(Upcoming Release) Miles Davis Gets RSD Bitches Brew Outtakes LP – Double Image – A Deeper Dive – Out 10/24/20

Double Image : Rare Miles from the Complete Bitches Brew Sessions Cover Art

UPDATE: The 2020 COVID pandemic resulted in the standard April Record Store Day being canceled in favor of three “Record Store Day Drops” August 29th, September 26th, and October 24th. All of these are Saturdays, incidentally. The original Record Store Day list has been split up over these three dates. It’s worth noting that Black Friday Record Store Day (Friday, November 27th) has not been changed, yet, and is kind of a 4th “Drop” I suppose, coming a month after the last Drop.

The Miles Davis Double Image: Rare Miles from the Complete Bitches Brew Sessions will be released on the 3rd drop on October 24th.

The 2020 Record Store Day List came out this week, and I’m pleased to report that Sony is continuing the trend of releasing compilations of Miles Davis outtakes that they started for the 2019 Black Friday RSD Early Minor release for the In A Silent Way sessions. This release titled Double Image: Rare Miles from the Complete Bitches Brew Sessions, takes the unreleased studio recordings from the 1998 Columbia boxset The Complete Bitches Brew Sessions.

Double Image Full Packaging

Sony is stepping up their game with this release. It is a two LP gatefold with opaque red LP’s. Bull Moose Records (kind of the original home of RSD) shows their list price as being $25.97 (note: this price went up $1 since it was originally announced in March) which is a pretty fair price for such a nice presentation. According to the RSD site, there will be 6000 pressed worldwide.

The importance and influence of Bitches Brew in Miles Davis’s catalog can’t be overstated. The new electric direction he established with In A Silent Way in 1969 was refined even further for Bitches Brew by focusing on African rhythms and funk. Betty (Mabry) Davis, who was his wife from 1968 to 1969 is credited with being the inspiration for turning Davis on to the explosion of rock and funk from James Brown and Jimi Hendrix (and apparently renaming the project from “Witches Brew”) which fueled the somewhat polarizing (at least among fans of Davis’s career up to this time) new direction that he’d pursue through 1975, up until his disappearance from performing for five years.

Like many people, my first exposure to Miles Davis’s catalog started with his groundbreaking 1959 album Kind of Blue and by most accounts this is the album most people wanting to get into Davis or jazz in general should start with. Wanting to dig further into his catalog I went earlier in his career with his pre-modal style Prestige Records catalog, then moved into his early Columbia career with albums like Round About Midnight (1957), Sketches of Spain (1960) and Someday My Prince Will Come (1961). At the time I was aware of Bitches Brew, but it took a long time for me to really appreciate the album, initially seeming too cacophonous and lacking any discernible structure. For me it took listening to the Chicago jazz artists like The Chicago Underground Ensemble/Chicago Underground Trio and bands on Delmark Records who were related to post rock band Tortoise to really be able to appreciate Bitches Brew. Further, it was interviews with Tortoise bass player Doug McCombs about how Teo Macero’s tape editing work on Bitches Brew informed how his 2009 album with David Daniell Sycamore was created– improvisational recording sessions were edited into the resulting album that pushed me to take a closer look at the album.

The album as released was recorded over three days in August of 1969 (19th-21st) at Columbia’s Studio B in New York City. The band was the largest collection of musicians Davis had assembled to date. The core of the band was a partial carry over from the In A Silent Way sessions with Wayne Shorter on tenor saxophone, Dave Holland on bass, Chick Corea on electric piano, and Jack DeJohnette on drums. Notably, this was the live touring band and had already been performing some of the key pieces from Brew including early versions of what became “Miles Runs the Voodoo Down”, “Sanctuary”, and “Spanish Key”. According to Paul Tingen (who wrote the essential book on this period “Miles Beyond : Electric Explorations of Miles Davis, 1967-1991”), this pre-work with a band before hitting the studio was rare (apparently not considering the fact that most of the 1950’s Prestige releases were based on in studio takes of what was his live show at the time). The five-piece was joined in the studio by Joe Zawinul (electric piano), John McLaughlin (electric guitar), Larry Young (electric piano), Lenny White (drums), Don Alias (congas), Juma Santos, and Bennie Maupin (bass clarinet).

After some meetings with the band at his house where they, according to the JazzTime article Tingen wrote, brought in their own compositions for Davis to choose from and he made sketches that they would work from in the studio during the three days booked. At these sessions (with Teo Macero producing and engineer Stan Tonkel), Davis acted more like a conductor than composer. The tapes typically ran the entire time and he used playbacks to further tailor the works.

Davis left the post production work to Teo Macero. Macero used extensive tape editing and effects like delay and echo on previous albums In A Silent Way and Circle in the Round to create new works from the raw recordings which many consider to be groundbreaking work in itself. Extensive tape edits were done to create the first two tracks on the album “Pharaoh’s Dance” (which has 19 edits) and “Bitches Brew” (which has 15). Davis had the final approval of the recordings, but according to Tingen never really gave Macero the full credit he deserved and Macero’s own opinion was that Davis didn’t really want to credit even the musicians. This is why In A Silent Way and Bitches Brew are credited as “Directions in Music By Miles Davis” as a kind of way to take full credit for the recordings.

