Electric Miles – Charles Pillow Large Ensemble

Electric Miles – Charles Pillow Large Ensemble

Label: MAMA Records

Release date: June 2018

Catalog number: M1055

Tracks:

> Pharaoh's Dance
comp: Joe Zawinul
Track Not Yet Available For Purchase
> Bitches Brew
comp: Miles Davis
Track Not Yet Available For Purchase
> Black Satin
comp: Miles Davis, Paul Buckmaster
Track Not Yet Available For Purchase
> In a Silent Way
comp: Joe Zawinul
Track Not Yet Available For Purchase
> Directions
comp: Joe Zawinul
Track Not Yet Available For Purchase
> Sanctuary
comp: Wayne Shorter
Track Not Yet Available For Purchase
> Yesternow
comp: Miles Davis
Track Not Yet Available For Purchase
> Spanish Key
comp: Miles Davis
Track Not Yet Available For Purchase

“Electric Miles” celebrates the music of the early electric period of Miles Davis with big band arrangements of classics from “Bitches Brew”, “On the Corner”, “Jack Johnson” and “In a Silent Way”.  Trumpeters Tim Hagans and Clay Jenkins are featured as the “Miles” voice with Dave Liebman appearing on “Black Satin” and “Yesternow”.  Also featuring trombonist Michael Davis, Pillow on alto sax/alto flute; the band is powered by the rhythm section of drummer Jared Schonig and bassist Chuck Bergeron. This band is full of NYC seasoned pros and peppered with up and coming musicians.

Conducted and Arranged by Charles Pillow
—-
Charles Pillow comes from Baton Rouge, LA. After college at Loyola University, he pursued his Masters Degree in Jazz Studies at the prestigious Eastman School of Music, in Rochester, NY. Since moving to NYC in 1987, he has appeared on over 100 recordings of jazz, pop luminaries such as Frank Sinatra, Mariah Carey, Jay Z,Luther Vandross, Paul Simon, Michael Brecker, Bruce Springsteen, John Scofield, Tom Harrell, Dave Liebman, David Sanborn, to name a few.

In addition to an active performing and recording schedule, he is an Assistant Professor of Jazz Saxophone at the Eastman school of Music.

 

Featuring:

Charles Pillow, arranger, alto sax, soprano sax. flute, alto flute/ Colin Gordon, alto sax, soprano sax, flute / Luke Norris, tenor sax, clarinet/ CJ Ziarniak, tenor sax, / Karl Stabnau, bass clarinet •  Michael Davis, trombone/ Abe Nouri, trombone/ Jack Courtright, trombone/ Gabe Ramos, bass trombone •  Tony Kadleck lead trumpet/ Charlie Carr, trumpet/ Clay Jenkins, trumpet / Tim Hagans, trumpet

Julian Garvue, electric piano / Chuck Bergeron, electric bass/ Mike Forfia, acoustic bass on “Sanctuary”, “In a Silent Way”/ Jared Schonig, drums  •  Special Guest: David Liebman, soprano sax

 

REVIEW:

“Over his long and varied career, Miles Davis recorded several seminal jazz orchestra albums in collaboration with the great arranger Gil Evans. Those disciplined affairs (“Sketches of Spain” and others) were in stark contrast to Miles’s wild, improvised, “electric” period that produced records like “Bitches Brew.” Charles Pillow Large Ensemble’s “Electric Miles” brilliantly fuses these two aspects of Miles’s oeuvre with gorgeous big band arrangements of tunes from “Bitches Brew,” “Jack Johnson,” and “In a Silent Way.”

Featured soloists Tim Hagans and Clay Jenkins ably take on Miles’s role on trumpet while Pillow takes flight on alto sax and alto flute. Dave Liebman, who participated in the original sessions a half-century ago, contributes soaring soprano sax solos on “Yesternow” and “Black Satin.” All of the soloists, including Michael Davis (trombone) and Luke Norris (tenor sax), are outstanding, but the stars here are Pillow’s arrangements, with beautiful voicings on more subtle tunes like “Sanctuary” and a powerful punch on compositions like “Pharaoh’s Dance.”

-Ron Netsky, Rochester City Newspaper

 

REVIEW from RADIO:

“The Charles Pillow Large Ensemble CD Electric Miles is one of my top CDs for 2018. Finding an  “acceptable,” let alone hip big band album for my audience is not so easy. Charles Pillow has done it triumphantly with his modern charts and arrangements. He brings something both substantial and new to Miles’ very important music that are the source of modern electric jazz.”
-Jerry Gordon, WPRB 103.3 FM, Princeton University
REVIEW:
You thought not, but you can put the genie back in the bottle. What we’re talking about is the specter unleashed by Miles Davis with Bitches Brew (Columbia, 1970). Davis’ expanded lineup for BB with ten-plus musicians, including the electric pianos of Joe Zawinul, Chick Corea, and Larry Young, Bennie Maupin playing bass clarinet, a young guitarist John McLaughlin, two bassists, percussion, and more percussion, and oh yeah, Wayne Shorter’s saxophone was ever present. Charles Pillow did that with his Large Ensemble’s Electric Miles.

