Miles Davis - Live at the Fillmore East (1970)

在现场东菲尔莫尔

Live at the Fillmore East (1970)

Vinyl Release

Record 1

"Wednesday Miles" (17 June 1970) – 24:14

"Thursday Miles" (18 June 1970) – 26:55

Record 2

"Friday Miles" (19 June 1970) – 27:57

"Saturday Miles" (20 June 1970) – 22:20

[edit]1997 CD Reissue

Disc One (50:53)

Wednesday Miles (17 June 1970)

1. "Directions" (Joe Zawinul) (2:29)

2. "Bitches Brew" (0:53)

3. "The Mask" (1:35)

4. "It's About That Time" (8:12)

5. "Bitches Brew/The Theme" (10:55)

Thursday Miles (18 June 1970)

6. "Directions" (Joe Zawinul) (9:01)

7. "The Mask" (9:50)

8. "It's About That Time" (11:22)

Disc Two (50:13)

Friday Miles (19 June 1970)

1. "It's About That Time" (9:01)

2. "I Fall in Love Too Easily" (Jule Styne, Sammy Cahn) (2:00)

3. "Sanctuary" (Wayne Shorter) (3:44)

4. "Bitches Brew/The Theme" (13:09)

Saturday Miles (20 June 1970)

5. "It's About That Time" (3:43)

6. "I Fall in Love Too Easily" (Jule Styne, Sammy Cahn) (0:54)

7. "Sanctuary" (Wayne Shorter) (2:49)

8. "Bitches Brew" (6:57)

9. "Willie Nelson/The Theme" (7:57)

All compositions by Miles Davis unless otherwise noted.

Avant-garde jazz musicians, 1960

Avant-garde jazz, is a style of music and improvisation that combines avant-garde art music and composition with jazz.

Avant-garde jazz musicians, 1960

John Coltrane

Miles Davis

McCoy Tyner

Archie Shepp

Wayne Shorter

Eric Dolphy

Herbie Hancock

Sun Ra

...

Avant-Garde Jazz differs from free jazz

Avant-Garde Jazz differs from free jazz in that it has more structure in the ensembles (more of a "game plan") although the individual improvisations are generally just as free of conventional rules. Obviously there is a lot of overlap between free jazz and avant-garde jazz; most players in one idiom often play in the other "style" too. In the best avant-garde performances it is difficult to tell when compositions end and improvisations begin; the goal is to have the solos be an outgrowth of the arrangement. As with free jazz, the avant-garde came of age in the 1960s and has continued almost unnoticed as a menacing force in the jazz underground, scorned by the mainstream that it influences. Among its founders in the mid-to-late '50s were pianist Cecil Taylor, altoist Ornette Coleman and keyboardist-bandleader Sun Ra. John Coltrane became the avant-garde's most popular (and influential) figure, and from the mid-'60s on, the avant-garde innovators made a major impact on jazz, helping to push the music beyond bebop. -- Scott Yanow  

New Thing at Newport (Impulse!)

More than a simple long player, New Thing At Newport stands as a symbolic snapshot; the meaning of this package lies not only with the music, but with its context. Recorded at the Newport Jazz Festival on July 2, 1969, the “New Thing” of the title refers to the term used at the time for the wave of young musicians who sought to probe the boundaries of jazz. They were following a trail started by Coltrane, whose own perpetual quest is represented in his two extended performances here which find him searching for a voice outside what his classic quartet could provide. Shepp’s performance in the second half of the album, with the throaty howl of his horn and his brazen taste for experimentation, acts as rejoinder and instigant to Coltrane. In the months following Newport, Coltrane would disband his immortal quartet and reconstitute his music with a whole new set of young free-thinking musicians. Shepp’s music developed parallel to Coltrane in a series of classic albums for Impulse and Actuel. A period of such intense transformation could never be traced to a single starting point; however, New Thing at Newport feels like the final moment before jazz was pushed off its precipice only to sprout a whole new set of wings.

1. Spoken introduction to John Coltrane's set by Father Norman O'Connor - 1:08

2. "One Down One Up” - 12:42

3. "My Favorite Things” - 15:14; Spoken conclusion to John Coltrane's set by Father Norman O'Connor

4. Spoken introduction to Archie Shepp's set by Billy Taylor - 1:41

5. "Gingerbread, Gingerbread Boy” - 10:26

6. "Call Me By My Rightful Name” - 6:38

7. "Scag” - 3:19

8. "Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped)” - 5:17

9. "Le Matin Des Noire” - 8:20

Recorded July 2, 1965 at Newport Jazz Festival.

John Coltrane — tenor saxophone/soprano saxophone

McCoy Tyner — piano

Jimmy Garrison — double bass

Elvin Jones — drums

Archie Shepp — tenor saxophone, except "Scag", recitation

Bobby Hutcherson — vibes

Barre Phillips — double bass

Joe Chambers — drums

Ornette Coleman Sextet - video

Ornette Coleman - sax, violin - Ben Nix - guitar - Charlie Ellerbee - guitar - Albert Arnold - bass -  Shannon Jackson - drums; Denardo Coleman - drums  - 1978 Germany.

video link: Ornette Coleman Sextet

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