracks. And the sound on "IS" is better, the sound
is "drier" and more compressed on "MitC". Continuing...

'When Face Gets Pale': This is a nice piece. DeJohnette still manages to
shine with a minimal amount of drumming. John mainly repeats a melody line,
but he does it so *well* ;-).

'Infinite Search': Another nice piece, kind of a "hip waltz" ;-). You sort
of want Vitous to lay out a little, but that's a quibble on my part. Again,
John is in the background playing a repetitive pattern and a few chords
here and there; but it fits.

'I Will Tell Him On You': This one has a little Weather Report flavor to
it. Jack propels this tune with crisp cymbal work and tasty drum
flourishes. Henderson gets a chance to blow. John also has a chance to solo
here, and I think it's his best playing on this recording. His solo is
short, but effective.

'Epilogue': Another very pretty tune. Joe Chambers is on drums for this
track, and he plays nicely throughout.

I like this recording, though John isn't the main attraction. I
recommend it; if only to hear Vitous show you where the money for all those
music lessons went to.

atb,

r


PS, For those who just bought "Jack Johnson" or didn't know: Sonny Sharrock
also plays guitar on 'Yesternow'.




From rasibley@concentric.net Tue Jun 11 11:26:51 2002
Date: Wed, 29 May 2002 14:00:22 +0900
From: Rod Sibley
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] Mo JMMP#5 Jive


Skoal,

Since "ATTJJ" is the current JMMP, I thought I'd post an excerpt from a
5/23/99 post. This was a Sibscription of an '85 radio program interview by
Billy Cobham sent to me by Greger "I love cheeseburgers" Wikberg:

('Shh/Peaceful' from "In A Silent Way" plays...)

"He'd come up in sessions like the "Jack Johnson" session and say
(imitates Miles' whispered voice): 'I want you to play, like you know, give
me somethin'...it's kind of a '6', you know...like uh, like when we
rehearsed...you know, you know that shit you played before.'"
"I'd go, 'Uuuung (sound of a hard swallow), I don't remember.'" (laughs)
(Miles voice again) 'That, that shit man...you remember?'
(hesitant tone) 'Yeah, I remember.' (laughs)
"And I'd be, boy, I'd be *beatin' my brains out* mentally tryin' to
figure what the (voice fades) did I play? I couldn't remember. And I
remember only that he came up to me - I'd be so involved from the fact that
he actually walked up to me and said (Miles voice), 'You hear that, that
line? What do you hear there?'"
"And I'd go, 'Oh, I hear something like (sings drum pattern).'"
(Miles voice) '*That's* the shit! That's it! Remember that for tomorrow.'
"And then tomorrow would come and we'd be playin' somethin' so
*outlandish*. I'd go (confused tone), 'Uh, okay. This is what's happenin',
so I guess this is what's happenin'.' And everything that happened at
rehearsal would go, 'Whoop!', out of my mind 'cause none of the stuff we
played on "Jack Johnson" was rehearsed. It was, it was like, jam session
time....

('Right Off' from "Jack Johnson" starts playing in the background)

...Me, Michael Henderson and McLaughlin; just foolin' around in the
studio. Miles kept going (Miles' voice), 'Okay, stop this shit. Stop this
shit!', you know. (sings some of 'Right Off') And eventually [Miles] would,
'Don't stop it, keep playin'!' Next thing you know, we're playin'. And it
was just *groovin'* - was *groovin*'."

"Herbie Hancock walked in with a bag of grocery's, into the recording
studio to hand Miles a copy of his latest release on Warner Brother's. It
was called "Fat Albert Rotunda". And Miles said, "Play!". Herbie wasn't on
the session. Herbie looked at this Farfisa organ - it was the first time he
had ever *seen* the thing. And couldn't figure out what to do with it. So
he's tryin' to get some kind of sound, and Stanley Tonk - Teo and Stan
Tonk, the engineer; they're tryin' to figure out how to get the thing to
work. I mean, it was just *sittin'* there. They finally get the thing to
work, and this is why you hear this one looong chord cluster of notes:
'Waaaah!!'. That's Herbie tryin' to figure out how the blasted thing turns
on, okay. And then he starts to play a solo. But he'd just come from the
store. He'd had a container of milk; I mean, it was that kind of thing. And
uh, he played the solo, he gave them the record, and he split. And that's
how those records used to come together. None of the stuff we played on
that record was rehearsed. All the stuff we rehearsed ended up on another
record; and you know why. And that's, that's how for me, Miles sort of fell
into my life in a way - he gave me that, that freedom to uh, uh to play
what I heard."

