|Venue||Australia, Melbourne Concert Hall, Melbourne|
Melbourne 1988 [no label, 2CD]
Live at the Melbourne Concert Hall, Melbourne, Australia; May 2, 1988. Very good ABC (Australia) FM broadcast.
I had to drop Darryl Jones from my band on bass in 1988. He started getting dramatic, too show biz for my band. He always had to be fixing something, breaking the strings on his bass so he could stand up there and pose, looking like somethings going to happen. He was a dramatic motherfucker, especially after he came out of Stings band, that rock and roll big arena thing, which is all show business. I really loved Darryl; hes a very nice, hip cat. But he wasnt playing what I wanted. I got a guy named Benjamin Rietveld from Hawaii to take Darryls place. Mino Cinelu also left the band to go with Stings new band. At first I replaced him with a percussionist named Rudy Bird, and then Marilyn Mazur came back and I let Rudy go. - Miles Davis with Quincy Troupe
Adrian Jackson review of the concert, posted at adamholzman.com:
It was a night when the fans had come to pay homage to their idol, many of them content to say that they had been able to see and hear him in person, If he actually played anything that justified his reputation as a musical genius, that would be a bonus. And that is just what he delivered, two and a half hours of what was surely some of the most exciting, involving music likely to be heard at the Concert Hall.
The music was highly organized but also contained a fair amount of spontaneity. There was plenty of of interplay between the musicians and they all had their turn in the spotlight and plenty of room to move within the ensemble. But at every stage Davis was in complete control. Even when was soloing, he was conducting with short signals with his keyboard or trumpet, urging his sidemen to stretch out, leading the way for the group to build on the soloists ideas .
The bass guitarist Benny Reitveld, drummer Ricky Wellman and the brilliant percussionist Marilyn Mazur laid down all manner of funk grooves with great vigour and expertise. Adam Holzman and Robert Irving III had little solo space on keyboards but made an important contribution in fleshing out the the sound, often to orchestral size.
Apart from the leader the main soloists were Joseph Foley on four-string guitar and Kenny Garrett on alto sax and flute. Foley offered some dramatic forays, occasionally going over the top, but often revealing a firm sense of purpose. Garretts alto solos were appropriate to the setting, simple, fervent workout, in the R&B bag rather than following the busy bebop course that we might have expected from a recent Art Blakey sideman.
But of course it was Miles Davis we all wanted to hear and he was never out of the spotlight for long. He played plenty of trumpet, allowing us to savour that piercing tone, that rare melodic sense and that peerless capacity for profound understatement. On the faster pieces, Davis played with real fire, milking the excitement of the funk groves as astutely as he ever rode a groove back in the 50s.
+ + + + +
Thanks to hey man for sharing the tracks at The Traders Den.
FM Broadcast (On the Crest of The Airwaves bootleg) > EAC > FLAC
Track 101. In A Silent Way/Intruder 6:17 (10.6MB)
Track 102. New Blues (Star People) 7:56 (13.3MB)
Track 103. Perfect Way 4:38 (7.8MB)
Track 104. The Senate/You And Me 10:32 (17.7MB)
Track 105. Human Nature 13:41 (23.0MB)
Track 106. Wrinkle 4:54 (8.2MB)
Track 107. Tutu 13:23 (22.5MB)
Track 108. Movie Star 3:53 (6.5MB)
Track 109. Splatch 9:28 (15.9MB)
Track 201. Time After Time 8:51 (14.9MB)
Track 202. Heavy Metal 14:25 (24.2MB)
Track 203. Dont Stop Me Now 9:04 (15.2MB)
Track 204. Carnival Time 18:14 (30.6MB)
Track 205. Tomaas 20:11 (33.9MB)
Track 206. Burn 3:37 (6.1MB)
Track 207. Portia 4:42 (7.9MB)
Miles Davis - trumpet, keyboards
Kenny Garrett - alto saxophone, flute
Adam Holzman; Robert Irving III - keyboards
Joseph Foley McReary - guitar (AKA lead bass)
Benny Reitveld - bass
Ricky Wellman - drums
Marilyn Mazur - percussion