Miles Davis: Bitches Brew (Legacy Edition)

Miles Davis
Bitches Brew (Legacy Edition)

So there isn't much else I can really say about Bitches Brew that we haven't discussed before. The real reason for today's entry is the fact that the most recently released editions of Bitches Brew (Deluxe Edition with all the bells and whistles at a hefty price or the Legacy Edition at a much more consumer friendly entry point) is well worth the purchase for Miles Davis fans.

The Bitches Brew (Legacy Edition) features the original album as well a second disc of outtakes and single edited version. Technically this really only for the die-hard collector. The versions aren't drastically different except for length (i.e. edited single versions). The real treat here is the DVD Live In Copenhagen 1969. The audio for this gig has been widely bootlegged in recent years but there's a reason for it--it's fantastic!

While the album session features a huge 12 member ensemble recorded in August of '69, the live recording is much more scaled down lean quintet. This November performance came a few months before the actual release of the album in 1970. You get a completely different experience with the performances from this smaller group featuring Wayne Shorter (sax), Chick Corea (electric piano), Jack DeJohnette (drums) and Dave Holland (bass). The songs are also not the same album length as evident of "Bitches Brew" and "Miles Runs The Voodoo Down." It's a slightly more intimate performance but still packs the fierce impact on the senses.

Each member is fine form throughout. Chick Corea really shines with some amazingly hypnotic doodling ("Bitches Brew"). This swirling synthesis is melded with Wayne Shorter's always omnipresent lyrical work on the saxophone (especially on "Agitation"). And there is a final moment on "It's About Time" that Dave Holland shows why he is one most creative bass player alive today. Miles is superb form as the group does truly explore new directions in music. This is a performance that was probably extremely experimental when it was performed but today it really will leave you in awe of what these legends did as a small group compared to massive scale they performed just a few months earlier in the studio.

If you already own Bitches Brew is going to be a tough call on buying this again but I have to say if you can spare the extra 12 - 14 Euros, its well worth it. If you don't own Bitches Brew this is a great way to get two incredible powerful performances from both the ensemble and the smaller quintet in one quick swoop. Highly Recommended.

John Fedchock

John Fedchock NY Sextet (trombone; b. 1957)
Live At The Red Sea Jazz Festival (Capri Records)
Walt Weiskopf (sax)
Scott Wendholt (trumpet)
Allen Farnham (piano)
David Finch (bass)
Dave Ratajczak (drums)

A veteran trombonist and consummate performer, John Fedchock has been a delight to listen to for over 30 years. Unheralded but deserving more exposure among jazz audiences, Fedchock is still one of the most respected among those inside jazz circles. Fedchock got his start with in the Woody Herman Orchestra in the 80s. The stint helped develop his songwriting skills as well as create a very distinctive voice on the trombone. Fedchock has also performed and recorded with Tony Bennett, Maria Schneider, Natalie Cole and Bob Belden among others. His style is well structured, colorful and fierce--similar in style to Curtis Fuller.

Surprisingly in his long career he only has six album to his name as leader but his new release Live At The Red Sea Jazz Festival (Capri Records) is probably the best way to experience his enormous talent. This is a live album that packs a lot of punch and drives with some really hard edges.

The performances from both Weiskopf and Farnham are superb in addition to the rest of the rhythm section who handle Fedchock's delicate and well crafted material in a relaxed manner that shows in a group that has worked together effortlessly. This is a band that can swing, bop and tantalize up and down the scale. There are some stellar solos from Fedchock, Wendholt and Wesikopf throughout the evening performance. "This Just In" and "That's All Right!" highlight the intensity of Fedchock's arrangements and the way the band member weave and interplay with each other.

The performance takes a mellower tone with the Tom Harrell penned piece "Moon Alley" with some lovely work from Wendholt. This is beautiful piece (one of only two covers on the album) which allows Fedchock to show his leadership by allowing the Wendholt to take most of lead throughout (after all the piece was written by a fellow trumpeter).

The albums closing moments are a cover of the Ellington classic "Caravan" and Fedchock's own "Not So New Blues". The sextet play it pretty standard but it does allow Dave Ratajczak to mingle with Fedchock and add a little more vibrancy to this already glittering classic. The final number is a perfect way to close the evening out. A boisterous mid tempo piece for Fedhcock's trombone and a nice back and forth between the horn section. A live post bop piece that could easily sit aside something from Lee Morgan or Stanley Turrentine.