('Right Off' continues playing. Go get a beer or som'in...)

"And if you take notice on "Jack Johnson" there's one piece in there,
that if you listen to the first Mahavishnu album, you'll hear the same
thing (starts singing the lick). That was called 'Awaken'. And that was
John's piece, McLaughlin's piece. And we were just *groovin'* all the time.
It was the beginning, we were, he was trying out material that *he* wanted
to do with his *own* band. And we were just *groovin'* man (sings drum and
guitar parts together); and this kept goin' on and on and on. And that's
how that thing came together.

(Transcribers Note: Billy might have a slight case of brain-fade. Whether
that lick was originally called 'Awaken', I can't say. But the lick
eventually became part of 'The Noonward Race'.)

('The Noonward Race' starts playing...)






From craighome@attbi.com Tue Jun 11 11:26:51 2002
Date: Wed, 29 May 2002 14:04:54 -0400
From: Bob & Kathleen Craig
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#5


Hi all,

Figured as all of this JJ talk has driven me from the cave to purchase it,
I am sure the newbie perspective is a twist to the old timers. First off,
a big thanks to all who have been going at the JMMP regularly. This is my
first as I end up agreeing with many of the comments on the past ones and
posting seems redundant.

It must have been a "meant-to-be" as I had $10 in my pocket and the CD was
on sale at Newbury Comics (a Boston based CD, comic, "stuff" shop), so
getting out of there with change from my ten started my impression of
that. It was a 30 minute trip home and it was a very loud "Right Off" that
set the mood. This really is John's strongest statement with Miles and a
preview to things to come. I love the sound of the Les Paul Jr in his
hands as I stereotype it with guys like Leslie West, who wonderfully
strangle the thing. I can easily see how this really messed with you guys
in the early 70's. I found him after this with MO1, and IMF, and it took a
while until I looked back before then as his output of that time kept me
going just fine. I like John with Miles, but he is a supporting player, he
is still highly developing as a player surrounded by some of the best, and
he stays within the flow of the music (most important!).

Here, he is feisty, chopping, and saying "here I am"! Miles goes off
afterwards with some real aggressive playing for his style. I could only
wish for his comping chops. By the third play through this, I was very
focused on our guy's incredible comp throughout. But, hey, doesn't all
come down to **that riff**?

Miles guys, help us out, this is squeezed between what, Bitches Brew and
??? I cannot imagine this LP hitting anyone's radar when it first came out
unless you knew. That means you were completely into Miles and bought it,
or someone played it for you. This is not a record you would have taken a
chance on if you didn't know some background.

"Yesternow" was more "normal Miles" for me. Very enjoyable, but my main
comment here is the inclusion of some of "Shhh..Peaceful" in this middle of
the tune. How weird is that? Don't fire off flames yet, I just flipped
when I heard it. I had not read the liner notes as I was home by then and
playing "Yesternow" as I went. That part came and it stopped me in my
tracks with a "..huh??" What's others take on this? Does it work or
not? Too early for me.

All in all, thanks for pushing me over the edge to get this great
release. As many of you know, this one is the Miles CD that most stores do
not always have in stock. So to have us talking about it here, and to
stumble on it gave me the impression it was time. A couple of
questions/comments:

1. Where these the only two sessions for this LP? Were there any other
tunes recorded at that time that, with this band, that came out
later? Guess I am looking for more info from this time and if other stuff
like this exists. Miles is so tough to get your arms around in regards to
when session were released. I like all the chronological box sets as it
makes more sense to those of us looking back. Would there be such a thing
for this period of Miles, post BB?

2. Interesting, only Grossman's soprano sax on the CD. No tenor or
others. This **is** a rock LP. You would have never known it was Hancock
on organ. Very different.

3. OK, did John write the riff to Right Off? Is he a major contributor to
the writing of this material at all?

4. Anyone here heard, or would like to comment on, Mark Isham's Silent Way
Project CD where they cover Right Off with some nice "slash" (IMHO) and
then cut into a neat Isham original called Internet?

Thanks for the assist. I do like it here....

