Miles Davis- April 12, 1970 | Fillmore West, San Francisco [REMASTERED]
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- Опубліковано 12 лип 2024
- Fiery set at the home of hippie culture
April 12, 1970
Fillmore West,
10 South Van Ness Avenue,
San Francisco, California
MILES DAVIS
Miles Davis- trumpet
Steve Grossman- soprano saxophone, except -1 tenor saxophone
Chick Corea- electric piano
Dave Holland- bass guitar, except -2 double bass
Jack De Johnette- drums
Airto Moreira- percussion
It's About That Time (M. Davis) 00:00
Directions (J. Zawinul) -1 10:58
I Fall in Love Too Easily (S. Cahn-J. Styne) 23:20 /
Sanctuary (W. Shorter-M. Davis) 25:09
Footprints (W. Shorter) 29:03
Agitation (M. Davis) -2 39:48
No Blues (M. Davis) -2 41:37
Bitches Brew (M. Davis) 49:33
Spanish Key (M. Davis) 1:04:22 /
The Theme (M. Davis) 1:15:55
closing titles 1:16:43
Soundboard source
Bitches Brew was an earthquake. The August 1969 sessions, fusing jazz, rock, R&B, and the avant garde, caused aftershocks through the worlds of jazz, progressive rock, and funk that were felt for decades. The album also caused a seismic shift in Miles' own career.
After signing with Columbia in 1955 Miles had become one of their leading jazz stars; his early albums for the label were big sellers in jazz terms- Kind Of Blue, Sketches of Spain and Porgy & Bess had sold 100,000 to 150,000 but by the mid-1960s things were changing. College kids were turning to the wave of rock music that had followed The Beatles, young black audiences were listening to Motown and James Brown. Jazz was becoming the music of their parents' generation. Miles' recent albums sales had fallen to 40-50,000. He was also playing small jazz venues, as Dave Holland reported: "When I joined the band it was on a sort of decline in America. We played a lot of clubs where there were 30 or 40 people in the audience in a night... I was amazed that so few people would come."
Promoter Bill Graham ran two rock venues, the Fillmore East in New York and Fillmore West in Los Angeles, the hub of the hippie culture. Clive Davis, who had become president of Columbia in 1966, saw an opportunity to introduce rock audiences to Miles's new direction and increase his sales. He wrote to Graham and told him "the 'underground' is ready for Miles." Miles was infuriated. In a foul tempered phone call to his label boss he railed against playing for "those fucking long-haired white kids" and complained about money- Miles's fee for a large venue was around $5000; Graham was offering $1500. The dispute escalated when Miles's lawyer contacted Columbia to say there would be no more recordings for the label. There were even rumours in the press that Miles was looking to get out of his contract and sign with Motown.
Miles eventually relented. In March he played two nights at the Fillmore East on a bill with Neil Young and Steve Miller, to a mixed reception. Bitches Brew was released March 30 to acclaim from the rock press. The next month he played a four night run at the Fillmore West, supporting hippie heroes the Grateful Dead, whose mix of rock, folk, bluegrass, and psychedelia also included a healthy dose of jazz-inspired improvisation. Also on the bill were Scottish blues rock band Stone The Crows, with Brotherhood of Light's lightshow. Miles and his band made no concessions to the new audience; this was fierce, uncompromising music- abstract, chromatic and occasionally teetering into free jazz.
This was the last of the four shows (the second evening was released as the Black Beauty LP). Unusually, the set opens with It's About That Time from 1969's In A Silent Way LP, with the customary set opener Directions following. Corea is especially wild, distorting his Fender Rhodes through a ring modulator and Echoplex, in a constant commentary on the soloists. The middle of the set features three tunes all making their final appearance in the setlist- the minor blues form of Footprints has been abandoned, leaving only a bass vamp and a fragment of the melody; there's a truncated Agitation, while No Blues also takes its blues form to breaking point; Miles sits out apart from the opening horn line, becoming a lengthy showcase for Holland's acoustic bass, before Corea's electric piano dissolves into free jazz cacophony. These skeletal forms would become the norm for Miles' new material but it's interesting to hear him retooling old compositions to fit the new aesthetic. Two pieces from Bitches Brew round out the set. The Deadheads seem to lap it up, and so did the Dead themselves. Bassist Phil Lesh recalled; "As I listened, leaning over the amps with my jaw hanging agape, trying to comprehend the forces that Miles was unleashing onstage, I was thinking, 'What’s the use? How can we possibly play after this? We should just go home and try to digest this unbelievable shit.'"
