Saw this band in concert. Another one of Miles great groups. Michael added a funky bottom sound to the group. Another great musician leaves us. Rest in peace Michael. Thank you Bert again!
❤THANKFUL for You This Morning...here In Motown ❤...from Michael's Extended Detroit family....👌🏾I'm GRATEFUL to wake up to this... THiS Morning on my RUclips video list...✨️🙏🏾🙏🙏🏻✨️ Michael's Step-Father Otis Henderson Sr., Is My Step-Father also, frome Detroit Eastside...aka WADE Street In Detroit and St. Clair Street, Eastside Detroit, MI ... I was The Baby Sitter and The Maid/Housekeeper...to my niece and nephew Sister-In-Law Mrs. Katie Henderson ❤... ❤❤❤Michael Henderson
This was outstanding. The magic Michael Henderson, Ndugu, Don Elias, Gary, and Keith Jarrett conjured and formulated (like an alchemy) made Miles listen, lead, and react differently than he had before. Seeing and hearing Miles alternately consider what was happening before playing, and decide what he wanted to make happen provides great insight into how his mind worked. There were a number of moments where it appeared Miles was becoming angry. Certainly he was frustrated at times, too. But mostly, he was curious - and seeking to understand/contribute/direct what was occurring and where it might go. Note Keith Jarrett’s near-trancelike state - a wakened dream - at 12:58. He produces insistent, enigmatic ornaments and harmonic hints demanding Miles’ attention, response and decision. The level of listening, confidence, and trust among these players is rare - very, very, rare.
It should be noted that visionaries hear things that no one else hears. It was Miles that suggested to John that he hire Elvin and Jimmy. This the major elements of the Trane Band. Trance’s imprimatur was the hiring of McCoy- a pianist not loved by Miles.
No knock on anyone's comments on periods of Miles's music. You feel what you feel. I love the early Miles stuff and listening to this iteration is enjoyable, but I also really liked the collaboration stuff with Marcus Miller. I thought they were on the same page.
Mike was the pulse of the large land mass fracturing into the the continents as we know them. Seismic change that changed the face of fusion-funk music then and what was to come. Mike is just as important and influential as Jaco. Jaco has many imitators, but no bass player has shown how to find the paths discovered by Mike and Jameson. Munch is close and Paul Jackson was getting there; but this approach calls for a certain musicality that only a few possess.
Miroslav's thing was to give the bass more improvisational freedom also in the accompaniment, which consequently resulted in playing with much more notes. However, this does not mean that Miroslav wasn't listening. And this was probably misinterpreted by Miles. Miles himself said at another place that he had the problem with Miroslav that he simply played too many notes with too many variations. Miles had his concept with very reduced and often repeating groovy bass lines, in which Miroslav just did not fit. But this was certainly not due to a lack of listening on Miroslav's part. So I understand very well, that Jack DeJohnette (whom I always preferred over Ndugu) wanted Miroslav in the band. But at the end Miles was right, of course. Nevertheless also Michael Henderson was a genius. Here's what I call "the most genius improvised bass line of all times". Once again, it's not a composed but an improvised bass line, because he didn't play this on any other recording of that track: ruclips.net/video/UxW2gMuFpTQ/видео.html and also ruclips.net/video/UxW2gMuFpTQ/видео.html
How the bass changes the music: its tone; sparseness or denseness of the bass line and stasis or movement of that line rhythmically and harmonically; the range of dynamics(loudness and softness) utilized in playing the bass line; its "beat placement" i.e. the notes of the bass line being played behind, on, or ahead of the established pulse... Notice how often Henderson's bass lines usually fall on downbeats and often make the downbeat(e.g. beat 1 in 4/4 time) of each measure or each short phrase that lasts longer than one measure very, very clear. It takes great discipline and focus to COMMIT to a repetitive bass line and make it "sit" in the groove and in the band's sonic landscape the way he does. It (the repetitive, funky bass line)also, in my opinion, opens up the audience's ears to some of the wild shit happening in the musical conversations between Bartz, Jarrett, Miles and the percussionists because of its familiarity vis-a-vis its aforementioned repetitiveness and funkiness...It's an "aural anchor" of sorts...and you can dance to it if you want to!
My favorite Miles is the acoustic Miles of the 1st and 2nd Great Quintets and all of the music before and between those two iterations. I love Michael Henderson but not due to his work with Miles. He had a great affiliation with Norman Conners and he did fine solo work. But the Miles of this period didn't do it for me.
