Animation: Asiento & Agemo

Animation (group)

Asiento/Agemo (RareNoise Records; 2011)

Bob Belden (sax)

Tim Hagans (trumpet)

DJ Logic (electronics, turntables)

Guy Licata (drums)

Scott Kinsey (keyboards)

Matt Garrison (bass)

There have a been a few Miles electric-era inspired records in the last few years. Spanning Mark Isham, Bill Laswell, and Wadda Leo Smith to name just a few. All of these are excellent records and we've discussed a few in the past. But one group that seems to manage this material better than most is Animation. This sextet was originally formed by Bob Belden and Tim Hagans back in the late '90s where they recorded two exciting albums (Imagination and Re-Animation Live) for Blue Note. Well worth checking out.

As for Asiento, this is a live re-interpretation/reinvention of Bitches Brew that sounds and feels more organic than the two previous Animation albums. The music is exquisitely played and while you may want to immediately compare this with the original Miles Bitches Brew album it really doesn't make a lot of sense. "Pharaoh's Dance" has a trippy-er almost Future Sound Of London or mid-period Orb feel to it.


Each member stands out on multiple levels here. Hagans trumpet is heavier and dense on "Bitches Brew" while being wrapped in some cosmic linear passages from Kinsey and Licata. Belden's performance is killer with some really swirling, psychedelic melody. "Spanish Key" is awesome with a real dose of "drum and bass" which transforms the piece and makes it almost unrecognizable from the original.

Agemo is the expected and well deserved remix of the album over two discs. While the first disc is not drastically different, the mix adds a touch of midtempo range to Asiento versions thanks to the same production company that sound mixed the Orb's Metallic Spheres release. And in the case of "Spanish Key," transform it into a more raucous affair. On "Bitches Brew," Belden, Garrison and Hagans all seem to get a rising emphasis in this mix.


The keyboards were always hauntingly beautiful on the Asiento version but on tracks like "John McLaughlin" they feel very much in tune with the dream-like state of Miles originally conjured up four decades ago. "Miles Runs The Voodoo Down" retains the acid blues vibe it always had. Here it's driven more by Hagans and DJ Logic whom both create a sweet counterpoint that is stunning, screaming out of the stereo as well as the headphones.


The second disc really transforms into something different. Spanning dub, ambient and dance. "Bitches Brew" gets a weird and highly interesting dub reggae beat. "Miles Runs The Voodoo Down" turns into a funky orbital trip psych-out. And "Sanctuary" becomes an even slower hypnotic trance of a piece. Expertly done mixes by the likes of Bill Laswell, Joe Claussell and DJ Logic make Agemo a superior remix album than even Laswell's Panthalassa.

Asiento and Agemo are two seriously deserving documents in the ever-expanding understanding and reinterpretation of Miles Davis' seminal statement. This is a totally different way of thinking about Bitches Brew. Animation have created two albums that stand alone from their originating base work and serve as a groovy introduction to one of the best jazz albums ever recorded.

Wadada Leo Smith: Heart's Reflection

Wadada Leo Smith's Organic (trumpet)

Heart's Reflections (Cuneiform Records; 2011)

A real propagator of intense, creative sound sculpture, Wadada Leo Smith has been challenging how we experience music for over four decades and over 30+ albums.


He has become one of the most revered elder statesmen of jazz as well as an educator and theorist. He developed a compositional style he called Ankrasmation. It is a theory in which sound relies more on graphic notation than musical notes. This is something that may lend itself more to free jazz than contemporary jazz. And while it may sounds like it's free/avant garde it actually has a lot of melody and direction which may shock even the most novice jazz fan.

Smith's style, especially in recent years has been compared to fusion era (e.g. Big Fun) Miles Davis but where Miles was still molding funk and jazz, Smith has taken those ideas one step further. As we discussed in our piece on Smith/Kaiser's Yo Miles series, the music is funky, anarchistic and forward-looking. Wadada Leo Smith's newest album with one of his three main groups Organic, is entitled Heart's Reflection. It's a blues/funk influenced work that spans two discs but also is probably one of the best and exciting records from Smith in years.

