The Last Miles

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Interview: Tony Hall

Tony Hall was a truly remarkable man. He was a man for all seasons and arguably nobody has worn so many hats (all of them successfully) in the music industry as him. Over seven decades, Tony was a compere, critic, columnist, reviewer, copywriter, product manager, publisher, TV presenter, producer, manager, promoter, deejay and more. His various roles saw him associated with a wide range of artists including, The Beatles, The Rolling Stones, The Who, Jimi Hendrix, Otis Redding, Phil Spector’s artists, Scott Walker, The Bee Gees, Elton John, Joe Cocker, Loose Ends, The Real Thing and Black Sabbath.

But Tony’s biggest passion was for jazz, and his second wife was the Trinidadian jazz singer Billie Laine. He produced an array of jazz artists including, Ronnie Scott, Tubby Hayes, Jazz Couriers, Dizzy Reece and Victor Feldman. In 2002, Tony joined the Jazzwise magazine team of reviewers, a role he kept for 17 years. Tony met Miles Davis in 1954 and they remained friends up until Miles’ death in 1991. Whenever Miles visited London, he would almost invariably meet Tony. Tony also managed the late British arranger/composer Paul Buckmaster, and was responsible for Paul working with Miles several times, including on the ground breaking 1972 album On the Corner.

Tony was born in Avening, Gloucester, England in 1928 and died in June 2019. For an in-depth look at Tony’s career, you can do no better than to read the superb obituary in the August 2019 issue of Jazzwise (order a copy from www.jazzwise.com).

The interview below took place in 2007, when I was researching for a feature on the then newly released On The Corner boxed set. Tony talked about Miles; Paul Buckmaster; On The Corner; Elton John; the music industry; Miles’ 1980s period and the various musicians in his bands; the state of jazz in the 21st century, and the decline of physical music formats. Listening back to the recording, I was struck by how modest Tony was (you really had to work hard to get him to acknowledge his accomplishments) and how funny he was – he had a great sense of humour. As I said; a truly remarkable man.

Tony Hall January 2019 © Leigh Pearson
Tony Hall January 2019 © Leigh Pearson

The Last Miles: Can you tell us how you first met Miles?

Tony Hall: I was a young lad at the time and made my first trip to Paris. I sought out the legendary Club Saint-Germain, and I was sitting at the bar, when this black guy sat down next to me. I knew who he was but I didn’t say anything, but somehow, we got talking – I think it was Miles who spoke first, which was nice. At the time, he was in love with Juliette Gréco and she came in the club that night to see him. Miles wasn’t playing, but [pianist] Bud Powell was – it was the only time I saw him. He had one of his fits and just stood up and stared at the audience, before his minder took him away – he was playing brilliantly until he freaked, which was a shame [sadly, Powell had psychological problems].

I told Miles that I was doing a bit of jazz production. I was producing Dizzy Reece, a Jamaican trumpeter who was really good. Miles gave me his address and I sent him some test pressings of Dizzy. The next thing I heard was from musicians coming back from New York and telling me that Miles was singing the praises of Dizzy. When Miles’ next record came out, Dizzy called me up and said, “Hey, he’s stolen some things from me!” With Miles, you took him on his own terms.

TLM: What was Miles like as a person?

TH: I don’t know how many people really knew Miles because he was a Gemini – he was one thing one day, and another the next. All I know is that he treated me with great respect. For a young white guy who was trying to produce jazz records in England, to be acknowledged by the great Miles Davis was quite something for me – I felt very flattered.

I was honoured to be able to get into his dressing room – he was always pleased to see me and Billie. Most of the conversations ended up about clothes and shoes. Miles used to wear ladies’ shoes on stage and his toes were all cramped – he had terrible feet!

