Miles at the Fillmore: Miles Davis 1970: The Bootleg Series Vol. 3

The "Bootleg Series" of live recordings by Miles Davis and various ensembles, now comprising six volumes, released by Sony Music ranging from the mid-1950s to the mid-1970s, can be viewed, on one hand, as an attempt to mine the vaults for further product and trade off the legacy of the legendary trumpeter, bandleader, and mercurial figure. 

Conversely, fans see these, variably, as valuable additions to his discography in which concert performances, much of which was previously unreleased (or, if so, were heavily edited) demonstrate the remarkable interplay and sonic power of the Dark Magus' groups over a radically changing period.  After all, no figure in jazz morphed musically (and sartorially) so memorably without compromising his integrity as Davis.

This third volume of performances at the Fillmore East in New York, with some additions of parts of gigs at the companion venue, the Fillmore West, in San Francisco, is amazing, not just for the often-blistering, pounding, and soaring work done by a stunning band, but, because of the context. 

Davis agreed to play shows at the historic rock venues, owned by impresario Bill Graham, as a vehicle to get his music out to younger people.  This was a very shrewd move, given the massive decline of interest by those folks in jazz from the mid-Sixties onward, but it also exposed him to often cockeyed criticism that he was selling out (yes, that 26-minute version of "Bitches Brew" on the album of the same name was the easiest way to crack the Top Ten.)

It is strange to note that Davis opened (yes, OPENED) for Laura Nyro, Steve Miller, and Neil Young and Crazy Horse, at some of these shows.  From a purely commercial perspective, it was obviously necessary (at least to Graham), but artistically, it was clear that, good as all of those performers were, Miles and his band were masters (including technically and in innovation in sound) way above the levels of the headliners.

In any case, here are staggering performances of classics of the Bitches Brew era, with the title track, "It's About That Time," and "Spanish Key" complemented by "Directions," standout from the mid-Sixties quintet, and other tunes from earlier incarnations (including strange truncated verions of "I Fall in Love Too Easily," added, perhaps, as brief quiet interludes to the bubbling cauldron of intense electric sound otherwise served piping hot to the mostly white, young audiences.)

There was a two-LP (or CD) album released by Columbia at the time, but it was heavily and interestingly edited by producer Teo Macero.  The full pieces are restored in this edition, handled by noted producer Michael Cuscuna and Richard Seidel (whose detailed liners with great photos are also great to have.)  The San Francisco performances, from April, included young sax player Steve Grossman, Chick Corea on electric piano, Airto Moreira on a variety of percussion instruments (cool additions of texture and color), Dave Holland on bass, and Jack DeJohnette on drums. 

This was a great band, though Grossman, who was 19, was criticized for overabundance in his playing.  But, then, for the June shows in New York, Keith Jarrett was brought in on electric organ (heard through the right channel, where Corea was in the left) and his prodigious talents added to those of the remarkable Corea (the great ensemble Circle morphed from this pairing) to really enhance the sound of this unbeatable ensemble.

Miles' electric period is the favorite of this blogger, though all periods are valued for various reasons, and this 4-CD deep digging into live performance of an astounding group is really a revelation.