Paul Harvey Seminal Essay If I Were The Devil

Paul Harvey Seminal Essay If I Were The Devil-73
Miles’ live and studio directions were strongly diverging around this time, with the studio experiments pioneering new material-incorporated elements of rock, soul and folk that only gradually filtered through to the live stage.

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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.

For Miles it meant a point of no return for the musical direction he had initiated with the recording of “Circle in the Round” in December of 1967.

Until August of 1969 he had remained close enough to the jazz aesthetic and to jazz audiences to allow for a comfortable return into the jazz fold.

In the words of Quincy Troupe, these two groups were like “oil and water.”[4] signaled a watershed in jazz, and had a significant impact on rock.

In combination with Miles’ fame and prestige, the album gave the budding jazz-rock genre visibility and credibility, and was instrumental in promoting it to the dominant direction in jazz.

[2] Just like “motherfucker,” the term “bitch” can be used as an accolade in African-American vernacular. Teo Macero remarked, “The word ‘bitches,’ you know, probably that was the first time a title like that was ever used.

The title fit the music, the cover fit the music.” [3] The music on is indeed provocative, and extraordinary.

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.

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