Customer Reviews

Big Fun

5 star:		(16)
4 star:		(6)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

I bought this album in London earlier this summer, where it has been available for some time, and is actually quite popular. This sales clerk nodded and said he thought it was an excellent album (or, I believe more accurately "that's a good one, there"). I also think it is an excellent album, though a bit scattered and disorganized in the arrangement of the songs and especially in the personnel and set information, and if you are interested in Miles Davis' funk 70s period (from Bitches Brew to Pangea) then I suggest buying this album. Like much of Miles Davis' music of this period, the interest doesn't lie in the melodies, or in the individual solos, but in two things; the overall buildup and cataclysmic weight of the songs themselves (all over 20 minutes), and the short sections where the whole band just seems to catch the groove (as Miles would say) and you feel it pass over you as well. It's a hard feeling to describe, and not everyone can catch it, but it's really what music is all about-and you can find it on this album. The music of this period has been described as 'seismic' or 'earth-shattering'; perhaps a bit overwinded, but accurate nonetheless.

If the idea of listening to an album featuring tracks that clock in at least 20 minutes doesn't appeal to you, "Big Fun" may not be your type of groove. This is not an album for those who suffer from a short attention span. It's not for those who still have conservative notions about what jazz should sound like. And it's certainly not for those who aren't open-minded enough to appreciate Miles Davis' era called the "electric" period. "Big Fun" ranks up there with "Bitches Brew" and "Get Up With It" as another double-CD fusion masterpiece. Miles's trumpeting is still in exceptional form, but on this album, he incorporates rock, funk, and a dash of blues into the mix. Many of the players that appeared on the "Bitches Brew" album return here, as well as Herbie Hancock. "Go Ahead John," which is the opening track on disc two, defies categorization: for nearly 30 minutes, the track swings stylishly between rock, soul and jazz featuring fierce electric guitars, great drum work, fine trumpeting from Davis, and nice sax from Steve Grossman. "Lonely Fire" is a seductive, near-ambient work of minimalism showing Davis on trumpet, Bernie Maupin on bass, as well as some light percussion. "Ife," which was written while Davis was working on his "On the Corner" album, is a suave and funky number with "1970s" written all over it, featuring a great bassline from Michael Henderson. "Big Fun," which is digitally remastered, also has four additional rare tracks which also appear on the "Bitches Brew" box set (also a must-own). While other musicians were settling into their comfort zones, Miles Davis continued to push boundaries and defy musical traditions. "Big Fun" is an incredible work of fusion that's almost guaranteed to get heavy rotation on your CD player.

It doesn't swing, there are almost no acoustic instruments and it's light-years away from the upbeat easy-bopping that the word 'jazz' conjures up in many people's minds. But Miles was one to make traditions, not follow them, and jazz has always been about spontaneity and change. His "electric" period in the first half of the 70s was all about wild grooves, head-spinning experimentation and following his curiosity. And I'm not an expert by any means, but I rank Big Fun right at the top (alongside Jack Johnson and Pangaea) as one of the most accomplished albums of this phase. It's exotic, it's spontaneous, it's rhythmic and cool, it's world-beat funk jazz like almost nothing else you're likely to hear.

How to describe this stuff? It's based in groove, but embellished with layers of inventive playing that keep it from ever sounding monotonous. "Ife" finds all kinds of variations on a four-note bass vamp. "Go Ahead John" bounces and swaggers all over the place, featuring a McLaughlin solo that's absolutely sick. Joe Zawinul's "Recollections" is the least funky of all the songs, instead floating through 18 minutes of a cozy dream haze. I agree with the poster below who said that it should come after "Trevere," not before.

There's a wonderful cast of talented characters breathing life into the music with a bright rainbow of vibrant colors - Herbie Hancock, John McLaughlin, Jack DeJohnette, Wayne Shorter, Airto Moreira, Chick Corea.. the cast list alone is astounding. The group lineups range from a basic five to a cunningly orchestrated eleven. It even expands on the general sound of Miles's groups at the time; in addition to the crazy horns and variety of electric keyboards, Big Fun has plenty of tabla, tambura, sitar and more Indian instruments than any jazz band outside of Shakti. And in the middle of it all is Miles: directing and guiding every step of the process, bringing all these people of different backgrounds together, weaving their contributions into a dazzling whole and fearlessly forging into new territory with a vengeance.. even if his sidemen themselves didn't even know where they were going.

It's a shame Big Fun is so often overlooked in the shadow of the monumental Brew that came before. It's more accessible, more upbeat, more variegated.. more fun. Those who didn't like B-Brew for its weird trippiness and meandering noodlings should still find plenty to like here.. those who liked it in the first place should enjoy this just as much. Those merely curious about electric Miles.. go look up A Tribute to Jack Johnson first, then come here once you're hooked.