The second LP in Bitches Brew had less studio manipulation than the first two sides. This was largely because these songs were more fleshed out due to live performances. “Spanish Key” and “Miles Runs the Voodoo Down” had no edits. “Sanctuary” has one edit where Macero clips in a different take. “John McLaughlin” is an edit of a studio improvisation where Davis isn’t playing. According to Tingen, Davis gives some rough vague instructions during the session and they lumber along not knowing where to take the work until Davis says “John” and McLaughlin takes a guitar solo and then the band falls into lock step. Macero edited this down to McLaughin’s solo and following for the final recording.

The resulting album was somewhat baffling to the musicians who performed on it. Tingen quotes a famous story by Zawinul where he says he was standing in the offices of CBS and heard music over the speakers and asked a receptionist what it was when she replied that it was “that Bitches Brew thing.”

When you look at the jazzdisco.org entries for August 19-21, 1969 sessions and compare it to the track listing for Double Image, you’ll notice that the songs included were not recorded during the sessions that were used for Bitches Brew. So, what are these recordings?

Reissue producer of the Complete Bitches Brew Sessions Bob Belden told Tingen that they included the extra tracks that used a lot of the same musicians as Bitches Brew and also that these songs were additionally electric piano focused. As was typical of this later period Davis studio work, he had a lot of sessions recorded that were not intended for any particular album release, and CBS kept cranking out new albums that were ostensibly just compilations of unrelated songs– oftentimes songs many years apart. The 1979 compilation album Circle in the Round has tracks from 1955 through 1970. Exploitative? Maybe, but the renewed posthumous effort of getting Davis’s work released in a somewhat orderly fashion serves the purpose of making some sense of the progression made over his life in music.

Below is the track listing from Double Image: Rare Miles from the Complete Bitches Brew Sessions with my added notation of what the recording dates were.

LP 1 / Side A
“1. Yaphet” (11/19/69) 2. “Corrado” (11/19/69)
LP 1 / Side B
“1. The Little Blue Frog (master)” (11/28/69) 2. “The Big Green Serpent” (11/28/69) 3. “Trevere” (11/28/69) 4. “The Little Blue Frog (alternate take)” (11/28/69)

LP 2 / Side A
“1. Double Image (first version)”(1/28/70) 2. “Feio” (1/28/70)
LP 2 / Side B
“1. Recollection” (2/6/70) 2. “Take It Or Leave It” (2/6/70)

A YouTube Playlist of the tracks from Double Vision.

I’m going to predict that since we have had an LP from In A Silent Way’s complete sessions (which was box set #5 of the “complete” series) and now Bitches Brew (which was box set #3) that the next RSD release will be based on the 2003 box set for The Complete Jack Johnson Sessions (box set #6). The Jack Johnson album only had two tracks on it and there were a lot of sessions not used, so it should be interesting to see what they’d include on a vinyl comp.

The It’s Time to Play B-Sides Top 20 Albums of 2019

It’s that time of year again when I try to remember what I listened to for the last 12 months and also when I peruse the other Top Lists from other websites to see what I missed. Considering the state of flux and chaos that the music industry is in regarding musicians getting paid, the amount of new and essential releases that come out still amazes me.

2019 was a pretty strange year all around, but in the music industry we had the big kerfuffle over Taylor Swift’s catalog being sold as part of the acquisition of Big Machine by Ithaca. I doubt that she’s in any risk of losing her position as one of the richest musicians in pop today, but certainly she doesn’t have control over where or how her music is being used. She’s not the first artist to fall into the trap of trading control for album advances and she won’t be the last, I’m afraid.

Speaking of Swift; Ryan Adams, who did a track-by-track cover of her 1989 album in 2015 was exposed by The New York Times as being a sexual predator, misogynist and possibly a pedophile. For longtime fans (who include me) this was pretty earth-shattering. I’ve covered Adams a lot on this site over the years and was aware of how unstable he seemed to be, but never thought he was someone who was abusive to fellow artists (usually demanding quid pro quo sexual favors to help their careers.) Then there are the accusations about the inappropriate relationship he had with a minor. He denies all of this and there hasn’t been any legal reaction to any of this that we’re aware of, but Blue Note cancelled the trifecta of records he was going to release this year. He’s been largely silent since this came out, but in recent weeks he’s been testing the social media waters with some posts. I have a feeling that with enough passing of time, people will forget this and he’ll likely come back. The history of pop and rock music is dotted with stories like his (and in some cases mythologized– yikes). For now my RA albums are in a box on a shelf in the basement.

2019 was also the year of Lizzo. Her career took a really steep arc this year with her much-anticipated full length release on her new label home Atlantic. The singles have been all over the place, and “Juice” becoming the anthem. I had been following her career prior to her move from the Twin Cities to L.A. but admittedly Cuz I Love You isn’t on my Top 20 because I didn’t listen to it this year other than the singles and videos. Her Tiny Desk Concert is AMAZING, btw.

