THE 1974 LIVE RECORDINGS January 27, 1974 Massey Hall, Toronto ua-cam.com/video/KqBeMrnbiTA/v-deo.html April 16-21, 1974 Keystone Korner, San Francisco ua-cam.com/video/NNB7b-tsQsw/v-deo.html May 28, 1974 Theatro Municipal, São Paulo ua-cam.com/video/qsA-piUTO0w/v-deo.html June 2, 1974 Theatro Municipal, São Paulo, Brazil ua-cam.com/video/QgXD4T7TSlw/v-deo.html August 3, 1974 Paul's Mall, Boston ua-cam.com/video/BnNhaXcpuA4/v-deo.html November 8, 1974 Bottom Line Club, New York City ua-cam.com/video/asz0U850dvQ/v-deo.html
Miles Davis was hospitalized day before this show, almost dead! it is in his Bio, the next day he blew everybody away, and here is the recording of this show. Somewhere in the 90" I studied at the conservatory in The Hague, and Mr. Liebman came for Masterclasses on our school. I had the honor that during a diner i could ask him all my questions about my favorite Miles Period. This was before the internet, so there was nothing available. So this was heaven for me. Dave promised me he send me some bootleg tapes! And one day there came a package with 3 tapes..... Londen, San Fransico and...... Brazil. I immediately started trading so i could get more Bootlegs. Nobody had this tapes..... now you see where it got;) This concert is so Amazing!!!
Em Maio de 1974 Milton Nascimento apresenta o show - Milagre dos Peixes - Teatro Municipal de São Paulo em duas datas 7/8 . No mesmo mês e ano 1974, Miles Davis faz em São Paulo também no Teatro Municipal, duas apresentações em 28 de Maio e 2 Junho, no auge do Fusion Jazz/Rock, Miles com um trumpet com efeitos de pedaleira, incluindo Wha Wha. Aliás, é esse show! Eu estava lá nos dois eventos e posso dizer que foram de altíssimo impacto, Milton com um time de músicos do mais alto nível com integrantes do Som Imaginário e convidados, e Miles com seu time de músicos do fusion como Dave Liebman nos Saxs e Flauta, Dominique Gaumont na guitarra ala Jimmy Hendrix, Al Foster ainda bem jovem destruindo na batera, muita percussão, enfim, coisa nova na época. O teatro estava abarrotado nos 4 shows, eu tive que me contentar em assistir da Galeria ( plano mais alto do teatro ) tanto Milton como Miles. Ainda que consegui comprar antecipado. Tanto um show como outro, foi uma pancada na cabeça de poder ver no palco do Municipal os meus grandes heróis da música. Inesquecível!
The sound is really great, and thank you Dave Liebman for doing this field recording!! And thank you for posting these incredible, INCREDIBLE live recordings, as all of us fans surely feel the same way:More Miles!!
LOL...Miles played Rio de Janeiro's Theatro Municipal as well on the same tour - My parents, then in their early 30s, went to the gig completely unprepared for what they were about to hear; they were fans of Miles' 'old music' like 'The Birth of The Cool', 'Sketches of Spain', 'Kind of Blue', but because information traveled slow back then - and since they were 'squares', not only completely divorced from the overall live music scene but even more so, completely alien to the whole 'underground', 'psychedelic', Be-In/Freak Out scene that largely accommodated Miles' electric' shift of 1970 - my folks were completely oblivious to the fact that his music had experienced total 180 degree move, a dramatic change. They were expecting upright bass, piano, saxophone, drums...all acoustic..They had no idea...They hated the show! They probably would have been shocked enough if Miles had played Post-Bop stuff from 'Miles Smiles', 'Sorcerer', 'Nefertiti' (which happened in 1966-67!). They said they were thrown into what they felt was a 'cacophonous, sonic wig-out'.....LOL...
@@johnnyprovo7157 No, I did not coin that.. I believe that the term 'Post Bop' has been used by Jazz critics since the early 1980s, to describe the sub genre created by Miles' Second great Quintet from the mid 1960, encompassing, Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams - that mix of Advanced Hard Bop, Modal Jazz and Avant Garde-ish ethos of 'Time, no Changes' - that is, keep and play in time, but make up and invent your own changes on the spot - that the Quintet would often conjure up to push the limits of 'Mainstream Jazz'. Miles' Post Bop coupled w/ Coltrane's Mid 1960s Free Modal flights and perhaps Ornette Coleman's 'Harmolodics' concept (more or less Free Counterpoint ) became the blue print for much of the 1980s Jazz and onwards, including the 'Post Modern' of today.
