Get Up with It

Occupation

Get Up with It is a fusion album by Miles Davis, recorded in various occupations between 19 May 1970 and October 7, 1974 in New York City. Produced by Teo Macero album was released on November 22, 1974 Columbia Records as a double album and was Miles Davis ' last studio album before his five- year-long retreat from the music scene.

The album

Get Up with It was a compilation of material whose recording sessions over the period May 1970 ( in the Jack Johnson album was recorded and the Fillmore concerts were held ) to October 1974 ( Mtume / Maiysha ) span. With Miles Davis played in this phase, inter alia, 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 first track of the album, in June 1974, the resulting 33 -minute He Loved Him Madly, was a tribute to Miles Davis had died the previous month, Duke Ellington, who usually thanked his audience with I love you madly. Miles Davis had previously received in the year than last greeting a Christmas card from Ellington, which read: love you madly.

Despite this dedication, " the electronic sound collages (...) of Ellington as far away as anything " are Peter Wießmüller wrote. " On the basis of sparse and rather unstressed rhythm there are a lot of free-floating sound orgies admire, " reminiscent of the experimental rock music of Pink Floyd and are occasionally broken up only by David Liebman's flute and Miles ' trumpet electrically amplified. The second half of the work is dominated by long, rapidly pulsating rhythms.

After Davis had suffered in September 1972 in a severe car accident injuries to his legs, he worked on during his recovery to the music of Karlheinz Stockhausen:

Davis combined his admiration for Duke Ellington with his interest in the composer of electronic music and the radio pioneer Sly Stone, " both front pay attention to how music can concentrate on sound textures through various rhythmic pulsations ". The trumpeter played " long deeply felt tones over sustained guitar sounds that change gradually and the intensity continues to rise, a whole disk page. ' It's just sound ,' he explained. "

Davis relied on the wah - wah effect with his electrically amplified trumpet, which in turn refers to Ellington's " invention of the real-time Wah far back in the twenties years. " The lukewarm reaction of the audience ," He Loved Him Madly on judges Peter Lavezzoli, " was one of the reasons for the temporary withdrawal of the music scene. "

The second page of the original album contained three shorter titles: in Maiysha Miles Davis plays again and organ reminiscent of organist Johnny " Hammond " Smith and Groove Holmes. " While the band plays a simple cocktail arrangement, Miles schägt with glaring and harsh organ chords that resound in the ear and make fun of this genre of music, " Steve Davis wrote after the release of the album in Rolling Stone. In Maiysha Miles Davis uses the organ to produce a funky grooves one whose progress is impressionistic influenced by the guitarist Reggie Lucas, Pete Cosey and Dominique Gaumont .. The game of Miles Davis has here on future albums of the late work as Tutu, The Man with the Horn and Decoy.

Honky Tonk had taken Miles Davis with his so-called Fillmore band; these consisted of John McLaughlin, Herbie Hancock, Keith Jarrett, Billy Cobham, Airto, Steve Grossman and Michael Henderson. The page ends with Rated X, which comes as Billy Preston from the On the Corner phase of 1972. In the title Miles Davis and Cedric Lawson keyboard riffs are contributing to the sitar, tabla and African percussion by Mtume. Miles Davis said that later in his autobiography:

Latin radio is the dominant element of Calypso Frelimo in September 1973, with John Stubblefield on soprano saxophone and Dave Liebman (flute). "Miles takes place here on the basis of feather-light reggae rhythms a stylistic integration with solo runs of trumpet, flute and soprano saxophone. " Calypso Frelimo, the Davis dedicated to the liberation struggle of the Frente de Libertação de Moçambique ( FRELIMO ) in Angola, occupies the entire third page of the a double LP. Again, Miles Davis can be found at the organ with which he leads his band through the pace, having regard to its 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 horn section. The " hard edged " number brings Miles Davis back to the trumpet. the following Mtume is produced the same percussionist of the band; Billy Preston - the same soul musician did not work with - with Miles on piano and Carlos Garnett on alto saxophone soloists " is Miles ' tribute to another of his soul sources of inspiration and a blockbuster. As he always does, the artist falls gerauaus, it is sure where he wants to go and does not keep on trying to look over his shoulder to see who inevitably follows him. " Billy Preston with his polyrhythmic funk figures is dominated by the percussionist Al Foster, Badal Roy, and Mtume. This contrasts with trumpet, sax ( Carlos Garrett ) and keyboards ( Cedric Lawson ) and guitarist Lucas, Henderson and Khalil Balakrishna on the electrically amplified sitar.

Title list

  • Miles Davis: Get Up With It (Columbia KG 33236 )

All compositions are by Miles Davis.

