- G U T T E R F U C K E D -
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▀▄ Miles Davis - Live At The Fillmore East March 7 1970 ▄▀
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▀ ▄▄ ████▀ Date :::::::::::::::::::::::: 01/15/2004 ▀████ ▄▄ ▀
▄██▓▒▌▀ ▄▄▓ Ripper :::::::::::::::::::::: DixieBopper ▓▄▄ ▀▐▓▓██▄
▄▄ ▀█▀▄▀▓▀ Genre ::::::::::::::::::::::: Jazz ▀▓▀▄█▀▀ ▄▄
▄▄▀▒■ ▄▀ Label ::::::::::::::::::::::: Columbia/Legacy ▄▀ ■▒ ▄▄
▐▓▓▀ ■ ▀▄ Size :::::::::::::::::::::::: 131,3 MB ▀ ▀▒▓▌
▄█▄ Bitrate ::::::::::::::::::::: VBR/44,1 ▄█▄
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▐█▓▓ ▄▓▄ ▀▓▓▄▄▄▄ Another quality release ▄▄▄▄▓▓▀ ▄▓▄ ▓▓█▌
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▐█▓▌ ▓▓▓▌ ▀▀▀█ R e l e a s e n o t e s █▀▀▀ ▐▓▓▓ ▐▓█▌
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Would you know greatness if you saw it? This is the
eternal question for people like me, posting their
supposedly well thought-out pontifications for anyone
with a computer and an Internet connection to read.
The issue of being able to distinguish what's good
from what isn't seems like a job ill-suited for anyone
who doesn't have the power of omniscience, or at least
a good track record with uncovering genius. And yet,
this is a request made by artists all the time-- that
of acceptance, or some kind of recognition of what
they've produced.
Maybe it's not really a matter of taste, but closer to
keen perception and foresight. But while some folks
may pride themselves in their ability to find
interesting art, it takes popular consensus to brand a
piece or work "great" or "revolutionary." Herein lies
the dilemma: if you aren't able to recognize the
inherent greatness of a particular piece of art, how
can you appreciate any art at all? Or, if you do think
you see genius somewhere, how do you communicate this
to somebody else? These are the kinds of questions I
have for the audience assembled for the Miles Davis
Quintet performance at the Fillmore East in New York
City on March 7th, 1970.
Live at the Fillmore East (March 7, 1970): It's About
That Time is the official release of an oft-bootlegged
performance of Davis' "lost quintet." His cohorts were
Wayne Shorter, Chick Corea, Dave Holland, Jack
DeJohnette and Airto Moreira. Not a bad lineup for a
band that never existed, save a few fiery performances
in 1969 and 1970. In fact, at the time, the status of
Davis' proper quintet (featuring Herbie Hancock, Ron
Carter, Tony Williams and Shorter) was a little hazy.
Williams had left to run his own show with Lifetime,
but Hancock and Carter would continue to play with the
trumpeter on and off for a couple of years. Also, the
issue of the new quintet actually being a sextet added
to the confusion of just who, exactly, was a part of
Davis' band.
One other oddity confronted the lucky few who were
able to witness these guys live: almost all the music
being played was unreleased, and unlike anything ever
produced by jazz musicians. Most of the tunes
performed at this Fillmore date (not to be confused
with another release, Miles Davis at Fillmore: Live at
the Fillmore East, recorded in June of the same year)
were from the landmark Bitches Brew LP. Although
Bitches Brew had been recorded the previous summer, it
wouldn't be released until a few weeks after this
performance. And as any of that album's millions of
fans will tell you, its music isn't really the kind
that sinks in on the first listen.
The Davis Quin/Sextet was opening for Steve Miller and
Neil Young for these sets. But if the jazz community
was bitterly divided over the notion of Miles Davis
playing "rock" music, I can only imagine what was
going through the heads of people accustomed to
hearing "Cinnamon Girl," rather than "Miles Runs the
Voodoo Down," for an encore. Judging by the audience
response here, they probably didn't really know what
to think. The applause is polite, but hesitant, and
the two or three guys who wanted more at the end may
have been anomalies, because it was pretty obvious the
band had left it all onstage after the last number. To
recognize greatness: it is elusive, and most likely,
beyond the sensibilities of most hippies and/or mere
mortals.
The first set begins as Holland, DeJohnette and Corea
vamp to a furious funk groove. Heavy bass and some
well-placed exotic percussion (supplied by the
redoubtable Moreira, whose playing receives the
ultimate dis by being labeled "superfluous" in the
liner notes) kick things off, and by the time Davis
enters, the brew is already quite hot. The tune is
"Directions," and apparently, it refers to many at
once. Miles seems to be aiming straight for the
jugular while Holland takes the straight and steady,
and when Shorter comes in, he leads DeJohnette and
Corea on a path so ridden with turbulence and strife,
it derails the entire tune. About five minutes in, it
becomes impossible to remember that most of these same
musicians had produced something like In a Silent Way,
only a year earlier.
Afterwards, the band segues into "Spanish Key," one of
the more straightforward pieces on Bitches Brew, but
here already transformed into a three-headed monster
by a band that obviously couldn't sit still on a bet.
