independent and unofficial
Prince fan community site
Sun 21st Jul 2019 4:26pm
Welcome! Sign up or enter username and password to remember me
Forum jump
Forums > Associated artists & people > Eric Leeds Interview From TheLastMiles.com
« Previous topic  Next topic »
  New topic   Printable     (Log in to 'subscribe' to this topic)
Author

Tweet     Share

Message
Thread started 12/14/11 11:17am

purplethunder3
121

avatar

Eric Leeds Interview From TheLastMiles.com

Saxophonist Eric Leeds began working with Prince in the mid-1980s, a period when Prince was arguably at his creative peak. It was certainly a very productive period that saw Prince [and Leeds] working with Miles on several music projects. In the first of a two-part interview, Eric talks about his background, what it was like working with Prince, his love of jazz, and in particular, the music of Miles Davis. Incidentally, Eric is the younger brother of Alan Leeds, who was Prince's road manager during this period. You can also read Alan Leeds's interview here on TheLastMiles.com

You can also read Part Two of this interview at TheLastMiles.com


Eric Leeds - photo by Buckmaster © and courtesy Eric Leeds

TheLastMiles.com: Eric, can you give us some basic background on yourself please?

Eric Leeds: I was born in January 19 1952 in Milwaukee, Wisconsin, where I lived until I was seven years old. Then moved to Richmond, Virginia and lived there from 1959 to 1966. My father was a retailer so we moved around a bit. When I was fourteen, we moved to Pittsburgh, where I went to junior high school and college - I lived in Pittsburgh for eighteen years. That's where my musical career started. I studied saxophone with Eric Kloss, a prodigy that came out of Pittsburgh. When he was sixteen, he was signed to Prestige Records and he had a string of successful hardcore jazz albums. He recorded with [drummer Jack] DeJohnette and [keyboardist Chick] Corea and [bassist] Dave Holland, Miles's rhythm section. He recorded with Pat Martino and people of that calibre. It was a wonderful opportunity to have gotten to know him and study with him - he was my mentor.

TLM: What inspired you to take up the saxophone?

EL: Real simple. I'm a musician because of Ray Charles and I'm a saxophonist because of David "Fathead" Newman [who was in Charles's band]. The music that I was introduced by my brother was very much R 'n' B. By the time I was eight or nine years old, I was immersed in Ray Charles because of Alan! That's the music that turned my head around and for whatever reason I just gravitated to sound of the tenor sax of Fathead Newman. When I was about ten years old, I said 'I want to try to do that." I was also beginning to listen to jazz. I played alto at first because the tenor was too big for me physically, but by the time I was in high school then I started playing baritone really serious and that was my major instrument through college. I finally got to tenor, which was where I really wanted to be, although I still play baritone occasionally.

David

TLM: What were doing before the Prince gig?

EL: Growing up in Pittsburgh, I had my freelance [work], played a lot of jazz gigs, had my own band and then had a pretty successful funk R'n'B dance band called Takin' Names. We also did very progressive jazz-fusion, Miles-orientated, Weather Report-orientated music in order to make a living. We tried to do different things, playing the dance clubs around Pittsburgh. This was like in the late 70s, which was really a great era to be able to that. If you were going to be a cover band doing funk stuff I don't think you could do it in better times than that. We wrote quite a bit of our own material and in fact some of the stuff I wrote at the time ended up on recordings of mine fifteen, twenty years later!

TLM: How did you get the Prince gig?

EL: After playing bar band for around six-seven years straight I was kinda burned out. My trumpet player Matt Blistan [who played with Prince under the moniker of Atlanta Bliss] had moved to Atlanta, so a few months later I moved down and hung out with him. I wasn't doing much in Atlanta, just bumming around and doing freelance stuff and trying to decide what I wanted to do next. By then, Alan was already working with Prince. This was 1984 and the group The Time broke up, and Prince was putting together a new project that he called The Family. And it was the first time he was seeking a saxophone player. Alan had already mentioned me to him and had given Prince a couple of cassettes of my playing on a variety of things. And Prince was intrigued enough [so] when he was putting this group together he told Alan 'call your brother and see if he's interested in flying up here and doing some recording.' That's how I got the intro.

TLM: Were you excited when you got the call?

EL: I was not a fan of Prince's particularly - I was not really that much aware of his music. There were several songs that I had heard that I liked but I don't think I owned any Prince albums at that time - he wasn't really somebody who was on my radar screen other than the fact that Alan was working for him. And actually it took Alan a couple of weeks to convince me that it was something that I might be interested in!

So I finally decided: 'This is silly. The worst thing that can happen is that I don't like working with him or he doesn't like working with me and I get a couple of session cheques out of it! So I really came up [to the gig] with pretty much a blank slate. Alan had already told me 'regardless of what you think of the music or him, the guy's a remarkable musician and if anything, you'll relate to him on that basis.' I was happy that I did enjoy the music we started working on, but more important than that, I did start to realise that this guy was something special. And that basically set the tone for my relationship with Prince. I'm not a Prince fanatic and there's probably much more music that I'm really not that interested in than the music that I am. What was fulfilling for me for all the years and all the experiences that I've had with him is just what a remarkable musician is. And even if a particular song or project we were working on together wasn't something that I was going to go home and listen to, it didn't matter; it was being part of the process that was very interesting.

Prince

TLM: What was the first meeting like with Prince?

EL: I was preparing to work on some tracks that he had already done. I walked into a room [studio] and the first thing he said to me was 'I can give you a cassette of the tracks to live with for a couple of days.' He was kinda smiling and I smiled and said, 'You know, I could do that, but I've got my horn. I'm here, you're here; lets make some music.' He kinda chuckled and said 'okay'. I didn't say that to impress him, it was just, you're here, let's go! I think he appreciated the fact that I was just ready to dive in and whatever was going to happen was going to happen.

TLM: Earlier you said that you realised that Prince was special. What makes him special?

EL: It's just little things like the fact that he can be very spontaneous in the way that works in the studio and the way he approaches music, which I've always kind of related to someone of the jazz ethic. Prince is not a jazz musician in the traditional sense and certainly doesn't have the harmonic background that we would associate with straight-up jazz musicians, [but] he can apply a sense of spontaneity, whether he's in the studio or in rehearsal or in a life situation that is more true to the jazz ethic than a lot of jazz musicians that I've played with [laughs]! I always responded to that because that's what I came out of.

