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Miles Ahead session details

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October 10, 1963 (21 items; TT = 54:33)
Columbia Studio, Hollywood CA
Commercial for Columbia
Show chatter

Miles Davis (tpt); Dick Leith (tb); Richard Perissi (frh); Bill Hinshaw (frh); Arthur Maeba (frh); Paul Horn (fl, alto fl, as); Buddy Collette (fl, alto fl, ts); Gene Cipriano (oboe, alto fl, ts); Fred Dutton (bssn); Marjorie Call (harp); Herbie Hancock (p); Ron Carter (b); Tony Williams (d); Gil Evans (arr, cond)

1 The Time of the Barracudas (Cue #2-3 rehearsal) (G. Evans-M. Davis) 3:41
2 The Time of the Barracudas (Cue #4, take 1) (G. Evans-M. Davis) 1:55
3 The Time of the Barracudas (Cue #2-3, take 1) (G. Evans-M. Davis) 3:21
4 The Time of the Barracudas (Cue #7, take 1) (G. Evans-M. Davis) 1:19
5 The Time of the Barracudas (Cue #8, take 1) (G. Evans-M. Davis) 1:39
6 The Time of the Barracudas (Cue #12, rehearsal) (G. Evans-M. Davis) 0:59
7 The Time of the Barracudas (Cue #12, part 1, take 1) (G. Evans-M. Davis) 2:11
8 The Time of the Barracudas (Cue #12, part 2, take 1) (G. Evans-M. Davis) 1:01
9 The Time of the Barracudas (Cue #12, part 2, take 2) (G. Evans-M. Davis) 2:15
10 The Time of the Barracudas (Cue 19, take 1) (G. Evans-M. Davis) 2:56
11 The Time of the Barracudas (Cue #20, take 1) (G. Evans-M. Davis) 1:41
12 The Time of the Barracudas (Cue #20, take 2) (G. Evans-M. Davis) 1:11
13 The Time of the Barracudas (Cue #6, take 1) (G. Evans-M. Davis) 0:34
14 The Time of the Barracudas (Cue #6, take 1A) (G. Evans-M. Davis) 0:36
15 The Time of the Barracudas (Cue A) (G. Evans-M. Davis) 0:30
16 The Time of the Barracudas (Cue B, take 1) (G. Evans-M. Davis) 0:26
17 The Time of the Barracudas (Cue B, take 2) (G. Evans-M. Davis) 0:26
18 The Time of the Barracudas (Cue B, take 3) (G. Evans-M. Davis) 0:09

Tempo much faster
19 The Time of the Barracudas (Cue B, vamp (inc)) (G. Evans-M. Davis) 0:07

Rhythm section only; cut off
20 The Time of the Barracudas (issued version) (G. Evans-M. Davis) 12:44
21 The Time of the Barracudas (alternate version) (G. Evans-M. Davis) 14:52


20 The Time of the Barracudas (issued version)
12" LP: Mosaic MQ11-164
CD: Columbia Legacy CXK 67397, Columbia Legacy CXK 90923, Columbia CK 65293, Sony SRCS 7945/50, Sony SICP 657/62, Sony SRCS 9734, Sony SIGP 2, Sony SICP 819, Sony SICP 4018, Sony SICJ 30058, Columbia Legacy 86975 24922 [= Columbia (F) 86975 52492] (CD 17)


This is the second of two studio sessions devoted to recording Evans' program music.

According to the notes to MQ11-164, "This score was recorded in a string of cues to be used on tape to accompany live performances of Peter Barnes' play The Time of the Barracudas. The cues are edited together in numerical (i.e. stage performance) order, which works best musically. It includes the compositions 'Hotel Me' and 'Barracudas' (aka 'General Assembly') which have since been recorded and performed as separate compositions."

The unissued alternate version was presumably assembled by Teo Macero using the same raw materials used to create the issued version.

The Time of the Barracudas opened at the Curran Theatre in San Francisco on October 21. Ralph J. Gleason's review in the San Francisco Chronicle (October 24) was not a rave: "Miles Davis' music is used in 'Time of the Barracudas' all right and it's a good thing it is, since the play at the Curran has little else to recommend it." The play closed on November 23 at the Huntington Hartford in Los Angeles.

The Davis Quintet was booked for three weeks at the Jazz Workshop in San Francisco (September 3-22), but the show was closed down on the 18th because Davis did not fulfill the terms of his contract. As reported in Down Beat in 1964,

[Jazz Workshop owner Art] Auerbach said that Davis did not play a full schedule on several nights nights of his stay and additionally failed to appear on three other nights -- once without advance notice... Auerbach said Davis notified him that he could not play Wednesday night of the second week, and as a result the owner kept the club closed. On [the following] Sunday night... Davis failed to appear and gave no warning of his absence. As a result, the owner said, he had to close the club and refund the door charge to customers who were inside waiting.

"No other musician has ever closed my club in the seven years I've been operating it," Auerbach declared. "I feel it was inexcusable."

Auerbach's troubles were compounded by the presence of the underage Tony Williams. He suspended the club's liquor license so that Williams might appear with the group, thus sacrificing income from drinking patrons. "I did this because Miles is an excellent musician, has an excellent group, and I wanted them to be heard in San Francisco," he said.

Other activity: Royce Hall, UCLA (September 28); It Club, Los Angeles (October 3-13); Adams-West Theatre (October 11-12 -- these were "after-hours jam sessions" scheduled for 2-6 am); La Grand Salle, Place des Arts, Montréal (October 26); Showboat, Philadelphia (November 4-10).

I am grateful to Eric Jooris for providing the review of the Montréal concert.

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