Customer Reviews

Miles in Tokyo

5 star:		(8)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

When we talk about the music of Miles Davis, there were many epiphanies that his music had. One was expressed in the album Birth of the Cool, where he broke away form a sound similar to Dizzy Gillespie to start his own distinct tone. The second major epiphany came about with first great quintet. With Red Garland, Paul Chambers, Philly Joe Jones and John Coltrane, Miles was able to extend his themes and developments into longer solos and also stretch the inert abilities of each piece they played. The third epiphany is expressed here on this album, Miles In Tokyo.

Well, George Coleman's time to leave the band came. So, with amounted to a promissory note for Wayne Shorter from Art Blakey, Miles need a tenorist yesterday. Sam Rivers, newcomer to the scene, was selected and to Tokyo the band. Here, available in an American pressing for the first time ever, is the concert date at Kohseinerkin Hall on July 14, 1964.

The sound was different here than any other date Miles did.

The sound is the question, right? Well, if you listen to My Funny Valentine, Live At Plugged Nickel, Seven Steps To Heaven, or Live in Berlin; you know the sound of the early quintet. They are developmental, experimental, polyrhythmic, fluid and (the difference in the early performances) conservative. Everyone, including Miles, is using the musicality of space to enhance his motifs and thematic material. Herbie is, as always, turning the melody into a song length harmonic experiment. Ron Carter is following behind the group with some early elements that would become know as `funky'. `Ant' Williams (R.I.P.) makes the whole song his solo. Tony always had a way of developing his approach to the tempo through the entire piece.

One final note is the presence of Sam Rivers. Well, if you have any of his early works (Fuchsia, Fuchsia Swing; Countors, Inventions and Dimensions, Trio Live) then you already know what to expect. His playing is punchy, dynamic, employing much staccato and almost paying to attention no any time restrictions.

Any fans of the second quintet or Sam Rivers will love this album. Also, give a hard listen to the album Countors (Freddie Hubbard, Sam Rivers (lead), Herbie Hancock, Ron Carter, and Tony Williams).

Not for the novice, this is jazz as only Miles can do it.

One of the more bizarre recordings in the catalog of Miles Davis, "Miles in Tokyo" finds the trumpeter with only one missing piece in his "Second Great Quintet"-- the rhythm section of pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams was in place, but while Wayne Shorter was promised to join Davis on tenor sax, he was not yet available, and on the recommendation of Tony Williams, Sam Rivers was brought in for replacement.

Now, I love Rivers' work, but clearly this was not a match that Davis was ready for, and Rivers sounds out of place. The set in the summer of 1964 was largely unadventerous, Davis had not recorded regularly with his small group in several years (1963's "Seven Steps to Heaven" being the only date during between March 1961 and January 1965), and there was a lack of new material (attributed by Davis to having "nothing left" after recording "Sketches of Spain"). As a result, the music Davis was playing was rather tame compared to what the Ornette Colemans and the Cecil Taylors (and for that matter the Charles Minguses and John Coltranes) were doing by this point. While his young band was far more schooled in free jazz, Davis was not ready.

So what we have is Davis playing a bunch of tired pieces with a rhythm section that pushes the level of energy up-- Davis plays well enough, railing away agressively pretty much throughout, but he's nothing compared to Rivers. Rivers' soloing is explosive, fierce, energetic, and unpredictable, often eschewing standard time and rhythmic ideas ("So What"), and yet sometimes surprisingly lyrical ("If I Were a Bell"), so far beyond what the rest of the band was doing that he sometimes loses them. And certainly Davis was unhappy with him, not allowing him to state the themes.

It's really an interesting record, and certainly everyone plays well enough, but Rivers was a square peg and it shows.

Those who study Miles' career know that he was in something of a creative rut in the early 60's. The departure of Coltrane and later the Kelly, Chambers & Cobb rhythm section left Miles looking for a new creative pool of ideas and expression. The arrival of Carter, Hancock, Williams, and Coleman gave him a working band and while the music these guys made was exceedingly good, there was nothing extraordinarily new and exciting really happening. When Coleman vacated the tenor sax chair, Miles once again tried and failed to secure Wayne Shorter - the man Coltrane recommended to Miles when he departed. Enter Sam Rivers for a stint that lasted but a few weeks.

