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Ghosts of Memory

Adding a bit of lore . . what I can say without spoilers is that both of them are part of a secret "vigilante" group called Evangelys, and they are investigating the cases dismissed by the police as freak accidents, or as "supernatural". The timeline is something that resembles the 1800s, and the city of Elyma (where the story takes place) is riddled with strong remnants of folklore, and fae stories.

So, all the members of Evangelys have a certain kind of super intelligence/genius, which permits them to do what they do. Michael's power ( black haired guy ) is perfect memory, which is also the source of his melancholy. He is burdened by a specific event which shattered his vision that Law is absolute, and just. Hence his expression.

Will is a bit of an anomaly, in the sense that he's a genius in all the senses of the word, but he'll never give his input unless he gains something out of it, otherwise, he'll just laze about, do his own thing. Momentary cure of boredom? A strawberry? A spark of interest ?

The thing here, is that Will somehow reminds Michael of the person whose death he witnessed, despite the fact they are nothing alike, and is the beginning of a bond burdened by grief.

Reference for the drawing:

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Michael Henderson and his low buttoned shirt...

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Norman Connors - Valentine Love [ft. Michael Henderson & Jean Carne]

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LIVE-EVIL, MILES DAVIS listen here

(English / Español / Italiano)

Ron Carter: "It was in November 1971, when Miles Davis released his album "Live-Evil. "

I was no longer touring with Miles at the time "Live-Evil" was recorded…. I wanted to focus on my family and my growth as an acoustic bass player. However, when Miles asked me to give my acoustic sound to a few songs on "Live-Evil", I was more than happy to do it.

About half of the album was recorded live at the Cellar Door jazz club in 1970; his band for that was Gary Bartz, John McLaughlin, Michael Henderson, Jack DeJohnette and Airto Moreira. For the studio tracks, he also brought in Herbie Hancock, Chick Corea, Hermeto Pascoal, Dave Holland, Steve Grossman.

Miles was looking for very specific sounds in each song, with specific people in mind for each song. I was the sound he was looking for in two songs: Nem Um Talvez and Selim."

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Ron Carter: “Fue en noviembre de 1971, cuando Miles Davis lanzó su álbum "Live-Evil. "

Ya no estaba de gira con Miles en el momento en que se grabó "Live-Evil"... Quería centrarme en mi familia y en mi crecimiento como bajista acústico. Sin embargo, cuando Miles me pidió que le diera mi sonido acústico a unas cuantas canciones en "Live-Evil", estaba más que feliz de hacerlo.

Cerca de la mitad del álbum fue grabado en vivo en el club de jazz Cellar Door en 1970; su banda para eso fue Gary Bartz , John McLaughlin , Michael Henderson, Jack DeJohnette y Airto Moreira. Para las pistas del estudio, también trajo Herbie Hancock , Chick Corea , Hermeto Pascoal, Dave Holland , Steve Grossman.

Miles estaba buscando sonidos muy específicos en cada canción, con personas concretas en mente para cada una. Yo era el sonido que estaba buscando en dos canciones: Nem Um Talvez y Selim .”

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Ron Carter: "Era il novembre 1971, quando Miles Davis pubblicò il suo album "Live-Evil". "

All'epoca in cui è stato registrato "Live-Evil" non ero più in tour con Miles…. Volevo concentrarmi sulla mia famiglia e sulla mia crescita come bassista acustico. Tuttavia, quando Miles mi ha chiesto di dare il mio suono acustico ad alcune canzoni di "Live-Evil", sono stato più che felice di farlo.

Circa metà dell'album è stata registrata dal vivo al Cellar Door jazz club nel 1970; la sua band era composta da Gary Bartz, John McLaughlin, Michael Henderson, Jack DeJohnette e Airto Moreira. Per i brani in studio ha coinvolto anche Herbie Hancock, Chick Corea, Hermeto Pascoal, Dave Holland e Steve Grossman.

Miles cercava suoni molto specifici in ogni canzone, con persone specifiche in mente per ogni canzone. Io ero il suono che cercava in due canzoni: Nem Um Talvez e Selim ".

Source: JazzLife

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