This is likely the most naive statement about music that I've ever seen, and I've seen 'em all in online music forums. I hereby award you the Steve Hoffman 'Hoofy' Award.
@@SelectCircle Why? Did you contribute to the making of that music? That, btw, is a lot different than what you said first. I happen to like Miles' era from 1964 - 1970 best, and I believe that my taste in music is impeccable.
@@steverickenbacher7110 You mean - roughly - his second quintet? But of course you would prefer that period - so to win the endorsement of the critical gatekeepers to the Cult of Miles. If awards are to be given out - you should get theirs - along with a pat on the head and a pinch on the cheek for being such an obedient little pretender. If you think musical appreciation is a matter of parroting the critics - and that only the naive would ever buck these so-called experts - then go for it ... and enjoy the crackers they give you to nibble on in your cage. But I prefer to hang out with the independent-minded who really know music - aren't afraid to say what it is ... and don't need to check in with the vaunted authorities - who are always corrupt and stupid. And I find that the independent-minded always prefer Miles' electric period - as secretly do a lot of others who aren't brave enough to say so. And I find that those who prefer that period can go on to judge every other sort of music pretty much correctly - and usually again in defiance of the critics ... bloated as they are in pure unadulterated hogwash. 8 )
@@SelectCircle LMAO. Did Q tell you that? Wow, you don't sound so honored anymore! Not only have you made a multitude of assumptions about me, what I like and what I know and what others know and like, you've made yourself look quite foolish in the process. Music appreciation is NOT the deep state, and the industry is NOT a cult of obedient followers. Get thee to the Hoffman forum immediately. They have a special place reserved just for you. FYI, the following existed and was produced during the period I mentioned: Filles de Kilamanjaro, In A Silent Way, Bitches Brew and the BEST fusion band Miles ever had - The Lost Quintet. So, you can define your supremacy by liking what you think others don't want you to like, but at the end of the day, you just sound like a tin foil hat wearing conspiracy wingnut. Liking or not liking one thing has never defined or predicted what one will like elsewhere. That applies to more than just music, so please, acquire some common sense.
I'm afraid I just wasn't cool enough to appreciate 1974 Miles - mind you, I was only 9 years old at the time. He did come to here to London in 1973 and play the Rainbow Theatre - a remarkable venue. Images of the Rainbow Theatre, now an evangelical church: www.flickr.com/photos/hjuk/sets/72157608080826218/
@@basheermuhammad7757 Delayed greetings to you Basheer. Just so you know...the Little Church reference did not go over my head! I used to love the LIVE/EVIL album. Not so much now. There's some incredible moments on it (Sivad, Innamorata etc etc) but there's also something very dated about it as if it's of 1970 and not beyond into the future. Give me Miles Yamaha organ noodlings over Jarrett's virtuosity any day. The 73/75 period takes us not only beyond the 70s but into the C21st and, let's face it, is still yet to be matched.
I can’t thank you enough for this and all of the other rare gems you upload. I’ve been deep into this era since the 80s and had never heard this set before. Now I’m dying to hear all of the Brazil dates and am dreaming of a box set sourced from Leibman’s excellent recordings!
This is so cool. There's an excellent in-depth 2018 interview of Mtume by a fellow conga player, Adam Rudolph ( ua-cam.com/video/hPfurpMWlE4/v-deo.html ). Mtume talks about how he learnt to play in different time signatures simultaneously on his left and right hand. It was Mtume that got Cosey into the band.
Hi Miguel, over here in London I got to see him 1984 - 1990. But I definitely rate his 1973 - 75 period as my favourite. I am so jealous. Do you remember how the concert was received by the audience and in the reviews?
@@paulklein6337At that time Brazil was a very closed Country under a military dictatorship. I was surprised that an artist like Miles came to play here.I was very young at that time (16 years old) and I did not know what they were going to play. As I was always very open to music I was amazed with the concert, I have never seen anything like that. I remember Miles spitting on the floor and playing with his back to the audience. I remember Dave Liebman very well and could not see Pete Cosey that was seated in the corner of the stage. At a certain moment I entered a sort of trance, could not realize if it was a dream or I was awake... that intense was the sound. Half of the audience was distinct couples dressed like they were going to a wedding... the left the venue as soon as Miles entered the stage, spitted on the floor and started to play with the wah-wah. They probably expected to listen to Birth of the Cool or Kind of Blue. The concert ended with M´tume playing congas. I guess it was a version of He loved him madly from Get up with it, that they recorded just after coming back from Brazil (as written in the album sleeve). I can't remember what the press said about the concert. Also... one concert was rescheduled to a couple of days later, people said tha Miles did not have cocaine or heroin and got crazy until he got it. To be confirmed. I wish I had a time machine to see that gig again.
