Getting the gig with Miles Davis in the early 1970s by Dave Liebman
"In the evening, I went to the theater. This was formerly the famous Fillmore East, ....Next thing I know, I plugged in and my sound was coming out of like 700 watts of Marshall amps. I had never had this experience in my life, with a wire coming out of my horn. Miles arrived and didn’t say a word—didn’t talk to anybody.
We were in a semicircle and Miles was in the middle. It was so dark in that theater, and everybody was dressed in black. Miles had gigantic sunglasses on and a cape—he looked like some alien from another planet. The music was deafeningly loud and chaotic. Now, there was also Cedric Lawson on electric organ, Khalil Balakrishna on electric sitar.. I had no idea what I was doing… There were no real dynamics or storytelling possible to a large extent, and little if any direct communication between the soloists and the rhythm section. At first I had no idea what the hell we were playing. I didn’t know what to make of it. Now it appears to me, years later, that it was a concept.....After I got used to Miles, nine months or so into the gig I sort of got the point, but still felt like, “This is great, but really not that great.” Because musically, it was not really challenging.
One of my famous Miles stories is when I asked him why he even had a saxophonist at all during this period. This was electric music, real loud, not subtle at all. Basically it was guitar and keyboard, electric bass, drums, percussion-oriented stuff. Obviously, there had to be a trumpet there, but it seemed to me the saxophone was superfluous. So I asked him once why he had a saxophone. He said, “Because people like to see you move your fingers!” As nonsensical as that sounds, when I thought about it years later, as with most of what he said to me during that period, he had a point. When you think of Bird, Trane, Wayne, etc., the saxophonist was the foil to Miles’ trumpet style. He played slow and you played fast. Opposites—tension and release. Right!"
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