2019 marks the tenth year I’ve been writing for Little Village Magazine, I wrote a lot of reviews for Little Village Magazine this year covering what I think has been the most exciting year yet for Iowa music. It seemed like new records were coming out every week from new bands, and existing bands and artists came out with career-defining releases. I launched a streaming music video channel on SBTV.com called The Fly-Over Music Hour. Its focus is on Midwestern bands and artists who have created great music videos. SBTV.com is a video streaming platform that TV stations use to stream content they create and own ad supported. So, you can watch the news and other original content from stations across the US. The Fly-Over Music Hour is an example of a 24×7 channel of original content intended as kind of an example that stations could duplicate in their markets, but also it gives me a chance to shine a light on some of my favorite music coming out of this area. There are apps for iOS, Android, FireTV, AppleTV as well as on the web. You can visit it at https://sbtv.com/flyover

Here are my Top 20 albums of 2019 (in no particular order):

Dickie – Minus Thieves – Singer-songwriter Dick Prall is back with his second album under his band name Dickie. For Minus Thieves the band has a new lineup with multi-instrumentalist and drummer Billy Barton. This album continues the largely autobiographical songwriting from Prall, but takes a more outward view than the 2015 self-titled release (which made my Top 20 list for that year, too). The production was handled by Pat Sansone from Wilco and engineer Josh Shapera and takes a more stripped-down and guitar driven spin than the typical chamber pop we’re used to, which puts the focus appropriately on Prall’s vocals and lyrics. My review of Minus Thieves for Little Village.

Beth Bombara – Evergreen – It’s a good year when we get a new album from Beth Bombara. I loved her 2017 release Map and No Direction (which made the Top 20 for Play B-Sides that year). Evergreen continues the rock leanings she established on that release. This album compares favorably to releases from folk rockers like Sheryl Crow and Aimee Mann. This is an album I think I played more than any other this year. She released a really great video for the album which takes my two favorite songs and stitches them together into one video.

Shane Leonard – Strange Forms – I can’t say enough about Shane Leonard’s last two records. Printer’s Son under the moniker Kalispell really took me by surprise when it came out in 2016. Daringly personal and beautiful across the board. Strange Forms from this year picks up where Printer’s Son left off and continues the journey exploring familial roles and relationships and exploring his new role as a father and husband. To me these two albums belong together. It’s worth a listen if you’re into the more acoustic sounds of Bon Iver or Elliott Smith’s later albums. His writing style always makes me think of Aimee Mann’s later works, too.

John Coltrane – Blue World After the surprise release of Both Directions At Once in 2018, I wasn’t really expecting another “lost” Coltrane album to come out. But, happily we got one in 2019 thanks to a soundtrack he recorded for a Canadian film in 1963. I don’t think that this release is particularly essential in his catalog as it documents a small window in his career, and is comprised primarily of new recordings of earlier songs. But, it ends up being very listenable and Blue World ends up being a nice alternative to some of my most-spun releases in his catalog (Blue Train, A Love Supreme). My “Deeper Dive” article about Blue World.

The Diplomats of Solid Sound – A Higher Place It’s hard to believe that it had been over nine years since the previous release from The Diplomats of Solid Sound. I suppose from most peoples’ perspective the band had merely broken up, but Doug Roberson had been bringing the band out for live shows, so anyone paying attention knew it was still a going concern. A Higher Place sees the reunion of the Diplomettes as a trio with Abby Sawyer rejoining the band, and it is wonderful to have her back. My review of A Higher Place for Little Village Magazine.

Hiss Golden Messenger – Terms of Surrender While not at the rate of releases from, say Thee Oh Sees or King Gizzard & The Lizard Wizard, we’ve been blessed with regular releases from Hiss Golden Messenger— nearly every year since 2010’s Poor Moon— and this doesn’t include the occasional EP or digital single. The recording of Terms of Surrender comes on the heels of a very dark time for him personally, resulting in a record that feels more personal than the previous ones. Aside from that, the record carries the same groove we’ve come to expect and ended up being a regular rotation for me.

Halfloves – Dazer Iowa City band Halfloves came back with their sophomore album in 2019. Their 2016 self-titled release came along with a band renaming (formerly the Olympics) and the firm hand of Brandan Darner who helped the band watershed their new sound and direction. For Dazer the band is rejoined by Darner and while they still carry their trademark dark pop, the three years since the first album has focused their sound producing a beginning-to-end stunner with a big sound. My review for Little Village.

Subatlantic – Villians The debut LP from Quad Cities band Subatlantic came out in 2019. Subatlantic was a band that I had been keeping an eye on because a lot of my friends in the Quad Cities were talking about them. Villains is a wonderful record with a kind of 90’s shoegazer sound. Rebecca Rice’s vocals and lyrics are wonderful reminding me a bit of Throwing Muses or The Cranberries. My review for Little Village.

The Maytags – Meriweather – Des Moines R&B outfit The Maytags’ album Meriweather is a departure from their more classic R&B sound on their 2016 release. Work schedules of the members resulted in a more stripped down approach which at times sounds like Prince’s classic Minneapolis sound. My review for Little Village.

