Word: jazzing
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Dates: during 1990-1999
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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...
...looking in a new direction. Reciprocating the admiration shown for him by such popular artists as Jimi Hendrix and Sly and the Family Stone, Miles pushed his band into new, totally uncharted territory. To some degree, the map of the journey was set by Bitches Brew, Miles' controversial electric jazz album. But Miles was moving even further, with a new lineup, a new sound and a new vision...
...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...
...sound, in the end, was the whole point. For Miles, there was always a challenge around the corner. Having already proved that he could master the world of jazz, he had set his sights on new horizons--unexplored sonic worlds where he could maybe get a little bit closer to what he was always looking for. Bobby Previte writes in the liner notes to Philharmonic Hall that "The sense that it's impossible for us, and no one with any feel would want it any other way." For Miles, it was the journey that mattered. As these albums testify, during...