By Kalamu ya Salaam

Filles de Kilamanjaro is not only great music, the album is also a major milestone and signifier in the dazzling journey that was Miles’ musical career. Filles is more than a crossroads, it is the last of the cool, the death of the cool. I mean this in the same sense that Miles’ Birth Of The Cool is celebrated as the genesis of that movement, so too Filles is that movement’s ‘revelations’—the last statement opening us to further questions but paradoxically offering few certain answers for adherents of the cool style.

The album Filles is actually a composite of two different recording sessions released as one statement. “Petits Machins (Little Stuff)”—June 19, 1968; “Tout De Suite” (alternate take) and “Tout De Suite”—June 20, 1968; and “Filles De Kilimanjaro (Girls Of Kilimanjaro)”—June 21, 1968, all feature the last great quintet: Miles, Wayne, Herbie, Ron and Tony. “Mademoiselle Mabry (Miss Mabry)” and “Frelon Brun (Brown Hornet)”—September 24, 1968, feature the transitional quintet in which Chick Correa is on keys and Dave Holland on electric bass, along with Miles, Wayne and Tony.

In any case, Miles was not simply transitioning to another quintet. Classic combo days were over, within a year the sound would be overwhelmingly electric and polyrhythmic with the addition of Airto Moreira, and later James Mtume. And that electro/percussion line up fed directly into the rock energy that occupied the majority of Miles’ recording career post-Filles.

Alas, even though he commandeered Charles’ Lloyd’s band (Keith Jarrett on keys and Jack DeJohnnette on drums), among black audiences Miles was never able to become as popular or sell as much as Herbie when Herbie turned to funk. And at the risk of being totally misunderstood, it is important to realize that after Bitches Brew , Miles Davis recordings were never as influential as those of some of his former sidemen, especially the Zawinul/Wayne Shorter Weather Report collaboration, and the aforementioned Herbie Hancock Headhunters and beyond forays.

After Bitches Brew  Miles Davis was through as far as shaping the future of music. Miles had abandoned mainstream jazz, had never been heavy into the avant garde, was more a legendary figure than a real influence in rock music, and was never a major force in funk music. I understand that some acolytes point to On The Corner and a couple of other albums as influencing the aesthetics of some rap producers, however without denying a contribution, on the basis of rap recordings from that period, Miles did not significantly influence the direction of rap.

I know that assessment sounds extreme but facts are facts. . . . I’m not saying this is better than listening to Miles Ahead  or Sketches of Spain but I am saying that this live version of "Aranjuez" is absolutely sublime.

Miles never fully shook his petit bourgosie upbringing, hence his expensive taste in the accoutrements of wealth such as elite foreign automobiles, high fashion clothing, and yes, trophy women. Regardless of his public persona, Miles Davis was never a street cat without formal education who survived by relying on mother wit. . . .

The age-old truth about our people is our ability to adopt and adapt other cultures thereby creating not only something new but also creating incredibly beautiful hybrids. Hendrix envy notwithstanding, Miles Davis was a master of sophisticated cool jazz, and was never a master of rock or funk. The beauty of Bitches Brew  is that the recording ushered in the fusion movement, which ushered to the frontlines musicians and forms that never otherwise would have been considered jazz. I say “beauty” because the immense strength of black music is that the music can genuinely make room for everybody regardless of their ethnic or class background.

Fusion music with its heavy backbeat never intended to swing, moreover in the long run as all the jazz fusion records make clear the predominant influence became rock rather than funk. Many of us old jazz heads have major issues with fusion jazz, not the least of which is the absence of swing but like Courtney Pine said about some Eastern European jazz cats, they had no intentions of swinging. And that’s ok, that’s their prerogative.

We don’t have to trash post-Bitches Brew  Miles because we love cool Miles. To quote another R&B cliché: different strokes for different folks. I don’t disparage fusion Miles, I just don’t dig it. I wear my allegiance on my sleeve: cool Miles for me, and except for the live recordings from Trane’s last tour with Miles, I’ll take the music of the second great quintet quick as a Tony Williams heartbeat.

Just as Miles never found a second horn voice to match either Trane or Wayne, after Tony Williams there was a barrage but no match in terms of subtly shifting the music. Make no mistake Jack DeJohnette is a powerful and beautiful drummer but a great lake is not the ocean. . . . As far as I’m concerned, after Filles, Miles Davis the master trumpeter takes a backseat to Miles Davis the innovator who was searching for new directions in music.

Although Miles had a whole bunch more to offer, as a trumpet stylist this was the last hurrah—the last of the cool. After Filles it was into the hot, into some other kind of/different kind of vibe whether you could dig it or not. But no more hip, tortured, acoustic trumpet solos that left you sitting in the dark, tear streaks on your inner face, contemplating some unforgettable emotional catastrophe that indelibly pockmarked your internal heart, the one that most people never ever felt, saw or heard, that heart that Miles’ horn unlocked with the brilliant cobalt blue trumpet sound of the cool.

Source: Breath of Life

 

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Sister Citizen: Shame, Stereotypes, and Black Women in America   By Melissa V. Harris-Perry   According to the author, this society has historically exerted considerable pressure on black females to fit into one of a handful of stereotypes, primarily, the Mammy, the Matriarch or the Jezebel.  The selfless Mammy’s behavior is marked by a slavish devotion to white folks’ domestic concerns, often at the expense of those of her own family’s needs. By contrast, the relatively-hedonistic Jezebel is a sexually-insatiable temptress. And the Matriarch is generally thought of as an emasculating figure who denigrates black men, ala the characters Sapphire and Aunt Esther on the television shows Amos and Andy and Sanford and Son, respectively.      Professor Perry points out how the propagation of these harmful myths have served the mainstream culture well. For instance, the Mammy suggests that it is almost second nature for black females to feel a maternal instinct towards Caucasian babies. As for the source of the Jezebel, black women had no control over their own bodies during slavery given that they were being auctioned off and bred to maximize profits. Nonetheless, it was in the interest of plantation owners to propagate the lie that sisters were sluts inclined to mate indiscriminately.

 

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Sex at the Margins       Migration, Labour Markets and the Rescue Industry   By Laura María Agustín This book explodes several myths: that selling sex is completely different from any other kind of work, that migrants who sell sex are passive victims and that the multitude of people out to save them are without self-interest. Laura Agustín makes a passionate case against these stereotypes, arguing that the label 'trafficked' does not accurately describe migrants' lives and that the 'rescue industry' serves to disempower them. Based on extensive research amongst both migrants who sell sex and social helpers, Sex at the Margins provides a radically different analysis. Frequently, says Agustin, migrants make rational choices to travel and work in the sex industry, and although they are treated like a marginalised group they form part of the dynamic global economy. Both powerful and controversial, this book is essential reading for all those who want to understand the increasingly important relationship between sex markets, migration and the desire for social justice. "Sex at the Margins rips apart distinctions between migrants, service work and sexual labour and reveals the utter complexity of the contemporary sex industry. This book is set to be a trailblazer in the study of sexuality."—Lisa Adkins, University of London