Pieta Brown – Freeway – In 2014 Pieta Brown released her last album on Red House Records. Paradise Outlaw was recorded at Justin Vernon’s April Base Studios and had some of the extended Bon Iver crew on it (Vernon contributed vocals to one track as well). After an untethered five years where she launched her own imprint Lustre Records and released an EP of outtakes called Drifters in 2015 and an album of collaborations called Postcards in 2017. She also acted in a film during this time. For Freeway, she went back to April Base to record resulting in an album that has a slightly more atmospheric vibe to it than her previous releases. This is due to the use of a band that aren’t her normal go-to studio guys. Righteous Babe Records (Ani DiFranco’s label) saw fit to release this on pink vinyl and this is the recommended way to consume this record. My review in Little Village.

Crystal City – Three Dimensionality – Dave Helmer and Sam Drella of Crystal City step out of the barstool blues of their previous albums and enlist some very talented friends to create a record with new complex sonic textures drawing from jazz and and leaning a little into the Steely Dan territory. A fantastic record with lots to keep your ears busy. My review for Little Village.

Hex Girls – More of That Cedar Falls proto-punk/no wave revival combo Hex Girls put out their super-high-energy debut record More of That with enough bombast and edgy guitar to make your cool aunt blush (the one who said she read the bathroom walls at CBGB’s in NYC in the 80’s). My review for Little Village.

Brother Trucker – 5 Legendary Iowa barroom blues rock and country band Brother Trucker put out what I think is their best release this year. It is steeped in brilliant story telling and ripsaw guitar riffs. My review for Little Village Magazine sums it up well, “Most of the songs in the Brother Trucker catalog capture regular lives — like Norman Rockwell paintings of Midwestern life viewed through the bottom of a beer bottle.”

David Huckfelt – Stranger Angels I figured it was only a matter of time before we got some solo records from the guys in The Pines. David Huckfelt participated in an artist-in-residence in Isle Royale National Park in Michigan where he watershedded the songs that would end up on Stranger Angels. As I state in the review I wrote for Little Village Magazine, these songs aren’t a dramatic departure from the songs that Huckfelt brings to The Pines, but the change of band brings some new edge we don’t hear from the atmospheric leanings of that band.

Pink Neighbor – Time Beach Universe This was a really fun discovery for me this year. Iowa City’s Pink Neighbor put out their first album and it’s a well-executed tribute to the sunny singles of the Sixties from bands like The Zombies and The Mamas & The Papas, but also has a bit of new wavey B-52’s vibe. My review for Little Village.

Elizabeth Moen – A Million Miles Away – 2019 was a big year for Vinton, IA native Elizabeth Moen. She released her second album, which was a refreshing departure from her more straight folk of the first record. A funky and edgy release showing Moen figuring out her footing while delivering a soul-laid-bare performance. I played this release a lot this year. She seemed to play pretty much everywhere and even did a tour of Europe. She had a successful kickstarter for her third album, so that will probably be out in 2020!

William Tyler – Goes West William Tyler is a go-to guitarist for a few bands including Lambchop, Silver Jews (R.I.P.) and Hiss Golden Messenger. His solo releases are steeped in the American Primitive guitar tradition but he takes it to a whole new level. I would recommend every album he’s put out if you’re looking for instrumental guitar. Goes West has a really great, almost cinematic spans to it. Even though it is titled Goes West, it isn’t particularly western in theme, but feels like it could be a soundtrack for a film set in the desert and mountains.

Surf Zombies – Return of the Skeleton Cedar Rapids music scene fixture Brook Hoover’s Surf Zombies came back in 2019 with their fifth album and second on vinyl (amen). Instrumental surf guitar extravaganza, per usual, but I’m a huge fan of classic surf rock from vintage bands like the Ventures and Dick Dale and newer bands like Los Straightjackets. Return of the Skeleton stands with the best of those bands.

Octopus Live – Cedar Falls bar The Octopus on College Hill has been recording multi-tracks of the bands in the bar as an archival project. This year they pressed a vinyl-only compilation of some of the notable shows dating back to 2017. Bands like TWINS, Elizabeth Moen, SIRES, Holy White Hounds and Brother Trucker all turn in fantastic performances. They only pressed a couple hundred of these, so you don’t want to sleep on this. CLICK HERE TO ORDER ONE.

Tripmaster Monkey – My East Is Your West – Quad Cities band Tripmaster Monkey made it to a major label in the Nineties and promptly fell through the cracks of the chaos of record label acquisition hell. The band got back together and worked on new songs resulting in an album that is a distillation and refining of their sound from 30 years ago.

(Upcoming Release) Black Friday RSD Release “Miles in Tokyo” Reissues Exclusive Japanese Live Album – A Deeper Dive

Get On Down reissue of 1969 album Miles in Tokyo reproduces the original Japanese LP artwork down the OBI strip.

Miles Davis fans are being treated with not one, but TWO exclusive releases for the 2019 Black Friday Record Store Day! The first one, a special release of outtakes from the Complete In A Silent Way Sessions, we covered HERE.

