Having reached the pinnacle of his career, and arguably of the entire jazz-rock movement, Davis retreated for five years from the public eye, and re-emerged in 1981 for a final 10-year long roll-call during which he produced more first-class music (and admittedly some dross as well) and finally received some of the attention and accolades that were his due. On one day, February 1, 1975, Davis and his band recorded two double albums with arguably the wildest, freakiest, most far-out psychedelic, funk-jazz-rock music ever heard, then and since: Agharta and Pangaea. The event was described by Richard Williams in The Guardian here and documented in the excellent documentary Miles Electric: A Different Kind of Blue, which contains the entire concert as well as a talking heads section that takes its cue directly from Miles Beyond.ĭavis carried on experimenting during the first half of the 1970s with wildly exploratory music, in the process laying the foundations for ambient music (Brian Eno has explicitly referred to Davis’ experiments), hip-hop (with the influential On The Corner in 1972) and jazz-funk. It quickly led to impressive results with ground-breaking jazz-rock albums like In A Silent Way (1969) and Bitches Brew (1970), which introduced the trumpeter’s music to the world of rock.Īs a result, Davis’ target audience shifted so dramatically that, rather than perform in jazz clubs for a few dozen people as he had done a few years earlier, he played at the 1970 Isle of Wight festival in front of an audience of 600.000, his pioneering mixture of jazz improvisation, psychedelic experimentation and high-energy rock leaving many in the audience in equal amounts ecstatic and bewildered. In December 1967, when he already was the biggest name in jazz, Miles Davis began experimenting with electric instruments and rock and folk influences. Jones’ family has expressed no interest in using the material from my recording, and after 36 years I reckon it’s time some of it sees the light of day. One particular highlight of his set in Amsterdam was the virtuoso instrumental “Petronella.” Other then a bad-quality audience recording posted on YouTube there are to my knowledge no other recordings of this track. Sadly, Jones suffered a serious car accident a year later, which terminated his career, and never had the opportunity to record some of the material he played live. In 1981, when I was very young, I made a sound desk recording of the first set of a live performance of the great folk guitarist Nic Jones, in Amsterdam. The oldest one was fascinated by music from day one, and here he is, aged 2. Joey and Raphael are now 15 and 12, and they did the following remix… ZEDD & LIAM PAYNE – GET LOW (THE ELEMENTS REMIX) The second single by my kids, again produced and mixed by yours truly, and this time I also created the video.Īnd my kids’ third single, same credits as above!Ħ.

I mixed and produced, and shot the video footage. My two boys are also busy making music, and this is their debut single and video, made when they were still 15 and 11. I created my first video to as an accompaniment to the second track of my May The Rise To Meet You album. HERE ARE SOME MUSIC VIDEOS FOR YOUR PLEASURE:Ī celebration of some of the great people who moved mankind forward since WW2, set to my acoustic guitar arrangement of Leonard Cohen’s “Hallelujah.”

Hector zazou lights in the dark rare