Customer Reviews

Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991

5 star:		(10)
4 star:		(2)
3 star:		(5)
2 star:		(0)
1 star:		(0)

 

 

Much of MILES BEYOND contains perhaps the best explanations for Davis' artistry--as well as the contradictions and controversy surrounding Miles the human being--as anything I've ever read about him (and that covers a LOT of territory). Tingen effectively discusses Davis' Zen-like ability to maximize his sidepersons' potential, takes a praiseworthy stab at a psychological analysis (e.g., Miles' self-destructive streaks, his voilent tendencies), and does a heroic job of placing the 1973-75 group among Davis' best-ever units. Davis' music in general stands the test of time because he built on the past, not forgot it. Also, Miles' aesthetic successes came despite physical and psychological problems that seemingly left him devoid of inner peace when not creating music.

A key aspect of this book is that Tingen conducted fresh interviews with most of Davis' sidemen from his electric period. Thus there are a lot of fresh anecdotes and explanations particularly regarding the music itself. For instance, I've rarely read interviews with Davis' 1973-75 sidemen. Tingen talked in depth to all but one of them. Overall, Tingen explains with unique clarity Davis' gift for bringing his musical concepts to fruition, as well as Miles' ability to inspire his sidepersons to play "above what they know." Interviews with significant non-musical associates--specifically girlfriends--also help to provide as complete a picture as possible of Davis.

If the book has a flaw, it is the degree to which the author's views of Davis' recordings tend to move out of sync with his outstanding analysis of Davis' artistry in general--he leaves the impression that the "electric era" only sporadically lived up to what is in effect the author's own hype. Arguably he clings to some of the paradigms that he praises Davis for breaking (e.g., the overlength of many tracks). I even cringed when Tingen labeled the aesthetically-groundbreaking, politically-charged SUN CITY track "Let Me See Your I.D." (with a brilliant Gil Scott-Heron rap) as "boring funk-disco." And is DOO-BOP really "bubblegum teenage music?" I couldn't resist wondering if the overwrought electric-Miles hater Stanley Crouch hijacked the text in instances such as these.

Tingen claims that that his musical upbringing was on the avant edge of rock. I'm pondering whether or not that background is any more sufficient than that of a mainstream jazz fan to evaluate Davis' 1967-91 recordings. In my mind, to understand this era requires the ability to get swept away--intrinsically and extrinsically--by the deep grooves of the likes of funk legends James Brown, Sly Stone, and George Clinton. Furthermore, I think it requires open ears for such pop superstars like Madonna, Prince, and Michael Jackson (all of whom have drawn positive critical notices), such eclectic visionaries as Joni Mitchell, and also to have a discerning ear for styles that critics abhor (e.g., top-40 pop) as well as favor (reggae, alternative rock). I believe that Davis listened to and had an affinity for most or all of the above...and I am left with the impression that most or all of the above may be relatively alien to Tingen.

Despite these concerns, the bottom line is that the book's benefits FAR outweigh any problematic aspects. Tingen has done a remarkable job at getting "inside" Miles' musical mind. Most of the occasional shortcomings to Tingen's musical analysis are minimized by his often letting the musicians explain what is happening. No matter how well you think you know Miles, you'll know him better after reading this book, even if you find yourself having differences of opinion regarding some of the particulars.

Tingen's great contribution is that he portrays Miles' early electric period as a continuation of the experimentation he was doing with the mid-60s quintet, along with pressure from his record company and his own desire to reach out to a broader audience. However, what he came up with was certainly not "commercial" or a "sellout" as some critics have asserted. Instead it was some of the most beautiful and challenging music of his career. But Tingen is also honest enough to point out that a lot of what Davis recorded after his "return" in 1981 was garbage. By 1985 Davis was just a showman resting on past laurels.

The sessionography and discography are excellent, especially Tingen's analysis of Teo Macero's groundbreaking use of editing. Through interviews with people like Lenny White and Billy Cobham, we get a great glimpse into the way Miles thought about music, the way he ran sessions, how he recorded, and how he interacted with his band - often they were downright afraid of him!

Some minor gripes: I just disagreed with some of his assessments of some Miles tracks over others, but that is a personal thing. The other drawback is Tingen's analysis of Miles' music through Buddhism and other exotic philosophies. Thankfully these are brief, but probably would have drawn some chuckles from the Man himself.

Paul Tingen's excellent new book is an in-depth treatment of Miles's "electric" period from 1967 to 1991. The timing of this publication couldn't have been better as Columbia/Legacy continues to issue/reissue important recordings from this era, including the recent "Live At Fillmore (It's About That Time)" and "The Complete In A Silent Way" box set.

The strength of the book lies in the fact that Tingen evaluates the electric Miles period on its own terms: an approach this much misunderstood and often maligned music truly deserves. Tingen backs up his thorough analysis with new interviews and first-person accounts from band members and other colleagues.

