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Following the successful release of the 40th Anniversary Editions of Miles Davis’s Bitches Brew comes a collection of nine rare live performances recorded at the Newport Jazz Festival, nine months before the original release of Bitches Brew, and at the Isle Of Wight Festival four months after release. Three of the tracks featured on the album are previously unreleased.
Bitches Brew Live offers three previously unissued tracks recorded July 5, 1969 at Newport Jazz Festival--including the first ever professionally-recorded live version of "Miles Runs The Voodoo Down" and the first known recording of the revamped electric version of "Sanctuary"--just over a month before Miles went into the studio to record what would become his fastest selling album of all time, Bitches Brew. Fast-forward one year to August 1970 at the Isle of Wight Festival where Miles plays with a much more electric, rock-oriented sound in front of 600,000 people!
This incredible full set includes the title track "Bitches Brew" and "Spanish Key" played by Davis’s remarkable all-star group captured live at the peak of its powers--Gary Bartz (alto sax, soprano sax), Chick Corea (electric piano), Keith Jarrett (organ), Dave Holland (bass), Jack DeJohnette (drums), Airto Moreira (percussion).
Author Michael Azerrad’s original liner notes incorporate new interviews with legendary Newport Festival founder George Wein, and filmmaker Murray Lerner, who captured one of the most spectacular music festivals in history on film in Message to Love: Isle of Wight Festival.
Bitches Brew Live offers three previously unissued tracks recorded July 5, 1969 at Newport Jazz Festival--including the first ever professionally-recorded live version of "Miles Runs The Voodoo Down" and the first known recording of the revamped electric version of "Sanctuary"--just over a month before Miles went into the studio to record what would become his fastest selling album of all time, Bitches Brew. Fast-forward one year to August 1970 at the Isle of Wight Festival where Miles plays with a much more electric, rock-oriented sound in front of 600,000 people!
This incredible full set includes the title track "Bitches Brew" and "Spanish Key" played by Davis’s remarkable all-star group captured live at the peak of its powers--Gary Bartz (alto sax, soprano sax), Chick Corea (electric piano), Keith Jarrett (organ), Dave Holland (bass), Jack DeJohnette (drums), Airto Moreira (percussion).
Author Michael Azerrad’s original liner notes incorporate new interviews with legendary Newport Festival founder George Wein, and filmmaker Murray Lerner, who captured one of the most spectacular music festivals in history on film in Message to Love: Isle of Wight Festival.
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Customer Reviews
Most Helpful Customer Reviews
10 of 10 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Miles Davis had several 'best' periods, when he was producing the best music of the day, be it the three classic big-band albums with Gil Evans, the sextet that produced Kind of Blue, the classic quintet of the mid-1960s, or, as in this case, jazz-rock.
The three tracks from the Newport Jazz Festival of 1969 are interesting as there is only a quartet, Wayne Shorter couldn't get to the gig, so it's just Davis and a rhythm section. It's not a wonderfully clear recording, not the whole set, and the bass is very low in the mix, but what you get is pretty powerful.
Most people will be familiar with Davis' Isle of Wight Festival gig from 1970. DVDs of good and poor quality are around, but I believe this is the first time it's been on a CD. Here we have a septet; Chick Corea and Keith Jarrett spar with each other on electric keyboards, Jack DeJohnette is in full-scale boot mood on drums -- this is rock drumming as only a jazz drummer could do it -- Dave Holland plays solid electric bass, Airto Moreira rattles, bangs and shakes things, whilst Davis, whose trumpet playing is strong indeed, and Gary Bartz on saxes provide the lead instruments. It's aggressive, violent even, yet with a subtlety that most rock musicians could never manage which makes it all the more sinister. Jazz-rock at its best; over 40 years old but still as fresh as ever -- brilliant.
The three tracks from the Newport Jazz Festival of 1969 are interesting as there is only a quartet, Wayne Shorter couldn't get to the gig, so it's just Davis and a rhythm section. It's not a wonderfully clear recording, not the whole set, and the bass is very low in the mix, but what you get is pretty powerful.
Most people will be familiar with Davis' Isle of Wight Festival gig from 1970. DVDs of good and poor quality are around, but I believe this is the first time it's been on a CD. Here we have a septet; Chick Corea and Keith Jarrett spar with each other on electric keyboards, Jack DeJohnette is in full-scale boot mood on drums -- this is rock drumming as only a jazz drummer could do it -- Dave Holland plays solid electric bass, Airto Moreira rattles, bangs and shakes things, whilst Davis, whose trumpet playing is strong indeed, and Gary Bartz on saxes provide the lead instruments. It's aggressive, violent even, yet with a subtlety that most rock musicians could never manage which makes it all the more sinister. Jazz-rock at its best; over 40 years old but still as fresh as ever -- brilliant.
