Jack Johnson (album)

Last updated

Jack Johnson
Jack Johnson S 30455.jpg
Original LP (Columbia S 30455) [1]
Studio album / Soundtrack album by
Miles Davis
ReleasedFebruary 24, 1971
RecordedFebruary 18 and April 7, 1970
Studio 30th Street (New York)
Genre
Length52:26
Label Columbia
Producer Teo Macero
Miles Davis chronology
Miles Davis at Fillmore
(1970)		Jack Johnson
(1971)		 Live-Evil
(1971)
Alternate cover
Tribute To Jack Johnson.jpg
Subsequent reissues

Jack Johnson (also known as A Tribute To Jack Johnson on reissues) is a studio album and soundtrack by American jazz trumpeter, composer, and bandleader Miles Davis. It was released on February 24, 1971, by Columbia Records.

Contents

The album was conceived by Davis for Bill Cayton's documentary of the same name, on the life of boxer Jack Johnson. Its two 25-minute-plus tracks were produced from recordings made on February 18 and April 7, 1970, at 30th Street Studio in New York City. Davis was inspired by the political and racial subtext of Johnson's saga as well as the hard rock and funk sounds of his own era, leading a rock-inspired line-up of musicians in the studio: guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, bass clarinetist Bennie Maupin, and drummers Jack DeJohnette and Billy Cobham.

Jack Johnson performed modestly on the record charts and was generally well received by contemporary critics. It has since been regarded as one of the best albums from Davis' career and the jazz-rock genre, as well as his most overt venture into rock music. In 2003, the original album was reissued as part of The Complete Jack Johnson Sessions , a five-disc box set featuring previously unreleased music from the recording sessions.

Background

Jack Johnson (right) fighting Tommy Burns for the World Heavyweight Championship in 1908 1908 Tommy Burns vs Jack Johnson.jpg
Jack Johnson (right) fighting Tommy Burns for the World Heavyweight Championship in 1908

In 1970, Davis was asked by boxing promoter Bill Cayton to record music for a documentary he was producing, on the life of boxer Jack Johnson. [2] Johnson's saga resonated personally with the musician, who wrote in the album's liner notes of Johnson's mastery as a boxer, his affinity for fast cars, jazz, clothes, and beautiful women, his unreconstructed blackness, and his threatening image of large black manhood to white men. [3] The resulting album, Jack Johnson, was the second film score Davis had composed, after Ascenseur pour l'échafaud in 1957. [4]

Recording and production

The music recorded for Jack Johnson reflected Davis' interest in the eclectic jazz fusion of the time while foreshadowing the hard-edged funk that would fascinate him in the next few years. [5] Having wanted to put together what he called "the greatest rock and roll band you have ever heard", [6] Davis played with a line-up featuring guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, bass clarinetist Bennie Maupin, and drummers Jack DeJohnette and Billy Cobham. [5] The album's two tracks were mainly drawn from one session on April 7, 1970, which producer Teo Macero edited together with Davis' recordings from a February 18, 1969 "In A Silent Way" session [7]

According to Robert Christgau, the recording was the "definitive showcase" for guitarist John McLaughlin (photographed in 1978). John McLauglin 1978.jpg
According to Robert Christgau, the recording was the "definitive showcase" for guitarist John McLaughlin (photographed in 1978).

The first track, "Right Off", was constructed from several takes and a solo Davis had recorded in November 1969. It also contains a riff based on Sly and the Family Stone's "Sing a Simple Song", most prominently at 18:44. Much of the track "Yesternow" is built around a slightly modified version of the bassline from the James Brown song "Say It Loud – I'm Black and I'm Proud". [9]

"Right Off" comprises a series of improvisations based on a B♭ chord, but changes after about 20 minutes to an E chord. "Yesternow" has a similar B♭ ostinato and shifts to C minor. [10] It concludes with a voiceover by actor Brock Peters: "I'm Jack Johnson, heavyweight champion of the world. I'm black. They never let me forget it. I'm black all right. I'll never let them forget it." [11] Liner notes accompanying a later release of the album provide a description of the music:

Michael Henderson launches into an enormous boogie groove with Billy Cobham and John McLaughlin. Miles immediately leaves the control room to join in with them. He achieved exactly what he wanted for the soundtrack by creating the effect of a train going at full speed (which he compared to the force of a boxer). By chance, Herbie Hancock had arrived unexpectedly and started playing on a cheap keyboard that a sound engineer quickly connected. [12]

