Following the successful release of the 40th Anniversary Editions of Miles Daviss Bitches Brew comes a collection of nine rare live performances recorded at the Newport Jazz Festival, nine months before the original release of Bitches Brew, and at the Isle Of Wight Festival four months after release. Three of the tracks featured on the album are previously unreleased.

Bitches Brew Live offers three previously unissued tracks recorded July 5, 1969 at Newport Jazz Festival--including the first ever professionally-recorded live version of "Miles Runs The Voodoo Down" and the first known recording of the revamped electric version of "Sanctuary"--just over a month before Miles went into the studio to record what would become his fastest selling album of all time, Bitches Brew. Fast-forward one year to August 1970 at the Isle of Wight Festival where Miles plays with a much more electric, rock-oriented sound in front of 600,000 people! This incredible full set includes the title track "Bitches Brew" and "Spanish Key" played by Daviss remarkable all-star group captured live at the peak of its powers--Gary Bartz (alto sax, soprano sax), Chick Corea (electric piano), Keith Jarrett (organ), Dave Holland (bass), Jack DeJohnette (drums), Airto Moreira (percussion).

Author Michael Azerrads original liner notes incorporate new interviews with legendary Newport Festival founder George Wein, and filmmaker Murray Lerner, who captured one of the most spectacular music festivals in history on film in Message to Love: Isle of Wight Festival.

Since it's billed as "Directions in Music by Miles Davis," it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it's possible to hear the breaking point -- though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way)...

Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre." ~ Scott Yanow