@@miguelbarella1173 Hi Miguel, wow. Now I'm even more jealous! I've never been bothered about Miles not talking and having his back to the audience. To be honest, I prefer it that way- I want the music and the musicians to have an air of mystery and other-worldliness about them. With this band in particular he was giving lots of little signals to the band members - slow it down, go more funky, loud, soft etc etc. . It would have been a disaster had Miles started chatting to the crowd. I wonder if Miles came in for any criticism for playing in a country with a military dictatorship. Still, probably more acceptable than playing in South Africa. I don't think Miles was on heroin, though he may have been doing cocaine. This music still sounds relevant today. Love Mtume's congas work.
Night 3: June 2 The final tape from São Paulo is a brief but potent 35-minute slice. As Henderson again layers “Yesternow” overtop “Funk” and Lucas and Gaumont merge into a single unit, Miles and Liebman sync and spar like shadow boxers across the tune’s first half. With Cosey on thumb piano and percussion, Gaumont leads the band through a Univibe-heavy Band of Gypsys back section that slowly rearranges itself into the recorded debut of “Untitled Original 740419” - a still-unreleased jam reportedly laid down at a studio session on April 19, 1974. While Miles lays the groundwork with a beautifully restrained horn melody and Cosey finally joins in on guitar to color the air with atmospherics in the left channel, Henderson and Foster slowly built the skeletal groove underfoot. As the spare “He Love Him Madly” looms on the horizon (the band would record the tribute to the recently-departed Duke Ellington on June 19th), the untitled tune gracefully deconstructs itself as it evolves, with Miles teasing the ghost of a familiar melody in its closing minutes until the tape ends abruptly. Get the tape / Lossless 1. Funk [Prelude, Pt. 1] (20:05) 2. Untitled Original 740419 (incomplete) (15:03) Lineup Miles Davis (trumpet, organ) Dave Liebman (soprano, tenor, flute) Pete Cosey (guitar, percussion - left channel) Reggie Lucas (guitar - right channel) Dominique Gaumont (guitar - right channel) Michael Henderson (electric bass) Al Foster (drums) Mtume (conga, percussion) theheatwarps.com/2022/03/09/sao-paulo/
Great, and the evolution of that is Agharta, which is close to perfection in my opinion. It is so cool to see the development with every perfomance, they never played it exactly the same way.
Ele veio duas vezes ao Brasil. A primeira, esta, em 1974. A segunda foi em 1986. Em ambas, ele só tocou no Rio e em São Paulo. As datas de 1986: 11 e 12/9/86 - Rio 13 e 14/9/86 - São Paulo Eu estava na do dia 13/9/1986. Moro em Porto Alegre/RS e fui à SP só para ver o Miles. Ele tocou um repertório bem baseado no álbum “Tutu”, que saiu logo na sequência. O lineup foi o mesmo do Amnesty International Concert, no Giants Stadium (tem no UA-cam), apenas com o guitarrista Garth Webber no lugar do Robben Ford, que havia saído para gravar seu primeiro disco. O Garth foi uma indicação do próprio Robben. Alguns anos depois, vi o Robben com seu quarteto, aqui mesmo em Porto Alegre.
this is probably my top Miles live band. all these concerts w/foster, cosey, henderson, leibman are out of this world. really an ideal combo of heavy grooves but so far out and noisey/wild at the same time.
You can hear the articulation of the bass drum, great Mix. I’ve got on vinyl Agharta Dark Magus and Pangea I love em all but this a better mix for Mr Foster.
This is the best mix I've heard from the Miles 70's bands. It should be officially released and Michael Henderson should be recognized as the most under rated bass player of all time.
@@WorldSystemsMedia speaking of Henderson, I had the same very impression of him being criminally underrated after I listened to this wonderfully recorded boot from the beginning of Miles' 1971 fall tour of Europe nearly 6 years ago (2016) ua-cam.com/video/PHFCGEXYtY0/v-deo.html
😂😂😂 I looked forward to Sonny Fortune's arrival too. Dave, an impressive musician, is like this eras Steve Grossman. Miles had more luck with alto players during the 70s. More soulful imo
James Brown bass lines all round this performance of "Funk", including a very Ohio Players-esque groove beginning at 12:18 and running for a few minutes, again, to reiterate what you said, masterfully
I don't know of any at the moment, although it'll be worth keeping a look at the excellent blog The Heat Warps (theheatwarps.com/ ) which is working its way through the 1970s shows, with downloads. It's currently up to 1971.