I never liked Michael Henderson that much. Any chemistry with DeJohnette seemed almost nil, and any advanced harmonic cognition absent. Next to free-playing Jack, Michael sounded unsubtle, obtuse. When Ndugu replaced Jack things took a turn for the better. Henderson and Ndugu had excellent rapport, due to a shared propensity for the Funk. Awesome live material from that period. Unfortunately Jack’s departure cooled down further Jarrett’s enthusiasm for the group and soon he was to leave too. Lately I’ve come to appreciate Henderson’s role with Davis a lot more; he had a strong musical personality, the kind of player that delivers under all circumstances, sticking to his guns. Thanks for the interview, it explains a lot about what kind of dynamic and deliberation led to the inclusion of MH in this group. 😎👍
@@JazzVideoGuy he’d probably find me a moron, a judgmental one at that and rightfully so. Opinionated and biased as I am I would have loved to hear Vitous with this group. That would inevitably send the group in a more experimental musical direction though - something Davis wasn’t interested in anymore. I wonder if selecting a bassist that was about as opposite to a Vitous as you could find was Davis’ way of clearly signaling that to the rest of the band - meaning mainly Keith and Jack.
@@JazzVideoGuy Miles at his best has always been a sort of hero to me. See the young trumpet player I once was meeting him, shaking his hand, and feeling truly honored to do so. But even heroes fall, and there's nothing sadder than when this happens. I've met Diz and Billie Holiday as well. Neither of them fell, their artistic integrity intact not only till the end but beyond.The later Miles is like nails on a blackboard to me, and that's why my jaw tightens in anger at him sometimes . . . which is, I suppose, the other side of my sadness at the costumed buffoon he became.
You have to admit though miles was a visionary , perhaps only miles would think of replacing Dave Holland with Michael Henderson . And much as I would like to argue against what you say sadly there is truth in your argument , keep groovin high and very best wishes !
@@lesliehayton2929 Thanks. I wrote a poem you might like tittled simply Jazz, wrote it some time ago: The soul needs a wire that when danced upon sings Stretches forth from old song to what yet will be Tipped, tapped, leapt up from and down onto again Bopped, glided, spun across and making music Beautifully syncopated and perfectly balanced upon All Pops’ sons’ and daughters’ little twinkling toes Float fluttering, sting like a B-flat minor blues Tight hotwired and bared and striking you down Then up again to Heaven’s dance upon the wire Arrayed in eloquence, these flown out Brilliant lights in a stream And Lady Day’s caressing you He was a rock, a rock with a halo around it Our Charlie “Yardbird” Parker His dance upon the wire a shimmering light Spread out upon the world A juggler and his little dog doing tricks On the night that Charlie died chuckling at them And Miles ahead of his time when everything he played sang His raiment a suit rather than costumes His not yet slipping off the wire Nor making water on his flame His not yet plummeting down, down into fakery and madness Eyes cast up toward his fading wire cast down from Did you not hear it? Did you not believe your ears? Did you think the mighty cannot fall and go mad? Or so wondrous a Trane derail? Awash in squawking, screaming, and dribbling gibberish Away under and far, far beneath the wire
Many thanks and appreciated . You obviously have a deep knowledge and appreciation of jazz . And yes much as I loved John Coltrane the music turned into a wreck and most musicians I’ve spoken to agree . Sad to see , and like you I can’t help but set my jaw and grit my teeth . Keith Jarrett looks to be doing the same at times during this clip. Happy listening and very best wishes . Poem is heartfelt and I really do appreciate that !
Saw this band in concert. Another one of Miles great groups. Michael added a funky bottom sound to the group. Another great musician leaves us. Rest in peace Michael. Thank you Bert again!
Yes, one of Miles' great bands.
❤THANKFUL for You This Morning...here In Motown ❤...from Michael's Extended Detroit family....👌🏾I'm GRATEFUL to wake up to this... THiS Morning on my RUclips video list...✨️🙏🏾🙏🙏🏻✨️
Michael's Step-Father Otis Henderson Sr., Is My Step-Father also, frome Detroit Eastside...aka WADE Street In Detroit and St. Clair Street, Eastside Detroit, MI ... I was The Baby Sitter and The Maid/Housekeeper...to my niece and nephew Sister-In-Law Mrs. Katie Henderson ❤...