According to The Guardian 's Tim Cumming, Jack Johnson abandoned jazz and the broad textures of Bitches Brew in favor of a concerted take on hard rock and funk, inspired as well by politics, the black power movement, and boxing. "[Davis] had a trainer who travelled with the band", Holland recalled. "He used to go to the gym every day. He was in his 40s, and that's prime time for musicians, when you're strong and all your faculties are there. He was playing incredibly." [7] Ken McLeod, an associate professor of music history and culture at the University of Toronto, later said the bassline featured on "Yesternow" (and adapted from James Brown's “Say It Loud—I'm Black and I'm Proud”) is "potentially a deliberate allusion to the song's black power theme as it relates to the film's subject. That Davis was so influenced by boxing is also overtly manifest in the titles of pieces named after fighters that were recorded at several of the sessions, both before and after those that resulted in Jack Johnson. Such pieces include 'Johnny Bratton,' 'Archie Moore,' 'Duran,' 'Sugar Ray,' and 'Ali.'" [13]

Release and reception

"Jack Johnson is a record I adored from the git, an eccentric call at the time" (Christgau, 2018) Robert Christgau 06.jpg
"Jack Johnson is a record I adored from the git, an eccentric call at the time" (Christgau, 2018)

Jack Johnson was released on February 24, 1971, [15] by Columbia Records to some commercial success—peaking at number four on Billboard magazine's jazz chart and at number 47 on the R&B chart [16] —despite little marketing from the label. [17] According to Davis, the record was originally released with the wrong cover: a depiction of Johnson in his car, illustrated in stylized period fashion. The intended cover—a photo of Davis playing trumpet in a bent-backward stance—was used on subsequent pressings, [18] which were titled A Tribute to Jack Johnson. [19] In 2003, the album was included on The Complete Jack Johnson Sessions , a five-disc box set featuring previously unreleased music from the original recording sessions. [20]

Reviewing the album in June 1971 for The Village Voice , rock critic Robert Christgau gave Jack Johnson an A-plus and said it is his favorite recording from Davis since Milestones (1958) and Kind of Blue (1959). While finding it lacking in the excitement of the best moments from Bitches Brew, Christgau believed the album coalesces its predecessor's "flashy ideas" into "one brilliant illumination." [21] Steve Starger of The Hartford Courant called the album "magnificent" and "another gem" in Davis' 20-year "string of gems", and wrote that the tracks "really make up one long, churning, steaming, brooding, slashing musical experience that never dips below the highest of art." Starger found the sidemen's performances masterful and said that Peters' voiceover at the end gives "Johnson's words frightening majesty". [11]

Less enthusiastic about the record was jazz musician and journalist Leonard Feather, who wrote a review for the Los Angeles Times titled "Miles Ahead and Miles Behind". Viewing Jack Johnson as a "letdown after the unflawed triumph" of Bitches Brew, Feather was particularly dismayed by Davis for aligning himself with "the thumping, clinking, whomping battering ram that passes for a rhythm section" on the album. [10]

Legacy and reappraisal

Retrospective professional reviews
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [22]
Blender Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [23]
Boston Herald Star full.svgStar full.svgStar full.svgStar full.svg [24]
Christgau's Record Guide A+ [25]
Down Beat Star full.svgStar full.svgStar full.svgStar full.svgStar half.svg [26]
Encyclopedia of Popular Music Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [27]
The Guardian Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [28]
MusicHound Jazz 4.5/5 [29]
The Penguin Guide to Jazz Star full.svgStar full.svgStar full.svgStar full.svg [30]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [31]

Jack Johnson was a turning point in Davis' career and has since been viewed as one of his greatest works. [5] According to JazzTimes , while his 1970 album Bitches Brew had helped spark the fusion of jazz and rock in the music scene, Jack Johnson was the trumpeter's most brazen and effective venture into rock, "the one that blew the fusion floodgates wide open, launching a whole new genre in its wake". [15] According to McLaughlin, Davis considered it to be his best jazz-rock album. [32] In The Penguin Guide to Jazz (2006), Richard Cook says Jack Johnson "stands at the head of what was to be Miles Davis's most difficult decade, artistically and personally", [30] while Tom Hull names it one of the "true highlights" of the trumpeter's electric period and among his best albums. [33] [34] The Boston Herald cites it as one of Davis' "last truly great albums" and as "some of the most powerful and influential jazz-rock ever played." [24]

