Extractions: comment on this article It's doubtful that Miles Davis would have had much interest in 4 Generations of Miles , retracing as it does the music of the jazz icon's most straightforwardly jazz-oriented (and, not coincidentally, some would say, his best) years. The concept is an intriguing one: bring together four musicians from different groups under Miles' leadership and have them take a crack at some of his repertoire. So we get a group comprised of Jimmy Cobb, the only surviving member of the Kind of Blue sessions, George Coleman, who played tenor with Davis for a year in the early '60s, Ron Carter, who was the bassist in Miles' legendary late '60s quintet and who eventually presided over the bass chair on Davis' first electric recordings, and Mike Stern, who played with Davis during his '80s comeback. Obviously, there's loads of talent here, and as you might expect, the group plays a really solid set. Perhaps it is a little surprising, as Chip Stern's liner notes suggest, that these musicians, whose birth dates span a period from 1929 to 1953, should be able to gel this well together without having played together before, but then, their work with Miles certainly would have taught them to play in almost any situation without the level of discomfort that some musicians might feel under similar circumstances. The problem with the whole project is that it is so well, ordinary. Not that four musicians playing well together should be a disappointment. But when the name of Miles Davis is invoked, one expects something a little less comfortable. Earlier this year, Herbie Hancock, Michael Brecker, and Roy Hargrove were able to bring new perspectives to the task of deconstructing some of the music of Davis and John Coltrane on their
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