He could be difficult and one time when I went to his West 77 Street House in New York, I had a very bad experience. I had found this fantastic singer in Jamaica, Ernest “Shark” Wilson and we were doing an album in New York. Billie and I took him to meet Miles. What we didn’t know was that Miles was probably in his heaviest coke period (it was around 1973/74) and it was quite terrifying. It was snowing outside and we were let into the house. Miles eventually came in. Miles’ eyes entered about three hours before the rest of his body. He was on a very heavy racial kick and said, “What are you managing this guy for?” He said to my wife, “You should be managing him. He’s black, you’re black; you should be looking after him.” That was the only time I ever had a racial problem with Miles.

Paul Buckmaster ©paulbuckmaster.com
Paul Buckmaster ©paulbuckmaster.com

TLM: How did you get to manage Paul Buckmaster?

TH: Paul did some string arrangements and they were brilliant. Then I met Paul and he was one of those people who have stars instead of eyes – he looked like a star. He was very impressive. He didn’t have a manager and I said “let me do what I can for you,” and I ended up throwing him in the deep end with all sorts of sessions. He acquitted himself with great distinction. He was on so many number one records; he worked with Bowie. I was partly responsible for putting together the production team for Elton John. [Elton’s producer] Gus [Dudgeon] needed an arranger and I pushed for Paul. Steve Brown from Dick James’ office was looking after Elton, and after a series of meetings, I got Paul adopted for the gig. It was a gig that went on for several albums. Paul and Gus worked very well together.

TLM: Tell us about Elton John.

TH: I used to know him as Reg Dwight. My office was in Noel Street [in Soho, London] and there was a very famous store on the corner of Berwick Street and Noel called Music Land. Reg used to go to the store and come out with piles of import soul albums. I got to know him reasonably well on an informal level – we used to chat about the albums we were buying. He was very nice and gave me a name check in one of the books about him, saying that I was one of his favourite deejays at the time; that was really nice.

TLM: Paul has strong views about the line between composing and arranging.

TH: Paul was very bitter that he didn’t get any royalties from the Elton John things, but to be honest, no arranger in the world got royalties in those days – absolutely none. Considering all the millions of albums that Elton sold, it was very unfair, but that was show business. No arranger until much later got points [which give you a share of the royalties]. Dick James employed someone who had a famous catch phrase, “Coins in a tin can” – dreadful. He was as mean as hell. I eventually got a £250 arranger’s fee for Paul, but no arranger at the time got more than that. Nobody knew that Elton was going to be that big.

TLM: Did you have much to do with Dick James?

TH: No. Thank you.

TLM: I believe during the 60s, 70s and 80s you spent some time with Miles whenever he was in London.

TH: Miles got on well with my wife and she knew all the fashion people in the 1960s. We took Miles to see [fashion designer] Ossie Clark and Ossie made a load of shirts for Miles. My wife knew this fashion boot maker in Shepherd’s Bush – Miles was a boot and shoe freak – and he made Miles some snakeskin boots with very high heels.

TLM: In 1969, you introduced Paul Buckmaster to Miles. Why did you do that?

TH: Because Paul was a Miles fan – he worshipped him. Paul was very much into jazz. I knew Miles wanted to go in a different direction – I’d heard that he might be interested in contemporary classical composers and knew that Paul was well-versed on Stockhausen and other contemporary composers.

I had a flat in Mayfair at the time and Miles came to the flat. I introduced Paul to Miles and they just talked. One thing led to another and eventually Miles called me and I got Paul over to New York to stay in Miles’ house and work on On The Corner. Paul was absolutely over the moon to be asked to work with Miles. I’m delighted that Paul is getting some recognition for his contribution.

On The Corner boxed set
On The Corner boxed set

TLM: What did you think of On The Corner?

TH: I liked it very much. Part of my career has been managing black groups in England, so I was heavily involved in the soul and R&B scene. Listening to some of the extended versions on the boxed set, they do go on a bit! But the impact of the original album was very striking for me, although critics didn’t seem to like it. I felt the same about Big Fun [Paul Buckmaster worked on one of the songs on this album].

