I think Miles was at a crossroads musically around 66’-67’ in doubt of going in the ”free jazz” direction or not. Obviously he was following the advance of the genre by leading people like Trane and with the market oriented part of his mind he might have been afraid of loosing out or missing the train. At the same time the style wasn’t natural to him (as it wasn’t to Coltrane either) and the idea of a reunion of the two might have been tempting as a way to have a foot in both camps in anticipation of the future. And, had it been realized it could have had an impact on the future of jazz that is mindblowing indeed. However, as it turned out, it couldn’t reasonably have come true.
As it happens, I've been reading Will Friedwald's Sinatra bio, and last night came to his discussion of the wonderful recordings he had made with Bobby Hackett in 1945. Friedwald goes on to relate a casual conversation held years later in which Ruby Braff says to Sinatra, "Weren't you smart to make those great records with Bobby? I always wondered why you didn't do more of them." Friedwald, quoting Braff, says "at this point, Sinatra got a kind of faraway reflective look in his eye, and told Braff, 'You know, you always think there'll be time to all the things you want to do, but somehow there never is.' "
Wow. Impressive research! Art vs commerce commerce vs art. It’s a glimpse into the business aspect of music. Jazz music. Harold Lovett was I believe the lawyer in that terrible picture of Miles Davis bloodied in the police brutality. I have always been intrigued by Clive Davis a major figure in late twentieth century music. From Brooklyn and attended Harvard law. He lived in my hood Bayside for a few years puts a smile on my face.
This would have been quite something to hear trane recording with miles in 1967!
If indeed an Impulse! session would have featured the Coltrane quartet, it truly would have been fascinating to hear Miles navigate the density of that group
Absolutely. I thought of mentioning that, but it's a bit of a detour. By the way, Trane and Monk only played a few tunes, as part of a long evening that also featured short sets by Brubeck, Sarah Vaughan, and Clark Terry. Info about that is of course in my John Coltrane Reference book as well--a new edition is planned for late 2024 or early 2025: https://www.amazon.com/John-Coltrane-Reference-Lewis-Porter/dp/0415634636
I recall—and would have to look it up—that Miles was none too appreciative of McCoy’s playing in Miles’ autobiography. Herbie Hancock may have been more adaptable to Trane’s music. As for Miles with Alice, Garrison, and Rashied—the mind boggles at the thought!
Absolutely. There are several places, not only in his autobiography, where Miles puts own McCoy (although mostly his playing after Trane), and where he puts down Trane's "free" music. One can only assume that in 1967 he was open to it and willing to try it. THANKS!
I think Miles was at a crossroads musically around 66’-67’ in doubt of going in the ”free jazz” direction or not. Obviously he was following the advance of the genre by leading people like Trane and with the market oriented part of his mind he might have been afraid of loosing out or missing the train. At the same time the style wasn’t natural to him (as it wasn’t to Coltrane either) and the idea of a reunion of the two might have been tempting as a way to have a foot in both camps in anticipation of the future. And, had it been realized it could have had an impact on the future of jazz that is mindblowing indeed. However, as it turned out, it couldn’t reasonably have come true.
Good points--THANK YOU!
The time in jazz history when giants walked the Earth- and the labels they recorded for didn't know it.
As it happens, I've been reading Will Friedwald's Sinatra bio, and last night came to his discussion of the wonderful recordings he had made with Bobby Hackett in 1945. Friedwald goes on to relate a casual conversation held years later in which Ruby Braff says to Sinatra, "Weren't you smart to make those great records with Bobby? I always wondered why you didn't do more of them." Friedwald, quoting Braff, says "at this point, Sinatra got a kind of faraway reflective look in his eye, and told Braff, 'You know, you always think there'll be time to all the things you want to do, but somehow there never is.' "
Very cool story. (Will does a good job on his books.) Yes, once never gets to do everything. Thanks Jim!
Wow. Impressive research! Art vs commerce commerce vs art. It’s a glimpse into the business aspect of music. Jazz music. Harold Lovett was I believe the lawyer in that terrible picture of Miles Davis bloodied in the police brutality. I have always been intrigued by Clive Davis a major figure in late twentieth century music. From Brooklyn and attended Harvard law. He lived in my hood Bayside for a few years puts a smile on my face.
This would have been quite something to hear trane recording with miles in 1967!
Thanks for these comments David! Absolutely! And yes, that is Lovett in the photos with Miles at the police station. THANKS!
If indeed an Impulse! session would have featured the Coltrane quartet, it truly would have been fascinating to hear Miles navigate the density of that group
You said it! Although now I'm wondering, would it have been his free group with Alice and Rashied? Wild!
Of course between these two letters, Coltrane did have an impromptu reunion with Monk:
http://vancouverjazz.com/2016/02/jazz-notes-john-coltrane-thelonious-monk-cobo-hall-1967.html
Absolutely. I thought of mentioning that, but it's a bit of a detour. By the way, Trane and Monk only played a few tunes, as part of a long evening that also featured short sets by Brubeck, Sarah Vaughan, and Clark Terry. Info about that is of course in my John Coltrane Reference book as well--a new edition is planned for late 2024 or early 2025: https://www.amazon.com/John-Coltrane-Reference-Lewis-Porter/dp/0415634636
THANKS NOU!
I recall—and would have to look it up—that Miles was none too appreciative of McCoy’s playing in Miles’ autobiography. Herbie Hancock may have been more adaptable to Trane’s music. As for Miles with Alice, Garrison, and Rashied—the mind boggles at the thought!
Absolutely. There are several places, not only in his autobiography, where Miles puts own McCoy (although mostly his playing after Trane), and where he puts down Trane's "free" music. One can only assume that in 1967 he was open to it and willing to try it. THANKS!
Thank YOU for all these wonderful posts!