J ai lu une interview de Dominique Gaumont dans "jazz hot "de juin (?)1981 ou il disait "le groupe a vraiment bien fonctionne,surtout pendant la tournée au Brésil..Dommage qu elle n ait pas été enregistrée"
1974 est une année étrange. Moins de concerts, pas de tournées européennes, pas d'émissions de radio ou de télévision. Nous devrions être reconnaissants à Dave Liebman de faire des enregistrements.
@@olivierdrouin2701 Bien sûr. Miles semblait apprécier la musicalité de Gaumont, c'est donc dommage qu'il soit si mal documenté. Ce sont des enregistrements précieux.
Me encanta el periodo jazz funk de Miles (On the Corner) Este live me suena mas a rock que a jazz, como una mezcla de hard rock, krautrock o rock progresivo, un poco de todo, pero suena de miedo.Gracias por haber subido este live en UA-cam! Un millón de gracias! Respect!
Thank you for all you do. The 80's stuff is great because it fills in a big hole in Miles' bands at that time (and one one of the biggest mysteries of his career----where are the live shows?). Anyway, can you answer 2 questions (your tumblr says "ask me anything")? (1) who are you and (2) where do you get all of this stuff? Thanks JK
Wow, I forgot I had a tumblr... so, 1) A regular guy with a Miles obsession, 2) Years of buying bootleg/ grey market CDs, file sharing sites, home taping, and being sent things by other collectors. Thanks for the appreciation!
Ce qui est incroyable avec son art de cracher et gesticuler dans sa trompette , c est qu il donne envie d en faire autant , avec une force pourtant d habirude réservée à d autres organes.
Apparently, this is (the first set of) the rescheduled date after Miles had had his medical emergency the night before (scaring everyone to death) -- wow!
@@albertmiller3082 Yes he sounds really into playing seriously, and I imagine he recorded Calypso Frelimo around this time too -- his playing has that insistence.
THE 1974 LIVE RECORDINGS
January 27, 1974 Massey Hall, Toronto ua-cam.com/video/KqBeMrnbiTA/v-deo.html
April 16-21, 1974 Keystone Korner, San Francisco ua-cam.com/video/NNB7b-tsQsw/v-deo.html
May 28, 1974 Theatro Municipal, São Paulo ua-cam.com/video/qsA-piUTO0w/v-deo.html
June 2, 1974 Theatro Municipal, São Paulo, Brazil ua-cam.com/video/QgXD4T7TSlw/v-deo.html
August 3, 1974 Paul's Mall, Boston ua-cam.com/video/BnNhaXcpuA4/v-deo.html
November 8, 1974 Bottom Line Club, New York City ua-cam.com/video/asz0U850dvQ/v-deo.html
Thank you.
Isto e' do melhor som que eu j'a ouvi ate hojmaradona no tronpet
Shades of James Brown.
You have Miles Davis show 1986 canecao Rio de Janeiro Brasil???
cool
Miles Davis was hospitalized day before this show, almost dead! it is in his Bio, the next day he blew everybody away, and here is the recording of this show. Somewhere in the 90" I studied at the conservatory in The Hague, and Mr. Liebman came for Masterclasses on our school. I had the honor that during a diner i could ask him all my questions about my favorite Miles Period. This was before the internet, so there was nothing available. So this was heaven for me. Dave promised me he send me some bootleg tapes! And one day there came a package with 3 tapes..... Londen, San Fransico and...... Brazil.
I immediately started trading so i could get more Bootlegs. Nobody had this tapes..... now you see where it got;) This concert is so Amazing!!!
Em Maio de 1974 Milton Nascimento apresenta o show - Milagre dos Peixes - Teatro Municipal de São Paulo em duas datas 7/8 . No mesmo mês e ano 1974, Miles Davis faz em São Paulo também no Teatro Municipal, duas apresentações em 28 de Maio e 2 Junho, no auge do Fusion Jazz/Rock, Miles com um trumpet com efeitos de pedaleira, incluindo Wha Wha. Aliás, é esse show!
Eu estava lá nos dois eventos e posso dizer que foram de altíssimo impacto, Milton com um time de músicos do mais alto nível com integrantes do Som Imaginário e convidados, e Miles com seu time de músicos do fusion como Dave Liebman nos Saxs e Flauta, Dominique Gaumont na guitarra ala Jimmy Hendrix, Al Foster ainda bem jovem destruindo na batera, muita percussão, enfim, coisa nova na época. O teatro estava abarrotado nos 4 shows, eu tive que me contentar em assistir da Galeria ( plano mais alto do teatro ) tanto Milton como Miles. Ainda que consegui comprar antecipado. Tanto um show como outro, foi uma pancada na cabeça de poder ver no palco do Municipal os meus grandes heróis da música. Inesquecível!
