So to serve this up to PBS with all those goddamn BLEEPS, instead of more artfully taking out the language, is just a minor bit of malpractice, far as I'm concerned. Hell, it had to have been their *AIM* - to get picked up by PBS. In any case, the filmmakers HAD to have known this would be on broadcast TV.
I'm *sure* they had designs on this doc being broadcast on PBS as part of a series like this, either American Masters, or the Trane doc aired as an Independent Lens doc. I don't mind the censorship, but why couldn't the documentarians have muted the interview/speech part of the audio track (leaving the underlying music), so the 'bothersome' words were just gone. And seeing the comment above, I thought "well, yeah, it's PBS and broadcast TV, so of course they're gonna have to censor stuff" - and I thought, no biggie.īut man, they could have done a MUCH more artful job of eliminating the offending language, than all those loud, high-pitched BLEEPS. I'd previously seen the doc in a theater here in DC like 6-8 months ago (with no censored language). For the first time, via what PBS broadcasted. Just watching this doc again today (actually just have it on to listen to, while working on other stuff from home). I was disappointed they censored the language, the PBS stream was the first I saw the film since the NY premiere and the review I wrote. (Also, think of the performances of "Footprints" and "Paraphernalia" at the Fillmore West in the spring of 1970.) I think the performances of "RJ" and "Seven Steps to Heaven" at the 1966 Newport Festival, or the performance of "Dolores" in Berkeley during the spring of 1967, or various "oddball" standards like "Yesterdays" and "Who Can I Turn to?", suggest he was open to wildcards. Davis would have been more inclined to play a semi-fixed setlist on European tours (where fans hadn't seen him for a long time) than in the US. IMHO we're suffering from at least some selection bias on the 2nd quintet recordings. But I'd be curious why Davis specifically paired "Sanctuary" w/IFiLTE rather than another ballad. After that, the two were paired regularly in concert. "I Fall in Love Too Easily" was included in the August 1969 studio performance of "Sanctuary". And even before, during the famous second quintet almost every recorded concert had quite the same tunes recorded (see "Miles in Europe" "Miles in Tokyo" "Miles in Berlin".….) Don´t misunderstand me, I like everything he recorded and played but let´s say, during his "Electric period" almost every concert had the same music. Why did he keep exactly this one ballad in his set list.Īnyway, for a man who bragged that "he never looked back" and "always had to move forwards" he didn´t change his set lists very much. What´s the story behind "I Fall In Love Too Easily" ? I mean, Miles once knew and played hundreds of ballads, he had such a huge repertory of ballads it was incredible. (But maybe there are documentaries out there that do?) I still think George Russell is critical to any discussion of "modal" music, and that - I haven't seen yet. This latest documentary seemed to push the theory that Ascenseur Pour l'Echafaud pre-figured Kind of Blue. I think Jarrett liked when he recognized (before anyone else in the band) Miles playing "I Fall In Love Too Easily." Michael Henderson would drop out because there wasn't a groove to lay down, and Keith was left to play some fragments under Miles' horn. Jarrett (wanting to know why despite already having his own opinion): Why? Miles (to Jarrett): You know why I play ballads? The Jarrett quote that stuck with me from that documentary was something along the lines of: In that documentary, Jarrett is more than happy to point out that playing electric keyboards is something "he didn't do and doesn't do." Um, and then he did it. Whether or not he owns this - well, to me it doesn't seem like it. But, agreed! - Jarrett did play the shit out of the electric music he contributed to Miles' band. I think Jarrett's point was that Miles was the type of forward-looking musician who, on principle, would steadfastly refuse to recycle his own material, though he did just that in 1986 upon Quincy Jones' prodding.