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Tag Archives: Miles Davis

All artwork by Brian Kraker/Tuesdays With Horry

Having literally birthed the Cool during sessions toward the turn of the decade, Miles Davis subsequently descended into hell, fighting depression with a legendary heroin addiction. After a lengthy battle to kick the addiction, the trumpeter took his quintet to the Newport Jazz Festival in July 1955, putting on a comeback performance capitalized by a performance of “Round About Midnight.” By that October, Davis was at a crossroads in his already esteemed career and had to act quickly to form what would become his first great quintet, one featuring the landscape-altering saxophone wizardry of John Coltrane. Together, Davis and Coltrane, along with Red Garland, Philly Joe Jones[1], Paul Chambers and, later, Gil Evans, created some of the decade’s, and jazz’s, most enduring music, culminating in the era-defining modal record Kind of Blue.

After nearly breaking the core apart before it achieved anything, the Utah Jazz matched the Charlotte Hornets’ offer sheet for Gordon Hayward in the summer of 2014. Prior to this season, the team re-signed rim-protecting center Rudy Gobert through 2021. Along with George Hill, Derrick Favors and a resurrected Joe Johnson, as well as the contributions of heady, heavy vet Boris Diaw and Australian swingman Joe Ingles, the Jazz have charged their way into a second round date with presumptive title favorites the Golden State Warriors, slaying a maligned dragon on the way to becoming fan-favorite underdogs.

Long held to be a tragically uncool locale – the Warriors are sad not to be able to take advantage of the Los Angeles nightlife, for example – Salt Lake City suddenly has the hippest game in the NBA. With critically acclaimed but crucially underrated art from Brian Kraker inspired by the classic records from labels such as Impulse!, Atlantic and Blue Note, let us walk back on Utah’s journey to the brink of excellence, two basslines conflicting and confiding in one another.

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Steven Ellison, better known as Flying Lotus, performing at the 2012 Bonnaroo Music & Arts Festival.

Flying Lotus performing at the 2012 Bonnaroo Music & Arts Festival

The idea of a producer/composer as we now know it is something that two decades ago might have seemed unnecessary or excessive. The rise of DJs as actual musicians rather than jukebox heroes, people who create rather than simply derive, has powered this century toward an electronically-driven, hyper-evolving state in which genres become all but irrelevant. People like Aphex Twin and DJ Shadow blazed a trail for computer-programmed, beat-driven music that incorporates samples and drum machines in experimental capacities. A flood of noise precedes a few identical bars before one element changes, soon leading to a fire sale of sound exchanged for something entirely different.

To call Steven Ellison, better known as Flying Lotus, simply a DJ is to miss the mathematical beauty behind the cacophonous waves he creates. On his first four LPs, as well as the handful of mixtapes and EPs in between, he explored rippled soundscapes which tore through the listener’s consciousness so quickly and maniacally that there was hardly time to breathe. On his latest release, You’re Dead!, Ellison finds himself delving further into the infinite influences which have surrounded him since childhood and molded the 30-year-old’s long view.

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