"The Complete Jack Johnson Sessions"
Miles Davis
Columbia/LegacyGoing electric was once a courageous, even revolutionary act. Bob Dylan in '65, Miles Davis in '69 -- these great artists were vilified when they plugged in. Nowadays it's news when someone's "unplugged."
As 1970 began, Davis' goal was to lead "the best rock band in the world." At the February-June sessions in this new five-CD set, he had it. Guitarist John McLaughlin, a veteran of the British blues scene who was also adept in modern jazz, was at the core of the sound. Like Davis, he appreciated Jimi Hendrix and aimed to integrate jazz's sophistication and subtlety with rock's directness and amplitude. Together, they succeeded brilliantly.
The original "Jack Johnson" record came from Davis' soundtrack for a documentary on the legendary boxer. Each side of the vinyl LP had a single piece, with "Right Off" (27 minutes) as the loud A-side and "Yesternow" (25 1/2), the quieter flip. Both were in sections that flowed seamlessly, thanks to the third hero of this project, Davis' longtime producer Teo Macero.
Typically during this time, Davis would prepare mere sketches of tunes and present them to a motley band of younger players assembled for recording rather than a working group. Grooves were established, bare-bones forms more or less finalized, and the soloists would improvise at length. If it fell apart, they'd do it again. And again.
IT WAS Macero's daunting task to make sense of these segments through editing, and he often managed to concoct great art. With this set presenting every take uncut, we get a good glimpse into the process.
McLaughlin, bass guitarist Michael Henderson -- fresh from the Motown soul scene -- and the versatile drummer Billy Cobham were rocking out together when Davis arrived at the studio. Immediately scrapping what they had all rehearsed, Davis had the tape machines roll and the rhythm section begin again, then blew some of the most flat-out exciting trumpet he'd ever record, with McLaughlin slashing out power chords to send any rock guitarist back to the woodshed.
Herbie Hancock dropped by just to listen, but Davis waved him inside. There was a Farfisa organ -- think "96 Tears" -- so while the music steamed on, Hancock wrestled with the cord and amp, finally got everything working and eventually appeared on the record with a short, blasting solo.
This was Macero at work: Hancock actually improvised a long time, trying uncomfortably to find his own balance between rock and jazz, at one point sweeping his hand down the keys several times, transporting us to a hip skating rink.
More riffing -- lots more -- stabs of golden trumpet, more organ, a soprano sax solo, some guitar pyrotechnics, a fade-out, and that's "Right Off."
"Yesternow" is more atmospheric and moody, though at the end we hear the innovative guitarist Sonny Sharrock, who gave Hendrix competition in sculpting squalls of sonic splendor.
The "Jack Johnson" session itself is only part of this new set, though perhaps the most interesting. Titles originally issued in the catch-all albums "Live/Evil," "Big Fun" and "Directions" are here in their unedited glory, or lack thereof.
AN AMATEUR boxer himself, Davis pays musical tribute here to Muhammad Ali, Roberto Duran, Sugar Ray Leonard, Archie Moore and Johnny Bratton. Even a country-singing pal has a tune named for him -- and producer Macero's deft editing is much appreciated: He whittled 31 rambling minutes down to 10 for "Willie Nelson's" original issue.
Three sessions involve the ingenious Brazilian composer and multi-instrumentalist Hermeto Pascoal in the miniatures "Little Church," "Selim" (spell it backward), "Nem Um Talvez" and the previously unissued "Little High People."
Other great musicians involved on these dates include drummer Jack DeJohnette, percussionist Airto Moreira, bassist Dave Holland and, playing electric keyboards, Chick Corea and Keith Jarrett, before he became a crusader against amplified instruments.
While the originally issued version of the "Jack Johnson" album appears at the end of this set, the rest of this material is here only in its raw form. There was a reason Macero did so much expert editing: A lot of this is pretty slow going -- dull, really, for anyone not eager to hear every recorded utterance from Davis' horn.
If you've yet to own "Jack Johnson," still in print, get it ASAP -- you'll love it. This set is for MFs (Miles fanatics) and aspiring producers, who will find riches galore, esoteric though they are.
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