Grato por compartilhar essa maravilhosa experiência da sua vida. Por cá, tô viciadão nesse som.
Man I am Truly jealous..... I would trade everything to see both Shows
The sound is really great, and thank you Dave Liebman for doing this field recording!! And thank you for posting these incredible, INCREDIBLE live recordings, as all of us fans surely feel the same way:More Miles!!
LOL...Miles played Rio de Janeiro's Theatro Municipal as well on the same tour - My parents, then in their early 30s, went to the gig completely unprepared for what they were about to hear; they were fans of Miles' 'old music' like 'The Birth of The Cool', 'Sketches of Spain', 'Kind of Blue', but because information traveled slow back then - and since they were 'squares', not only completely divorced from the overall live music scene but even more so, completely alien to the whole 'underground', 'psychedelic', Be-In/Freak Out scene that largely accommodated Miles' electric' shift of 1970 - my folks were completely oblivious to the fact that his music had experienced total 180 degree move, a dramatic change. They were expecting upright bass, piano, saxophone, drums...all acoustic..They had no idea...They hated the show! They probably would have been shocked enough if Miles had played Post-Bop stuff from 'Miles Smiles', 'Sorcerer', 'Nefertiti' (which happened in 1966-67!). They said they were thrown into what they felt was a 'cacophonous, sonic wig-out'.....LOL...
"Pot Bop". I love it. Did you coin that? That's great. What a great story, too.
@@johnnyprovo7157 No, I did not coin that.. I believe that the term 'Post Bop' has been used by Jazz critics since the early 1980s, to describe the sub genre created by Miles' Second great Quintet from the mid 1960, encompassing, Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams - that mix of Advanced Hard Bop, Modal Jazz and Avant Garde-ish ethos of 'Time, no Changes' - that is, keep and play in time, but make up and invent your own changes on the spot - that the Quintet would often conjure up to push the limits of 'Mainstream Jazz'. Miles' Post Bop coupled w/ Coltrane's Mid 1960s Free Modal flights and perhaps Ornette Coleman's 'Harmolodics' concept (more or less Free Counterpoint ) became the blue print for much of the 1980s Jazz and onwards, including the 'Post Modern' of today.
Great post Minor. I laughed after reading the first few lines.
@@egyptianminor Pretty much after Eddie Harris' "Freedom Jazz Dance", then meeting Ms. Betty Mabry, it was a done deal for his direction.
If someone likes Miles best during his electric period - I know he has good taste in all music.
This is likely the most naive statement about music that I've ever seen, and I've seen 'em all in online music forums. I hereby award you the Steve Hoffman 'Hoofy' Award.
@@steverickenbacher7110 If he - whoever he is - prefers the electric Miles then I'm honored. 8 )
@@SelectCircle Why? Did you contribute to the making of that music? That, btw, is a lot different than what you said first. I happen to like Miles' era from 1964 - 1970 best, and I believe that my taste in music is impeccable.
@@steverickenbacher7110 You mean - roughly - his second quintet? But of course you would prefer that period - so to win the endorsement of the critical gatekeepers to the Cult of Miles. If awards are to be given out - you should get theirs - along with a pat on the head and a pinch on the cheek for being such an obedient little pretender. If you think musical appreciation is a matter of parroting the critics - and that only the naive would ever buck these so-called experts - then go for it ... and enjoy the crackers they give you to nibble on in your cage. But I prefer to hang out with the independent-minded who really know music - aren't afraid to say what it is ... and don't need to check in with the vaunted authorities - who are always corrupt and stupid. And I find that the independent-minded always prefer Miles' electric period - as secretly do a lot of others who aren't brave enough to say so. And I find that those who prefer that period can go on to judge every other sort of music pretty much correctly - and usually again in defiance of the critics ... bloated as they are in pure unadulterated hogwash. 8 )
@@SelectCircle LMAO. Did Q tell you that? Wow, you don't sound so honored anymore! Not only have you made a multitude of assumptions about me, what I like and what I know and what others know and like, you've made yourself look quite foolish in the process. Music appreciation is NOT the deep state, and the industry is NOT a cult of obedient followers. Get thee to the Hoffman forum immediately. They have a special place reserved just for you. FYI, the following existed and was produced during the period I mentioned: Filles de Kilamanjaro, In A Silent Way, Bitches Brew and the BEST fusion band Miles ever had - The Lost Quintet. So, you can define your supremacy by liking what you think others don't want you to like, but at the end of the day, you just sound like a tin foil hat wearing conspiracy wingnut. Liking or not liking one thing has never defined or predicted what one will like elsewhere. That applies to more than just music, so please, acquire some common sense.
