Get Up with It

( 2 )

Editorial Reviews

All Music Guide - Thom Jurek
When Get Up with It was released in 1974, critics -- let alone fans -- had a tough time with it. The package was a -- by then customary -- double LP, with sessions ranging from 1970-1974 and a large host of musicians who had indeed played on late-'60s and early-'70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, and others. The music felt, as was customary then, woven together from other sources by Miles and producer Teo Macero. However, these eight selections point in the direction of Miles saying ...
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Editorial Reviews

All Music Guide - Thom Jurek
When Get Up with It was released in 1974, critics -- let alone fans -- had a tough time with it. The package was a -- by then customary -- double LP, with sessions ranging from 1970-1974 and a large host of musicians who had indeed played on late-'60s and early-'70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, and others. The music felt, as was customary then, woven together from other sources by Miles and producer Teo Macero. However, these eight selections point in the direction of Miles saying goodbye, as he did for six years after this disc. This was a summation of all that jazz had been to Davis in the '70s and he was leaving it in yet another place altogether; check the opening track, "He Loved Him Madly," with its gorgeous shimmering organ vamp not even credited to Miles and its elaborate, decidedly slow, ambient unfolding -- yet with pronounced Ellingtonian lyricism -- over 33 minutes. Given three guitar players, flute, trumpet, bass, drums, and percussion, its restraint is remarkable. When Miles engages the organ formally as he does on the funky groove that moves through "Maiysha," with a shimmering grace that colors the proceedings impressionistically through Lucas, Cosey and guitarist Dominique Gaumont, it's positively shattering. This is Miles as he hadn't been heard since In a Silent Way, and definitely points the way to records like Tutu, The Man with the Horn, and even Decoy when he re-emerged. That's not to say the harder edges are absent: far from it. There's the off-world Latin funk of "Calypso Frelimo" from 1973, with John Stubblefield, Liebman, Cosey, and Lucas turning the rhythm section inside out as Miles sticks sharp knives of angular riffs and bleats into the middle of the mix, almost like a guitarist. Davis also moves the groove here with an organ and an electric piano to cover all the textural shapes. There's even a rather straight -- for Miles -- blues jam in "Red China Blues" from 1972, featuring Wally Chambers on harmonica and Cornell Dupree on guitar with a full brass arrangement. The set closes with another 1972 session, the endearing "Billy Preston," another of Davis' polyrhythmic funk exercises where the drummers and percussionists -- Al Foster, Badal Roy, and Mtume -- are up front with the trumpet, sax Carlos Garrett, and keyboards Cedric Lawson, while the strings -- Lucas, Henderson, and electric sitarist Khalil Balakrishna -- are shimmering, cooking, and painting the groove in the back. Billy Preston, the organist who the tune is named after, is nowhere present and neither is his instrument. It choogles along, shifting rhythms and meters while Miles tries like hell to slip another kind of groove through the band's armor, but it doesn't happen. The track fades, and then there is silence, a deafening silence that would not be filled until Miles' return six years later. This may be the most "commercial" sounding of all of Miles' electric records from the '70s, but it still sounds out there, alien, and futuristic in all the best ways, and Get Up with It is perhaps just coming into its own here in the 21st century.
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Product Details

  • Release Date: 8/1/2000
  • Label: Sony
  • UPC: 074646397022
  • Catalog Number: 63970
  • Sales rank: 5,544

Tracks

Disc 1
  1. 1 He Loved Him Madly (32:13)
  2. 2 Maiysha (14:51)
  3. 3 Honky Tonk (5:53)
  4. 4 Rated X (6:51)
Disc 2
  1. 1 Calypso Frelimo (32:08)
  2. 2 Red China Blues (4:09)
  3. 3 Mtume (15:11)
  4. 4 Billy Preston (12:36)
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Album Credits

Performance Credits
Miles Davis Primary Artist, Organ, Piano, Trumpet, Electric Piano
Mtume Percussion
Sonny Fortune Flute, Saxophone
Carlos Garnett Saxophone, Soprano Saxophone
Herbie Hancock Keyboards, Clavinet
Keith Jarrett Keyboards, Electric Piano, fender rhodes
John McLaughlin Guitar
Steve Grossman Soprano Saxophone
Reggie Lucas Guitar
Airto Moreira Percussion
Badal Roy Tabla
Khalil Balakrishna Sitar, Electric Sitar
Wally Chambers Harmonica
Billy Cobham Drums
Pete Cosey Guitar
Cornell Dupree Guitar
James Forman Percussion
Al Foster Drums
Dominique Gaumont Guitar
Michael Henderson Bass Guitar
Cedric Lawson Piano, Electric Piano, fender rhodes
David Liebman Flute, Alto Flute, Tenor Saxophone
Bernard "Pretty" Purdie Drums
John Stubblefield Soprano Saxophone
Technical Credits
John Jackson Reissue Assistant
Bob Belden Reissue Producer
Wade Marcus Brass Arrangment
Wally Chambers Arranger
John Guerriere Remixing
Billy Jackson Arranger, Producer, rhythm arrangement
Teo Macero Producer
Stan Weiss Remixing
Seth Rothstein Reissue Director
Howard Fritzson Art Direction
Teresa Alfieri Cover Design
Giuseppe Pino Cover Photo
Stanley Tonkel Engineer
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Customer Reviews

Average Rating 4.5
( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Posted August 18, 2011

    more from this reviewer

    Jazz For The Future

    The first cut on Disc 1, He Loved Him Madly, was a tribute to Duke Ellington.It is some of the best space music I have ever heard. Miles leaves the Dead and Pink Floyd in the dust. Some of the rest of the double CD set is more funk rock than jazz. Several different bands appear on various tracks. Davis had left traditional jazz behind by this time and was listening to his own Muse. if you are hankering for something different, early 70s Miles might be the ticket. I plan to check out more of his music from this era.

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  • Anonymous

    Posted October 28, 2008

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews