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MILES DAVIS - Merci Miles! Live At Vienne
Warner Records/Rhino R2653962
Miles Davis (trumpet); Kenny Garrett (saxophone); Deron Johnson (keyboards); Foley (lead bass); Richard Patterson (bass); Ricky Wellman (drums)
Recorded Live in Vienne, France on 1st July, 1991
Recorded just a few short months before his passing, this superb concert performance might not shed a whole lot of new light on the trumpeter's music over the last phase of his career, but it does show that he had not lost his appetite for playing and continuing to look forward. The trumpeter was in France to play a few dates that would include concerts in Paris and Montreux, and also receive the highest honour that France could give to any artist, the Chevalier de la Légion d'Honneur award. Miles' love affair with France had begun in 1949 when he first played outside the US at just 22 years old. The attitude to, and reverence for the artist was something that he had not previously encountered, and the freedom from racial intolerance of the French people was something that would remain with him for the rest of his life.
Initially performing with his current sextet for this concert, performances later in the month would find Miles revisiting his past with a concert playing music written by Gil Evans with a large ensemble, and also in a programme that would feature many names from the past including Chick Corea, Joe Zawinul, John McLaughlin, John Scofield, Dave Holland, Al Foster, and saxophonists Wayne Shorter, Steve Grossman and Bill Evans.
The repertoire that Davis was playing at the time was music from recent albums from Amandla and You're Under Arrest, and although the band may have had personnel changes, this is conceivably the strongest line up that the trumpeter had for some considerable time. It is arguable that the studio albums were over-produced allowing Miles little room to manoeuvre, but the live recordings tell us a different story. Lead bassist, Foley would recall that "We didn't rehearse, and Miles never auditioned anyone... so the stage was where shit really took place." And take place it certainly does.
On this recording Miles sound completely at ease and in charge. He moves around the stage from musician to musician engaging in dialogues with each. This rapport with each musician is evident throughout, but never more so than with Kenny Garrett and can be heard on 'Hannibal' with Miles' muted trumpet and Garrett's explosive alto solo, screaming down the horn before releasing the built-up tension, a perfect foil. Johnson's keyboard solo is almost tame by comparison, but provides much needed relief with a gently and lyrical outing.
This is followed by a couple of tracks from You're Under Arrest. Michael Jackson's song 'Human Nature' has Miles again on muted trumpet and he has a wonderful rapport with both the tune and keyboard player, Deron Johnson whose accompaniment is absolutely spot on with fills, asides and unison lines that both compliment and lift the trumpet line. Miles then moves to focus his attention on the bass playing and the simple rhythmic figure in an ingenious way that focusses our attention on every minute detail. Miles says so much in his solos, even if he is frugal with the number of notes he plays, his solos succinct and to the point. Soloing at length he always has something interest to say. Garrett also solos on this track and begins by echoing Miles' stance with short lyrical phrases that build with the band into more expansive runs, all with his trademark blues-inflected sound. Miles gets Cyndi Lauper's 'Time After Time' to himself, and totally makes this track his own with some emotionally charged and poignant solos, first on muted trumpet, then alternating between open and muted horn. His statements are often short and pithy, straight to the point, again reminding us that he was always the master of saying a lot with very few notes. This trait is also captured in a tightly controlled reading of 'Amandla' with some superb playing from Miles, and a lovely solo from Johnson on keyboards.
The trumpeter's interest in the pop music of the day is also brought to the fore in a couple of tracks penned by Prince, 'Penetration' and 'Jailbait', and although both we recorded in the studio by Miles in 1991, they remained unissued when Prince refused permission for Warner Records to release the material. 'Penetration' features a deeply grooving bassline upon which the theme is stated by the two frontline horns. There is some masterful playing from Miles, making much of what is a relatively simple song and some impassioned, yet suitably restrained soloing again from Kenny Garrett. 'Jailbait' has a relaxed almost arrogant strut to it, and Miles seems to take great pleasure in this with his opening statement and the tempo and groove also provides fertile ground for Deron Johnson's organ solo and Kenny Garrett blues drenched alto.
All in all, this is a wonderful concert and for sceptics of the trumpeter's later work a reminder that although he may still have been searching for new ways forward with his music, the old Miles was still very much present and as always totally in command.
