Tom toms often end up sounding emasculated and out of place in orchestral libraries, but SAM's set of four are a knockout, performing strong, clean, melodic-sounding single hits, flams, rolls, and smartly executed multi-tom phrases. Sampled at six dynamic levels for maximum realism, the snare and side drums also sound good, covering all the common orchestral styles and throwing in some distinctly unclassical Bruford-esque whangy rim shots for good measure. Experimenting with the cracking three-player snare section samples, I was pleased to find that the three listening perspectives can be layered without introducing any obvious phase cancellation or flamming; adding the close-miked samples to the 'stage' and 'far' sets simply increases the attack definition.
CRACK Project SAM - Orchestral Essentials
In August 1948, Davis declined an offer to join Duke Ellington's orchestra as he had entered rehearsals with a nine-piece band featuring baritone saxophonist Gerry Mulligan and arrangements by Gil Evans, taking an active role on what soon became his own project.[43][38] Evans' Manhattan apartment had become the meeting place for several young musicians and composers such as Davis, Roach, Lewis, and Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated bebop.[44] These gatherings led to the formation of the Miles Davis Nonet, which included atypical modern jazz instruments such as French horn and tuba, leading to a thickly textured, almost orchestral sound.[31] The intent was to imitate the human voice through carefully arranged compositions and a relaxed, melodic approach to improvisation. In September, the band completed their sole engagement as the opening band for Count Basie at the Royal Roost for two weeks. Davis had to persuade the venue's manager to write the sign "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". Davis returned to Parker's quintet, but relationships within the quintet were growing tense mainly due to Parker's erratic behavior caused by his drug addiction.[38] Early in his time with Parker, Davis abstained from drugs, chose a vegetarian diet, and spoke of the benefits of water and juice.[45]
By early 1957, Davis was exhausted from recording and touring and wished to pursue new projects. In March, the 30-year-old Davis told journalists of his intention to retire soon and revealed offers he had received to teach at Harvard University and be a musical director at a record label.[84][85] Avakian agreed that it was time for Davis to explore something different, but Davis rejected his suggestion of returning to his nonet as he considered that a step backward.[85] Avakian then suggested that he work with a bigger ensemble, similar to Music for Brass (1957), an album of orchestral and brass-arranged music led by Gunther Schuller featuring Davis as a guest soloist. 2ff7e9595c
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