Podcasts about in a silent way

    This year we've had quite a variety of mixes here at LLM headquarters. From underwater ambient to space rock guitar to alternative soundtracks to Thai funk/soul/psychedelia/surf rock. Now we take another turn, this time to atmospheric jazz.  I've done similar mixes in the past with Halloween sets and the original Mysterioso mix 7 years ago - https://www.mixcloud.com/lowlight/mysterioso/ This set comes to us from Kevin, a loyal listener & a man with excellent taste in music. He has provided us with three other great mixes, which you can find here: https://lowlightmixes.blogspot.com/2020/07/not-seeing-is-flower.html https://lowlightmixes.blogspot.com/2022/01/hymns-voices.html https://lowlightmixes.blogspot.com/2021/07/cello-mood-swings.html Here's what Kevin has to say about his mix: "I was trying to put together an atmospheric, classic jazz mix of tunes inspired from a slowed down and reverb version of Glenn Miller's Moonlight Serenade. However, I had some trouble finding the tracks which matched what I had in mind. This ambient jazz mix happened instead. There are a couple of ‘classics', Duke Ellington's haunting Solitude (1934) and Miles Davis' ethereal In A Silent Way (1969).  The other tracks are fairly recent in comparison but all have a loose jazz theme. Once I had finished the mix I discovered the Low Light Mysterioso mix which has a very similar feel and thinking behind it, dark, ambient, brooding, atmospheric. So here is Mysterioso 2 hope you enjoy listening." Thanks for the excellent mix, Kevin. Cheers!   T R A C K L I S T : 00:00    Dale Cooper Quartet - Une Petit Cellier 05:00    Fausto Illusion Orchestra - Someone sang and slowly 10:38    Kilimanjaro Dark jazz ensemble - The Nothing Changes 15:18    Black Chamber - Teleology 19:30    Duke Ellington - Solitude 22:38    Dictaphone - Opening Night 27:03    Angelo Badalamenti - Dance of the Dream Man 30:14    Bohren and Der Club of Gore - Constant Fear 36:25    Michael Andrews - Liquid Spear Waltz 38:26    Manet - Zygomatic Bones For days 46:12    Trigg and Gusset - Promenade 50:28    Miles Davis - Silent Way(edit) 54:30    Somewhere off Jazz Street - Rest Your Head 59:43    end

En este episodio Jota y Luis reseñan In A Silent Way de Miles Davis. Hablan de todo lo que estaba pasando en la escena del jazz para ese momento y toda lo que trajo Miles Davis a su género. Analizan el álbum y a todos sus músicos. www.patreon.com/acordesyrimas

Sperber Dan highlights new and recent releases and a few classics, does some jazzplaining about ‘In A Silent Way' with Laura Biding-Citizen, then takes us op shopping in West Auckland and spins the week's vinyl finds. (New releases and classics) Sunlight - The Golden Eternity Wild Horses - Javier Malosetti Routes To Knowledge - The Golden Eternity Drum VS Tide - Salin Sugarcane Funk - Salin  Moewe - Löwenzahnhonig Wildfire - Kresten Osgood Sibomandi (feat. Fallo Nioke) - Alabaster De Plume One For Mganga - Mike Clarke  Nakuru - Niclas Knudsen Existe Uma Voz - Rogê Eu Só Quero um Xodó - Gilberto Gil In A Silent Way - Joe Zawinul In A Silent Way - Miles Davis (Op shop LPs) Am I Blue - George Barnes (From Velvet Guitar) 123 - Alan Haven (From Organ Magic) Cadenza - Peter Thomas Sound Orchestra (From Presents) Mambo Garner - Errol Garner (From Mambo Moves Garner) The Good The Bad And The Ugly - Basil Henriques and the Waikiki Islanders (From Hawaiian Honeymoon) Roda - Sergio Mendes and Brasil 66 (From Look Around) Ebony Jam - Tower Of Power (From In The Slot) Besame Mucho - Herb Alpert (from Magic Man) Sugar - Ernie Wilkins and the Almost Big Band (From S/T LP) Texture - Dizzy Gillespie (From Closer To The Source) Norwegian Wood - Alan Haven (From Organ Magic) Easy Listening - Shieldstone (From S/T LP)  

Allegato al numero di aprile del mensile Musica Jazz, esce in cd "more miles to go", un lavoro concepito e realizzato da Walter Prati, con la sua Experimental Music Company. Il riferimento a Miles Davis è duplice: nella scelta delle composizioni rivisitate (Nardis, In A Silent Way, Solar...), ma anche nel procedimento di post-produzione con cui i brani sono stati elaborati, che richiama il lavoro d'avanguardia del produttore Teo Macero su album di Miles Davis come Bitches Brew e On The Corner. Ospiti in studio a parlarci di "more miles to go" (che sarà presentato dal vivo a Milano il 28 aprile alla Fabbrica del vapore) Walter Prati e Daniele Cavallanti, uno dei musicisti coinvolti in questo progetto.