Bob



From munrostuart@hotmail.com Tue Jun 11 11:26:51 2002
Date: Wed, 29 May 2002 12:46:33 -0700
From: Stuart Munro
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#5


Bob wrote:
>3. OK, did John write the riff to Right Off? Is he a major contributor to
>the writing of this material at all?

>From what I remember of a Jazz Times interview with JM...when asked if he
thought he deserved writers credits for Right Off, JM replied "No"...that
there was no actual tune written...that they were jamming on the riff that
day....Miles was in the control room talking to Teo, and the tapes were
rolling. Miles came back in the room and off they went.

What a day!...the guitar riff that shook Manhattan. stuart
>-------------------------------------------------------------
>To unsubscribe, send "unsubscribe one-word" to majordomo@cs.cf.ac.uk
>For other info send word "help" to majordomo@cs.cf.ac.uk







From kstitzel@attbi.com Tue Jun 11 11:26:51 2002
Date: Wed, 29 May 2002 22:48:30 -0600
From: Ken Stitzel
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] Mo JMMP#5 Jive


Thanks, Rod for posting the great interview.

I'm remiss in not owning Jack Johnson--I plead family life--but "Right Off"
is etched pretty indelibly in my memory. I first heard it in the early 80s
in San Francisco, where I had gone to help a friend move from Colorado. I
stayed with another friend across the street from Golden Gate Park. He was
writing a natural foods cookbook and tried many delicious recipes on me. He
was also gone a lot doing food research, but I usually left the radio on his
favorite station, KJAZ, the once-famous, now-defunct bay area jazz station.
One day they played a huge set of jazz from the 60s, and I couldn't believe
it when "Right Off" came out of the speakers. Wow! A dream rock tune, but
it's jazz, too! Could it be McLaughlin? I made sure the neighbors were gone,
cranked it, and danced around the apartment.

The drums were great. And whoever the guitarist was, I loved his playing. I
caught the little quote from the Grateful Dead's "Truckin'" and laughed. The
groove continued and then Miles (it could be no one else) EXPLODED with
badness when he made his entrance. As long as he played, the music wasn't
just great, it was brilliant.

And then there was the echo-ey, floating section with the eerie drone and
Miles horn floating in space, filling the very air with mystery, intrigue,
and enigma. Mind altering, chilling, consciousness enhancing. It felt like I
was floating, too, as I walked through the ordinary apartment and everything
seemed different and special because it was touched by the vibrating air of
this music as it emanated from the speakers.

Then the groove returns, the sax, Herbie's 60s-cheesy Farfisa organ--but how
he played it! I felt ready at any time for the music to come to a
disappointingly quick end, but it kept going and going, morphing, and
remorphing. Repetitive sometimes, but always interesting.

Man! I was exhausted. (And you probably suspect me of reliving the chemical
aspects of the Summer of Love after reading this, but really all I had was a
couple of beers.) I wanted to turn off the radio and think about what I'd
just heard, but I had to find out who it was.....

I wasn't disappointed to find it was my heroes, John, Herbie, Billy, and
Miles--and a couple of cats I'd never heard of but liked. I'd heard "Go
Ahead John" a couple of times, but now I knew that Miles had other
incredible stuff....

"Yesternow" isn't quite so ingrained in my head, but I like how it settles
into the guitar groove and the beautiful dark horn sonorities at the end. I
agree with the downbeat reviewer who thinks the Jack Johnson actor's
voice-over tromps on sheer gorgeousness.

This tune also has the distinction of being the most frightening ever for
me. I was working all alone late at night in a large empty theater putting
films away. The speakers in the projection booth sucked, but it was fun to
crank the sound system out in the performance hall and open a big door for a
spotlight port. The big sound would come into the little room pretty well. I
had "Yesternow" cranked and forgot about the voice-over part. My back was
turned to the spot port door when the voice announced in God-like thunder,

"My name is Jack Johnson, heavyweight champion of the WORLD!" (or whatever
he says).

It sounded for all the world like this large angry man had climbed in the
spot port and announced himself right behind my back. I gave a little leap
and was genuinely puzzled for a few moments to find that someone was not
really there before I figured out what happened....