TLM: I’ve always felt that Paul Buckmaster should be better known.

TH: He’s highly regarded in America. He doesn’t seem to get offered the big names anymore. Sadly, he seems to get offered young groups and singer/songwriters, which is a shame.

TLM: What did you think of the music Miles made in the last decade of his life?

TH: I was always a bit concerned when he started bringing rock guitarists on stage. I didn’t like the music as much, but I was knocked out when he brought Kenny Garrett into the band, because I thought at least he was a serious jazz player who played the blues. It went back to Miles and Bird [Charlie Parker] a bit.

Kenny Garrett by ©Keith Major - kennygarrett.com
Kenny Garrett by ©Keith Major – kennygarrett.com

TLM: What about the other saxophonists?

TH: He had a succession of white saxophonists. Bill Evans played a lot of soprano and after Miles, went into fusion. Rick Margitza was good and also went into fusion. Bob Berg was very good and the most serious jazz player of the lot. I thought that post-Miles, Berg became a really fiery musician. I have a number of Gary Thomas albums, but I can’t remember seeing him with Miles. They were all good players, but then Kenny Garrett came in and blew them all away.

Bob Berg and Miles
Bob Berg and Miles

TLM: What about guitarists?

TH: I liked [John] Scofield. [Mike] Stern was too much feedback. Robben Ford was as cool as ice. Foley was such a showman.

Miles and John Scofield
Miles and John Scofield

TLM: Bassists?

TH: Marcus Miller was something else when he came onto the scene. Before Marcus, there was Michael Henderson with his simple, soulful bass riffs, which were very effective. Then Marcus came in and amazed everyone with his thumbing.

Marcus Miller and Miles
Marcus Miller and Miles

TLM: What did you think of Miles’ later albums, especially Tutu and Doo-Bop?

TH: Can anyone seriously say that Doo-Bop was serious jazz? It was Miles trying to appeal to the hip-hop audiences. Personally, I find that funk and hip-hop are restrictive for musicians to improvise over because of the lack of chord sequences. All funk players – however good – all seem to sound the same. I respected him for trying, and had he lived, something interesting might have come out of it, because they were really demos. Tutu was Marcus doing all the charts. I’m a little old fashioned; I prefer the Gil Evans collaborations. To be really honest, I was a little disappointed with his last decade of music.

TLM: Did you ever meet Gil Evans?

TH: No, but Paul [Buckmaster] did. Paul smoked quite a few joints with him!

TLM: How long did you continue seeing Miles in London?

TH: The last couple of times he came, I was disappointed about the music – I wasn’t knocked out anymore because he wasn’t playing that much in the end. He was being very friendly to audiences at that stage, but there wasn’t much jazz. I last met him a couple of years before he died, at the [Royal] Festival Hall.

TLM: What period stands out for you in Miles’ amazing musical legacy?

TH: The great quintets of the 50s and 60s. I felt the 60s band could have gone onto even greater things. Today, you have the Wallace Roneys of this world still trying to extend what Miles started in this period.

TLM: What do you think of today’s jazz music scene?

TH: I still get excited by the best of today’s music, especially African, Cuban and North American mixtures. My concern is that everybody is concentrating on technique – the feeling that should be there isn’t always there. There are too many notes. I’m old fashioned and think that jazz musicians should be human and have failings like the rest of us. They should fall flat on their faces onstage at times, like the rest of us. There aren’t the characters or personalities that there used to be. The great players – the Dexters [saxophonist Dexter Gordon]; the Lesters [saxophonist Lester Young]; the Dizzys [trumpeter Dizzy Gillespie] – all these people a long gone era. Miles was probably the last of them. He had his own mystique. It’s all too clever and technically obsessed, and the musicians all end up sounding the same, which is sad .If you heard records from the top three or four current hot tenor players, you’d be hard put to tell who was who. Back in the 50s, everyone had an identity of their own.