Upon first listen to the lengthy but vibrant opening track "Don Cherry's Electric Sonic Garden", Smith details a groove that is both funky, exploratory and filled with improvised moments. His group Organic uses of electronics, guitars and piano give the album an out of this world vibe (in vein of Sun Ra). But Smith keeps the groove in flow and you may not even notice you've been bobbing your head for twenty minutes. "The Black Hole" hearkens back to Organic's previous set called Spiritual Dimensions which has much more of an experimental, free flowing feel to it. There are guitars, drums, piano and percussion all in point/counterpoint but still somehow remaining in rhythm. Smith's playing is superb throughout. He really allows the ensemble to move freely and without warning. "The Black Hole" is enveloping and expansive. It's driving force is more the rest of ensemble than Smith himself and that is always the sign of a great leader.

"The Majestic Way" and "Certainty" both have moments where not only Smith but his bandmates (in particular, Angelica Sanchez (electric piano), Josh Gerowitz (guitar) and Pheeroan AkLaff (drums)) really move into interstellar regions with their performances. It's funky in a Big Fun, Bitches Brew kind of way but still wholly original. Sanchez's performance on "Certainty" is deep and swirling with Hancock-esque quality. Great stuff.

Heart's Reflection is one of those secret weapons in an artist's arsenal that very few people may hear about. In the vast catalogue of Wadada Leo Smith, Heart's Reflection is an album that deserves your undivided attention.

Miles Davis Live

Miles Davis (trumpet)
Bitches Brew Live (Columbia/Legacy; 2011)
Chick Corea (electric piano)
Jack DeJonette (drums)
Dave Holland (bass)
Gary Bartz (sax)
Keith Jarrett (organ)
Airto Moreira (percussion)

Well, its always easy to talk about Miles Davis here at JazzWrap, this week sees the release of another Miles Davis document--Bitches Brew Live (Columbia/Legacy). While there is a plethora of live Miles material out there, its probably pretty tough to decide what to get. There are definitely some excellent "unofficial" live albums available--particularly from the Lone Hill and Gambit labels which if you find them--buy them. But you should put Bitches Brew on your list of Miles albums to pick up because it ranks up there as one of the best Miles live albums out there "official" and "unofficial".

Bitches Brew Live contains two dates, one prior to the release of the seminal album and one during the following summer (July 1969 and August 1970). This set is different than last years Bitches Brew deluxe edition which included a live disc recorded in Copenhagen. Bitches Brew Live features material from the Newport Jazz Festival and the legendary Isle of Wight Festival. The Newport set only features a quartet including Chick Corea (electric piano), Dave Holland (bass) and Jack DeJohnette (drums). Wayne Shorter (sax) was supposed to make up a quintet but according to the story he was stuck in traffic on the way to gig.

The performance here is incredible to hear with just Miles as the horn sections along with funky, swirling and psychedelic rhythm section. They plow through a brief ten minute version of "Miles Runs The Voodoo Down" in addition to the "Sanctuary," and "Its About Time", all with fierce accuracy. This was only a few weeks before Miles would go into the studio with his full twelve piece ensemble to record the groundbreaking album.

The second set recorded in the following summer after the release features that ensemble. This was kind of like Dylan going electric. While Miles had already starting thinking and utilizing electric in his performances this was sort of the coming out party that would make the ultimate statement to his current and new found audiences. Right from the start with "Directions" and "Bitches Brew" Miles and company get to the point that this was going to be a funky, raucous and adventurous affair. This version of "Bitches Brew" flows through some lovely Far East spiritual moments midway through that for me make it one of the highlights of that touring period. "Spanish Key" was always a soulful piece but the solo work from Gary Bartz on sax and how he leads the group is unbelievable. This becomes full throttle when Miles joins back in towards the end.

