On Mezzo, on the borders of free jazz, Miles Davis electrifies the Salle Pleyel

MEZZO – MONDAY, SEPTEMBER 27 AT 8:30 PM – CONCERT

Founded in 1954 by Elaine and Louis Lorillard, couple of patrons, the Newport Jazz Festival, in the marina city of the State of Rhode Island, on the east coast of the United States, had been entrusted for its organization to the producer George Wein (1935-2021). The latter proposed, in the 1960s and until the early 1970s, a variation in Europe with a tour bringing together many groups.

It is on the occasion of one of these Newport Jazz in Paris, November 3, 1969, that the quintet of trumpeter Miles Davis (1926-1991) came Salle Pleyel, for two concerts. This evening’s film is one of those presented by the Mezzo channel as part of its “Miles Davis – 30 years” commemorative program. The last, a concert in Munich in 1988, will be broadcast on Tuesday September 28, the anniversary of the trumpeter’s death.

In Pleyel, with Miles Davis, saxophonist Wayne Shorter, pianist Chick Corea, on electric piano, British double bass player Dave Holland and drummer Jack DeJohnette. They were, in February 1969, with the exception of DeJohnette, among the participants in the recording sessions which will lead to the album. In a Silent Way, published on July 30, 1969, the founding stage of Miles Davis’ first electric period. And to those, this time with DeJohnette, from August 18 to 21, 1969, basis of the double album Bitches Brew, released on March 30, 1970.

A pretext for improvisation

This quintet is the one that Miles Davis has been leading since the end of May 1969 for concerts. The group came to play at the Antibes Festival, in Juan-les-Pins (Alpes-Maritimes), on July 25 and 26, and some compositions from the future Bitches Brew were on the program. The public does not know them. Just like at Pleyel. In any case, they are above all a pretext, by interpreting a melodic motif, a rhythmic spinning, with improvisation. What this film of the Parisian concert shows and especially makes heard from start to finish.

Davis leans towards Corea, the music takes off. Directions to go quickly to the first exchanges, the solo parts. The sound of Miles Davis’ trumpet was still acoustic at the time, he would only use an effects pedal later. With a nod, he passes the baton to Shorter or Corea. With a short statement, he indicates that we must move on to the next topic. Bitches Brew, Riot, I Fall in Love Too Easily to recall the years when Miles Davis played standards… We are sometimes at the frontier of free jazz.

The production does not have the visual hysteria of most of today’s concert recordings, including jazz ones. Wide shots, which last, a few movements from one musician to another to stay framed on a performer, the play of the hands. In respect of the music.