If that wasn’t enough, reissue label Get On Down is releasing a previously Japan-only album of Miles Davis in concert from 1964 with an early iteration of his “second great quintet.” It was released in the US on CD in 2005, but not on vinyl. Titled simply Miles in Tokyo, the album originally came out in 1969 on Sony/CBS and this release copies that release down to the gorgeous black and white cover art and the OBI strip (which is slightly modified to show the Get On Down catalog number and logo). The original pressing was a gatefold, I’m hoping the replicated that as well, but I have no indication one way or another. (Chris from Bull Moose hasn’t done his rundown yet. I’ll update this if he mentions it).

This recording follows the legendary February 12th, 1964 performance at the Philharmonic Hall at Lincoln Center in New York City. The performance was a benefit show to raise money to get black voters registered in the South. The band, made up of Herbie Hancock on piano, Ron Carter on double bass, Tony Williams on drums and George Coleman on tenor sax (who would be replaced by Sam Rivers for the overseas shows including Live in Tokyo) were not told until just before the show that they would be donating their salaries for the night and told that if they didn’t like it they could leave the band. Davis would credit the resulting tension for creating the fiery performance captured on two albums: My Funny Valentine and Four & More both released in 1965.

Sam Rivers joined Miles Davis’s quartet in April of 1964 replacing George Coleman according to the Sam Rivers sessionography. This database quotes Davis as saying he wanted to hire Wayne Shorter but Art Blakey had him tied up in the Jazz Messengers, so he hired Rivers at Tony Williams’s suggestion and took him on tour. Rivers would stay with the quintet through July 15th, which is the day after the Miles in Tokyo recording took place. Rivers would be replaced evenually with Wayne Shorter in September, which would establish the “second great quintet” which would stay in place until 1968 and recorded the albums E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro.

I think the reason for Rivers’s short stint in Davis’s band is two-fold. Clearly Rivers was Davis’s second choice, and also the general opinion is that Rivers’s style on the sax didn’t mesh well with Davis’s, and this is apparent according to critics on the Miles in Tokyo album. To me the recording is notable in its frenetic pacing of the songs. I think it picks up the energy from the Lincoln Center performance, which shares a lot of the same songs, including the sped up “So What.”

Here is the track listing for Miles in Tokyo:

A Side : “If I Were A Bell”, “My Funny Valentine”
B Side : “So What”, “Walkin”, “All Of You”

Helpfully, there is a YouTube video of the complete album:

(Upcoming Release) Miles Davis Gets Black Friday RSD Silent Way Outtakes LP – Early Minor – A Deeper Dive

Front cover of Early Minor: Rare Miles From the Complete In A Silent Way Sessions

The Black Friday Record Store Day list came out yesterday, and there are a few releases that I think are pretty interesting and I’ll do posts on each, starting with this Miles Davis release. Titled Early Minor: Rare Miles from the Complete In a Silent Way Sessions, it is a selection of outtakes from his brilliant 1969 album In A Silent Way. This release has three outtakes that were originally released in 2001 on the 3-CD The Complete In A Silent Way Sessions box set.

Anyone familiar with the Davis catalog are likely familiar with the fact that his later years releases didn’t often correspond to the idea of an album release. When you look at the sessionography information for Miles Davis, he seemed to hit the studio whenever it suited him (or maybe when he needed money) and recorded with little regard to the idea of an album release.

The proper In A Silent Way album is two tracks, both of which were recorded on the same day. The expanded group of Miles Davis on trumpet; Wayne Shorter on soprano sax; Joe Zawinul on organ; Chick Corea and Herbie Hancock, electric piano; John McLaughlin on guitar; Dave Holland on bass and Tony Williams on drums hit CBS’s 30th Street Studio in Studio B on February 18th, 1969. The sessionography at jazzdisco.org shows that the group recorded three takes of “In A Silent Way/It’s About That Time” and two takes of “Shh/Peaceful.”

The band returned to the studio two days later on February 20th and tracked the over 26-minute “The Ghetto Walk” and “Early Minor.” According to Wikipedia’s entry on In A Silent Way, which quotes Victor Svorinich’s essay on In A Silent Way, “The Ghetto Walk” was originally considered for In A Silent Way, but was ultimately dropped in favor of “In a Silent Way/It’s About That Time.”

Those two tracks plus “Splashdown” which was tracked on November 25th, 1968 are what make up the RSD release. These tracks are notable as being the three songs on the Complete In A Silent Way box set that were previously unreleased prior. I prefer this over including multiple takes of “In A Silent Way/It’s About That Time” and “Shh/Peaceful.”

According to Svorinich’s essay, Joe Zawinul brought his composition “Shh/Peaceful” to the sessions, and it had a couple of working titles before it was settled, one was “On The Corner” which was the working title for the album at one point, and also “Mornin’ Fast Train From Memphis To Harlem” which was also a working title for the record. The Wikipedia article is a bit confused about this as it says that Davis composed “Shh/Peaceful” and Zawinul composed “In A Silent Way.” The facts of this are probably tied to how Teo Macero edited the sessions into the final recordings. This is further supported by the fact that Zawinul blamed Macero for editing the recordings and crediting Davis as the sole composer.

No matter what the details were about how the sessions were used, history has shown that In A Silent Way has become one of the most important albums in Davis’s career and is credited as the first complete foray into what would be his electric period and would pave the way for Bitches Brew.

