I think Al Foster is one of Miles' most underrated drummers. Not as flashy as Tony Williams or Jack DeJohnette, but he can keep a groove feel like it's bursting with energy forever, and he anchors an impeccable wall of rhythm with Henderson, Lucas & Mtume.
True, he had perfect time feel and time keeping ability in that groove oriented setting like this one, and he is also a great straight ahead jazz drummer.
its so interesting hearing pete cosey with such a relatively clean tone. I thought he would have more effects on this one but i guess he really leans into that at the end of 73. I love hearing the process of this band
yes, very true - I think later in the year or early '74 he added an EMS Synthi A to his arsenal and used that to great effect - Johnny Marr has done the same thing on his last couple of recordings (with the Erica clone I think it is)
Thanks for sharing. 12:09 -14 - that phrase w/ that somewhat chromatic, melodic pattern sequence, Lieb plays it (or at least a portion of it) the opening solo of Miles' seminal 1972 'On the Corner/New York Girl....' He plays it again @ 31:26 - 30. Fascinating. I've always wanted to transcribe that - the studio 'On the Corner' version, may hearing it repeated times will get me around to do it.
Mtume's percussion and Michael Henderson's bassline are awesome. Needless to say, Pete Cosey's guitar...! Reggie Lucas' cutting is quite groovy, this band is right for some Rockfestival.
June 19, 1973 Shinjuku Kosei Nenkin Hall, Tokyo (Japan) Nippon Broadcasting Corporation TV broadcast (B) Miles Davis (tpt, org); Dave Liebman (ss, ts, fl); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume First set 1 Introduction 0:33 2 Turnaroundphrase (M. Davis) 12:30 3 Tune in 5 (M. Davis) 9:25 Incomplete (9:23) on Jazz Masters 4 Right Off (M. Davis) 3:33 5 Funk [Prelude, part 1] (M. Davis) 8:357 Introduction 1:11 8 Ife (M. Davis) 21:48 9 Agharta Prelude (M. Davis) 9:52 10 Zimbabwe (M. Davis) 10:59 11 Tune in 5 (with applause) (M. Davis) 2:30 This may just be a continuation of "Right Off," but the el-b vamp has some elements in common with that of "Funk." Perhaps the latter evolved from "Right Off" during this period 6 Tune in 5 (with applause, announcement) (M. Davis)
The camerawork is rather poor, as it is mostly in this period, because the directing guys are still looking for soloists and star-featuring, while this a living jungle, where all beings sound together ... but as Miles always said" the music speaks for itself"..never more true than here ... . get up with it!
@@BBoldGamingit's a damn shame that your father wasn't interviewed much or truly revered as he should have been during his time with Miles. He was Miles' longest standing bassist, and all of audio and footage shows why this is. Unfathomable range on his instrument. Godspeed to your father.
@@BBoldGaming please do so. Miles based all of his music between late 1970 to 1975 around your father's prowess on the bass. I've been listening to this music for over 30 years and I still discover something new at every listen 🎶 🙏🏾
Michael Henderson and James Mtume were phenomenal musicians !❤ James Mtume was a force of blackness on The Strata East Mothership . And Michael Henderson went on to watch his own Star shine bright ... but it doesn't hurt to be a piece of fruit on The Miles Davis Tree until you become ripe.
Also I might add, the band was better with Don Alias. Mtume never liked the structure of Afro-Cuban congueros. He thought that tradition was boring. Albeit, they have roots.
I really don't know, but a jazz guitarist friend of mine told me years ago that McLaughlin was one of the guitarists who played on Bitches Brew, so that would be about 6 before this. I agree though this band is something else and the videos of their concerts later in the year in Vienna and Berlin (?) are great too. Pete Cosy has to be just about my favorite guirtarist, John McLaughlin is not nearly as interesting.
