How It Works Issue 89 2016

Miles Davis - Miles Ahead: Original Motion Picture Soundtrack (2016) {Columbia–Legacy 88985306672}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 474 Mb | MP3 @320 -> 182 Mb
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© 2016 Columbia / Legacy / Sony Music / Sony Pictures | 88985306672
Jazz / Hard Bop / Modal Music / Fusion / Jazz Funk / Soundtrack / Trumpet

The release of the movie MILES AHEAD, Don Cheadle's wildly entertaining and moving exploration of Miles Davis, will be accompanied by this new soundtrack featuring musical highlights from Miles' career and new recordings overseen by Grammy Award-winning jazz/hip-hop artist Robert Glasper. This is a perfect primer on Davis' career for the new fan and a brilliant audio keepsake of the film for those who've studied his works inside and out. The album features 11 tracks from across Miles' catalogue from 1956 to 1981, select dialogue from the film featuring Cheadle in character, and five original compositions written, co-written, produced or performed exclusively for MILES AHEAD by Robert Glasper. These cues include "What's Wrong with That?" a jam that closes the movie imagining Cheadle as Miles playing in the present day with guest performers Glasper, Herbie Hancock, Wayne Shorter, Gary Clark, Jr. and Esperanza Spalding; plus "Gone 2015," an end-credits song featuring guest verses from rapper Pharoahe Monch. Cheadle also pens new liner notes for the album discussing the selection and creation of the songs on the soundtrack.

When, in 1931, Messiaen applied for his post as organist at La Trinité, he wrote to the curate to reassure him that he knew that ‘one must not disturb the piety of the faithful with wildly anarchic chords’. It is not known whether that curate was at La Trinité 20 years later, but it is hard to think of a more appropriate characterisation of the effect of Livre d’orgue than ‘wildly anarchic’, while Alexander Goehr has recalled how Messiaen’s organ-playing during the mid-1950s sounded like electronics. Michael Bonaventure’s playing may not have that effect, but he does get Messiaen’s music to lift off the page, even in the most rigorous pages of the Livre d’orgue. The organ of St Giles, Edinburgh, generally has the power and range of colour needed, with the fierce chords at the opening of ‘Les mains de l’abîme’ fizzing with tension. Slightly more power from the pedals would be welcome, notably in the dazzling central section of the fifth of the Méditations sur le mystère de la Sainte Trinité. Generally, though, this is a delight for the ears.

These are spirited and well-recorded versions of what probably remain Spohr's most popular works. The Nonet is freshly and attractively played, with a proper sense of chamber music informing the performance: that is to say, there is a companionable approach to phrasing, with ideas taken up and returned or passed on as if the players were really listening to one another rather than waiting to say what they were going to say anyhow. Only in the finale do matters become a touch competitive: it is not necessary to go at quite such a speed, and indeed the feeling is of pace rather than the real liveliness which only a very slightly easier tempo might have produced; while some of the string articulation is only just in position. The Adagio is beautifully played, and together with the nimble Scherzo is given a gentle serenade manner: nothing is gained, and sometimes all lost, by trying to make something too profound of these movements.