I am always amazed at the courage of Miles Davis to play this type of music. If only we all could truly be ourselves without caring about what others think...
Miles was a great artist who constantly sought new and revolutionary ways to express his inner voices. He was also a great nurturer of talent in others. A list of all of the great musicians that played with him and then went on to achieve their own greatness is a who's who of jazz greatness.
right! and without even thinking that maybe the magic is quite the opposite - try to not catch him, but doing the opposite, doing something that doesnt sound like him.
I for one don't care what they look like. I'll take all the Miles I can get, and I love the way he kept moving on to new things. Still, I think this era reached its peak for him a year or so later, when they broke out of the "soloist against rhythm section" mold an just became a single writhing mass of swamp juice. Just remember, you can enjoy it without giving up any of the exquisite older stuff.
Miles himself thought he reached his peak the year before. In a rare interview in Downbeat later on, he cited the northeastern/New England leg of his 1970 tour as the time in his career that he felt that everything came together perfectly and the music reached its peak. (I was lucky enough to attend his concert in Boston on that tour, and I agree with the master's assessment.)
@@geezerpleasers_OG That was with John McLaughlin, right? I read about that. He said the Boston concert was the best. In those days they couldn't get a team out there to record in time.
This music is some of the best in the 20th century, before and after------------beyond description, ever mysterious, ever vital, ever youthful....Miles was one of a kind.
Man. Miles attracted the best jazzmen! .Every combo is frighteningly great. Just the pianists who've played with him - Bill Evans, Herbie Hancock, Keith Jarrett, Joe Zawinul, Red Garland, Chick Corea.
Ndugu told me that Keith got him fired because he wanted Jack DeJohnette in the band. MICHAEL HENDERSON is holding all together though....Detroit bass players!!!!!!!
I believe I saw most of this particular group in fall, 1970 in Portland, Ore. The only differences were Jack DeJohnette on drums and Airto on hand percussion. Now, 40-some years later, this seems much clearer and easier to comprehend than back then, when I was 17. I remember a letter to the editor in the Oregonian newspaper, where a guy who dug Miles in the 50s just had a cow over what he heard that night.
So beautiful how Gary bends and winds the tone, and what really stuns me is how this seems to increase the plasticity and physicality of the sound; at some point I almost get the feeling I could touch it with my hands.
Pure sound and pure music from top musicians. Miles was a supreme organizing "wizard" an shepherd to them. A catalyst. Don't blame Miles for abandoning the form and the usual structure of the "standards". He was already "beyond" that. He wanted the "feel", the groove and the spontaneous creation to take off. Some night this was ok, some not so ok; but even in the "no" occasion the level was extremely high. It is nothing to be confused with "free" jazz that is, remains (and was to Miles self) a complete nonsense. Here you have rythm, groove, notes and solos: you can still tap your feet; and this was what Miles was after in the early 70. Great improvisional funky jazz music. That's so simple. Somebody still does not get this: fine. Others just dug then and dig it still now. Fine as well. It was just Miles at his best throughout his entire career. Love him or hate him, but can't be ignored!
I'm surprised to hear some casual jazz fans speak of Miles as a player blessed with the technique of Clifford, Freddie, Lee of Dizzy. Those guys all had chops and facility exceeding Miles (as did Red Rodney). Miles made a careful study of "presentation," taking note of how performers like Sinatra and Orson Welles could command a stage all by themselves and hold audiences in their spell. As a result, Miles could communicate more with fewer notes than virtually any other player. He never had the full sound of a Lee or Freddie, much less the impossible trills of Freddie and the effortless half-valving of Lee. But Miles knew what audiences could comprehend, and he trimmed anything extraneous from his repertory of articulations and motifs. In the '50s musicians were quick to point out his fluffs and clams, but Miles wouldn't have let them be published had he found them damaging. Instead, they simply heightened the sense of spontaneity and risk that was his hallmark. When Trane left him in 1960, he worked on his high register, until he could use it with with surprising force and effectiveness. Frankly, I resented his dismissive treatment of Hank Mobley, after he practically bribed the great tenorman to take Coltrane's place. When Miles was through with Hank, the latter never regained his confidence, despite outplaying Miles on the indispensable "Friday and Saturday Nights at the Blackhawk." No one was more inventive than Mobley, but Miles saw Wayne Shorter's visual style and Coltrane-like tone as a better fit even before Mobley signed on. Finally, I saw Miles at Avery Fisher Hall in NYC, playing one half of the concert with the Marsalis Brothers playing the other half. Neither group really "swung," but Miles' outsized sunglasses elicited a chuckle, and the audience took in stride his turning his back on them and his habit of looking at the floor, where his foot was pumping a wah-wah pedal responsive to the tones from his horn. By the 1980s Miles had neglected his horn to the detriment of his music. At the end, he became supportive of the Songbook and polished stylings--vocally and pianistically--of Shirley Horn, and he tried to do a reprise of his three Gil Evans albums with mixed success. But jazz needs mythic figures like Bird and Miles to keep its flickering flame glowing and alive. As jazz' Prince of Darkness, Miles was the ultimate modernist, representing each of changes in the music's styles--from bebop to cool bop to hard bop to orchestral concertos (with Gil Evans) to modes (with Bill Evans) to neo-bop to fusion with popular styles, from disco to funk. He was the Pablo Picasso of jazz.