It was interesting the times he would try and find ways to utilise what I could contribute to his music. Sometimes he could reach down inside of me and get things out of me that I ordinarily wouldn't have done if just left to my own devices, which could add to my vocabulary as a musician. One time, he told me 'look, I don't want you to play this song like you know to play your instrument. I want you to approach this song like it's the first day you ever picked up the saxophone.' The first reaction was 'I've got a sound that I spent twenty-five years developing!' But then I thought 'this is his way of saying what Miles used to tell [keyboardist] Herbie Hancock and [saxophonist] Wayne Shorter and [drummer] Tony [Williams] and [bassist] Ron Carter: 'I pay you guys to practice on the bandstand. I don't want you to play what you know - I want you to play what you don't know.' There were times when Prince would ask me to come into the studio and put a horn arrangement on a song and maybe it wasn't a song that was particularly interesting to me and he would just leave the track with me and leave the studio. He'd leave instructions or he might say 'here's the song, do whatever you want with it.' if it was a song that didn't do much for me, that was a little troubling, because it was too easy to basically fall back on my own clichés and simply give him something that I thought would fit the bill.

But it was a different occasion when he would be there. Prince wasn't there to satisfy me - he didn't owe me anything as far as what he was doing. He had a sense of the kind of music I liked and didn't like and sometimes he'd laugh and say 'you need to play like a rock and roll player - do your best!' Sometimes that would be cool with me because it would put me in a situation where I'd think 'this isn't really where I live, but yet I have to do something that will work in the context of what he's looking for.' And if he could get something out of me that I would not ordinarily do, then I could come away with having gotten something from that. Sometimes the rather unorthodox way that he would approach using the horn section that would be counter to everything I knew. Sometimes it would work and sometimes it wouldn't and I would just think to myself, 'this is just a bunch of crap.' But sometimes, something would pop out and I'd think 'this really works and it's really different.' Sometimes it does pay to have an open mind!

Also, the fact of the manner in which he worked in the studio and how would utilise the studio technology, as an instrument in itself, which helped develop my own confidence on how I could utilise that. By the time I was ready to go into the studio and work on my own music, I think the experience with Prince over the years had given me a leg-up in terms of coming in the studio with a piece of music and knowing where I wanted it to end up.

TLM: What was your relationship with Prince like from a musical point of view?

EL: Conceptually, as a musician, I was pretty much defined by the time I had met Prince. I can't say from a specific standpoint that he is somebody who had influenced me and defined me before I had met him. I was already thirty-two years old when I met Prince, which put me substantially older than everybody else in the band at the time. I was the first ringer that came in; somebody that came in from the outside and already had a music career of his own. Whereas almost everybody else who had worked with Prince, came up with Prince.

Another important fact was that I played an instrument that he did not play and, from the beginning, it gave me a much greater opportunity to define and develop my own role in his music than for any of the other people in his band. Prince looks at life as if it's a movie. He's the star, he's the director, he's the producer, he's the scriptwriter, he's the costume designer, he's the special effects designer. Basically, he likes to put everybody he knows in a role in his movie and if you're basically willing to allow yourself to be handled like that, fine. It kinda gave me an opportunity to develop my own character within his movie than I think it did for some of the other players in his bands. Plus I'd already known James Brown because of Alan's association with him [Alan had been Brown's road manager] - I'd known James Brown since I was fourteen - so having been around somebody like that, it kind of gave me more of a context of what it was going to be like when working with somebody like Prince. That worked for me for quite a long time until many years later that might have started to work against me! Prince and I have had our serious fallings in and out over the last ten years, which isn't unique with anyone who has ever worked with him!

TLM: So working with Prince was both challenging and inspiring!

EL: Absolutely. It's not a relationship that I had ever aspired to, but so much of what has happened in my career has happened because of my association with Prince. It's not as likely that I would ever had known Miles and that goes for a lot of other musical relationships I've had. The visibility and the notoriety that being associated with Prince gave me and being able to build on that. You never know how your life would have turned out, but I certainly don't regret anything of the relationship that I had with Prince.

TLM: How did Prince prepare his musicians for a new recording? Did you have charts for example?

EL: No. He does not read or write music. At the time I was in the band, myself and the trumpeter Matt Blistan were the only guys that read music. Basically, everybody else would play by ear. But Prince knows the difference between say, an E minor chord and an E major, but as far as reading musical notation, he doesn't know how to do that. So basically, it would sometimes be a matter of him humming parts to me if there was a specific riff or lick. Or a lot of times he would look to me and say 'is there anything you hear on this?' Or if it was a solo he'd just open it up to me. You never knew specifically what the process would be on any given song until you started working on it. There were many times when he'd just leave a track in the studio with instructions for me to do something, but a lot of the times he'd give me a bunch of tracks and say 'go in and do anything you hear on it.' More often and not, he would not end up using a lot of the things I would do, but occasionally he might. The way I looked at it, is that if he ended up using something that I had contributed, fine. But if he didn't, the worst of it was that it gave me an opportunity to just work in the studio.

You could not allow yourself to take any of this personally, whether he liked something or didn't like something, or the manner in which he liked something. Occasionally, I might have put an arrangement down on a song of his and he might have butchered it in my opinion. And I might think 'you've just destroyed the continuity of what I wanted to do,' but in the final analysis, what I was trying to do wasn't important. It's what he's hearing, because it's his music; it's his vision.

There were other times were he might have a starting point on a song and then midway through a line he might have said 'here's something, what do you hear off of that?' I might bounce something off of what he gave and he might bounce something off of me. And at the end of the song, I might be hard pressed to say what was mine and what was his - it really was a case of the whole being greater than the sum of the parts. Those were the circumstances that were more intriguing to me, because it was matter of us trying to get into each other's heads. He had that relationship with other people, Sheila E particularly and of course Wendy and Lisa. From a conceptual basis, Wendy and Lisa were the two musicians in any of his bands who were able to tap into him on some subliminal level - they really did have a musical relationship that was closer than with anyone that he worked with.

My relationship was a little bit more from a player's standpoint. Because of the tremendous drummer and percussionist that Sheila is, [it meant] that relationship was very important. Some of the more interesting and more enjoyable music from my point of view was when Sheila, Prince, Wendy and Lisa and I would just go into the studio and just jam. I've got quite a few tapes of sessions like that. Purely ad lib, instrumental sessions, where we'd go in and just make a lot of music. None of it was going to get released; it was for our own enjoyment. Wendy and Lisa don't really come from a jazz background [but] they shared in the ability to be very spontaneous. Our ability to go in and spontaneously play some music and at the end of an hour come out with some music that at least we could say has some kind of musical validity and continuity. It may not have the harmonic sophistication of a straight-up jazz band, but the ethic was very similar. When Prince wanted to be spontaneous, he could be very spontaneous!

TLM: Which are the most memorable tunes that you recorded with Prince and were released?