Right when you thought you heard all of Miles. Boom!
That was my first thought too, and I am quiet deep in the electric era. Wonder what else this archive has to offer...
Dec 11 ‘74 I saw Miles perform at The Stables in East Lansing Michigan - my fourth Miles live experience up to that point. Nothing compares. Nothing.
I'm afraid I just wasn't cool enough to appreciate 1974 Miles - mind you, I was only 9 years old at the time. He did come to here to London in 1973 and play the Rainbow Theatre - a remarkable venue. Images of the Rainbow Theatre, now an evangelical church: www.flickr.com/photos/hjuk/sets/72157608080826218/
@@paulklein6337 Wow, what a future to be. From The Rainbow to a Little Church...
@@basheermuhammad7757 Delayed greetings to you Basheer. Just so you know...the Little Church reference did not go over my head! I used to love the LIVE/EVIL album. Not so much now. There's some incredible moments on it (Sivad, Innamorata etc etc) but there's also something very dated about it as if it's of 1970 and not beyond into the future. Give me Miles Yamaha organ noodlings over Jarrett's virtuosity any day. The 73/75 period takes us not only beyond the 70s but into the C21st and, let's face it, is still yet to be matched.
this is the 'electric' miles that i like ....Miles 70s Rockstar!
I can’t thank you enough for this and all of the other rare gems you upload.
I’ve been deep into this era since the 80s and had never heard this set before. Now I’m dying to hear all of the Brazil dates and am dreaming of a box set sourced from Leibman’s excellent recordings!
This is so cool. There's an excellent in-depth 2018 interview of Mtume by a fellow conga player, Adam Rudolph ( ua-cam.com/video/hPfurpMWlE4/v-deo.html ). Mtume talks about how he learnt to play in different time signatures simultaneously on his left and right hand. It was Mtume that got Cosey into the band.
Violent and aggressive but the music remains very well managed. Jungle time!
This account is the SHIT. Goddamn is this recording something else.
I was there :)
Hi Miguel, over here in London I got to see him 1984 - 1990. But I definitely rate his 1973 - 75 period as my favourite. I am so jealous. Do you remember how the concert was received by the audience and in the reviews?
@@paulklein6337At that time Brazil was a very closed Country under a military dictatorship. I was surprised that an artist like Miles came to play here.I was very young at that time (16 years old) and I did not know what they were going to play. As I was always very open to music I was amazed with the concert, I have never seen anything like that. I remember Miles spitting on the floor and playing with his back to the audience. I remember Dave Liebman very well and could not see Pete Cosey that was seated in the corner of the stage. At a certain moment I entered a sort of trance, could not realize if it was a dream or I was awake... that intense was the sound.
Half of the audience was distinct couples dressed like they were going to a wedding... the left the venue as soon as Miles entered the stage, spitted on the floor and started to play with the wah-wah. They probably expected to listen to Birth of the Cool or Kind of Blue.
The concert ended with M´tume playing congas. I guess it was a version of He loved him madly from Get up with it, that they recorded just after coming back from Brazil (as written in the album sleeve).
I can't remember what the press said about the concert.
Also... one concert was rescheduled to a couple of days later, people said tha Miles did not have cocaine or heroin and got crazy until he got it. To be confirmed.
I wish I had a time machine to see that gig again.
@@miguelbarella1173 Hi Miguel, wow. Now I'm even more jealous! I've never been bothered about Miles not talking and having his back to the audience. To be honest, I prefer it that way- I want the music and the musicians to have an air of mystery and other-worldliness about them. With this band in particular he was giving lots of little signals to the band members - slow it down, go more funky, loud, soft etc etc. . It would have been a disaster had Miles started chatting to the crowd.
I wonder if Miles came in for any criticism for playing in a country with a military dictatorship. Still, probably more acceptable than playing in South Africa.
I don't think Miles was on heroin, though he may have been doing cocaine.
This music still sounds relevant today. Love Mtume's congas work.
Night 3: June 2
The final tape from São Paulo is a brief but potent 35-minute slice. As Henderson again layers “Yesternow” overtop “Funk” and Lucas and Gaumont merge into a single unit, Miles and Liebman sync and spar like shadow boxers across the tune’s first half. With Cosey on thumb piano and percussion, Gaumont leads the band through a Univibe-heavy Band of Gypsys back section that slowly rearranges itself into the recorded debut of “Untitled Original 740419” - a still-unreleased jam reportedly laid down at a studio session on April 19, 1974.