Critics in retrospective appraisals also note the uniqueness of Davis' playing and the crucial contributions of his band and producer on the album. AllMusic's Thom Jurek highlights its "funky, dirty rock & roll jazz" and "chilling, overall high-energy rockist stance". He also calls it "the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero". [22] John Fordham from The Guardian observes a transition in Davis's playing from a "whispering electric sound to some of the most trenchantly responsive straight-horn improvising he ever put on disc". According to Fordham:

Considering that it began as a jam between three bored Miles Davis sidemen, and that the eventual 1971 release was stitched together from a variety of takes, it's a miracle that this album turned out to be one of the most remarkable jazz-rock discs of the era. Columbia didn't even realise what it had with these sessions, and the mid-decade Miles albums that followed – angled toward the pop audience – were far more aggressively marketed than the Jack Johnson set ... Of course, it's a much starker, less subtly textured setting than Bitches Brew, but in the early jazz-rock hall of fame, it's up there on the top pedestal. [28]

Jack Johnson and Davis' other electric-period albums influenced rock musician Iggy Pop's early music with the Stooges. [35] Around 1985, he purchased copies of Davis' Sketches of Spain (1960) and Jack Johnson in a no frills used record shop for less than $5. "They have been my inspiring companions ever since", he told The Quietus in 2010. "The one tears me apart and the other puts me back together." [36]

Track listing

All songs were composed by Miles Davis.

Side one
No.TitleLength
1."Right Off"26:53
Side two
No.TitleLength
1."Yesternow"25:34
Total length:52:27

Personnel

The information below is taken from Sony Music's milesdavis.com. [37]

Charts

Chart (1971) [16] Peak
position
U.S. Billboard 200 159
U.S. Jazz Albums ( Billboard )4
U.S. R&B Albums (Billboard)47

Related Research Articles

<span class="mw-page-title-main">Miles Davis</span> American jazz trumpeter, bandleader, and composer (1926–1991)

Miles Dewey Davis III was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major stylistic developments in jazz.

<i>Bitches Brew</i> 1970 studio album by Miles Davis

Bitches Brew is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded from August 19 to 21, 1969, at Columbia's Studio B in New York City and released on March 30, 1970, by Columbia Records. It marked his continuing experimentation with electric instruments that he had featured on his previous record, the critically acclaimed In a Silent Way (1969). With these instruments, such as the electric piano and guitar, Davis departed from traditional jazz rhythms in favor of loose, rock-influenced arrangements based on improvisation. The final tracks were edited and pieced together by producer Teo Macero.

<span class="mw-page-title-main">John McLaughlin (musician)</span> English jazz fusion guitarist, founder of the Mahavishnu Orchestra (born 1942)

John McLaughlin, also known as Mahavishnu, is an English guitarist, bandleader, and composer. A pioneer of jazz fusion, his music combines elements of jazz with rock, world music, Western classical music, flamenco, and blues. After contributing to several key British groups of the early 1960s, McLaughlin made Extrapolation, his first album as a bandleader, in 1969. He then moved to the U.S., where he played with drummer Tony Williams's group Lifetime and then with Miles Davis on his electric jazz fusion albums In a Silent Way, Bitches Brew, Jack Johnson, Live-Evil, and On the Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.

<span class="mw-page-title-main">Jack DeJohnette</span> American jazz drummer, pianist, and composer (born 1942)

Jack DeJohnette is an American jazz drummer, pianist, and composer.

<span class="mw-page-title-main">Teo Macero</span> American jazz saxophonist, composer, and record producer

Attilio Joseph "Teo" Macero was an American jazz saxophonist, composer, and record producer. He was a producer at Columbia Records for twenty years. Macero produced Miles Davis' Bitches Brew and Dave Brubeck's Time Out, two of the best-selling and most influential jazz albums of all time. Macero was known for his innovative use of editing and tape manipulation unprecedented in jazz and proving influential on subsequent fusion, experimental rock, electronica, post-punk, no wave, and acid jazz.