I created a YouTube playlist of the three songs as they were included in the boxset so you can listen for yourself.

(Upcoming Release) New Unheard Release: John Coltrane – Blue World – A deeper dive

Impluse!/Universal has dropped another surprise John Coltrane release! Just over a year ago they announced the Both Directions At Once release of sessions from 1963– the tapes of which came from Coltrane’s personal collection of demo reels.

Titled Blue World, the album (out September 27th) is made up of recordings Coltrane’s classic quartet with Jimmy Garrison, Elvin Jones and McCoy Tyner tracked on June 24, 1964 at Rudy Van Gelder’s studio in Englewood Cliffs, NJ. These songs were tracked for Quebecois film producer Gilles Groulx to be used for his film Le chat dans le sac (“The Cat In The Bag”). The songs were mostly new recordings of songs from Coltrane’s catalog plus a new song “Blue World” (which, according to an article by NPR, was itself a variation of a previously-recorded song the pop standard “Out Of This World” by Harold Arlen-Johnny Mercer). Revisiting previous works in the studio isn’t something Coltrane had done before, or from what I can tell, since. This gives us a unique way to view the development Coltrane and band were going through by comparing previous recordings to these reinterpretations.

The first thing I did when I heard about this release was to check my faithful jazz session database at jazzdisco.org and it was missing! This has since been remedied as the details of this release came to light. According to the interview with Barbara Ulrich (who played the lead also named Barbara in the film) for the liner notes (written by Jazz scholar Ashley Kahn) of the release quoted in the NPR.org article, Groulx was a fan of John Coltrane and it was through an acquaintance that he knew Jimmy Garrison which was likely the connection to Coltrane’s involvement in the film. Groulx attended the recording session on June 24th and was handed the 37-minute 1/4″ mono tape at the end of the session. Since it wasn’t an official release and these sessions weren’t part of an album recording, they didn’t make it to the database.

In the Rolling Stone article about the Blue World release, they quote Ulrich’s recollection of the session. Groulx hadn’t started filming, so Coltrane wasn’t working from the film itself. In the end, he only used 10 minutes of the 37-minute session.

“Gilles had a list of the music he wanted and later he told me when he gave the list to Coltrane, Coltrane said, ‘Okay, I can do this — I can’t do that, it’s not mine. OK I get it, I know what you want.’ Then they just started jamming and recorded for several hours. Then Rudy gave Gilles the tape and that was it. When he got back he was absolutely ecstatic. He knew exactly where he was going to use the music in the film.”

In Eric Fillon’s dissertation on the film in his paper “The Cinema of the Quiet Revolution: Quebec’s Second Wave of Fiction Films and the National Film Board of Canada, 1963-1967” he explains how Coltrane came to be part of the film:

Le chat dans le sac featured an original score by John Coltrane, an African American saxophonist whose music was often associated with Black Nationalism. The film’s jazz soundtrack was dans l’air du temps [current fashion]. It echoed Louis Malle’s Ascenseur pour l’échafaud (1958) and John Cassavetes’ Shadows (1959) which featured contributions by jazzmen Miles Davis and Charles Mingus. However, the music also serves to validate the language of decolonization which Claude deploys throughout the film. Groulx’s main protagonist reads Frantz Fanon’s Les damnés de la terre, Louis E. Lomax’s La révolte noire and Parti pris. Claude, a [Quebecois separationist revolutionary] , listens to jazz as he plans his revolt. …. Coltrane’s music legitimizes Claude’s quest for emancipation in ways that Barbara cannot.

The Cinema of the Quiet Revolution: Quebec‟s Second Wave of Fiction Films and the
National Film Board of Canada, 1963-1967 p 60

The Rolling Stone article says that the tape eventually made it to the National Film Board of Canada and that was how Impulse! came to get it early last year. The National Film Board of Canada was the organization that underwrote Le chat dans le sac originally. There is a funny story in the Fillon paper I quoted above about how the NFB was only interested in producing television content at the time that Gilles Groulx was working with them. Groulx agreed to shooting a TV show, and apparently gave them the Canadian theme of “snow” for this project. Instead he took the funds and shot Le chat dans le sac.

Here are the tracks on the album along with my notation of which album the original version is on. It’s interesting, if not notable, that “Naima” from Giant Steps and the two songs from Jazz (“Village Blues”, “Like Sonny”) were all recorded originally during the same sessions in 1959 and 1960. In many ways Jazz can be looked at as the outtakes from the Giant Steps sessions.

TRACKS
SIDE A
1 Naima (Take 1) (4:34) originally on Giant Steps (1959)
2 Village Blues (Take 2) (3:41) originally on Jazz (recorded 1959, released 1961)
3 Blue World (6:08)
4 Village Blues (Take 1) (3:51) Jazz (1961)
SIDE B
1 Village Blues (Take 3) (3:45) Jazz (1961)
2 Like Sonny (2:43) originally on Jazz (1961)
3 Traneing In (7:42) originally on John Coltrane with the Red Garland Trio (1958)
4 Naima (Take 2) (4:10) Giant Steps (1959)

The title track from Blue World

Blue World has been mastered from its original mono analog tape by Kevin Reeves at Universal Music Mastering in New York. The new 180g vinyl edition’s lacquers were cut by Ron McMaster at Capitol Studios.

