Paul Harvey Seminal Essay If I Were The Devil

Paul Harvey Seminal Essay If I Were The Devil-79
August of 1969 marked Miles Davis’ boldest venture yet into undiscovered country.

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It was like a fugue, or motif, that we all bounced off of.

After it had developed to a certain point, I would tell a certain musician to come in and play something else.

While the music was developing I would hear something that I thought could be extended or cut back.

So that recording was a development of the creative process, a living composition.

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..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.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.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.Miles gave preference to live-band drummer Jack De Johnette because of his “deep groove,” [6] invited Lifetime organist Larry Young instead of Hancock, and also added session bassist and Columbia producer Harvey Brooks.Together with Zawinul and Mc Laughlin, Young and Brooks had played on a session Miles organized for his wife, Betty Mabry, a few weeks earlier to record her first and ultimately unsuccessful solo album, .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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