Miles appeared to enjoy his Fillmore experience, winning over audiences, reconciling with Clive Davis and Bill Graham, and befriending Dead guitarist Jerry Garcia. "[We] hit it off great, talking about music... and I think we all learned something."
![Miles Davis- September 27, 1960 Free Trade Hall, Manchester [SPEED CORRECTED!!!]](http://i.ytimg.com/vi/fl4TfRYP03s/mqdefault.jpg)
![Miles Davis- September 27, 1960 Free Trade Hall, Manchester [SPEED CORRECTED!!!]](/img/tr.png)
Some comments on the remaster that I didn't have space for in the notes:
I posted this show before (back in 2016) but revisiting it recently I thought it could be improved- the wide panned stereo had Corea's electronics threatening to overpower everything else; I adjusted the balance and narrowed the stereo image slightly for a more natural soundstage, re-EQed it, and adjusted the speed as it was running sharp. There was also a six minute stretch from 46:42-52:42 with very dull sound, probably as the result of tape damage. This was re-EQed separately and edited in. You can still hear the difference but it's much less jarring than before. Also, there were almost three minutes (1:01:31-1:04:21) where the stereo channels swapped over; this has been corrected. There still remain two crossfades (at 59:44 and 1:01:46), where someone has joined two or more versions of the recording together- these were poorly executed and there was no way to repair them. It's still very hissy- I reduced some of the very top end hiss but it wasn't possible to eliminate more without effecting the music. But overall I think this is a nice upgrade to a great show.
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Thank you!
I saw this exact band back in the early 1970s at a small jazz club on Divisadero Street in San Francisco. The name of the club was “The Both/And”. I recall having decent seats and a good view of the band. The sound was great as I remember. This was about the time “Bitches Brew” came out on vinyl, which I had already purchased and played. I recall being impressed with the group at the time, probably an understatement!
Very cool! I know this band played the Both/And on April 28 (a Tuesday), two weeks and two days after this gig. It doesn't appear to have been recorded, sadly.
It’s taken me a really long time to arrive at listening to this stage of Miles’ playing (maybe 20 years!). Having first listened to the Bitches Brew album, it took me a really long time to understand/appreciate these performances based on what I heard in the album. I wonder if you had a similar experience hearing these songs live!
The most intense and tight version of “it’s about that time” I’ve ever heard! 🔥I wish I could go back and hear it for the first time over and over again!
yessss
4:30 Steve Grossman, and 14:47
incredible; what’s happening today pales into insignificance.
wow
Hearing Airto performances inspired me to forward in learning percussion colors, cues, textures, etc.
After seeing Miles Davis live with Chick Corea, Dave Holland, Airto, and Jack DeJonnette etc, I was definitely inspired by the experience. I recall that I didn’t conltinue to listen to or follow Miles work subsequently. I continued and still continue listening to the older material. I’m grateful that there’s so much available for listening! Therefore, I understand your experience!
I believe I was AT this concert (though being the era, I am not sure, but I DID see Miles at the Fillmore, so I assume this was that concert)😎 I remember it being a great show.
Amazing! This was the last night of a four night run (a Sunday, if that helps). He played the Fillmore West again in October that year, on a bill with Leon Russell and Sea Train.
Miles also played the Fillmore West on May 7 and 8, 1971, with Mandrill and Elvin Bishop on the same bill. I was at the May 8 show after hitchhiking up from Santa Cruz against my father's explicit orders; my ride had bailed on me and there was no way in hell I was missing a chance to see Miles with that band. First of many times seeing him, including appearances at the Monterey Jazz Festival (with the "On the Corner" band), in LA (a Clive Davis artist showcase at the Dorothy Chandler Pavilion), and in Chicago. Always awesome, mind-expanding, life-changing.
@@mrkdrm I posted the May 7 show here: ua-cam.com/video/X3O05cc3J_k/v-deo.htmlsi=OzYBbYtLg9RPEn2t. May 8 is the only Fillmore show where no recordings have surfaced, although it may have been recorded by Columbia Records- let's hope it still exists.
My all time most beloved music.
One of the best music ever recorded.
Excelente música gracias gattasco.