Writers Collin and Nick join the show to chat about their new jazz film, In A Silent Way. These two friends wanted to make a film about a misguided man trying to become a jazz legend, and the results are hilarious. Rob Cope finds out more. The film can be found here on Amazon:https://www.amazon.com/gp/video/detail/B0B1DKBNLG/ref=atv_dp_share_cu_rAnd on Apple TV:https://tv.apple.com/us/movie/in-a-silent-way/umc.cmc.1k8uya2603ckgxyu68bxljns4Support the show

The Jazz Session No.266 from RaidersBroadcast.com as aired in July 2022, featuring the superb Joe Zawinul live album “Brown Street”, from 2006, which includes top-notch big band arrangements of pieces he wrote for Miles Davis, Weather Report and others. TRACK LISTING: Sunny Monday - Tubby Hayes; I Want to Talk About You - John Coltrane; Straighten Up and Fly Right - Nat King Cole; Gin House Blues - Nina Simone; In A Silent Way [comp. for Miles Davis] - Joe Zawinul; Fast City - Joe Zawinul; Sweet Sue Just You - Chris Barber; Night and Day - Wilbert Baranco and his Rhythm Bombardiers; 500 Miles High - Chick Corea and Return to Forever; Caravan - Oscar Peterson; Fly Fly - Maria Kannegaard Trio; The Energy of Life - Matthew Halsall; Yardbird Suite - Gerry Mulligan; Don't Blame Me - Charlie Parker; A Remark You Made [comp. for Weather Report] - Joe Zawinul; Procession - Joe Zawinul; Prisoner of Love - Coleman Hawkins & Ben Webster; St.Louis Blues - Duke Eillington's Spacemen; Johnny Come Lately - Dizzy Gillespie; Yesterday's Dreams - Freddie Hubbard.

Weather Report was one of the most prominent bands of the 70's and 80's . It existed from 1970 to 1986 and was initially begun as an idea from pianist/composer Joe Zawinul, saxophonist/composer Wayne Shorter and virtuoso bassist/composer Miroslav Vitous. They were initially inspired by the late 70's music of Miles Davos from his "In A Silent Way" album and his ground breaking "Bitches Brew" recording. All three had worked with Miles. The three principals foresaw a new vision for Jazz moving away from many of the more traditional forms plus the use of electronic instruments such as the electric bass and synthesizer. For want of a better definition, their music was called "Jazz Fusion". Alphonse Mouzon was their first drummer very soon replaced by Eric Gravatt and various percussionists were tried by finally Brazilian master Don Um Romaro was the ideal. Tonight's Jazz feature is from a concert in Tokyo recorded in January of 1972 and represents Weather Report at it's early artistic best before it began to use more R&B and funk elements and catered to a wider audience. The music moves through a variety of moods and tempos and is very dynamic and open. This album was only available in Japan for many years but finally issued domestically in the CD era. Enjoy Weather Report tonight!.

This season on the Burning Ambulance Podcast, we're going to have a single subject we're going to be exploring through all ten episodes, and that subject is fusion.Fusion, of course, is a term that means different things to different people. When most people hear it, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex members of Miles Davis's band that played extremely complex compositions that were sometimes closer to progressive rock than to jazz, but which still left room for extended improvisation. What's interesting about that positioning is that it's very easy to draw lines between that stuff and the music being made by Yes, King Crimson, Emerson, Lake & Palmer, and Santana, all of which gets filed under just plain rock. And if you extend the boundaries out just a little bit further, you get to the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All-Stars were making at the same time. Or think about some of the really adventurous funk and R&B that was being made by Earth, Wind & Fire, Parliament and Funkadelic, the Ohio Players, Slave, the Isley Brothers... This is what's so interesting to me about fusion, is that at its best it's about all kinds of musical boundaries being knocked down.I recently spent some time listening to a whole bunch of albums by keyboardist George Duke, released on the MPS label between about 1971 and 1976. Duke was a really fascinating figure, because he traveled between worlds to really unprecedented degree. He had his own trio in the late 60s, and somehow or other hooked up with electric violinist Jean-Luc Ponty. They made an album together, and the gigs they played in L.A. brought them to the attention of Frank Zappa and Cannonball Adderley, two people who couldn't have been doing more different things. But Zappa hired Ponty to play on Hot Rats, and then wrote and produced an entire album, King Kong, on which Ponty played Zappa's compositions, and George Duke was the keyboardist on that record. And after that, both Zappa and Cannonball Adderley – who, don't forget, had Joe Zawinul in his band before that, who composed “In A Silent Way” and played with Miles Davis, and formed Weather Report with Wayne Shorter – both Adderley and Zappa wanted George Duke in their bands. He wound up taking both gigs, doing two years with Zappa, then two years with Adderley, then going back to Zappa's band for three or four more years. He had left the group by 1975, though, so he was not part of the concerts recorded for the album Zappa In New York. But Randy Brecker was.Brecker and his brother, saxophonist Michael Brecker, who died in 2007, worked together in dozens if not hundreds of contexts from the late Sixties to the Nineties. They were both part of that Zappa concert, which was related to their being part of the Saturday Night Live band at the time; they played on a million recording sessions for everyone from Aerosmith to Bette Midler to Aretha Franklin to Lou Reed to Dire Straits to Donald Fagen. They were part of drummer Billy Cobham's band in the early to mid '70s, playing on Crosswinds and Total Eclipse and Shabazz and A Funky Thide Of Sings. And right around that same time, they formed the Brecker Brothers band and made a string of albums for Arista that were extremely successful. Now, what matters for the purposes of this introduction is that the side of fusion the Brecker Brothers represented was very different from the Mahavishnu Orchestra, Return to Forever, Weather Report side. That was, for lack of a better term, white fusion. It was marketed to white rock audiences. Those bands toured with rock bands. They played arena concerts. Lenny White talked about it in the previous episode of this podcast — the members of Return to Forever hung out with members of Yes. On the other side of the coin, there was black and Latin fusion. Like I said above, there was some incredibly challenging music being made under the headings of salsa and Latin jazz in the 70s – you should check out the episode of this podcast where I interviewed Eddie Palmieri to hear more about that, as well as the episode with Billy Cobham, where he talks about performing with the Fania All-Stars. There are funk records that are every bit as complex as prog rock. Jazz artists like Donald Byrd and Freddie Hubbard, George Duke and even Joe Henderson were all making records that can really only be described as fusion in the early 70s, and that's without even getting into what Miles Davis was doing, particularly with his live band from 1973 to 1975. But except for George Duke, who actually had Frank Zappa cut a couple of guitar solos on his 1974 album Feel, they were drawing more from funk than from rock, and they were marketed more to black audiences than white. And as Randy Brecker explains in this interview, that was where the Brecker Brothers fell. They had more success on black radio and on the R&B chart than in the rock world. Now, eventually, that more funk-oriented, R&B-oriented side of fusion slid in an explicitly commercial, radio-friendly direction, and a lot of it ended up as smooth jazz. Which is to some degree why the term is vilified in some quarters today. But that doesn't take anything away from the good stuff, and Randy Brecker has been involved with some very good records over the years.This was a really fun conversation that went in some very interesting directions. I hope you enjoy listening to it.Music in this episode: The Brecker Brothers, “Some Skunk Funk” (Heavy Metal Be-Bop)Billy Cobham, “Taurian Matador” (Shabazz)The Brecker Brothers, “Sneakin' Up Behind You” (The Brecker Brothers)

This season on the Burning Ambulance Podcast, we're going to have a single subject we're going to be exploring through all ten episodes, and that subject is fusion.Fusion, of course, is a term that means different things to different people. When most people hear it, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex members of Miles Davis's band that played extremely complex compositions that were sometimes closer to progressive rock than to jazz, but which still left room for extended improvisation. What's interesting about that positioning is that it's very easy to draw lines between that stuff and the music being made by Yes, King Crimson, Emerson, Lake & Palmer, and Santana, all of which gets filed under just plain rock. And if you extend the boundaries out just a little bit further, you get to the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All-Stars were making at the same time. Or think about some of the really adventurous funk and R&B that was being made by Earth, Wind & Fire, Parliament and Funkadelic, the Ohio Players, Slave, the Isley Brothers... This is what's so interesting to me about fusion, is that at its best it's about all kinds of musical boundaries being knocked down.I recently spent some time listening to a whole bunch of albums by keyboardist George Duke, released on the MPS label between about 1971 and 1976. Duke was a really fascinating figure, because he traveled between worlds to really unprecedented degree. He had his own trio in the late 60s, and somehow or other hooked up with electric violinist Jean-Luc Ponty. They made an album together, and the gigs they played in L.A. brought them to the attention of Frank Zappa and Cannonball Adderley, two people who couldn't have been doing more different things. But Zappa hired Ponty to play on Hot Rats, and then wrote and produced an entire album, King Kong, on which Ponty played Zappa's compositions, and George Duke was the keyboardist on that record. And after that, both Zappa and Cannonball Adderley – who, don't forget, had Joe Zawinul in his band before that, who composed “In A Silent Way” and played with Miles Davis, and formed Weather Report with Wayne Shorter – both Adderley and Zappa wanted George Duke in their bands. He wound up taking both gigs, doing two years with Zappa, then two years with Adderley, then going back to Zappa's band for three or four more years. He had left the group by 1975, though, so he was not part of the concerts recorded for the album Zappa In New York. But Randy Brecker was.Brecker and his brother, saxophonist Michael Brecker, who died in 2007, worked together in dozens if not hundreds of contexts from the late Sixties to the Nineties. They were both part of that Zappa concert, which was related to their being part of the Saturday Night Live band at the time; they played on a million recording sessions for everyone from Aerosmith to Bette Midler to Aretha Franklin to Lou Reed to Dire Straits to Donald Fagen. They were part of drummer Billy Cobham's band in the early to mid '70s, playing on Crosswinds and Total Eclipse and Shabazz and A Funky Thide Of Sings. And right around that same time, they formed the Brecker Brothers band and made a string of albums for Arista that were extremely successful. Now, what matters for the purposes of this introduction is that the side of fusion the Brecker Brothers represented was very different from the Mahavishnu Orchestra, Return to Forever, Weather Report side. That was, for lack of a better term, white fusion. It was marketed to white rock audiences. Those bands toured with rock bands. They played arena concerts. Lenny White talked about it in the previous episode of this podcast — the members of Return to Forever hung out with members of Yes. On the other side of the coin, there was black and Latin fusion. Like I said above, there was some incredibly challenging music being made under the headings of salsa and Latin jazz in the 70s – you should check out the episode of this podcast where I interviewed Eddie Palmieri to hear more about that, as well as the episode with Billy Cobham, where he talks about performing with the Fania All-Stars. There are funk records that are every bit as complex as prog rock. Jazz artists like Donald Byrd and Freddie Hubbard, George Duke and even Joe Henderson were all making records that can really only be described as fusion in the early 70s, and that's without even getting into what Miles Davis was doing, particularly with his live band from 1973 to 1975. But except for George Duke, who actually had Frank Zappa cut a couple of guitar solos on his 1974 album Feel, they were drawing more from funk than from rock, and they were marketed more to black audiences than white. And as Randy Brecker explains in this interview, that was where the Brecker Brothers fell. They had more success on black radio and on the R&B chart than in the rock world. Now, eventually, that more funk-oriented, R&B-oriented side of fusion slid in an explicitly commercial, radio-friendly direction, and a lot of it ended up as smooth jazz. Which is to some degree why the term is vilified in some quarters today. But that doesn't take anything away from the good stuff, and Randy Brecker has been involved with some very good records over the years.This was a really fun conversation that went in some very interesting directions. I hope you enjoy listening to it.Music in this episode: The Brecker Brothers, “Some Skunk Funk” (Heavy Metal Be-Bop)Billy Cobham, “Taurian Matador” (Shabazz)The Brecker Brothers, “Sneakin' Up Behind You” (The Brecker Brothers)

Bienvenidos amantes de la música, Armando "Chick" Corea nos dejó hace un año, el 9 de Febrero de 2021. Nacido en Massachussets en 1941, de padres con origen italiano, fue un embajador de los ritmos latinos y el flamenco. En su larga carrera fue un precursor del Jazz Rock en la banda de Miles Davis (grabó en "In A Silent Way" y en "Bitches Brew") era tan versátil para tocar acústico o eléctrico e incursionó prácticamente en todos los estilos de Jazz. Durante los años 70 su banda "Return to Forever" acercó el jazz al gran público. Y además de todo lo anterior es uno de nuestros héroes del jazz, con quién nos iniciamos escuchando y queremos visitar su música en una selección de nuestros temas favoritos. Les invitamos a este homenaje. Los temas son: 1. Windows 2. La Fiesta (con Stan Getz) 3. Armando's Rhumba (con Jean Luc Ponty) 4. Short Tales of the Black Forest (con Al Di Meola) 5. Medieval Overture (Return to Forever) 6. Spain (Versión alternativa, Return to Forever) *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a material exclusivo y primicias que publicaremos regularmente) * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico * Me gusta, Comparte y Comenta

Economist Tim Harford discusses with Ivan six things which he thinks should be better known. Tim Harford is an economist, journalist and broadcaster. He is author of How To Make the World Add Up, The Data Detective, Messy, and the million-selling The Undercover Economist. Tim is a senior columnist at the Financial Times, and the presenter of BBC Radio's More or Less, How To Vaccinate The World, and Fifty Things That Made the Modern Economy, as well as the podcast Cautionary Tales. Tim has spoken at TED, PopTech and the Sydney Opera House. He is an associate member of Nuffield College, Oxford and an honorary fellow of the Royal Statistical Society. Tim was made an OBE for services to improving economic understanding in the New Year honours of 2019. Bill Phillips https://timharford.com/books/undercovereconomist-strikes-back/ In A Silent Way https://www.rollingstone.com/music/music-album-reviews/in-a-silent-way-181826/ Fermi problems https://www.innovativeteachingideas.com/blog/an-excellent-collection-of-fermi-problems-for-your-class Dragon Warriors https://en.wikipedia.org/wiki/Dragon_Warriors The versatility of paper https://timharford.com/books/50things/ Lyonnesse by Jack Vance http://king-conan-review.blogspot.com/2015/07/the-complete-lyonesse-by-jack-vance.html This podcast is powered by ZenCast.fm

Invité : Gwenaël Breës, réalisateur du documentaire « In A Silent Way », documentaire dans lequel il arpent l'Angleterre pour tenter de percer le mystère qui entoure Talk Talk et son chanteur, Mark Hollis. Une séquence réalisée par Jonathan Remy

Invité : Gwenaël Breës, réalisateur du documentaire « In A Silent Way », documentaire dans lequel il arpent l'Angleterre pour tenter de percer le mystère qui entoure Talk Talk et son chanteur, Mark Hollis. Une séquence réalisée par Jonathan Remy

a cura di Gigi Longo. Puntata dedicata a Miles Davis nel trentennale della scomparsa. Brani da The Complete In a Silent Way Sessions, The Complete Bitches Brew Sessions, The Complete Jack Johnson Sessions, The Complete On the Corner Sessions

Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSSGav and Tom listen to Side B of In A Silent Way, a milestone album in the music of Miles Davis and a monument marking the beginning of the era of jazz-rock.Media discussed in the show.In the case of recordings, if it says “available in all formats”, that usually means that it's been repressed on vinyl recently. “Available in most formats” will mean that the record is available as a CD, on Spotify or, as a last resort, on Youtube; vinyl will usually be available secondhand through Discogs or your friendly neighborhood record shop.RECORDINGS* 1969 Miles Davis - The Complete “In A Silent Way” Sessions - Sony These are in a boxed set of three CD's for, I kid you not, 129 US dollars on Amazon, although they can be found online for around 50. The complete material is available to stream for the usual Price. The version of “In A Silent Way” that was issued in 1969 is available in all formats.* 1968 Miles Davis - Miles In The Sky - LegacyEasily available in all formats* 1968 Miles Davis - Filles de Kilimanjaro - LegacyEasily available in all formats* 1981 Miles Davis - We Want MilesEasily available in all formats* 1964 Miles Davis - Miles Davis Live in Europe. Columbia (and others)Easily available in most formats.* 1967 Miles Davis - Circle in the Round (Album released 1979)Still available in most formats.* 1985 Miles Davis - Aura (Album released 1989)Available on most formatsYOUTUBE* Miles Davis- Live in Tokyo 1981The band that made “We Want Miles” on Japanese TV. Taken from a VHS, but quite acceptable sound quality.* It's About That Time - The Evolution of the Groove 2007A remixed version of the track, featuring Santana. By all rights, we should hate this, but we really love it!* 1968 Gordon Beck Quartet - Experiments With PopsOriginally released on Major Minor Records in the UK, was remastered and released on CD by CD Baby in the UK and in the US by Art of Life Records. Well worth a listen. A good candidate for a re-release on 180 gram vinyl, if anyone's looking for an idea for a Record Day Drop!* Danny Thompson Trio BBC 1967It looks like this, or something like it, was released on CD but might now not be available. There is, however, a video on YouTube at the moment, a BBC broadcast and well worth a listen.* Frank Zappa - Joe's Garage, Acts 1,2,3. 1978. Zappa RecordsAvailable in any format.* Frank Zappa - Shut Up An' Play Yer Guitar 1981. Zappa RecordsAvailable in any format.* Ilhan Mimaroglu/Freddie Hubbard- Sing Me A Song Of Songmy - Atlantic 1971Was out of print for a while, but is now available in CD and Vinyl format, but you need it in vinyl so that you can read the interior of that gate-fold inner sleeve!* Jon Hassell - Last Night the Moon came dropping its Clothes in the street - ECM Records 2008Available as stream or mp3 download - CD and Vinyl commanding impressive prices secondhand!BOOKS , INTERVIEWS AND OTHER MEDIA* Miles - The Autobiography. Miles Davis with Quincy TroupeSimon and Schuster. 1989* So What: The Life of Miles Davis. John SzwedArrow Books. 2002* Interview with John Mclaughlin about the recording of "In a Silent Way"Subscribe to Gas GiantsRSS https://api.substack.com/feed/podcast/311033.rss This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

