Paul Harvey Seminal Essay If I Were The Devil

Miles also summoned 19-year-old drummer Lenny White who, like Tony Williams, is reported to have been brought to his attention by saxophonist Jackie Mc Lean.Drummer/percussionist Don Alias had been introduced to Miles by Tony Williams, and brought along percussionist Jim Riley, also known as “Jumma Santos.” Tenor saxophonist and bass clarinettist Bennie Maupin was recommended by Jack De Johnette.

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Carlos Santana speculated that the album was a “tribute” to “the cosmic ladies” who surrounded Miles at the time and introduce him to some of the music, clothes, and attitudes of the ’60s counterculture.

[Footnote 1] Gary Tomlinson, on the other hand, assumed that “bitches” referred to the musicians themselves.

On the third day the rhythm section consisted of as many as 11 players: three keyboardists, electric guitar, two basses, four drummers/percussionists and a bass clarinet.

Miles had pulled out the stops in his search for a heavier bottom end..

With none of the musicians aware of the whole picture, they would still react to the sessions with beginners’ minds. on Tuesday, August 19, 1969, 12 musicians, Teo Macero and engineer Stan Tonkel gathered at Columbia Studio B for the first day of the recordings of .

Miles described the sessions as follows: “I would direct, like a conductor, once we started to play, and I would either write down some music for somebody or would tell him to play different things I was hearing, as the music was growing, coming together.

Made on Miles’ personal invitation, Klarwein’s expressionistic work captured the zeitgeist of free love and flower power, depicting a naked black couple looking expectantly at an ocean, a huge vibrant, red flower beside them.

The background of the title is unknown, but a clue is provided by the absence of an apostrophe at the end of the word “bitches,” making “brew” a verb, not a noun.

For Miles it meant a point of no return for the musical direction he had initiated with the recording of “Circle in the Round” in December of 1967.

Until August of 1969 he had remained close enough to the jazz aesthetic and to jazz audiences to allow for a comfortable return into the jazz fold.


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