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“Despite their ups and downs over the years, Miles Davis certainly trusts Teo Macero. From time to time, Miles might call Macero to one side, because, as Macero said, ‘He never talks in front of anybody.’ The two might sit together for ten minutes without a word being exchanged, then Miles would ask Macero what he thought of the take. After a brief discussion, they’d sit on in silence for a few more minutes, then Miles would go back into the studio…” (page 260)

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“Brubeck was still being handled by Teo Macero … [and] each month brought a new demand from Miles Davis … Macero was first in line to field these demands. Overextended as Macero was, it was probably right that he be the one to look out for Thelonious Monk, an original among musicians, jazz or otherwise. Macero was a sympathetic producer, mostly because his own compositions, like Monk’s, were considered difficult, even avant-garde, unless of course you knew the vocabulary.” (pages 313-315)

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“The producer also had to be a musician himself, hopefully someone who was comfortable with Miles’s subtle and constantly progressive musical vision. He also had to be able to have the patience to deal with Miles’s mercurial personality and iron will. Most of all, he had to know how to listen to the music and to truly understand it because Miles had a laser-sharp bullshit detector. Fortunately, the right producer was found in time for the Kind of Blue sessions. His name was Teo Macero.” (page 142)

Being a producer on this album was by far not Teo Macero’s first experience working with Herbie Hancock. As a member of the Miles Davis Quintet, Hancock had been a vital part of many Macero-produced Miles Davis albums through the years, including In A Silent Way and A Tribute to Jack Johnson. This 2-disc set provides a great introduction to Hancock’s astounding career.

“Space is the place” – or How Good Music Can Still Make a Sound in a Vacuum

“…The sounds presented here on Silver Screen were meant to evoke the moods and emotions of a fantastic tale told with equally fantastic imagery. Whatever your state of mind, the music very nearly reaches out to grab you by the lapels…” -Bill Murphy

Featuring Larry Coryell, Steve Gadd, Lee Konitz, and the London Philharmonic Orchestra. Produced, Composed, and Conducted by Teo Macero.

An album of original compositions which Teo described as “a basically all string album” with “trumpet on two tracks (shades of Miles),” Whispering Gods was released on Teo’s own label, Teorecords, and dedicated to “my dear friend Lanny Di Jay, a.k.a. Lanny Di Girolamo, who is no longer with us (miss you).”

“As the story goes, I found this pianist on a street corner in New York City, and I did ask him if he could improvise, etc. His reply was yes. So I brought him into the studio where I had been working, sat him down, pressed the record button in the booth, and this is the result. All other instruments on the CD were added. As of the moment, I have never seen or heard of the pianist again. What a loss for me, and a gain for you.” -Teo Macero

From the liner notes:
“Teo Macero is always at work – a creative work – in progress.  And because he is constantly searching through the limitless spheres of music while so deeply informed, as a participant, in what has come before, Teo transcends the fashions of the times by encompassing all he has known.” -Nat Hentoff

“Besides the usual suspects (MMW, Vernon Reid), a host of New York’s finest appear: Marc Ribot, Steven Bernstein & Briggan Krauss of Sex Mob, and even legendary producer Teo Macero dusts off his horn to play on a track. The result is a fine musical offering that breathes the air of jazz improvisation; unprecedented by a DJ.” -Sean Westergaard

The debut album from the Lounge Lizards features original songs, as well as two Thelonious Monk covers. Produced by Teo Macero, the album’s style has been described as “art-funk” and “thrash-bebop.” It was fresh, experimental jazz for 1981, perhaps following the spirit of earlier experimental Macero records like Explorations.