Customer Reviews

Evolution Of The Groove (Ep)

5 star:		(4)
4 star:		(1)
3 star:		(5)
2 star:		(1)
1 star:		(2)

 

 

EVOLUTION OF THE GROOVE is a remix project organized by executive producers Steve Berkowitz and Vince Wilburn Jr. (Miles' nephew), using Miles Davis recording sessions as their foundation. What is odd about this E.P. is its uncomfortably short 14 1/2 minute total playing time, as well as some of the contents. Beyond that are some interesting musical moments, though. Track one is merely a minute-long fragment of "Freddie Freeloader" from the KIND OF BLUE session reels. You hear Miles talking in-between several alternate takes that are nothing more than false starts. It's so inconsequential that it wasn't even included on the "complete" boxed set covering this period. I suppose it leads off here with the intention of linking an early Miles Davis recording (from 1959) with the current project via its cut-and-paste feel, but the lack of musical substance is what sticks out the most. However, EOTG then starts to pick up some momentum, albeit diminished by too-short running times.

"Freedom Jazz Dance (Evolution Of The Groove)" cuts up and redistributes samples from the original 1967 recording as well as that of Miles' speaking voice (primarily singing the melody line during a rehearsal). Add to that Nas' topical rap and an impressive cast of musicians (including Geri Allen, Victor Bailey, Olu Dara, and Wilburn Jr.) creating a partly-live, partly-programmed groove. What leaves me wanting more is that it's a short track (2:56) that doesn't give the newly-assembled team of musicians a chance to really get in the game via individual statements such as solos, which is something one could reasonably expect from a Miles Davis-related project. "It's About That Time" is the album's longest track (4:53), with an edit of the original recording being most of what one hears, but updated primarily via some effective lead guitar work by Carlos Santana and a repetitive drum loop. The cut ends unpredictably with Miles' wah-wah trumpet lifted from "Black Satin."

As with track two, the last pair of cuts (Honky Tonk" and "Black Satin") are painfully brief (2:39 and 2:44). With the likes of guitarist Doyle Bramhall II and multi-instrumentalist Charley Drayton leading the way, recognizable bits of the original recordings are used as samples interwoven into new grooves. Several vintage Miles solos are layered into the mix in a manner that hooks the listener up with the artist's distinctive instrumental voice. Yet what stands out is that the remixers don't merely drop a rhythm loop or a horn track into a generic-sounding mix. Rather they ambitiously create an individualistic wall-of-sound that offers a credible approximation of what Davis' music might sound like if he were alive and musically active in 2007. Unfortunately, the fade-outs are so quick that the results seem to tease more than deliver a truly satisfying musical experience.

The bottom line is that EOTG is not an essential addition to Miles' legacy, but suggests in abbreviated form that there is an opening though which remixers attuned to his musical approach can navigate and produce results that arguably serve as a worthy postscript to Davis' original recordings. The fact that Miles' electric-era music was originally recorded with post-production in mind makes it more worthy of a remix project than most other recent remixes of jazz recordings (particularly those of traditional performances). If the plusses mentioned above outweigh the minuses in a potential purchaser's mind, then this low-priced E.P. is worth checking out.

This release is very interesting - it attempts to approximate what Miles could have sounded like in today's world and musical language, taking clips from the late 50's up to the early 70's. My only mild complaint is that they didn't go with something from the late 80's/early 90's as one additional closing track. A remix of Human Nature or Time After Time, or similar, could have given the disc a more complete feel. As it is, the opening cut is a pleasurable brief glimpse at Miles the bandleader, shaping the sound of Kind of Blue in that odd, unique verbal cue fashion that only Miles could muster. The additions of Nas and Carlos Santana stand out, and all of the included remixes are effective. If like me, you find something of major worth in all of Miles' periods, this is a nice disc to have, though they could have made it a bit longer.

This is how you want to make a musical tribute to Miles. While I wish Evolution Of The Groove was a full length CD, this EP is a totally enjoyable listening experience from beginning to end. Taking today's sounds and grooves, and mixing them with the original innovations that Miles was responsible for, makes his work sound completely fresh. Like the Bill Laswell reconstruction CDs, it's a great way to introduce Miles' music to the next generation. I'm hoping for some more of this stuff soon.

as someone who has over 100 miles discs, this is a big disappointment!what was this for? miles 80th birthday..he deserves better and carlos should know that almost better than anybody! freddie freeloader,should be on kind of blue,freedom jazz dance,honky tonk and black satin should be on panthalassa;the remixes.it's about that time is a longer version than the one on cool & colected.rather more tracks and maybe more time as well as thought should have went into this....thank god for the box sets put out by columbia...hey maybe another tribute cd.....

