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Personnel: Miles Davis (trumpet); Hermeto Pascoal (vocals, whistling, drums); Steve Grossman, Wayne Shorter (soprano saxophone); Bennie Maupin (bass clarinet); Herbie Hancock, Chick Corea (electric piano, organ); Keith Jarrett (electric piano); Sonny Sharrock, John McLaughlin (guitar); Dave Holland (acoustic & electric basses); Ron Carter (acoustic bass); Michael Henderson, Gene Perla (electric bass); Jack DeJohnette, Billy Cobham, Lenny White (drums); Airto Moreira (percussion).
Recorded at Columbia Studios, New York, New York between February & June 1970. Includes liner notes by Miles Davis, Michael Cuscuna and Bill Milkowski.
THE COMPLETE JACK JOHNSON SESSIONS won the 2004 Grammy Award for Best Boxed Or Special Limited Edition Package.
Personnel: Miles Davis (trumpet); Hermeto Pascoal (vocals, whistling, drums); John McLaughlin, Sonny Sharrock (guitar); Airto Moreira (berimbau, cuica, percussion); Bennie Maupin (bass clarinet); Steve Grossman, Wayne Shorter (soprano saxophone); Chick Corea (electric piano, organ, ring modulator); Herbie Hancock (electric piano, organ); Keith Jarrett (electric piano); Dave Holland , Gene Perla, Michael Henderson (electric bass); Jack DeJohnette, Lenny White, Billy Cobham (drums).
Audio Mixer: Mark Wilder.
Liner Note Authors: Miles Davis; Bill Milkowski.
Recording information: Columbia Studio B, New York, NY (11/19/1969-06/04/1970); Columbia Studio C, New York, NY (11/19/1969-06/04/1970).
Introduction by: Michael Cuscuna.
Photographers: Dave Ellis; Jim Marshall ; David Gahr; Urve Kuusik; David Redfern; Jan Persson; Lee Tanner; Airto Moreira.
Of all the Miles Davis recordings, the 16 weeks of sessions that created a single, two-selection LP produced by Teo Macero called A Tribute to Jack Johnson have been the most apocryphal. While the album itself was a confounding obscurity upon release -- due to its closeness in proximity to the nearly simultaneous release of the vastly inferior yet infinitely more label-promoted Live at the Fillmore East -- its reputation as the first complete fusion of jazz and rock is cemented. It also garnered a place in the history books for guitarist John McLaughlin, the axis around whose raw, slash-and-burn playing the entire album turns.
The five-CD Complete Jack Johnson Sessions set, covering February 18 to June 4 of 1970, reveals that a revolving cast of musicians entered the Davis/Macero music and sound lab and made a series of mind-bending, often inspired -- yet sometimes maddeningly monotonous -- recording dates, where the creation of backbeat-driven grooves and short, rhythmic, rock- and funk-inflected riffs were the only ideas presented by Davis; everything else flowed freely, for better or worse. No less than five albums have benefited from these sessions: the others include Live-Evil, Get Up with It, Directions, and Big Fun. The two cuts that make up A Tribute to Jack Johnson, "Right Off" and "Yesternow," make up the last two selections on disc five. The arrangement of the session is basically chronological. Thus, there are not only numerous takes of a composition but insertion and remake takes as well. For instance, there are two takes of "Willie Nelson," two inserted "versions," and two remakes, all sequenced here in a row. Likewise is the strange genesis, deconstruction, and rebirth of "Go Ahead John," which appeared in this form on Big Fun. Still, despite the hypnotic grooves where already elongated tunes turn into monolithic groove structures, the historical importance of these sessions and the sheer listening pleasure they provide in doses cannot be overestimated.
There are 17 previously unissued performances here, 14 takes, and alternates that have never been issued in full form! As a small example, the official unearthing of the "Duran" alternate take offers so much more in terms of different instrumentation (many alternates here provide this) and ambience than the circulated version that it is nearly a different tune altogether. The rootRolling Stone (12/25/03, p.112) - Included in Rolling Stone's "Top 10 Reissues of 2003" - "...A salute from one great black fighter to another." Spin (10/03, p.109) - "...More confident than BITCHES BREW's jams and more free-ranging than AGHARTA and PANGEA, JOHNSON features the trumpeter dropping electric-guitar science while producer Teo Macero cuts and mixes..." Q (11/03, p.130) - 4 stars out of 5 - "...Davis's playing is as big, riffy and incisive as it ever got, yet still finds itself matched all the way by John McLaughlin's brutalising guitar..." Uncut (11/03, p.132) - 4 stars out of 5 - "...Much of it's the equivalent of sparring, especially the skinny funk workouts on the second disc..." The Wire (01/04, p.38) - Included in Wire's "50 Records Of The Year [2003]" JazzTimes (10/03, pp.83-4) - "...'Right Off' is Davis' last masterpiece; it's a unique combination of raw energy, serendipity and postproduction craft..." Mojo (Publisher) (11/03, p.136) - 5 stars out of 5 - "...The musicians arrive at destinations light years from where they started....This music is still right on time..."
Great New Miles Set Completly, 100% essential. A "must have".
Submitted by a reviewer (Edinboro PA) Was This Review Helpful? YesNo
DAVIS YOu dont have it? Sace up and if youre a Miles fan, get it. Trust me. Submitted by johnnycaudy (Iowa City USA) Was This Review Helpful? YesNo
"That's some raunch sh-t, John!" It's clear from this set that Miles was experimenting with a new theory of recording an album. Instead of actual songs there are multiple long jams, mostly featuring Miles or guitarist John McLaughlin. These were then picked apart and woven back together to form the tapestry-like album 'A Tribute to Jack Johnson.' The tracks on these discs then are the unwoven threads.
The reason I bought the box set, and the reason I love the original, is John McLaughlin. He's mesmerizing in this era of his career. The quote in my subject line is taken from Miles himself at the end of the one of the tracks on disc 2, and it's highly accurate. The interplay between Miles and John is the key to the Jack Johnson sessions, which is made crystal clear in this set. You can hear Miles echoing John and John echoing Miles.
This isn't a finished product, don't buy it if that's what you're expecting. Maybe "the Dark Prince" would even be pissed to have it released. Actually, given the fact that we're talking about Miles Davis, that's a pretty fair bet. But neither are these rough cuts, they sound great. Basically if you're a true fan of fusion era Miles, then this is like manna from Heaven. Submitted by Greg (Indianapolis, IN) Was This Review Helpful? YesNo
Sony did it again! In the tradition of all the great Miles box sets, this was extremely late, but definitely worth it. The packaging and fidelty are simply incredible. In fact, it's hard to believe the original recordings were recorded in 1969 from how they sound. The box is a tad long and repetitive at places with alternate takes, but there really isn't a bad track in the box. I suggest skipping around the tracks and CDs for the most enjoyable listening experience. Submitted by a reviewer (Indianapolis) Was This Review Helpful? YesNo
This is 1970's Miles at its best Someone sent me a promo copy months ago, I enjoy listening to the alternate takes of Duran, Honky Tonk, Ali (new discovery), and Johnny Bratton (another new discovery). Listen to the Mask parts 1 & 2, wow, is just the word to describe this box set. A must for fusion/jazz/rock fans and beginners (musicians) who can learn a great deal from what only Miles and bandmates could put together. Submitted by a reviewer (Jamaica, New York) Was This Review Helpful? YesNo
"That's some raunch sh-t, John!"
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