<i>In a Silent Way</i> 1969 studio album by Miles Davis

In a Silent Way is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis, released on July 30, 1969, on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969, at CBS 30th Street Studio in New York City. Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances.

<i>On the Corner</i> 1972 studio album by Miles Davis

On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, and explicitly drew on the influence of funk musicians Sly Stone and James Brown, the experimental music of Karlheinz Stockhausen, the free jazz of Ornette Coleman, and the work of collaborator Paul Buckmaster.

<i>Get Up with It</i> 1974 studio album by Miles Davis

Get Up with It is an album by American jazz trumpeter, bandleader, and composer Miles Davis. Released by Columbia Records on November 22, 1974, it compiled songs Davis had recorded in sessions between 1970 and 1974, including those for the studio albums Jack Johnson (1971) and On the Corner (1972). In The Rolling Stone Album Guide (2004), J. D. Considine described the compilation's music as "worldbeat fusion".

<i>Big Fun</i> (Miles Davis album) 1974 studio album by Miles Davis

Big Fun is an album by American jazz trumpeter Miles Davis. It was released by Columbia Records on April 19, 1974, and compiled recordings Davis had made in sessions between 1969 and 1972. It was advertised as a new album with "four new Miles Davis compositions" One of three Davis albums released in 1974 and largely ignored, it was reissued on August 1, 2000, by Columbia and Legacy Records with additional material, which led to a critical reevaluation.

<i>Tutu</i> (album) 1986 studio album by Miles Davis

Tutu is an album by jazz trumpeter Miles Davis, released in 1986 by Warner Bros. Records. It was recorded primarily at Capitol Studios in Los Angeles and Clinton Recording in New York, except the song "Backyard Ritual", which was recorded at Le Gonks in West Hollywood. Davis received the 1986 Best Jazz Instrumental Performance, Soloist Grammy Award for his performance on the album.

<i>Live-Evil</i> (Miles Davis album) 1971 live album / studio album by Miles Davis

Live-Evil is an album of both live and studio recordings by American jazz musician Miles Davis. Parts of the album featured music from Davis' concert at the Cellar Door in 1970, which producer Teo Macero subsequently edited and pieced together in the studio. They were performed as lengthy, dense jams in the jazz-rock style, while the studio recordings consisted mostly of renditions of Hermeto Pascoal compositions. The album was originally released on November 17, 1971.

<i>The Complete Bitches Brew Sessions</i> 1998 box set by Miles Davis

The Complete Bitches Brew Sessions is a four-disc box set by jazz trumpeter Miles Davis compiling recordings between August 19, 1969, and February 6, 1970—including the 1970 double album Bitches Brew in its entirety—and released on Columbia/Legacy on November 24, 1998.

<i>Aura</i> (Miles Davis album) 1989 studio album by Miles Davis

Aura is a concept album by Miles Davis, produced by Danish composer/trumpeter Palle Mikkelborg, released in 1989. All compositions and arrangements are by Mikkelborg, who created the suite in tribute when Davis received the Léonie Sonning Music Prize in December 1984, the year Decoy was released. This was Miles Davis's final album released in his lifetime.

<i>Agharta</i> (album) 1975 live album by Miles Davis

Agharta is a 1975 live double album by American jazz trumpeter, composer, and bandleader Miles Davis. By the time he recorded the album, Davis was 48 years old and had alienated many in the jazz community while attracting younger rock audiences with his radical electric fusion music. After experimenting with different line-ups, he established a stable live band in 1973 and toured constantly for the next two years, despite physical pain from worsening health and emotional instability brought on by substance abuse. During a three-week tour of Japan in 1975, the trumpeter performed two concerts at the Festival Hall in Osaka on February 1; the afternoon show produced Agharta and the evening show was released as Pangaea the following year.

<i>Miles Davis at Fillmore</i> 1970 live album by Miles Davis

Miles Davis at Fillmore is a 1970 live album by jazz trumpeter Miles Davis and band, recorded at the Fillmore East, New York City on four consecutive days, June 17 through June 20, 1970, originally released as a double vinyl LP. The performances featured the double keyboard set-up Davis toured with for a few months, with Keith Jarrett and Chick Corea playing electronic organ and Fender Rhodes electric piano, respectively. The group opened for Laura Nyro at these performances.