Tony Hall in the 1950s. Tony is standing in the doorway © Tony Hall
Tony Hall in the 1950s. Tony is standing in the doorway © Tony Hall

TLM: Will the pendulum swing back?

TH: It’s too late – it’s long gone I’m afraid. Now, when I buy my copy of Downbeat and look at the record reviews, I’ve never heard of 80% of the names. If I heard the music, I’d say “What the hell has this got to do with jazz?” I’m afraid I’m a boring old fart! [editor’s note: Not true! Tony continued to champion new young jazz talent right up to the end].

TLM: Do you think the days of the physical disc are numbered?

TH: Sadly, I do. I think it’s a great shame. To want to download one track is sad, because an artist puts a year to eighteen months of his life into doing ten tracks or so on his album. Most are as good as the other nine tracks.

TLM: What are you doing today?

TH: Living one day at a time – I’m so fucking old! I took a sabbatical from jazz for about twenty years, from 1965 to 1985, because the avant garde really made me ill – I just didn’t like it. Then, I was in Brighton one day and I saw this black trumpeter getting off his bike, setting up a rhythm box and playing trumpet to it. He was fantastic and I thought, “This is bebop!” I got talking to him. He took me back to his digs and played me things like The Jazz Messengers I found that I remembered all the solos note-for-note and it all came flooding back. Then a friend of mine who was editing Vox [magazine] said, “You should be writing again, because I had done a lot of writing in the 60s for Record Mirror – I had a column called All Ears, which influenced lots of musicians, I’m happy to say. He said start doing some CD reviews. I didn’t have a CD player at the time, but now have got a collection of around 7000 CDs. I am eternally grateful to him. I try to keep up with all new developments.

With thanks to Tony Hall.

Many thanks to Jon Newey, editor-in-chief Jazzwise, for providing this lovely photo of Tony, taken by Leigh Pearson, just a few months before Tony’s death.

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The Last Miles: The Music Of Miles Davis 1980-1991: UK editionUK edition

The Last Miles:
The Music of Miles Davis
1980-1991

A Book by George Cole

The Last Miles is published by Equinox Publishing in the UK and the University of Michigan Press in the USA.

The Last Miles: The Music Of Miles Davis 1980-1991: USA editionUSA edition

 

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The Last Miles

  • intro
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praise for The Last Miles

“The best Miles Davis book ever.” Randy Hall, singer/guitarist/producer, who worked with Miles in the 1980s

“An important book.” Brian Priestley, co-author of ‘The Rough Guide to Jazz’, jazz pianist, critic and reviewer

“Very moving, emotional material.” Gordon Meltzer, Miles’s last road manager and executive producer of the ‘Doo-Bop’ album

“George Cole’s writing, his choice of references, his descriptions of many incidents – it is all so clear and respectful, and shows a deep understanding.” Palle Mikkelborg, composer, arranger and producer of the ‘Aura’ album

“Wow! What a great book. Finally, something that really gets it right. Thank you for capturing what was going on, the mood, everything.” Adam Holzman, Miles’s keyboardist and musical director 1985-1989

“Wonderful job, congratulations! An immense amount of work must have gone into it, I can't even imagine. But it was very cool to see that era of Miles treated with the same respect as every other… someone gets it!” Benny Rietveld, Miles's bassist 1988-1990

“The book is wonderful. Congratulations for your very important contribution to the historical documentation of many [musicians] who would otherwise have been overlooked!!!!” Robert Irving III Miles’s musical director 1983-1988

“I have to say that you did a marvellous job! It brought back strong memories of that time periodand answered a number of questions I had, especially the chapter on the Rubberband sessions. A brilliant job!” Patrick Murray, who worked on the road with Miles from 1986-1990 and was Miles’s concert sound mixer from 1988-1990

“It is truly an excellent body of work that literally takes a reader from hearing rumours to realising truths about the Chicago group and our collective take on the Miles Davis comeback.” Glenn Burris, co-writer of "Shout"