There are not enough words in the English Language to adequately describe the music of Miles Davis, particularly the 1969-1975 Electric Period, for some of the most creative, memorable, innovative and controversial music of the 20th century was produced during this time. "Big Fun" is a perfect example of this, as it a unique compilation of mood-inspiring songs created during this period. As a virtual sonic collage, it takes you on a musical journey to the outermost regions of Miles' mind with every listen; each time you will find something new, fresh, exciting and different than what you heard before. From the Eastern-tinged magic of "Great Expectations/Orange Lady" that bounds with sitars and tablas, to the pure psychadelic funk of "Ife", to the brooding introspection of "Lonely Fire", to the peace, serenity and spritual vibrations of "Recollections", this album shows that Miles was truly ahead of his time. His ability to invoke, sustain and maniuplate moods and emotions in his music was unparalled and hasn't been matched before or since. Simply put, "Big Fun" is to be experienced, not just heard.

I've read earlier reviews of "Big Fun" and other Miles Electric albums. There are legions of people (like myself) who understand the power of this music, and with an open mind and patient ear, they can taste, touch and feel the place inside where Miles is taking them - and they are more than willing to take that journey. However, there are many people (as it was 30 years ago) who can't dig Miles' electric musings. They refuse to acknowledge anything past "Kind of Blue" or "Sketches In Spain" or "Stella by Starlight". His earlier works are all true masterpieces and are revered as they should be. But those misguided and misinformed people felt betrayed by his need and desire in 1968 to expand, broaden and transcend his musical horizons into a territory that no one travelled to before. They say things like: "the songs are too long", "it's just a bunch noise", "he sold out jazz", etc, etc, etc . . . Well to all of you (past and present) with that mentality, I would like offer my sincere condolences, because if you can't feel the power, passion and pure originality of albums like "Big Fun", "Bitches Brew", "On The Corner", "Live-Evil", "Get Up With It" and others, then your soul is DEAD - straight Six Feet Under. You're mind is so numb that you can't understand, comprehend or appreciate the drive and will of an true artist. You see, unlike "artists" of today (and I use that term loosely in this context), a REAL artist - even in the face of serious oppostion and negative energy from critics, fans and musicians alike - at some point, is compelled to do away with musical complacency; he or she MUST push the boundries of music so as to innovate and stimulate growth. Money, Fame and Notoriety don't matter in this realm; it's all about the music. Miles pushed his creative boundries so far and consistently innovated on a level so high, that his music today STILL defies categorization and duplication, while sounding as fresh, organic and unique as it did 30 years ago. You owe it to yourself to really listen to "Big Fun", because otherwise you are truly missing out on an excellent demonstration of a musician breaking free from the status quo. If you cheat yourself and don't give it (and the other Miles Electrics) a chance, then all I can do is pity you because just like millions of others, you've been victimized and enslaved in the invisible prison of mediocrity. Any true artist (be it in music, literature or art) will tell you that they must grow and evolve his/her craft in order to keep the creative process alive; Miles put it best himself: "Stasis is death." The unwillinginess of people to accept change, to be original, or to dare to be different hurt music then and hurts music now. So to all you suckers who don't have the mental capacity to expand your views and listen to real music created for music's sake, then stop reading this and go buy an N'Sync or Britney Spears CD; that kind of music is more on your level.

Simply put, he and his music was, is and always will be Miles Ahead, Miles Beyond and Miles From Anything !

Recorded right around the same time as Bitches Brew, this album has spent the last 29 years hiding in the shadows. Because it wasn't originally released until 1974, I think these tracks were thought of by the public as being "throw aways". They're not.

Big Fun moves forward from Bitches Brew by incorporating a sitar, and yet still manages to caputre a lot of the same moodiness found on In A Silent Way.

I'm thrilled that 3/4 of Big Fun is now available on the Complete Bitches Brew Sessions, but this is one album that should also be made available domestically with its original packaging.

Dig it!

I'm not big on fusion, but I can tell you that Big Fun is one of my favorite albums from the period, along with In a Silent Way. One of Miles' more misunderstood works, and I'm glad it was given such a good reissue.
The record starts off with Joe Zawinul's best song (at least his best song with Miles), Great Expectations. Recorded shortly after Bitches Brew, it's a two-part suite, the second half being the Weather Report classic Orange Lady. It's arguably the best song on the album: twenty-seven minutes, and I don't want it any shorter. I especially like the Indian instrumentation.
Next up is the slow, spacey, funky Ife, an outtake from the On the Corner sessions. I really wish Miles had decided to include it on that album, as it could have saved it from being a total disaster. Recollections (again coming from the period just after the Bitches Brew sessions) is next up, a moody Zawinul classic. This, along with three other songs (I'll get to those), can only be found on the CD version of Big Fun. It's a collector's item, but it's also a very good piece of music. Trevere (yet another Brew-era outtake, and again previously unreleased) follows this, and really it's the album's only bad point. I hate the stupid haunted-house organ.
Then it's back to the good stuff. Go Ahead John (the lone outtake from the Jack Johnson sessions found on this LP) is my other favorite here. It's like Hendrix, if Hendrix had collaborated with Miles (and he probably would have, had he lived longer - the two were friends, of course). Lots of heavy guitar on that song. I've heard it's supposed to be an embryonic take of Right Off, but I disagree: it doesn't have the dated-sounding organ that ruins the otherwise stellar composition, and there's no uncredited Sly Stone borrowings. One fine song!
Lonely Fire (once again coming from the post-Bitches Brew sessions) is another. One of Miles' signature pensive, haunting ballads; it reminds me of Brew's Sanctuary, only it's so much better.
The Little Blue Frog is from the same sessions as Lonely Fire and most the rest; a good funk-rocker, though it drifts a bit.
Yephet makes for still another standout performance; a ten-minute moody Indian funk song. Very good!
Oh, and the liner notes are worthwhile - very informative, good Bennie Maupin essay, and great photos! So listen closely, and have big fun.