<i>Black Beauty: Miles Davis at Fillmore West</i> 1973 live album by Miles Davis

Black Beauty: Miles Davis at Fillmore West is a live double album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded on April 10, 1970, at the Fillmore West in San Francisco, shortly after the release of the trumpeter's Bitches Brew album and the recording of Jack Johnson (1971). Black Beauty was produced by Teo Macero, Davis' longtime record producer. A jazz-rock and fusion album, Black Beauty captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band—saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira—through one continuously performed set list which functioned as a musical suite for soloists to improvise throughout. He signaled changes from one piece to the next with phrases played on his trumpet.

<i>Circle in the Round</i> 1979 compilation album by Miles Davis

Circle in the Round is a 1979 compilation album by jazz musician Miles Davis. It compiled outtakes from sessions across fifteen years of Davis's career that, with one exception, had been previously unreleased. All of its tracks have since been made available on album reissues and box sets.

<i>The Complete On the Corner Sessions</i> 2007 compilation album by Miles Davis

The Complete On the Corner Sessions is a posthumous box set by American jazz musician Miles Davis, released in the US on September 25, 2007, by Columbia Records and in the UK on September 29 on Legacy Recordings. Like other Davis box sets, the included material is taken from a wider chronology of sessions than the dates which actually produced the titular album. The Complete On the Corner Sessions compiles material from 1972 through 1975 which, due to lineup changes Davis made throughout the era, features over two dozen musicians.

<i>Panthalassa: The Music of Miles Davis 1969–1974</i> 1998 remix album by Miles Davis

Panthalassa: The Music of Miles Davis 1969–1974 is a remix album by Miles Davis, released on February 16, 1998, by Sony Records. It contains compositions from prior albums, including In a Silent Way (1969), On the Corner (1972), and Get Up With It (1974), remixed by Bill Laswell; it is subtitled "Reconstruction and Mix Translation by Bill Laswell". The album was composed as a dark, continuous tone poem divided by four sections of Davis' jazz fusion recordings. Panthalassa received generally positive reviews from music critics and sold well, charting at number four on the Billboard Top Jazz Albums.

<i>Bitches Brew Live</i> 2011 live album by Miles Davis

Bitches Brew Live is a live album by Miles Davis. The album was released in February 2011 and contains material compiled from two concert performances. Most of the songs on the album originally appeared on Bitches Brew. The first three tracks were recorded at the Newport Jazz Festival in July 1969, nine months before the release of Bitches Brew, while the rest of the album was recorded at 1970 Isle of Wight Festival. The three cuts from Newport—"Miles Runs the Voodoo Down", "Sanctuary", and "It's About That Time/The Theme"—were previously unreleased at the time and have since been reissued on Miles Davis at Newport 1955–1975: The Bootleg Series Vol. 4. This recording marks the first known time that "Miles Runs the Voodoo Down" was professionally recorded. The final six cuts appeared on the "Miles Electric" DVD in video form and the audio portion was included in the box set Miles Davis: The Complete Columbia Album Collection. A seventeen-minute segment appeared under the title "Call It Anything" on the First Great Rock Festivals of the Seventies: Isle of Wight/Atlanta Pop Festival compilation album in 1971.