The rock influence shows definitely explodes during this concert and that makes Bitches Brew Live well worth picking up. Unlike the later live albums Miles would record during the 70s this year of show is probably the most focused and cohesive even for the non-Miles-fusion era fan. A real treat for everyone listening.

Further Recommended Miles Live Albums

Live at Pasadena Civic Auditorium '56 (second disc of Round Midnight deluxe edition on Columbia/Legacy)
Live In Stockholm '60 (With Sonny Stitt and John Coltrane on Dragon Records)
At Carnegie Hall '61 (Columbia/Legacy)
Live In Berlin '64 (Columbia/Legacy)
Winter In Europe '67 (Gambit)
In Concert at Philharmonic Hall '72 (Columbia/Legacy)
Agharta '75 (Columbia/Legacy)
Live In Poland '83 (Gambit)
Live At Montreux ,91 (Warners)

Fusion Week: OM

This week JazzWrap will take a look at some of the important (sometimes forgotten) groups that have helped shape and expand jazz fusion, prog and jazz rock over the last 40 years.

OM (group; 1972 - disbanded 1982)
A Retrospective (ECM Records)

Urs Leimgruber (sax, flutes, percussion)
Christy Doran (guitars, synthesizer)
Bobby Burri (bass)
Fredy Studer (drums)

OM were a quartet from Sweden who gained wide recognition after a blistering performance at the 1974 Montreaux Jazz Festival. They were quickly signed to ECM Records and recorded a four fantastic albums for the labels Japanese imprint JAPO. They freely admit that they started as a rock band trying to get jazz. While they did this with what looks like great ease.

Inspired and influenced by the string of electric jazz of time (Headhunters, Bitches Brew, Weather Report and Mahavishnu Orchestra), OM set out to combine their jazz inspirations with their desire the capture the essence of what Hendrix had left in his wake of musicians--a sense of structure within a whirlwind of ideas. This combination of jazz and rock was also fueled by the one more large and legendary figure--John Coltrane, and the album for which the band derived its name, OM (Impulse Records; 1965). OM was one of Coltrane's more spiritual and deeply textured pieces. It's no wonder that this album would have a profound importance on the groups development.

They were a band that even in the beginning with their first album, Kirikuki (ECM/JAPO; 1976) were exploring both rock idioms with sparse rhythmic/ambient patterns that would later evolve on their final album Cerberus.

OM's four albums are extremely hard to find. And if memory serves these are not on CD either (someone please feel free to correct me on that one). But we are lucky that just a few years ago, ECM Records released Retrospective, a stellar collection spanning material from all four of their Japanese only albums. Retrospective features some great tracks like the rugged and raucous "Rautionaha", the delightfully introspective "Dreaming Of People." the funky almost Abercrombie-esque "Earworm" and the Bitches Brew-Headhunter filled free-jazz-funk-out of "Holly" and "Lips" These tracks as well as the rest of the album make for the premier on one of the truly under discussed bands of the '70s fusion era.

Retrospective isn't available to purchase physically in the US but you can get on iTunes (globally too) for download. OM were not a hard hitting force like some many of their American counterparts but they left a brief time capsule that everyone should definitely experience. Rich and highly involved stuff.

Miles Davis and Hip Hop

Miles Davis (trumpet)
Doo Bop (Warners; 1991)

I said before the Miles' latter period (1985 - 1991) still needs to be re-evaluated by jazz fans and the outside listening public. Far to often it is shoved aside by the the monumental recordings that presided them (Rebirth of the Cool, Steamin', Workin', Kind Of Blue, Bitches Brew and On The Corner). But I think anyone who is going to listen to Miles' recordings has to eventually get to the point of "what's next?" "what do I listen to after the big records?"

Well, I think covering the final years of his life is a good idea. Not every record is great but they all do tell a story of what Miles was thinking and the direction he was looking towards. One such album is his final recording just before his death in 1991, Doo Bop (Warners).