Tingen's book has set a new benchmark in writing on Miles Davis and jazz fusion. "Miles Beyond" offers both the casual listener and the fanatic fan much to learn about the electric years. And like all good music criticism, this book made me return to the source. I've been listening to albums like "Jack Johnson" and "Agharta" with fresh ears. An essential read!

Makes me want to run out and listen to the records all over again ...

The other reviews I've read above describe perfectly what I got out of this book. I got lots of new information and perspective on this important music, garnered from interviews with the band members themselves. They pull no punches in illustrating what a great bandleader Miles was, and what a volatile man he could be. This was mixed in with a certain amount of opinion presented by the author on relative value of pieces or of the way they were edited or presented, which can be ignored. Read Miles' autobiography, read Carr's biography, read this, and listen to the music, that's my advice.

Anyone reading this is familiar with the arc of Miles Davis' career and tapestry of milestone recordings. Tingen focuses on the least understood of Davis' output, and the final 24 years of the trumpeter's life: his controversial electric period. Through a detailed narrative of Davis's career from 1967 onwards, in-depth interviews with dozens of musicians, friends and family, session notes and a rigorous analysis of his recordings, the author brings this formerly dark and misunderstood period to life and shows its continuity with Davis' earlier work as well as its linkages to the roiling ferment of America in the '60's and '70's. Tingen actually gets under the skin of Davis, illuminating crucial aspects of his working methods, values and approach to music as life that span the trumpeter's entire career. He nails Davis' approach as one of incorporating the new, while integrating it with the styles of the past: "transcend and include"; Miles always WAS a conservative Midwesterner at heart. The author's energy, creativity and intelligence mirror those of his subject. More than a document of some of the most brilliant and forbidding music of the last 35 years-the best book published about one of the giants of 20th Century music.

A rare occasion is when a book appears, that unveils a whole era, which by some reason has been forgotten or disregarded. An even rarer occasion is when the same book manages to prove that this overlooked era is shimmering by magic treasures of purest gold.
To all of us, who for three centuries now have wondered why an appropriate treatment of the most powerful and dynamic period in the career of Miles Davis have been almost completely suppressed, relief has finally became brought. Because it is to us, who spent the late seventies wondering in despair if Miles was dead, and then - when the occultation finally was broken - realised that he was, to all of us Paul Tingen has dedicated this pioneering piece of work.
It is with a feeling of redress and revenge one reads the true story as told by the former sidemen of Miles: Jack de Johnette, Herbie Hancock, John Mc Laughlin, Mtume, Joe Zawinul, Pete Cosey, Michael Henderson and Sonny Fortune. History drives close as everyone confesses his own experience of the sheer magic that adhered to Miles. It is also with deep recognition and satisfaction one reads Tingen's solid and personal analyses of Miles' explorations into what contemporary jazz-authorities regarded as cheap rock-business. And it is with brave new ears you again and again will let the timeless flow of that red trumpet reappear from your speakers during reading. And you will find that that particular kind of energy that still keeps you thunderstruck when you're exposed to Agartha or Pangaea, certainly IS a landmark if not a climax in 20th century western music. Just as you've always felt.
The book is a revelation. Get it!

I've been waiting for a book that covered this period for ages. All the other Miles related material, although revealing in many areas outside of '67 - '91, has neglected this period more or less altogether. This book deals with the roots of all that became known as 'Jazz Fusion'. The pioneers who went through the Miles 'Academy' are all interviewed here. There are breakdowns of album tracks and extracts from interviews. I don't believe a stone has been left unturned. Paul Tingen is a musician and as a result has been able to get to the core. Can't wait to read it again.

This book does indeed cover the electric years in detail. There are lots of interviews with sidemen like Corea, Holland, DeJohnette, Cobham, Grossman, etc. that really flesh out what went down (much of it barely comprehensible to the musicians when they played it). But who needs any coverage of the 1980-1991 period?

There is WAAY too much yadda yadda kind of macro-analysis that doesn't address specifics of the music, including a long exposition into the writing and theories of Ken Wilber. I say cut the **** and cut to the chase.

He overuses Miles' autobiography with Quincy Troupe as a source. I consider that document to be self-serving in the extreme and frequently fictional, and I wouldn't use it as a source without corroboration. He also frequently denigrates Chambers' Milestones, which I consider the best overall book to date regarding Miles' life and career. This is probably no more than professional rivalry, but it lessens this book.

The analysis of the various recording dates and output mostly jibes with my takes on the same recordings, but is incomplete. Nothing in his analysis is striking or displays insight that a half-sophisticated listener couldn't arrive at. Lester Bangs did several early 70s contemporaneous reviews of this material that showed much more depth of thought. And he ignores quite a few live dates that should have been available to him as a researcher.

