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| Black Beauty - Miles Davis at Fillmore West (2CD) [ ÉLŐ ] |
| Miles Davis |
japán
első megjelenés éve: 1970 |
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| (1997)
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2 x CD |
| 10.569 Ft
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| 1. CD tartalma: |
| 1. | DIRECTIONS
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| 2. | MILES RUNS THE VOODOO DOWN
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| 3. | WILLIE NELSON
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| 4. | I FALL IN LOVE TOO EASILY
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| 5. | SANCTUARY
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| 6. | IT'S ABOUT THAT TIME
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| 2. CD tartalma: |
| 1. | BITCHES BREW
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| 2. | MASQUALERO
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| 3. | SPANISH KEY/THE THEME
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Jazz
Recorded April 10, 1970 at "The Fillmore West", San Francisco, CA.
Miles Davis - Trumpet
Airto Moreira - Percussion
Chick Corea - Liner Notes, Piano (Electric)
Dave Holland - Bass, Bass (Electric)
Jack DeJohnette - Drums
Steve Grossman - Sax (Soprano)
Previously available only as an import from Japan, this April, 1970 live session demonstrates the power of Miles' Bitches Brew period (which was released that month). Recorded at Bill Graham's Fillmore West during the heyday of hippies and hip-ness Black Beauty demonstrates Miles Davis' constant search for further reaching musical boundaries... Part of the "Miles Davis: Live & Electric" series, Black Beauty is a limited edition super deluxe digipak, which contains an essay by Chick Corea, rare & previously unpublished photos and originial gatefold LP graphics. Digitally remastered using 20-bit technology for stunningly clear sound. Features Steve Grossman, Chick Corea, Dave Holland, Jack DeJohnette and Airto.
April 1970 live session demonstrates the power of Miles' Bitches Brew period (which was released that month). Recorded at Bill Graham's Fillmore West during the heyday of hippies and hipness, Black Beauty features STEVE GROSSMAN on soprano sax, a very electric CHICK COREA (who wrote new liner notes for this set), DAVE HOLLAND on electric bass, JACK DeJOHNETTE on drums and AIRTO on percussion.
* Bob Belden - Producer
* Cozbi Sanchez-Cabrera - Art Direction, Reissue Art Director
* Hope Chasin - Packaging Manager
* Kevin Gore - Reissue Series
* Randall Martin - Reissue Design
* Rene Arsenault - Associate Producer, Production Assistant
* Sandy Speiser - Liner Notes, Photography
* Seth Foster - Engineer
* Seth Rothstein - Director, Project Director
* Shuichi Yoshida - Cover Design
* Steven Berkowitz - Reissue Series
* Tadayuki Naitoh - Cover Photo, Photography
* Teo Macero - Producer
* Teruhisa Tajima - Cover Design
* Tom "Curly" Ruff - Digital Mastering
A month after losing Wayne Shorter to the beginnings of Weather Report, Miles Davis added young saxophonist Steve Grossman to the fold that included drummer Jack DeJohnette, bassist Dave Holland, electric pianist Chick Corea, and percussionist Airto Moreira. Just in time, too, since Bitches Brew had just been released. What is most interesting about this performance is how abstract it is, even by the standards exacted on In a Silent Way and Bitches Brew. Opening with Joe Zawinul's "Directions," with a small three-note vamp, Davis creates a spaciousness for Grossman to hit the stratosphere and for both Holland and DeJohnette to literally fall freely as a rhythm section as long as they could find a groove. The band seems to open too far; they can't seem to find each other in the maelstrom. Davis lays out, watching it all, directing from the sidelines. On "Miles Runs the Voodoo Down," since there is a discernible though minimal melody and groove, the band brings it in tighter, focusing on Davis smattering blues notes and Corea's distorted chord voicings. This is where the band hits their stride, and keeps it through "Willie Nelson" and the Sammy Cahn tune, an odd choice for this part of the program, "I Fall in Love Too Easily." From the opening of "Sanctuary" through "It's About That Time," "Bitches Brew," "Masqualero," and "Spanish Key/The Theme," the music become a kind of suite that doesn't really stop. It may pause in spots, but it loops through modal figures before disintegrating completely. There is no harmony to speak of and melody has become an extinct concept. What matters most is the nuance of groove and rhythm, and Davis found both in this band, though Grossman's playing is too busy and too green; he plays everything he knows in every solo. It's a small complaint, as this is an exciting document of a band trying to come to grips with the power of a music they don't even fully understand yet.
---Thom Jurek, All Music Guide |
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