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Miles Beyond : Electric Explorations of Miles Davis, 1967-1991, by Paul Tingen
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From Publishers Weekly
Easily one of the most influential musicians in the history of jazz, Miles Davis is the archetypal jazz artist: a brilliant, elusive and enigmatic virtuoso. Since he arrived in New York in the late 1940s to work with Charlie Parker and Dizzy Gillespie, Davis has transformed the jazz idiom, initiating a series of new jazz movements beginning with the cool jazz period in the early 1950s and continuing with the release of the groundbreaking album Kind of Blue at the end of the decade. But the accolades from jazz critics and fans usually end with his late 1960s work; around that time, Miles abandoned conventional jazz practices to experiment with avant-garde improvisation, rock music and electric instruments, using elaborate, electronic postproduction techniques to hone his studio recordings. Those explorations became what is now known as "fusion." Music journalist Tingen meticulously dissects Miles's bands, sidemen and musical techniques, offering a wealth of candid firsthand commentary on Miles and his music from former sidemen like pianist Herbie Hancock, guitarist John McLaughlin, saxophonist Wayne Shorter and other musicians, as well as Miles's friends, lovers and ex-wives. Most importantly, Tingen examines Miles's always turbulent but wildly creative relationship with Teo Macero, his producer at Columbia Records. Tingen can sometimes be at once presumptuous and contradictory, summarily declaring, for instance, that a recording should have been radically trimmed even after repeatedly praising Miles's knack for minimalist masterpieces. Nevertheless, Tingen has written a lucid, detailed and illuminating study of a generally misunderstood, often critically dismissed period in the creative life of one of this country's greatest musical innovators. The book also contains an extensive musician list, discography, bibliography and sessionology. 10 b&w photos, not seen by PW. Copyright 2001 Cahners Business Information, Inc.
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From Library Journal
Several fine Davis biographies have appeared over the past few years, mostly ignoring or downplaying much of the music discussed here by Tingen, a music journalist based in Scotland and California. Arguing that Davis succumbed to rock influences to the detriment of his jazz stylings, many critics and listeners have denigrated the trumpeter's electric recordings. Tingen traces these experiments using examples from 1967 onward, culminating in Davis's 1969 masterpiece, Bitches Brew. That recording opened floodgates of criticism, but it also attracted a number of new listeners who welcomed the later music of 1969-75, as well as the work following his 1981 return from retirement until his death in 1991. Tingen recognizes that Davis recorded some duds, but he convincingly shows that his subject was entirely serious about developing this style. Featuring firsthand accounts from more than 50 musicians, producers, and colleagues, including Chick Corea, Herbie Hancock, and Wayne Shorter, this proves an invaluable work on an oft-neglected aspect of Davis's career. Recommended for all libraries with music holdings, public and academic. William Kenz, Minnesota State Univ., Moorhead Copyright 2001 Reed Business Information, Inc.
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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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