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Miles Davis in Australia.
1988 tour 

Sydney Morning Herald.

Sydney Entertainment Centre: April 27th 1988.

    Miles Davis and his band played on Wednesday night for more then two hours without a pause. I found the first hour or so red hot , but in the second was frequently bored. This may not have been due to a deterioration in the music. A 10 minute respite could have made all the difference. Even those who knew that Davis does not always play long solos nursed a hope that he might feel so inclined. This possibility evaporated when some one called "play your horn ". Davis said something into the microphone attached to his trumpet. It sounded like "I don't play to orders" Nevertheless he continued in apparently good spirits. In fact he did play a lot of trumpet but never for long. He added shorty lines to the ensembles and prompted changes with a brief phrase , conducting as it were with the trumpet. Some of his lines were beautiful , but of course they were there and gone. The concert was an intense rhythmic onslaught with quiet interludes in which Davis would stroll to the front of the stage , followed by a spotlight and playing his trumpet at the ground , like a very casual water diviner. Some of these interludes yielded a perfectly cast and beautifully modulated passage of muted trumpet, but it did seem that less was just not quite good enough. Similarly his trumpet would begin to sing and would seem to be on the point of soaring and then stop.

    But what Miles Davis is presenting these days is largely percussion based. On this base are built structures that can sound highly arranged, but in fact allow for considerable internal freedom. A young woman Davis introduced as Marilyn had command of a cage of hanging bells and cymbals as well as floor drums . The interaction between her and drummer Ricky Wellman was the most consistently exciting aspect of the concert. Saxophonist Kenny Garrett played much longer solos than Miles and on two occasions cooked up a real fire, bringing the band to a controlled frenzy. Foley also took a number of solos on a bass that was tuned up a minor seventh to sound very like a guitar . His first effort , on the blues, was a scorcher , calling up shades of Buddy Guy and Jimmy Hendrix. His subsequent work sounded to me like rather conventional rock guitar , interspersed with moments of special interest - particularly with his use of feedback.

    The sound was at precisely the right volume , very well mixed. Somehow this , coupled with the fact that a number of tunes were given similar treatments to those on recent recordings, gave the effect of watching a video. The sometimes disembodied sound of the two synthesisers, especially when they used the voice sample - which I rather dislike, heightened this effect. A concert that will be argued about for some time to come .



     The first Sydney show is available as a SBD , a bit muddy, but a very nice gig. It does not appear that anyone taped the missing show, although there should be sbd's in mouldering in the vault somewhere as its rumoured that all shows were taped.

Sydney Entertainment Centre 4-27-88. 
In  A Silent Way 
Unknown composition
Star People 
Perfect Way
The Senate
Me and You 
Human Nature 
Movie Star
Time After Time
Heavy metal Funk Suite 
Don't Stop Me Now 
Carnaval Time

Review of the Adelaide show.
Review of the Melbourne show
Miles newspaper interview

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