CAPTAIN BILLY’S MAGIC 8 BALL A new series created by William Mesnik, the mind behind “Mesmerized”. "MY BEST ACID TRIP" EPISODE #5: IN A SILENT WAY by Miles Davis (Columbia, 1969)

A show in tribute to the late, great Chick Corea. Wear headphones.  Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Sorceress - Instrumental by Return To Forever on Romantic Warrior (Sony) 5′00″ Vulcan Worlds - Live by Return To Forever on Returns (Eagle Rock) 21′00″ In a Silent Way by Miles Davis on In A Silent Way (Sony) 40′50″ Con Alma by Stan Getz; Chick Corea; Bill Evans on Sweet Rain (UMG) 53′12″ 500 Miles High - Live by Chick Corea; Christian McBride; Brian Blade on Trilogy 2 (Live) (Concord Jazz) 64′27″ Night Sprite by Chick Corea on The Leprechaun (UMG) 72′44″ Petits Machins (Little Stuff) by Miles Davis on Filles De Kilimanjaro (Sony) 84′06″ Sundance by Chick Corea on The Complete "Is" Sessions (Capitol) 94′00″ Wake-Up Call by Chick Corea; Steve Gadd on Chinese Butterfly (Stretch Records) 112′00″ The Continents by Chick Corea & Tim Garland on Complete Chick Corea On Deutsche Grammophon (Deutsche Grammophon) 124′03″ I've Got The World On A String - Live by Chick Corea; Bobby McFerrin on The Musician (Live) (Stretch Records) Check out the full archives on the website.

You can find episodes on frondsradio.com and be sure to subscribe on iTunes, Google Play, Stitcher, or wherever you get your podcasts. If you have any suggestions or thoughts, my twitter handle is @stoopkidliveson and I’d love to hear from you. You can find Ryan’s band, Premium Heart, on facebook, twitter, or instagram for upcoming releases and shows. The original column was published on January […]

Où l'on révolutionne. Références du morceau : «Shhh/Peaceful», Miles Davis (composition Miles Davis) 1969. Quelques liens vers des morceaux incontournables de la période électrique de Miles Davis :- «In A Silent Way», album In A Silent Way (1969)- «Pharaoh’s Dance», album Bitches Brew (1970)- «Call It Anything», album Isle Of Wight (1970)- «Go Ahead John», album Big Fun (1974)- «Prelude», album en concert Agharta (1975)

Miles Davis - “In A Silent Way” from In A Silent Way, 1971 Columbia Brother Jack McDuff - “Silk And Soul” from Silk And Soul, 1965 Presige Jon Hendricks - “Gimme That Wine” from Recorded In Person At The Trident, 1965 Smash John Murtaugh - “Blues Current” from Blues Current, 1970 Polydor Linda Herre - “Part of My Life” from Now & Then, 1976 Four Eyes (Self-released) Miroslav Vitous - “Epilogue” from Mountain In The Clouds, 1970 Embryo Young-Holt Unlimited - “I'm Still Here” from Oh Girl, 1973 Atlantic Jae Mason - “Woman (You've Gotta Be There)” from Tender Man, 1975 Buddah Coleman Hawkins - “How Long Has This Been Going On?” from The Essential Coleman Hawkins, 1964 Verve Eddie Harris - “Really” from‎ Come On Down!, 1970 Atlantic BREAK - Peter Walker, Rainy Day Raga, 1967 Vanguard Stephen Stills (of CSN!) & Manassas - “Pensamiento” from Down The Road, 1973 Atlantic Irakere - “Chekeré Son” from Chekeré Son, 1979 Milestone Dave Mackay (Dave is blind. From Van Nuys!) & Lori Bell Sextet - “Now” from Take Me To Brazil, 1992 Discovery Donny Hathaway - “Love, Love, Love” from Extension Of A Man, 1973 ATCO Gary Burton - “Las Vegas Tango” from Good Vibes, 1970 Atlantic Don Friedman Trio - “So In Love” from Circle Waltz, 1962 Riverside Joni Mitchell - “Ladies Of The Canyon” from Ladies Of The Canyon, 1970 Reprise John Coltrane - “Lush Life” from Lush Life, 1984 Prestige Sandy Nassan - “Here's That Rainy Day” from Just Guitar, 1970 Embryo Sedaka - “What Have They Done To The Moon” from Emergence, 1971 Kirshner

