Please help support my work as the Jazz Video Guy: / bretprimack Keith Jarrett played with Miles Davis in 1971, in a group that included Michael Henderson on bass, and sax man supreme Gary Bartz.
I am always amazed at the courage of Miles Davis to play this type of music. If only we all could truly be ourselves without caring about what others think...
Miles was a great artist who constantly sought new and revolutionary ways to express his inner voices. He was also a great nurturer of talent in others. A list of all of the great musicians that played with him and then went on to achieve their own greatness is a who's who of jazz greatness.
right! and without even thinking that maybe the magic is quite the opposite - try to not catch him, but doing the opposite, doing something that doesnt sound like him.
This music is some of the best in the 20th century, before and after------------beyond description, ever mysterious, ever vital, ever youthful....Miles was one of a kind.
I for one don't care what they look like. I'll take all the Miles I can get, and I love the way he kept moving on to new things. Still, I think this era reached its peak for him a year or so later, when they broke out of the "soloist against rhythm section" mold an just became a single writhing mass of swamp juice. Just remember, you can enjoy it without giving up any of the exquisite older stuff.
Miles himself thought he reached his peak the year before. In a rare interview in Downbeat later on, he cited the northeastern/New England leg of his 1970 tour as the time in his career that he felt that everything came together perfectly and the music reached its peak. (I was lucky enough to attend his concert in Boston on that tour, and I agree with the master's assessment.)
@@geezerpleasers_OG That was with John McLaughlin, right? I read about that. He said the Boston concert was the best. In those days they couldn't get a team out there to record in time.
Ndugu told me that Keith got him fired because he wanted Jack DeJohnette in the band. MICHAEL HENDERSON is holding all together though....Detroit bass players!!!!!!!
Man. Miles attracted the best jazzmen! .Every combo is frighteningly great. Just the pianists who've played with him - Bill Evans, Herbie Hancock, Keith Jarrett, Joe Zawinul, Red Garland, Chick Corea.
I believe I saw most of this particular group in fall, 1970 in Portland, Ore. The only differences were Jack DeJohnette on drums and Airto on hand percussion. Now, 40-some years later, this seems much clearer and easier to comprehend than back then, when I was 17. I remember a letter to the editor in the Oregonian newspaper, where a guy who dug Miles in the 50s just had a cow over what he heard that night.
So beautiful how Gary bends and winds the tone, and what really stuns me is how this seems to increase the plasticity and physicality of the sound; at some point I almost get the feeling I could touch it with my hands.
I didn't see where he 'said' anything. That said, thanx for another piece featuring the two best musicians on the planet. Miles and Jarret really *are* 'Picassos' of music.
+gyrofoam1 The title of the video (What Did Keith Jarrett Say to Miles Davis?) refers to the name of the song they're playing in it, which is called "What'd I Say".
Any genius or master musician would be a fool to not admit that he or she had a lot of help along the way. As good as one is, the people in your band can make you look pretty damn good, maybe even better than you really are. Part of Miles' genius was picking the right people to support his musical vision.
This so much. To have "better" or more advanced people around you while they can accept who you are might be the key. One key. In short: Love is the answer. Giving love.
Pure sound and pure music from top musicians. Miles was a supreme organizing "wizard" an shepherd to them. A catalyst. Don't blame Miles for abandoning the form and the usual structure of the "standards". He was already "beyond" that. He wanted the "feel", the groove and the spontaneous creation to take off. Some night this was ok, some not so ok; but even in the "no" occasion the level was extremely high. It is nothing to be confused with "free" jazz that is, remains (and was to Miles self) a complete nonsense. Here you have rythm, groove, notes and solos: you can still tap your feet; and this was what Miles was after in the early 70. Great improvisional funky jazz music. That's so simple. Somebody still does not get this: fine. Others just dug then and dig it still now. Fine as well. It was just Miles at his best throughout his entire career. Love him or hate him, but can't be ignored!
if miles were still alive today he would still be ahead of his time doing something completely different blowing everyones mind!!! i saw this same group in 1971 when they were on tour.. amazing.