MOUNTAIN IN THE CLOUDS--just a few quick words to say that if you at all
like John's earlier recordings, this is well worth owning, or at least a
good listening. (No, I don't own it on CD, anyway--I plead family life.)
IIRC, it has a pretty bitchin' version of "Freedom Jazz Dance," something of
a classic composition. Sure, Vitous' playing is pretty forward, but he is
damn good. (And, what the hell, it was his album as a leader. John's backing
is solid and tasty.

Ken Stitzel
Fort Collins, Colorado, USA





From smsi@attbi.com Tue Jun 11 11:26:51 2002
Date: Thu, 30 May 2002 09:07:06 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP # 5 - 1 day warning


I will be pulling out of the hat a new JMMP album on Saturday. For those of
you planning to tackle JMMP # 5, Jack Johnson et al...the time is running
out.

Great recollections and reviews lately - especially Ken and Bob !


For information on the John McLaughlin Music project go to
http://jma.darwinmonkey.com/jmarc1web/ scroll to the bottom of the page and
read the text box.




From sandyfreeze_ow@yahoo.ca Tue Jun 11 11:26:51 2002
Date: Thu, 30 May 2002 13:13:31 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #5 Jack Johnson ET AL.


HellOW, Walter, OWl-ers (Pothole and Fat Kid,too). OW-Wally, I'd say
your wisdom of lumping these albums saves newbies from stumbling over
them one by one.
They might all be similarly in a hand-to-mouth economic phase for
McLaughlin.
A Tribute To Jack Johnson has to be the rawest, even if I think Miles
had tutored McLaughlin in some chords at home. Cobham's honest
description of McLaughlin being a bad boy, and kicking off a jam ,still
does it for me. Jeff Beck has acknowledged this LP for pulling him out
of rut, and I saw where Stevie Ray Vaughn dug it ,somewhere too.
The M.O. Noonward Race riff, and likewise, the Awakening motific "germ"

are evident to me.

I found "Things We Like" when I was living OWt west in Edmonton,
Alberta, without a record player! Think of the coincidence of
acronyms "TWL", Jack Bruce provided the plane-fare that let McLaughlin
go to New York to play with Tony Williams Liftime, "Things We Like"
bounces nicely around , for the marginal poverty that John was living
in at the time. It was very accomodating of Jack, to let McLaughlin
right in off the street, in the studio, and in a kharmic fashion ,
later JB got to join the group, TWL, himself. With this, and
"Extrapolation" , you can get a picture of McLaughlin's adaptions, with
planning, and without.
"Escalator Ove The Hill" was the one classic I let go, (Me: IDIOT!)
and a loose analogy might be, I couldn't smoke it. I have it on
cassette thanks to friends but it's weird,an opera of sorts, and I
never had the libretto at hand to follow the characters. Maybe it's
the "Wagner's Ring Cycle" of Jazz-Rock? John does splendid stuff, raw
nasty solos, including some wide arpeggios that I have to get back to.
Shorter's "Super Nova" (I got around 1977-1981?) and "Moto Grosso
Feio"
around ..1995(? courtesy of a saxist who was curious enough to look for

it for years in his travels (thanks, Fat Kid). Mile Davis' Water
Babies was the parallel LP of course (no JMcL), for Wayne's output on
SN and I found it all a new look into the contribution that Wayne
made into Miles "book" . Moto Grosso Feio has the distinction of being
a rare-for-the-time bookend LP to My Goal's Beyond as far as
McLaughlin's acoustic guitar status (OK ...throw SPACES in...)
SOMEONE... "One Man Dog" makes you appreciate the history, James
Taylor, the Breckers, (Sanborn?), OW er John. Nice McLaughlin solo , if

song is a heart-on-sleeve-lonely-guy-vein. Like I say on my web page,
http://www.geocities.com/guitalife/bioguita/yonder02.html
I loaned this album to a young (Brecker-wanna-be) saxist pal: he has
a "passage" moment, realizing that Jame Taylor is WHITE SOUL MUSIC!
SHEESH :-)
You can pick your friends...Fat Kid...?

OWL-ers, Are we talking "Infinite Search", BTW? That might best
describe trying to find I.S. a.k.a.:Mountain In The Clouds, those pesky

kids , MV HH, JMcL, et al, trying to sneak around with Joe Henderson,
no less, and keep playing post-bop, when Mile had said not too,anymore.

Like Shorter's 2 above, it's got its charms.

