Music Review: Miles Davis 'Miles at The Fillmore …

In retrospect, Miles Live at Fillmore was an odd choice as the first Miles Davis album I ever bought. The reason I chose it was simple. I was curious about his music, and that was the only title my local record store had in their used bin.

So I plunked down my four bucks, took it home, and plugged in to the music of the legendary trumpeter at just about the midpoint of his long career. The original four sides of vinyl have been fleshed out to four CDs for the newly released Live at The Fillmore: Miles Davis 1970:

Reviewer’s Rating


Summary : This historic 1970 stand is a must for any fan of electric Miles Davis.

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In retrospect, Miles Live at Fillmore was an odd choice as the first Miles Davis album I ever bought. The reason I chose it was simple.

I was curious about his music, and that was the only title my local record store had in their used bin. So I plunked down my four bucks, took it home, and plugged in to the music of the legendary trumpeter at just about the midpoint of his long career. The original four sides of vinyl have been fleshed out to four CDs for the newly released Live at The Fillmore: Miles Davis 1970: The Bootleg Series Vol.

3 from Columbia Legacy, and it is a very impressive package.

miles fillmoreThe double LP had not been well received by the critics, and now I understand why. They probably felt that the set was more about Teo Macero than Miles. The original concerts took place at The Fillmore East, in New York during Davis four-day stand of June 17-20, 1970.

Incredibly enough, he was opening for Laura Nyro. Producer Macero edited each night s set down to 20 minutes, and titled them Wednesday Miles, Thursday Miles, and so on for each of the four vinyl sides. The new edition presents the full set of each night per disc, plus material recorded at the Fillmore West from that year as bonus tracks.

Bitches Brew had been released in April 1970, and was immediately picked up by the hip rock crowd, including underground FM radio, and Rolling Stone magazine.

This period would eventually lead to Davis being the only jazz musician to ever be inducted into the Rock and Roll Hall of Fame. And with good reason, for this music has much more in common with what groups such as The Grateful Dead or The Allman Brothers Band were doing than jazz.

The reason The Grateful Dead s concert tapes are so prized is that the group could be radically different from show to show. In some ways, the Davis band of this period shares this quality.

The setlists are similar from night to night, but with musicians of this caliber, the solo spots are never the same.

This may have been the most all-star band that Miles ever had. The group included Chick Corea (electric piano), Keith Jarrett (organ, tambourine), Dave Holland (bass), Jack DeJohnette (drums), Steve Grossman (tenor sax, soprano sax), and Airto Moreira (percussion, flute). Although I mentioned such jam band precursors as the Dead and Allmans previously, the Davis band is closer to the heavy metal music of the day than anything else.

Miles was a fan of Jimi Hendrix, and the thunderous roar this group makes is not unlike that of Led Zeppelin.

The first three songs are the same each night. They open with Joe Zawinul s Directions, then The Mask, followed by It s About That Time. Although the studio version of Directions would not be released until 1980, it hardly mattered to the crowd.

The track provides a high-energy introduction, with Davis horn bursting forth immediately, then stepping back to allow Grossman s sax to dominate with some Coltrane-inspired sheets of sound. It is fascinating to listen to the two keyboardists in action, as they are identified in the notes by channels, with Corea on the left, and Jarrett on the right.

Next up is The Mask, which wears its voodoo proudly right from the mysterious keyboard opening. Then Miles steps up and really punches in with his trumpet.

Davis is famous for the muted sound he used so effectively, but in this context he blows with abandon. On this tune, Grossman takes the sly approach, playing the lower register of his sax to the loud approval of the Fillmore hippies. The Mask is a spellbinding tune and gives the crowd a chance to catch their breath after Directions.

The segue into It s About That Time is nearly invisible, but once they get it going, it does not stop.

Besides Hendrix, the other artist of the era that turned Davis head was Sly Stone, which the funky groove of It s About That Time bears witness to.

Holland s bass is key, and listening to him between the dueling keyboards at around the nine-minute mark is a beautiful thing.

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Captain Black Beard | Before Plastic

by Alexandra Mrozowska
- Columnist

Captain Black Beard Before PlasticCaptain Black Beard seems to have it all, a fancy band name, a team of solid musicians, the renowned producers to work with, a critically acclaimed debut album The only task they have to face now with their sophomore effort entitled Before Plastic is to prove their early success wasn t accidental. To prove all the rave reviews right, the Swedes gathered in the studio together with some impressive guests on board Bruce Kulick (ex-KISS, Grand Funk Railroad, Union), Tommy Denander (Imperia, Radioactive) and Mats Karlsson (220 Volt, The Summit). The expectations are high will they meet them?