Musicianship at some of its best! Miles being the improviser that he was just shows here on this set. Kenny Jarrett was just so into his playing. The passion that he shows as a pianist is just all there. And Gary Bartz saxophone playing is the bomb. Real music aficionados such as myself can appreciate this kind of playing.
After years of searching I finally acquired the 10-CD 2 Ts for a Lovely T Cecil Taylor Feel Trio box set for a good price; but I can't stop listening to this. Damn you Miles from the grave you tug at me.
As I remember some there was a large legion of fans who loved Miles and couldn't wait for the his next release. There were some traditionalist who for years complained whined moaned because it wasn't what they liked.
LOL, I'll explain it to you----- $$$$. Miles looked at all these young white rock and roll bands making incredible amounts of money, far beyond anything any jazz musician would or could ever possibly imagine. So he got himself an electric band and starting playing to large rock and roll crowds, and the weird noises he made is a cynical comment on the complete stupidity of the people listening.
@@joepalooka2145 not sure what this even means, as if everything is not driven by musical and cultural shifts. If things were as you say, then they would be playing old swing dance music, or pop music.
Saw Miles in the mid 70's a the Eric Crown Theater in McCormick Place, Chicago at the tender age of 20, they were teaching Transcendence the vehicle was and is sound they were Masters !
I remember seeing Jarrett and Davis together at the Seattle Center Coliseum. I snuck in by hauling in Joe Zawinul's Fender Rhodes, pretending to be a roadie, since Cannonball was there as well.
I'm surprised to hear some casual jazz fans speak of Miles as a player blessed with the technique of Clifford, Freddie, Lee of Dizzy. Those guys all had chops and facility exceeding Miles (as did Red Rodney). Miles made a careful study of "presentation," taking note of how performers like Sinatra and Orson Welles could command a stage all by themselves and hold audiences in their spell. As a result, Miles could communicate more with fewer notes than virtually any other player. He never had the full sound of a Lee or Freddie, much less the impossible trills of Freddie and the effortless half-valving of Lee. But Miles knew what audiences could comprehend, and he trimmed anything extraneous from his repertory of articulations and motifs. In the '50s musicians were quick to point out his fluffs and clams, but Miles wouldn't have let them be published had he found them damaging. Instead, they simply heightened the sense of spontaneity and risk that was his hallmark. When Trane left him in 1960, he worked on his high register, until he could use it with with surprising force and effectiveness. Frankly, I resented his dismissive treatment of Hank Mobley, after he practically bribed the great tenorman to take Coltrane's place. When Miles was through with Hank, the latter never regained his confidence, despite outplaying Miles on the indispensable "Friday and Saturday Nights at the Blackhawk." No one was more inventive than Mobley, but Miles saw Wayne Shorter's visual style and Coltrane-like tone as a better fit even before Mobley signed on. Finally, I saw Miles at Avery Fisher Hall in NYC, playing one half of the concert with the Marsalis Brothers playing the other half. Neither group really "swung," but Miles' outsized sunglasses elicited a chuckle, and the audience took in stride his turning his back on them and his habit of looking at the floor, where his foot was pumping a wah-wah pedal responsive to the tones from his horn. By the 1980s Miles had neglected his horn to the detriment of his music. At the end, he became supportive of the Songbook and polished stylings--vocally and pianistically--of Shirley Horn, and he tried to do a reprise of his three Gil Evans albums with mixed success. But jazz needs mythic figures like Bird and Miles to keep its flickering flame glowing and alive. As jazz' Prince of Darkness, Miles was the ultimate modernist, representing each of changes in the music's styles--from bebop to cool bop to hard bop to orchestral concertos (with Gil Evans) to modes (with Bill Evans) to neo-bop to fusion with popular styles, from disco to funk. He was the Pablo Picasso of jazz.
My Dad was a musician ( Bass Player )... My Mom told me one story about Miles walking out onto stage, playing like *one* note, walking off the stage... He was so deeply admired, other musicians and the audience were like, "Cool man!!!" LOL
Once again,I see a clip you have posted that I find to be indispensable... To tell you the truth-I have never known a whole lot about this period. Sure,I OWN "Live Evil","Silent","Bitches","On The Corner",etc...and I know who plays on them...but I have never seen this-I didn't know Gary Bartz even played like that!LOL! KILLER! I have seen some film of Dave Liebman playing a soprano with this fury from around this time-but NEVER Gary Bartz... Thank you for posting this Brett. P.S I loved Jarrett too!