EL: Some of my favourite Prince songs are the songs that I had nothing to do with. There's no one Prince album that I'm going to listen to from beginning to end without skipping tracks. One remarkable thing about Prince is that he's probably one of the most eclectic artists in all of pop music. The songs that I find myself going back to more often are what Alan and I refer to as his "boutique songs." The greatest example to me is the "Ballad of Dorothy Parker" [on the Sign 'O' The Timesalbum] - that's just one of my favourite Prince songs. Interestingly enough that's the song where he gave me the opportunity to go in and do a complete horn arrangement on, which he didn't use anything from. That song was just so perfect without anything else. I happen to love "Anotherloverholenyohead" from theParade album. I love Wendy and Lisa's song, "Mountains." [also on Parade] There's a song which I don't know has ever been released. It was a song of Wendy and Lisa's and it's known by various titles [including] "Welcome To The Rat Race," but was actually called "Life Is Like Looking For A Penny In A Large Room With No Light," It was Sheila, Wendy, Lisa, Prince, myself and a couple of horns and that was one my favourite songs. I liked "Girls & Boys." [Parade]. "Strange Relationship" [Sign 'O' The Times] I absolutely love.


Sign 'O' The Times


TLM: You're one of Miles biggest fans. How did you get into his music?

EL: I got into jazz at a very young age. Through the sixties, [saxophonist] Cannonball Adderley was one of my favourites. [drummer] Art Blakey, [pianist Thelonious] Monk, [saxophonist John ] Coltrane. By the mid to late 60s I had began to immerse myself in the avant-garde - John Coltrane and all of his disciples. Pharaoh Sanders is one of my absolute favourite horn players - Archie Shepp is another. All those Impulse! albums of the 60s. I was deep into Sun Ra [and] Rahsaan Roland Kirk was one of my favourites. John Handy, Byard Lancaster, Robin Kenyatta, Gato Barbieri - this was the music I was immersed in. For whatever reason, I had never gotten into Miles. I had [the album] Kind of Blue - everyone had that! I had Live at Carnegie Hall - I loved the version of "So What"; it's my favourite version of it. [saxophonist] Hank Mobley played his ass off on that. I had [the album] Miles Smiles but couldn't get into it. I'd read about Miles and he'd rag on [criticise] Coltrane and these guys and so I'd dismiss him - 'man, he doesn't get this.'

TLM: Did you listen to anything else?

EL: Aside from that that, R'n'B and particularly James Brown. Because I had such an opportunity to spend time with him, that music truly meant more to me than anything else. I never fantasised about being a part of James's band - I would have loved to have been his band's director - but I considered it to be jazz. I understand that it wasn't in the conventional sense. But if you ever ask me who the greatest jazz singer is, I'd say hands down, James Brown, from the purest sense of absolute spontaneity and the ethic of using his voice. His voice was that of a drummer. That's what he was - he was a walking time machine. And it was like he was a master drummer that was constantly improvising over one of the greatest bands that ever existed in any kind of music.

TLM: You're talking rhythm here!

EL: Funk and rock are duple meter rhythms, and by the 1960s, that had rhythmically become the coin of the realm, it was the pulse of the street; that's what people danced to. What I was desperately looking for in jazz was somebody who was going to take the ferociousness and the syncopation of the kind of rhythms that James Brown was utilising in his music and be able to take hard-core sophisticated jazz based on that kind of a rhythmic pulse. That wasn't dumbed down into Boogaloo kind of stuff, which was basically what you got when great jazz musicians tried to make a pop album or something that tried to appeal to a pop audience. Nine times out of ten it would dumb down everything to foolishness. Occasionally something would come along that would kind of work, like Lee Morgan's Sidewinder. Charles Lloyd's group were starting to break the line rhythmically.

James Brown

But the other thing I was getting into was the density of the rhythm of James Brown. The two rhythm guitars. The way he would use the horn sections and integrate them into the rhythm section. His use of two, sometimes three drummers at one time, in live performances anyway. I'd absolutely loved Coltrane's Kulu Se Mama. He was utilising two drummers, extra percussion and there was this rhythmic density that was starting to get away from the conventional 6/8 triplet feel. And while it wasn't quite funk, it was starting to get to a new place rhythmically. I would listen to [Coltrane's] A Love Supreme and James Brown one after the other and it was like two sides of the same coin. I was thinking 'somebody's going to really bridge that gap and is going to change things.' You could see people moving towards that.

TLM: So how did you build your Miles Davis collection?

EL: All of this time, I was completely unaware of what Miles was doing. So finally, one day in the fall of 1969, I'm in the record store and just browsing. I come across the bin for Miles and I think 'look at all these records. I've really got to see what this cat is all about.' I look for his most recent album and it's In A Silent Way and I look at the personnel and think 'oh my God, Joe Zawinul is on it. He was one of my absolute heroes and had been from the time he joined Cannonball. I was already getting into Chick Corea through an album he had done with Bobby Hutcherson on Blue Note called Total Eclipse. I knew Herbie, Wayne Shorter and Tony from their work with Miles, but I'd never heard of [guitarist] John McLaughlin and Dave Holland. I notice there are three pianists on it and I wonder if they just play individually on three tracks. But then I think, 'oh my God. If these guys are playing on the same song, that's going to be very interesting! I took the album home not knowing what to expect and I put it on and I don't think I listened to anything else for a week - that album just blew me away. The sonic textures, the polytonality, the density of the keyboards - everything about that record was 'my God, I've never heard anything like this.' There was a part of me saying this is as close to what I have been wanting to hear. It's not straight-up hardcore funk rhythms, but it's getting there. To this day, Miles's solo on "Shhh/Peaceful" to me is of the greatest solos in all of Miles's recorded work.

TLM: It obviously made a big impact.

EL: All of a sudden I'm saying, 'I really need to get into this.' As the months went by, I started to see the advanced promos for [the new Miles album] Bitches Brew, because Columbia [Records] did a very big campaign for that. I remember the ads they ran in Down Beat and they had a picture of the cover and it said 'A novel by Miles Davis in store soon.' Then I started to read the initial press release and saw all of these guys that were going to be on it - Jack Dejohnette, Chick Corea, Larry Young, Joe Zawinul. He's going to have two bass players, what, three drummers - this could be James Brown!

There have been two times in my life when I've been in a record store waiting for them to unbox an album. That was for Bitches Brew and when the first Weather Report album came out. I had a friend that worked at National Record Mart, a big Pittsburgh record chain. I got home from school and drove down town and he had a big box on the floor in the jazz section. He opened it up and pulled out a copy ofBitches Brew. I just grabbed it and drove home. I was an inveterate needle dropper, but of course with Bitches Brew it was just one track per side! All I remember is that I put on "Pharaohs Dance" because that was written by Joe Zawinul. Then I listened to a bit of "Bitches Brew" but I gotta tell you, when I got to "Spanish Key" it was all over. I don't think I got to the other sides for another day - all I did was listen to "Spanish Key" over and over again; and I called Alan [and said] "Dude, you gotta go out and get this album because the world has just turned. Everything I wanted to hear was there. It was not dance music - I was not looking for dance music - I was looking for a rhythmic sensibility that similar in syncopation to what I would feel rhythmically from James Brown but still was hardcore jazz with nothing dumbed down about any of the process and the methodology.