This didn't feel like homework for once.
Freeze's dumb, jazz dense, to the one wordlist, Sandy


=====

~` PosI PosII PosIV picK and Roll
E|r1++.\..r3++.\..r5++.\..|E
B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
G|m0++...\m2++...\m4++...\|G
D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
A|----Z3++----Z5++----Z7++|A
E|----Z3++----Z5++----Z7++|E
http://www.geocities.com/guitalife


______________________________________________________________________
Find, Connect, Date! http://personals.yahoo.ca


From craighome@attbi.com Tue Jun 11 11:26:51 2002
Date: Thu, 30 May 2002 13:49:50 -0400
From: Bob & Kathleen Craig
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] JMMP #5 Jack Johnson ET AL.


Hi,

After the recent purchase and revelations of JJ, I wanted to quickly
comment on two other "et al" selections I've owned for a heck of a lot
longer, Escalator and Things We Like.

The thread for me to own both of these originally was not JmL, but Jack
Bruce. I've loved Jack since day one of my musical journey. Started with
Cream in '68 and still goes on today. For me, his work from Cream through
the mid-70's ranks quite well. That said, Things We Like was a bit of a
shocker for this young rocker. The hippie owner of my little record shop
warned me that this was a jazz LP. "Jazz? Jazz, schmazz, hand it over,
it's Jack." Well, needless to say, this took a little while to digest, but
after a while, it started to fall into place. Tunes like Statues and Hckhh
Blues became almost hummable.

After the fog started to clear, I was able to discover John's neat
contributions to this. This is obviously before JmL left for NYC, so he is
early on in the style, but a few bends and run lets you know of things to
come. What makes JmL appearance tough here is DHS on sax. I think he
overshadows John too much on this and at times takes the session over. If
you know Jack, he controls sessions, but I think he lost some of it here to
DHS. Final comment on this will be that I read somewhere that Jack wrote
most of these tunes when he was in secondary school, which would make them
8-10 years old when they were recorded. Can anyone verify? This LP had to
make people go "huh" when it showed up.

Escalator is just that, an Escalator. Incidentally, I pulled this LP (3 LP
set, with nice booklet) and ran the whole thing out of sheer adventure when
I was doing desk work about three weeks ago. This is a period piece that
struggled to pass the time test during this play. It has so many odd folks
on it (Linda Ronstadt was always my favorite example of that), and it
really is the trio stuff with JmL, J. Bruce, and Paul Motian that passes
the smell test. You can tell it was taped jam, so I would love to hear the
peripheral stuff from it. I've been doing some reading lately on Motian
and I guess he was quite the unique drummer in his voicing and
approach. Very in the middle of the band, and not just a rhythm. Closing
on this, I struggle with bigger bands doing "free jazz" in general, and
though this isn't exactly free, it has much harmonic dissidence to the
music and I struggle with that sound in this setting. Guess I'm not ready
to slap it back on yet...

OK, that's it. Let's see what Walter pulls out now that I need to look
into. Shhheeesssss....: )

Bob



From dyrral@hotmail.com Tue Jun 11 11:26:51 2002
Date: Thu, 30 May 2002 22:25:40 +0000
From: larry diroll
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #5 Jack Johnson ET AL.


Mr Freeze, if you please, stop the tease, and tell the story about JB
giving JM cash for airfare [ cough.. excuse the wheeze..I'm about to
seize..]. I think you mentioned about JM on JB's record date, but I don't
recall the details.
Thanks Larry


>Jack Bruce provided the plane-fare that let McLaughlin
>go to New York to play with Tony Williams Liftime, "Things We Like"
>bounces nicely around , for the marginal poverty that John was living
>in at the time. It was very accomodating of Jack, to let McLaughlin
>right in off the street, in the studio


_________________________________________________________________
MSN Photos is the easiest way to share and print your photos:
http://photos.msn.com/support/worldwide.aspx



From rasibley@concentric.net Tue Jun 11 11:26:51 2002
Date: Fri, 31 May 2002 03:23:01 +0900
From: Rod Sibley
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #5 Jack Johnson ET AL.


Hi Y'all,

Rhymin' Larry D. wrote to Sandy:

>I think you mentioned about JM on JB's record date, but I don't recall the
>>details.

