If you’re a fan, you have to hear them all.
Of course, that’s like saying if you’ve heard one Jimi Hendrix solo, you’ve heard ’em all. Granted, anyone familiar with the percolating, free-range fusion Davis was introducing at the time has heard this sorta stuff before. Although, in all fairness, it can be kind of hard to tell the difference at times.Īside from the fact that both albums were recorded within three months of each other at the same venue, they also feature nearly identical bands (this release includes Wayne Shorter on sax instead of Steve Grossman, but doesn’t have Keith Jarrett on organ) and similar set lists (they’re both heavy on the jazz-rock of Bitches Brew-era titles like Spanish Key and Miles Runs the Voodoo Down). M iles Davis fans take note: This previously unissued concert recording has nothing to do with the trumpet legend’s 1970 double album Miles Davis at Fillmore. Here’s what I said about it back then (with some minor editing): Depends how good the forthcoming In A Silent Way sessions box is.This came out in 2001 – or at least that’s when I got it. As Miles said, this was "a mother of a band" - amongst his best, which gives an idea of how important a release this is. A couple of brave, battered souls call for an encore, but this music was heading straight over the heads of the audience, on a collision course with the future. The group were opening for the Steve Miller Blues Band and Neil Young & Crazy Horse, and it's telling that the gig ends in shrieks of feedback rather than acclaim. Over 30 years on, this stuff still sounds more sci-fi than pretty much anything since 1970. At the peak of his powers, and combining particularly well with Corea, who's also never sounded more inspirationally inventive. Only poor old Airto occasionally gets lost amidst the howls of electricity, struggling to be heard above Jack DeJohnette's surging drums. Dave Holland, often on electric bass, is somehow unspeakably funky and freakily out-there at the same time. His screams and squawks spatter the action paintings and irregularly applied sciences emanating from Chick Corea's harshly distorted Fender Rhodes.
Miles davis live at the fillmore rar free#
In his last regular gig with Miles, Wayne Shorter, rightly lauded for his nimble peerless grace elsewhere, here sounds a fully paid-up member of the militant Free movement - as fearsome as Malcolm X, Amiri Baraka and Coltrane's Ascension. In the same way that a weekday edition of the New York Times is said to contain more information than the average person in 17th Century England was likely to encounter in a lifetime, a couple of seconds of this contains enough musical information to frazzle your synapses forever.Įach band member plays their ass off. That over-used cliché about 'telepathic interplay' was surely never more appropriate. It's sometimes as if the band are impatiently and angrily re-inventing the material every few seconds.
But no matter how familiar you are with this-period Miles, It's About That Time is still shocking - it has the same incredibly raw electricity that, say, Dylan's Albert Hall concert has far edgier than Bitches Brew turned out to be. This music's now very well known too - comprising the then-imminent Bitches Brew in various embryonic forms, and one earlier track ("Masqualero", from 1962's "Sorcerer"). There's little to add to the scholarly (and not-so-scholarly) body of writing about Miles' genius at this point. The First Great Rock Festivals of the Seventies - Isle of. Which is another way of saying that this is the jazz record of this, and indeed any other year, so it's pretty astonishing that this so-called "Lost Sextet" recording has laid low till now. Miles Davis - It's About That Time: Live at the Fillmore East, Ma(Columbia/Legacy C2K 85191) Miles Davis at Fillmore West - Black Beauty (CBS/Sony (J) 28AP 2155/56) Miles Davis - Get Up with It (Columbia KG 33236) Miles Davis at Fillmore (Columbia G 30038) V.A. A completely unreleased concert, it's as good as any other recordings Davis and his various shape-shifting units made during his phenomenally creative 1968-1975 period. Discovering Live At The Fillmore East (March 7, 1970): It's About That Time is like chancing across a Spanish galleons-worth of buried treasure.
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