(Upcoming Show) Lindsey Buckingham at The Englert in Iowa City Sunday, 9/2/2012

(Photo by Kevin Winter/Getty Images)

Lindsey Buckingham is having the time of his life.

At the time of his sixth solo album The Seeds We Sow in 2011, Lindsey Buckingham is able to frame his life as a musician and family man in the context of his journey thus far. He attributes his peace to two things. The first is his personal life, “To finally meet someone and to have the family thing happen, that’s been a real gift,” he says. The other is musical. “If there is a level of contentedness that I’ve arrived at, part of it is because I think in the last three or four years what I experienced during the solo albums and then what I experienced on the last Fleetwood Mac tour I felt like I had come to a point where there was so much foundation that I had built for myself making incremental steps forward as a musician and as an artist.”

Certainly, the last few years have been very productive for Buckingham, starting with an out-of-the-blue solo album in 2006, a derailed follow up that morphed into a new studio album for a re-ignited Fleetwood Mac, a re-imagining of the derailed follow up in 2008, a live album and then The Seeds We Sow in 2011.

The Seeds We Sow represents Buckingham taking full control over his career handling all of the recording, production and also releasing himself. The album is a very up-close-and-personal perspective of Buckingham at times sounding like a really well-produced home demo, which I suppose it really is.

I consider Lindsey Buckingham to be a personal musical hero. His distinct sound and contribution to the canon of rock music with his solo work as well as his years in Fleetwood Mac have impacted me at a level that might be chromosomal. I started listening to music on my own around the time of Rumours and his music has been with me ever since. I have been fortunate to see him with the Mighty Mac three times in my life but never solo, so the news that he will be performing at the wonderful Englert Theatre in Iowa City on Labor Day Weekend is exciting news! He will be performing at 8PM on Sunday, September 2rd.

The presale for the show started on Tuesday for Friends of the Englert, and general sale for the show starts on Friday,  June 22nd at 1PM. Tickets are $55 for Tier One Tickets and $45 for Tier Two.

Click Here for more information about Lindsey Buckingham at The Englert in Iowa City, including how to order tickets.

Click Here to find out about how you can be a Friend of the Englert and get in on great pre-sale deals and other perks.

 

(Upcoming Release) Umphrey’s McGee Launches Death by Stereo – Cover Art, move to ATO Records

Very soon on the heels of their self-released 2 LP and digital-only release of 2010 Hall of Fame that I reported on previously, Umphrey’s McGee announced their new studio album! To be titled Death By Stereo, it will be released on September 13th.

Death By Stereo marks the first release by the band since their move to ATO Records— home of Dawes, My Morning Jacket and Drive-By Truckers. While no explicit reason is given for the move from long-time home SCIFidelity, it is my opinion that this move will probably give the band some resources not available to them on SCIFidelity as far as distribution and promotion, if not visibility.

The press-release which came out earlier this week, says that Death By Stereo is a “lethal musical gumbo” which pretty well describes the genre-crunching band. The tracks mentioned in the article include “Wellwishers” which was originally going to be part of a digital EP series and was freely downloadable as an mp3 in exchange for an e-mail address via TopSpin (who was also the method for selling Hall of Fame) and also downloadable via umlive (my article here). Also mentioned are “Conduit” and “Booth Love” which both have been performed in concert (links to archive.org). “Conduit” was also included in the Summer 2011 free sampler provided by the band. Two tracks we haven’t formally heard as of this writing are “Miami Virtue” described as a psychedelic blend of Pink Floyd and Phoenix, and “Black Keys-style blues” track “Domino Theory.”

With the amazing pre-sale madness surrounding Mantis with its massive amount of free downloads, I’m sure we’ll get something just as cool with this release. Since they are on ATO, I’m hoping that the vinyl release will be 2 LP’s of 45 RPM 180g vinyl, just like Dawes has done for their two LPs. The band is already soliciting opinions about whether to include a CD or just download codes, so they are maintaining their practice of keeping their finger on the pulse of the fans.

Stay tuned for more details as they arrive!

Unplugged Musings has an article with some speculation on additional songs that could make Death By Stereo with video clips.

Upcoming Show: Umphrey’s McGee in Iowa City on 3/10/10 at IMU Ballroom

Umphrey's McGee Live at The Capitol Theatre 7-16-09
A little bit of New Year’s Umphrey’s McGee news is bestowed upon us as they announced new March 2010 tour dates which include stops in Madison, Iowa City and a three-night run in Minneapolis!

As Umphrey’s McGee is ostensibly a Chicago-based band you might imagine that they have played these cities frequently over the years and as such they have built a very strong fanbase in each of these towns. This is also bolstered due to the strong college populations in each of these towns. The Minneapolis multi-night run seems to be a recurring theme, and when I saw my first show last January it was at the beginning of a three night run as well. A lot of the great people I talked to at the show were going to hit all three nights as part of a package that also included a meet-and-greet with the band and a limited edition poster of the shows.