Occupation

  • Columbia Studio E, New York City, 19th or June 20, 1974
  • Miles Davis, trumpet, organ
  • Dave Liebman, alto flute
  • Pete Cosey, electric guitar
  • Reggie Lucas, electric guitar
  • Dominique Gaumont, electric guitar
  • Michael Henderson, Bass Guitar
  • Al Foster, drums
  • James Mtume percussion
  • Columbia Studio E, New York City, October 7, 1974
  • Miles Davis, trumpet, organ
  • Sonny Fortune, Flute
  • Pete Cosey, electric guitar
  • Reggie Lucas, electric guitar
  • Dominique Gaumont, electric guitar
  • Michael Henderson, Bass Guitar
  • Al Foster, drums
  • James Mtume percussion
  • Columbia Studio E, New York City, May 19, 1970
  • Miles Davis, trumpet
  • Steve Grossman, soprano saxophone
  • John McLaughlin, electric guitar
  • Keith Jarrett, electric piano
  • Herbie Hancock, Clavinet
  • Michael Henderson, Bass Guitar
  • Billy Cobham, drums
  • Airto Moreira, percussion
  • Columbia Studio E, New York City, September 6, 1972
  • Miles Davis, organ
  • Cedric Lawson, electric piano
  • Reggie Lucas, electric guitar
  • Khalil Balakrishna, electric sitar
  • Michael Henderson, Bass Guitar
  • Al Foster, drums
  • James Mtume, Percussion
  • Badal Roy, tabla
  • Columbia Studio E, New York City September 17, 1973
  • Miles Davis Trumpet with wah-wah, electric piano, organ
  • Dave Liebman, flute
  • John Stubblefield, soprano saxophone
  • Pete Cosey, electric guitar
  • Reggie Lucas, electric guitar
  • Michael Henderson, Bass Guitar
  • Al Foster, drums
  • James Mtume, Percussion
  • Columbia Studio E, New York City, March 9, 1972
  • Miles Davis, trumpet with wah-wah
  • Lester Chambers, harmonica
  • Cornell Dupree, electric guitar
  • Michael Henderson, Bass Guitar
  • Al Foster, drums
  • Bernard Purdie, drums
  • James Mtume, Percussion
  • Wade Marcus, Brass Arrangement
  • Billy Jackson, Rhythm Arrangement
  • Columbia Studio E, New York City, October 7, 1974
  • Miles Davis, trumpet with Wah Wah, organ
  • Pete Cosey, electric guitar
  • Reggie Lucas, electric guitar
  • Michael Henderson, Bass Guitar
  • Al Foster, drums
  • James Mtume, Percussion
  • Sonny Fortune, Flute
  • Columbia Studio E, New York City, December 8, 1972
  • Miles Davis, trumpet with wah-wah
  • Carlos Garnett, soprano saxophone
  • Cedric Lawson, Fender Rhodes electric piano
  • Reggie Lucas, electric guitar
  • Khalil Balakrishna, electric sitar
  • Michael Henderson, Bass Guitar
  • Al Foster, drums
  • James Mtume, Percussion
  • Badal Roy, tabla

Reception and impact

Stephen Davis said after the album's release in 1975 in Rolling Stone that Miles Davis ' long-time listeners of this album would perceive as " bizarre ", as the trumpeters played the organ for the first time on the half of the title. The three electric guitars on different tracks, the use of overdubs on trumpet background, and the harmonica track ( Red China Blues ) are strange. The long " Elegy " He Loved Him Madly embodies the "whole depth of worship that had the generation of Miles Davis for Ellington, and church music similar mood had just the right festive effect. The example of the Calypso Frelimo, the author noted that without Miles ' trumpet sometimes get bored tend to some of these long numbers.

The All Music Guide to Electronica gave the album three stars; Scott Yanow highlighted the wealth of variations. Although Miles games about half of the pieces organ instead of his trumpet, the tight ensemble playing and the passionate improvisations was more creative than predictable.

Richard Cook and Brian Morton rated the album 3 ½ ( out of 4) stars and find it more coherent than its immediate predecessor albums and much more demanding.

Peter Wießmüller looks further into the " weird " album in the first place, " a conglomeration of recordings ", but praises individual titles such as Honky Tonk, " in which John McLaughhlin and Keith Jarrett deliver by frugal intonation a wonderful business card, " the " exciting " Calypso Frelimo, with the " steamroller ostinato the outfit Michael Henderson and Al Foster, " here " again master class ( count ); an absolutely accurate timing and running in opposite rhythms create an almost timeless dynamic spatiality, in close to the [ ..] Cosey and Miles at the organ its cluster. "

The Allmusic rated the album four stars and said:

Brian Eno Loved Him Madly He designated as a lasting influence on his work in the ambient music.

Tony Green wrote in Jazz Times:

Record label Jazz fusion Rhodes piano Steve Grossman (saxophonist) Agartha Jack Johnson (album) John McLaughlin (musician) Homage Johnny "Hammond" Smith Richard Holmes (organist) Tutu (Album) The Man with the Horn Roadhouse (facility) Liberation movement Electronic keyboard Overdubbing Variation (music) Richard Cook (journalist) Brian Morton (Scottish writer) Tone cluster JazzTimes
262736
de