Ebook Miles Beyond : Electric Explorations of Miles Davis, 1967-1991, by Paul Tingen
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Miles Beyond : Electric Explorations of Miles Davis, 1967-1991, by Paul Tingen
Ebook Miles Beyond : Electric Explorations of Miles Davis, 1967-1991, by Paul Tingen
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Presents an in-depth exploration of the musician's controversial electric period and the impact it had on the jazz community, as drawn from firsthand recollections about his artistic and personal life.
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Product details
Hardcover: 352 pages
Publisher: Billboard Books; 1st edition (May 1, 2001)
Language: English
ISBN-10: 0823083462
ISBN-13: 978-0823083466
Product Dimensions:
4.8 x 1.2 x 9.5 inches
Shipping Weight: 1.7 pounds
Average Customer Review:
4.0 out of 5 stars
17 customer reviews
Amazon Best Sellers Rank:
#1,111,075 in Books (See Top 100 in Books)
This is my favorite Miles Davis book ever and I have almost every one. I've been a huge fan for years of Miles and that hasn't changed. Paul Tingen has written a useful, interesting, and entertaining guide to my favorite period of Miles' music. Part scholarship, part fan interest, part thoughtful consideration, I can't say enough good things about this book. I go back to it year after year. Thanks Paul for teaching me so much about a topic I already knew a good bit about, and in such a well-written and welcoming way.
Re-read comments. Ok, yeah the book is good enough to re-read but I find myself rolling my eyes at some of the goofy things Tingle writes. Here's a goody: page 72 - "... but also expanded the sonic palette of jazz and rock by adding BASS CLARINET and extensive percussion. Bother were novel sounds in jazz and rock music around 1969."Tingle shows his ignorance of jazz music with comments like this. Had the guy a modicum of research on this point he'd have discovered the magnificent Eric Dolphy, a virtuoso player who lead his own bands, played with Coltrane's band - notably the Village Vanguard recordings, and was even briefly considered for Miles' band. And the comment about extensive percussion. Hasn't this guy ever heard of Tito Pueto, Mongo Santamaria, and Dizzy's Afro Cuban jazz?This book is full of good information but it's also full of ignorant, uninformed comments such as the one I cited above.======================================================================Paul Tingen's account of Miles Davis' electric years provides the best information I've read about this period. I was especially pleased to find a lot of quotes from Pete Cosey, Reggie Lucas, Mtume, Al Foster, Michael Henderson, Dave Liebman, Dominique Gaumont and Sonny Fortune, maybe my favorite lineup from the 69 - 74 years. By the way, if you are interested in this era there is lots of video footage availble on the Web, especially at that ultra popular video site that starts with a "You" and ends with a "Tube" which I'm avoiding in type because for some weird reason, Amazon keeps deleting this review.Ok, so I've told you this is the best information available on the electric period (as far as I know). I've read several biographies, including the mammoth Chambers tome and almost all of these seem to dismiss this period of Miles' work. Tingen at least has some very positive things to say...However, this book is loaded with goofy assertions, especially over-use of the words and expressions "ambient", "beginner's mind", "Zen", "transcend and include". Tingen also goes at length to explain Wilber's theory of holons. I couldn't care less about holons... just give me the #@$% details Tingen. Another thing I found annoying was Tingen's outright proclaimation that the November 69 sessions (that brought you Big Fun) were a failure. Nonsense. "Great Expectations" is a high-water mark in this period in my opinion. In fact, the band I play in "Cannibal Kitchen" covers this piece of music (admittedly we eventually move into a surreal 2 chord vamp). The repetition is no different than say... "Nefertiti". "Great Expectations" is hardly "boring" as Tingen writes. Tingen brings up these sessions several times and every single time he qualifies it with "the failed". If the sessions are so bad, why does Amazon keep selling out of Big Fun? Why did Sony Music release an expensive SACD version of "Big Fun". I don't think they would be making an investment like that for "failed" sessions. Admitedly, "Go Ahead John" can get on my wick depending on my mood (sometimes I like it) but the tracks used to create Go Ahead John weren't from the, ah em, "failed" November 69 sessions. I just found his opinionated fluff really irritating in places.And that brings up another problem with all of these books I've read, including this one. All of these authors seem determined to pontificate and make pronouncements about what is good and what is not so good. Clearly, almost everything Miles did was interesting at the very least and most of it exceptionally good considering what was occurring in music at the time much of this music was made manifest.At one point Tingen becomes bold enough to assert that "Yesternow" from the "Jack Johnson" release would be better if 5 minutes were hacked off of the end... what the hey?! Ok now he's just trying to create controversy. What an incredible arrogant thing to write. Who does this guy think he is anyway? Teo Macero?There is a great session history and discography at the back of the book that Miles collectors will find very useful.Subtract 1 star for over-use of the word ambient (to the point of irritation) in a book about Miles Davis. If Tingen loves the word "ambient" so much he should write something about Brian Eno. Next up for Tingen, a book about the ambient drumming styles of Tony Williams and Jack DeJohnette. Sheesh,ambient this, ambient that. Lame.Subtract 1 star for all the philosophical mumbo-jumbo.Still a good book but the guy ruined what could have been a great book with all the cosmik debris and over analysis of Miles' work (and life for that matter). Buy it because as far as I can tell, it's the only really decent book about this electric era but be prepared to be irritated with the overabundance of psychedelic, candy-floss profundities.
As with most reviews of this book, I must take issue with Paul Tingen's "airy-fairy" descriptors and wholly pretentious attempts at New Agey philosophizing the electric ouevre of Miles Davis. In short, I tried reading this book from beginning to end, but instead found myself diving into bits here and there, as the reading of this book became extremely tedious and frustrating. The best aspect of this book is the extremely thorough documentation of the recordings and live performances from 1968 to 1991, Miles electric period. The worst aspect is the BS thrown in the midst of mostly okay writing that detracts from the documentative aspects of the book and ruins any sense of historical "vibe" which Is immediately summoned whenever I listen to any of Miles' music from this period.
Maybe the best Miles book I've read. It has changed the way I listen to music. I cannot reccomend it highly enough. Get it now. Read it now. Thank, you Paul Tingen, Thank you.
Big fan of Mile’s Electric period, so I’ve been waiting quite a while to read “Miles Beyond†(The price of the book does fluctuate quite dramatically, so I waited till it was under a tenner).Easy to understand & follow apart from a chapter when Tingen discusses the reasons Miles changed to electric, which was a bit of a slog to read (at one point in the chapter he compares Miles to atoms!).Tingen has level headed options of the music Miles was creating during this period, not to gushing, in fact he considers all of Miles albums from the seventies uneven with as many low as highs.There is so much information contained in “Miles Beyond†(the amount of research Tingen must have undertaken is staggering) that the book is absolutely essential is you enjoy Miles post sixties works.
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