Does anyone know what the instrument mtume is playing is called? I can't seem to find it anywhere but im curious because he plays it in most of miles' recordings and sets from this period
I think Al Foster is one of Miles' most underrated drummers. Not as flashy as Tony Williams or Jack DeJohnette, but he can keep a groove feel like it's bursting with energy forever, and he anchors an impeccable wall of rhythm with Henderson, Lucas & Mtume.
True, he had perfect time feel and time keeping ability in that groove oriented setting like this one, and he is also a great straight ahead jazz drummer.
Liebman has always been underrated in my book. Have a bunch of great solo lps too.
Could not agree more.
What a beautiful period of music (1970's).
Comenzó aproximadamente el año 1968 a la fecha. El estilo se llama Jazz Fusión. Miles Davis es un genio.
which period precisely?
@@janpierzchala2004 I would say 1969 through 1974 (his first 6 fully electrified years)
@@sirqitousMy favorite period from Miles ❤
@@romemiller5349 Yea 1969 to 1975 is where it's at with me with Miles, I loved 1981-1982 the comeback years as well.
its so interesting hearing pete cosey with such a relatively clean tone. I thought he would have more effects on this one but i guess he really leans into that at the end of 73. I love hearing the process of this band
yes, very true - I think later in the year or early '74 he added an EMS Synthi A to his arsenal and used that to great effect - Johnny Marr has done the same thing on his last couple of recordings (with the Erica clone I think it is)
He added the EMS Synthi A in late 74/early 75
Definitely a lot of FX stuff later, that's true.
This is Unbelievable! Wow!!
Thanks for sharing. 12:09 -14 - that phrase w/ that somewhat chromatic, melodic pattern sequence, Lieb plays it (or at least a portion of it) the opening solo of Miles' seminal 1972 'On the Corner/New York Girl....' He plays it again @ 31:26 - 30. Fascinating. I've always wanted to transcribe that - the studio 'On the Corner' version, may hearing it repeated times will get me around to do it.
Those shades don't mess about!
When music is perfection and freedom...!!!..
Lo de Miles Davis es único y en especial su etapa eléctrica, innovación pura, pasa por todos los géneros. Irrepetible en la historia de la música.
Genio, ❤ grazie 🎉🎉🎉🎺🎺🎺🤗
Wild to see how jazz evolved. Also liebman's hip thrusts at 4:53 tells you everything you need to know
Mtume's percussion and Michael Henderson's bassline are awesome. Needless to say, Pete Cosey's guitar...! Reggie Lucas' cutting is quite groovy, this band is right for some Rockfestival.
この時期のマイルスを観れた人が羨ましすぎる！✨
と、同時に
この斬新なスタイルのマイルスの音楽性を当時の人がどう思っていたのかが気になるところ🤔
Still overviewing who he is,suspect same
Great Miles 🎉
always different
凄すぎる。神の演奏だ！貴重映像ありがとう御座いました🎉❤
Que privilégio desses que puderam ver Miles nesse período experimental e criativo 🤌👏👏👏
必要最低限の照明とシンプルなステージ
これこそライブですね
Brilliant.
It occurs to me, that yes, when someone mentions Hendrix or Prince...i should be proud to give them just a taste of Miles
Then Give them Some of miles wife. The Great Betty Davis! She made mile in the 70's.
ありがとうございます。Turnaround Phraseも初々しいです。
Not new here. It was introduced in April 1973
this is is brilliant
Thanks for uploading,
Thank you very much!