Jack & Airto's timing is near perfect. Absolutely 😂 🎉 ❤
I bought Black Beauty from Tower Records ca. 2000/2001 and it blew my mind. As a young pianist, it was so inspiring to hear Chick's beautiful playing, the incredible synergy of Dave and Jack, and of course Miles' creative leadership holding everything together. It's awesome to finally listen to the rest of the sets from April 1970, it's rare to hear music of such urgency, intensity, and beauty. Thanks for taking the time to remaster the recordings!
One cool historical thing I noticed is that these shows saw the final performance of several tunes: Paraphernalia (April 9th), Masqualero (April 10), Footprints (April 11 and 12), Agitation (April 12), No Blues (April 12). At least, this is the final performance of these tunes that we have recordings of. Thanks to Peter Losin's Miles Ahead site for the info!
(Edit: Miles did record Footprints one more time, in France in 1991. But this is the final recording of the tune from this era of his band.)
Miles has left the building, and has left us something, (gifts), behind. 😂 🎉 ❤
Grateful Dead bassist Phil Lesh has always said he was embarrassed that Miles Davis was the opening act rather than the other way around.
Phil was originally a trumpet player as well so I can't imagine how HE heard this with a trained ear.
Also... as a deadhead myself, I gotta say.... it kind of embarrasses me a little. lol
@@musiquefantastique7127 Sure this is great but Dark Star, The Eleven, The Other One, etc. is still superior than this. That's just Phil's opinion. Doesn't mean he's right about it. Jerry threw away more licks and themes every night than any musician ever did, Miles included. Period.
@@gradyfilms2458 ... I bet Jerry would disagree.
@@musiquefantastique7127 Bill Graham liked to juxtapose different acts to widen peoples exposure to groups they might never have gone to see. Different strokes...but to use the word embarrasses doesn't make sense. Two totally different genres. But that's just me. Here's another one for you, off the wall, apples/oranges. Listeners always gush over John Cipollina but Gary Duncan was clearly the superior musician who wrote Gold And Silver, Maiden Of The Cancer Moon, Calvary. Cipollina added his great flourishes but Mr. Pretty Boy gets all the credit...p.s. Duncan also wrote The Fool but Cipollina gets all the credit.
*on the corner!*
this is sweeeeeeeeet!
Gratíssimo.
A beautiful and Master job in the Sound pallet and recreation. Most wonderful. Thank you.
This is great- thanks
fantastic, Thanks!!!!
ÚNICO!
ugh this is so good
❤
Great🎉 Miles
33:55 holy sh*t
🔥❤👏
Best group.
❤❤❤❤❤
Forward Motion, Baby.
soundtrip..
Incredible, mind-expanding set - perhaps being on the same bill as Jerry Garcia and his comrades had something to do with it...Who is the (presumably) substitute bass player seen in two or three of the photos? Dave Holland's playing is astounding and shows how great he was on the dreaded electric bass!
Which photos do you mean? If it's the ones at 3:41 and 6:26, that's Holland. I believe those photos come from the Fillmore West gig on April 10, the evening of the _Black Beauty_ concert. Dave's playing what looks like a black Fender Precision with a white scratch plate, it's the same bass he uses on the footage from the Isle of Wight in August: ua-cam.com/video/hMYVvjoXf4o/v-deo.htmlsi=-m7YMkTjmbuqaJtw
@@MilestonesArchive There are two or three photos with a bass player who to my eyes doesn't look like Dave Holland, but I suppose it may be Holland with a different hairstyle. I think he was growing out the perm he had in '69, so perhaps that explains it. I can''t imagine any bass player being able to step into that maelstrom! Though, as we know, Miles had to use substitute bass players in the Ron Carter years. .
@@GOGOLH Indeed, although I don't know of any instances where Holland was depped during his tenure in the live band. It's hard to see what's going on with Holland's hair in those photos as he's a bit in the shadows. There are photos from that era where he's wearing a knitted cap/ beanie type thing, so maybe that's what we're seeing...
@@MilestonesArchive It must have been Holland - no one else could have dealt with that, surely! Though I love how he describes his first gig for Miles - holding on for dear life etc. What a year 1070 was - the music changed radically but it was all brilliant.
Good job of slides over audio.
Dave Holland is a great predecessor and template for Michael Henderson.
And Jaco, too. Listen to the first song with that in mind.
@@jedwing Jaco is not that echelon, way too many notes.
Airto' is god
not 100% sure this should be played during day like hours ..only late night
Picasso
Sorry but a terrible job of 'remastering'. Get it 2 a pro so it can have justice done.
Shhh. Peaceful.