After the legendary Japan tour that marked the beginning of the one and only Miles Davis Music in 1975, the final day of the three consecutive Bottom Line performances in New York, which were a masterpiece performance that looked at the next step after the new addition of white Sam Morrison on saxophone, has been released as a definitive version with clear contours of each instrument and high sound quality! ! After the 1975 Japan tour, which can be said to be the perfect form of Miles Music, Sonny Fortune on alto saxophone left in late April and white Sam Morrison on tenor saxophone joined. Immediately after joining the Miles band, which had reached its peak in Japan, it was a live performance that I thought would be very difficult, but surprisingly, it fits the band perfectly. Unfortunately, this period of Sam's enrollment came to an end in a short time due to Miles' sudden temporary retirement, but the best performance of Sam's enrollment was the three consecutive Bottom Line performances in the Village in New York. The final day of the bottom line, June 12, 1975, the stage has been improved with the balance of the instruments that had collapsed in the previous release, and the sound quality has been improved by several ranks. This is a Kyo-Let's title that has arrived! ! In 1975, the "mystery" that is also a characteristic of Electric Miles accelerated even more. Although it is not often said, the greater the musician who is placed in a harsh environment for new creation, the more likely he is to become absorbed in mysterious things such as drugs, religion, and magic. Classical musicians such as Bach, who cannot be talked about without religion, Charles Manson who founded a religious religion, Jimmy Page who believed in the black magician Aleister Crowler, Bob Marley who dedicated himself to God, Carlos Santana and John McLaughlin who were devoted to India, and Miles who supported African magic and religion, is it a way to place yourself in a world of fantasy (delusion) due to the desire to create a new world? However, the music that arrives through it is very original and attractive, and has a "mystery" and "sexiness" that cannot be expressed in words. I believe there are musicians who can feel this... On this 1975 tour, the arrangements of the same songs were significantly different for each performance, and not only were the improvisations of Miles and the front members who took the solos different, but the tempo of the songs was different, and even the rhythm and melody were changed according to Miles's mood at the time. All the members communicated perfectly with Miles, and although the arrangements were made on the spot, they were so well prepared that they were perfect. Miles' constant instructions to the members, "Never play the same thing twice!", were in the ideal form since the last golden quintet of the acoustic era, on this 1975 tour. After the exciting Japan tour in 1975, the three consecutive gigs at Bottom Line were the best stage with Sam Morrison (later Bill Evans) joining Miles' band, who was a white saxophonist in the history of Miles' band, following Steve Grossman and Dave Liebman, instead of Sonny Fortune, who was also familiar with the Japanese performances. Morrison has been underrated until now, but when you listen to these performances, you can see that he was chosen by Miles, and at times he plays more creatively and aggressively than Grossman or Liebman, and his single-minded approach is impressive. Of course, there is the furious performance by Reggie Lucas, Pete Cosey, Michael Henderson, Al Foster, and Mtume, who are all one in the same, and the main character Miles's one-hit wonder, and this is Miles' music that has nothing in common with anyone else! Although it has only been a few months since "Agharta" and "Pangaea", the change in the overall sound is obvious, and it is interesting to see the unreleased new song "Hip Skip" in a mysterious atmosphere, as well as the refreshing "Unknown Latin", which proves that Miles was heading in a Latin direction at the time. There is also a melody that seems to lead to a melancholy phrase in the ballad number after his comeback, which suggests that he has regretted going too far in the pathological direction. You can also see Miles's pop experimentation. Of course, the core of the concert is the intense numbers such as "Zimbabwe" and "Turnaround Phrases". Please use your imagination to the fullest and immerse yourself to your heart's content...This is the definitive version of the final stage after the raging Japan tour to complete Electric Miles! !
Free Shipping on Every Order!
