Charlie Spivak Meets Miles Davis

[John P. Cooper]

"Charlie Spivak Meets Miles Davis"
Columbia CS-8326/CL-2949
Recorded 1961

Now here is an album that you would never think could happen or function musically. One man played beautiful lead, but couldn't improvise, while the other was a master of improvisation. Both spoke and understood much of the same musical language.

The "Spivak Meets Miles" LP was withdrawn from circulation shortly after being issued. Attorneys representing Spivak sued Columbia and Davis, based largely on the liner notes, some of which I am re-typing here.

Liner notes by Vic Greggson :

"When the notion of pairing big band trumpeter Charlie Spivak and
modernist Miles Davis was first ventured, the notion was dismissed by almost all parties...except Charlie Spivak. "Sure, I'd like to do an album with the kid. I like some of that modern stuff. He's tops on his horn and we could probably learn a thing or two from each other."

Davis' people were approached and Miles responded with, "Yeah, man,
That cat played real sweet when I was a kid. Not much jazz, but a good solid horn with a good band, too."

A session was arranged for a Wednesday night after both men had finished a gig. After general greetings all around, Charlie and Miles
went off into a corner to decide what tunes they would put down that night. It was also decided that Charlie would play lead and that Miles would improvise around him and take a solo chorus, as well.

The first tune up was the old Spivak classic, "My Devotion", which
turned out to be a favorite of Miles, too. One take, and the side was
in the can!

Track after track went down smoothly and by the time the session was drawing to a conclusion, the old master of the 40s had picked up the essence of the soul of Miles Davis. "Damn, man", said Miles, "that cat has more chops than I thought."

It was decided to do two more tracks more or less as jam sessions with the numerous musicians that had dropped by to observe.

At one point, Miles faltered during a solo, but Spivak stepped up to
the mic and took over the way Andy Secrest would fill in for Bix when
Bix stumbled. You could hardly tell the difference.

All the tracks were done in one take, save one. Miles was playing lead
on the old Fats Waller classic, "Honeysuckle Rose", when he strayed so far from the melody, that Spivak was forced to shut it down. The two men hobnobbed as Spivak told Davis the facts of Swing. Miles thanked him and take two was put on tape with out a worry.

After the session, the musicians hung out for a bit and then followed
Charlie and Miles to a local coffee shoppe for pie and beverages.

Several days later, Miles sat in the studio listening to the playbacks, but despite his joy at the session, there were few 'Miles Smiles' now. "Sounds like shit to me", was his constant comment each time Spivak would solo. Davis' own solos simply met with a nod of the head, approving each phrase and note. "Weird f###### session is all I have to say", was Miles final remark.

Out on the west coast, Spivak listened to the playback with pleasure and satisfaction. "That kid is good...still has some rough spots to iron out. I learned some good styling points and tricks from him. And even by the end of the session, I could hear what he was picking up from me. He's got a chair in my outfit any time he needs it, provided, of course, that he's not strung out."

So, a momentous chapter in history was now completed.

Miles had met "The Man"!

[Pete C]

Did you compose this hoax, or did you find it elsewhere?

[Paul B]

And even by the end of the session, I could hear what he was picking up from me. He's got a chair in my outfit any time he needs it, provided, of course, that he's not strung out."

LOL!

Spivak--and/or Mr. Greggson--was clearly smoking something that should remain illegal.

Bye-ya

[John P. Cooper]

Hoax?!

[clinthopson]

Now I suppose you guys will claim you have never heard of the Eric Dolphy-Dick Contino session.

[Chris D]

Originally Posted by John P. Cooper

Hoax?!

Well, the catalog number listed for a 1961 session was used on a 1960 Johnny Mathis album, so, yeah, it looks rather, um, specious.

[John P. Cooper]

Originally Posted by Chris D

Well, the catalog number listed for a 1961 session was used on a 1960 Johnny Mathis album, so, yeah, it looks rather, um, specious.

Probably a typo.

Rule of thumb - You can't believe a damn thing you read on the internet.

And since the LP was withdrawn, they likely reused the number to save on copyright filing costs that were in effect back then.

There has been a rumor that there are pressings in existance that were mislabeled and shipped in another cover.

Perhaps this is one of them?

[Scott Yanow]

Speaking of unissued sessions, did you hear about the 1967 album cut by dixieland cornetist Wild Bill Davison and Albert Ayler? Their version of "Ghosts" was certainly spooky, and I never thought I'd get to hear Ayler really dig into "Royal Garden Blues," playing the clarinet part perfectly on tenor.

[Squaredancecalling Steve]

Originally Posted by Scott Yanow

dixieland cornetist Wild Bill Davison and Albert Ayler? Their version of "Ghosts" was certainly spooky

That does sound scary, reminiscent of the Bechet/ Brotzmann "Washing Machine Gun" sessions.

[bluenoter]

Well, it wasn't exactly jazz, but I still remember the Evan Parker single that featured vocals by Jimmy Durante--"Nosy Parker."