"Right Off" is the first song on Miles Davis's LP "A Tribute to Jack Johnson"
"Right Off" is the first track on Miles Davis's LP "A Tribute of Jack Johnson"
Noonward Race - The Mahavishnu Orchestra - Live at the BBC 1972 John McLaughlin - guitar Jan Hammer - keyboards Jerry Goodman - violin Rick Laird - bass Billy Cobham - drums A special thanks to the BBC for graciously allowing this video to exist here.
Available on iTunes : http://bit.ly/18SArJQ Subscribe here : http://bit.ly/1etmIX9 Tracklisting: 00:00 - Générique 2:53 - L'assassinat de Carala 5:04 - Sur l'autoroute 7:24 - Julien dans l'ascenseur 9:37 - Florence sur les Champs-Élysées 12:29 - Dîner au motel 16:27 - Évasion de Julien 17:21 - Visite du vigile 19:26 - Au bar du Petit Bac 22:20 - Chez le photographe du motel Join us on Facebook : http://on.fb.me/1xrMObn Subscribe here http://bit.ly/1etmIX9 to discover new videos from the collection and find all songs of BnF collection sonore – Jazz & Blues, recorded and published between 1900 and 1962. ------------------------------------ Music treasures from the vaults of the French National Library, digitized from original first edition vinyl pressings. BnF collection sonore is a catalog of more than 200 000 original vinyl recordings made available on all streaming platforms. Having archived all albums ever published in France from 1900 to 1962, the French National Library (Bibliothèque nationale de France) holds one of the biggest vinyl collections in the world.
Pavarotti and friends ... Meditarena Sundance
Tracklist: 01 New York on My Mind 00:00 02 Friendship 05:46 03 Every Tear from Every Eye 12:49 04 Do You Hear the Voices That You Left Behind? 19:41 05 Are You the One? Are You the One? 27:23 06 Phenomenon: Compulsion 32:07 07 My Foolish Heart 35:30
Please help support my work as the Jazz Video Guy: https://www.patreon.com/bretprimack Miles Davis' influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix, many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette. Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an occasional standard. In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally." His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music." Both Bitches Brew and In a Silent Way feature "extended" (more than 20 minutes each) compositions that were never actually "played straight through" by the musicians in the studio. Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques] Both records, especially Bitches Brew, proved to be big sellers. Starting with Bitches Brew, Davis' albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups. By the time of Live-Evil in December 1970, Davis' ensemble had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and Michael Henderson, often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970. In 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis' own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him. Miles Davis, trumpet; Gary Bartz, alto; Keith Jarrett, keyboards; Michael Henderson, bass; Ndugu Leon Chancler, drums; Don Alias, Mtume, Percussion
Molde (Norway), 1984. The dream was finally to come true. Miles in Molde! But on concert day, Miles was sick from food poisoning, and stuck in Paris! A Falcon jet was hired, and flew him up. Starting to get better, Miles visited a jazzclub at his hotel, with Elvin Jones playing, and he got into the right mood. The concert started at 01.00 AM, and is later known as "The Miracle Concert" or "The Midnite Sabbath". "Time after Time" (Cyndi Lauper) was the highlight of this sabbath with Miles. With John Scofield, Bob Berg, Al Foster, Bobby Erwing and Darryl Jones. (For some reason, a short part is edited by NRK out at 0:41.)
Graduating Berklee students and our honorary doctorate recipient, John McLaughlin, played an adaptation of John Coltrane's arrangements for "My Favorite Things". For more information visit: https://valencia.berklee.edu/ The adaptation was written by Richard Rodgers with text by Oscar Hammerstein II, following an intro guitar solo of "Stella by Starlight" at the 2017 Commencement Concert, La Nit de Berklee. The concert was held on July 8 in front of the Hemisfèric in the City of Arts and Sciences. Sixteen acts of graduating students performed on a floating stage in the middle of the enclosure’s artificial lake. For more information about Berklee's campus in Valencia master's degree programs visit: https://valencia.berklee.edu/academic-programs/master-degrees/ Written by: Richard Rodgers and Oscar Hammerstein II Based on the arrangements by: John Coltrane Adapted by: John McLaughlin and Casey Driessen Guitar: John McLaughlin Flute and Vocals: Rasika Shekar Piano: Hooni Min Bass: Tabari Lake Drums: Joshua Wheatley ________________________________________________ Follow us on: Facebook: https://www.facebook.com/BerkleeValencia/ Twitter: https://twitter.com/berkleevalencia Instagram: https://www.instagram.com/berkleevalenciacampus/ Flickr: https://www.flickr.com/photos/berkleevalencia/ Soundcloud: https://soundcloud.com/berklee-valencia-campus