Now for those who know this was a very incomplete record at best. Miles had been interested in R&B and Hip Hop for quite a few years at this point. He had actually recorded material with Prince a few years earlier. This material remains unreleased (or rumoured released on Prince's Black Album). So the idea and concept of Miles record a "street" dedicated album was really not out of the question. It was more "when" and "what" would it sound like.

I have to say 18 years later, Doo Bop sounds slightly dated but if you place yourself back in that time period, you know full well Miles was on to something. The album was recorded in few short weeks. The not all the material was even complete. In working with his collaborator/producer for the album, Easy Mo Bee, Miles felt a younger contemporary. This was someone he could drop some knowledge on as well learn more about the Hip Hop movement.

The opening "Mystery" with the infectious muted trumpet combined with muffled drum n' bass rhythm was Miles setting down a new marker for a new decade. You felt the futuristic street vibe Miles was searching for. That pounding message would carry through to "Chocolate Chip" with its slowed down mid tempo funky drummer beat and some excellent samples thrown in for good measure. A nice dance floor filler.

Miles was also influenced by vocal sounds of hip hop, so he incorporated rap into some of pieces (provided by Easy Mo Bee and J.R.. The rap pieces don't really work more because the lyrics are really weak and don't seem throughout well at all. The music itself compliments Miles very well. Miles and Easy Mo Bee do add a lot of though into the musical arrangements throughout Doo Bop. "Blow" has a "Pacific State" (song by English techno band 808 State) vibe to it that is very interested (despite the average lyrics laid on top).

Towards the end of recording sessions Miles had visited the hospital for some treatment. It would be turn out that Doo Bop would be the last record Miles Davis would record. The album was completed by Easy Mo Bee and since has received lukewarm reviews. In listening to Doo Bop again and again for this piece I realise there is a lot hear to absorb and I've been enjoying the adventure of going track by track. It's definitely an incomplete experience but its the insight into a legends way of thinking.

If you own the album take a listen again and think about some of the hip hop, techno that even some of the soul jazz that would come (Guru's Jazzmatazz, Branford Marsalis' Buckshot LeFonque, Roy Hargrove's RH Factor, et. el) --Miles was still ahead of the game.

Celebrating Freddie Hubbard

Freddie Hubbard (trumpet; b. 1938 - d. 2008)

This week would have been Freddie Hubbard's 72nd birthday (April 7th). Yes, I probably should have written this early but things happen...

Freddie Hubbard was one fiercest hard bop players around. As some may know he was heavily influenced by the great Clifford Brown and Miles Davis and Louis Armstrong. But Hubbard would develop his own voice very quickly and would become a major influence on a new generation of trumpeters today (Ryan Kisor, Nicholas Payton, Roy Hargrove, et el.).

Freddie Hubbard performed with a host of legendary jazz musicians including John Coltrane, Ornette Coleman and Herbie Hancock to name just a few. Hubbard's style was robust, exuberant and well rounded; much more so than many of his contemporaries. When he played you knew it. I was lucky enough to see one of his last concerts and while he had definitely lost allot of his chops--due to a serious lip infection/injury during the 90s--you could still feel the powerful and energy in his performance. Freddie Hubbard like many of the legends of the '50s and '60s hard bop era played in Art Blakey's Jazz Messengers before branching out on his own to record some stellar work for Blue Note Records.

Freddie Hubbard's first album, Open Sesame (Blue Note; 1960) is must have for any fan of jazz. It features some fantastic phrasing from Hubbard but also incredible performances from fellow greats McCoy Tyner (piano), Sam Jones (bass), Clifford Jarvis (drums) and the highly under-rated Tina Brooks (sax) who wrote two wonderful tracks, "Open Sesame" and "Gypsy Blue". Hubbard contributed the lovely closing piece "Hub's Nub which features some exciting solo work that for me is staggering ever time I listen to it.