Let me pause by stating that I rather enjoyed the Bill Laswell Panthalassa: The Music Of Miles Davis 1969-1974 project, so I'm not against remix projects, but this was stinks of cashing in, and given the drubbing that Vince Wilburn, Jr. has recently performed on the Miles Davis legacy and catalog, this is not at all a surprise.

Clocking in at around 15 minutes or so, "Evolution of the Groove" features clumsy remixes that vaguely use Miles material as the source by Meatloaf guitarist Pat Thrall supported by multi-instrumentalist Charley Drayton and Vince Wilburn, Jr. Essentially, it's all aggressive beats and what amounts to a bunch of guys playing along with Miles, and it sounds like this. So much so that Miles' performance is recessed in the background. It doesn't even sound like it was mixed from the source tapes-- it literally sounds like some kid's idea of a mashup by overdubbing himself on Miles Davis recordings. Closer "Black satin" is actually pretty decent and, not surprisingly, the only track that features the original session prominently, but the bottom line is this record qualifies in the "I'll never listen to this again" pile.

I've always loved to hear a musicians voice which can very often display a rhythm of a high order. And Miles Davis sure had that. This is a wonderful CD. It's not about the length. Turn it up and quit thinking so much.

What there is of Evolution Of The Groove is amazing. The album takes classic Miles from Kind of Blue, In a Silent Way, and On the Corner, among others, and digitally bends and reshapes. You hear studio talk from Miles and Teo, Rappers, and the amazing guitar of Carlos Santana.

But as your getting into it, the album ends. You think your CD player failed. "Where the hell is the rest?" you demand.

There is no more. This CD is under a half hour. It is like the compiler said "ah, I am going for a beer." and clocked out early never to return

What is presented is so good, holds so much potential, another fifty minutes-CDs can hold 80 minutes worth of data-the short time seems a mere tease.

What great music. What great remixing. What a ripoff.

I guess I should have read some of the comments/reviews on this before spending the money! I do like the music, what little of it there is. Way too short. It seems as though it is just several of the "listen to sample here" things you can listen to before purchasing music online. I guess when you think of Miles you tend to expect 10-30 minute songs? All in all I was disappointed with this CD and would not recommend it, unless you just really really love Miles and have to own anything that has his touch (kinda like me!) Maybe these guys can release something a little more substantial in the future and I would give them another chance!

Clocking in at under 15 minutes, producers Vince Wilburn, Jr., Charley Drayton and Pat Thrall, light a match, but do not ignite what might have been a remix which depicts the timeless nature of the art of Miles Davis, while exploring new horizons of his musical legacy.

Delving into a set of classic tapes and studio outtakes, the music is bolstered by appearances - sometimes brief - by Nas, Carlos Santana and Geri Allen (key).

What could be termed as a follow-up to Doo-Bop, the 1992 release (six completed tracks before his death, two posthumous songs) - which found Davis incorporating hip-hop into his music - Evolution of the Groove is built on the premise of a marathon, but is completed through a 100-metre-dash.

I recently got ahold of a copy of "Evolution Of The Groove" thru my sister, who knows Producer/Drummer Vince Wilburn, Jr. personally (thank u Claudia!).
Needless to say, being a lifelong Miles man to the bone, I can say
unequivocally that this EP's only fault is...it's too short, leaving a
hardcore listener like myself wanting much more (total play time is 14 minutes)!! But what IS there, Oh, Baby! The tracks, especially tracks 2-4, are just simply mind-blowing in sonic quality and the mix is excellent. Vince, Carlos & all the other added musicians are at the top of their A-game here. The tracks are FAT. The rhythm is all up INSIDE the pocket, as it should be. This doesn't sound like any idiotic ProTools edit job-the band RIDES along with Miles seamlessly, driving his solos, which sound fresh. THIS is exactly where, I would imagine, Miles would be musically if he were still alive and healthy. This EP is truly a fitting coda to my singular musical hero, and I do believe he would have been proud of this interpretation. Get it! Ignore the scoffers. You will wear it out-it's that tasty. But I gaurantee you will also wish it was longer.