Back in the day, Davis devotees were split on their opinions of his new direction. Some pined for his first great quintet (with John Coltrane), others were just digging into his second quintet (Shorter, Herbie Hancock, Ron Carter, and Tony Williams), and most were trying to figure out what to make of his introduction of electric instruments with In A Silent Way (Columbia, 1969). Certainly Bitches Brew, and Miles’ exploration of jazz/rock with Jack Johnson(Columbia, 1971) and On The Corner (Columbia, 1972) caused teeth gnashing for some post-bop heads, but he also created a new audience of folks who were checking out Jimi Hendrix and Sly Stone.

Looking back 50 years at Bitches Brew with the ease of today’s digital access to almost every recording available at your fingertips, almost trivializes Davis’ accomplishment. Where today’s listeners have 110 years of jazz development, Davis had but half of that, plus consider that rock music was maybe 20 years old. This was revolutionary music. Arranger, saxophonist, and flutist Charles Pillow sums up Davis’ first electric period (1969-72), not with long-form jams and Two Macero studio splicing, but with orchestral arrangements. Davis’ revolution accomplished its goals of shattering jazz into a million parts, while absorbing rock and Eastern music. Pillow escorts Davis’ electric genie back into his bottle, making music in the same manner that Davis co-created with Gil Evans on Sketches Of Spain (Columbia, 1960) and Miles Ahead (Columbia, 1962). Pillow’s arrangements smooth out the rougher edges, allowing soloists like Tim Hagans, who formed the tribute band Animation, and Clay Jenkins to deliver authentic echoes. Pillow dresses Electric Miles for a large ensemble while maintaining the ghostly presence of Davis. “Black Satin” swells with horn lines before nestling into the familiar On The Corner groove, with alumni Dave Liebman hoisting his saxophone. The music Pillow presents is a ripened, lets say matured version of Davis’ sound. Fittingly enough in this 21st century, Zawinul’s “In A Silent Way” is delivered in a regal manner as is Shorter’s “Sanctuary.” It is though, the lesser known “Directions” that burns the brightest on this recording with inspired solos by Hagans, trombonist Michael Davis and saxophonist Luke Norris. This recording makes you wonder what Pillow could do with Thelonious Monk’s orchestral performance At Town Hall (Riverside, 1959). Hint hint.
-AllAboutJazz.com by Mark Corroto
REVIEW:

This artist/arranger has chosen established jazz composers of iconic stature to interpret. He embraces the songs of Joe Zawinul, Wayne Shorter and Miles Davis as vehicles for his Charles Pillow Large Ensemble. This is the fiftieth anniversary of Miles Davis’ celebrated fusion jazz recording of “Bitches Brew.” Can you believe fifty years has passed? It was 1969 and Miles was experimenting with a new sound. The fusion generation was just beginning to take root. The old-school jazz cats were furious with this new wave of music. I remember many were disappointed in Miles for stepping outside the acceptable jazz mold of the fifties and early sixties. It’s nice to have David Liebman as a special guest on this recording, because Liebman recorded with miles on the original 1972 release of the “On the Corner” project. He is the soprano sax soloist featured on “Black Satin.” Clay Jenkins is the featured trumpeter and Michael Davis sings his song on Trombone. Jaren Schonig stands out on drums, driving the ensemble like a sixteen-wheeler at full throttle. There’s nothing silent about Schonig’s drums on “In A Silent Way.” I like the way Pillow arranged this song to move from a mellow, ballad into a strong funk tune. The horns play sweetly in the background, while Clay Jenkins soars on trumpet and Schonig stretches out on an impressive, percussive solo, while holding the double-time rhythm tightly in place during the entire production. This may be my favorite arrangement on this CD.

On the tune, “Directions”, written by Zawinul, Tim Hagans is featured on trumpet and it’s another red-hot arrangement. Luke Norris performs an admirable tenor solo. I enjoyed the strong bass line that pulsates and helps hold the rhythm section in place. Kudos to bassist, Chuck Bergeron. The Miles Davis composition, “Yesternow” is beautifully celebrated with Charles Pillow playing a sensuous and emotional alto flute on this arrangement. Dave Liebman is once again featured on soprano saxophone. The introduction snatches the listener’s attention with Pillow’s unusual arrangement using a short, half-bar horn ensemble to harmoniously punch a few startling chords. The bassist comes next, setting the time and groove solo. Now that my attention is peeked, the ballad unfolds in a lovely way. But the drums never let the tune get boring. They keep the funk solid and in-your-face, even on this slow tempo. It’s impressive to hear a large ensemble and a gifted arranger tackle fusion and modern jazz with a big band sensibility and still keep the funk alive and powerful.

Charles Pillow has synopsized an important era for jazz using his seventeen-piece band to execute arrangements from the best of fusion and recording eight tunes written by historic composers. Born and raised in Baton Rouge, Louisiana, Pillow attended Loyola University and received his Master’s Degree in Jazz Studies at the prestigious Eastman School of Music. After moving to New York City, he honed his musical skills playing with a number of well-respected artisans including Frank Sinatra, Luther Vandross, Paul Simon, Michael Brecker, Mariah Carey, Jay Z, Bruce Springsteen and David Sanborn to name only a few. Currently he is an Assistant Professor of Jazz Saxophone at the Eastman School of Music.

-Musical Memoirs

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