❤❤❤Michael Henderson
thanks Bert.....always interesting to hear Gary's insights.....hope to hear about Mtume and Don Alais sometime,,,,
I would have loved to see him in Concert. Great Bass Player.
So glad you said that. My favorite live piece was Directions from Live at Stadhall Dietkon. Blows me away every time!!!❤
I cried when he passed my fav
This interview is a must watch for bass players.
Agreed
Michael Henderson - one of music's most underrated bass players. A brilliant move by Miles to steal him from Stevie and bring him into the band.
This was outstanding. The magic Michael Henderson, Ndugu, Don Elias, Gary, and Keith Jarrett conjured and formulated (like an alchemy) made Miles listen, lead, and react differently than he had before. Seeing and hearing Miles alternately consider what was happening before playing, and decide what he wanted to make happen provides great insight into how his mind worked.
There were a number of moments where it appeared Miles was becoming angry. Certainly he was frustrated at times, too. But mostly, he was curious - and seeking to understand/contribute/direct what was occurring and where it might go.
Note Keith Jarrett’s near-trancelike state - a wakened dream - at 12:58. He produces insistent, enigmatic ornaments and harmonic hints demanding Miles’ attention, response and decision.
The level of listening, confidence, and trust among these players is rare - very, very, rare.
Well stated.
Fantastic 😍
Thank you! Cheers!
a long overdue shoutout to my favorite big band bass player,cleveland eaton.a monster of a bass player.
from the Basie band!
❤️
It should be noted that visionaries hear things that no one else hears. It was Miles that suggested to John that he hire Elvin and Jimmy. This the major elements of the Trane Band. Trance’s imprimatur was the hiring of McCoy- a pianist not loved by Miles.
so true
No knock on anyone's comments on periods of Miles's music. You feel what you feel. I love the early Miles stuff and listening to this iteration is enjoyable, but I also really liked the collaboration stuff with Marcus Miller. I thought they were on the same page.
Miles is Miles.
@@JazzVideoGuy you are more succinct than me.
Mike was the pulse of the large land mass fracturing into the the continents as we know them. Seismic change that changed the face of fusion-funk music then and what was to come. Mike is just as important and influential as Jaco. Jaco has many imitators, but no bass player has shown how to find the paths discovered by Mike and Jameson. Munch is close and Paul Jackson was getting there; but this approach calls for a certain musicality that only a few possess.
Keith Jarrett was communicating with the spirits and with those glasses Miles could see the spirits
you got that right
Miroslav's thing was to give the bass more improvisational freedom also in the accompaniment, which consequently resulted in playing with much more notes. However, this does not mean that Miroslav wasn't listening. And this was probably misinterpreted by Miles. Miles himself said at another place that he had the problem with Miroslav that he simply played too many notes with too many variations. Miles had his concept with very reduced and often repeating groovy bass lines, in which Miroslav just did not fit. But this was certainly not due to a lack of listening on Miroslav's part. So I understand very well, that Jack DeJohnette (whom I always preferred over Ndugu) wanted Miroslav in the band. But at the end Miles was right, of course.
Nevertheless also Michael Henderson was a genius. Here's what I call "the most genius improvised bass line of all times". Once again, it's not a composed but an improvised bass line, because he didn't play this on any other recording of that track:
ruclips.net/video/UxW2gMuFpTQ/видео.html and also ruclips.net/video/UxW2gMuFpTQ/видео.html
well said
@@JazzVideoGuy Thank you Sir.
What great mugicians……yep, supernatural……future then future now, ancient always…..
How does the bass change the music?
It changes the rhythm, which is an important part of this type of Jazz.
@@JazzVideoGuy Examples?
@@shooz4unme The music in this video.
How the bass changes the music: its tone; sparseness or denseness of the bass line and stasis or movement of that line rhythmically and harmonically; the range of dynamics(loudness and softness) utilized in playing the bass line; its "beat placement" i.e. the notes of the bass line being played behind, on, or ahead of the established pulse...
Notice how often Henderson's bass lines usually fall on downbeats and often make the downbeat(e.g. beat 1 in 4/4 time) of each measure or each short phrase that lasts longer than one measure very, very clear. It takes great discipline and focus to COMMIT to a repetitive bass line and make it "sit" in the groove and in the band's sonic landscape the way he does. It (the repetitive, funky bass line)also, in my opinion, opens up the audience's ears to some of the wild shit happening in the musical conversations between Bartz, Jarrett, Miles and the percussionists because of its familiarity vis-a-vis its aforementioned repetitiveness and funkiness...It's an "aural anchor" of sorts...and you can dance to it if you want to!
