Get up with it
| Get up with it | ||||
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| Studio album by Miles Davis | ||||
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Publication |
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| Label (s) | Columbia Records | |||
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Format (s) |
2 LP, 2 CD |
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Title (number) |
8th |
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running time |
123: 52 |
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| occupation |
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Teo Macero , Billy Jackson (D1) |
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Get Up with It is a fusion album by Miles Davis , recorded with various lineups between May 19, 1970 and October 7, 1974 in New York City. The album, produced by Teo Macero , was released on November 22, 1974 on Columbia Records as a double album and was Miles Davis' last studio album before his five-year retirement from the music scene.
The album
Get Up with It was a compilation of material whose recording sessions spanned the period from May 1970 (when the Jack Johnson album was created and the Fillmore concerts took place) to October 1974 ( Mtume / Maiysha ). With Miles Davis during this phase u. a. Al Foster , Airto , John McLaughlin , Reggie Lucas , Pete Cosey , Mtume , David Liebman , Billy Cobham , Michael Henderson , Herbie Hancock , Keith Jarrett , Sonny Fortune and Steve Grossman .
The album's first track, the 33-minute He Loved Him Madly from June 1974 , was a tribute by Miles Davis to Duke Ellington , who died the month before, who usually thanked his audience with I love you madly . Miles Davis had received a Christmas card from Ellington the year before as a last greeting that said: love you madly .
Despite this dedication, "the electronic sound collages (...) are as far away from Ellington as anything", wrote Peter Wießmüller. "On the basis of sparse and rather unstressed rhythms there are a lot of free-floating sound orgies to be admired," which are reminiscent of the experimental rock music of Pink Floyd and are only occasionally loosened up by David Liebman's flute and Miles' electrically amplified trumpet. The second half of the work is dominated by long, rapidly pulsating rhythms.
After Davis sustained leg injuries in a serious car accident in September 1972, during his recovery he occupied himself with the music of Karlheinz Stockhausen :
“More and more, I got the idea that performing my music is a creative process. My compositions had been circular for a long time, and Stockhausen made it clear to me that I never wanted to go back to the old eight-bar scheme, because my pieces never end, they can always go on. "
Davis combined his admiration for Duke Ellington with an interest in electronic music composer and funk pioneer Sly Stone , "who both demonstrated how music can focus on sound textures through various rhythmic pulsations ." The trumpeter played “long, deep notes over sustained guitar sounds, which gradually change and whose intensity continues to increase, over an entire side of the record. 'It's just sound,' he explained. "
Davis used the wah-wah effect on his electrically amplified trumpet, which in turn refers to Ellington's "invention of the real-time wah-wah " well back in the 1920s. "The lukewarm reaction of the audience" to He Loved Him Madly , judges Peter Lavezzoli, "was one of the reasons for his temporary withdrawal from the music scene."
The second side of the original album contained three shorter tracks: in Maiysha Miles Davis plays the organ again and is reminiscent of organists like Johnny "Hammond" Smith or Groove Holmes . "While the band is playing a simple cocktail arrangement , Miles strikes bright and harsh organ chords that boom in your ears and make fun of this genre of music," wrote Steve Davis after the album was released on Rolling Stone . In Maiysha Miles Davis uses the organ to create a funky groove, the continuation of which is impressionistically influenced by guitarists Reggie Lucas, Pete Cosey and Dominique Gaumont. Miles Davis' play here points to future albums of the late work such as Tutu , The Man with the Horn and Decoy .
Honky Tonk had recorded Miles Davis with his so-called Fillmore band ; this consisted of John McLaughlin, Herbie Hancock, Keith Jarrett, Billy Cobham, Airto, Steve Grossman and Michael Henderson. The page ends with Rated X , which, like Billy Preston, comes from the On the Corner phase from 1972. In the title Miles Davis and Cedric Lawson contribute keyboard riffs to sitar , tabla and the African percussion of Mtume. Miles Davis later said of this in his autobiography:
“I wanted to tie in with the music I grew up with, that dirty roadhouse sound, that hard honky-tonk thing that people dance to on Friday and Saturday nights. But my musicians played jazz from home and that was new to them. "
Latin funk is the dominant element of Calypso Frelimo from September 1973, with John Stubblefield on soprano saxophone and Dave Liebman (flute). "Here, on the basis of feather-light reggae rhythms, Miles accomplishes a stylistic integration with solo runs of trumpet, flute and soprano saxophone." Calypso Frelimo , which Davis dedicated to the freedom struggle of the Frente de Libertação de Moçambique (FRELIMO) in Angola , takes the entire third page of the Double LP one. Miles Davis can be found again on the organ, with which he leads his band through the tempo, based on his rhythm section .
The Blues - Jam Session Red China Blues featurt Wally Chambers (harmonica) and Cornell Dupree (guitar) as guest musicians, as well as regular band, a brass band. The "hard-edged" number brings Miles Davis back to the trumpet. the following Mtume highlights the band's percussionist of the same name; Billy Preston - the soul musician of the same name did not take part - with Miles on piano and Carlos Garnett on alto saxophone as soloists “Miles' tribute to another of his soul sources of inspiration and a blockbuster. As he always does, the artist rushes out, is sure of where he wants to go and doesn't dwell on looking over his shoulder to see who is inevitably following him ”. Billy Preston with his polyrhythmic funk characters is dominated by the percussionists Al Foster , Badal Roy and Mtume. This contrasts with the trumpet, saxophone ( Carlos Garrett ) and keyboards ( Cedric Lawson ) as well as guitarists Lucas, Henderson and Khalil Balakrishna on the electrically amplified sitar .