Miles Davis - Bitches Brew

I had Kind of Blue and I wondered how do you get from there to this? That's when I started filling in all the gaps. Within probably a year after that, I had all of his Columbia records. What intrigued me was how Miles got to where he did. I heard the albums like ESP, Miles In The Sky, Nefertiti and Filles de Kilimanjaro and all it made perfect sense in retrospective. And the more I read about where Miles's head was musically during those years and the fact that he was listening to James Brown and R'n'B, and so he was looking for the same thing. It occurred to me years later, that the most important thing in Miles's career was that he be relevant to whatever was going on at any given time. And his embrace of duple meter rhythms makes perfect sense in that regard. He realised that nobody listened to swing rhythms anymore - it was no longer the pulse of the street anymore. For me, what Bitches Brew was in 1970 was every bit as impactful and as important as Kind of Blue was in 1959. It was a statement that music is going to be different now and so much of what happened after Bitches Brew bears that out.

***

In part two of this interview, Eric talks about many more things including, the relationship between Miles and Prince, the stories behind the Prince/Miles track "Can I Play With U?" and the Chaka Khan track "Sticky Wicked," the Madhouse project, meeting (and having dinner with) Miles, playing live on-stage with Miles and Prince, the music Eric created for possible inclusion on Miles's final album and his thoughts on Miles's music of the 1980s.


"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
  - E-mail - orgNote - Report post to moderator
Reply #1 posted 12/14/11 11:26am

purplethunder3
121

avatar

PART II

Miles Davis once said that Prince could be the new Duke Ellington and during the 1980s, Miles was keen to work with Prince on recording music together. Sadly, little emerged from this musical partnership. In the second half of this exclusive interview, Eric Leeds, Prince’s saxophone player during much of the 1980s, talks about the relationship between Miles and Prince, covering projects such as the Prince/Miles track originally destined for the Tutu album, playing live on stage with Miles and Prince, and the Madhouse project, which yielded four tunes Miles was set to record for his last album, Doo-Bop. Eric also talks about what the music of Miles meant to him.

Eric Leeds

Eric Leeds - photo by Lee Stanford © and courtesy Eric Leeds


TheLastMiles.com: Your brother Alan [Alan Leeds was Prince’s road manager for many years] says that you and Wendy and Lisa helped make Prince more aware of the music of Miles.


Eric Leeds: Alan had already told me that there were a couple of Miles albums Prince would listen to regularly, Kind of Blue was one and I think Jack Johnson was another, and there may have been a couple of other things. And because of this, I just realised that there were a lot of interesting opportunities for [Miles to] get involved in Prince. I remember once seeing an interview with Miles around 84/85 were Miles mentioned Prince and said if he was interested in listening to anybody, he was the cat. So I made sure to bring that to Prince’s attention and he looked at me and smiled and said: “When Miles says something about you like that, I guess it makes it all worthwhile.” So I said: “Yes, just remember that!” It wasn’t like we had a lot of discussions, but I do remember once I gave Prince a set of all the [second great] Quintet albums as a Christmas present. Now, whether Prince ever got into those albums or not, I don’t really know, but I was just trying to turn him on to different things. I turned him on to [John Coltrane’s] A Love Supreme and I also turned him on to Duke Ellington at Newport – “Diminuendo in Blue,” which he fell in love with. I’m really not sure what Wendy and Lisa might have turned him onto, but they were always turning him onto stuff.

[The first time Miles and Prince worked on the same piece of music was “Can I Play With U?”, a track composed by Prince for Miles and originally destined for Miles’s first Warner Brothers album, Tutu]

Miles Davis - Jack Johnson tribute

TLM: How did “Can I Play With U?” develop?

EL: I was on holiday at my parents in Florida and Alan called and said that Prince wanted me to do some recording the day after Christmas [1985]. I was a little pissed because I wanted to spend the whole of the holiday with my parents and Alan said “He’s only going to need you for like a couple of days and then you can fly back to Florida” – I ended up being there for about three weeks! We were in the studio almost every day. I had to fly home from Miami to Atlanta to get my horn and then go back to the airport and jump on a plane to LA. By the time I got to LA, I was fried and I knew I was probably going to be in the studio all night. I had a quick nap and then went to the studio – we used to work at Sunset Sound before Paisley Park [studios] was built. So the first thing that happens when I get there is that he has this track up and he said: “I’ve been talking to Miles.” I said: “Really?!” and he said “Yeah and I’ve got a track here that I want to send to him. Here it is, I’m going out to have dinner – do whatever you want with it.” I said: “Okay.” So I did what I did, and three, four hours later, Prince came back and listened to it and said “Yeah, that’s cool, I like it.” So I asked him “How are you going to get it to Miles?” and he said “Well, he’s in town, he’s in Malibu, why don’t we go to his house and give it to him?” and I said: “It sounds good to me!” So, he was on the phone to Miles the next day and then he said: “You know, I think we’ll just send it to him.”

That was basically the end of it. We were in the studio working on a lot of incidental music for the movie Under the Cherry Moon. Prince had started the editing process on the movie and he was in the final stages of sequencing what would have been the Parade album, and Wendy and Lisa and Sheila were around. This was a time when we were just going into the studio and jamming a lot. There was another song that we did after “Can I Play With U?” called “A Couple of Miles,” it was a really nice song. I don’t recall Prince ever saying it was something he was going to give to Miles or wanted Miles to hear, but he was just in a Miles Davis frame of mind and it was like a tribute to him. It’s a little dated now because of the sound of the drum machine but the song was a much hipper song than “Can I Play With U?” It had a hipper melody and had a nice little bridge that allowed me to do some interesting orchestrations with a multi-sax horn section.

TLM: “Can I Play With U?” was rejected by Prince and pulled from Miles’s upcoming album.

EL: I really didn’t have that much opinion of “Can I Play With U?”. I don’t really know what Prince’s views were, other than he was excited about sending it to Miles. It was two or three months later that Miles had put his trumpet on it and he got it back. Prince gave me a cassette of it, but I don’t remember Prince and me sitting and listening to it together. I played it a couple of times and other than the fact that “Oh my God. I’m hearing my saxophone and Miles’s trumpet on the same song,” the music really didn’t do that much for me. And of course years later after Miles had died, Warner Brothers wanted to use that song and Prince decided not to let them use it. I am in complete agreement with Prince on that because now I listen to it and I think Miles didn’t do anything on it that would do him justice. And the track really wasn’t that great – it was not a particularly good Prince track. I’ve never had any subsequent discussions with him about it, but the fact that he’s not going to let it be used, that’s his statement that the music wasn’t any good – ‘it doesn’t do Miles or me any justice and let’s let this one gather dust in the vaults’. And I’m in complete agreement on this. [Note: the only official release of this track is on the CD boxed set of CBC’s radio series on Miles, The Man With The Horn. Disc five contains a 45-second excerpt]. I always think that what could have happened with Miles and Prince is what could have happened with Miles and Jimi Hendrix [around 1969, Miles and Hendrix came close to recording together].

