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Miles Memorable Moments: Hammersmith Odeon, London, 21st April 1982

Venue: Hammersmith Odeon, London
Date: 21st April 1982

Miles onstage
Miles onstage

There are moments when you wish you could step into a time machine and be transported back to a particular time and place. This gig is one of them. I was lucky enough to see Miles every time he visited the UK during his comeback years – except for this year. Fortunately, the concert was filmed and later televised. The performance of ‘Jean-Pierre’ was broadcast on the arts programme The South Bank Show not long after the concert, as part of a profile of Miles by his biographer, Ian Carr, but the full concert wasn’t broadcast until late autumn, on the UK’s new Channel 4 TV service. It was well worth the wait.

Al Foster, Miles and Mike Stern take a bow
Al Foster, Miles and Mike Stern take a bow

This was the same band that toured with Miles in 1981 and is featured on the We Want Miles live album, with Miles playing trumpet and electric piano; Bill Evans, sax; Mike Stern, guitar; Marcus Miller, bass; Al Foster, drums, and Mino Cinelu, percussion. The band had been playing together for almost a year by now, and as a result, are more confident and much tighter. Miles hadn’t played in the UK since November 1973, so there was much excitement and anticipation around this gig.

Miles spent a lot of time sitting down when playing
Miles spent a lot of time sitting down when playing

Miles played three nights at the Hammersmith Odeon, a famous music venue in west London. This concert was the second night. When Miles walks onto the stage, the audience starts clapping and cheering. Miles looks dapper, in a white jacket, open-neck shirt, shades and white beany hat. He is sporting a moustache. He also looks frail, and in many ways, it is amazing that he made this gig, because three months previously, he had suffered a mild stroke, which had paralysed his right hand. Thanks to support from his wife Cicely Tyson, and extensive medical treatment and therapy, he recovered fast enough to continue touring. It also explains why Miles spends a lot of time sitting on the stool next his electric piano, either listening to or directing the band, or playing his horn.

A frail-looking Miles
A frail-looking Miles

The band starts off with a lively ‘Back Seat Betty,’ and Mike Stern is clearly obeying the instructions Miles once gave to him: “Turn it up, or turn it off!” because he plays lots of loud, exciting, blistering guitar. Miles and Stern exchange many smiles during the gig and Miles certainly loved Stern’s playing, even it wasn’t to the taste of some fans and critics. Bill Evans plays a good soprano sax solo. The music segues into the ballad ‘My Man’s Gone Now,’ and although Miles sounds a little fragile, he plays with much tenderness and feeling. The tune alternates between a ballad and a jazz swing rhythm, with Miles cuing the changes by blowing a short, fast phrase on his horn.

Marcus Miller smiles at Miles
Marcus Miller smiles at Miles

It’s great to see how quickly the band responds to this: one moment, Miller is playing a slow bass vamp, Foster is laying down a slow beat and Stern is comping gracefully, and the next, the tempo races, without any noticeable glitch in the sound. It wasn’t enough for a musician to be a superb technician when playing in Miles’ band; they also needed to be great listeners, with fast reactions and the ability to improvise to whatever was happening to the music. The band members in this group had these skills in abundance.

Mino Cinelu solo
Mino Cinelu solo

At the end of ‘My Man’s Gone Now,’ the tune seems to be coming to a slow conclusion, but then Miles blows the motif from ‘Aida’ and the band instantly switches gear and plays a hard, driving groove. This is my favourite performance of the night. The music crackles and fizzes with energy, and everyone seems to be on fire. Foster and Miller are an awesome combination – be sure to check out Miller’s bass playing on this tune. Stern’s solo starts off quietly with gentle, melodic jazzy lines, and ends full-on jazz-rock, with screaming guitar and aggressive strokes that almost break the guitar strings. Evans plays a powerful tenor sax solo, and Mino Cinelu is given an extensive solo. Part of it involved sitting astride an upturned conga drum at the front of the stage and using both hands and his left foot (to dampen the sound). His solo builds up to an energetic climax, with Cinelu furiously hitting the conga drum, Miller sliding up and down the fretboard, and Foster using the hi-hat and a series of fills to drive the music – just look how fluid his movements are; he’s almost dancing in his drum chair. A trumpet shriek from Miles ends the tune and the concert’s first set.

Bill Evans plays flute
Bill Evans plays flute

The second set opened with a tune from Miles’s past – a rare event in Miles’s final decade. ‘Ife,’ was first played by Miles’s bassist Michael Henderson in 1972, and had a fast bass vamp. But later on when played in concerts, the bass vamp slowed down considerably. In this version, Miller plays a slow but modified vamp and Evans plays the flute. Miles only played ‘Ife’ 27 times in the 1980s – the last time was at the end of August 1982. He then dropped it from his concert set-lists, so it’s great to have a performance of it on film. ‘Fat Time’ is played more vigorously than the version found on The Man With The Horn and with a greater Spanish vibe. Miller is even given a very short solo segment, in which he plays a bass riff that sounds like a flamenco guitar.

Miles, Al Foster and Mike Stern
Miles, Al Foster and Mike Stern

The third and final song of the second set was Miles’ signature tune, ‘Jean-Pierre,’ whose opening chords elicit cheers from the audience. The piece includes some fine soprano sax from Evans, and a funky bass solo from Miller, who exchanges smiles with Miles during it. At the coda, Miles plays the theme, before ending the tune with a trumpet shriek. Foster’s cymbal smash and single strike on a gong bring the tune to its conclusion. The band takes a curtain bow and the audience applauds enthusiastically, but there is no encore. Miles returned to the Hammersmith Odeon the following year with a different band (Miller had left and John Scofield joined as a second guitarist) and a different repertoire (only ‘Jean-Pierre’ remained in the set-list). But it was still Miles.

Miles onstage
Miles onstage

Thanks to the website www.kind-of-blue.de for the stats regarding the Hammersmith Odeon concerts, and ‘Ife.’

Miles fan Matt Phillips attended the following night’s performance and has kindly provided images of the 1982 tour programme and his concert ticket.

If you have any memories of Miles’s gigs from 1981-1991, why don’t you tell us about it?! All reports will be put online for other Miles fans to share. Email

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

 

Buy online from
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The Last Miles

  • intro
  • albums
  • dvd
  • singles
  • other audio
  • books
  • gigs
  • cd
  • interviews
  • profiles
  • bands
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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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“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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