June 19, 1973 Shinjuku Kosei Nenkin Hall, Tokyo (Japan)
Nippon Broadcasting Corporation TV broadcast (B)
Miles Davis (tpt, org); Dave Liebman (ss, ts, fl); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume First set
1 Introduction 0:33
2 Turnaroundphrase (M. Davis) 12:30
3 Tune in 5 (M. Davis) 9:25
Incomplete (9:23) on Jazz Masters
4 Right Off (M. Davis) 3:33
5 Funk [Prelude, part 1] (M. Davis) 8:357 Introduction 1:11
8 Ife (M. Davis) 21:48
9 Agharta Prelude (M. Davis) 9:52
10 Zimbabwe (M. Davis) 10:59
11 Tune in 5 (with applause) (M. Davis) 2:30
This may just be a continuation of "Right Off," but the el-b vamp has some elements in common with that of "Funk." Perhaps the latter evolved from "Right Off" during this period
6 Tune in 5 (with applause, announcement) (M. Davis)
Davis trumpet playing is similar to that of a child. Innocence and naivity. Like the art of Picasso.
Miles Davis is my favorite
Gracias!
Wow!!
La mejor época,para mi humilde opinión,del 69/75..
I wholly agree 👍
The camerawork is rather poor, as it is mostly in this period, because the directing guys are still looking for soloists and star-featuring, while this a living jungle, where all beings sound together ... but as Miles always said" the music speaks for itself"..never more true than here ... . get up with it!
Lol my dad is Michael henderson and wasn’t too fond of the camera man either. He’s on the bass
@@BBoldGamingit's a damn shame that your father wasn't interviewed much or truly revered as he should have been during his time with Miles. He was Miles' longest standing bassist, and all of audio and footage shows why this is. Unfathomable range on his instrument. Godspeed to your father.
@@BBoldGaming he was a beast!
@@cali22boi I have a lot of that footage and going to debut it on the official website ❤️📌
@@BBoldGaming please do so. Miles based all of his music between late 1970 to 1975 around your father's prowess on the bass. I've been listening to this music for over 30 years and I still discover something new at every listen 🎶 🙏🏾
Awesome T
Tune in 5 is uh tuff asss groove
VERY GOOD.................................................................................................
D Liebman is a F-ing beast
Setlist:
Ife
Agharta Prelude
Zimbabwe
Tune in 5
Michael Henderson and James Mtume were phenomenal musicians !❤ James Mtume was a force of blackness on The Strata East Mothership . And Michael Henderson went on to watch his own Star shine bright ... but it doesn't hurt to be a piece of fruit on The Miles Davis Tree until you become ripe.
Interesting enough, seems like the watershed moment is when John McLaughlin joined the band. Personally, I love this band more.😂 🎉😅
Also I might add, the band was better with Don Alias. Mtume never liked the structure of Afro-Cuban congueros. He thought that tradition was boring. Albeit, they have roots.
I really don't know, but a jazz guitarist friend of mine told me years ago that McLaughlin was one of the guitarists who played on Bitches Brew, so that would be about 6 before this. I agree though this band is something else and the videos of their concerts later in the year in Vienna and Berlin (?) are great too. Pete Cosy has to be just about my favorite guirtarist, John McLaughlin is not nearly as interesting.
@@shemusmcquillaide Sonny Sharrock shared the guitar chair before Mr. McLaughlin. They both played simultaneously on Wayne Shorter's Super Nova,1969.
Intéressant de comparer a environ 46' avec la dernière intervention de miles sur " Gondwana"
🎺🚀🎺🎺🚀🎺🚀🚀
🤩😇🥰
Does anyone know what the instrument mtume is playing is called? I can't seem to find it anywhere but im curious because he plays it in most of miles' recordings and sets from this period
wooden tongue drum (starting around 36 min)
😢
😀❤️🌺🍀
👍
I wanna hear wahwah trumpet today. Bring it back! Who brave enough?
Médéric Collignon. France. Trompette, bugle, scat.
what is the set?
58:15
Pretty sure this is June 20th
Alessandro de Souza Baeta Neves.
proto-house music :))
Exactly... you get it
Alessandro de Souza sujeira
That band deseeves a better guitar player....
I like Cosey.... but the huge 'what if' is Jimi.
I think Pete cosey is phenomenal but for some reason he is always too quiet and gets drowned out by the band during his solos