Miles Davis At Fillmore: Live At The Fillmore East

Miles Davis | Format: MP3 Download

Product Details

• Original Release Date: July 29, 1997
• Number of Discs: 2
• Label: Columbia/Legacy
• Copyright: Originally released 1970 SONY BMG MUSIC ENTERTAINMENT . WARNING: All rights reserved. Unauthorized duplication is a violation of applicable laws.
• Total Length: 1:41:04
• Genres:
• ASIN: B00138KHOM
• Average Customer Review: 3.9 out of 5 stars  See all reviews (25 customer reviews)
• Amazon Best Sellers Rank: #212,816 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

25 of 26 people found the following review helpful:

3.0 out of 5 stars Teo Macero goes crazy with the scissors, October 16, 2001

By 

G B (Connecticut) - See all my reviews

This review is from: At Fillmore: Live at the Fillmore East (Audio CD)

These June 1970 performances are the third of three 2 CD sets of Miles Davis at the Fillmore. The other two are It's About That Time and Black Beauty (recorded at the Fillmore West). It features similar material to the other two, and features the same band as Black Beauty with the addition of Keith Jarrett on electric organ.

Like other Miles Davis albums of the 70s, At Fillmore features a lot of Teo Macero's tape manipulation and splicing. But whereas on Bitches Brew and In a Silent Way this technique was very successful, the edits here take music that was never coherent to begin with and make it even more confusing. At Fillmore was edited into four 25 minute medleys from the four sets Miles played on June 17-20. (Titled "Wednesday Miles", "Thursday Miles", etc.) This band could get cooking when they worked into a groove but who really needs a 40 second except of "Bitches Brew"? Another drawback of this recording is Keith Jarrett -- his playing is normally impeccable but here he throws off the equilibrium of the rhythm section. His organ freakouts are pointless and while it's amusing to hear him and Chick Corea duel on electric keyboards, the novelty wears off pretty fast. Most of Steve Grossman's soprano sax solos were edited out: not a big loss. Miles still plays great, and the longer performances, like on "It's About That Time" or "Willie Nelson", are the real highlights. The talented musicians are somehow able to raise this music above mediocrity, but not by much. This is one of the weakest of the 70s Miles Davis releases and shouldn't be picked up until after you've heard It's About That Time and Black Beauty.

14 of 14 people found the following review helpful:

3.0 out of 5 stars Where are they?, May 24, 2005

By 

Milesfan! (Margate, Florida United States) - See all my reviews

This review is from: At Fillmore: Live at the Fillmore East (Audio CD)

Somewhere on the planet Earth, probably in some dusty warehouse in New York, is a box or metal canister containing about a half-dozen 2-inch magnetic tapes. On those tapes, in their pure form, are four nights of recordings of Miles Davis' stupendous band at the Fillmore East. Where are they? Why have they not been found?

It seems every outtake, every demo, every alternative version of every Miles recording of the electric era has been found and stuck onto a "complete....sessions" compilation.

Everyone seems to agree that the main complaint about Miles Davis at Fillmore is the unfortunate (if necessary) editing. Fix it!

Columbia/Sony, FIND THOSE TAPES! The performances were outstanding, the material excellent, the recordings top-notch. Let's finally hear the entire performances. THERE IS A MARKET.

6 of 6 people found the following review helpful:

5.0 out of 5 stars Classic, October 20, 2009

By 

Bill Your 'Free Form FM Handi Cyber Print DJ ... (Mahwah, NJ USA) - See all my reviews
(TOP 1000 REVIEWER)   

This review is from: At Fillmore: Live at the Fillmore East (Audio CD)

For a guy who knocked free jazz, Miles sure let his young players have free reign. More so with his electric bands then the great quartet that disolved in 1969.

The Filmore East shows are clear evidence. These concerts were Miles and his new band fresh off In A Silent Way and B-Brew, and the shows contain snippits of both. But where they are pristine electric jazz in the studio, they are keybored freekouts here, with Chick Corea and Keith Jerret battling it out in a psychadelic noise tornado.

This album is not representative of the full shows, as Teo Marceo edited parts together, sometimes hamhandedly, from all four nights, one night per selection. Such were the limitations on vynal. One wonders if Sony has the full performances in the vaults, and if they can be issued.

Counterpoint to the wonderful freakouts are soft and sublte passages, particually when Miles solos. You can shut your eyes and see him under the red lights that night, turning hippies on to electric jazz confections.

The dynamics here between the players are incredible. Listen to how the bande free associates-musically and verbaly, on the start of the last track. Miles chimes in melodically, settles the young bucks down and then they all blast back into space. You could do this in front of a wide audiance in 1970.

You get the sense listening that the Miles and crew were figuring out this music while playing as much as the listeners were while hearing. This type of sound was new in those days, and the band probe the possibilites. What an edge this gives the album.

The same sequence of tracks was issued on Black Beatuy, recorded at Flmore West as opposed to these Filmore East recodings. Of the two, this is the more probative, played at slower tempos, with more of a curious edge than the rote set in San Fransisco.