Miles Davis: Live at Lincoln Center, Philharmonic Hall, 10 Lincoln Center Plaza, NYC
Recorded on November 26, 1971
Remastered and pitch corrected by Enrico Merlin
[original source from Hooray for Miles, vol. 3 • Session Disc 123 (LP) ]
Miles Davis (tp, wah tp); Gary Bartz (ss, as); Keith Jarrett (el. p, org) briefly; Michael Henderson (el. b); Jack DeJohnette (d); Don Alias, James «Mtume» Forman (perc)
The original recording was in really bad shape. As first step I fixed the pitch, which was in a particular mess on the first side of the original bootleg LP, as the speed was not stable. The result is not perfect, but pretty decent.
Restored and remastered with Mac, Logic Studio Pro, Izotope RX and Ozone 8.
New York Magazine, Nov. 29, 1971 (published Nov. 26)
Back in the USA from the just ended European Tour (the Cascais gig, in Portugal, was held the night before) Miles was on stage at Philharmonic Hall. The show was taped by a private collector and ended up on a bootleg LP (Hooray for Miles Davis, Vol. 3 • Session Disc 123), then cloned and reissued on CD (Lennies on the Turnpike, Jazz Masters JM 001/2). Both issued masters suffer from a deep speed alteration which compromises the already poor sound quality.
The material was released with two made-up titles (one for each side): Bwongo and Ananka.
This wasn’t a lucky show as David Elliott recalls: «[...] A few months later I saw the [Miles] band at Lincoln Center in New York City. I remember that it started quite late because they were just getting back from Europe and the plane was late. Apparently Keith Jarrett's electric keyboard was damaged in transit and when the band started playing he was still trying to get it to work. He started playing and started to take a solo, but only a few notes worked, so he tried to put together a solo playing around with the notes that were making a sound, but after a while he got frustrated, threw up his hands, and stopped playing for the night».
Marc Stier attended to this show too and confirms DeJohnette was on drums.
This bad sounding tape was destined to become the last recording with Keith Jarrett, Gary Bartz and Don Alias. The latter was anyhow called for the On the Corner sessions (June 1972), and was again part of the band, for a couple of gigs, just before Miles' retirement in 1975.
After that he recorded in Amandla and appeared with Miles on the Night Music (NBC-TV) show.
Structure and solos: Davis (wah tp) » THEME » Davis (tp & wah tp) cont. » THEME » Bartz; Davis (briefly on tp); Jarrett (el. p & org); Davis (wah tp).
In this version there's not the usual change of tempo before Bartz solo.
What I Say [2 segments]
[split on the LP at drums solo]
Structure and solos:
• Coded phrase by Miles;
• 1st Movement: Davis (wah tp); Bartz; Davis (wah tp) » coded phrase;
• 2nd Movement: Davis (wah tp cont.) » Breaks » Bartz; DeJohnette.
Jarrett still tries to make the keyboard to work, but no luck. At that point he leaves the stage.
Drums solo style at the end of the track confirms Jack DeJohnette rejoining the band for this gig, and after at Gaslight Au Go Go, in December..
After this show, What I Say was eliminated from the concert repertoire, but it was reloaded for a brief period in 1974.
Super concise version of the great tune composed by Miles and Shorter due the absence of the keyboards. Nothing more than an extended quotation
It's About That Time
Solos: Davis (wah tp & tp); Bartz; Davis (wah tp).
The groove under the final Miles' solo is one my favorite highlight of this era.
Solos: Coded phrase by Miles » Davis (wah tp) cont.; Bartz... cut.
The tune is opened just by Mtume (at water drum) and Miles.
Without the electric piano, Honky Tonk acquires a complete new light, with big spaces and Bartz shines bright!