Holtje, Steve; Lee, Nancy Ann, eds. (1998). "Miles Davis". MusicHound Jazz: The Essential Album Guide. Music Sales Corporation. ISBN 0825672538. extraordinarily-innovative and epoch-defining 1969 masterpiece 'Bitches Brew' before the decade was out. The next The sound quality isn't quite up on the highest level, as this release is a semi-official bootleg sourced from an unmixed soundboard tape or a broadcast recording. But each instrument is fully audible, and what was happening that night is special enough for inclusion. Guaranteed to alienate fans, this was Davis’ all-in effort to embrace the modern studio, once again shaking apart the jazz world. Whether you call it midfield smooth jazz, awful ‘pop-fusion’, or a late period masterpiece, rarely will you hear a drum machine swing this hard.

If the whole 8 disc document of Miles Davis' 2nd Quintet on its way to gaining the strength is an overkill for you (and I would say, it's really too much), pay your attention to this approximately 80 minutes long set alone. 'Agitation' sounds terrific here, and you're also getting a rendition of 'Milestones' with an excellent piano solo.

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up. Amazing ! I feel like i'm being swarmed here, but in a good way. Haha. It starts to settle 3 minutes in A powerful set where Miles' screeching trumpet elegantly contests with Keith Jarrett's subtle Terry Riley-like keyboards. I absolutely love this album. This is probably the perfect example of just how crazy Miles' live performances during his electric period could get, and just listening to this definitely makes me wish I could have been there to see it in person. I wouldn't say I have as strong feelings towards this album as the other fusion albums I've heard from him, but I still think this is one of his absolute best that I've heard yet. Definitely an essential listen for any Miles Davis fan.

taking their musical findings into the live arena, and between 1970 and 1975 no less than seven double-albums, dipped soul tinges and Family Stone-styled funk excess in a way no-one thought truly possible. The jazz traditionalists hated The Cellar Door Sessions 1970, CD5: Saturday, December 19 (second set): 'What I Say'. Excellent jamming with mellower keys and terrific guitars.Live-Evil stands as a sort of spiritual successor to Bitches Brew, with it keeping a very similar sound all throughout. But where Bitches Brew was a more mysterious record, this one is more raw and funky, probably making it the more accessible of the two. While I will always view Bitches Brew as the absolute peak of Miles' fusion era, and I doubt anything would be able to top it, this is still a great continuation of such a great album with such a unique sound. A surprisingly strong show performed during a rather stagnant period for Miles, who seemed to be losing his grip at the studio sessions around that time, and arguably the best concert available from 1964. minutes. It starts to build as trumpet and drums lead the way. Sax after 19 1/2 minutes. Some narration Little can prepare you for Get Up With It. Issued just before his dark period, the album channels Miles’ escalating instability and utter despair as his life began to slip away. Nice Festival, France, July 1986 — available on Tutu (2011 Deluxe Edition): a long and engaging version of 'Splatch'.

counted amongst the finest of these concert recordings, and it's easy to see(and hear) why. Thanks to the album's The second Fillmore East show I selected, just as wonderful as the night before. Or maybe even better? Is it possible to get any better? Although not heavily edited, Bitches Brew brought new concepts of “studio as instrument” into jazz, producer Teo Macero treating the sound with tape loops, regularly, eating a vegetarian diet, no cigarettes, alcohol or drugs. We had to be in good shape-this was Featuring - of course - a stellar jazz line-up which includes amongst many others the likes of Keith Jarrett(keyboards), John McLaughlin(guitar),scorching trumpet come in. A change after 5 minutes as it settles somewhat and sax comes in. Gary is Still in great physical form prior to the 1972 car crash that would greatly diminish his strength, Davis plays with authority as he leads the ensemble through dynamic music of shifting colors and tones consistently, heroically underpinned by Henderson. Every soloist distinguishes himself. Both Pangaea and Agharta (released a year earlier) were recorded live on one day in Osaka in 1975, a ferocious double bill that would represent Miles’ final albums of new material before his five year retreat from the scene. Pangaea documents the evening session, with Miles in out and out combat with his band, dropping pretentions of melody and harmony in favour of sprinting riffs and pummelling poly rhythms. performing at their free-form apex. Just as essential as any of Davis' great records, 'Live Evil' captures this

The releases included here are mostly official, some semi-official which sound really good can be fitting as well. No poor quality bootlegs, audience or broadcast recordings are allowed. Perhaps Live-Evil is my favourite Miles Davis release and my favourite jazz album ever. A celebration of the primal power of the scorched Earth. A mystery. Recorded December 19, 1970 at The Cellar Door, Washington, DC & May 19, 1970 at Columbia Studio B, New York, NY) TimingThis is the only existing recording of a Miles Davis performance with Gil Evans and his orchestra, so there isn't much to choose from. The full show covers a part of Sketches of Spain, which, on par with Kind of Blue, was the greatest achievement of Miles at that time. This containing the only available live performance of 'Concierto de Aranjuez' from this masterpiece adds even more excitement to the show. all of remarkable quality, were produced. 'Live Evil', which alongside 1974's incendiary 'Dark Magus', is often Miles’ touted “Fillmore Band” didn’t sound much like a band to me. In an area of music where individual virtuosity is the rule rather than the exception, give-and-take between players becomes all important. And only occasionally did the Fillmore crew get down to taking care of business as a unit. There was lots of individual brilliance of course, just like there is lots of individual brilliance on Live-Evil. But this is no collection of isolated geniuses; it’s a band, and it’s going to take the top of your head clean off. drawing the listener into the dark, mystical and occasionally dissonant world of Davis' genre-blending explorations.