Word: funke
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...spring of 1970. They provide a bridge between Miles's earlier work and the rest of the series. With Chick Corea on a very plugged-in piano and Dave Holland on electric bass, the sound of the music is transformed and moves into a startling mixture of jazz and funk. The synergy between the musicians in this small ensemble format is remarkable, and the interplay is at times breathtaking. The sound is a mixture of classic jazz approaches and louder, contemporary rock music techniques. Taking the overall feel, as well as many of the tracks, from Bitches Brew, Fillmore East...
...albums range from wildly complex jazz to spaced-out noodling to bubbling funk, Miles' trumpet remains the sole constant. The beautiful melodies, brilliant timing and phrasing that his fans loved never goes away, it's just in a changed context. On the albums, it is the horn that stays the same--a steady reminder that Miles was not going to leave anything he'd learned behind...
Live-Evil,also recorded in 1970, provides perhaps the best summing up of the albums in the series. The recording repeatedly switches from the polyrhythmic, intense jazz of the Fillmore albums to the stomping funk of the later releases. The sheer range of the album can be disconcerting, but the emotion put into the music by the musicians carries the album magnificently. Each of the many players emerges with a distinctive voice, and together they paint a fascinating aural canvas. The all-out wailing of Gary Bartz's sax provides a sharp counterpoint to John McLaughlin's oblique, introverted guitar...
...this time, the wall of sound Miles employs has grown to such an extent that it has become something new entirely. With three guitars, Miles playing organ and a relentless rhythm section, Dark Magus becomes a sea of sound--a dense, nearly opaque collage of crashing rhythms, slamming funk and inspired, wild soloing. Unlike Philharmonic Hall, where the soloists largely stayed in the vein of the steady funk of the band, the soloists in Dark Magus can barely be contained. As horn player Dave Liebman writes in the liner notes, "each man had his role...[drummer] Al Foster...
...when the production does match the intensity of Busta's delivery, great music is created. On tracks like "Turn It Up" (which uses a sample from Al Green's "Love and Happiness"), Busta's hyper-kinetic word play is wedded with an inspired groove to make for bass-heavy, funk perfection. Other stand-out tracks include "So Hardcore" and the title track, in which Busta mixes his fractured rap flow with his best Motown croon, punctuating it all with an indecipherable refrain (a la Missy Elliot's infamous...