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The Studio Recordings of the Miles Davis Quintet, 1965-68 par [Waters, Keith]
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The Studio Recordings of the Miles Davis Quintet, 1965-68 Format Kindle

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Longueur : 319 pages Word Wise: Activé Composition améliorée: Activé
Page Flip: Activé Langue : Anglais

Description du produit

Revue de presse

an extremely thorough, in-depth, and insightful analytical study. It is a major addition to the field of jazz studies (Benjamin Bierman, Journal of Jazz Studies)

Présentation de l'éditeur

The "Second Quintet" -- the Miles Davis Quintet of the mid-1960s -- was one of the most innovative and influential groups in the history of the genre. Each of the musicians who performed with Davis--saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams--went on to a successful career as a top player. The studio recordings released by this group made profound contributions to improvisational strategies, jazz composition, and mediation between mainstream and avant-garde jazz, yet most critical attention has focused instead on live performances or the socio-cultural context of the work. Keith Waters' The Studio Recordings of the Miles Davis Quintet, 1965-68 concentrates instead on the music itself, as written, performed, and recorded.

Treating six different studio recordings in depth--ESP, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro--Waters has tracked down a host of references to and explications of Davis' work. His analysis takes into account contemporary reviews of the recordings, interviews with the five musicians, and relevant larger-scale cultural studies of the era, as well as two previously unexplored sources: the studio outtakes and Wayne Shorter's Library of Congress composition deposits. Only recently made available, the outtakes throw the master takes into relief, revealing how the musicians and producer organized and edited the material to craft a unified artistic statement for each of these albums. The author's research into the Shorter archives proves to be of even broader significance and interest, as Waters is able now to demonstrate the composer's original conception of a given piece. Waters also points out errors in the notated versions of the canonical songs as they often appear in the main sources available to musicians and scholars. An indispensible resource, The Miles Davis Quintet Studio Recordings: 1965-1968 is suited for the jazz scholar as well as for jazz musicians and aficionados of all levels.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 7494 KB
  • Nombre de pages de l'édition imprimée : 319 pages
  • Pagination - ISBN de l'édition imprimée de référence : 0195393848
  • Editeur : Oxford University Press; Édition : 1 (11 mars 2011)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B004VEEO2G
  • Synthèse vocale : Activée
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  • Word Wise: Activé
  • Lecteur d’écran : Pris en charge
  • Composition améliorée: Activé
  • Moyenne des commentaires client : 3.0 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: n°280.015 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Format: Format Kindle Achat vérifié
The book is full of interesting informations. But in the kindle version, the scores are badly displayed (it's still readable though)
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Format: Format Kindle Achat vérifié
This book is the most insightful analysis of this harmonically challenging music. The author formulates hypothesises about the harmonic language and lets himself be guided by the melody, the soloing, the comping. I admire the fact that he never seeks to fit the music in a system, like the Schenker-analysis, the chord scale theory or mathematical modeling. He lets the music speak for itself. When he says, for example, that an E altered chord sets up a new F major tonic chord, he doesn't try to explain it. He shows you the beauty of the progression and when you play it, you grasp how much his analysis makes sense. This will help you break loose from all too rigid analysis-systems that we got used to. I find his writing very insightful and most inspiring.
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J'ai reçu ce livre aujourd'hui. Mais ce n'est pas le livre original. C'est un 'reprint', faites en Pologne. Ce ne serait pas un probléme, si on le savait avant de commander - je ne l'aurait pas fait ! -, mais ce n'est pas indiqué sur la page concernant. Aussi un autre livre sur Miles Davis que j'ai commandé avec, est imprimer en Pologne.
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Commentaires client les plus utiles sur (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards) 4.7 étoiles sur 5 7 commentaires
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Way too technical for me, but still enlightening 29 octobre 2016
Par H. Lim - Publié sur
Format: Broché Achat vérifié
In the common parlance, this book is strewed with "fly s***". Yes, it is highly technical with many illustrated examples that make my eyes glaze over slightly. I am far from educated in musical theory, knowing only some of the basics, and able to tootle along on my trumpet to a very limited degree. However, despite my eye-glazing, I recognise that this book clearly knows what it is on about. Keith Waters is himself a jazz musician as well as an academic, and his insight into the so-called "Second Great Quintet" of Miles Davis is unrivalled.

I have always admired the work of this quintet, one of the greatest jazz bands ever, if not THE greatest; but I have always had to admire them from a slight remove. A lot of their studio stuff is quite beyond my comprehension technically, and I just have to listen with a respectful silence. Well, this book certainly enlightened me on much of this great music.

For example, I learned from this book that:
- tunes such as "Orbits" from "Miles Smiles" lack a piano accompaniment largely because they rely on a technique called "Time No Changes", where after the head of the tune, the rhythm section continues the beat of the head (more or less) while the soloist feels free to mess around with the harmonic structure as they please. Maybe I am somewhat slow, but I never realised that most of the tracks from "Miles Smiles" lack piano accompaniments during the solos.
- "Pinocchio" has a very short solo by Wayne Shorter (only a few bars) but this solo is a tiny masterpiece of improvisation, each phrase building up from the last and ending up with Wayne transposing a short fragment of the head through several keys, the same way Coltrane did in "A Love Supreme."
- "Paraphernalia" from "Miles In The Sky" does not have a formal head, but consists only of several fragments of melody, between which the musicians put as much space as they please, willy nilly. The form also ends with a dramatic 3/4 segment that I had simply never noticed before - like the B section of "Masqualero", what masterly drama when the soloist enters the 3/4 segment!
- the sometimes maligned "Stuff" from the same album actually has a highly sophisticated head, consisting again of several fragments of melody that are enunciated in slightly different locations every time they are repeated(!) Never noticed that, but it explains why the head of this tune is so addictively listenable, even though it is effectively six minutes of the same basic melodic shards repeated over and over.