Track list
- Miles Davis: Get Up With It (Columbia KG 33236)
page 1
- He Loved Him Madly (1974) -32:05
Page 2
- Maiysha (1974) -14: 49
- Honky Tonk (1970) -5:54
- Rated X (1972) -6: 49
Page 3
- Calypso Frelimo (1973) -32:10
page 4
- Red China Blues (1972) -4:10
- Mtume (1974) -15:12
- Billy Preston (1972) -12: 35
All compositions are by Miles Davis.
occupation
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He Loved Him Madly
Maiysha
Honky Tonk
Rated X
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Calypso Frelimo
Red China Blues
Mtume
Billy Preston
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Reception and effect
Stephen Davis said after the album was released in 1975 in Rolling Stone that Miles Davis' long-time audience would find this album "bizarre", since the trumpeter played the organ on half of all tracks for the first time. The three electric guitars on different tracks, the use of overdubbing on trumpet backgrounds and the harmonica track ( Red China Blues ) are also strange. The long " elegy " He Loved Him Madly embodied the "full depth of admiration" that Miles Davis' generation had for Ellington, and the church music- like mood had just the right solemn effect. Using the example of Calypso Frelimo , the author noted that without Miles' trumpet, some of these long numbers occasionally tend to be boring.
The All Music Guide to Electronica awarded the album three stars; Scott Yanow emphasized the abundance of variations . Although Miles plays the organ instead of his trumpet for more than half of the pieces, the dense ensemble playing and the passionate improvisations are more creative than predictable.
Richard Cook and Brian Morton rated the album 3½ (out of 4) stars and find it more coherent than its immediate previous albums and much more sophisticated.
Peter Wießmüller sees the “strange” album primarily as “a conglomerate of recordings”, but praises individual titles such as Honky Tonk , “in which John McLaughhlin and Keith Jarrett deliver a wonderful calling card through economical intonation ,” and also the “exciting” Calypso Frelimo , with the “steam hammer ostinatos of the team Michael Henderson and Al Foster”, who “again belong to the master class; an absolutely precise timing and rhythms running against each other create an almost timeless dynamic space into which [...] Cosey and Miles at the organ include their clusters . "
The Allmusic rated the album four stars and said:
“This may be the most 'commercial' sounding of all of Miles 'electric records from the' 70s, but it still sounds out there, alien, and futuristic in all the best ways, and Get Up with It is perhaps just coming into its own here in the 21st century. "
Brian Eno described He Loved Him Madly as a lasting influence on his work in ambient music .
Tony Green wrote in JazzTimes :
“While Davis' electric work was often intensely spacious, as on Get Up With It's Duke tribute 'He Loved Him Madly,' his later electric work was marked by even more interest in the bottom line and a sound that provided an eerie parallel to some of Funkadelic's more atmospheric stuff. A lot of fusion, in retrospect, seems constructed all top-heavy like the Guggenheim; Davis' model was built more like a pyramid, with the heaviest architecture at the base. On the Corner's multiple 'Black Satin'-ahem-remixes share conceptual space with Get Up With It's' Calypso Frelimo' and the eerie, proto-junglist 'Rated X,' from that same collection, with the rhythmic cross currents and textural landscapes, serves as the focal point. "
Individual evidence
- ^ Miles Davis discography at Jazzdisco.org
- ^ Greg Tate: Voodoo Ray Gun . In Vibe , September, 1997, p. 93
- ^ John Szwed: So What: The Life of Miles Davis . 2003, ISBN 978-0-09-928183-2
- ^ A b c Peter Wießmüller: Miles Davis. Oreos (Collection Jazz), Schaftlach around 1985, p. 174 f.
- ↑ Paul Tingen: The most hated album in jazz . In: The Guardian , 2007
- ^ A b c d Miles Davis with Quincy Troupe : Miles Davis. The autobiography. Heyne, Munich 2000, ISBN 3-453-17177-2 , pp. 425-447
- ^ A b Peter Lavezzoli: The King of All, Sir Duke: Ellington and the Artistic Revolution . 2001, p. 57
- ↑ Eric Nisenson, 'Round About Midnight. A portrait by Miles Davis. Hannibal, Vienna 1985, ISBN 3-85445-021-4 , p. 178
- ↑ a b c d e Steve Davis: Review of the album. Rolling Stone . 1975
- ↑ a b Review of Thom Jurek's album at Allmusic (English). Retrieved July 9, 2013.
- ↑ All Music Guide to Electronica: The Definitive Guide to Electronic Music, edited by Vladimir Bogdanov.
- ^ Richard Cook , Brian Morton : The Penguin Guide to Jazz on CD, LP and Cassette . 2nd Edition. Penguin, London 1994, ISBN 0-14-017949-6 .
- ↑ Brian Eno: Liner Notes of the album Ambient 4: On Land . EG Records, 1986
- ↑ Review of the albums Big Fun, On the Corner and Get Up with It . JazzTimes , 2000