iner notes from jazz albums of the 1950s and 1960s can be shot through with naivete, hipsterism (usually faux), and callousness toward the abundance of musical talent then working. Few though are as shortsighted as the original essay by Jack Maher on the back of 1960’s . Opening with “Miles Davis is the most maligned and idolized musician in modern American jazz today. He is at once the saint and the sinner,” he goes on to cite a dynamic that literally all musicians experience, especially when playing live: “He has been accused of being lackadaisical and unconcerned