Keith the wheeler dealer. He plaid with him to make himself a name, as he also admitted on early interviews. That THAT statement did not match well with his ego some albums later is rather expectable, though. Awesome pianist, honest to his craft, but unbearable when it comes to everything else.
@ Robert Hall- When Steely Dan‘s “Gaucho” was released on 1980 Keith Jarrett sued Donald Fagen and Walter Becker for using the main theme of ”Long As You Know You’re Living Yours” (1974) without giving him credit. Fagen and Becker claimed that Living Yours inspired the track. Jarrett has since been added to the credits. I'm fans of all three musicians but the sad part is Fagen & Becker should have given credit before legal action was needed by Jarrett. (thatsongsoundslike)
I'm an even bigger fan of Jarrett than I am of Steely Dan -- but I think Keith was off base with this one. Gaucho was a favorite of mine at the time, and it didn't even occur to me that it might be derivative of "Living Yours." Keith never implied or imagined what Fagen & Becker made out of those bits in common (the faux-gospel piano and tenor) -- in my mind he deserves no songwriting credit for "Gaucho."
You have no idea how much free LIVE music was around in the 70's. Music albums were cheap and everyone passed cassettes around. Today IS great but the 70's were great too. The Jazz loft scene in NYC and Chicago were brilliant. Read about it and explore.
I guess because I was listening to this music as it came out it did not seen strange to me. It was different but Miles was himself basically what he always played over a funk beat. I remember picking up Live at the Fillmore East and the music just felt good. Over the years it because easy to recognize the different tunes but on the Filmore record I had not heard a lot of Wayne Shorter's music. Keith Jarrett was funky with Miles. I always like his sound better than Chick Corea and Mtume on Congas brought some bottom to the music. He knew jazz, His Dad was the great saxophonist and arranger Jimmy Heath, The music stands the test of time.
Actually Miles wouldn't have two sheets what you thought about the music.... He never did. Had he did he never would have gone electric in the first place. If you think this stuff was going to make Miles "popular", forget it. This was never excepted in the "Rock" world.... never. He was not popular, like Hendrix or The Who or whatever back in that era. I remember. People absolutely thought the few friends I had that liked this stuff were completely off our rockers...
Let's make some f***ing great music man, and they did. When I first heard Miles Davis play music like this I thought WTF, i was deeply into "kind of Blue" at the time. I did not get it at all. And now almost 30 years after I heard this kind of music for the first time I love this.
Did the newer stuff allow you to "get" KoB? Just wondering - I didn't get Jazz at all until my friend handed off Blue to me. By the end of the album... I understood. From that moment on, I can listen to anything considered Jazz.
Don Alias and Mtume. Ndugu didn't last long with Miles. Keith wanted Jack back....And I think Miles did too. I would love to see the rest of the concert.
@Loumademe Keith Jarrett hated this gig (or any gig involving electric instruments), but in interviews, he says that this was the only way that he would get to play with Miles, so he did it.
Jarrett is a phenomenal musician in may ways. Nevertheless, I simply don't get this free form kind of improvisation at all. This period of his career may have been instructive to him in terms of expanding his horizons, but for me? Well, it just leaves me empty. For me, Jarrett is the '96 Tokyo recordings. And maybe the solo "Concerts" albums.
@@JazzVideoGuy This was an interesting lineup of personnel. Ndugu Chancler was on drums but he only played with Miles for a brief time, taking over from Jack DeJohnette. And Miles was doubling up on percussionists. I'm guessing that not too long after this performance was when Miles started to shift from his Live-Evil phase to his On the Corner style, where he went way heavier on percussion.
btw, can't remember in which documentary another genius sax speaks about his first encounter/boeuf with miles, explaining how hard he was trying to put his guts on the plate not to look ridiculous.. While the rest of the band and the audience were acclaiming his nasty performance, miles came close to him, didn't even removed this huge sunglasses he used to wear and just gave him a "coooooool" with his cavernous voice. F****g compliment, indeed ! What a guy, Miles ^^
