Skrillex, dubstep’s first genuine superstar and perhaps the most divisive man in dance music right now, has collaborated with the remaining members of The Doors.
In what’s being billed as the first Doors track of the 21st century, Ray Manzarek, Robby Krieger and John Densmore have got in the studio with Skrillex to record a “variation” on Miles Davis’ ‘Milestones’, as part of a forthcoming music documentary titled RE:GENERATION, directed by Amir Bar-Lev.
via factmag.com
Monster markets the Trumpets as “musicians’ headphones.” They praise the detail and clarity and I agree for the most part — if you can get can them in your ear correctly and don’t care about lossless audio.
The Trumpets strongest attribute is the immense virtual soundstage they can produce. The music is wonderfully spread out.
Read the full TechCrunch review here.
(pt. 11 in a series)
Title: Nyro & Miles In The Studio
Date created: July 16, 1969
Click here to view the awesome PHOTO!
This month, Warner Music will release Miles Davis – The Warner Years 1986-1991, a 5-CD boxset celebrating the last recordings of the legendary trumpeter, from Tutu (1986) to Doo-Bop, his final studio work.
After 40 years of musical evolution marked by a series of unrivaled masterpieces (Kind of Blue, Sketches of Spain, Bitches Brew), Miles Davis signed with the Warner label in 1985. Under the direction of bass player/producer Marcus Miller, Davis explores electro-funk and records Tutu in 1986. Until his death on September 28th, 1991, the trumpeter will extend his discography with Amandla (1989), film soundtracks (Music From Siesta, in 1987, and Dingo O.S.T. in 1990), a series of live albums (Miles and Quincy Live At Montreux, the posthumous Live Around The World) and Doo-Bop, an ambitious hip-hop/electronic project with producer Easy Mo Bee.
Miles Davis – The Warner Years 1986-1991 also gathers – for the first time – unreleased tracks from the 1985 Rubber Band Sessions (“Maze”, “See I See”), rarities (the seldom heard “Digg That” and “Rubber Band”) as well as collaborations (with Chaka Khan, Kenny Garrett, Zucchero, Shirley Horn…) in a gloriously remastered anthology complete with liner notes from biographer Ashley Khan.
Contents:
Tutu (1986) – Music from Siesta (excerpts, 1987) – Amandla (1989) – Dingo OST (excerpts, 1990) – Miles & Quincy Live At Montreux (1991) – Doo Bop (1993) – Live Around The World (1996) – Unreleased and rare tracks, collaborations.
A Weekly Round-Up Of Miles Davis News & Notes
1. Relix Explores the ‘On The Corner’ Sessions
From 1972 to 1975, Miles Davis made his most complex, most aggressive, most unforgiving and occasionally most beautiful music, and it’s often been given short shrift in the past by jazz critics who’d never been able to adjust to the screaming electric-ness of it all. [relix.com]
2. Peter Tibbles Features Miles Davis In Elder Music Column
My first serious encounter with Miles (as it were) was when I bought the album, “Some Day My Priince Will Come.” This was the also the first time I’d heard a muted trumpet for a sustained period. Before that, it was generally just for a short time, for an effect. I still preferred the trumpet without it but it was interesting nonetheless. [time goes by]
3. And Then Miles Davis And John Lennon Started Playing Basketball….
We had this story last year, so it’s funny that all of a sudden it’s back among the Miles Davis news cycle. But it’s a great video, so the more to see it the better. (click for video)
4. Wayne Shorter, Miles Davis meet Ebene: When string quartets rock
Jazz saxophonist and composer Wayne Shorter was in the audience for the Los Angeles Philharmonic’s opening night gala at Walt Disney Concert Hall Tuesday night. No surprise there. Herbie Hancock was soloist in Gershwin’s “Rhapsody in Blue.” Shorter and Hancock were in Miles Davis’ “second quintet,” one of the greatest chamber ensembles of all time, ample evidence of which can be found on a new CD/DVD set of live performances from the quintet’s 1967 European tour. [la times]
5. Where did the Jazz Man go?
Christian Gerrard started riding Rob Thompson’s bus on a rainy fall afternoon two years ago. The University of Minnesota junior was “blown away” when he first stepped onto the bus — he heard Miles Davis blaring over the chatter of other passengers. [mndaily.com]
6. Steve Jobs: This American life
So if innovation means being the very first, count Jobs out. There’s actually a parallel argument in jazz music, if you can believe it, where people have spent 30 years debating whether Miles Davis innovated anything. The obvious answer is that, if innovating means being very first, he didn’t. Charlie Parker and Dizzy Gillespie showed him how to play bebop.
