Originally posted by burning dog
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That's what the garage attendant said to the Rolls-Royce owner, after being informed that it was a company car, not one he'd bought: "Well, I work ******* hard too, but nobody gives ME a Rolls-Royce!"
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Having previously filled the gaps in my Miles Davis collection with "Milestones" and "Seven steps to heaven" I've been listening to the neglected album "Some day my prince will come." Like the other two discs, a lot of the material is famous and very familiar yet there is also a lot of material which never seems to get any air play. I think the "Prince" record was recorded between the other two sessions and is justly famous for Coltrane's last appearance with Miles - a fact that raises this album up a few notches.
The curious thing about this disc is that it had the reputation of being marred by the performance of Hank Mobley. I'm not convinced this is a fair reaction nor the main reason why this disc is a bit of a mishmash. For one, Miles chose Mobley as his front line partner and the mismatch must fall on his lap. Mobley does nothing wrong yet I don't think his harmonic language has the brooding menace of Miles' other soloists and the comfortable style of his tenor is markedly at odd with anyone else of stature Miles employed. Even during Adderley's time with miles, I felt he really grasped Miles' concept. Mobley's tenor and Wynton Kelly's always hip piano make this record sound almost like a Blue Note session. The laid back groove of Jimmy Cobb also adds to this impression and I think he is a drummer who is solid yet lacks the magical crackle of Philly Joe or the bombast of Tony Williams. Tracks like "Pfrancing" sound like a Blue Note number and you could say the same of the breezier "Blues No. 2" which is a bonus track.
I think this album has it's moments (or rather Kelly and Coltrane have them) and the title track is a gem. The burning "Teo" is also really good too. However, I don't think Mobley is the cause of this album sounding a bit under-whelming. For me, Miles just doesn't seem as inspired as on other records. Maybe he didn't feel as pushed by Mobley as other tenor players.
It has been fascinating filling these gaps in. "Milestones" sounds like a group being slip two ways between the past and the future. "Seven steps" has those three fabulous tracks by the newer line up and also boasts what I think are Miles' very best ballad performances on record. I can't understand why these ballads are not more highly praised as I would say they feature some of his absolute best trumpet. "Prince", on the other hand, isn't his best band but, more importantly, one of his least inspired sessions as a soloist. I would also have to say that he does sound to be tentatively influenced by the kind of sound Blue Note were going for- maybe this is what prompted him to try the unassuming Mobley?Comment
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