My Dad was a musician ( Bass Player )... My Mom told me one story about Miles walking out onto stage, playing like *one* note, walking off the stage... He was so deeply admired, other musicians and the audience were like, "Cool man!!!" LOL
Any genius or master musician would be a fool to not admit that he or she had a lot of help along the way. As good as one is, the people in your band can make you look pretty damn good, maybe even better than you really are. Part of Miles' genius was picking the right people to support his musical vision.
This so much. To have "better" or more advanced people around you while they can accept who you are might be the key. One key. In short: Love is the answer. Giving love.
I didn't see where he 'said' anything. That said, thanx for another piece featuring the two best musicians on the planet. Miles and Jarret really *are* 'Picassos' of music.
+gyrofoam1 The title of the video (What Did Keith Jarrett Say to Miles Davis?) refers to the name of the song they're playing in it, which is called "What'd I Say".
As I remember some there was a large legion of fans who loved Miles and couldn't wait for the his next release. There were some traditionalist who for years complained whined moaned because it wasn't what they liked.
if miles were still alive today he would still be ahead of his time doing something completely different blowing everyones mind!!! i saw this same group in 1971 when they were on tour.. amazing.
After years of searching I finally acquired the 10-CD 2 Ts for a Lovely T Cecil Taylor Feel Trio box set for a good price; but I can't stop listening to this. Damn you Miles from the grave you tug at me.
Musicianship at some of its best! Miles being the improviser that he was just shows here on this set. Kenny Jarrett was just so into his playing. The passion that he shows as a pianist is just all there. And Gary Bartz saxophone playing is the bomb. Real music aficionados such as myself can appreciate this kind of playing.
Once again,I see a clip you have posted that I find to be indispensable... To tell you the truth-I have never known a whole lot about this period. Sure,I OWN "Live Evil","Silent","Bitches","On The Corner",etc...and I know who plays on them...but I have never seen this-I didn't know Gary Bartz even played like that!LOL! KILLER! I have seen some film of Dave Liebman playing a soprano with this fury from around this time-but NEVER Gary Bartz... Thank you for posting this Brett. P.S I loved Jarrett too!
Saw Miles in the mid 70's a the Eric Crown Theater in McCormick Place, Chicago at the tender age of 20, they were teaching Transcendence the vehicle was and is sound they were Masters !
LOL, I'll explain it to you----- $$$$. Miles looked at all these young white rock and roll bands making incredible amounts of money, far beyond anything any jazz musician would or could ever possibly imagine. So he got himself an electric band and starting playing to large rock and roll crowds, and the weird noises he made is a cynical comment on the complete stupidity of the people listening.
@@joepalooka2145 not sure what this even means, as if everything is not driven by musical and cultural shifts. If things were as you say, then they would be playing old swing dance music, or pop music.
Actually Miles wouldn't have two sheets what you thought about the music.... He never did. Had he did he never would have gone electric in the first place. If you think this stuff was going to make Miles "popular", forget it. This was never excepted in the "Rock" world.... never. He was not popular, like Hendrix or The Who or whatever back in that era. I remember. People absolutely thought the few friends I had that liked this stuff were completely off our rockers...