“The most immediate impact that this book had on me was to make me listen again to Miles’ later recordings with a completely regenerated ear and this really is the reason why this book works so well and is an essential read for any true Miles Davis appreciator… you will be hard pressed to find a more inspirational read, written by a man who quite simply loves Miles Davis’ music.” Mike Chadwick, Ejazz.fm

“There are large chunks of fresh material here… Fill[s] in quite a few gaps and dismisses blanket condemnations of [Miles’s] pop phase.” Stephen Graham, Jazzwise

“Cole does for Miles’ late work what Ian Macdonald’s ‘Revolution In The Head’ does for The Beatles, examining each album in meticulous detail.” John Lewis, Time Out

“Cole’s analysis has a meticulous, forensic character… [and] is able to bring a wealth of new information to light…. This book should get people talking. It should be the first rather than the last word on an intriguing chapter of the life an extraordinarily complex artist. And Davis’s vanity would surely have loved that.” Kevin Le Gendre, Independent on Sunday

“The book is beautiful. I think you did a great job on covering Miles’s life and legacy.” Sid Reynolds, hip-hop producer

“GREATFUCKINJOBWITDABOOK” Foley, Miles’s lead bassist 1987-1991

“Cole’s certainly produced a fascinating book.” Chris Ingham, Mojo

“As with any good musical biography, Cole had made me think again about those albums such as Siesta, You’re Under Arrest, The Man with the Horn, that are now stashed in my attic.” John Bungey, The Times

“I thought it was wonderful. It’s a very detailed look at a certain part of the career and life of Miles Davis. A lot of people didn’t pay attention to this and I’m glad that George Cole took the time to focus on these final years of Miles’s life.” Easy Mo Bee, co-producer of Doo-Bop

“Many people have come to me in the past about how the "last miles” bands had been overlooked and ignored by journalists. This book is a comprehensive answer to these omissions. From my discussions with musicians from the latter years with Miles it seems pretty clear they feel some vindication as a result of this book. I thank you sincerely for telling our story. Most everything I have read is as close to my memory of how things happened as any book could hope to be. I think you've done a wonderful job.” Darryl Jones, bassist with Miles 1983-85, 1986-1988

“The title is likely to send most jazzbos running, with received wisdom having handed down the rule that in the 80's Miles was only good for playing live; and half of that was just the pleasure of seeing him in person. For a single man to take on the 400-page+ task of changing popular opinion is a very tall order indeed. For him to make you want to actively revisit the decade in question is a near-miracle. Detailing album histories and giving final verdicts, Cole has made every effort to lay the evidence out bare. The analysis could have been a chore were it not for the presence of first-hand interviews with all the major players, making this not just a scholarly study, but a tribute to the man himself, And for a book such as this, you learn more about Davis that could have been expected.” Jason Draper, Record Collector

“There simply hasn’t been another book published on Miles Davis, in any period that has managed to obtain the wealth of interview material and cover his recorded work and various live tours in such a complete and comprehensive fashion… Engagingly written from start to finish, filled with more facts than you’ll be able to remember first time through, The Last Miles is an essential portrait of Miles’ last decade and a strong argument that his music was both valid and perfectly in keeping with a musical philosophy that would ultimately stretch over six decades.” John Kelman, All About Jazz.com

“We veterans of Miles’ last bands are lucky to have such a thorough and insightful look into Miles last period… I really enjoyed the book!” John Scofield, Miles's guitarist 1982-1985

“Cole has spoken to practically everyone who worked with Miles in his final decade. He has traced the evolution of each of those final albums, cut by cut, splice by splice….[Miles] comes out of Cole’s account larger, warmer and if anything even more important than ever.” Brian Morton (co-writer of The Penguin Guide to Jazz), The Wire

“Through lively analyses of all Miles’ recorded work from this period and much that went unreleased, including the ‘lost’ album Rubberband, [Cole] does enough to send readers back to the original albums.” Simon Evans, Choice

