The Last Miles

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Miles Memorable Moments: Gasteig Philharmonie, Munich, 18 July 1987

Between 1985 and 1987, Miles was arguably at his peak, when it came to stamina, health and performance during his last decade. His chops were back and he was playing for long stretches at a time, with plenty of open horn. This concert took place in the vast Philharmonic Hall (it seats around 2,400 people) at the Gasteig cultural centre in Munich and records a band that was at the top of its game.

Miles' 1987 band
Miles’ 1987 band

The band was:

  • Miles: trumpet/keyboards
  • Kenny Garrett: alto saxophone/flute
  • Joseph “Foley” McCreary: lead bass
  • Robert Irving III and Adam Holzman: keyboards
  • Darryl Jones: bass
  • Ricky Wellman: drums
  • Mino Cinelu: percussion
Miles' 1987 band
Miles’ 1987 band

It was an intriguing line-up. Garrett, Foley and Wellman were relatively new members, having joined the band in spring of that year; the three of them would form the core of Miles’ band up right until his death in September 1991. Robert Irving III had joined Miles’ band in 1983 and was the musical director. The second keyboardist, Adam Holzman, became a member in October 1985, and succeeded Irving as musical director in 1988. Darryl Jones and Mino Cinelu were members of previous Miles’ bands (Jones played from 1983-85, and Cinelu, 1981-1983), and so there was a mix of new blood and experienced players.

Adam Holzman
Adam Holzman

Kenny Garrett was an alto saxophonist, whereas previous players like Bill Evans, Bob Berg and Gary Thomas had been tenor saxophonists. Foley took the role of lead guitarist, but actually played lead bass, using tuning, effects and technique to make the bass sound more like a guitar. Ricky Wellman was one of pioneers of go-go music and brought this sound to Miles’ band.

Kenny Garrett
Kenny Garrett
Kenny Garrett
Kenny Garrett

Miles was energised by the band and commented in his autobiography, “The band I had in 1987 was a motherfucker. I loved the way they were playing. People all over loved this band…Ricky playing off Mino Cinelu, and Darryl was up under that shit and giving foundation… Adam Holzman and Robert Irving were doing their thing on synthesizer, and me and Kenny Garrett weaving our voices through all of that, and Foley, who was my new guitar player, playing that funky blue-rock funk…they were great and I truly had found the guitar player that I had been looking for. Everybody in that band could dialogue with each other from the beginning and that was good. My band was right and my health was good, and so was everything else in my life.”

Miles and Darryl Jones
Miles and Darryl Jones
Miles and Darryl Jones
Miles and Darryl Jones

The band played for more than two hours and the set-list was one of the most eclectic of the period:

  • One Phone Call/Street Scenes (from the album You’re Under Arrest)
  • Speak/That’s What Happened (Star People and Decoy respectively)
  • New Blues (Star People)
  • Perfect Way (Tutu)
  • The Senate/Me & U (an original composed by Foley)
  • Human Nature (You’re Under Arrest)
  • Wrinkle (Rubberband sessions)
  • Tutu (Tutu)
  • Movie Star (composed by Prince)
  • Splatch (Tutu)
  • Time After Time (You’re Under Arrest)
  • Full Nelson (Tutu)
  • Don’t Stop Me Now (a cover of a Toto tune that Miles had played on. You can hear the original here. Toto guitarist Steve Lukather talks about the track here
  • Carnival Time (Rubberband session)
  • Tomaas (Tutu)

Encore:

  • Burn (from The Man With The Horn sessions)
  • Portia (Tutu)

The entire audio recording of the concert is in circulation, as is an official video, the DVD That’s What Happened.

That’s What Happened features an hour of the concert and includes:

  1. Medley: One Phone Call / Street Scenes / That’s What Happened
  2. New Blues
  3. Human Nature
  4. Tutu
  5. Time After Time
  6. Portia (edit)
That's What Happened DVD
That’s What Happened DVD

It can be purchased from Amazon UK and Amazon US.