Oooookay, one mo' time. Excerpted from the Jan.'89 issue of Musician
magazine:

Musician: The "Things We Like" band was killer; it was both open and
structured.
Bruce: That sounds great on the CD that just came out, much better than
the original record, because they had to limit it so much back then. And it
was recorded very hot; there were five mikes on my double bass. Two days;
mostly first takes.

Musician: McLaughlin was starting to peak then.
Bruce: I agree. To me, that's some of his finest playing. It started out
as a trio record, Dick Heckstall-Smith on tenor, Jon Hiseman on drums and
myself. It's called "Things We Like" because I wrote all the pieces when I
was a child, 10 or 11. It was a British kiddies reading book, a learning
book, you know things we like -- a ball, a cat. So I called it that because
it's a beginners jazz record. We had recorded about a third of it as a trio
and I saw McLaughlin walking down the road on his way home, looking
disconsolate, carrying his guitar on his back from a jingle session. He was
finding it tough in those days. So I invited him along and rewrote the
tunes for a quartet. He played like a demon. It was right before he joined
Miles.

(Sibscriber note: John was never "with" Miles as a member of his band)

Okay, here's a little tidbit that hasn't been hear before:

Musician: Did the guys in Lifetime ever mention being influenced by
Cream's extended improvs?
Bruce: Tony was turned on by the fact that musicians could improvise and
still get across to large amounts of people, instead of being relegated to
small clubs. And it's a very important point. You've got to get the music
across. Tony has been a big influence on me musically; I listened to him a
lot before I got a chance to play with him. Dolphy's "Out To Lunch" is one
of my seminal records, an all-time favorite. But Tony suffered from the
same thing I did; getting caught between two camps and getting put down by
both. When we stated to play together, a lot of people told him he'd sold
out because he was playing electric music. And I was misunderstood by the
rock people; they thought I was trying to be clever. But it was just a
band, that's all. I know the people who got to see that band live
understood. Maybe on record it doesn't come across, because it was ahead of
the technology. But the live thing was hot.

Sandy wrote:

>Jack Bruce provided the plane-fare that let McLaughlin
>go to New York to play with Tony Williams Liftime,...

Sandy, I have *never* heard this version before. Give us the lowdown,
puhleeeeze.

atb,

r






From larry.goodyer@kcl.ac.uk Tue Jun 11 11:26:51 2002
Date: Fri, 31 May 2002 09:17:00 +0100
From: Larry Goodyer
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word-daily@cs.cardiff.ac.uk
Subject: [OW] TWL


Just to get my comments under the gate.

TWO was an important album for me because it was actually the first time I
heard JM - picked it up in a second hand shop in early 1971. I believe it
was the first album that JB made after Cream split up when he was widely
reported as going back' to his Jazz roots. After TWL I don't think he
recorded another album only playing upright bass.

The music itself is very particularly British 'Modern' Jazz and represents
a reforming of one of the earliest incarnations of the Graham Bond
Organisation, without Bond himself. HHCKB stands for 'HO HO Contry Kicking
Blues' an old Bond favorite, and I advise anyone interested to listen to
the original on the Bond compilation LP to see how the musicians have
developed since the early 60s. I also think that this album is somewhat
unique in that it shows the influence of Modern Jazz, and particularly the
emerging free/improv styles, on what I remember at the time was called
underground or progressive Rock. Does anyone remember those terms?

As for EOH my best moment in the movie was seeing JM in his smart red V
neck jumper and well cut hair with all those 'hippies'.

Larry G



From jshep5@attbi.com Tue Jun 11 11:26:51 2002
Date: Fri, 31 May 2002 09:39:32 -0600
From: Jim Sheppard
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: RE: [OW] Jack Johnson live


Bill Berends wrote:
> Re: Jack Johnson, I once heard an intense (fast) live version of Right
> Off.... anybody know who it is? Kinda sounded like the MO actually!

Screaming Headless Torsos self-titled first CD has a hot version called
"Smile in a Wave (Theme from Jack Johnson)" but it's not live.
According to allmusic.com, this album was reissued in 2001, now titled
"1995", with two bonus tracks.

I think I remember hearing the theme from "Jack Johnson" quoted in their
"Live!" album too but it's not apparent from the track listing and I may
be mis-remembering. I'd go listen to it again but it's buried in a box,
like most of my other media, until the house remodeling gets done.


