In recent years, the highly anticipated After Hours label has released the first recordings of the final performances in Copenhagen in 1973 and Sao Paulo on June 2, 1974, as well as the first recordings of the Philadelphia and Boston performances in 1975, and various other masters of the 1975 Japan performances. This is the first time that the highly anticipated excavated recordings have been released! Dave Holland left the Miles Group after the August 1970 live show on the Isle of Wight, and was replaced by Michael Henderson, the funk master bassist who would later become the key to the electric Miles sound. Until then, they had a twin keyboard system, but Chick Corea also left along with Dave, so this was the first performance with the new lineup, with Keith Jarrett on keyboard alone. This was the first performance of the four consecutive shows held at the Fillmore West in San Francisco from the 15th to the 18th of 1970. The first day's performance on October 15th was a miraculous newly excavated master tape that does not overlap with the horrible female (singing) voice (there are some parts that can be heard faintly when listening with headphones, but it is barely noticeable). This supreme item has been completely recorded on the ultra-high quality stereo sound board that has been carefully mastered by the label's own original master tape! One of the reasons Miles turned to electric music was that he had a plan to create a band that could compete with the rock bands and soul (funk) groups that were sweeping the world, filling up large festivals and venues that were unthinkable in the jazz world, and sending the audience into a frenzy. In fact, on the stage at the Isle of Wight, he overwhelmed many music fans with a sound that surpassed even the most famous rock stars. Also, the Fillmore East in the east (New York) and the Fillmore West in the west (San Francisco), run by one of America's leading promoters, Bill Graham, were venues where only the most successful stars were allowed to perform. Miles was the only jazz musician to perform at these two Fillmores. First, he performed at the East Fillmore six times on June 6th and 7th and June 17th to 20th, 1970, and at the West twelve times on April 9th to 12th, October 15th to 18th, 1970, and May 6th to 9th, 1971, and almost all of them are now available on CD. Now, the Miles group was in a new formation with Keith as the only keyboard player and the newly joined funk Michael. Leon Russell and Sea Train were the opposing bands on the day, and it seems that the recording was centered around Leon, who was at the peak of his popularity at the time, and was aired on an FM station called KPFA. Miles was treated as a second-rate performer? So perhaps the female DJ was just playing around? However, since it was an official recording, the sound quality and balance are undoubtedly top-notch, and from the opening song "Honky Tonk," you can hear DeJohnette's drums pounding realistically, the bass of new member Michael resonating in your hips, the diverse percussion of Iart and Juma, and Iart's shouts. And the song in question, "What I Say," is actually the most important number in this lineup, and the number that became the highlight of the concert the following year. However, it was still almost unfinished at this time, and some people describe it as an unreleased song. But the funky development here, this is the sound that Miles would later seek, blossoming, a dramatic development that will make Miles fans' hearts flutter with tears! Since "What I Say" was previously ignored because of the female DJ, it is very moving to be able to enjoy it in this way... Also, "Bitches Brew," which was only played a few times in the early days with this lineup, has a different funky development at the end, and the coolness of "Funky Tonk" that follows from there, and of course Miles' earth-shattering trumpet is top-notch throughout!!
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