All in all, I wouldn't give this more than three or three and a half of five stars. It's a nice start, but certainly not the definitive book about this period. I see John Szwed has a new MIles bio out - he did a great job with his Sun Ra bio, so maybe his will be the new definitive work.

I am a trumpet player/performer who has loved Miles work from all his periods, but I especially loved his later electric music. As a trumpet player/composer who has studied every note and nuance of his music, and worn out records listening over and over, I was always wondering how this music came about. What was going on in the studios and how things were communicated and carried out. So many books written about Miles got into his personality and history, and didn't focus as much on the music as I would have liked. This book is different. As I read it, it was as though I was there. Answers and revelations started to pour out of this book and I couldn't put it down. If you were ever curious as to how Miles operated and got things done, and what went on in the background, especially for this period, this book is for you. Paul Tingen did a tremendous job of hunting down the facts and tying everything together so you can chronologically see the association from one session to the next, and see how the music evolved . This book is a landmark and classic. Paul also has a companion website, Miles-Beyond.com that has more information. A Great book, and a stellar work!

A prudent man would never judge a Miles Davis production without first asking the question: Does it have that thing? Yet, on at least two occasions in my life I failed to do just that.

The second time was when I was in an Art Store in Maui, considering buying one of Miles' paintings. Initially, I liked it enough, but had to reevaluate my position when the salesperson told me that Miles had created it with a felt-tipped pen? So much money for a painting "produced with a felt tipped pen," required digging deeper into the real meaning of this purchase. That is when I was forced to ask the ultimate question: Does it have that thing?

It did, and now that painting graces one of the walls of my den.

The first time was when Miles jumped the "aesthetic tracks" from straight-ahead jazz into the realm of electronic jazz-fusion (Or at least that is what I had thought at the time.) For one who had been listening to and grappling with Miles Davis' music and persona since the age of eleven, this aesthetic breach was heresy of a very high order. But rather than give the great (and very familiar artist) the benefit of the doubt, I too "jumped the gun" and joined the bandwagon that condemned him "before the fact" only to be abruptly jerked back to aesthetic reality after hearing "Bitches Brew" and "Jack Johnson" for the first time.

Hearing "Bitches Brew" for the first time was like an out-of-body experience. Its density, feel and aesthetic momentum left one breathless as it captured so much of the spirit of the times. It was a mixture of music whose time had arrived and no one knew this better than Miles. The only comparable experience occurred after hearing a similar fusion of African-American soul music and Palestinian music at a wedding of a couple of Palestinian friends. There, as in Miles new concoction, the fusion seemed so natural that I wondered why do one had thought of it before. In the music school curricula, we need a course in musical fusion, just to make sure we have not missed other exotic musical connections and combinations.

Here Paul Tingen has captured exquisitely those (and many more) moments of Miles' transformation during the era of the fusion of progressive jazz with Rock and Soul music. As but one example of many in the book is Billy Cobham's description of the difference between Miles and Freddie Hubbard's playing: "When you listen to Freddie you hear trumpet proficiency par excellence, and then you hear Miles and he had a way of taking what Freddie did and compacting it in five notes. Those five notes said it all. The air around them became musial, and the silence became more profound and more important (than the notes). You just don't learn that, Miles somehow could just do that. He was like Merlin the magician. It was based on Miles' innate ability to use space. Not playing became more improtant than playing. But it had to be the right spaces at the right time! It was uncanny how he'd play one note, and that note would carry through five or eight bars of changes. That note would be the note."

Thus the author, through those who knew Miles best, his sidemen, has gotten into the bone marrow of Miles mind, to the very seat of his creative juices. And while there, he has shown us that Miles transition was anything but abrupt. It was a difficult and mind-wrecking high-wire act that not only made Miles crazy, but also vulnerable to everything imaginable. And it occurred, not over night as many assumed but over a span of almost three years.

Miles had enlarged the scope and the sonic palette of jazz by being able to see abstract blocks of sound connected in aesthetic space, and finding the musicians, the compositions, and the ambience to "give them that thing." He was an "egoless magician" a "mad conductor" in search of "that thing." And his genius was that only he knew when he had found it. It was always the wholistic conceptions in his head that ruled the day. He was single-minded in this pursuit, and was satisfied only when everything gelled just as he had planned it. He was the sorcerer who concocted the Bitches Brew, and we all drank from his cup.

In recounting the story of Miles shift in musical (but not aesthetic) focus, Tingen has not only captured the pure essence of the music (the melding of so many musical forces and influences into a single new whole), but more than anywhere else he has also captured the essence of the man himself. And although Miles was no god, he sure as hell acted, conducted and carried himself like one. Tingen, so often in this most revealing of pieces, gets behind the scary Miles Davis facade into the fragile almost paranoid man behind the mask. What he brings out is the truth: that both the man and the music "have that thing." A reader could hardly ask for more. Five stars.