Nice article, Alex; thanks. Thoughts? I would say it’s mostly accurate. Mostly. I think it puts a little too much emphasis on the notion of Miles being the “sensitive and introspective” one and Trane the “garrulous and long winded”. Probably true in their lives off the band stand, but depending on what period in their respective careers we are talking about those descriptions could easily be flipped as concerns their playing.
As usual when writing about Miles, KOB becomes a kind of focal point in the article. This actually makes my point. Post-KOB Miles is often anything but “introspective”; certainly not in the way that I think the author means. Actually, I have always felt that in the KOB band it was in fact Cannonball, not Coltrane, who was the musical “odd man out”. Cannonball, as great as he was, was and remained a traditionalist; a very bluesy bebopper who, unlike both Miles and Trane, never really ventured into more adventurous harmonically “outside” territory. His “Ballads” recording is a great example of beautifully sensitive and introspective playing by Trane; as is his playing on one of my favorite cuts from KOB. One of the most concise and sensitive tenor solos that I’ve heard on record. Nothing “garrulous” about his playing on this:
Great record “….at the Blackhawk”. I love Hank Mobley, but not as much with Miles. I understand your reaction to his tone, but it doesn’t bother me as much as his ideas are wonderful. Again, just as with Cannonball on KOB, a saxophone player with a much more traditional approach than Miles’ “always forward looking” attitude. Maybe that is part of the “rub” for you; it is for me. I think he is more in his zone on this record:
