Number 46 June 13, 2010

Friday we saw the great Marcus Miller in a tribute to 80's period Miles, highlighting the music from Tutu.  With him were the heir to the throne, Christian Scott on trumpet, the 22 year old Alex Han on alto and soprano, Louis Cato on drums, and Frederico Gonzales Pena on keyboards.  It was a magic night.  Marcus, of course, was the producer, arranger, and composer of much of the music on three Miles recordings: Tutu, Amandla, and Siesta.  He invented a backdrop for Miles's playing as profound and complimentary as Gil Evans   did 30 years before.  I've always believed that Wynton Marsalis's attempt to marginalize the generation of great Afro American avant garde artsists who came before him, from Cecil Taylor to Ornette Coleman to my friend Butch Morris and of course Miles Davis from Silent Way on, would eventually fail.  A new generation of musicians would come along who would recognize that Bitches Brew is every bit as valid and beautiful as Kind of Blue.  (As Ralph J. Gleason's liner notes stated at the time). Wynton has already tried to mariginalize Christian Scott, but he can't.  Christian is young, black, charismatic, angry, from New Orleans, and infintely more talented than Wynton ever dreamed of being.  When first approached to do the tribute, Marcus hesitated, wondering how Miles would have felt.  He decided to use young musicians who were not born when these recordings were made, a brilliant descision.  Like all great players, Christian knows the entire history of the music, and in addition to channeling Miles, one can hear Freddie Hubbard , Dizzy, and even Louis.  And, he's rolled that into a very unique and compelling voice that I believe is the new leader of the music.  (Good night, Wynton). Alex Han, at such a young age, is completely commanding, and again has not only fully absorbed the music of Kenny Garrett , but also Charlie Parker and even Johnny Hodges, as was apparent on a beautiful duet with Marcus, who played bass clarinet, on Prelude to a Kiss.