The recording of this concert, not released until 1973 and only in Japan, took place on April 10, 1970 at the Carousel Ballroom, where Bill Graham, the legendary west coast impresario of psychedelic rock, had moved his Fillmore Auditorium in 1968. Steve Grossman, who replaced Wayne Shorter, used only the soprano saxophone, an instrument more capable than the tenor of penetrating the wall of sound produced by the decidedly free and powerful rhythm section, which was pervaded by the electronic effects created by Chick Corea’s electric piano. On its first release, the four sides were simply titled “Black Beauty Part 1,” “Part 2,” etc.
With the critical reviews for Bitches Brew popping up in everything from local and national newspapers to jazz magazines, and Steve Grossman firmly established in the saxophone chair recently vacated by Wayne Shorter, Miles threw his band a curve ball. He added Keith Jarrett on organ to a group that already included bassist Dave Holland, electric pianist Chick Corea, percussionist Airto Moreira, and drummer Jack DeJohnette for a four-night stand at the Fillmore East. This double-LP/CD package puts together selections from each night, without regard for repetition. It's fine that there are numerous performances of certain tunes: the problem is that, although the music is compelling, it's schizophrenic because there are no full performances on the final release; they were all edited severely (as was standard practice by Teo Macero and Davis).
BLACK BEAUTY is the initial live document of Miles Davis' electric music built out of blues, free jazz, and post-modern musical thought. The mood is one of controlled chaos, with each soloist in top form, and group interplay at a near-ESP level. The tracks morph naturally into one another; with well-placed phrases from Miles cueing the players' transitions.
AT FILLMORE is the second release to document Miles' live presentation of BITCHES BREW's breakthroughs. Broken up into four parts, it shows the unprecedented growth of the same band that recorded BLACK BEAUTY just three months earlier. The addition of Keith Jarrett's organ expands the music even further over the borders that defined "jazz," creating a singular hybrid of rock, blues and jazz.
AT FILLMORE is the second release to document Miles' live presentation of BITCHES BREW's breakthroughs. Broken up into four parts, it shows the unprecedented growth of the same band that recorded BLACK BEAUTY just three months earlier. The addition … Full Descriptionof Keith Jarrett's organ expands the music even further over the borders that defined "jazz," creating a singular hybrid of rock, blues and jazz.
Once again, chaos dwells within the belly of this musical beast. From the electro-static of "The Mask" through the end of "It's About That Time," Davis, Jarrett, Chick Corea and Steve Grossman remain inextricably intertwined. And at the center there's always Miles and his trumpet–spurring his charges towards unexplored territory, ever ready to fall off the edge of the cliff just to land back on his feet.
Reissue with the latest remastering. Comes with liner notes. Miles Davis at Carnegie Hall is a live album by American jazz musician Miles Davis, recorded on May 19, 1961, at Carnegie Hall and released by Columbia Records. Davis is captured with his transitional small combo featuring Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy Cobb, as well as with the Gil Evans Orchestra. It was one of only two concerts Davis and Evans performed together, and that alone makes the album necessary for collectors, but the music itself is terrific. Neither the small group nor large band performances offer any new revelations, but they both showcase a strong, powerful Davis, and the music is quite enjoyable.
Special priced-down reissue available only for a limited period of time until December 21, 2015. Comes with liner notes. This stunning live set has been hailed by many as one of the finest moments of Miles' mid 60s career – music played with a frenetic energy that even blows away the famous studio sessions of the time! The group here is a landmark lineup – young modernists Wayne Shorter on tenor, Herbie Hancock on piano, and Tony Williams on drums – all reaching out to really increase their craft, and work through new ideas alongside Miles' trumpet.
Produced with loving care by Claude Nobs, founder of the Montreux Jazz Festival, with no edits or overdubs, this document of Miles Davis's Montreux performances shows through never-before-released material how Miles and company transformed his music live, with their fire, invention, and interplay. The list of sidemen on these dates is a who's who of today's superstars, including saxophonist Dave Liebman, guitarists John Scofield and Robben Ford, keyboardists Adam Holzman and Kei Akagi, bassist Michael Henderson, and percussionist Mtume. Most of the music on these discs features versions of Davis's fusion "hits." The funky and R&B-ish ditty "Ife" and the bouncy "Calypso Frelimo" are rendered with more gusto than their studio versions, as are the in-the-pocket, mid-'80s tunes "Star People" and "New Blues." A package this big has more than a few surprises, however. Chaka Khan lends her powerful pipes to Davis's unique cover of the Michael Jackson sleeper, "Human Nature," and "Al Jarreau" is an upbeat (though too short) tribute to the great vocalise master.
Deluxe 71 disc box set that contains 52 single CD and double CD albums (which includes the previously unreleased full-length audio version of his 1970 Isle Of Wight performance). The essay is complemented by brief annotations written by Franck Bergerot, covering every single one of the 52 albums. The cornerstones of the box set are the studio and live albums that were released during his tenure at the label, more than 40 titles that he recorded in the 1950s, '60s, '70s and '80s.