I remember seeing Jarrett and Davis together at the Seattle Center Coliseum. I snuck in by hauling in Joe Zawinul's Fender Rhodes, pretending to be a roadie, since Cannonball was there as well.
You have no idea how much free LIVE music was around in the 70's. Music albums were cheap and everyone passed cassettes around. Today IS great but the 70's were great too. The Jazz loft scene in NYC and Chicago were brilliant. Read about it and explore.
Keith the wheeler dealer. He plaid with him to make himself a name, as he also admitted on early interviews. That THAT statement did not match well with his ego some albums later is rather expectable, though. Awesome pianist, honest to his craft, but unbearable when it comes to everything else.
@ Robert Hall- When Steely Dan‘s “Gaucho” was released on 1980 Keith Jarrett sued Donald Fagen and Walter Becker for using the main theme of ”Long As You Know You’re Living Yours” (1974) without giving him credit. Fagen and Becker claimed that Living Yours inspired the track. Jarrett has since been added to the credits. I'm fans of all three musicians but the sad part is Fagen & Becker should have given credit before legal action was needed by Jarrett. (thatsongsoundslike)
I'm an even bigger fan of Jarrett than I am of Steely Dan -- but I think Keith was off base with this one. Gaucho was a favorite of mine at the time, and it didn't even occur to me that it might be derivative of "Living Yours." Keith never implied or imagined what Fagen & Becker made out of those bits in common (the faux-gospel piano and tenor) -- in my mind he deserves no songwriting credit for "Gaucho."
I guess because I was listening to this music as it came out it did not seen strange to me. It was different but Miles was himself basically what he always played over a funk beat. I remember picking up Live at the Fillmore East and the music just felt good. Over the years it because easy to recognize the different tunes but on the Filmore record I had not heard a lot of Wayne Shorter's music. Keith Jarrett was funky with Miles. I always like his sound better than Chick Corea and Mtume on Congas brought some bottom to the music. He knew jazz, His Dad was the great saxophonist and arranger Jimmy Heath, The music stands the test of time.
Jarrett is a phenomenal musician in may ways. Nevertheless, I simply don't get this free form kind of improvisation at all. This period of his career may have been instructive to him in terms of expanding his horizons, but for me? Well, it just leaves me empty. For me, Jarrett is the '96 Tokyo recordings. And maybe the solo "Concerts" albums.
@Loumademe Keith Jarrett hated this gig (or any gig involving electric instruments), but in interviews, he says that this was the only way that he would get to play with Miles, so he did it.
Don Alias and Mtume. Ndugu didn't last long with Miles. Keith wanted Jack back....And I think Miles did too. I would love to see the rest of the concert.
Let's make some f***ing great music man, and they did. When I first heard Miles Davis play music like this I thought WTF, i was deeply into "kind of Blue" at the time. I did not get it at all. And now almost 30 years after I heard this kind of music for the first time I love this.
Did the newer stuff allow you to "get" KoB? Just wondering - I didn't get Jazz at all until my friend handed off Blue to me. By the end of the album... I understood. From that moment on, I can listen to anything considered Jazz.
@@JazzVideoGuy This was an interesting lineup of personnel. Ndugu Chancler was on drums but he only played with Miles for a brief time, taking over from Jack DeJohnette. And Miles was doubling up on percussionists. I'm guessing that not too long after this performance was when Miles started to shift from his Live-Evil phase to his On the Corner style, where he went way heavier on percussion.
btw, can't remember in which documentary another genius sax speaks about his first encounter/boeuf with miles, explaining how hard he was trying to put his guts on the plate not to look ridiculous.. While the rest of the band and the audience were acclaiming his nasty performance, miles came close to him, didn't even removed this huge sunglasses he used to wear and just gave him a "coooooool" with his cavernous voice. F****g compliment, indeed ! What a guy, Miles ^^
Advanced noodling. I love Miles, but this electric period...I just don't feel anything. When he came back out in the 80's with Marcus Miller, the music was more organized and had a feeling, a direction.
Presto Vivace so you didn't like bitches brew? or agharta? or get up with it? or miles in the sky? i thought all of those albums had a direction and that direction was up and beyond, they were aiming for the stars there, maybe it was over your head?