TLM: Prince always seemed reluctant to work with Miles in the studio.

EL: I remember a discussion I had with Prince and he said:” I don’t know exactly what to tell Miles what to do.” And I laughed and said: “That’s exactly what he wants you to do. You’re not going to tell him what notes to play but Miles want a new experience and you’re one of the few musicians that he’s actually willing to go into the studio and open up to: “Reach into me and try to get something out of me that I haven’t been able to do.” And I said to Prince: “What’s the worst thing that can happen – he walks out of the studio – so what!”

TLM: You were part of an amazing dinner party on March 24 1987 that included Miles, Prince, Prince’s Dad, Sheila E and you. Was that the first time you met Miles?

EL: He had come by a rehearsal for the Sign ‘O’ The Times tour that afternoon and I was introduced to him then. I had gone home after rehearsal and got a call from one of Prince’s assistants, “By the way, Prince is inviting you to have dinner with him,” so I jumped in my car and went over to Prince’s house. I kinda think that Prince wanted me there to open up the conversation with Miles and get things rolling. Miles was as much a performer during that dinner as he ever was on stage. You couldn’t get him to shut up and it was very funny! There are some aspects of that evening that I’m not sure I want anybody else to know about, and if I do, it’s going to be in my book! [note that at present, Eric has no firm plans to write a book].

But basically the most interesting aspect of the relationship between Prince and Miles was the dance that they would do around each other. What Prince really related to about Miles was his character – his legacy, his mystique and everything that Miles represented as a personality. Prince saw in Miles so much of what he thought of himself – the person that goes against the grain, that’s opinionated, that doesn’t allow himself to be controlled by any aspect of the industry for his own artistic vision. And that’s very much what Miles saw in Prince. He saw a young version of himself but there was always something about the generational thing. It was like “The King is dead, long live the King.” You had these supreme egos that had an undying respect for each other but neither wanted to give it up to each other. So with Miles, you could almost see the cartoon balloon over his head saying: “Yeah you’re young and hip, but I’ve got all of these years of experience that you haven’t had yet.” While Prince was looking at Miles and saying “Yeah, you’re the icon – but you’re old! I’m the new version!” And it defined and characterised every aspect of their relationship and it was hilarious to sit back and watch that unfold. That was the biggest enjoyment for me – watching these two dance around each other.

TLM: Any more recollections you want to share?

EL: At one point in the evening, Miles grabbed me by the arm and said: “Eric, let me see your carriage!” I’m looking at him and trying to be cool and I say: “My what?!!” And he says, “Your carriage! Show me how you hold your horn!” And then I realised: “Oh my God, he’s using an archaic definition of the word carriage. He said “Show me how you stand when you hold your saxophone.” Then he goes: “Do you do it like this?” And he mimicked the way a saxophone player holds his horn. I looked at him and laughed and then I said, “Is that the way I should hold it?” And he said “Yes,” and I replied, “Well Miles, that’s exactly how I hold it!”

When we were sitting down the first thing I wanted to ask him was about the acid funk band with [guitarist] Pete Cosey [1973-1975], which is the band that I absolutely loved. I was one of the few people at the time that did! And Miles looked at me and said “You liked that band? Nobody liked that band! I never met anybody who liked the band. You liked that band?” I said “Miles, there were some of us who loved that band.” I also got the indication from his demeanour that that was a period of his life he didn’t remember too much about and what he did remember, he didn’t want to remember. I don’t think a lot of people realised that a lot of what Miles said, he said for effect. That he really wanted to say dumb stuff at times just to see how you would react or it was his way of making of point. So it was a case of trying to figure whether he was saying something for effect, or was heartfelt or was a direct response to a comment.

I remember asking him “Are you into someone like [trumpeter] Lester Bowie? A part of me said “Lester Bowie comes from the Art Ensemble of Chicago, a kind of music Miles was known for disliking, so what will he say?” Miles changed his tone of voice and looked at me very seriously and said: “Why wouldn’t I like Lester Bowie?” But then it would not have surprised me if I saw an interview with him in a magazine the next week where he dissed Lester Bowie! Because he was going to say what he was going to say depending on how he felt or what he felt the purpose of the question was. It was an interesting night.

TLM: On New Year’s Eve 1987, you finally got to play on the same stage as Miles, during a Prince benefit event at Paisley Park studios.

EL: I always regret one moment. There was just one moment when I wanted to nudge the trumpet player Matt [Blistan, aka Atlanta Bliss] to go into a melody line in "Agharta" and the moment came and went by so quickly that I wasn’t able to grab it. I always regretted that because I really wanted to see the look on Miles’s face! The whole affair lasted for all of five minutes but it was cool.

TLM: Wasn’t Prince perplexed because the band was forgetting all the cues?

EL: He gave us one of his hand cues to hit a riff and as I remember it, no one hit the cue, because they were all grooving on what Miles was doing and Prince was kinda taken aback! He yelled “Hey, I’m still the boss up here!”

TLM: I was saying to Alan that it was strange that the concert was never released, although there is a bootleg audio and Video CD, Miles From The Park.


Miles From The Park


EL: The anticipation was a lot stronger than the actual event. It was a very fast funk groove that we were doing and it wasn’t anything that Miles was going to do anything other than just basically do his stick.

TLM: Miles appears on Prince’s song “Sticky Wicked”, along with Prince Chaka Khan. But I gather the song wasn’t written with Miles in mind.

EL: When Prince had the track up and Matt Blistan and I did the horn parts I can’t recall Prince making any mention about Miles, although he did say he’d written it for Chaka. Interestingly enough, the title “Sticky Wicked” had been applied to a different song, which was actually the title song of my first album Times Squared. I heard the track and asked Prince if I could work on it for my album and he said yes. And then a couple of weeks later, we were working on this track for Chaka and I asked what the name of it was and he said “Sticky Wicked!” Later on when we were on the road he said “Listen to this.” It was the finished track and Miles was on it. That was the song that got me officially into the Miles Davis discography! It was a much better track and much better utilisation of his horn than on “Can I Play With U?” It was a cool little song.

TLM: There’s a lot of controversy surrounding whether Miles and Prince ever worked together in the studio. In one interview Prince has suggested that they recorded together, but Alan is convinced that they never did.