You could say the Blue Note years saw Hubbard at his peak--you might be wrong. In the 70's Hubbard signed with the CTI/Epic Records after a brief unsuccessful period with Atlantic Records in the late 60s. The albums he produced for CTI would become some of his most commercially successful of his career.

One of the critics and my favourites is Red Clay (CTI; 1970) is a double-edged sword. It can easily be seen as a response to the direction jazz was going in after Miles Davis' Bitches Brew and even some of the work of contemporary Donald Byrd with the collision of funk, soul and jazz. It can also been seen as the trumpeter really taking to the new sub-genre and making it his own in one session.

There's a host of killer performances on this album including the interplay between Joe Henderson (sax) and Hubbard. The album also featured a who's who of jazz greats: Herbie Hancock (piano), Stanley Turrentine (sax), Johnny Smith (organ), George Benson (guitar), Ron Carter (bass), Lenny White, Billy Cobham (drums) and Airto Moreira (percussion)--all I have to say is wow! The album is obviously highlighted by the funky almost psychedelic blues of the title track but you can solid mixture of his crisp Blue Note playing in an updated more rhythmic arena. This isn't completely a funk record by "funk/soul" standards. It's an album built on the soul of the musician with some terrific grooves laid in by his friends.

While the 80s were sporadic for recording and the injury to his lip finally took its toll on the legend, Freddie Hubbard's final two albums still show he could play in with the young cats. The albums, New Colours (Hip Bop) and On The Real Side (Four Quarters) both feature Hubbard running through some previously recorded material but with the help of a new generation which included Kenny Garrett and Javon Jackson (sax) Steve Davis (trombone), Joe Chambers (drums) and Russell Malone (guitar) among others. These two album are not essential in the canon of Freddie Hubbard but they are well worth listening to after you've experience some of his others.

His love of the trumpet and playing never die and it always should right up to his final days. Freddie Hubbard was a remarkable musician with a catalog that stands up against many of the other legends in jazz and should not be overlooked. Happy Birthday Freddie.

Miles Davis: After Bitches Brew

Miles Davis (trumpet)

Big Fun (Columbia, 1969)

The Miles Davis cannon is showered with influential and astonishing albums, Bitches Brew being one of them. But after you've listened to Bitches Brew and you experience the "world" music vibe Miles was trying to capture, where do you go next? He would make slew of incredible live album featuring all new material during the '70s. One album that I've always felt was overlooked is entitled Big Fun (Columbia; 1969). Big Fun is awash of electric fusion but also Indian raga and hypnotic modal structures.

Big Fun actually took 4 years to complete. Miles had recorded almost every track with a different ensemble of musicians (including Herbie Hancock, Chick Corea, John McLaughlin, Billy Cobham on drums and the wonderful sitar and tambra work from Khalil Balakrishna. Balakrishna's trance-like work is evident on the opening track "Great Expectations". This really does set the tone for the proceedings. Another standout for me the duel between Chick Corea and Joe Zawinul both on electric piano (right and left channel (or speaker) respectively) on the lovely "Recollection". There's also some funky movements with "Ife" mainly provided by piano work of Lonnie Smith and Harold Williams but some infectious drum/percussion work from Al Foster, Billy Hart and Jame 'Mtume" Forman.

Big Fun is a massive cross section of styles that really only Miles could orchestra among so many musician over 4 different sessions. It's a jaw dropping experience to hear this recorded after Bitches Brew and seeing contrast the movements. There not radically different, just the emphasis is placed--jam sessions with short bits of structure--but only Miles knows that. The majority of the tracks on Big Fun were technically recorded during other sessions which is why some jazz fans may know some of the tracks from boxed sets (Bitches Brew and On The Corner) but make no mistake this is an album that Miles had in mind and its a beautiful mixture of styles that you should definitely listen to after Bitches Brew. If you have it already let us know your thoughts.