Tickets for the shows will pre-sale on January 5th with general sale on January 9th. As part of the announcement of the March tour dates, they also announced that they will be giving away tickets for shows through their Facebook fanpage. A week before any of the shows they will give away a ticket at random to a fan who has responded to the Facebook event for that show as “attending” and they will be able to bring a friend who must also have responded as “attending” or “maybe.” This is cool for them to do, but if you are a big enough fan you likely didn’t wait until the last week before the show to get tickets, so I don’t know how that works in reality unless you can get someone to buy the ticket you paid for. Maybe I’m missing something– feel free to explain.

The dates (from umphreys.com)

Wed, Mar 10th, 2010
Iowa Memorial Union Ballroom

125 North Madison Street – University of Iowa, Iowa City, Iowa
– show: 8:00 pm
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Thu, Mar 11th, 2010
Orpheum Theatre

216 State Street, Madison, Wisconsin 53703-2215
608.255.8755
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Fri, Mar 12th, 2010
First Avenue

701 1st Avenue North , Minneapolis, Minnesota
612.332.1775
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Sat, Mar 13th, 2010
First Avenue

701 1st Avenue North , Minneapolis, Minnesota
612.332.1775
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Sun, Mar 14th, 2010
First Avenue

701 1st Avenue North , Minneapolis, Minnesota
612.332.1775
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Free Download : The Horse’s Ha Unreleased Track and Tour


No sooner did I finish my review of the new Horse’s Ha album Of The Cathmawr Yards, then they announce a free unreleased track from the album! The song is a cover of a “Slow Moons Rose”  originally by Slapp Happy. Slapp Happy was an English-German experimental rock group that existed from 1972 -1975. “Slow Moons Rose” is from Slapp Happy’s self-titled 1974 debut on Virgin Records. Slapp Happy is notable as having Peter Blegvad as a member.

Click Here to download “Slow Moons Rose” (192 Kbps mp3)

The Horse’s Ha MySpace page has a Strobe Sessions performance where The Janet Bean Trio is performing “Slow Moons Rose” and the excellent Freakwater song “Cloak of Frogs” from May of 2008.

Here is Janet Bean, James Elkington and Fred LongbegHolm performing as The Janet Bean Trio:

As if that wasn’t enough, The Horse’s Ha have announced “the first of several mini-tours this summer” per their PR. That sounds cool if we can get some more midwest dates!
Fri. July 3 — Chicago, IL @ Schuba’s w/ Castanets – Record Release Show
Mon. July 27 — Pittsburgh, PA @ Thunderbird Cafe
Tue. July 28 — Arlington, VA @ IOTA
Wed. July 29 — Philadelphia, PA @ Johnny Brenda’s w/ Illinois, The Builder and The Butcher
Thu. July 30 — Brooklyn, NY @ Bruar Falls w/ Hospitality
Fri. July 31 — Brooklyn, NY @ The Bell House w/ The Mekons
Sat. Aug. 1 — New York, NY @ Mercury Lounge w/ The Mekons
Sun. Aug. 2 — Cleveland, OH @ Beachland Tavern
Sat. Sep. 19 — Champaign, IL @ Pygmalion Festival

Click Here to Download “Asleep In A Waterfall” from Of The Cathmawr Yards
Click Here to Download “The Piss Choir” from Of The Cathmawr Yards

Click Here to read my review of Of The Cathmawr Yards.

Upcoming Show: Duncan Sheik at CSPS – Cedar Rapids, IA 3-3-09

Next Tuesday night in Cedar Rapids– March 3rd– at CSPS Duncan Sheik will be performing with his nine-member touring entourage. Sheik, whose single “Barely Breathing” was arguably the soundtrack of 1997, is touring in support of his latest release Whisper House, which was released on January 27th.

Whisper House started as a collaborative project to provide the music and lyrics for a musical with Keith Powell and Kyle Jarrow. After hearing the demos for the work, Sheik and his manager decided that this would be his next album. Whisper House is Sheik’s first actual solo album since 2006’s White Limousine.

2006 also saw the release of the soundtrack/score to the Tony-winning musical “Spring Awakening” in which Duncan provided the music to the lyrics by Steven Sater. It was this work that transformed how Duncan writes music, and certainly inspired this album, which will be the basis for a future production.

Whisper House is the story of ghosts of musicians who drowned while performing a Halloween Party in 1912 who are inhabiting a New England lighthouse during World War II and observe the living inhabitants of the lighthouse.

Duncan and his band will be stopping in Cedar Rapids on a tour run of similarly-sized venues across the US wrapping up on March 15th, in New York. The his set will span his eleven-year career including his musical and score work. Opening the show will be Lauren Pritchard who was an original member of the Broadway cast for Spring Awakening and is touring in support of her new album on Sony/BMG, which should be out soon, and will also be joining Duncan’s set performing songs from Spring Awakening.

The Tuesday-night show starts at 8PM and tickets are $28 in advance and $32 the day of the show. I’ll be there shooting pictures for an upcoming review.

Click Here for the Legion Arts page on the Duncan Sheik show and buy tickets.

Click Here for Duncan Sheik’s official website.

Click Here for Lauren Pritchard’s MySpace Page