Jim Sheppard
Colorado, USA




From sandyfreeze_ow@yahoo.ca Tue Jun 11 11:26:51 2002
Date: Fri, 31 May 2002 13:19:06 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] Aye, Bruce Easily, Prequel


HellOW, OW'l Rod OW'l Sibley-ing.
__________________
After...ROD SAID:
> Sandy wrote:
>
> >Jack Bruce provided the plane-fare that let McLaughlin
> >go to New York to play with Tony Williams Liftime,...
>
> Sandy, I have *never* heard this version before. Give us the
> lowdown,
> puhleeeeze.
>
> atb,
>
> r
>\\\\\\\\\\_
SANDY Said:
Patience.
Give me the weekend, I'll drag the db (?) article around to the
scanner, or quote verbatim. It sounds similar to the 'Musician'
article.
Maybe there's two JB stories that square this tidbit off. Its all back
in the sc-McL-rapbook. ~Baduum.~
Maybe I made it up {HEH.. HEH...} Its all a Dance of Maya. Yeah ...

(Valer-iiee-e-
Valer-a-a-
valerIE...
Valer-RAhahaha/RAha..
a knapsack on my back. POLKA!)

Slings, we hike, Sandy

=====

~` PosI PosII PosIV picK and Roll
E|r1++.\..r3++.\..r5++.\..|E
B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
G|m0++...\m2++...\m4++...\|G
D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
A|----Z3++----Z5++----Z7++|A
E|----Z3++----Z5++----Z7++|E
http://www.geocities.com/guitalife


______________________________________________________________________
Find, Connect, Date! http://personals.yahoo.ca


From sandyfreeze_ow@yahoo.ca Tue Jun 11 11:26:51 2002
Date: Fri, 31 May 2002 14:27:51 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: elmetti@libero.it, one-word@cs.cardiff.ac.uk
Subject: [OW] Re: Jack Johnson riff TAB a mundo


HellOW, Francesco et OWallies. ?????^?????!
I covered the Awakening thing/YesternOW awhile back...didn't I?
...I'm thinking , I 'm thinking ..
Right 'augh'.
NOONWARD backward 'augh'er and OW-TAB...RIGHT OFF
http://www.cs.cf.ac.uk/Dave/MclaughlinBook/race2.JPG
Bars one and two...
This riff dOWn// a MAJOR 7th (o7o)... to 'Eb9' Vamp and tonality...
Later part of Side 1.LP ATTJJ split the beat :-/ change a couple
pitches * ! , and Semi quavers again...
PicK: K\/k alternate strokes ...flOW.
Sample? John's guitar.
~` RIGHT OFF `~
E|,-------,-------,-------,-------|E
B|:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-|B
G|--------------------------------|G
D|--/-\-/-\-/-\-/---k4++-*--------|D
A|:-k6K+k+K6k5--k6++----k4K6k4----|A
E|------------K6--------------K6++|E
~` `~
_________________2nd bar of R O __
~` (Eb9\ /)`~
E|,-------,-------,-------,Z6"+|E
B|:-:-:-:-:-:-:-:-:-:-;---,Z6"+|B
G|-------!-----------------Z6"+|G
D|------k6++----k4---------Z5"+|D
A|;---:-------K6--"+k4-----Z6"+|A
E|----K6----k6--------K6++-Z6"+|E
~` `~
TABman, Sandy

--- Francesco Mataloni wrote:
> Hi Sandy, it's Francesco from OW
>
> (quoting your post):
> > The M.O. Noonward Race riff, and likewise, the Awakening motific
> "germ"
> >
> > are evident to me.
>
> (quoting my post):
> >Seems like I'm the only one who can't recognize them...(the only
> riff I
> >heard on "Right Off" is played by the bass).
>
> >DeaF-rancesco. (not Joey)
>
> Nobody on the list helped me nor cared to respond (sniff..).
> Would you please help?
> Thank you in advance
>
> hasta la vista
> Francesco
>
>
>
>
>


=====

~` PosI PosII PosIV picK and Roll
E|r1++.\..r3++.\..r5++.\..|E
B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
G|m0++...\m2++...\m4++...\|G
D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
A|----Z3++----Z5++----Z7++|A
E|----Z3++----Z5++----Z7++|E
http://www.geocities.com/guitalife


