#pete cosey

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Miles Davis, 1975

[nofatclips]

Ife by Miles Davis Septet, live in Vienna 1973

[mosaicrecords]

Miles Davis: Ife 1973

In the early ‘70s, Miles Davis’s music was, in no uncertain terms, searching and moving through various genres and attitudes. This 1973 live performance of Ife with Dave Liebman on flute and soprano sax, Pete Cosey on guitar and percussion, Reggie Lucas on guitar, Mike Henderson on bass, Al Foster on drums and Mtume on congas is particularly focused and effective, although Miles’s choice of using a wah-wah pedal on his trumpet still drives some people crazy.

-Michael Cuscuna

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Melvin Gibbs Isn’t Looking Back

For the past 21 years, self-described “explorer of rhythm” Melvin Gibbs has—among many other things—held down the massive low end in the collaborative power trio Harriet Tubman. The effects-laden grooves he concocts for that band, paired with the string-bending guitarscapes of Brandon Ross and the polyrhythmic assault of drummer J.T. Lewis, yielded a sprawling masterwork last year. The Terror End of Beauty, a glitch-infused collision of rock, jazz, funk, and blues, rightly found itself on just about every best-of-2018 list.

But that was last year. On this frigid winter day in the Bushwick section of Brooklyn, the dreadlocked bassist is perched in front of a computer alongside drummer, producer, and rap upstart Kassa Overall. They’re in the midst of what they’re calling an “idea day” for one of Gibbs’ panoply of boundary-pushing projects that will surely keep him busy throughout 2019. Among those projects: the jazz-fusion Zig Zag Power Trio with Living Colour guitarist Vernon Reid and drummer Will Calhoun, a duo with theoretical physicist and saxophonist Stephon Alexander that explores climate change, a long-awaited album from the Bitches Brew-manipulating Melvin Runs the Hoodoo Down (with the late Pete Cosey on guitar), and the return of his African-based spiritual music ensemble, Elevated Entity. On top of that, Tubman is intent on making a new record in 2019. “Striking while the iron is hot is important because it took so long for everyone to, you know … care,” says Gibbs, laughing.

What’s being cooked up in Overall’s home studio today is potential material for yet another band: Melvin Gibbs Magnum. Also in the Magnum mix are keyboardist Paul Wilson, longtime creative partner DJ Logic, and D.C.-based artist/producer Kokayi, a touring member of Steve Coleman’s Five Elements. It’s apt that Gibbs has Godfried T. Toussaint’s book The Geometry of Musical Rhythm by his side; the surgical focus with which all hands are manipulating the rhythms reverberating from the speakers is akin to a science experiment.

“One of my things is African-American rhythm,” Gibbs explains of Magnum’s beat-driven vision. “That’s where this book comes in. There’s this geometric idea called ‘translation,’ which is when you take a shape and just twist it—it’s the same shape but it looks different because you twisted the direction. That’s what happens with African-American rhythms: They’re all the same, rhythms that came from Africa, but they’ve all been twisted slightly. What we’re gonna do is take this really basic rhythm and we’re gonna twist it. I’m exploring an intergenerational idea—I almost want to make a jazz version of Jay-Z’s 4:44. When he made that record, I was going, ‘Ah! This is the same idea!’” [Read More]

[merzbow-derek]

MILES DAVIS, 1973

trumpet: Miles Davis sax & flute: David Liebman guitar: Pete Cosey guitar: Reggie Lucas bass: Michael Henderson drums: Al Foster percussion: James Mtume

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Untitled

Miles Davis

28 May 1974 | São Paulo, Brazil

[doomandgloomfromthetomb]

Miles Davis - Theatro Municipal, São Paulo, Brazil, May 28, 1974

Thanks to John for passing along this fantastic tape of Miles Davis and band burning in Brazil. I’d listened before, but hadn’t fully appreciated it. The recording comes just two months after the Dark Magus gigs in NYC, and it shares a certain flavor with that essential release. But there’s a light playfulness to the São Paulo set, too -- it’s a bit more textured, a bit more colorful, even with some moments of odd beauty seeping through; Miles’ weirdo keyboard clusters sound particularly good here. Don’t worry, there’s plenty of shredding, too -- the mix favors the twin guitar team of Reggie Lucas and Pete Cosey, and their unparalleled playing is a joy throughout. Shout outs also have to go to Michael Henderson, whose bass is both rocksteady and exploratory. Big fun, indeed.