My favorite Miles is the acoustic Miles of the 1st and 2nd Great Quintets and all of the music before and between those two iterations. I love Michael Henderson but not due to his work with Miles. He had a great affiliation with Norman Conners and he did fine solo work. But the Miles of this period didn't do it for me.
Lots of Miles periods to choose from.
Keith Jarrett s'aime tellement qu'il se caresse le visage. ..
I never liked Michael Henderson that much. Any chemistry with DeJohnette seemed almost nil, and any advanced harmonic cognition absent. Next to free-playing Jack, Michael sounded unsubtle, obtuse. When Ndugu replaced Jack things took a turn for the better. Henderson and Ndugu had excellent rapport, due to a shared propensity for the Funk. Awesome live material from that period. Unfortunately Jack’s departure cooled down further Jarrett’s enthusiasm for the group and soon he was to leave too. Lately I’ve come to appreciate Henderson’s role with Davis a lot more; he had a strong musical personality, the kind of player that delivers under all circumstances, sticking to his guns. Thanks for the interview, it explains a lot about what kind of dynamic and deliberation led to the inclusion of MH in this group. 😎👍
I wonder how he feels about you.
@@JazzVideoGuy he’d probably find me a moron, a judgmental one at that and rightfully so. Opinionated and biased as I am I would have loved to hear Vitous with this group. That would inevitably send the group in a more experimental musical direction though - something Davis wasn’t interested in anymore. I wonder if selecting a bassist that was about as opposite to a Vitous as you could find was Davis’ way of clearly signaling that to the rest of the band - meaning mainly Keith and Jack.
This is from Miles's sucky period when he switched from phrasing to sound effects. Or,, said another way, when he started pissing on his flame.
Quite an image you conjure.
@@JazzVideoGuy Miles at his best has always been a sort of hero to me. See the young trumpet player I once was meeting him, shaking his hand, and feeling truly honored to do so. But even heroes fall, and there's nothing sadder than when this happens. I've met Diz and Billie Holiday as well. Neither of them fell, their artistic integrity intact not only till the end but beyond.The later Miles is like nails on a blackboard to me, and that's why my jaw tightens in anger at him sometimes . . . which is, I suppose, the other side of my sadness at the costumed buffoon he became.
You have to admit though miles was a visionary , perhaps only miles would think of replacing Dave Holland with Michael Henderson . And much as I would like to argue against what you say sadly there is truth in your argument , keep groovin high and very best wishes !
@@lesliehayton2929 Thanks. I wrote a poem you might like tittled simply Jazz, wrote it some time ago:
The soul needs a wire that when danced upon sings
Stretches forth from old song to what yet will be
Tipped, tapped, leapt up from and down onto again
Bopped, glided, spun across and making music
Beautifully syncopated and perfectly balanced upon
All Pops’ sons’ and daughters’ little twinkling toes
Float fluttering, sting like a B-flat minor blues
Tight hotwired and bared and striking you down
Then up again to Heaven’s dance upon the wire
Arrayed in eloquence, these flown out
Brilliant lights in a stream
And Lady Day’s caressing you
He was a rock, a rock with a halo around it
Our Charlie “Yardbird” Parker
His dance upon the wire a shimmering light
Spread out upon the world
A juggler and his little dog doing tricks
On the night that Charlie died chuckling at them
And Miles ahead of his time when everything he played sang
His raiment a suit rather than costumes
His not yet slipping off the wire
Nor making water on his flame
His not yet plummeting down, down into fakery and madness
Eyes cast up toward his fading wire cast down from
Did you not hear it?
Did you not believe your ears?
Did you think the mighty cannot fall and go mad?
Or so wondrous a Trane derail?
Awash in squawking, screaming, and dribbling gibberish
Away under and far, far beneath the wire
Many thanks and appreciated . You obviously have a deep knowledge and appreciation of jazz . And yes much as I loved John Coltrane the music turned into a wreck and most musicians I’ve spoken to agree . Sad to see , and like you I can’t help but set my jaw and grit my teeth . Keith Jarrett looks to be doing the same at times during this clip. Happy listening and very best wishes . Poem is heartfelt and I really do appreciate that !
electric trumpet? No thanks.