In A Silent Way, l'Odyssée électrique de Miles Davis     Ci-dessus: Miles Davis joue en live un extrait de In A Silent Way en 1970.   Cette semaine dans 59 Rue des Archives, nous célébrons les cinquante ans d'un disque qui a tout changé. Lorsqu'il franchit la porte du “Columbia Studio B” de New-York, au matin du 18 Février 1969, Miles Davis ne se doute pas qu'il va ouvrir la boîte de pandore : Claviers, orgues, guitare ? C'est un déluge d'instruments électriques qui s'abat sur je jazz ! Enregistré avec un groupe sensationnel, “In A Silent Way” va réussir cette prouesse de dynamiter les codes tout en douceur: Climats aériens, couleurs chatoyantes et mystérieuses comme une pluie de néons ? “In a Silent Way” serait en quelque sorte le “Kind Of Blue” électrique, préquel au mythique Bitches Brew et pavant la voie pour toute la fusion des années 1970. Pensé par Miles Davis avec son producteur Teo Macero, un chirurgien de la bande magnétique, "In A Silent Way" va changer la donne… Et faire dire à un fameux critique de Rolling Stone : “Ce disque est l'un de ceux qui vous donnent foi dans le futur de la musique”. Étagère n°4... Boite n°1… Dossier MD1969… In A Silent Way, l'Odyssée Électrique de Miles Davis.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Tonight begins a month of music that reflected some of the bands and the changes that were happening in Jazz music in the late 1960s and early 1970s. Rock and funk music and electric instruments were being absorbed into Jazz by various bands but the real mover and shaker was Miles Davis, whose music was undergoing a major transformation. Gone were the old tunes and the mainly acoustic instruments. The music of "Miles In The Sky", "Filles of Kilimanjaro", "In A Silent Way" and of course "Bitches Brew" were about the changes in Miles' music. The next step was to play those concepts with an increase in energy and volume and that is what tonight's Jazz Feature is about. It is a set recorded at the famous New York rock palace, Fillmore East, with his working band of 1970. Davis on open trumpet with a 19 year old wonder on tenor and soprano saxophones, Steve Grossman. Two great keyboard wizards are on board playing a variety of electric keyboards, Keith Jarrett and Chick Corea. Dave Holland on acoustic and electric bass, Jack DeJohnette on drums and Airto Moreira on percussion, flute and vocal. This is a complete and unedited set as played at the Fillmore East and points at future directions by the mercurial Mr. Davis. Check it out tonight and tune in on successive shows in April for more of the early happenings in what became known as "fusion".

This band, led by Miles Davis reveals his complete move to original material and his complete transformation of his music bringing in elements of rock and funk and mixing electric and acoustic instruments. It is really in this writer's opinion one of his finest electric post "Bitches Brew" bands. It was not well represented on records until Columbia issued this set of 6CDs in 2005 called "Miles Davis-The Cellar Door Sessions-1970". The band includes Mr.Davis on trumpet, Gary Bartz on alto and soprano saxophones, Keith Jarrett on Fender Rhodes Electric Piano and Fender Electric Organ, Michael Henderson on electric bass and Jack DeJohnette on drums, The band unlike some of Davis' bands from his post 70s period is cohesive and exhibits real direction by all concerned and everyone's solos are worth hearing. This music is the logical outgrowth of "In A Silent Way" and "Bitches Brew" and "Miles At Fillmore". Hop on and enjoy the ride with this complete set recorded at Washington D.C.'s Cellar Door. Miles ahead!