Lester Young was stripping ornament from his solo lines when Miles was in short pants. And so on. But Miles heard new currents, found ways to make them consistent with his own aesthetic, and presented them in ways a general audience could grasp and then love. And then he did it again and again. If an innovator is a conduit between an idea and all its possible audiences, then both of these guys were at the heart of that game. [macleans.ca]
Excellent post in The New Yorker from Nicholas Thompson about Steve Jobs and ‘who the next Steve Jobs will be, or who the last one was.’
I can’t think of an example from business.
But I can think of one from music: Miles Davis. Like Jobs, he was a showman who was also intensely private. Like Jobs, he was an authoritarian who brought people together. Miles was joined by Bill Evans and John Coltrane; Jobs was joined by Jonathan Ive and Tim Cook.
And like Jobs, Miles changed his field over and over again. Jobs created the first graphical user interface, the mouse, the iPod, the iPhone, and the iPad. Davis created modal jazz and fusion, and he helped transform bebop. Listen to “Birth of the Cool,” “Sketches of Spain,” “Kind of Blue,” “Bitches Brew,” and “A Tribute to Jack Johnson.”
What do they have in common? Not that much—except that they are all awesome, they were all innovative, and they were all endlessly copied. Lots of people have one great idea; very few people have five. (Everyone, of course, also has bad ideas. Miles had “Doo-Bop”; Jobs had the Apple Lisa.)
Read the full post here.
A classic photo of Miles Davis, part of Apple’s “think different” campaign.
Wall Street Journal: Apple’s Steve Jobs Is Dead
No big surprise that there hasn’t been much news lately for the Miles Davis Movie. The project’s chief visionary, Don Cheadle, recently made news by joining Denzel Washington in the Robert Zemeckis drama Flight. And let’s not forget Showtime’s upcoming comedy, House of Lies, which stars Cheadle and Kristen Bell and debuts in early 2012.
Cheadle has commented about the project recently, stating back in July that the movie about Miles Davis is “going to happen,” and that the story takes place ‘over a day and a half of his life.’
The Miles Davis Movie is definitely not on a fast-track to production, that’s for sure.
While spending the past few months promoting his well-received film The Guard, Cheadle has been asked, thankfully, by a few media outlets about the status of the Miles Davis Movie. Though Cheadle has not revealed everything, even in the few blurbs we’ve seen, there has been some good info.
Negativ, an online magazine based out of Germany that focuses on film and media culture, recently posted a Q&A with Cheadle. At the close of the interview Cheadle does comment on the biopic.
Is it true that you are preparing a movie about Miles Davis?
I can not say much about it yet, but it’s true, we’re just stuck in the preliminary stages. We have an offer and we hope that we can lift the project.
And the offer is? Is that a studio ready to open the vault and get cameras rolling?
Is it an independent producer ready to write a big check to get the movie made?
I’m intrigued with what Cheadle has to say: “We have an offer…”
I guess an offer is better than no offer. But it looks as though nothing is signed, sealed and delivered – as Stevie Wonder would say.
If you speak French this is good news. Even if you do not speak French this is still good news – due to the beautiful photos!
A new issue of Vibrations Collector is out – and it is all about Miles Davis. The special issue features gorgeous photos, original essays and exclusive interviews.
The magazine content includes “On Kind Of Blue,” by John Lewis; Electric Miles, an essay by Lester Bangs; a look at Miles and funk music; a complete discography; 100-plus rare and new photos; Miles Davis and the women in his life; Miles and his photography/painting.
To flip through the issue and take a look at the great photos, click here.
To buy the issue click here.
il est merveilleux!