______________________________________________________________________
Find, Connect, Date! http://personals.yahoo.ca


From aiq@ureach.com Tue Jun 11 11:26:51 2002
Date: Fri, 31 May 2002 21:59:36 -0400
From: John McCook
To: oneword
Subject: [OW] jaaaack


JMMP #5

the difficulty is to hear JJ within its time, that is, for me,
pre-MO. one must have the "ears of history", and remember john
is acting as sideman to one of his idols. as such, the
sparse, in contrast to JM's work under his own name, comping
and the occasional melodic line must be appreciated in terms of
accompanyment, not only of miles, but of the other musicians as
well. this is the case in all john's work with the Dark Magus.

within that context, john's contribution to the birth of a new
kind of jazz (or was it a new kind of rock?) is important, not
least for the presence of electric guitar, "mixed up" on a jazz
recording. not the first, of course, but certainly the guitar
of JM was more dominant on the miles sessions than any previous
guitarist in the jazz idiom.

on miles' liner notes (no doubt ghosted) he says, "...dig the
guitar and the bass - They are 'Far-in"... , notice being
served in print as well as sonically that miles felt electric
guitar had a place in the new music.

cut 1, "right off", double-entendre for the first cut of the
album and a play on the popular new left, agitprop
greeting/slogan/affirmation, "right on" (was miles dissin' the
political types?), points to the funk that lay ahead for mr.
davis in his largely frustrated search for a predominatly black
audience. as time goes by, teo macero's edits become more
obvious , for these ears anyway. at least the first half
of 'rightoff' sounds like an organic jam. with each edit,
however, that vibe is lost.

"yesternow", while suffering from the edit syndrome as well, is
more familiar to those who embraced the monumental 'bitches
brew'. that recording, despite the editing, expanded as many
consciences as perhaps mr. owsley (or perhaps they were working
in tandem?). JM has more to do here, with harmonic adventures
that would hint at later delights, and a bit more single note
opportunity. this listener longs for expansion of the tacked-
on coda, and wished for JM's guitar to float, then soar over
these lovely changes. unfortunately, the voice over of actor
brock peters destroys the illusion that this is a strictly
musical painting, and reminds in a crass fashion that this
music was produced for 'the cinema'.

this phase of the work of miles davis, early '70s fusion, and
john's extensive articipation in that phase, was hugely
important to jazz, to rock, but will probably make the biggest
impact at some point in the technological future. that future
will not be my time, for i search now for 'authenticity',
whatever that is. who would have predicted, while listening
to "the allman brothers at the fillmore east", that electric
guitars, hammond organs, drums and electric bass would
become 'traditional'. JM seems to be reaching, pushing towards
that future, which will no doubt reflect the past of the
early '70s era miles, defying trend and commercial certainty.
at the end of the day, isn't that why we love his art?


hey, i wuz playing music reviewer!

________________________________________________
Get your own "800" number
Voicemail, fax, email, and a lot more
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From dyrral@hotmail.com Tue Jun 11 11:26:51 2002
Date: Fri, 07 Jun 2002 22:05:19 +0000
From: larry diroll
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #5 Jack Johnson ET AL.





> >Jack Bruce provided the plane-fare that let McLaughlin
> >go to New York to play with Tony Williams Liftime,...
>
> Sandy, I have *never* heard this version before. Give us the lowdown,
>puhleeeeze.
>

This version is from CROSSTOWN TRAFFIC.... by Charles Shaar Murray
Holland brought with him tapes of a guitarist friend who had played with and
(musically) grown up with jazz-rock veterans like Jack Bruce and Ginger
Baker,and also moved easily between pop sessions and blues,rock or jazz
gigs. Miles's young drummer, Tony Williams,had been getting increasingly
restive, and when he heard those tapes, he took a chance and posted the
guitarist a ticket to New York. Not too long afterwards, John McLaughlin
arrived in town.

There's no footnote or attribution to a source.

Other articles describe one tape as including JM, D Holland and J
DeJohnette. So, if anyone corresponds regularly with Matthew Garrison, ask
him about it. J DeJohnette is MG's godfather.

It seems to me that if TW was offering JM a job, he would send a ticket. If
he was holding auditions, JM would have to pay his own way.
I forget where I saw it [probably OW], JM said something to the effect that
TW asked JM to come to NY twice. JM declined the first time because the
offer was too vague[no ticket?]. Larry

Back to normal, no rhyme[s] or reason :-)




 



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