If you know music theory enough to follow, this must be a mesmerising book. I had to skip over quite a bit, and only was able to pick up the basics. Nevertheless if you really want to get into this band's unique music, there is no better source.
22 internautes sur 22 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Essential for Serious Listeners 7 avril 2011
Par W. Joness - Publié sur
Format: Relié Achat vérifié
Chances are if you have made it this far you are already aquatinted with Miles' second quintet, and you are a musician with at least some knowledge in thoery. And that is really all it takes to appreciate this book! The author has renewed my fascination for this music and helped me hear things I had not previously realized, despite countless listens.

The following is part of an email from the author that identifies specifically which parts of the recordings are analyzed:

"The book chapters are keyed to the individual studio recordings. The E.S.P. chapter deals with "Iris" (composition and Shorter solo), "Little One" (composition and Davis solo), "E.S.P." (composition and Hancock solo), and "Agitation" (composition and a portion of Shorter's solo). The Miles Smiles album examines "Dolores" (composition, Davis solo, and beginning of Shorter solo), "Orbits" (comp, end of Davis solo, Shorter solo, and beginning of Hancock solo), "Circle" (composition and portion of Hancock solo), "Ginger Bread Boy" (Carter accompaniment), and "Freedom Jazz Dance."

"Vonetta" (comp and Shorter solo)
"Prince of Darkness" (comp, Davis and Hancock solos)
"Pee Wee" (composition)
"Masqualero" (composition and form during improvisation)
"Limbo" (composition and alternate take)

"Hand Jive" (comp and Davis solo)
"Nefertiti" (as circular tune)
"Madness" (comp and Hancock solo)
"Pinocchio" (comp and Shorter solo)
"Riot" (form during improvisation)

Miles in the Sky and Filles de Kilimanjaro
"Country Son" (form)
"Paraphernalia" (form)
"Black Comedy" (form and Hancock solo)
"Stuff" (form during head statements)
"Petits Machins" (composition and Davis solo)
"Tout de Suite" (composition)
"Filles de Kilimanjaro" (composition)""

The next chapter on analytic strategies is almost worth the price of the book alone. The only drawback is the sparse analysis of Tony's playing, which the author acknowledges.

For the serious listener, The Studio Recordings of Miles Davis 65-68 is an essential tool for acquiring a more complete understanding of this wonderful music.
18 internautes sur 18 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Must Read For Those Who Love Miles Davis 3 mai 2011
Par msticdrumr - Publié sur
Format: Broché Achat vérifié
This book is especially useful for musicians seeking some measure of understanding in the creative process and evolution of America's greatest cultural contribution to the world. The focus is on, in my opinion, the most intriguingly creative, consistently adventurous, and intrepid quintet Miles ever engaged in.

To read about the mechanics of creative processes in each of these most amazing musicians and how they coalesce into a single ever-changing musical entity with Miles navigating their journey into uncharted zones is insightful enough, but to then play the various tunes in the background or looped for closer comparison as you read about those tunes is an adventure.

It is technical and challenging to get through but, if you are really interested in getting inside the heads of these true geniuses, this is as close as it gets. It is a study in how five dynamic leaders, in their own rights, converged to make music history and magic that transcends time and space. I'm glad somebody took the time and effort to shine a light on this stellar quintet and the years they shone in the studio and in live performances during Miles Davis's incredible career!
13 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Outstanding analysis 18 mai 2011
Par Steven Chall - Publié sur
Format: Relié Achat vérifié
This is the best analysis I've seen of any of Miles's music so far. The author seems to have an excellent ear and superhuman diligence. It's not an easy book, but it's not an easy subject, and I've found my own persistence richly rewarded. To the limits of my understanding the musical transcriptions are completely accurate (a rare phenomenon, especially in light of the complexity of this music) and the author's reflections on them are consistently penetrating and enlightening, even if the language occasionally seems a bit academic for the subject matter. I suppose that's not unreasonable considering the likely audience. Besides, how else do you talk about this stuff, if you're going to talk about it at all? And I'm glad he's talking about it.

Thanks to this book I'm hearing new things in pieces I've been listening to for decades. Just one example: Wayne Shorter's "Iris" has a structure during the head that's augmented in the solo sections with the head structure appended at double speed, so that a solo chorus is 1-1/2 times the length of a head chorus. Shorter ends his solo, not where a solo chorus would end, but where the head would have ended, leaving Herbie Hancock and Ron Carter dangling. For the next several bars, they're not clear on whether they're starting over at the beginning of a new solo chorus or finishing the previous one first. I never realized this was happening, despite hundreds of listens, until I read this book.

What's even more remarkable, and a testimonial to the superb musicianship of the players in this group, is that it still sounds good anyway. And that's the ultimate value of this book for me, that the author's admirable scholarship is enlisted in the service of deepening our understanding and enjoyment of this magnificent ensemble.

One personal disappointment, but by no means a criticism, is that the author gives relatively little space to several of my favorite tunes, for example, "Eighty-One," "Footprints," and "Mood." I think that's not a coincidence, however: one big reason I like those songs so much is that they're relatively accessible (respectively, two blues progressions and a fairly simple form rigidly adhered to). As such, they're more easily understood and we thus might not benefit as much from the author's insights. Or you could say those tunes are just too easy for him.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Real technical details! 29 janvier 2013
Par Harold Carr - Publié sur
Format: Broché Achat vérifié
You won't get any "they play with passion, energy, blah, blah, blah" descriptions. Instead, real chords, notes, analysis - the real deal. Probably only interesting to musicians - but excellent!
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