John Fedchock NY Sextet performed at the festival is over 100 degree heat but you would never know it by listening to this date. They are definitely smokin' and its one of the best live records I've heard all year. I honestly can say this is one of those discs you will keep listening to over and over as the year goes on and you won't get tired of it. Live At The Red Sea Jazz Festival is an album of the highest order and a great way to get into one of the most under-rated trombonist on the scene today.

Undiscovered Soul: Beverley Knight

Beverley Knight (vocals; b. 1973)

I'm assuming most of the American readers may not know of Beverley Knight--but you need to. One of my favourite soul artists of the last 15 years, British born Beverley Knight, is one of the countless real old school soul singers. Like many of her American counterparts (N'Dambi, Angela Johnson, Eyrka Badu) she combines a rich soulful voice with real instrumentation and most of positive and thought-provoking lyrics. Something severely lacking in the major hit R&B/Pop artist arsenal.

The influence of soul and gospel is very apparent in Knight music. She was raised on in a religious environment but also listened to soul greats like Aretha Franklin (a wonderful combination of the two genres) and later on highly influenced by the creative forces of Prince. After absorbing the two cultural experiences and developing her own writing skills Beverley Knight finally made it to the point of working on her debut album, B-Funk (Dome Records, 1995).

B-Funk contain the great floor-filler, "Flavour Of The Old School" which still gets me jumping 15 years later. Also reflecting her gospel/soul influences was the lovely ballad "Goodbye Innocence" a loving look at moving into the next phase of life. (9.17 correction: the song is about child abuse and recovering and moving on from that. thanks for explanation nusoulfan. we definitely appreciate it).

B-Funk became a classic blueprint of new British R&B. Let's be clear, there were other British R&B artists that came before (Gabrielle and Mica Paris most notably with success across both the sides of the Atlantic) but the B-Funk made a powerful statement of that British R&B had a grown stronger and was ready to break out.

In '98 Knight returned with the explosive Prodigal Sista (EMI). This is really the point that I became a fan. There is a balance of hip-street soul and melodic introspective beauty running throughout Prodigal Sista. That balance appears in the opening tracks "Made It Back" and "Rewind" which are both joyful and beat driven. The delicate and soul-searching nature of her ballads are nowhere more evident than on "Strong Hand" as we can all ask for someone to help us through the tough times in life.

While Prodigal Sista was the album catapulted her into the British popular eye and out of the nu-soul underground, her third album, Who I Am (EMI) contained some of her most powerful material to date. Who I Am is all over the map as far as strong mixture of funk, dancehall reggae, soul and pop. Tracks like "Get Up!," "Shoulda Woulda Coulda," "Bestseller Mystery," and "Same As (I Ever Was)" all shine with a vibrant beauty and genius that most Soul artists just haven't the skill to write or even perform. This was a big statement album for me and possible my favourite of all Beverley Knight's albums. A solid piece of work that is definitely a must have of any fan of Soul music.

Beverley Knight took another step up with Affirmation (EMI; 2004), an album more pop based than soul. That's not a big thing people. Affirmation was as the title suggest--a confident and more assertive demonstration of Beverley Knight as songwriter. To me I think this was definitely the direction she should have taken at this point. "Come As You Are," "Keep This Fire Burning" and "Remember Me" all show a maturity and in the case of "Remember Me", the gospel influence comes to the forefront again. Great stuff.

Knight's fifth album, Music City Soul (EMI; 2007) was the culmination of everything she believed and had been working on since '95. Motor City Soul marries Knight's soulful voice with the raw energy of Midwestern American Blues & Soul. Possibly an underrated album in Knight's arsenal. With tracks like "The Queen Of Starting Over," and "Every Time You See Me Smile" evokes her the prime periods of both Dusty Springfield and Aretha Franklin. This is probably the most divergent of all her albums put it suits her perfectly.

Beverley Knight's most recent album, 100% (EMI; 2009) is a return to the robust, funky soul of Who I Am. It has a combination of pop flavour and dance oriented soul highlighted by two amazing tracks "Breakout" and "Soul Suvivour". The album closes with a wonderful rendition of Robin Gibb's "Too Much Heaven", a ballad that Beverley handles with ease.

All of Beverley Knight's albums are a reflection of her life at each moment. The remarkable thing is, everyone can relate to this experiences. And that's what makes a great songwriter. That's what makes the British Soul of Beverley Knight not just British but universal.

