Special priced-down reissue available only for a limited period of time until December 21, 2015. Comes with liner notes. 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, and 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 and Bitches Brew.
The recording of this concert, not released until 1973 and only in Japan, took place on April 10, 1970 at the Carousel Ballroom, where Bill Graham, the legendary west coast impresario of psychedelic rock, had moved his Fillmore Auditorium in 1968. Steve Grossman, who replaced Wayne Shorter, used only the soprano saxophone, an instrument more capable than the tenor of penetrating the wall of sound produced by the decidedly free and powerful rhythm section, which was pervaded by the electronic effects created by Chick Corea’s electric piano. On its first release, the four sides were simply titled “Black Beauty Part 1,” “Part 2,” etc.
BLACK BEAUTY is the initial live document of Miles Davis' electric music built out of blues, free jazz, and post-modern musical thought. The mood is one of controlled chaos, with each soloist in top form, and group interplay at a near-ESP level. The tracks morph naturally into one another; with well-placed phrases from Miles cueing the players' transitions.
Reissue. Available only for a limited period of time until December 21, 2015. Comes with liner notes. Dark Magus is a live recording of a very specific 1974 Carnegie Hall date that included most, but not all, of the members who recorded the classics Agharta and Pangaea. While drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, and guitarists Pete Cosey and Reggie Lucas were all present, the key element of Sonny Fortune was not yet in the band. Saxophonists David Liebman and Azar Lawrence were doubling in the saxophone chairs, while Dominique Gaumont, with his Jimi Hendrix-styled effects and riffs, was the band's third guitarist. The deep voodoo funk that gelled on the aforementioned recordings hadn't yet come together on this night at Carnegie, near the end of a tour.
Legendary work from Miles Davis – large group sessions that virtually define the "cool" in cool jazz! The work's quite different from Davis' earlier bop sides with Charlie Parker – and show a distinct influence from modernists like Gerry Mulligan (who is on the recordings) and from the experiments of the Tristano school. Miles is less the leader than the creative visionary – as all players come together in a perfect blend of sound, perfectly polished, and with a very dark edge.
From the opening four notes of Michael Henderson's hypnotically minimal bass that open the unedited master of "On the Corner," answered a few seconds later by the swirl of color, texture, and above all rhythm, it becomes a immediately apparent that Miles Davis had left the jazz world he helped to invent – forever. The 19-minute-and-25-second track has never been issued in full until now. It is one of the 31 tracks in The Complete On the Corner Sessions, a six-disc box recorded between 1972 and 1975 that centers on the albums On the Corner, Get Up with It, and the hodgepodge leftovers collection Big Fun. It is also the final of eight boxes in the series of Columbia's studio sessions with Davis from the 1950s through 1975, when he retired from music before his return in the 1980s. Previously issued have been Davis' historic sessions with John Coltrane in the first quintet, the Gil Evans collaborations, the Seven Steps to Heaven recordings, the complete second quintet recordings, and the complete In a Silent Way, Bitches Brew, and Jack Johnson sessions. There have been a number of live sets as well; the most closely related one to this is the live Cellar Door Sessions 1970, issued in 2005.
Deluxe 71 disc box set that contains 52 single CD and double CD albums (which includes the previously unreleased full-length audio version of his 1970 Isle Of Wight performance). The essay is complemented by brief annotations written by Franck Bergerot, covering every single one of the 52 albums. The cornerstones of the box set are the studio and live albums that were released during his tenure at the label, more than 40 titles that he recorded in the 1950s, '60s, '70s and '80s.