It was a spiritual revelation. We have come close to capturing that magic several times since. My other band had excellent nights, too, but the emphasis was more on solos. I think the group is a little more subtle now. We try not to push the music any certain way, we just let it happen the way it happens.
I think music is supposed to make you high, to give you an experience so that you can transport yourself from wherever you are and that whole physical contact with the world so that you can gain a little more consciousness-inner consciousness. None of the tunes have chords. After we play the melody, then we can go where we want to. Priester reinforces the bass line as Henderson concludes.
Then Hancock enters for a typical display of how to employ voicings and odd meters for maximum drama. Note that Maupin, originally a tenor saxophonist, is never heard on tenor sax on these recordings — one sign that Hancock was headed somewhere else with his music. There is particularly keen interaction in the rhythm section throughout, although Henderson also blows passionately without accompaniment. After building to some gentle explosions, the theme is reprised and Maupin emerges on alto flute.
Hazy cadences from Hancock bring the theme back briefly. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Miles Davis.
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