DeeDee McNeil, Musical Memoirs

David Liebman, tenor & soprano saxophone/flute; Jeff Coffin, tenor/soprano/electric saxophone/flute/clarinet; Victor Wooten, electric bass; Chester Thompson, drums; Chris Walters, keyboards; James DaSilva, guitar.

Growing up in Detroit, Michigan, as a teenager I was absolutely fascinated by Miles Davis and captivated by his “Sketches in Spain” album and his iconic, recorded masterpiece, “Kind of Blue.” But Miles Dewey Davis III had much more music inside of him; music that was eager to be composed and delivered to his adoring public. Miles, born May 26, 1926, became one of the most influential and uniquely original jazz trumpeters and composers of the twentieth century. His over five-decade career moved from Bebop to the fringes of hip-hop music, venturing into contemporary jazz and a period dedicated to more electric jazz. It was new music, rooted in funk and fusion. In 1972, he recorded the “On the Corner” album for Columbia Records.

He incorporated bassist/vocalist Michael Henderson, who is a recording artist in his own right, leaning heavily towards R&B roots. John McLaughlin joined Dave Creamer and Reggie Lucas on guitar. Both Chick Corea, Harold Ivory Williams and Herbie Hancock played keyboards at various sessions and times. Cedric Lawson was masterful on organ. This was exploratory, fusion jazz, highly electronic and experimental. Miles used various drummers including Al Foster, Billy Hart, Don Alias and Jack DeJohnette. James Mtume manned the percussion and he added sitar players and Badal Roy on tabla. Bennie Maupin was on bass clarinet and both Carlos Garnett and Dave Liebman played soprano and tenor saxophones on this unique production.

Coming full circle, in 2015, Dave Liebman found himself celebrating this unforgettable period of the Miles Davis fusion music in Nashville, Tennessee. It was the original idea of reedman, Jeff Coffin. When Dave Liebman appeared in Nashville, Coffin swooped him up to be a part of his project. Afterall, Liebman was an alumnus of the original recording session with Miles nearly fifty years ago. The other players Coffin called are some of the whose-who, top musicians in Nashville. Their concert was well-attended and a huge success. More importantly, it produced this nostalgic album of recorded music. Although Miles Davis died on September 28, 1991, his music is as relevant and entertaining right now, in 2019. as it was throughout his career.

This tribute album opens with a monologue by David Liebman. He talks about how revolutionary the music of Miles Davis was back in the early 70’s. They begin with the Joe Zawinal tune, “In A Silent Way.” It plays like a prayer. Then the Miles Davis composition, “On the Corner,” follows and the fireworks begin. I remember how angry and confused the acoustic instrument lovers and bebop fans were when Miles Davis released this album. There was much protest and accusations that he had ‘sold out.’ These newly assembled musicians bring that period of the Davis career alive again.

Other Miles compositions on this production are “Will (for Dave)”, that was co-written by David Liebman. Bassist Victor Wooten adds an interlude between this song and “Black Satin.” They also celebrate the Miles Davis compositions, “Ife,” “Mojo,” and “Jean Pierre.” Guitarist, James DaSilva is featured on a short interlude, as is Chester Thompson, who takes a drum solo exploration interlude between “ife” and “Mojo.”. This album has a March 1st release date.

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