EL: I have to agree with Alan on that. I don’t know what Prince was thinking or whether it was something that Prince said that was taken out of context. But I find it almost impossible to figure out how that could have happened, because Alan was still around running the record company and I was still around, although not a member of Prince’s band, I was working on my own albums at the time. Unless it was somewhere on the road that Prince and Miles met in the studio, but anything they would have done, Alan would have heard and I probably would have heard it too. It would have had to have gone through Alan’s desk. I know of no one else who has made mention of it. So I don’t know what Prince was talking about [TLM note: if Prince or anyone from his organisation would like to clear this up, we’d happily report your comments on this website!].

Madhouse 8

TLM: Madhouse was a very interesting project. How did that come about?

EL: He called me one Sunday afternoon after the Parade tour and said “Do you want to come over to my house and play some jazz?” I go over to his house and he’s already got three or four tracks done. I had no understanding what this was specifically going to be because a lot of times we’d go into the studio together and do different things that would never see the light of day. I think the entire process of the Madhouse album was done in about three days and it was only when we got about halfway through it that he explained what he was going to do. It was kind of a double-edged sword for me, because it was obviously a project he was putting together to feature me; that I was going to be the ostensible prime attraction, which was great because of the visibility that it would give me.

But to be absolutely honest with you, I was never that crazy about that album, the first one particularly – the music was not that interesting. Once again, it was a very interesting and enjoyable project because the process and the manner in trying to do what he was trying to do and the way he got things out of me. But at the end of the day, it wasn’t stuff that I was particularly interested in listening to. There were some interesting parts. On the first album, Prince wrote all the songs and played all the instruments except saxophone – it was entirely his project. It was a wonderful opportunity, but the way it was marketed, [meant] a lot of people are under the impression that it was my music and it was much more of representation of what I am as a musician and it’s just not so - it was one hundred percent a Prince project and I was just playing the role of a saxophone player.

TLM: Prince went to great pains to hide the fact that it was a Prince record.

EL: This is what he came up with and I didn’t necessarily disagree with him on this point. He said “I’m not going to go so far as to say that this is jazz. This album will never get anywhere because the critics are going to blast it. They’re going to say ‘how dare this guy think he can make a jazz album.’ And if it comes out, I don’t want it to just end up with all of the Prince fanatics. I want to distance myself from this and see if we can get some form of an honest reaction without any preconceived notions as to my involvement with it.” So what it ended up with was all of these fictitious names [of band members and recording studio] that he came up with and then the whole marketing project became silly, because I was the only person that was going to have a real face. And the whole marketing ploy was based on me going out and lying to everybody about what it was about. After a while, it really became silly and to this day, Prince is aggravated over the fact that people found out that it was really his album.

TLM: Is that so?

Oh yes. I finally said: “Prince, give it a rest. Everybody whoever interviewed me about it was like “Oh yeah, I’m supposed to really believe that this isn’t Prince?” I would try to convince them but I don’t think I was fooling anybody. It became like an inside joke, like the fact that it was supposed to have been recorded in Pittsburgh, where I came from. And the fact that I lived in Atlanta and everybody in the “band” was supposed to be part time musicians who I knew from Atlanta. We came up with name, occupations – we put a whole back story to everything about the album – it was very funny. I realised that we had had created a monster when he had given the back story to his publicist and his publicist called me to put together the initial press release and in discussing it with the publicist, I realised that the publicist didn’t realise that it was all a lie! Prince had not let the publicist in on it! I said that’s perfect Prince, because if the publicist is going to make this work, he has to believe it. Regardless, it was very successful and the idea not to give the songs any names, just numbers was his, which was cute. And we had a top ten single (“Six”) out of it.

Madhouse 16

TLM: You did a second Madhouse album, 16.

EL: I really liked it except for two songs [Eric would rather not say what they are!]. That was a much more organic album. That came up from spontaneous sessions with Prince, myself, Sheila E and Prince’s bass player at the time, Levi Seacer. The four of us went into the studio over two or three days and just played and everything on the second Madhouse album came from those sessions. In fact, several songs that were one my first album (Times Squared) came from those sessions – “Andorra,” “Night Owl” “Overnight, Everynight, “ and “Kenya”. I made songs out of them with a whole lot of post-production work and a lot of chopping and editing and a lot of studio whizz-bang, but the basic tracks came from those sessions. 16 was more of straight-up, funk, R ‘n’ B album. I just thought that the music was better realised; it was more cohesive album. Unfortunately it wasn’t that successful.


"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
  - E-mail - orgNote - Report post to moderator
Reply #2 posted 12/14/11 11:27am

purplethunder3
121

avatar

TLM: Why was the planned 24 album such a troubled project?

EL: Prince did all the tracks himself and I think he started doing

some of them when we were on the road doing the Lovesexy tour. When we were in Europe on the road in 1988 and there were a few off days, Prince would always go to London and work in the studio and I think some of the tracks came from those sessions. He called me into the studio after we got off the road – around December 1988 - and he had all the tracks done. I think I did all the horn parts in two days and he was with me for all the sessions. So we did the album and he did the mix on it and gave me a copy. I don’t recall what timetable he had in mind, but at that time, the relationship he had with Warners had started to turn [deteriorate] and things like Madhouse were hardly a priority for Warner Brothers. I think they were desperately trying to get Paisley Park records going as a viable label. If Prince had really wanted it released, it would have gotten released.

Madhouse 24 bootleg

Several months went by and I never heard anything about it – Prince and I never had any conversations about it. And by spring of 1989 I asked Alan what was happening with the Madhouse album. Alan didn’t know what was happening, so I asked Alan to ask Prince about it. Prince’s answer was a little obtuse and that led me to believe that he was starting to lose a little interest in it. I wasn’t that crazy about that album. Once again, there were parts of it I liked, but as a whole it wasn’t something that held up for me. I also objected to the mix on some of the songs. Alan came back to me and said that Prince wanted to know what I thought of the album. I said that “Tell Prince that I’m not one hundred percent satisfied with the mix and if it’s okay with him, maybe he’d give me the opportunity to take a couple of songs and go into the studio and remix them.” I was a little surprised that Prince gave the go-ahead to that. Between the time I was going to book the studio to go in, Alan said: “Prince has changed his mind. He says ‘forget it.” He wants to start over.’” By now it was summer time and Prince was working on theBatman album [Batman Returns soundtrack] and he had to hurry up and finish - he was in overdrive getting that done. But he wanted to get started on the next Madhouse album.

So basically he had gone into the vault and made four cassette mixes on about three dozen pieces of stuff. And he gave them to me and said “spend a couple of weeks on this and if there’s anything you hear that could be the basis of the next Madhouse album, go into the studio and start to have fun. Do whatever you want to do with this stuff.” And I’m thinking, “he’s just given me the keys to his vault.” There was a lot of stuff that was a bunch of crap but some stuff was cool. So I started working on that and as the summer progressed, I expected him to walk in the door and say: “Let me hear what you’ve done and let’s start to focus on this.” But as time went by, I started to realise that he was letting me have this one on my own.