While Miles lays the groundwork with a beautifully restrained horn melody and Cosey finally joins in on guitar to color the air with atmospherics in the left channel, Henderson and Foster slowly built the skeletal groove underfoot. As the spare “He Love Him Madly” looms on the horizon (the band would record the tribute to the recently-departed Duke Ellington on June 19th), the untitled tune gracefully deconstructs itself as it evolves, with Miles teasing the ghost of a familiar melody in its closing minutes until the tape ends abruptly.
Get the tape / Lossless
1. Funk [Prelude, Pt. 1] (20:05)
2. Untitled Original 740419 (incomplete) (15:03)
Lineup
Miles Davis (trumpet, organ)
Dave Liebman (soprano, tenor, flute)
Pete Cosey (guitar, percussion - left channel)
Reggie Lucas (guitar - right channel)
Dominique Gaumont (guitar - right channel)
Michael Henderson (electric bass)
Al Foster (drums)
Mtume (conga, percussion)
theheatwarps.com/2022/03/09/sao-paulo/
I remember Ezequiel Neves (a São Paulo music critic) praising Miles music, but most of people could’t get it.
He was ahead of time, that´s why. Still today, I guess you have to understand and listen to earlier jazz music to get along with this
@@alexander_the_great_1975 sem dúvida
Great, and the evolution of that is Agharta, which is close to perfection in my opinion. It is so cool to see the development with every perfomance, they never played it exactly the same way.
Miles no Brasil! 🇧🇷
MARAVILHOSO!🎺
Miles in Brazil! 🇧🇷
WONDERFUL! 🎺
🎵🎶🎶😌😌😌
Nem sabia q ele veio pra cá. Se soubesse, teria nascido antes...
@@alexander_the_great_1975 kkkkkk eu também! 🎺😁
Viva Brasilia !
Ele veio duas vezes ao Brasil. A primeira, esta, em 1974. A segunda foi em 1986. Em ambas, ele só tocou no Rio e em São Paulo. As datas de 1986:
11 e 12/9/86 - Rio
13 e 14/9/86 - São Paulo
Eu estava na do dia 13/9/1986. Moro em Porto Alegre/RS e fui à SP só para ver o Miles. Ele tocou um repertório bem baseado no álbum “Tutu”, que saiu logo na sequência. O lineup foi o mesmo do Amnesty International Concert, no Giants Stadium (tem no UA-cam), apenas com o guitarrista Garth Webber no lugar do Robben Ford, que havia saído para gravar seu primeiro disco. O Garth foi uma indicação do próprio Robben. Alguns anos depois, vi o Robben com seu quarteto, aqui mesmo em Porto Alegre.
@@zepapires parabéns pelo testemunho, imagino a tua emoção de ter assistido O Mestre em todas as suas notas! 🎵🎶🎺😍
Incredible, musical, clear intent, but wild and still right on the "edge".
Yeah - on the edge of jammin' - right before it goes free.
I love free jazz - but there's still something to say for keepin' da groove. : )
Well said.
Gotta say Miles’ playing from about 5:00 is some of his from the era
YES MILES!!! STRAIGHT UP UNTOUCHABLE!!!!
this is probably my top Miles live band. all these concerts w/foster, cosey, henderson, leibman are out of this world. really an ideal combo of heavy grooves but so far out and noisey/wild at the same time.
THANK YOU MILESTONES FOR ENNOBLING CULTURE WITH THESE RECORDINGS, AND BRINGING ME MUCH EUPHORIA...
You can hear the articulation of the bass drum, great Mix. I’ve got on vinyl Agharta Dark Magus and Pangea I love em all but this a better mix for Mr Foster.
This is the best mix I've heard from the Miles 70's bands. It should be officially released and Michael Henderson should be recognized as the most under rated bass player of all time.
@@WorldSystemsMedia speaking of Henderson, I had the same very impression of him being criminally underrated after I listened to this wonderfully recorded boot from the beginning of Miles' 1971 fall tour of Europe nearly 6 years ago (2016)
ua-cam.com/video/PHFCGEXYtY0/v-deo.html
holy shit - what a gem - I wish there would come more like this from Liebman´s box!
mom please come pick me up i'm scared
Thank you for this & the links to other concerts!
I admit it’s just a subjective choice on my part, but I can’t stand David Leibmans playing in this band Couldn’t then. Can’t now.
😂😂😂
I looked forward to Sonny Fortune's arrival too. Dave, an impressive musician, is like this eras Steve Grossman. Miles had more luck with alto players during the 70s. More soulful imo
That was fantastic. I really enjoyed listening to this. Thanks for sharing.
Obviously lifted and re-configured from parts of the James Brown Songbook. I might add, masterfully.
James Brown bass lines all round this performance of "Funk", including a very Ohio Players-esque groove beginning at 12:18 and running for a few minutes, again, to reiterate what you said, masterfully
Have you read Transcript of this set. AI is taking to you. Check this out.
