Late 1970 Unknown Venue

A tape of mystery origin such as this one is a rarity in the Miles Davis electric timeline, but we do have a few clues as to the date and venue. The inclusion of “Untitled Original 701004” suggests the performance predated the November 15th Philadelphia gig, by which point the song had been dropped from the setlist, while the addition of “What I Say” indicates it likely followed the mid-October Fillmore West shows, none of which featured the tune. Paired with the modest crowd and the gymnasium-like acoustics, my best guess is that this tape is from a gig at a small Northeastern US college in early November.

Conjecture aside, one thing is certain: this is the first tape of the Michael Henderson/Keith Jarrett era that could go toe-to-toe with the Lost Quintet. At 108 minutes, this tape also captures the longest single set of Miles’ electric period thus far and is only the second-longest single set in circulation.

There are so many things that make this tape exceptional. Fidelity wise, the mix is surprisingly balanced for an audience tape, and the band seems to relish the venue’s cavernous echo, with DeJohnette sounding downright Bonham-esque on occasion. It also catches this lineup sounding for the first time like a cohesive unit. Miles lets the songs unfold and run their course, he’s in no hurry to cue the next tune, and there are no lulls or awkward readjustments in the segues – the set simply flows with a trance-inducing quality the band would master in the spring of 1973, but never with the intensity heard here.

Featuring nearly every song in the sextet’s repertoire from the fall of 1970 through winter of 1971 (only “Yesternow” is absent), this marathon set is a universe in itself. An absolutely exceptional tape.

Get it here
1. Directions (12:50)
2. Honky Tonk (20:03)
3. Untitled Original 701004* (11:02)
4. Sanctuary (2:32)
5. It’s About That Time (16:05)
6. Funky Tonk (20:48)
7. Bitches Brew (11:04)
8. What I Say** (14:53)
9. The Theme (1:00)

*Final recorded performance
**First recorded performance

10.15 – 10.18.1970 Fillmore West

The Miles Davis septet returned to Bill Graham’s Fillmore West in October 1970 a dramatically different band than the one that shared a 4-night stand with the Grateful Dead earlier in the year. Gone was the effects-laden headiness, unpredictability, and unrelenting intensity that defined those April shows, replaced here by four identical sets built around dense, repetitive grooves. The resulting performances were likely a bit easier for the Fillmore audience to digest, and judging from their reaction on the tapes, the crowd certainly dug it.

In a typically eccentric Fillmore pairing, the septet shared the bill with Leon Russell, with support from Seatrain and Hammer. Not exactly the time traveler destination of a Miles Davis/Grateful Dead matchup, but a marked improvement from opening for Steve Miller. Curiously, there are no known photos from the October 15-18 shows, and tapes from only three of the four nights are in circulation – none of them complete. The fidelity of the October 15th tape suggests the shows were professionally taped, so a future Bootleg Series release may not be out of the question.

Continue reading “10.15 – 10.18.1970 Fillmore West”

10.1970 The Tonight Show

Much like the band’s blistering appearance on the Dick Cavett show a few months prior, the exact recording date of this NBC Tonight Show performance is unknown. Given the septet performed at UCLA on October 10th, it’s safe to assume they recorded this appearance around that date; it officially aired on October 30th.

And like that appearance on the Cavett show, Miles’ intent seemed to confound the American television viewing public. Following an enthusiastic intro from guest host Bill Cosby, in which he fawns over Bitches Brew and promotes the then soon-to-be-released Miles Davis at Fillmore, the septet throws down a bizarre 8 1/2-minute medley of “Directions” > “Honky Tonk” (a pair of tunes that would remain unreleased until 1981 and 1974 respectively).

Continue reading “10.1970 The Tonight Show”

10.4.1970 Seattle

This audience tape from the Seattle Jazz Spectacular captures the band three days after Miles attended the funeral of Jimi Hendrix on October 1st. The date was also a bit of a reunion for Miles and a couple of former sidemen, with the Bill Evans trio opening the Sunday night gig, and Herbie Hancock’s proto-Mwandishi sextet closing the show.

Scene report from the Northwest Passage Oct. 12-26, 1970.

Following the band’s triumphant performance at the Isle of Wight, Chick Corea and Dave Holland parted ways with Miles to form the avant garde quartet Circle with drummer Barry Altschul and reed player Anthony Braxton. Holland and Corea reunited with Jack DeJohnette and Steve Grossman to record the remarkable Japan-only LP The Sun in mid-September, Corea would join the On the Corner sessions in early 1972, and DeJohnette, Corea, Holland, and Keith Jarrett continue to perform together in various configurations to this day – proof that musicians never truly leave Miles’ orbit.

New to Miles’ live universe was 19 year-old Michael Henderson, who formally replaced Holland beginning with a September 13th gig at the Boston Tea Party – there’s no recording of that show, but Henderson wrapped a tour with Stevie Wonder’s live band on September 6th and it’s assumed he performed in Boston. Henderson joined a few of Miles’ early 1970 studio dates for the Jack Johnson LP, so “Right Off”, “Yesternow” and “Honky Tonk” from those sessions were added to the live rotation upon his arrival.

Meanwhile, Jarrett took over the Fender Rhodes following Corea’s departure. Steadfast in his contempt for electric keyboards, Jarrett remarked that he hated the Rhodes and Fender Contempo organ equally, so he simply arranged both into a “V” formation, added a wah pedal to the organ, and played them simultaneously in an effort to create a singular instrument.

Juma Santos, a member of the previous year’s Bitches Brew sessions, also began a brief stint with the group – adding congas and auxiliary percussion alongside Arito’s barrage of heady accoutrements.

An with that, the next phase of Miles’ electric period had begun.

Continue reading “10.4.1970 Seattle”