This album marked a change and impending changes in Miles Davis music and his life. It also was the last recorded statement of the Second Great Quintet. The album is often overlooked and yet it is a rather profound musical journey. The recording took place in two different sessions. The first from June of 1968 consists of three new Miles Davis compositions recorded over three days. These were the final recorded statements from the Second Great Quintet. The changes were not only the tunes but the instrumentation, Herbie Hancock is now playing Fender-Rhodes Electric Piano and Ron Carter is playing only electric bass. Carter departed a few weeks after these recordings as he preferred not to play the electric but he and Davis remained on good terms. The three tunes reflect the concept changes by Miles and are both introverted and outgoing and are graced with changing rhythms. The tunes have all French names too. They are (1) Petits Machins (2) Tout de Suite and (3) Filles de Kilimanjaro. Thr second session took place in September of 1968 and there were two new people in the working quintet. Chick Corea took over from Hancock and Corea played an RMI Electra Piano which sounded like an acoustic and a harp. From London, England Miles brought in Dave Holland on acoustic bass. Two tunes were recorded here and both of these Davis compositions were dedicated to Miles' new wife, Betty Mabry. The tunes are (1) Madamoiselle Mabry and (2) Frelon Brun (aka Briown Hornet). These dates led to "In A Silent Way" and then a quick step to "Bitches Brew" and a new phase for Miles Davis was opened and the rest is history. This album stands as an overlooked masterpiece and is worth your time.

00:00 Piranhas*^ [12.31.14 - Atlanta, GA] 05:14 Intentions Clear&% > 14:26 In A Silent Way& 16:21 Great American& [1.17.15 - New York, NY] 23:40 Hang Up Your Hang Ups#^ [12.31.14 - Atlanta, GA] 31:08 Dump City^ [1.30.15 - Cincinnati, OH] 41:12 Bullhead City@ [2.5.15 - Chattanooga, TN] 46:11 Wappy Sprayberry [1.29.15 - Knoxville, TN] 59:13 Rocker part II [2.6.15 - Nashville, TN] Notes: * first time played (original) ^ with Mad Dog's Filthy Little Secret & with Joshua Redman % with 10th Grade teases # first time played (Herbie Hancock) @ with Jen Hartswick Total Running Time 73:48

This recording done by Miles Davis and his "Second Great Quintet" was the first recorded evidence that a musical change was in the air. The quintet, of course, consisted of Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and the amazing Tony Williams on drums. There are only four long tracks on this recording and we'll hear them in chronological order as they were done at different recording sessions for Columbia Records in 1968. The first tune on the set is Wayne Shorter's "Paraphernalia". This is a spacey type tune that also has George Benson added on guitar. Benson is very effective here, The next two compositions are an indication of where the band is going. The second tune is by Tony Williams and is called "Black Comedy". The third composition is a Davis creation that has no theme but has three distinct movements. It is an intense musical experience and it's called "Country Son".The final tune is really indicative of the change in Miles' ideas and points to his direction that he will take on future recordings. A rock beat defines "Stuff" and Carter switches to electric bass and Hancock works in the Fender Rhodes electric piano. This is an indication of Davis' musical future and this recording was the turning point that led to "Filles De Kilimanjaro", "In A Silent Way" and to "Bitches Brew" and on into the 70's. Davis was always in control of his musical odyssey and this recording is a major step.

The castaway in Desert Island Discs this week is the novelist and playwright Hanif Kureishi. He'll be talking to Sue Lawley about his enormously successful screenplay for My Beautiful Laundrette, his novel - televised by the BBC - The Buddha of Suburbia and his love of pop music which he plays at full volume whilst writing. He'll also be discussing the racial abuse which dominated his childhood in Bromley, where, as the son of an Indian father and an English mother, and the only Asian boy in his school, he was invited to instigate racial bullying, as often as finding himself to be its target. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: In A Silent Way by Miles Davis Book: Complete Works by Sigmund Freud Luxury: Marijuana seeds

The castaway in Desert Island Discs this week is the novelist and playwright Hanif Kureishi. He'll be talking to Sue Lawley about his enormously successful screenplay for My Beautiful Laundrette, his novel - televised by the BBC - The Buddha of Suburbia and his love of pop music which he plays at full volume whilst writing. He'll also be discussing the racial abuse which dominated his childhood in Bromley, where, as the son of an Indian father and an English mother, and the only Asian boy in his school, he was invited to instigate racial bullying, as often as finding himself to be its target. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: In A Silent Way by Miles Davis Book: Complete Works by Sigmund Freud Luxury: Marijuana seeds