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Miles Davis cast a long shadow over jazz history, a shadow that most musicians after him have warmed themselves in, soaking up the incredible influence that he had on the development of the jazz art form. The Miles Davis Experience developed by CAMI Music in conjunction with Blue Note Records seeks to illuminate the life and times of this legend, and this compelling presentation of Davis’s life until 1959 told his story through the words of other and, most importantly, in his own words and music.

The mixed-media presentation included the musical contributions of the acclaimed Ambrose Akinmusire Quintet (Walter Smith III on tenor sax, Sam Harris on piano, Harish Raghavan on bass, Justin Brown on drums, and Akinmusire on trumpet) with narrative support from Donald E. Lacy, Jr. Beyond this cast of characters, the nature of the presentation remained largely mysterious until the ensemble took the stage—but when they did it became clear that what we were in for was going to be like a cross between a poetry slam and a VH1 Behind the Music. In a good way.

The program focused on the years 1949–59, which was the decade bookended by two of Davis’ pivotal early albums, Birth of the Cool and Kind of Blue. The quintet played selections that moved progressively through this period. The charts were punctuated by narration, projected images, and sound clips of Miles discussing his music. The narration included quotes from other jazz icons sharing their words about Davis, as well as poetry including the Langston Hughes work “Trumpet Player.” Akinmusire was spellbinding from the first note, channeling Davis’ sound with some of that signature cloudy, round timbre. A long feature of Smith on tenor began low and smooth, and then increased in intensity and virtuosity, executed in easy, long-breathed phrases. Phrase trading between the trumpet and sax was intricate and as easy as if they were finishing each other’s sentences.

Given the comfortable, respectful atmosphere on stage between all the players it was no surprise to learn later that they have been playing together for years. Subtle, expert changes of color from individual players invited the illusion of a big band at times, a string orchestra at others. Their attitude was reflected in the self-contained energy they brought to the music—they played as though they were keeping their thumb over the end of a hose, allowing out only the right trickle of music even though they could at any moment allow the notes churning inside to bubble out. When he wasn’t playing, Akinmusire walked to the back of the ensemble, or crouched down low to the ground, as if to get his energy out of the way of the solo player—until he just had to send his enthusiasm out in the form of a whoop from his voice or a plaintive keening from his horn.

A tribute to John Coltrane began in the artist’s own words, describing how working with Miles Davis gave the young sax player the freedom to try anything he wanted, which segued into a long soliloquy from Smith; using a mellow sound and understated virtuosity, Smith conjured the illusion of a Bach cello suite, each flurry of notes intentional and intricately shaded. Justin Brown on drums was a graceful addition to the band’s sound regardless of the piece, his motions effortless and more horizontally reaching than vertically grounding. Rather than holding down the beat, he wove his equally complex lines into the texture of each piece, unobtrusively filling out the band’s sound.

Lacy’s energized narration, as well as clips of Davis’ own scratchy voice, imbued each piece with greater meaning, so that music and picture and narration blurred together into a continuum of emotionally affecting experience. The reverential feeling in the way the musicians occupied each note made it feel as if they were coming together in a small, intimate house of worship, bowing their heads at the altar of the cool, as anyone who has ever heard this icon is sure to do. 

REVIEW:

Performing Arts Series at Johnson County Community College
Miles Davis Experience 
Friday, September 30, 2011
Carlsen Center, Yardley Hall
JCCC Campus 
12345 College Blvd, Overland Park, KS
For more information visit http://www.jccc.edu/performing-arts-series/

Top Photo: MIles Davis (Photo by Don Hunstein) Copyright Sony BMG Music Entertainment

By Karen Hauge

Classical Contributor, Senior Editor

A native of New Jersey, Karen Hauge relocated to Kansas City in 2010 to attend UMKC in pursuit of her M.M. in flute performance. Since moving to Kansas City, Karen has been active as a performer within the Conservatory and as a music educator in the community, working with the Conservatory’s Community Academy of Music and Dance.

Karen earned a B.M. from the University of Delaware, where she studied music education with Suzanne Burton and Robert Streckfuss. During her time at Delaware, Karen was awarded several grants to fund an independent research project over the course of two years. The project and subsequent thesis, entitled “What Does It Mean To Be Musical?,” explored the ways in which people naturally interact with music in their everyday lives, and earned her a degree with distinction upon graduation. Karen has been active as a solo and chamber performer in Delaware, New York, and New Jersey. She has performed for world-renowned flute pedagogues such as Jeanne Baxtresser and Jeffrey Khaner, and has received honors for outstanding performance through her career at both the university and professional level. Her primary flute teachers have been Mardee Reed-Ulmer, Eileen Grycky, and Mary Posses.