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Other tonal qualities noticed in Miles's playing was his lack of high notes and steady playing in the lower register of the instrument. His mentor Dizzy Gillespie was known for blazing speed and high pitch, but Miles instead chose his own way of playing, while still greatly appreciating Dizzy contribution to jazz.



As Miles formed his different groups throughout the 50's and 60's not only did the style of his music change but the new player came with different voices in how they approached the compositions and the solos. Specifically in he rhythm section it was evident that Philly Joe Jones did not play like Tony Williams. While Philly simply played time behind the soloist, acasionally dropping a bomb if absolutely necesary he was there to support Miles and the others in the group with less conversation than Tony. At the same time the Piano player in the 50's, Bill Evans, was filling in the spaces that Tony would've been if on the gig. I believe that at this time in Miles's carrier he wasn't ready to take his sound in a different direction quite yet, and enjoyed the more laid back feel provided by the musicians of his groups in the 50's. It was harder for me to pick out the dinamic variation in the groups playing, and it could've been either from the recording qualitiy at that time, or the need for contrast between the soloist and the band (If Miles were to play soft it would be noticable because the band would stay at the same volume). It is a hard question, maybe they thought it would effect the feeling and consistancy of the groove (if they were to play louder or softer at varying points in the tunes). Handjive is an example from Miles's group in the 60's. Notice the dynamic level and interaction between players (especially drummer and soloist)

media type="file" key="03 Hand Jive-AK.mp3"

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