There are not enough words in the English Language to adequately describe the music of Miles Davis, particularly the 1968-1974 Electric Period, for some of the most creative, memorable, innovative and controversial music of the 20th century was produced during this time. "Big Fun" is a perfect example of this, as it a unique compilation of mood-inspiring songs created during this period. As a virtual sonic collage, it takes you on a musical journey to the outermost regions of Miles' mind with every listen; each time you will find something new, fresh, exciting and different than what you heard before. From the Eastern-tinged magic of "Great Expectations/Orange Lady" that bounds with sitars and tablas, to the pure psychadelic funk of "Ife", to the brooding introspection of "Lonely Fire", to the peace, serenity and spritual vibrations of "Recollections", this album shows that Miles was truly ahead of his time. His ability to invoke, sustain and maniuplate moods and emotions in his music was unparalled and hasn't been matched before or since. Simply put, "Big Fun" (like many Miles Electric albums) is to be experienced, not just heard...Miles pushed his creative boundries so far and consistently innovated on a level so high, that his music today STILL defies categorization and duplication, while sounding as fresh, organic and unique as it did 30 years ago. You owe it to yourself to really listen to "Big Fun....

As a fan of Miles' electric period, it always bothered me that though there were some true gems among his early 70s recordings (Black Satin from 'On The Corner', Billy Preston from 'Get Up With It') Miles and Teo Macero's attempt at early ambient mixing fell completely short, and the albums (in their day) suffered greatly from this over-experimentation. Well, now we have a collection, spanning 1969-1972 that has been remixed and remastered and allows us to hear, if not melodically, what Miles was REALLY trying to do. Replete with echoplex, wah and loads of chamber and reverb, Miles and Co. shine and truly showcase just how revolutionary he was...to this day! It's a pity that this couldn't have been released in this fidelity back then, because had it been, I think the people at Columbia wouldn't have waited until Herbie Hancock's HEADHUNTERS to finally say, "Oh, so THAT'S what Miles was trying to do." It was all there from the beginning...they were just too blind to see it. If you love this era, check out Bill Laswell's remix of the 1969-74 era called PANTHALASSA...'On The Corner' tracks benefit especially, and you'll be Smiling at all the BIG Sonically-Groovy FUN.

I regret not listening to this earlier. But I may have not been ready for it when it came. I got into jazz when Jazz-Rock was starting to get a bad name. The Prog-Rock form had become ball-and-chain that caused both Jazz Purists and those searching for a valid creative art form to turn the other way. Pop Jazz, or Fusion, would later become even more formulaic than Rock itself.

Where could Jazz go, in the late 60s? It had transcended form with Free Jazz. Miles knew where it should go. Joe Zawinul knew. Take the heavy electric instrumentation and fuse it with world-class percussion and keep it free from form.

If you listen to Great Expectations and many other cuts on Big Fun, they are largely meditative, and ambient in nature. Sure, there are visitations and re-visitations to the form of melody of Miles' trumpet entering and leaving at times, but overall the sonic landscape resembles more of a living entity--an organic ocean of sound. Waves pass over the listener and if you don't float on this peaceful and funky soup of sound, you'll drown.

The search for a song-form or a repetitive verse chorus aaba song-form with which to hold onto, is something that most listeners take for granted. If you don't have the teat of the rigid form to suck on, then you'll cry and put the music down, which is what critics did back when Miles moved beyond jazz, really. Miles recognized himself first and foremost as an artist and musician--not as simply a Jazz trumpet player, or even a great band-leader, although he was those things. Those who would shortly criticize him for leaving behind his bread-and-butter, were mad because he didn't let them suck on the teat of tried-and-true form.

But Miles was an artist who destroyed the last form of the medium by switching instrumentations and letting-in the age-old perfection of space. He was always a master of space. This album is as much a Miles-stone as Kind Of Blue, and In A Silent Way. It is potentially a deeply spiritual experience to hear this album and it is very personal.

Music and artistry transcending the bounds of time and space as only the great Master could achieve it. Listen to it! You can hear yourself inside it, and in doing so, you can move on from demands that that the music take forms.

In allowing the music to simply BE, you can free yourself. Let yourself go, and become empowered by this beautiful album of sound.

The additional tracks make this a great buy. There are some great tracks on this CD. John McLaughlin's guitar raunch is fantastic and the Indian flavorings are subtle and atmospherical. I actually like this album and Live Evil better than Bitches Brew because they explore certain musical tangents a little more further while maintaning a better unity within the tracks themselves.