Presto Vivace You can't actually believe that Time After Time and Human Nature by Miles is better than this????????Huh?????Do Bop????? I don't know how old u r but if you ever saw Miles Electric until the retirement in 1975 there does not even warrant a response to the comeback in the 1980's. I still went in the 80's but it was just to literally TO SEE MILES!!!!At that point the music was totally an afterthought.Anyway let's all just Dig Miles!!?😎
While I totally respect Jarrett's choice to stay away from electric instruments after Miles I still think he would have done amazing music with electric and electronic gear is he had chosen so...of course he made beautiful music anyway
I am always amazed at the courage of Miles Davis to play this type of music. If only we all could truly be ourselves without caring about what others think...
Beautiful comment. His courage is immeasurable. Awe-inspiring.
+1000
Christian Bailey ...lol...i wonder if miles was that gracious to peers with the same mentality as him
Well put.
It's amazing how listenable it's always been to me. I guess that growing up on pop/rock/soul gives one an advantage here.
I don't go for jazz but I can't stop listening to this.
That's a good start
Miles was a great artist who constantly sought new and revolutionary ways to express his inner voices. He was also a great nurturer of talent in others. A list of all of the great musicians that played with him and then went on to achieve their own greatness is a who's who of jazz greatness.
True dat
What's truly amazing is that the rest of the world is still trying to catch up with Miles 45 years later.
right! and without even thinking that maybe the magic is quite the opposite - try to not catch him, but doing the opposite, doing something that doesnt sound like him.
Yeah! I think that's exactly what Miles had done in the face of his musical peers, ironically.
+Bojan Marsetic Good point even though they can't escape his influence entirely.
of course they cannot :)
Luckily A few have succeeded
I for one don't care what they look like. I'll take all the Miles I can get, and I love the way he kept moving on to new things. Still, I think this era reached its peak for him a year or so later, when they broke out of the "soloist against rhythm section" mold an just became a single writhing mass of swamp juice. Just remember, you can enjoy it without giving up any of the exquisite older stuff.
docbobster I know what you mean , wasn't fond of the wraparound shades red trumpet era time after time era sequins blaa
Miles himself thought he reached his peak the year before. In a rare interview in Downbeat later on, he cited the northeastern/New England leg of his 1970 tour as the time in his career that he felt that everything came together perfectly and the music reached its peak. (I was lucky enough to attend his concert in Boston on that tour, and I agree with the master's assessment.)
@@geezerpleasers_OG That was with John McLaughlin, right? I read about that. He said the Boston concert was the best. In those days they couldn't get a team out there to record in time.
This music is some of the best in the 20th century, before and after------------beyond description, ever mysterious, ever vital, ever youthful....Miles was one of a kind.
Man. Miles attracted the best jazzmen! .Every combo is frighteningly great. Just the pianists who've played with him - Bill Evans, Herbie Hancock, Keith Jarrett, Joe Zawinul, Red Garland, Chick Corea.
don't forget Mtume and Don Alias on percussion and Leon Chancler on drums.
This is from the concert in Oslo, Norway on 9 November 1971.
Ndugu told me that Keith got him fired because he wanted Jack DeJohnette in the band.
MICHAEL HENDERSON is holding all together though....Detroit bass players!!!!!!!
@@FramrodLiggins love Henderson!
Thanks, I thought it was lenny White for a minute.
Ndugu & Michael. Gary.
Keith Jarett is a monster. Listen to his classical recordings. Shostakovitch preludes and fugues are crazy good.
Absolutely. Totally out of left field choice and super cool.
His Mozart is killer too.
Jazz is the classical music of America.
@@lauraowens7059 and America's biggest contribution to art in the world
I believe I saw most of this particular group in fall, 1970 in Portland, Ore. The only differences were Jack DeJohnette on drums and Airto on hand percussion. Now, 40-some years later, this seems much clearer and easier to comprehend than back then, when I was 17. I remember a letter to the editor in the Oregonian newspaper, where a guy who dug Miles in the 50s just had a cow over what he heard that night.
if you saw Miles with Dejohnette and Airto, then you saw Dave Holland on bass and not Michael Henderson on bass who is in this video here.
So beautiful how Gary bends and winds the tone, and what really stuns me is how this seems to increase the plasticity and physicality of the sound; at some point I almost get the feeling I could touch it with my hands.
