Miles Davis – Black Beauty: Miles Davis At Fillmore West (1970/2001)
Жанр: Jazz, Fusion
Носитель: SACD
Год издания: 1970/2001
Издатель: Sony/Columbia Legacy
Номер по каталогу: C2S 65138 (2 discs)
Аудиокодек: DSD64 2.0
Тип рипа: image (iso)
Продолжительность: 01:19:18
Наличие сканов в содержимом раздачи: да
Образ снят с помощью: Sony PlayStation 3 и утилиты sacd-ripper version 0.36
Релизёр:
Треклист:
Disc 1:
01.Directions 10:46
02.Miles Runs the Voodoo Down 12:22
03.Willie Nelson 06:23
04.I Fall in Love Too Easily 01:35
05.Sanctuary 04:01
06.It's About That Time 09:59
Disc 2:
01.Bitches Brew 12:53
02.Masqualero 09:07
03.Spanish Key/The Theme 12:13
SACD+Back
Black Beauty
"Black Beauty: Miles Davis at Fillmore West" is a live album by American jazz recording artist Miles Davis, recorded on April 10, 1970, at the Fillmore West in San Francisco. It was 1st released in 1973 on vinyl LP in Japan, then reissued in 1997 in a double CD format in USA & this double SACD in Japan only. Until 2001, with the release of Live at the Fillmore East, March 7, 1970: It’s About That Time, it was the only commercially available live Miles Davis performances of complete compositions between 1965 (Live at the Plugged Nickel) & late 1970 (Live-Evil).
Review:
SA-CD.net review by Ritmoman77 September 29, 2009:
Hello, felt this disk deserved more than a short review. 1st of all I disagree with the “bad, pulpy sound” assessment. Not sure what is meant by pulpy sound. While the music here is from a live performance, to me it sounds more like a studio production. Towards the end of a couple of songs there is some applause. The bass 7 keyboard sound as if they were recorded direct, the horns very close miked. The drums have some stage accoustic, not as defined as the rest of the band. The mix must have been done after the fact, horns are left channel, keyboard right, bass, drums 7 percussion sort of in the middle. The bass levels vary from song to song, becoming more prominent towards the end of the set, (assuming the songs are in order, some seamless segues here). All in all the recording is very clean, except for the drums. Miles’ trumpet & Steve Grossman’s soprano are right on the edge, sharp & bright. The very interesting electric piano playing by Chick Corea is quite present with distortion noted, as applied by his use of effects, not a recording anomaly. I found this to be a very enjoyable, high resolution glimpse of an early Miles Davis electric band. SACD only, quite good recording considering the time & place. Recommended if you like electric Miles.
real acid jazz! June 14 2001
By James W. Goetsch – Published on Amazon.com:
acid in terms of 1 big psychedelic head trip…. by this time Miles had made a clean break with playing over chord changes to songs, & his performances during this time were 45 minute journeys into the unknown, going to musical places where no one had ever been, & pushing his band to go ever farther… hear Chick Corea on top form, 1 great line after another blazing from his over-driven Rhodes… Steve Grossman plays the soprano like a man possessed… DeJohnette pops the drums like Muhammad Ali at full force….. but Miles tops them all with playing that matches his best, too bad the ignorant retroheads will never be able to appreciate this one….
Allmusic:
A month after losing Wayne Shorter to the beginnings of Weather Report, Miles Davis added young saxophonist Steve Grossman to the fold that included drummer Jack DeJohnette, bassist Dave Holland, electric pianist Chick Corea, & percussionist Airto Moreira. Just in time, too, since Bitches Brew had just been released. What is most interesting about this performance is how abstract it is, even by the standards exacted on In a Silent Way & Bitches Brew. Opening with Joe Zawinul’s “Directions,” with a small 3-note vamp, Davis creates space for Grossman to hit the stratosphere & for both Holland & DeJohnette to literally fall freely as a rhythm section as long as they could find a groove. The band seems to open too far; they can’t seem to find each other in the maelstrom. Davis lays out, watching it all, directing from the sidelines. On “Miles Runs the Voodoo Down,” since there is a discernible though minimal melody & groove, the band brings it in tighter, focusing on Davis smattering blues notes & Corea’s distorted chord voicings. This is where the band hits their stride, & keeps it through “Willie Nelson” & the Sammy Cahn tune, an odd choice for this part of the program, “I Fall in Love Too Easily.” From the opening of “Sanctuary” through “It’s About That Time,” “Bitches Brew,” “Masqualero,” & “Spanish Key/The Theme,” the music become a kind of suite that doesn’t really stop. It may pause in spots, but it loops through modal figures before disintegrating completely. There is no harmony to speak of & melody has become an extinct concept. What matters most is the nuance of groove & rhythm, & Davis found both in this band, though Grossman’s playing is too busy & too green; he plays everything he knows in every solo. It’s a small complaint, as this is an exciting document of a band trying to come to grips with the power of a music they don’t even fully understand yet.
Personnel:
Miles Davis: trumpet
Steve Grossman: tenor saxophone, soprano saxophone
Chick Corea: Fender Rhodes electric piano
Dave Holland: electric bass
Jack DeJohnette: drums
Airto Moreira: percussion, cuica
Producer: Teo Macero
Recording Engineer: Stan Tonkel
Tom “Curly” Ruff: Digital Mastering
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发表于 2021-4-13 14:19:53
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