Shortly after the Bitches Brew sessions, Columbia head Clive Davis introduced Miles to Bill Graham, rock impresario and owner of the Fillmore East and Fillmore West. These two nights at Fillmore East were the first of five residencies Miles and co. performed at Graham’s East & West venues through 1971 for a total of 20 sets (at least by my count). The fact that he accepted Graham’s rate of $1500 instead of his typical $5000 per performance indicates just how dedicated Miles was to expanding his audience at the time.Continue reading “3.6 + 3.7.1970 Fillmore East”
1970 wasn’t just a pivotal year in Miles’ electric timeline – it was a universe away from what the quintet was up to just 4 months prior. Three main factors contributed to the drastic change in tone: Dave Holland switched over to electric bass, Chick Corea began running the Fender Rhodes signal through both an Oberheim ring modulator and Echoplex tape delay, and Brazilian percussionist extraordinaire Airto Moreira joined the live lineup. The effect was stunning: a deeper, harder, more complex groove, and a sonic palette that would blow the minds of the headiest psychedelic warrior.
As if those changes weren’t significant enough to mark a clear change in direction, Miles added John McLaughlin on guitar for this February date at the Ann Arbor Blues & Jazz Festival. Though the soundboard tape trims “Directions” from the start of the set and the mix is pretty out of whack (“Sanctuary”, “Bitches Brew” and “Masqualero” peak out severely, so watch your headphone volume), the performance is as incredible as you’d expect.Continue reading “2.21.1970 Ann Arbor”