Pure sound and pure music from top musicians. Miles was a supreme organizing "wizard" an shepherd to them. A catalyst. Don't blame Miles for abandoning the form and the usual structure of the "standards". He was already "beyond" that. He wanted the "feel", the groove and the spontaneous creation to take off. Some night this was ok, some not so ok; but even in the "no" occasion the level was extremely high. It is nothing to be confused with "free" jazz that is, remains (and was to Miles self) a complete nonsense. Here you have rythm, groove, notes and solos: you can still tap your feet; and this was what Miles was after in the early 70. Great improvisional funky jazz music. That's so simple. Somebody still does not get this: fine. Others just dug then and dig it still now. Fine as well. It was just Miles at his best throughout his entire career. Love him or hate him, but can't be ignored!
I'm surprised to hear some casual jazz fans speak of Miles as a player blessed with the technique of Clifford, Freddie, Lee of Dizzy. Those guys all had chops and facility exceeding Miles (as did Red Rodney). Miles made a careful study of "presentation," taking note of how performers like Sinatra and Orson Welles could command a stage all by themselves and hold audiences in their spell. As a result, Miles could communicate more with fewer notes than virtually any other player. He never had the full sound of a Lee or Freddie, much less the impossible trills of Freddie and the effortless half-valving of Lee. But Miles knew what audiences could comprehend, and he trimmed anything extraneous from his repertory of articulations and motifs.
In the '50s musicians were quick to point out his fluffs and clams, but Miles wouldn't have let them be published had he found them damaging. Instead, they simply heightened the sense of spontaneity and risk that was his hallmark. When Trane left him in 1960, he worked on his high register, until he could use it with with surprising force and effectiveness. Frankly, I resented his dismissive treatment of Hank Mobley, after he practically bribed the great tenorman to take Coltrane's place. When Miles was through with Hank, the latter never regained his confidence, despite outplaying Miles on the indispensable "Friday and Saturday Nights at the Blackhawk." No one was more inventive than Mobley, but Miles saw Wayne Shorter's visual style and Coltrane-like tone as a better fit even before Mobley signed on.
Finally, I saw Miles at Avery Fisher Hall in NYC, playing one half of the concert with the Marsalis Brothers playing the other half. Neither group really "swung," but Miles' outsized sunglasses elicited a chuckle, and the audience took in stride his turning his back on them and his habit of looking at the floor, where his foot was pumping a wah-wah pedal responsive to the tones from his horn. By the 1980s Miles had neglected his horn to the detriment of his music. At the end, he became supportive of the Songbook and polished stylings--vocally and pianistically--of Shirley Horn, and he tried to do a reprise of his three Gil Evans albums with mixed success. But jazz needs mythic figures like Bird and Miles to keep its flickering flame glowing and alive. As jazz' Prince of Darkness, Miles was the ultimate modernist, representing each of changes in the music's styles--from bebop to cool bop to hard bop to orchestral concertos (with Gil Evans) to modes (with Bill Evans) to neo-bop to fusion with popular styles, from disco to funk. He was the Pablo Picasso of jazz.
I dig this.
I would like to draw peoples attention to the excellent bass playing here...
My Dad was a musician ( Bass Player )... My Mom told me one story about Miles walking out onto stage, playing like *one* note, walking off the stage... He was so deeply admired, other musicians and the audience were like, "Cool man!!!" LOL
Freddie Hubbard absolutely dominated Jazz Trumpet in the 1970s during Mile's hiatus... Filled that space quite nicely till the late 1970s.
Wow, you have an opinion, how pretentious of you ....
Any genius or master musician would be a fool to not admit that he or she had a lot of help along the way. As good as one is, the people in your band can make you look pretty damn good, maybe even better than you really are. Part of Miles' genius was picking the right people to support his musical vision.
This so much. To have "better" or more advanced people around you while they can accept who you are might be the key. One key. In short: Love is the answer. Giving love.
"If you take one more cellphone picture of me I'm walking off the stage."
Mark Shornick what do you mean? cellphones were non existent during miles' whole life
anarchitect420 I h
+anarchitect420 He was joking and cellphones were around in the 80s
Miles played with his back to the crowd many a time. "I'm not playing for the audience, I'm playing for the band."
@@Coloradiohead Miles was a very foresightful man
I didn't see where he 'said' anything. That said, thanx for another piece featuring the two best musicians on the planet. Miles and Jarret really *are* 'Picassos' of music.
