Miles Davis - Isle of Wight 1970

Miles Davis - Live at The Isle of Wight Festival (29 Aug. 1970)

Miles Davis - Live at The Isle of Wight Festival (29-08-1970)



Miles Davis - Isle of Wight 1970 - 1/4 ~ introduced by Keith Jarrett

Miles Davis - Isle of Wight 1970 - 2/4

Miles Davis - Isle of Wight 1970 - 3/4

Miles Davis - Isle of Wight 1970 - 4/4

	マイルス・エレクトリック ～ パフォーマンス・アット・ザ・アイル・オブ・ワイト[DVD]
	クリエーター情報なし
	ビデオアーツ・ミュージック

1. Directions (J.Zawinul)
2. Bitches Brew (M.Davis)
3. It's About That Time (M.Davis)
4. Sanctuary (W.Shorter-M.Davis)
5. Spanish Keys (M.Davis)
6. The Theme (M.Davis)



マイルス・デイヴィス（tp）
キース・ジャレット（el org）
チック・コリア（ep）
ジャック・ディジョネット（ds）
ゲイリー・バーツ（ss）
デイヴ・ホランド（eb）
アイアート・モレイラ（perc）

Miles Davis plays to 600,000 people at the Isle of Wight

29 August 1970: Number 38 in our series of the 50 key events in the history of Jazz music

Miles Davis(tp)　
Gary Bartz(as,ss)　
Chick Corea(elp)　
Keith Jarrett(org)　
Dave Holland(elb)　
Jack DeJohnette(ds)　
Airto Moreira(per)




The coolest man on the planet took the stage at the Isle of Wight festival towards the end of the afternoon on Saturday 29 August 1970. He followed Joni Mitchell (who had been forced to deal with a one-man stage invasion by a stoned hippy before ending her set with a pointed version of Woodstock) and Tiny Tim (who had delighted the listeners by crooning There'll Always Be an England while strumming his ukelele like George Formby's American nephew). The weather was balmy, a hot-air balloon hovered above Afton Down, the crowd numbered 600,000, the situationists agitating for free entry had quietened down, and Miles Davis was about to perform to the biggest audience ever faced by a jazz musician, before or since.

A year earlier, Davis's band had been playing something close to free-form jazz, a music of jaw-dropping sophistication; a year later they would be playing full-on supersonic funk. In between came the extraordinary, nameless music presented at the Isle of Wight – "Call it anythin'," Miles muttered when someone asked him what he had played – which eventually brought a standing ovation. He had been wise not to outstay his welcome and to limit the set to a mere 38 minutes (the length of an old-fashioned LP), constructing it as a kaleidoscopic medley based on shards of tunes from his regular repertoire, most of them drawn from the same year's Bitches Brew, an album that had found its way into many hip record collections, where it nestled alongside Live Dead, After Bathing at Baxter's and Electric Ladyland.

Miles had been courting a younger audience for a couple of years, seduced by the success of Jimi Hendrix and Sly Stone in making a kind of hip black music that sold millions of records. He had tried adding a guitar to his great quintet of the mid-60s, recruiting first George Benson and then Joe Beck, and had started using rock rhythms on such albums as Filles de Kilimanjaro and In a Silent Way. He gave up the hand-made Italian suits that had gone nicely with My Funny Valentine and Stella by Starlight, bought silver-studded jeans and outsize sunglasses, began to investigate electronic effects with the help of his young keyboard players, and took his music directly to the rock crowd at the Fillmores East and West in New York and San Francisco, where it was accepted as a new kind of psychedelia.

The musicians with whom he had worked in the 60s, and whose reputations had prospered under his patronage, started to form bands of their own, also seeking to explore the new fusions. Wayne Shorter joined up with Joe Zawinul to form Weather Report. Herbie Hancock laid the foundations for his Headhunters project. Tony Williams and John McLaughlin formed the short-lived Lifetime, the most fearsome ensemble of its era (later McLaughlin would move on, with greater commercial success, to the Mahavishnu Orchestra). Some of this music had substance, some less so. Their many copyists seldom achieved anything of lasting worth. Older jazz fans mourned the sacrifice of the sort of content to which they had become accustomed since the bebop era, notably the hair-trigger sensitivity within the dialogue between musicians that had marked modern jazz in general and Davis's own music in particular, both in the era of Milestones and Kind of Blue and the subsequent one of Miles Smiles and Nefertiti. Another price to be paid was the evolution of jazz-rock into the neutered, affectless "smooth jazz" of Kenny G.

That, however, was far in the future as Davis and his musicians sauntered on to the stage at the Isle of Wight in the summer of 1970, looking like hippy rock stars in their fringed vests, velvet loon pants and headbands. Miles's trumpet was finished in black lacquer – as close as he could get to giving it the visual potency of Hendrix's Stratocaster.

In the music that day, however, there were no compromises or concessions: this was still authentic improvised music, and the squawks and gibbers from the electronic keyboards of Chick Corea and Keith Jarrett, together with the bone-jarring cross-rhythms of Dave Holland's bass guitar and Jack DeJohnette's drums, made it distinctly uneasy listening. But it contained magic, enhanced by Miles's good fortune in being given a slot that coincided with the onset of twilight. Just before the set drew to a close, with the day's last rays of light almost gone and the rhythm section bubbling away in the warm dusk, Davis emitted a passage of pristine lyricism, as perfectly distilled as anything from the years of Italian suits and My Funny Valentine. Then he gave a small wave, turned to pick up his silver mute, his leather shoulder bag and his pink jacket, and was gone. He was followed on stage, for what it's worth, by Ten Years After, Emerson, Lake and Palmer, the Doors and the Who.


M. Davis -Bitches Brew 1970[Full Album] HD 1080p

	ワイト島のマイルス 1970 [DVD]
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	ヤマハミュージックアンドビジュアルズ

怒濤の洪水「ビッチェズ・ブリュー・ライヴ」1969-1970


表題作がヨイです「Bitches Brew」

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