What’s that, you ask? Did Miles Davis open for the Grate­ful Useless on the Fill­extra West? In what world may such a factor hap­pen? On the planet of the late sixties/early sev­en­ties, when jazz fused with acid rock, acid rock with coun­attempt, and pop cul­ture took a protracted unusual journey. The “impressed pair­ing” of the Useless with Davis’ elec­tric band on April 9–12, 1970, “rep­re­despatched­ed certainly one of [pro­mot­er] Invoice Graham’s most leg­endary e book­ings,” writes the weblog Cryp­ti­cal Devel­op­ments. I’ll say. Davis had simply launched the bottom­break­ing dou­ble-LP Bitch­es Brew and was “at some­what of an artis­tic and com­mer­cial cross­roads,” exper­i­ment­ing with new, extra flu­id com­po­si­tions.

Aggres­sive and dom­i­nat­ed by rock rhythms and elec­tric instru­ments, the album grew to become Davis’ greatest promote­er and introduced him earlier than younger, white audi­ences in a means his ear­li­er work had not.  The band that Davis introduced into the Fill­extra West, com­pris­ing [Chick] Corea, [Dave] Hol­land, sopra­no sax play­er Steve Gross­man, drum­mer Jack Dejohnette, and per­cus­sion­ist Air­to Mor­eira, was ful­ly versed on this new music, and stood the Fill­extra West audi­ences on their ears.

I can solely imag­ine what it will have been prefer to see that per­for­mance stay. However we don’t must imag­ine what it sound­ed like. You may hear Davis’s set beneath.

In his auto­bi­og­ra­phy, Davis described it as “an eye-open­ing con­cert for me.” “The place was full of these actual spa­cy, excessive white peo­ple,” he wrote, “and after we first begin­ed play­ing, peo­ple have been stroll­ing round and speak­ing.” As soon as the band obtained into the Bitch­es Brew mate­r­i­al, although, “that actual­ly blew them out. After that con­cert, each time I might play on the market in San Fran­cis­co, a whole lot of younger white peo­ple confirmed up on the gigs.”

Did the Useless turn into a crossover hit with jazz followers? Not precise­ly, however Davis actual­ly hit it off with them, espe­cial­ly with Jer­ry Gar­cia. “I feel all of us discovered some­factor,” Davis wrote: “Jer­ry Gar­cia liked jazz, and I discovered that he liked my music and had been lis­ten­ing to it for a very long time.” In his auto­bi­og­ra­phy, the Useless’s Phil Lesh remem­bered hav­ing his thoughts blown by Davis and band: “As I lis­tened, lean­ing over the amps with my jaw dangle­ing agape, attempt­ing to com­pre­hend the forces that Miles was unleash­ing onstage, I used to be suppose­ing What’s the use. How can we pos­si­bly play after this? […] With this band, Miles lit­er­al­ly invent­ed fusion music. In some methods it was sim­i­lar to what we have been attempt­ing to do in our free jam­ming, however ever a lot extra dense with concepts – and appear­ing­ly con­trolled with an iron fist, even at its most alarm­ing­ly intense moments.” You may stream the Useless­’s full per­for­mance from that evening beneath. Suppose what will need to have been run­ning by way of their minds as they took the stage after watch­ing Miles Davis invent a brand new type of music proper earlier than their eyes.

Word: An ear­li­er ver­sion of this submit appeared on our web site in 2014.

Relat­ed Con­tent:

Miles Davis Opens for Neil Young and “That Sor­ry-Ass Cat” Steve Miller at The Fill­more East (1970)

Miles Davis Plays Music from Kind of Blue Live in 1959, Intro­duc­ing a Com­plete­ly New Style of Jazz

Jer­ry Gar­cia Talks About the Birth of the Grate­ful Dead & Play­ing Kesey’s Acid Tests in New Ani­mat­ed Video

When the Grate­ful Dead Played at the Egypt­ian Pyra­mids, in the Shad­ow of the Sphinx (1978)

In 1969 Telegram, Jimi Hen­drix Invites Paul McCart­ney to Join a Super Group with Miles Davis

Josh Jones is a author and musi­cian primarily based in Durham, NC. Fol­low him at @jdmagness