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Miles Davis- April 12, 1970 | Fillmore West, San Francisco [REMASTERED]

Fiery set at the home of hippie culture April 12, 1970 Fillmore West, 10 South Van Ness Avenue, San Francisco, California MILES DAVIS Miles Davis- trumpet Steve Grossman- soprano saxophone, except -1 tenor saxophone Chick Corea- electric piano Dave Holland- bass guitar, except -2 double bass Jack De Johnette- drums Airto Moreira- percussion It's About That Time (M. Davis) 00:00 Directions (J. Zawinul) -1 10:58 I Fall in Love Too Easily (S. Cahn-J. Styne) 23:20 / Sanctuary (W. Shorter-M. Davis) 25:09 Footprints (W. Shorter) 29:03 Agitation (M. Davis) -2 39:48 No Blues (M. Davis) -2 41:37 Bitches Brew (M. Davis) 49:33 Spanish Key (M. Davis) 1:04:22 / The Theme (M. Davis) 1:15:55 closing titles 1:16:43 Soundboard source Bitches Brew was an earthquake. The August 1969 sessions, fusing jazz, rock, R&B, and the avant garde, caused aftershocks through the worlds of jazz, progressive rock, and funk that were felt for decades. The album also caused a seismic shift in Miles' own career. After signing with Columbia in 1955 Miles had become one of their leading jazz stars; his early albums for the label were big sellers in jazz terms- Kind Of Blue, Sketches of Spain and Porgy & Bess had sold 100,000 to 150,000 but by the mid-1960s things were changing. College kids were turning to the wave of rock music that had followed The Beatles, young black audiences were listening to Motown and James Brown. Jazz was becoming the music of their parents' generation. Miles' recent albums sales had fallen to 40-50,000. He was also playing small jazz venues, as Dave Holland reported: "When I joined the band it was on a sort of decline in America. We played a lot of clubs where there were 30 or 40 people in the audience in a night... I was amazed that so few people would come." Promoter Bill Graham ran two rock venues, the Fillmore East in New York and Fillmore West in Los Angeles, the hub of the hippie culture. Clive Davis, who had become president of Columbia in 1966, saw an opportunity to introduce rock audiences to Miles's new direction and increase his sales. He wrote to Graham and told him "the 'underground' is ready for Miles." Miles was infuriated. In a foul tempered phone call to his label boss he railed against playing for "those fucking long-haired white kids" and complained about money- Miles's fee for a large venue was around $5000; Graham was offering $1500. The dispute escalated when Miles's lawyer contacted Columbia to say there would be no more recordings for the label. There were even rumours in the press that Miles was looking to get out of his contract and sign with Motown. Miles eventually relented. In March he played two nights at the Fillmore East on a bill with Neil Young and Steve Miller, to a mixed reception. Bitches Brew was released March 30 to acclaim from the rock press. The next month he played a four night run at the Fillmore West, supporting hippie heroes the Grateful Dead, whose mix of rock, folk, bluegrass, and psychedelia also included a healthy dose of jazz-inspired improvisation. Also on the bill were Scottish blues rock band Stone The Crows, with Brotherhood of Light's lightshow. Miles and his band made no concessions to the new audience; this was fierce, uncompromising music- abstract, chromatic and occasionally teetering into free jazz. This was the last of the four shows (the second evening was released as the Black Beauty LP). Unusually, the set opens with It's About That Time from 1969's In A Silent Way LP, with the customary set opener Directions following. Corea is especially wild, distorting his Fender Rhodes through a ring modulator and Echoplex, in a constant commentary on the soloists. The middle of the set features three tunes all making their final appearance in the setlist- the minor blues form of Footprints has been abandoned, leaving only a bass vamp and a fragment of the melody; there's a truncated Agitation, while No Blues also takes its blues form to breaking point; Miles sits out apart from the opening horn line, becoming a lengthy showcase for Holland's acoustic bass, before Corea's electric piano dissolves into free jazz cacophony. These skeletal forms would become the norm for Miles' new material but it's interesting to hear him retooling old compositions to fit the new aesthetic. Two pieces from Bitches Brew round out the set. The Deadheads seem to lap it up, and so did the Dead themselves. Bassist Phil Lesh recalled; "As I listened, leaning over the amps with my jaw hanging agape, trying to comprehend the forces that Miles was unleashing onstage, I was thinking, 'What’s the use? How can we possibly play after this? We should just go home and try to digest this unbelievable shit.'" Miles appeared to enjoy his Fillmore experience, winning over audiences, reconciling with Clive Davis and Bill Graham, and befriending Dead guitarist Jerry Garcia. "[We] hit it off great, talking about music... and I think we all learned something."