The Miles Davis Lost Quintet and Other Revolutionary Ensembles

Gluck's book tries to describe a complex season full of ideas. . .Perhaps the one in which jazz took its premise and promise to the extreme limit. -- Leggi Online (Translated from Italian) . . . deepens our understanding--with an always analytical and rigorous style . . . --Enrico Bettinello Giornale della Musica (Translated from Italian) . . . [a] captivating investigation of some of the most experimental jazz instrumental ensembles . . . This is a book that tells how a specific, magnificent, revolutionary musical season of Miles Davis was inextricably connected with the historical period in which it was immersed. --Alessandro Rigolli Gazzetta di Parma (Translated from Italian) [an] . . . original, intersectional approach and a beautiful fresco of the avant-garde of the time. -- il manifesto (Translated from Italian) [Gluck is] the right person to reconstruct a little studied story in the history of jazz . . . this is not just another book on Miles Davis, but a comprehensive essay that documents a historical period of great general creativity. -- Mescaline (Translated from Italian) [Gluck] focuses on the divine trumpeter's fascination with the new sound front and on his singular ability to hold together the world of rock and the avant-garde . . . -- Dagospia (Translated from Italian) [This book is] an all-encompassing work on Davis and his time . . . and outlines the urban, political and social environment in which these extraordinary musicians moved. -- Blow Up (Translated from Italian) Gluck traces the history of the formidable Lost Quintet . . . that never found itself in the studio (there are only live recordings) and analyzes the Davisian businesses of the late 1960s with an eye to the free scene--that of the jazz warriors without chains, far from the architectural rigor of the colossus Miles. --Stefano Mannucci Daily Fact (Translated from Italian) The picture of events described by Gluck is very detailed and made up of both first-hand information and a careful examination of the extensive bibliographic apparatus. A reference work, written with sufficient clarity and undoubted critical spirit, of interest both for the neophyte and for those who in those years had the pleasure and the good fortune to listen live to the voices of a unique and no longer replicable musical season. --Piercarlo Poggio The New Noise (Translated from Italian) A Top Music Book Pick --Guido Michelone, Alias - Il Manifesto Gluck's analyses of the differences among the three groups, and of the underlying similarities that nevertheless made them commensurate, are astute and make accessible a music that can place great demands on the listener . . . Helps to situate these three groups precisely within a time that, in retrospect, was uniquely fecund. -- Avant Music News Locates the music of his electric epoch within a historic continuum of exploratory jazz. 'Electric Miles' is the version who plugged in to the zeitgeist, traded his suits for hipster finery, and opened up his music to distortion and groove-based repetition, either transcending or dramatically repudiating (depending on your perspective) his roots in acoustic jazz. -- Atlantic [The Miles Davis Lost Quintet and Other Revolutionary Ensembles] by Bob Gluck presents Miles by placing him at the center of a series of jazz revolutions. -- la Lettura - Corriere della Sera (Translated from Italian) Gluck captures, from the brief period of the quintet, principles that become a sort of integrating background. These are useful to properly analyze an experience from which other musicians, all of them significant, drew upon ... it is also striking how much the socio-political churning and sounds of industrialized urban civilization impacted the development of the composing and improvising of the groups and subsequently carried forward by members of that quintet. -- Buscadero (Translated from Italian) This is an incredible book, of rare excellence and beauty... I have read books of music criticism but none have ever attained such beauty. Any palate will easily find itself in these pages: the super-technical one, the curious one, even the one who knows nothing of that period. Superbly direct, scrupulously translated, with perfect narrative timing, and never a cloying use of technical terms, this book also includes a very accurate analytical index and bibliography. It is not easy to call an essay exciting, but this it is. -- MinimAL (Translated from Italian) With this book, the publisher Quodlibet has enriched the Chorus series with a new, precious piece ... Bob Gluck investigates this surprising sound season of Miles Davis without neglecting what, at the same time, was happening in the adjacent musical world, and never forgetting the equally surprising historical, political and social season to which Davis's experience was deeply anchored. -- Strumenti & Musica (Translated from Italian) Overall his writing style aspires to, and regularly achieves, an informative blend of musical and cultural analysis that is meaningful to specialists without alienating non-musicians. -- Notes [A book] highlighting the lines that connect Miles Davis and his musicians to the others of the time: the court of Ornette Coleman (whom Davis looked upon with calculated contempt), the radicality of John Coltrane's Ascension, the 'concrete composition' of the Gesang der Junglinge in Stockhausen. And Leroy Jenkins playing violin in trio with the Revolutionary Ensemble . . . --Alberto Piccinini Linus (Translated from Italian) [Gluck] sees Davis as being in conversation with the free jazz of Ornette Coleman and John Coltrane, while creating a music--jazz rock--with much broader commercial appeal. The 'musical economy' is what separates The Lost Quintet from groups on the commercial margins like Circle and The Revolutionary Ensemble--to which Gluck devotes separate chapters. . . . His thesis is intriguing, and the book provides much of the material for addressing it. . . . He does show how The Lost Quintet was an important band in its own right, not just a transition to better known ensembles. The Miles Davis Lost Quintet and Other Revolutionary Ensembles raises tantalizing questions about a career that continues to fascinate. -- The Wire A look at the profoundly influential but hazily remembered period in the 1970s, after Miles went electric, when pretty much everything was possible, and pretty much everything happened. -- Brooklyn Rail Gluck's own expertise as a composer and musician work hand-in-hand with his natural inquisitiveness to uncover the inner creative method in a band that was literally reinventing their music on a gig-by-gig basis. In the process, Gluck perhaps reveals more about Davis's techniques than previously understood. . . . In his examination of lesser-known groups like the Revolutionary Ensemble, Gluck illustrates both the Davis influence and the tenacious individualism of artists from the trumpeter's sphere who were determined to follow their own best instincts. Though Gluck is an academician, his writing is accessible even at its most detailed. His insights are solidly supported by historical fact, quotes, and his firm grasp of the subject. As a result, The Miles Davis Lost Quintet and Other Revolutionary Ensembles plays out as a compelling narrative of artistic ambitions and human nature. -- All About Jazz In discussion informed by interviews with many of the principals and by his own detailed analysis of recordings, Gluck examines each group and its music in depth. -- Choice One of the best things about this book is Gluck's ability to connect all the dots: the relations between players and movements, between seemingly disparate musicians and the collective music they created, between what is seemingly lost and what deserves further examination. Gluck makes the case that often what should be most valued is also what is most hidden. -- New York City Jazz Record The scholarship here is excellent. Documenting musical changes is difficult, and Gluck has to rely on a great deal of bootlegged material and also does a forensic recreation of some of Davis's 'Live' albums--that were actually heavily produced--to understand what he and his quintet were working at. Gluck has scoured interviews--and done his own--to get a sense of the biographical and social issues at play. But unlike many other--most other--all other?--cultural criticism being put out today, he never reduces the art--the music---to psychology and sociology. He understands the aesthetics, the music, as a thing unto itself, and tries hard to explain it. . . . Davis's position as a famous bandleader allowed his musicians to experiment while still getting gigs, still producing albums. Circle and the Revolutionary Ensemble were in very different situations. . . . Gluck's research and insight really pays off. . . . The research he did was small-scale and exacting, sketching networks of influence and explaining the development of a musical form that is too easily dismissed. And he left me wanting more. -- Allmusic Books