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Miles Davis: Live at the Fillmore East-March 7, 1970: It’s About That Time

Although the jazz community remains divided over the merits of Miles Davis’ electric music, the pendulum has swung lately toward those who consider it an innovative, intriguing and overall positive career development as opposed to the element who still regard virtually everything Davis cut from the late ’60s until his death a betrayal.

The fusion movement that Davis helped launch ultimately devolved into the dreary background slush radio consultants and label marketers call smooth jazz-something that Davis undoubtedly would dismiss with contempt were he alive to hear it. Thankfully Columbia, the company for whom he toiled for from 1955 to1986, has been emptying its vaults the past few years and giving everyone the opportunity to fairly evaluate Davis’ electric material. Complete Bitches Brew, as well as earlier CD reissues of sets previously available only as cost-prohibitive Japanese imports, reveal that contrary to the party line consistently trotted out by jazz’s flat-earth critical wing, Davis neither abandoned his previous high standards nor pandered to youth.

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