My two choices for anyone unfamiliar with Beverley Knight would definitely be Who I Am or if you just want a brief overview there are two compilations that cover the first five albums (The Voice: The Best Of Beverley Knight and The Beverley Knight Collection). If you haven't listened to her before now is a good time to check her out.

Vijay Iyer / Matana Roberts Live

Live At Le Possion Rouge NYC 10.9.2010
Vijay Iyer (piano)
Matana Roberts (sax)
(photos courtesy: me from my crappy mobile phone (flash off))

A night of discovery and solo bliss. It was a cool Friday night in New York City and the new space for the increasingly popular Le Possion Rouge was full and buzzing. The rare solo appearance of now New York icon, Vijay Iyer is definitely something to see.

I went with a friend who is a big fan. But I didn't really own any of Iyer's albums. I have material that he plays on so I am familiar with how good a player he is. I really hadn't thought about picking up one of his records before because I wasn't convinced of his strength. But tonight would be different.

I came into this gig with a completely closed minded. I was expecting a good show and I knew I would be entertained but I didn't think I would be blown away. Not too mention blown away twice.

You see, this was actually two performances. Matana Roberts, for whom I didn't know much about either until I went back home and realised I owned a number Brunt Sugar albums in which she performances on. In my head I realized, "that's why I loved that album so much." So this night belong to two fascinating performers with similar spiritual directions in music with subtlety different delivers.

Vijay Iyer currently promoting his new release, Solo (Act Music) was impressive with a brisk and quick deliver of mood and melody. There is a certain element of Debussey, Haydn and Satie in his work. While Thelonious Monk and Andrew Hill are definitely influences Iyer's own compositions are what really shined for me on Friday night.

Two original pieces "Patterns" and "Abundance" (currently unrecorded for the studio apparently) showed large scale creativity a beauty as the piece were rolling studies in Indian culture and modal structures. Vijay Iyer's ability to inject some muscular strength into well used standards was also something I didn't expect. His interpretations of "Darn That Dream," Monk's "Epistrophy" and now jazz staple Michael Jackson's "Human Nature" feature a distinctiveness and daring that very few musicians would be able to pull off. These standards are feature on Solo along with a "Patterns" and for this once bird-sitter, I am now venturing to investigate more Vijay Iyer as I am now totally convinced.

The other revelation Friday night was that of veteran saxophonist Matana Roberts. Matana Roberts built her reputation in the AACM (Association for the Advancement of Creative Musicians) and has worked with a host innovative musicians including Guillermo E. Brown, Mary Halvorson, TV On The Radio and the late Fred Anderson for whom she credits a great deal of influence.

And you could sense the influence on this night as the ideas and energy she projected throughout the evening of this solo saxophone performance. Roberts who has done a lot of session and live work with others (with a small handful of releases under her own leadership) but that appears to be changing in the next few months with two albums done in the pipeline.

Friday night was a strong, bold performance with shades of Anderson, Rivers, Vandermark and Braxton all coming to my attention as I witnessed Matana move confidently up and done the scales. Her work has spacious, dark, melodic bluesy tones that show a fresh voice with diverse ideas. "Rue Vanhorne Parc" is a piece she says was created while on one of her journeys to recorded in abandoned buildings. It is a wonderful piece that is moves quietly like a journey through a cornfield with nothing but the birds and clear sky above.

Mr. Roberts can also let loose in caustic fashion that shows she has learned the balance and beauty that they aforementioned saxophonists have all mastered. Matana Roberts is currently working on a multi-tiered piece entitled Coin Coin which explores her cultrual and spiritual heritage in a similar vein that John Coltrane, Pharoah Sanders, Alice Coltrane and later poets Nikki Giovanni and Wanda Robinson and others have delve into with rich and extraordinary results.

The most recent album, The Chicago Project (Central Control Records) is a wonderful example of her compositional skill as well phenomenal playing. Featuring an awesome track entitled "South By West," "Exchange" and the lovely improvised pieces "Birdhouse"Worth seeking out.

For those looking for someone with some fresh ideas and bound to exploded in prominence sooner than we think--Matana Roberts is definitely the real deal folks. Get on board this train now. I glad I did--even if it was by accident.

Friday night was a great night for music and discovery. And that's why we love jazz baby...