The first few tracks the album starts with are well-crafted and pleasurable to listen, but something s missing there.

Funnily enough, these are the tracks which two important big names of the genre contributed to; a dynamic modern-day rocker Please Come Home features Bruce Kulick playing a guitar solo in his trademark style, while in a melodic AOR-ish mid-tempo Somebody, there s a guest appearance of Tommy Denander. There s an interesting riff that leads a fast-paced New York City and at times, Bad Girl may remind a listener of more mellow moments of the 80s-era KISS, especially in terms of vocals. Up to this point, the album sounds convincing, but it s far from the expected brilliance.

However, it s about the fifth track when things start to get really interesting.

The great vocal harmonies and bluesy vibes of Music Man prove that the best is yet to come as it seems, the first few tracks were only a warm-up in comparison to what comes next. Aiming For Love is one of the album s highlights with its combination of simple-yet-hooky guitar riff and infectious chorus. It s the type of an ultimate hit song you can find on Outloud or Reckless Love releases.

Keep On Drivin is yet another bluesy track with dynamic rhythm section and a brilliant groovy guitar riff. As for the eight track Shout an aggressive yet clich d group chant ( Shout! ) certainly reminds one of something , and it doesn t take too long to figure out the title of classic glam metal anthem it s coming from does it? The fast-paced track with machine-gun riffs is the heaviest on the album.

On Before Plastic, there is also a plenty of place for typical groovy rock anthems, such as Life s What You Make It and Takin You Out.

The final track is Listen Up the tempo of which varies from ballad-esque verses to powerful, straightforward choruses, so that in the end it turns out that there s more to what initially seemed to be just a clich d rock ballad. Some equilibristic guitar parts towards the end of the track prove there is more to Captain Black Beard than meets the eye (or ear), too.

Although a couple of opening tracks on Before Plastic are only satisfactory, a few subsequent gems should convince even the most skeptical listeners that what Captain Black Beard delivered with their sophomore release overall is actually very good. Variety, catchiness and very solid performance of the majority of songs on the album are the strong assets to its entirety, the list of guest musicians being understandably impressive and their contribution to the album noticeable.

And as for all the enthusiastic reviews of their first album with its follow-up Captain Black Beard prove they re not a one-hit-wonder and they re not about to lower the tone altogether; they still have a lot of potential and they re still worth the attention of fans of melodic hard rock genre. Recommended.

Genre: Melodic Hard Rock

Sakaria Bj rklund vocals/guitar
Victor H gberg drums
Robert Majd bass
Christian Ek guitar

1. Please Come Home

3. New York City
4. Bad Girl

Music Man
6. Aiming For Love
7. Keep On Drivin

9. Life s What You Make It
10. Takin You Out

Listen Up

Label: Dead End Exit Records

Website: www.captainblackbeard.net1

Hardrock Haven rating: 7.5/10


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Weekend of music and drama at Deverills festival (From Salisbury …

Weekend of music and drama at Deverills festival

4:46pm Thursday 17th April 2014 in Entertainments1 By Hannah White2

MUSIC, drama, comedy and fun is coming to the Deverills festival of performing arts next month.

The festival, from May 2 to 5, aims to provide something for everyone to enjoy, from classical music through to jazz and world music, drama, comedy, storytelling, street theatre and Ceilidh Gaelic folk music and dancing.

There will also be an opportunity to work with Salisbury Playhouse practitioners, using costumes, props and lighting to create a show.

The line up includes touring theatre companies Angel Exit, Kepow and Beautiful Monsters, and music from artists including Carducci Quartet, Guy Johnston and friends, Bath Philharmonia, Spectra Musica, Nick Sorensen Trio, Threepenny Bit, 4 Plus 1 and Nectarion.

There will also be outdoor events by the Langport Mummers, street theatre acts and guided tours along the valley.

Richard Munro, festival director, said: We are all looking forward to a wonderful bank holiday weekend of terrific music and drama.

And we re delighted that the breadth and quality of the festival has been recognised by Arts Council England and so many generous sponsors in Somerset and Wiltshire.

Performances will be held in a variety of venues throughout the Deverill villages, including a 16th century storage barn which will showcase the drama.

Refreshments will be available between events in the festival hub in Kingston Deverill and at the George Inn in Longbridge Deverill.

Tickets are now on sale at deverillsfestival.com3 or call the box office on 01749 813899.


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  2. ^ By Hannah White (
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Posted in Bath, Classical, Jazz, Kingston, Music News And Reviews, News And Reviews, Products, Salisbury, World Music | Tagged , , , , , , , | Leave a comment