18 of 19 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
La Rubia gives me that kind of look, as another live Miles CD hits the doormat. She's right of course. This one bears the names already familiar from a dozen or so other CDs. But there's only the mildest kind of reproach implied in the look, because my significant other knows as well as I that, again, this one really will be different.
I do confess a limit to that statement. The Isle of Wight recording I already have, once on DVD, once tacked on to the end of a 1988 Munich concert, where it sits uncomfortably alongside Miles's later material, inferior in some respects to that of twenty years previously.
But the Newport material is previously unheard. It begins with a funky piece which goes by the name of Miles Runs The Voodoo Down, which apart from the instrumentation is almost all it shares with other Miles tracks by that name. Drifting into Sanctuary, we are on more familiar ground, with the general flow of the tune bearing an unusually close resemblance to its studio namesake. But then, crossing into It's About That Time, it's again just the title and instrumentation that provide most of the link to the studio version, before the familiar segue into The Theme, which closes the set.
The key difference between previously released versions of the IoW set and this one is that someone has bothered to segment it into tracks bearing the names of its supposed constituent pieces, whereas all others follow Miles's injunction to "Call It Anything". It's brilliant, of course, but if you haven't already try to see the DVD.
As ever, La Rubia is right. No two Miles performances of this era were alike, even on adjacent sets, so the only thing that isn't surprising here is that there are plenty of nice musical surprises.
As I've observed on previous occasions, however, Columbia seems awfully light on representative performances from the 73-74 period, so my request is that they dig further in the archives.
I do confess a limit to that statement. The Isle of Wight recording I already have, once on DVD, once tacked on to the end of a 1988 Munich concert, where it sits uncomfortably alongside Miles's later material, inferior in some respects to that of twenty years previously.
But the Newport material is previously unheard. It begins with a funky piece which goes by the name of Miles Runs The Voodoo Down, which apart from the instrumentation is almost all it shares with other Miles tracks by that name. Drifting into Sanctuary, we are on more familiar ground, with the general flow of the tune bearing an unusually close resemblance to its studio namesake. But then, crossing into It's About That Time, it's again just the title and instrumentation that provide most of the link to the studio version, before the familiar segue into The Theme, which closes the set.
The key difference between previously released versions of the IoW set and this one is that someone has bothered to segment it into tracks bearing the names of its supposed constituent pieces, whereas all others follow Miles's injunction to "Call It Anything". It's brilliant, of course, but if you haven't already try to see the DVD.
As ever, La Rubia is right. No two Miles performances of this era were alike, even on adjacent sets, so the only thing that isn't surprising here is that there are plenty of nice musical surprises.
As I've observed on previous occasions, however, Columbia seems awfully light on representative performances from the 73-74 period, so my request is that they dig further in the archives.
6 of 6 people found the following review helpful
Format:Audio CD
Ok, after more than 40 years you would think no more could be said about Bitches Brew, so I'll keep it short. This album is vital - where have the tapes been lurking ? (or did Miles say "no" in his lifetime ?) This "live" material negates all the complaints about tape edits and manipulations on the studio versions. It is a band in full flight using the themes that are so familiar from the original double album. My first experience of Miles was as a schoolboy listening to an extract of "Miles Runs The Voodoo Down" from a CBS cheap sampler. What a start to a journey that still continues. Listening to these recordings made me dig out the original 4 sides to listen again.
Try not to let your jaw drop ! A bargain well worth the Amazon price
Try not to let your jaw drop ! A bargain well worth the Amazon price
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Most Recent Customer Reviews
two historic live performance unissued
Finally the Isle of Wight legendary concert in complete form and an unissued appearance at Newport Jazz Festival with a magnificent quartet includig Chick Corea,Dave Holland and... Read more
Published 9 months ago by Zanon Luigi
Miles better
I just love Miles Davis and this CD is no exception. It is clear and a pleasure to listen to. I would recommend it to Davis fans and jazz fans alike.
Published 12 months ago by witchygirl
It's about time.
Almost 41 years after I sat in a field at the Isle of Wight, it finally gets a full release! This is a bargain-priced and very good CD of live Miles, at 59min and 46sec not quite... Read more
Published 12 months ago by J. MILLER
Miles the Master
I first got into jazz via Miles in 1990, listening to Live Evil and Bitches. This lead onto other classic Miles, e.g. In a Silent Way, Porgy, etc. Read more
Published 15 months ago by Mcknacksack
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