The three heads in question: a rhythm section which
never actually came down from the highs of the
previous rave, Davis, who was playing more
aggressively and with more muscle than he ever had,
and Wayne Shorter, who was playing like he never would
again.
Of course, he wouldn't, at least with Davis. After
this date, Shorter would leave the group to form the
seminal fusion outfit Weather Report. When he first
performed with Davis in the early 60s, he'd received
the rap of being a Coltrane disciple (not a criticism,
really), but had always possessed a natural calm that
his spiritual mentor would discard in favor of pure
expression and, often, fury. On this date, Shorter
meets his maker, full of fire and machine gun lines on
soprano and tenor sax that had only been hinted at on
the great releases by the second Davis Quintet.
During the second set, whatever jazz history had not
been rewritten got its due and then some. "Directions"
(it appears twice, since these two discs document both
an early and a late show) starts off innocently
enough, with a low, humming growl from Holland, but
quickly develops into the Apocalypse. There are
moments when the music seems to cross over into the
avant-garde and free jazz realms, especially whenever
Shorter is playing a solo. Reportedly, Davis never
considered himself a part of those camps, but it's
clear he wasn't afraid to let his band steer the ship
in that general direction, so long as they kept the
groove alive. Corea brings it down a little with a few
choruses of comparatively traditional playing, even if
it isn't less intense than the others'.
The tune segues into "Miles Runs the Voodoo Down";
very different, far greasier and Fatter (with a
capital 'F,' as you can see) than the studio version
on Bitches Brew. It could almost pass for hard
blues-rock, if not for DeJohnette's relentless cymbal
attack and Davis' distorted howling. Here, though, it
seems to serve as a kind of breather so the band can
rev up for "Bitches Brew," arguably in its finest
version anywhere on this CD. It begins with ominous,
woozy percussion, and some agitated horn punches from
the leader. Then, out of nowhere, everything gets
funky. Holland lays down some serious dirty pimp low
end, filtered through that infamous "ring modulation"
to give it the extra ass-mangling quality so desired
in serious jazz performance. After a bit, Shorter
drops another trip-bop bomb, and then the quiet comes
back. Davis takes it out with a few quick, muted jabs,
while the beat simmers below. And if I never heard
another track by that band again, I'd still rank them
alongside Davis' other classic groups.
The set ends with a version of "It's About That Time"
(from In a Silent Way), spliced with something called
"Willie Nelson." The first part takes the original and
applies the underlying aggression of this set to its
once peaceful groove. The second half takes the bottom
out, and showcases at once the band's penchant for
repetitive riffing and complete irreverence towards
the way jazz solos were supposed to be played (I'm not
sure there's a straight chord progression on the
entire record).
When the track is over, the audience, who probably
weren't sure of what had just happened, offers
cautious appreciation via some very polite applause.
The emcee announces the group again (Miles never spoke
during performances), and there are a couple of calls
for an encore. Moreira lets everyone know it's over by
blowing his whistle, and I surmise that many of the
people there were letting out sighs of relief. There's
no way to know if they were aware of the jazz
revolution starting right under their noses. Over
thirty years later, I'm not sure I understand what the
preceding hour-and-a-half was all about, except what I
consider exceptional musicians taking exceptional
chances. It's undoubtedly pointless trying to reduce
music to levels of "genius," so from now on, I'll take
whatever those guys had to say without much
inclination of trying to put it into words.
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cd1
01 directions 08:45
02 spanish key 11:16
03 masqualero 09:57
04 it's about that time,the theme 14:04
cd2
01 directions 10:14
02 miles runs the voodoo down 07:40
03 bitches brew 08:02
04 spanish key 08:33
05 it's about that time,willie nelson 11:43
Total Playtime: cd1: 44:0
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▄▓▓ ▐▒▓▄ ▀▀▀█▀ G R O U P i N F O ▀█▀▀▀ ▄▓▒▌ ▓▓▄
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gF is about bringing music we like and want others in the scene
to check out. Not more not less. We try to keep our choices of
music off the mainstream path. But as far as genres go you can
expect anything. Our rippers are allowed freedom to share their
music collection.
Our Hearts go out to the mp3 scene and we want to be a part of
it.. We thrive on each other, as we thrive on the people who get
our releases, its all one big group all in all. If you like a band
from downloading a gF rip please try to go out and support them
and buy some merch directly from the bands. As some of our ripper
are in bands or promote shows themselves, they know what it's
like to get the extra help.
. .. thanks..
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gROUPS -> aAF ATR BUTT COR FaF FKK FNT FTFiSO
HCU hXc iTS MiL PMS RageMP3 rH SDR
All the people who helped gF during
its rebuiling process and stuck it out with us.
all the people in the mp3 scene! To all the bands
trying to play music on their own terms with little or
no support. and the leechers who download our music ;p
And to anyone we missed
sorry!
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Header+Layout: d!J of BAFH! ▀▓▓▄ ▓▒░ ░▒▓ ▄▓▓▀ Updated On 12-30-2003 By gF
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