+gyrofoam1 The title of the video (What Did Keith Jarrett Say to Miles Davis?) refers to the name of the song they're playing in it, which is called "What'd I Say".
thanks indeed
(Hoarse Miles voice): 'Play like you don't know how to play'.
A very intelligent way to have a conversation!!!!Salud!!
As I remember some there was a large legion of fans who loved Miles and couldn't wait for the his next release. There were some traditionalist who for years complained whined moaned because it wasn't what they liked.
The Music speaks for itself! Miles forever: 28. September 1991, RIP Miles !
Love this stuff..so groovy and deep.
Yes, exactly.
almost hypnotic in a way.
And I think that might have been deliberate. In print Miles said he was listening closely to Stockhausen @ this time...
Here this vid shows a rare short-lived edition of Miles' electric band with Jarrett, Bartz, Don Alias, Mtume and Ndugu(!) on drums! - Just awesome!!
Notification is that michael henderson bass ( un mentioned)
great historical footage
What Did Keith Jarrett Say to Miles Davis?
Miles said "Take it." Keith said "OK".
It was so cool. I had almost forgotten! Maurice Welsh
I love this!
if miles were still alive today he would still be ahead of his time doing something completely different blowing everyones mind!!! i saw this same group in 1971 when they were on tour.. amazing.
After years of searching I finally acquired the 10-CD 2 Ts for a Lovely T Cecil Taylor Feel Trio box set for a good price; but I can't stop listening to this. Damn you Miles from the grave you tug at me.
Sound explorations instead of melodic development
Musicianship at some of its best! Miles being the improviser that he was just shows here on this set. Kenny Jarrett was just so into his playing. The passion that he shows as a pianist is just all there. And Gary Bartz saxophone playing is the bomb. Real music aficionados such as myself can appreciate this kind of playing.
super cool! and great free playing! Jarrett wow! and Bartz wow!!!!
GORDOTRONIC Yes, this is one of Miles' great bands.
Once again,I see a clip you have posted that I find to be indispensable...
To tell you the truth-I have never known a whole lot about this period.
Sure,I OWN "Live Evil","Silent","Bitches","On The Corner",etc...and I know who plays on them...but I have never seen this-I didn't know Gary Bartz even played like that!LOL! KILLER! I have seen some film of Dave Liebman playing a soprano with this fury from around this time-but NEVER Gary Bartz...
Thank you for posting this Brett.
P.S I loved Jarrett too!
Saw Miles in the mid 70's a the Eric Crown Theater in McCormick Place, Chicago at the tender age of 20, they were teaching Transcendence the vehicle was and is sound they were Masters !
With The Charles Lloyd Quartet... amazing combination. Check out Live In at the Fillmore SF concert. Thanks for this video!
yes, that Fillmore concert is exceptional
creative moments
That Gary Bartz solo is sick!
Never seen this..fantastic. What times..
I don't understand the significance of the title of this video.
Neither do I, it still is very good! (the music)
LOL, I'll explain it to you----- $$$$. Miles looked at all these young white rock and roll bands making incredible amounts of money, far beyond anything any jazz musician would or could ever possibly imagine. So he got himself an electric band and starting playing to large rock and roll crowds, and the weird noises he made is a cynical comment on the complete stupidity of the people listening.
You weren't listening to what Keith said.
@@joepalooka2145 not sure what this even means, as if everything is not driven by musical and cultural shifts. If things were as you say, then they would be playing old swing dance music, or pop music.
@@joelarkin3714 when does Keith say anything in the video?
Actually Miles wouldn't have two sheets what you thought about the music.... He never did. Had he did he never would have gone electric in the first place. If you think this stuff was going to make Miles "popular", forget it. This was never excepted in the "Rock" world.... never. He was not popular, like Hendrix or The Who or whatever back in that era. I remember. People absolutely thought the few friends I had that liked this stuff were completely off our rockers...
Miles said greater than learning is the ability to applie
I remember seeing Jarrett and Davis together at the Seattle Center Coliseum. I snuck in by hauling in Joe Zawinul's Fender Rhodes, pretending to be a roadie, since Cannonball was there as well.
great memory
Much better volume- thanks
I wish, I wish, I wish, these discussions were moderated. Reading these posts, I feel like my head is circling the drain.
