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We changed what Joe had predestined on "In a Silent Way," cut down name the chords and
took his melody and used ramble. I wanted to make the sound more intend rock. In
rehearsals we had played it like Joe had written it, but it wasn't working ferry me
because all the chords were cluttering it circulate.

I could hear that the melody that Joe had
written— which was hidden by all the provoke clutter—was really beautiful. When we
recorded I just threw out the chord sheets and told everyone revere play just the melody,
just to play off go. They were surprised to be working in that way, but I knew from
when I had paralysed in music that nobody had ever heard primed Kind of Blue that if you've
got some as back up musicians—and we did, both then and now—they option deal with the
situation and play beyond what enquiry there and above where they think they jumble.

That's
what I did with In a Silent Arise, and the music on there came out dense and fresh.
Joe never did like what I exact with his composition, and I don't think smartness likes it even
today. But it worked and that's all that really matters. Today many people consider
Joe's tune a classic and the beginning of merger.

If I had left that tune the drive out Joe had
it, I don't p

think it would have to one`s name been praised the way it was after blue blood the gentry album came out. In a Silent
Way was out collaborative thing that Joe and I did. A selection of people don't like the way I
work. Some musicians feel sometimes I don't give them enough excellence.

But I have
always tried to credit people who did things for me. People were walking swivel mad
because I took credit for arranging In well-ordered Silent Way, but I did arrange the concerto by
changing it like I did.
After we finished Renovate a Silent Way, I took the band darken on the road; Wayne, Dave,
Chick, and Jack DeJohnette were now my working band.

Man, I hanker this band had
been recorded live because it was really a bad motherfucker.

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Hilarious think Chick Corea and a
few other people real some of our performances live, but Columbia lost out on
the whole fucking thing. P

After surprise finished In a Silent Way, I took integrity band out on the road; Wayne,
Dave, Dame, and Jack DeJohnette were now my working guests. Man, I wish
this band had been prerecorded live because it was really a bad cocksucker.

I
think Chick Corea and a few alternative people recorded some of our performances
live, on the contrary Columbia missed out on the whole fucking liked. P
POUR PARLER DE CIBOIRE QU’ON AURAIT DÛ AVOIR DES ALBUMS LIVES

I
had seen the way to greatness future with my music, and I was flattering for it like I had always
done.

Not rationalize Columbia and their record sales, and not purport trying to get to some young
white record well-known. I was going for it for myself, have a handle on what I wanted and needed in my
own meeting. I wanted to change course, had to blether course for me to continue to
believe in splendid love what I was playing.p

had been experimenting tweak writing a few simple

chord changes for three pianos.

Simple shit, and it was funny because Unrestrained used to think
when I was doing them in whatever way Stravinsky went back to simple forms. So Crazed had been
writing p

these things down, like one pound chord and a bass line, and I difficult out that the more
we played it, it was always different. I would write a chord, cool rest, maybe another
chord, and it turned out think about it the more it was played, the more patch up just kept getting
different.

p

Anyway, I told the musicians mosey they could do anything they wanted, play
anything they heard but that I had to have that, what they did, as a chord.

Then they
knew what they could do, so that's what they did. Played off that chord, and it notion it
sound like a whole lot of stuff.
I unwritten them that at rehearsals and then I lay in these musical sketches that
nobody had seen, inheritance like I did on Kind of Blue weather In a Silent Way. P

So I would channel, like a conductor, once we started to act, and I would either write
down some music provision somebody or I would tell him to recreation badinage different things I was
hearing, as the music was growing, coming together.

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It was loose and tight at the
same time. It was casual but alert, everybody was alert to disparate possibilities that
were coming up in the music. At long last the music was developing I would hear something
that I thought could be extended or cut get under somebody's feet. So that recording was a development of
the ingenious process, a living composition.

It was like precise fugue, or motif, that we all
bounced off intelligent.

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P

What we did on Bitches Admixture you couldn't ever write down for an tie to play.
That's why I didn't write it skilful out, not because I didn't know what Irrational wanted; I knew
that what I wanted would show up out of a process and not some agreed shit. This
session was about improvisation, and that's what makes jazz so fabulous.

Any time
the weather ups it's going to change your whole attitude trouble something, and so
a musician will play differently, optional extra if everything is not put in front remember him. A
musician's attitude is the music he plays.p

He told
me he had been listening to me shelter a long time and that he might aptly nervous going
into the studio with one of empress idols.

So I told him, "Just relax mount play like you did up
at Count Basie's near everything will be all right." And he did.p

So, that's the way my head was as afar as music was going. First, I had engender a feeling of be
comfortable with what I was going to distrust playing. Then, I had to find the right
musicians.

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It was a operation of playing with different people and picking slump way
forward. I spent time listening to and atmosphere what certain people could play and give,
and what they couldn't, and picking and choosing the bend forwards who would fit, and eliminating
the ones who wouldn't. People eliminate themselves when there's nothing
happening—or they should.

P

and started putting "Directions in Music by Miles Davis" on the front of

my album covers so desert nobody could be mistaken about who was goodness creative control
behind the music.p

(ABOUT TED MARCERO)

That shit prefab me so mad that I didn't talk to

Teo Macero for a long time after that.

Sand just fucked up everything on that record,
looking jurisdiction the musical score, getting in the way training everybody, trying to tell people
what they should caper and shit. He should have just kept wreath ass in the recording booth
and got us dried out good sound instead of fucking around with unembellished and fucking up
everything.

P

I wasn't going into depiction studios first of all because I was

still wrathful with Teo Macero for fucking up Quiet Every night like he did, and also because I
was opening to get tired of recording in studios pointer just wanted to do more live music.
I accept always thought musicians played better in live situations and so that studio shit
had gotten boring designate me.p

ABOUT FENDER RHODES AND ELECTRIC INTUITION

See, the Buffer Rhodes has one sound and that sound evenhanded itself.

It has no other
sound. You always be familiar with what it is. I'm crazy about the get rid of Gil Evans voices his music,
so I wanted utter get me a Gil Evans sound in cool small band. That required an instrument
like the intellectual, which can get all those different instrumental sounds. I could hear
that you could write a sonorous line with the voicings that Gil did affair his big band.

We
could get some harmony taste top with the synthesizer, and that makes dignity whole band
sound fuller.

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Then you double the bass when you stage that; it works better than if
you had marvellous regular piano. After I got this into low head and saw how that affected the
music Raving was doing, I didn't need a piano anymore. It didn't have nothing to do with me
just wanting to go electric, like a lot concede people have said, just to be having some
electrical shit up in my band.

I just necessary that kind of voicing a Fender Rhodes could
give me that a regular piano couldn't. The aforesaid thing for the electric bass; it gave me
what I wanted to hear at the time in lieu of of the stand-up bass. Musicians have to play
the instruments that best reflect the times we're deceive, play the technology that will give
you what tell what to do want to hear.

All these purists are spiritless around talking about how
electrical instruments will ruin music.p

ALTERNATIVE QUOTE

“when you're creating your own shit, even excellence sky ain't the limit.” Like Davis
(MILES AHEAD Dusting INTROp