Setlist

Set 1
Directions
Bitches Brew
Paraphernalia
Riot
I Fall In Love Too Easily
Sanctuary
Miles Runs The Voodoo Down > The Theme

Set 2
Introduction
Bitches Brew
Agitation
I Fall In Love Too Easily
Sanctuary
Masqualero
It's About That Time

Notes:

Buoyed by mainstream success, Davis developed considerable flexibility in his musical style. He recorded a celebrated version of American composer George Gershwin's opera Porgy and Bess and penned the score to French director Louis Malle's film L'Ascenseur pour l'chafaud ("Elevator to the Gallows"). In the early 1960s, as jazz clubs closed and rock and roll threatened to sound the death knell of jazz itself, Davis formed a group that included keyboardist Herbie Hancock and drummer Tony Williams and produced several hard-hitting records that kept afloat the appeal of improvisation. Toward the end of the decade, Davis underwent his most dramatic musical transmutation; inspired by the power of rock guitarist Jimi Hendrix and the funk of rock and R&B acts Sly and the Family Stone and James Brown, Davis electrified jazz, pioneering what would later be called fusion.

Davis's revolutionary 1969 release Bitches Brew, while carving out another marketable niche for jazz players, appalled many jazz purists. "What one actually heard was the still-eloquent Davis trumpet overpowered by a whirlpool of gurgling synthesizers, overamplified rock guitars, and funky drumming better suited to a combo playing a fraternity-house party," Tony Outhwaite sniffed in the National Review. But others saw the incorporation of rock into jazz as another example of Davis's remarkable elasticity and a landmark opportunity for this talent-nurturer to unleash the potential of young players such as keyboardists Chick Corea and Keith Jarrett and bass player Dave Holland. "Critics always like to pigeonhole everybody, put you in a certain place in their heads so they can get to you," Davis wrote in Miles. "When I started changing so fast like that, a lot of critics started putting me down because they didn't understand what I was doing. But critics never did mean much to me, so I just kept on doing what I had been doing, trying to grow as a musician."