Miles Davis - Get Up With It

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Free Music Notes for Get Up With It

Free Music Review: under another corner, another square, there is another there
Hit: 5 Stars

improvisation techniques and voicing of instruments came off a lot like the reviews and such that are on this website- its the same damned thing! even worse, sadly these opinions (improvisation techniques) are wrong! who's to say what is wrong, especially in the sense of interpreting art or an opinion though? well, it is nobody's right to descriminate over an opinion or expression through TRUE art. but when the new standard of expression is sent forth into the abyss of what everyone thought was "it," (as Dean Moriarty/Neal Cassady put it) "it" doesn't mean anything anymore. whatever "it" was, it was boring, contemporary-cliche'd, and everyone wanted to have "it" just as same as the next guy. if "it" was really something so spectacular, then how come so many people can fake "it?"

get up with it! this album should be appreciated, studied (never played over however), and the building blocks in which every musician forms his/her own music theory. key words, "his/her own [...]"

this album is also the music that will tear your mind asunder, along with "bitches brew." i've had many great visions while listening to "get up with it," "bitches brew," "miles live at the filmore," "live-evil," the 'bootleg' "another bitches brew," and so on and so forth in that matter. all inducing a literal "storm" around the room i was in- it is quite impossible to explain.

[FOR THOSE WHO DON'T KNOW ABOUT THIS ERA OF MILES:]
this era of miles should be worked into, if it hasn't been already, a steady diet of Alice Coltrane's "Universal Consciousness" and all of John Coltrane's Impulse! recordings. a few helpers might be sly and the family stone's "there a riot goin on," jimi hendrix's band of gypsies recordings (live at the filmore east, band of gypsies), carlos santana's first two albums, and anything else that miles credits as an influence for what he did during this time. if your ear isn't used to hearing dissonance, or if you tend to not like the use of dissonance in music, i suggest trying something else. if you like hip-hop, rhumba, or even (yes i'm gonna say it) jungle music, i suggest at least giving it a try. if i talk about this like its the last thing he's ever done, its because i don't really care too much for the 80's, so this is it for me. the 80's brought nothing but an abundance of over-produced CRAP, echo-chambers and reverb put on EVERYTHING, chorus effects, the ingenius idea that syhthesizers sound better than real instruments, and just a whole bunch of CRAP. save for a few exceptions like public enemy (who just like miles... destroyed music. you don't like them? they don't care), a literal hand-full of metal bands, etc. etc. that's just my opinion however. 9/10 recordings in the 1980's were complete bullcrap. MOVING ON!

[HERE'S THE ACTUAL "REVIEW"]
kind of blue was full of human competition, but a classic none the less, which is depicted not only through miles' and trane's recorded efforts, but also in their demeanor depicted in photos and video. each one tried too hard to out do one another in each solo, thus tainting what should have been ultimately pure (art or music) by making it just as bad as "x" group any of us automatically or sincerely hate. it wasn't so bad in the last quintet, but miles admits to being in awe of herbie hancock's talents.

trying to judge a piece of music by the method or manner it was compiled or recorded is, while still using the improvasational metaphor, the trait of "the most non-playing mother f***er," ("MILES," autobiography) and simply defies any attempt at trying to appreciate this record, any record mentioned in this review, or any other of miles' recordings!

the music itself is the only thing to be taken into consideration! especially when listening to intelligent music such as this, the mind must not remain a bottle neck that restricts these godly sounds into what it can fathom and compress into 0's and 1's.

"he loved him madly," is the great grandfather of hip-hop music hands down. i have the vinyl version of this album and i prefer to listen to it over the cd- as i hold the belief that what was meant to happen in fact happened. it definately happened when miles performed, pure soul displaying the visions of a human destined to die through his art and live forever through his soul, which emancipated itself as the sounds from a trumpet. miles developed music theory applies greatly in this album, most on "he loved him madly" and "rated x."

the main accomplishment of miles' recordings, save for on the corner (which was created with other motives), were how they document the application of traditional music theory and rudiments to funk, rock, latin, and any other type of music. for those of you who want shucking and hot dogging wall-of-sound performances, i suggest avoiding miles davis' catalogue in general. while most would say that miles was actually shucking when he played in the 70's, i think that through the performance in "he loved him..." all in its own shatters these accusations. its just as andy warhol made fun of pop culture, contradicting the collectors who shell out millions for his work, miles made any nay-sayer display his/her true motives for HEARING, not listening to music. his techniques and his ultimate TRUE style is finally born, making it fitting that live-evil featured a pregnant woman on it. all of his "fusion" era albums are, when chornologically LISTENED to, are the gradual metamorphisis of music into something that it once was. beginning with the influences of hard-bop still evident in his music, playing at higher tempos and slinging a few upper-register notes every here and there slowly diminishing through this period, he finally bore upon the music world what he was trying to say.

in this music, miles showcased his avante-garde music theories and methodically ripped apart the orthodox- unless you think its too long or "out of tune." dumping these commons in a pile of uncommons- realizing that any sound made from a musical instrument, when it is true, can be a thing of beauty.

with that said, i'll get to my other favourite cut on this is "Rated X." lots of genre-blueprints are in this album, and most unlikely of all is this song. "rated x" created "jungle" or "drum and bass" music that can be best described as a trip down the wrong side of a free-way at 120 miles per hour in a 1974 Olsdmobile Ninety-Eight. The song presents itself as a nightmare, perhaps even autobiographical to miles' inner conflicts and frustrations as a musician/artist.

touching back into music theory, the term "dissonance" is used to describe the sound when you contruct a chord or harmony that isn't exactly in "tune." a method used in song writing to SHOW EMOTION, a horrifying climax, previously mentioned chaos, distress, or any other emotion in such manner... EMOTION (something the most in-tune players die without even knowing about),

"rated-x" is very up tempo and time signature usurping. its red-headed step child "jungle" insults it through immitation in all senses except that "jungle" producers keep the elements that the seventh-sign of a percussion section heralded. this is all outlined by miles on the keyboards, playing a dissonant progression the entire song.

the result of all this is psychedelic to say the least. as many nights were spent in my room with a dim red light, this album on the turntable, and a pile of stems on a table in the center of a smoke filled room.

as an aide in really understanding what he went for, this album summarizes conflicting perfection still remaining after the climax, thus resolving all harmony into chaos.

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