{"id":4545,"date":"2013-03-17T00:12:08","date_gmt":"2013-03-17T07:12:08","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=4545"},"modified":"2013-03-16T23:22:59","modified_gmt":"2013-03-17T06:22:59","slug":"cddvd-miles-davis","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/03\/cddvd-miles-davis\/","title":{"rendered":"CD\/DVD: Miles Davis"},"content":{"rendered":"<p><a href=\"http:\/\/www.amazon.com\/Live-Europe-1969-Bootleg-Vol\/dp\/B008YCMM2A\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;keywords=miles%20davis%20bootleg%20series%20vol%202&#038;linkCode=ur2&#038;qid=1363408446&#038;s=music&#038;sr=1-1&#038;tag=rifftidougram-20\"target=\"_blank\"><strong>Miles Davis<\/strong> Quintet Live In Europe 1969: The Bootleg Series Vol. 2<\/a> (Columbia\/Legacy)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/03\/milesdavisquintet_bootegseriesvol2-liveineurope.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/03\/milesdavisquintet_bootegseriesvol2-liveineurope.jpg\" alt=\"milesdavisquintet_bootegseriesvol2-liveineurope\" width=\"110\" height=\"110\" class=\"alignleft size-full wp-image-4546\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/03\/milesdavisquintet_bootegseriesvol2-liveineurope.jpg 110w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/03\/milesdavisquintet_bootegseriesvol2-liveineurope-70x70.jpg 70w\" sizes=\"auto, (max-width: 110px) 100vw, 110px\" \/><\/a>This three-CD, one-DVD set finds the trumpeter fomenting even more dramatic change than usual. <a href=\"http:\/\/www.amazon.com\/LIVE-Europe-1967-Bootleg-Series\/dp\/B005ARYEY6\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\">The first volume<\/a> in the so-called bootleg series of Davis concert recordings found his primarily acoustic 1967 quintet already tending toward electronic music and rock. Saxophonist Wayne Shorter remains from that band. Here, the transition intensifies. Electric pianist Chick Corea, bassist Dave Holland and drummer Jack DeJohnette accelerate the shift Davis initiated with <em>In A Silent Way<\/em>. The repertoire is redolent of Davis\u00e2\u20ac\u2122s <em>Bitches Brew<\/em> period. We hear the headiness, excitement and&#151;sometimes&#151;the aimlessness of newfound freedom. The DVD\u00e2\u20ac\u2122s superb sound and picture bring the band alive.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Miles Davis Quintet Live In Europe 1969: The Bootleg Series Vol. 2 (Columbia\/Legacy) This three-CD, one-DVD set finds the trumpeter fomenting even more dramatic change than usual. The first volume in the so-called bootleg series of Davis concert recordings found his primarily acoustic 1967 quintet already tending toward electronic music and rock. Saxophonist Wayne Shorter [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-4545","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4545","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=4545"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4545\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=4545"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=4545"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=4545"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}