References

  1. ↑ "Album Reviews". Billboard . March 20, 1971. p. 44. Retrieved June 8, 2013.
  2. ↑ Szwed 2002, p. 307.
  3. ↑ Szwed 2002, pp. 307–8.
  4. ↑ Tingen 2001, p. 100.
  5. 1 2 3 Pierce, Leonard (December 9, 2010). "Miles Davis : Primer". The A.V. Club . Retrieved September 7, 2013.
  6. ↑ Tingen 2001, p. 104.
  7. 1 2 Cumming, Tim (October 16, 2003). "The controversy surrounding Miles Davis's Jack Johnson Sessions". The Guardian . Retrieved September 10, 2013.
  8. ↑ Christgau, Robert (October 14, 1997). "Miles Davis's '70s: The Excitement! The Terror!". The Village Voice . New York. Retrieved June 10, 2013.
  9. ↑ MILES BEYOND The Making of Jack Johnson, miles-beyond.com. Archived June 1, 2015, at the Wayback Machine . Retrieved June 1, 2015
  10. 1 2 Feather, Leonard (April 11, 1971). "Miles Ahead and Miles Behind". Los Angeles Times . p. C55. Archived from the original on March 6, 2016. Retrieved June 8, 2013.
  11. 1 2 Starger, Steve (March 27, 1971). "Original Material Helps New Group; Miles Davis Scores on Documentary". The Hartford Courant . p. 14. Retrieved June 8, 2013.
  12. ↑ French, Alex (December 23, 2009). "We Want Miles: The Q". GQ . Retrieved September 7, 2013.
  13. ↑ McLeod, Ken (2016). We are the Champions: The Politics of Sports and Popular Music. Routledge. p. 144. ISBN   978-1317000099.
  14. ↑ Christgau, Robert (August 21, 2018). "Xgau Sez". robertchristgau.com. Retrieved July 13, 2019.
  15. 1 2 JazzTimes . 35 (6–10): 197. 2005.{{cite journal}}: CS1 maint: untitled periodical (link)
  16. 1 2 "Miles Davis – A Tribute to Jack Johnson: Awards". AllMusic. Archived from the original on February 16, 2013. Retrieved November 7, 2015.
  17. ↑ Cook & Morton 2006, p. 328.
  18. ↑ Szwed 2002, p. 310.
  19. ↑ Barra, Allen (May 15, 2018). "If Trump pardons Jack Johnson it won't be for his contribution to black America". The Guardian . Retrieved November 7, 2018.
  20. ↑ Leone, Dominique (October 14, 2003). "Miles Davis: The Complete Jack Johnson Sessions". Pitchfork Media . Retrieved July 12, 2016.
  21. ↑ Christgau, Robert (June 10, 1971). "Consumer Guide (18)". The Village Voice . New York. Retrieved February 16, 2013.
  22. 1 2 Jurek, Thom (November 1, 2001). Review: A Tribute to Jack Johnson. AllMusic. Retrieved on January 13, 2010.
  23. ↑ Pareles, Jon (January 5, 2005). "Review: A Tribute to Jack Johnson". Blender . New York.
  24. 1 2 K.R.C. (January 23, 2005). "Discs; Rap's new player proves he's ready for big Game". Boston Herald . p. 6.
  25. ↑ Christgau, Robert (1981). "Consumer Guide '70s: D". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN   089919026X . Retrieved February 26, 2019– via robertchristgau.com.
  26. ↑ Alkyer, Frank; John Ephland (2007). The Miles Davis Reader. Hal Leonard Corporation. pp.  315–316. ISBN   978-1-4234-3076-6.
  27. ↑ Larkin, Colin (2007). The Encyclopedia of Popular Music (4th ed.). Oxford University Press. ISBN   978-0195313734.
  28. 1 2 Fordham, John (April 1, 2005). Review: A Tribute to Jack Johnson. The Guardian . Retrieved on January 13, 2010.
  29. ↑ Holtje, Steve; Lee, Nancy Ann, eds. (1998). "Miles Davis". Musichound Jazz: The Essential Album Guide. Music Sales Corporation. ISBN   0825672538.
  30. 1 2 Cook & Morton 2006, p. 327.
  31. ↑ Considine et al. 2004, p. 215.
  32. ↑ Nicholson, Stuart (October 19, 2003). "Miles Davis, The Complete Jack Johnson Sessions". The Observer . Retrieved May 26, 2016.
  33. ↑ Hull, Tom (January 2011). "Recycled Goods". Static Multimedia. Retrieved July 12, 2020– via tomhull.com.
  34. ↑ Hull, Tom (May 27, 2018). "Weekend Roundup". Tom Hull – on the Web. Retrieved July 12, 2020.
  35. ↑ Ritchie, Matthew (November 2, 2016). "Six Things We Learned About the Stooges and 'Gimme Danger' from Iggy Pop and Jim Jarmusch". Exclaim! . Retrieved March 31, 2020.
  36. ↑ Doran, John (October 5, 2010). "My Favourite Miles Davis Album By Lydon, Nick Cave, Wayne Coyne, Iggy & More". The Quietus . Retrieved September 7, 2013.
  37. ↑ "A Tribute to Jack Johnson". Sony Music . Retrieved July 13, 2019.

Bibliography

Further reading

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.