However, additional video of the concert (from a TV broadcast by 3SAT) is in circulation, which also features Carnival Time, Splatch, Full Nelson, Don’t Stop Me Now, Tomaas, Burn and the full version of Portia.

The concert starts with Miles walking onto the stage first, and the crowd erupts as the rest of the band take up their instruments. As with all Miles’ concerts from this period; the set starts with a frenetic number, in this case a medley of One Phone Call/Street Scenes which segues into Speak/That’s What Happened. The rhythm section of Jones, Wellman and Cinelu is really tight and Miles blows hard and fast.

Miles in Munich
Miles in Munich
Miles in Munich
Miles in Munich
Miles in Munich
Miles in Munich
Miles in Munich
Miles in Munich

Throughout the concert, Miles gives the band members plenty of time to shine. Kenny Garrett plays extended solos on tunes such as the opening medley, Tomaas and Human Nature; his ability to play long lines and a multitude of melodies over a one-chord vamp is impressive. He also interacts a lot with Miles, doubling lines and playing call and response riffs. Foley shows that not only can he play blistering solos, but his rhythm guitar (for example, on Full Nelson), blues (as on New Blues) and melodic playing (such as on Don’t Stop Me Now) are excellent too.

Foley
Foley
Foley
Foley
Miles and Foley
Miles and Foley

Ricky Wellman’s stamina and timing are superb and he plays long stretches of energetic drumming without faltering. Mino Cinelu plays long solos on Tutu (sitting downstage on a chair playing an African pot drum) and Carnival Time, where once again, he goes to the front of the stage and plays an exciting solo while sitting astride a conga drum. Darryl Jones is a monster bass player and plays lots of inventive bass lines (I love the ascending bass riff he plays towards the end of Carnival Time).

Mino Cinelu
Mino Cinelu

Keyboardists Irving and Holzman mainly play orchestral parts which support the sound, but during Splatch, Holzman picks up a Yamaha KX5 “keytar” (portable keyboard) goes to the front of the stage and duets with Miles and then solos (the That’s What Happened DVD omits Splatch, but the edit between Tutu and Time After Time shows Holzman hugging Miles at the end of his solo).

Robert Irving III
Robert Irving III
Robert Irving III
Robert Irving III

Last but not least, Miles’ playing is superb, especially on songs such as Portia, New Blues, Don’t Stop Me Now and Time After Time. Many numbers run for more than ten minutes and Miles is either blowing his horn or playing keyboards.

At the end of the concert, the audience stands up and demands an encore. Many people get up from their seats and crowd around the front of the stage. Miles and the band re-appear and play a scorching hot version of Burn (pun intended), followed by the last number, Portia.

Audience encore
Audience encore

Miles plays for a few minutes and then leaves, with the band playing on. One by the one, the band members play a short solo, before departing from the stage (several of them go right to the front of the stage to solo): first is Kenny Garrett, then comes Darryl Jones. He’s followed by Foley and then Adam Holzman. Mino Cinelu plays his solo on a triangle and is followed by Ricky Wellman, who walks to the stage front and hands his sticks to two members of the audience. Robert Irving is last to leave, playing the ensemble ending, before setting his synthesiser on a loop and leaving the stage. The crowd applaud the empty stage.

Ricky Wellman
Ricky Wellman
Ricky Wellman
Ricky Wellman

I saw this band play in London, a couple of weeks earlier, at the Royal Festival Hall, and I remember being knocked out by it. I really loved the way Portia ended, and it’s a shame this is cut short on the official DVD release. One can only hope that the full concert will eventually get released on video, because Miles and his band were truly firing on all cylinders.

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
click to buy at Amazon.co.uk
and in the USA from
Click to buy at Amazon.com

Contact George Cole at

The Last Miles

  • intro
  • albums
  • dvd
  • singles
  • other audio
  • books
  • gigs
  • cd
  • interviews
  • profiles
  • bands
  • memorabilia
  • photos
  • art
  • about

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
Buy from Amazon.com
The Last Miles UK edition
Buy from Amazon UK

“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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