That embouchure at 4:30.. he might as well be playing the kazoo at this point. This man is insane.
Gary Bartz on 🔥!
that was dope...sick!
You have no idea how much free LIVE music was around in the 70's.
Music albums were cheap and everyone passed cassettes around.
Today IS great but the 70's were great too. The Jazz loft scene in NYC and Chicago were brilliant. Read about it and explore.
Man those folks could play. And did.
Read an interview in which Jarrett says he only played electric stuff out of his respect for Miles... good for him.
He has never returned to the electric canvas.
Keith the wheeler dealer. He plaid with him to make himself a name, as he also admitted on early interviews. That THAT statement did not match well with his ego some albums later is rather expectable, though.
Awesome pianist, honest to his craft, but unbearable when it comes to everything else.
@ Robert Hall- When Steely Dan‘s “Gaucho” was released on 1980 Keith Jarrett sued Donald Fagen and Walter Becker for using the main theme of ”Long As You Know You’re Living Yours” (1974) without giving him credit. Fagen and Becker claimed that Living Yours inspired the track. Jarrett has since been added to the credits. I'm fans of all three musicians but the sad part is Fagen & Becker should have given credit before legal action was needed by Jarrett. (thatsongsoundslike)
I'm an even bigger fan of Jarrett than I am of Steely Dan -- but I think Keith was off base with this one. Gaucho was a favorite of mine at the time, and it didn't even occur to me that it might be derivative of "Living Yours." Keith never implied or imagined what Fagen & Becker made out of those bits in common (the faux-gospel piano and tenor) -- in my mind he deserves no songwriting credit for "Gaucho."
Damn!
Genius sax playing!\
"What key are we in, Miles?!"
umm...wow, just listen to the bass playing the tonic over and over, the key is in your face, words are not needed for that.
I guess because I was listening to this music as it came out it did not seen strange to me. It was different but Miles was himself basically what he always played over a funk beat. I remember picking up Live at the Fillmore East and the music just felt good. Over the years it because easy to recognize the different tunes but on the Filmore record I had not heard a lot of Wayne Shorter's music. Keith Jarrett was funky with Miles. I always like his sound better than Chick Corea and Mtume on Congas brought some bottom to the music. He knew jazz, His Dad was the great saxophonist and arranger Jimmy Heath, The music stands the test of time.
He's got his jazz face on
That bassline just holding the whole thing down. Tight.
Who is that playing bass?
@@grasshopperfiddler the description says Michael Henderson.
As on most of his recordings, he was probably saying something along the lines of "Eeeeeeee....eeeeeeaaaauuunhh.. eeee!?
Jarrett is a phenomenal musician in may ways. Nevertheless, I simply don't get this free form kind of improvisation at all. This period of his career may have been instructive to him in terms of expanding his horizons, but for me? Well, it just leaves me empty.
For me, Jarrett is the '96 Tokyo recordings. And maybe the solo "Concerts" albums.
+Bob BurnsI just saw keith at Carnegie hall. go see him. he'll help you inside and out enjoy improv. amazing
I LOVE improv jazz. I just didn't like THIS improv jazz...as a listener. It's probably a hell of a lot more fun to DO it than listen to it.
listen to it high or real drunk
Theres a lot of Keith in my collection and I like all of it but I’ll take the Koln Concert above all else.
good one !!!
@Loumademe Keith Jarrett hated this gig (or any gig involving electric instruments), but in interviews, he says that this was the only way that he would get to play with Miles, so he did it.
"Don't play the butter notes" lol
“I don’t want to play this “f*****g instrument anymore!!”
@Loumademe Bartz is playing soprano sax.
Did I miss something here? Just saw the guys jamming. No specific exchange between Keith and Miles...
Must be an inside joke among the fanboys. ... o_O
..this musical piece is called "what I say"
what did the 5 fingers say to the face?
Miles Davis made sure that after Parker it was Miles Davis and Co. Not the other way around, Miles had no band Miles had accomplices.... Incredible.
You did not mention the drummer Ndugu...I do not know who the other percussionist is.
Does anyone know?
Don Alias and Mtume.
Ndugu didn't last long with Miles. Keith wanted Jack back....And I think Miles did too.
I would love to see the rest of the concert.