Miles Lives!
Is there a place to get a HQ download for the 1974 shows?
I don't know of any at the moment, although it'll be worth keeping a look at the excellent blog The Heat Warps (theheatwarps.com/ ) which is working its way through the 1970s shows, with downloads. It's currently up to 1971.
@@MilestonesArchive Thanks for the tip.
J ai lu une interview de Dominique Gaumont dans "jazz hot "de juin (?)1981
ou il disait "le groupe a vraiment bien fonctionne,surtout pendant la tournée au Brésil..Dommage qu elle n ait pas été enregistrée"
1974 est une année étrange. Moins de concerts, pas de tournées européennes, pas d'émissions de radio ou de télévision. Nous devrions être reconnaissants à Dave Liebman de faire des enregistrements.
Je disais cela a titre de consolation posthume a Dominique gaumont,pas pour nier l authenticité de ce merveilleux,grandiose moment!
@@olivierdrouin2701 Bien sûr. Miles semblait apprécier la musicalité de Gaumont, c'est donc dommage qu'il soit si mal documenté. Ce sont des enregistrements précieux.
Me encanta el periodo jazz funk de Miles (On the Corner) Este live me suena mas a rock que a jazz, como una mezcla de hard rock, krautrock o rock progresivo, un poco de todo, pero suena de miedo.Gracias por haber subido este live en UA-cam! Un millón de gracias! Respect!
Thanks for the upload! Have a nice day everyone ☀
Yesternow on steroids.= Funk / Prelude.
Amazing, yes more material from South America. Thank You.
Spectacular. That bell!
You mean the cowbell?
Thank you for all you do. The 80's stuff is great because it fills in a big hole in Miles' bands at that time (and one one of the biggest mysteries of his career----where are the live shows?). Anyway, can you answer 2 questions (your tumblr says "ask me anything")? (1) who are you and (2) where do you get all of this stuff? Thanks JK
Wow, I forgot I had a tumblr... so, 1) A regular guy with a Miles obsession, 2) Years of buying bootleg/ grey market CDs, file sharing sites, home taping, and being sent things by other collectors. Thanks for the appreciation!
Bass line for the first minute-and-a-half is from Yesternow (Jack Johnson album).
I am here for this! 20:16
Now we're talkin'!
Thank you so much for your dedication and your generosity in sharing all this material and information.
🇧🇷I was there 16 years old. Never been the same...
This is incredible, thank you...
Miles said in his autobography that in fact the music never stopped.The musician just opened a window to catch it.
I love his stuff. Hot essence of life
Ces hommes construisent et détruisent le mur du son, à volonté.
This was FANTASTIC! Thank you so much for uploading this.
Can you find and post Miles Davis - "Blow (New Orleans Hip Hop Remix), (Miles Alone), and New Orleans Hip Hop Remix Edit)?
Miles is my idol.
SOULJAHZ ROCKERZ
Powerful!
unbelievable
Love this dense groove ! To my mind its the pinical the greatest I always come back to 70s Miles...amazing! The guitars and bass are far in.
No one talks here yet. He went to a emergency room in a hospital here. He almost died.
what happenened ? can you give us details
@@jabu003 he (miles) mentioned this in his autobiography. He essentially partied too hard and was hospitalized overnight
🌲☺️💚
so vibrant and alive!!
Um 24 '- 25 '- der Baß hatscht schön dazwischen !
Eu e meu amigo Zé Pereira estávamos lá na platéia desse acontecimento :
Miles no Municipal de SP.
Bons tempos !!!
(apesar da ditadura)
Eu fui, tinha 16 anos, meu irmão era da produção me colocou lá dentro. Nunca mais fui o mesmo...
Ce qui est incroyable avec son art de cracher et gesticuler dans sa trompette , c est qu il donne envie d en faire autant , avec une force pourtant d habirude réservée à d autres organes.
Now just imagine Jimi sitting in here.
🎵🎶⚡🌋 🎶 😎👍 🎶💥 🌟 🎶🎵
most faverit artist miles
second set?
Nowhere Man
top
Dominique Gaumont- guitar
Saucy.
これは凄い🎺
Thanks Dave!
Thanksss...!!!
🎶😀💛🌱
Apparently, this is (the first set of) the rescheduled date after Miles had had his medical emergency the night before (scaring everyone to death) -- wow!
Right! Listen to Miles blow...
@@albertmiller3082 Yes he sounds really into playing seriously, and I imagine he recorded Calypso Frelimo around this time too -- his playing has that insistence.
@@sirqitous he recorded Calypso Frelimo in September 1973