“… Cole is a persuasive writer: he prompted me to go and dig out albums that I'd dismissed as inconsequential and listen again with fresh ears. … A rewarding read.” Charles Waring, Blues & Soul

“Cole takes us on an exhaustive journey deep into the heart of Miles’ late recordings… The Last Miles needs to be covered by working musicians, producers and Miles’ fans alike.” Livingstone Marquis, Straight, No Chaser

“ George Cole has written a book that should be required reading for anyone with a serious interest in Davis’ life and work irrespective of which period of his music you prefer. It offers a valuable insight into this most complex of personalities, and reveals a side to Miles that many may not have known existed…for this reader it has prompted a re-examination of this decade which has revealed a fascinating area of music that I had previously overlooked.” Nick Lea, Jazzviews.co.uk

“In the flurry of books since [Miles Davis's] death, none has dealt in depth with the music of this period. Music writer George Cole fills this gap… It is so detailed and intimate that the reader feels he is virtually living with Davis as he seeks to reinvent himself… a rich and rewarding read.” Irwin Block, The Montreal Gazette

“This is a must for every Miles fan.” Neal Gardner, Blogcritics.org

“A fantastic book, an amazing insight into Miles.” Guy Barker, jazz trumpeter

The Last Miles US edition
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The Last Miles UK edition
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“For Miles fans, this book is a must.” Jez Nelson, presenter BBC Radio Jazz on 3

“I really do recommend The Last Miles… it is a fine work.” John Cavanagh, presenter Radio Scotland’s Bebop to Hip-Hop

“A great book that plays a great tribute to the last years of Miles’ life.” Erik Telford, presenter Miles Radio.com

“The fact of having personally interviewed all those characters… without much recall to interviews already noted and the usual anecdotes, renders “The Last Miles” as excellent… a book that certainly is seen as a work of reference.” Maurizio Comandini, All About Jazz.com Italy

“[Cole] has written a comprehensive account of the comeback and the albums it produced… He takes the reader through each of the albums, cut by cut, examining the musical choices, the musicians and their successes… Cole's book is a valuable resource on the last 11 years of a true music legend's life.” Chris Smith, Winnipeg Free Press

“I've been thoroughly enjoying your book. I'm sure it'll go a long way towards rectifying some of the negative historical appraisals of Miles' later works that have become prevalent.” Kei Akagi, keyboardist in Miles's band 1989-1990.

“Cole gives an exhaustive account of every track recorded [and, it seems, every live show] in that decade and of every one of the dozens of musicians who played on them but what's most interesting is the portrait of Miles Davis that emerges from it all. Sometimes an asshole and a bully, yes, but also a very funny guy who was a good friend to many and a mentor to even more, a man with drug problems who was more often in great pain from other maladies. Through it all, Davis was obsessed with moving his music forward with anyone who could help him do it - from Prince to Public Enemy, from Scritti Politti to a violinist he saw on Johnny Carson and hired on the spot.” Rock & Rap Confidential

“I thought your book was awesome and straight to the point. To tell stories the way it really happened is nothing but the truth! Congratulations and thanks!” Ricky Wellman, Miles's drummer 1987-1991

“George Cole has made a major contribution to jazz scholarship… written over a three-year period, the degree of detail is quite astonishing and the research so extensive that it becomes possible to contradict claims made by Miles himself in his autobiography. Every track on every 1981-1991 album is discussed in length… a very valuable book.” Chris Yates, The Jazz Rag

“This book is a model of how these types of books should be… If late period Miles is in the readers’ interest, the reader should rush out and purchase this volume. It is invaluable.” Robert Iannapollo, ARSC Journal

The Last Miles was voted one of the top ten music books of 2005 by Record Collector magazine.

The Last Miles was joint winner of the Association for Recorded Sound Collections’ Best Jazz History Book 2006 award.

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