A Tribute to Jack Johnson (1st CD version)

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Miles Davis

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For those who aren't aware, this JACK JOHNSON soundtrack was compiled from 1970 studio sessions by Miles Davis for a rarely-seen documentary of the legendary boxer. The 2005 Ken Burns-directed UNFORGIVABLE BLACKNESS documentary with music by Wynton Marsalis is an entirely different audio/video project. Although Davis' music i.m.o. certainly evokes the spirit of Johnson, it also stands on its own musical merits as arguably one of the most outstanding Miles albums of his entire career (which is saying something because Miles' career is loaded with classic, timeless performances).

As I wrote of the boxed set of the JACK JOHNSON sessions, if ever progressive strains of jazz, rock, blues, and funk found common ground -- without selling any of the above short -- I'd argue it was in the early-1970 sessions from which this album was pasted together. JACK JOHNSON rocks steady, gets on the good foot, and does so with jazz intuition and blues feeling. Miles' playing is awesome, and I would consider his opening solo on "Right Off" to be as brilliant as any I've heard by him at ANY point in his career, finding a perfect, unpredictable balance between basic and abstract improvisational phrases. The rhythm section -- including John McLaughlin on guitar, Michael Henderson on electric bass, and Billy Cobham on drums -- throws down a steady beat that reacts to and pushes Miles onward and upward. Reedman Steve Grossman, keyboardist Herbie Hancock, more from Miles, and finally McLaughlin manage to keep this lengthy cut interesting, while some spliced-in segments from related sessions by producer Teo Macero keep the listener off-balance to good effect.

"Yesternow" builds slowly off of a Henderson bass motif, beginning quietly but eventually erupting into a electrifying riff that at one point has frequently uncredited guitarist Sonny Sharrock creating joyful noises that are apt to forever remain edgy as future generations discover this already 35-year old album. Those who are unfamiliar with JACK JOHNSON may have to make some adjustments to fully appreciate this album, given that it is comprised of two long tracks, spliced to their 20-plus minute lengths from various sessions (which btw are heard in unedited form on the excellent COMPLETE JACK JOHNSON SESSIONS boxed set). Also, there are no pre-written melodies as the music focuses mostly on solo statements by -- and the interaction of -- the musicians. If you can accept this album on its own terms, you're likely to be rewarded with an inspired listening experience no matter how often you play it. Which one can say of dozens of Miles Davis albums!

This is often considered the high point in Miles' fusion period (which I actually don't feel is all that brilliant - in sharp contrast to both the First Great Quintet/Sextet and the Second Great Quintet). But I don't get it. I mean, I like Right Off, a driving jazz-funk-rock that proves Miles had a better understanding of both genres than I, a big fan of funk and rock in addition to jazz, gave him credit for on my review of [...] Brew. John McLaughlin's riffs are perfect in this song, and it even gets away with abucting parts of Sly Stone's Sing a Simple Song. It keeps you interested throughout even though it's almost a half-hour. Not bad!

My problem lies in the second half: Yesternow. It could've come right out of In a Silent Way (my favorite Miles fusion album, and the only masterpiece of the period) if it weren't for the ponderous orchestra, which gets in the way. The song just rambles for its own half-hour, never really taking off, just ambling along, like a guy humming to himself while he's walking down the street. Now, these kind of pleasant low-key mood music things can work if done right, but Miles drops a bomb on us here, probably because it's also just under a half-hour. If you're looking for a quick description, I'd call it "Languid, longwinded and lackluster".

So there you have it. The famed Tribute to Jack Johnson. Basically, if you love the fusion era, you can't go wrong with this one. But if you're like me, the grumpy old-school Miles fan who can only take fusion in small doses, I can't really give this a recommendation. Still, I have to give it credit for never descending into a tuneless, formless mess a la Get Up with It.