Eric Leeds - Tmes Squared

And all of the time, I was under the impression that this was going to be the next Madhouse album. One of the things I did do was take the long piece from the original 24 album called “The Dopamine Rush Suite” which was about 25 minutes long and I edited the hell out of it and made a seven-minute piece out of by taking out all the stuff I didn’t like. That ended up on the [solo] album. Basically I came up with my solo album. I made rough mixes and gave them to Prince and he said “I really like what you’ve done, but it doesn’t sound like Madhouse.” I said “How is it going to sound like Madhouse – Madhouse is you much more than me.” So I said: “What do you want to do?” And he said “I’m going to sign you to Paisley Park and it’s going to be your record.” I was hardly going to argue with that! But Times Squared wasn’t a hundred percent Eric Leeds album – it was a lot of my sensibilities and something that began as something else. It was a very interesting project and I was very grateful for the opportunity. I was very intrigued that he would allow me take what was ostensibly his music and take it into a completely different space. But it wasn’t until my second Paisley album Things Left Unsaid that the music was entirely mine.

Eric Leeds - Things Left Unsaid

TLM: But there were other attempts to record a third Madhouse album?

EL: Prince, me and a couple of other members of his band subsequently went into the studio. I’ve got two more Madhouse albums that were recorded in ’93 and as late as ’95 – stuff that never came out. By then his relationship with Warner was pretty much done and his interest in releasing music like that had pretty much disappeared. There were about three completely different versions of what would have been the third Madhouse album.

TLM: Where did the concept come for the intriguing album covers of a girl and a puppy?

EL: His own whack sense of humour. The fact that it was so completely off-the-wall, plus that was a girl [Maneca Lightner] he was with at the time!

TLM: Prince sent four of the original 24 tracks – “17 (Penetration),” “18 (RU Legal yet?”), 19 (“A Girl and Her Puppy),” and “20 (Jailbait)” to Miles for inclusion on his what would have been the album Doo-Bop.

EL: There was a song released later called “17” under the Madhouse name which was a completely different song. It was released on a sampler called New Power Generation. A lot of people got the mistaken impression that Miles had something to do with that Madhouse album and he didn’t. But Miles did play the songs live and go into a studio and record his own versions of them with his own band.

TLM: You also re\corded some music for Miles that might have appeared on the album that became Doo-Bop.

EL: I did two songs for Miles in late 1990/early 1991 under Prince’s direction.

Miles and Prince would talk on the phone quite a bit. Miles was really interested in getting Prince to do something with him, but I don’t think by then, Prince was really interested in doing some tracks and giving them to Miles. I have a feeling that by then, Prince had lost a little interest in what Miles was doing and maybe at that point, he thought that what he wanted to get out of Miles, Miles wouldn’t have been able to realise. It might have been the sense that: “You know, I don’t want to get into a situation that might be embarrassing.” This all speculation because he never said anything like that to me, but knowing Prince I’ve always wondered if that might have had anything to do with it.

Prince looks at me and says: “Why don’t do you some tracks for him?” So I said: “He’s not asking me – he’s asking you!” And Prince says “Yeah, but I want to give him something”. “So I said “What do you want me to do?” and Prince said “Just go in the studio and have some fun and do something and send it to him. I’ll check it out first.” It was like “Maybe you can come up with something that I can then do some stuff with.” He left it open like that. Somehow it had been intimated that Miles was interested in Prince’s song “Nothing Compares 2 U,” so Alan suggested I do a track on that, so I did and a little thing of mine I called “Frame of Mind.”

TLM: Was your new version of “Nothing Compares 2 U?” different from the original?

EL: I changed it up a little bit. The textures were a little bit different.

TLM: Tell us about “Frame Of Mind.”

EL: “Frame Of Mind” was a song I did with my band back in Pittsburgh, which was based on a little guitar riff from side four of the Agharta album. About a third of the way into the side, they get into a momentary groove and [guitarist] Reggie Lucas is playing a kind of Curtis Mayfield-ish guitar riff that’s based on an E Minor 7th chord. I had put a bass line and a melody line to that riff. So I said: “Let me do this and maybe Miles will get a chuckle out of it if he recalls the riff.” And that track came out okay, but neither of them is Earth-shattering. I did them with drum machines and played all the keyboards. At the same time, George Clinton was in Paisley [Park] working on stuff and [P. Funk guitarist] Garry Shider was around and I thought “I’d really like some guitar on this and I’ve got one of the great funk guitarists in the other studio!” So I asked Garry to play a little riff which I showed him on piano and he put the guitar on it. So the tracks got sent to Miles but I have no idea whether Miles ever listened to them.

TLM: Did Prince play on any of them?

EL: No, but I can only assume that he heard them before they went off to Miles.

TLM: You left Prince’s band and later returned.

EL: I was out with him on the road for a brief period in 2002 on the end of the One Night Alone tour. I came in on the end of it – a couple of weeks in Europe and a couple of weeks in Japan. We were working together for a while in the studio in 2003 and I haven’t seen or spoken to him since.

TLM: What’s your take on the music Miles did in the 1980s?

EL: I can give you my subjective comments and my objective opinion and it’s up to anyone to draw the fine line between them. First of all, in order understand where I’m coming from about his music in the 1980s, I have to set it up. When Miles went into his seclusion in 1976, he basically made a statement that he no longer knew what to do with music, that he was no longer listening to music that interested him any longer, so he was going to bow out until he found something that was worth his while. And you can’t dismiss the fact that he was a very sick person at that point. If he had been completely healthy, I don’t think his opinion about music would have changed. The fact that there was nothing that was challenging him in music combined with the fact that he was very ill and went into seclusion was all part of it. This was a guy who up until that point had been obsessed with being relevant and finding something new to him.

I remember things that [keyboardist] Keith Jarrett would say about Miles: “Miles is so obsessed about doing something fresh and new that he would rather have a lousy band doing something new than a good band doing something that he had done before.” And he’d also said to Keith one might after the gig: “I don’t play ballads anymore, because I love playing ballads.” He was not going to allow himself a comfort zone and it was a hallmark of everything that Miles was about as a musician. I remember when all the hardcore fans who had even liked Bitches Brew had it when he went into the guitar-orientated acid funk. I basically thought: “If you don’t like electric guitars or the textures or whatever, that’s fine. But for what this band is doing, this band is incredible. You know Miles doesn’t want a jazz band -he’s going to do what he does. And the spontaneity and the ethic of the process of how he comes to realise his music is absolutely the same as for anything else he did in music. But he’s working with a different musical vocabulary and a different musical texture and a different musical sensibility and that’s what he wants. It doesn’t interest him to play jazz. He wanted a funk band and he went out and put together a great funk band and there was never a band like that before, then or since!