Let's make some f***ing great music man, and they did. When I first heard Miles Davis play music like this I thought WTF, i was deeply into "kind of Blue" at the time. I did not get it at all. And now almost 30 years after I heard this kind of music for the first time I love this.
Did the newer stuff allow you to "get" KoB? Just wondering - I didn't get Jazz at all until my friend handed off Blue to me. By the end of the album... I understood. From that moment on, I can listen to anything considered Jazz.
special...
Who was the second percussionist? I recognize Mtume but is the other guy Don Alias?
exactly
@@JazzVideoGuy This was an interesting lineup of personnel. Ndugu Chancler was on drums but he only played with Miles for a brief time, taking over from Jack DeJohnette. And Miles was doubling up on percussionists. I'm guessing that not too long after this performance was when Miles started to shift from his Live-Evil phase to his On the Corner style, where he went way heavier on percussion.
Maravilhoso.
Sorry, old chap, but you are simply wrong. I thought the Jazz Snobs had all but died out....By the way, I love every era of Miles's music.
btw, can't remember in which documentary another genius sax speaks about his first encounter/boeuf with miles, explaining how hard he was trying to put his guts on the plate not to look ridiculous.. While the rest of the band and the audience were acclaiming his nasty performance, miles came close to him, didn't even removed this huge sunglasses he used to wear and just gave him a "coooooool" with his cavernous voice. F****g compliment, indeed ! What a guy, Miles ^^
We all have our opinions. If Miles sounded like this all the time I wouldn't have the large collection of Miles Davis records that I do.
An old saying " if it aint got that swing "
+Al Bourne u dont hear da swing?
King Bass!
Guter Film, der mich begeistert.
Gary Bartz!!
The piece is a version of Miles' "What I Say" So, Miles says something in trumpet that Keith replies to in keyboards...
Is that Micheal Henderson on bass? They stretched music beyond were it was . Thanks.
Keith Jarrett is in the moment, as usual. He should've never sued Steely Dan, sad commentary on an illustrious music career.
Well, Steely Dan shouldn't have stolen his work without giving him credit.
Where was this gig?
Oslo 1970
@@JazzVideoGuy1971
Yes
The real question is what did Miles say or offer to Jarrett to NOT PLAY PIANO....
I have to ask.. Who are you to judge Miles Davis..??
Who's the guitarist at the beginning?
That's Miles Davis. He hooked up his trumpet to the pedal.
« Finally , that was not Marijuana .... «
struck gold
At bar #347 in the B section, somebody hits a G natural when they should have hit a G flat. Probably a passing tone.
It's just that I do so love comedy.
So what's the answer? Why ask a question just to get views of the video- this should not be allowed...
Well, maybe punishment is in order here. Perhaps I should be tried in Tennessee.
@@JazzVideoGuy... Ha ha... so what will your answer be to 'What did Keith Jarret say...?' ?! BTW... Why Tennessee?
Advanced noodling. I love Miles, but this electric period...I just don't feel anything. When he came back out in the 80's with Marcus Miller, the music was more organized and had a feeling, a direction.
"On the Corner" was epic, but some of it is just too abstract for me. But then, that's Miles. He just did pretty much do what he wanted to do.
Presto Vivace so you didn't like bitches brew? or agharta? or get up with it? or miles in the sky? i thought all of those albums had a direction and that direction was up and beyond, they were aiming for the stars there, maybe it was over your head?
+Andrea Llewellyn YES, I do agree !
To me in this period he was at his best :)
Presto Vivace You can't actually believe that Time After Time and Human Nature by Miles is better than this????????Huh?????Do Bop????? I don't know how old u r but if you ever saw Miles Electric until the retirement in 1975 there does not even warrant a response to the comeback in the 1980's. I still went in the 80's but it was just to literally TO SEE MILES!!!!At that point the music was totally an afterthought.Anyway let's all just Dig Miles!!?😎
This has its moments, but might take a few more listens to get into. It feels forced in places, but maybe that's the intention...
COOL VIDEO ! SATURDAY 4/8/23 APRIL 8, 2023
Did he say 'im not really sure this is my best work'?
Work it!
this is what im talking about
While I totally respect Jarrett's choice to stay away from electric instruments after Miles I still think he would have done amazing music with electric and electronic gear is he had chosen so...of course he made beautiful music anyway
Totally agree. But I respect his decision.
( in my best Miles voice) " Damn!"