Rivers was recommended by the young Tony Williams. Note that Tony had also recommended Eric Dolphy but Miles was having none of that. What's interesting is Rivers and Dolphy, while they sound nothing alike and don't even play the same horn, approach the sax in much the same way. Both have a very expressive way of playing each and every note.

While it's true that Rivers wasn't the player Miles was looking for, it is clear that his presence changed the way Miles' band listened to one another and played. Just listen to the version of "So What" on Tokyo and compare it to the recording made in Berlin a couple of months later with Wayne Shorter on sax. It's as if Miles made a giant leap forward on Tokyo and then took a step back. The rhythm section on Tokyo sounds much closer to what we hear on ESP than the first recording with Shorter (Berlin). Rivers is positively outrageous on So What, you've never heard a Miles Davis band that sounds like THAT.

Another good reason for purchasing Tokyo is that is includes what biographer Chambers calls the essential performance of Funny Valentine. I have to agree with that assessment.

Rivers might not have been the sax player Miles had in mind but it's clear that Rivers is the person who managed to nudge open the door to a much more flexible sound for Miles' 2nd great quartet.

This is great stuff! Buy it!

Incredible recording.Have almost all of Miles.Buy this for Sam.His solo on "If I were a bell" remains raw, soulful, original, and clear as a bell-every time I listen.One of my favorite solos in jazz record history.Up there with all the solos that everyone who reads this already knows about, going back to Louis.Both pushed the rhythmic envelope and their sound come from the belly.Just a grand recording.Nothing needs to be said about the rhythm section.Flawless as usual.

This review is more for the involved Miles/ Jazz fan than the casual listener. If you have not heard this early version of Miles' 1960's Quintet (with Sam Rivers on Saxophone instead of Wayne Shorter) this is a must have.

Rivers attacks everything with a feverish intensity that borders on Avant Garde sound makers like Pharoah Sanders and Albert Ayler (while nowhere near that "out") and nearly steals the show. Miles, Hancock and especially Tony Williams are also in fiery form throughout. Even if you have "My Funny Valentine" or Plugged Nickel highlights, this comes highly recommended.

this is a great document of a live show in tokyo by Miles Davis on july 14, 1964. the highlight of this disc is hearing the incredible Sam Rivers on tenor sax. he injects a whole new aspect to these classic Miles songs. and his playing is not as exploratory as you might expect. he keeps himself in check and adds his parts with class and respect to the original themes. the playing is superb and the sound quality is pristeen.

While I don't claim to be a Miles Davis expert, I've got about 20 of his albums spanning each one of his various musical 'periods', and as I'm a bit of a purist at heart, I have to admit I favour his more transitional pieces of work, like "Seven Steps to Heaven" and "In a Silent Way".

If you already own "My Funny Valentine; In Concert", you may decide you don't need to pay the full import price for this album. Likewise, it's recorded in '64 as is MFV, and reprises both that album's title track and 'All of Me.'

I prefer this album however, because of the energy the band derives from the crowd; Miles always got better receptions and appreciation abroad, and you can really tell on this album. It's not perfect; some of the tunes sound a bit rushed, but it still blows away the Carnegie Hall and Plugged Nickle sessions.

At the Amazon price, and for only one disc (at just under 40 minutes), I wouldn't recommend it for the casual Miles fan.

If you cant buy the complete seven steps to heaven, then buy this one at least. Totally amazing music. The only reason I can think of Miles not employing Sam Rivers anymore is that he was jealous of the guy. I think Sam completely blows Miles offstage on this one. His imagination and execution is just flawless, really a great performance. One fo my favourite Miles concerts ever, period.

this album once available only as an import is finally here.
upon, first listening to "if i were a bell" the tune seemed to be at a faster tempo than the studio version. miles was surprising quick with his muted riffs followed by sam rivers whose solo sounded a bit out of place but was full of possibilites.
loved "my funny valentine". this version has stuck in my mind for some time after listening. miles blowing on this track is vintage with herbie hancock and ron carter are superb thru out and tony williams keeps the pace. "so what" is powerfully done with miles and sam on top of their game. great vamping by herbie with tony playing all over his drumkit. ditto on"walking". on "all of you" ron carter accompanies miles muted trumpet superbly.at this point, sam rivers takes over this piece. outstanding! this is an album that grows on you with each listening and of course the importance of sam rivers on this date is historical indeed. a "must keep" for miles fans.

There are many fine Miles Davis live recordings. What is unique about this one is Sam Rivers. Essential listening!