During those Howard Hughes years, Miles was basically living a life of drug addiction and sexual debauchery. You have to realise that this was a guy who had been to hell and back. He was probably as close to death as we’ll ever know. And through his friends, and particularly Cicely Tyson, he finally came out of that realising that he wanted to be alive. He never went through a twelve-step programme; music was his AA [Alcoholics Anonymous]. He also wanted to maintain a lifestyle he was used to and basically he had one option – to play music again.

By then, Miles was finally defined. The unique thing about Miles, more so than any other artist that I can think of, is that it took longer to define his creative art than anybody else I have known, because he was so involved with so many things, from the period of time he went to New York [in 1944] chasing Charlie Parker to his period of seclusion in 1976. He was either the primary innovator or on the cutting edge or the best example of every evolution in progressive music and you can’t say that about anybody else. You can speculate about what [saxophonists] Charlie Parker or John Coltrane might have done had they lived, but they didn’t and Miles did.

Miles In The Park insert
Miles From The Park insert - click for bigger version


My opinion is that the entire vocabulary of progressive music, jazz and also pop music had been defined by 1980. There was nothing more to do by anyone. All you could be was an exceptionally unique stylist or an exceptional musician like Prince, who was able to make great music. But I don’t consider Prince to be an innovator. Stylistically he was, but the nuts and bolts of music, harmony, rhythm and melody - the vocabulary was done. I feel the same way about Miles. Anything that anybody could say about what Miles had contributed to his musical legacy as a trumpeter, as a composer, as a bandleader, as a conceptualist, could have been said about him in 1976. If Miles had never played another note after that, everything written about him could have been the same. There’s nothing that he did after he came out of seclusion that really changes the legacy of his contribution to music. I’m not saying that as an insult but as a comment on the fact that when Miles came back, the vocabulary was done and that not even Miles could add anything new.

I’m not one of these people who says that Miles sold out or that he dumbed down. The integrity and the honesty that Miles brought into his music of the eighties was every bit the same as anything else that he did. But Miles had changed. And from a human point of view, probably for the better in terms of his own life. What was the main thing that people used to comment on when he came back? It was that he was acknowledging the audience and I think he was very touched that people were so happy that he was back again and playing music. It was like “If there’s nothing new for me to do, I’m going to just do what I feel like doing.” And he wanted to remain contemporary, so he wasn’t going to back and play “My Funny Valentine” again. He was going to play music that was relevant to the time he lived in.

That’s the objective way of looking at it. Subjectively, I’ve got to be honest with you - I hardly listen to anything he did in that period. When he came back, the first couple of albums [The Man With The Horn, We Want Miles] I listened to a lot because I was happy to have him back. But I realised that his sound as a trumpet player was never going to be the same. It’s impossible as a trumpet player not to play the horn for the period of time he didn’t and to pick it up and regain the same kind of tone. I was glad that the sound was at least what it was. The only objection I have from a personal standpoint is that the textures of his band, particularly in the late eighties, sounded very generic. But that was a function more of the synthesisers that by then had become very generic. In the early days of synthesisers you had to know how to create a sound, but the late eighties, they were all pre-programmed with hundreds of different sounds and textures and everybody was just basically hitting the same pre-set. It must admit that much of the material I recorded then kinda dates itself because of the particular textures that happened to be the flavour of the week.

And I just wasn’t interested in him playing songs like “Human Nature” or the pop songs he was covering. And to the extent that the bands and the music didn’t interest me, that’s not a function of the musicians, as much as a function of Miles, because Miles as a bandleader had the ability to realise anything that he wanted. He made a lot of music during the eighties that touched a lot of people and on any given night you had the opportunity to hear Miles play a solo that would transport you to a special place. But most of the music that he played during the eighties didn’t interest me that much. A lot of people got a lot out his music and I don’t begrudge them that. It was more about me than Miles because Miles didn’t owe me or anyone else anything. He truly enjoyed it and was into it and that speaks for itself.

I also think that Miles knew during the last years of his life that he hardly had the facility as a trumpet player to play the kind of music that hit the kind of harmonic or other challenges that he might have been doing previously. I think he was relishing the role of elder statesmen that he had now gravitated to and I think he wore it well.

The Miles that I knew isn’t the Miles that I think of. If anybody had told me in the 1970s that I was going to meet Miles the whole idea would have been frightening to me. And when I finally did meet Miles in the mid-80s, it was a different persona. From a standpoint of getting to know him the little I did, it was a lot better, because I would not have had the opportunity to have engaged in conversation, The fact that the last time that I saw Miles he came up behind me and threw a bear hug behind me – if anyone had ever told me that would ever happened, I would have said: “You’re out of your mind.” But the hero musician to me was not the Miles that I knew and I like that fact.

Miles is like all of these heroes of mine – James Brown or Prince or [keyboardist] Joe Zawinul. The guys that you put on a musical pedestal all share a tremendous sense of insecurity, which is very much a part of what drives them as musicians. And you saw it in so many aspects of Miles’s life. It probably comes with the territory that if you’re going to be a genius, you’re going to be dysfunctional. That Miles was able to be a survivor and truly enjoy the last years of his life; that was just an important as anything he might or might not have done during the last ten years.

--from TheLastMiles.com

"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
  - E-mail - orgNote - Report post to moderator
Reply #3 posted 12/14/11 2:45pm

unique

avatar

brilliant stuff

  - E-mail - orgNote - Report post to moderator
Reply #4 posted 12/14/11 8:05pm

HonestMan13

avatar

Excellent reading! Thank you for posting this.

When eye go 2 a Prince concert or related event it's all heart up in the house but when eye log onto this site and the miasma of bitchiness is completely overwhelming!
  - E-mail - orgNote - Report post to moderator
Reply #5 posted 12/15/11 3:32pm

blackbob

avatar

very interesting...that little shit does everything bar make the tea... !!!

  - E-mail - orgNote - Report post to moderator
Reply #6 posted 12/15/11 4:28pm

NuPwrSoul

Excellent oral history interview.

I wish he had talked a little about the N.E.W.S. project though. If I recall, he participated in an online chat at the NPGMusicClub in 2004 shortly before its release.

"That...magic, the start of something revolutionary-the Minneapolis Sound, we should cherish it and not punish prince for not being able to replicate it."-Dreamshaman32
  - E-mail - orgNote - Report post to moderator
  New topic   Printable     (Log in to 'subscribe' to this topic)
« Previous topic  Next topic »
Forums > Associated artists & people > Eric Leeds Interview From TheLastMiles.com