Reviewed by Nick Lea
Warner Records/Rhino R2653962
Miles Davis (trumpet); Kenny Garrett (saxophone); Deron Johnson (keyboards); Foley (lead bass); Richard Patterson (bass); Ricky Wellman (drums)
Recorded Live in Vienne, France on 1st July, 1991
Recorded just a few short months before his passing, this superb concert performance might not shed a whole lot of new light on the trumpeter's music over the last phase of his career, but it does show that he had not lost his appetite for playing and continuing to look forward. The trumpeter was in France to play a few dates that would include concerts in Paris and Montreux, and also receive the highest honour that France could give to any artist, the Chevalier de la Légion d'Honneur award. Miles' love affair with France had begun in 1949 when he first played outside the US at just 22 years old. The attitude to, and reverence for the artist was something that he had not previously encountered, and the freedom from racial intolerance of the French people was something that would remain with him for the rest of his life.
Initially performing with his current sextet for this concert, performances later in the month would find Miles revisiting his past with a concert playing music written by Gil Evans with a large ensemble, and also in a programme that would feature many names from the past including Chick Corea, Joe Zawinul, John McLaughlin, John Scofield, Dave Holland, Al Foster, and saxophonists Wayne Shorter, Steve Grossman and Bill Evans.
The repertoire that Davis was playing at the time was music from recent albums from Amandla and You're Under Arrest, and although the band may have had personnel changes, this is conceivably the strongest line up that the trumpeter had for some considerable time. It is arguable that the studio albums were over-produced allowing Miles little room to manoeuvre, but the live recordings tell us a different story. Lead bassist, Foley would recall that "We didn't rehearse, and Miles never auditioned anyone... so the stage was where shit really took place." And take place it certainly does.
On this recording Miles sound completely at ease and in charge. He moves around the stage from musician to musician engaging in dialogues with each. This rapport with each musician is evident throughout, but never more so than with Kenny Garrett and can be heard on 'Hannibal' with Miles' muted trumpet and Garrett's explosive alto solo, screaming down the horn before releasing the built-up tension, a perfect foil. Johnson's keyboard solo is almost tame by comparison, but provides much needed relief with a gently and lyrical outing.
This is followed by a couple of tracks from You're Under Arrest. Michael Jackson's song 'Human Nature' has Miles again on muted trumpet and he has a wonderful rapport with both the tune and keyboard player, Deron Johnson whose accompaniment is absolutely spot on with fills, asides and unison lines that both compliment and lift the trumpet line. Miles then moves to focus his attention on the bass playing and the simple rhythmic figure in an ingenious way that focusses our attention on every minute detail. Miles says so much in his solos, even if he is frugal with the number of notes he plays, his solos succinct and to the point. Soloing at length he always has something interest to say. Garrett also solos on this track and begins by echoing Miles' stance with short lyrical phrases that build with the band into more expansive runs, all with his trademark blues-inflected sound. Miles gets Cyndi Lauper's 'Time After Time' to himself, and totally makes this track his own with some emotionally charged and poignant solos, first on muted trumpet, then alternating between open and muted horn. His statements are often short and pithy, straight to the point, again reminding us that he was always the master of saying a lot with very few notes. This trait is also captured in a tightly controlled reading of 'Amandla' with some superb playing from Miles, and a lovely solo from Johnson on keyboards.
The trumpeter's interest in the pop music of the day is also brought to the fore in a couple of tracks penned by Prince, 'Penetration' and 'Jailbait', and although both we recorded in the studio by Miles in 1991, they remained unissued when Prince refused permission for Warner Records to release the material. 'Penetration' features a deeply grooving bassline upon which the theme is stated by the two frontline horns. There is some masterful playing from Miles, making much of what is a relatively simple song and some impassioned, yet suitably restrained soloing again from Kenny Garrett. 'Jailbait' has a relaxed almost arrogant strut to it, and Miles seems to take great pleasure in this with his opening statement and the tempo and groove also provides fertile ground for Deron Johnson's organ solo and Kenny Garrett blues drenched alto.
All in all, this is a wonderful concert and for sceptics of the trumpeter's later work a reminder that although he may still have been searching for new ways forward with his music, the old Miles was still very much present and as always totally in command.
Reviewed by Nick Lea
