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Miles Davis: Sivad and Jazz-Rock Fusion

Miles Davis experiments with fusing jazz and rock styles on his recording "Sivad" (Live at the Cellar Door). His trumpet solos take on effects that make the instrument sound like an electric guitar. The rhythm is also different than traditional swing, incorporating rock elements. Miles' solos are supported by the other musicians who provide harmonic and rhythmic backing, as well as filling spaces during his breaks. The recording showcases the rhythmic interplay between Miles' trumpet and the full band.

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356 views2 pages

Miles Davis: Sivad and Jazz-Rock Fusion

Miles Davis experiments with fusing jazz and rock styles on his recording "Sivad" (Live at the Cellar Door). His trumpet solos take on effects that make the instrument sound like an electric guitar. The rhythm is also different than traditional swing, incorporating rock elements. Miles' solos are supported by the other musicians who provide harmonic and rhythmic backing, as well as filling spaces during his breaks. The recording showcases the rhythmic interplay between Miles' trumpet and the full band.

Uploaded by

Meshack O Sindani
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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“Sivad” (Miles Davis), Live at the Cellar Door

In this piece, Miles Davis does immense experimentation and fusion of various electronic

instruments of rock and traditional jazz. The Jazz-rock fusion has elicited a unique style that

comes out in this recording. First, the solos are not the ordinary solos that are usual in the many

recordings of the same period. From 00:50, Miles’ solo sounds like a guitar with effects. How he

manages to make his trumpet sound like an electric guitar is incredible. The rhythm played in this

section has a different rhythmic effect as opposed to the usual swing that arises from the

syncopation. Mile’s solo ends at 03:24. It is at this point that John McLaughlin electronic guitar

enters at 03:25 and ends at 04:15. At 05:05, Mile’s comes in again with a wow-wow effect on his

trumpet. In this section, there is clear phrasing as the other instruments provide the

accompaniments that makes it easier for his solo to gain direction and pitch. The bass and the

drums at very specific points that bring about a harmonic effect fill the gaps in the solo. The drum

beat in in synchrony with the trumpet solo beat. This rhythmic harmony exposes the clear phrases

that are present in this solo.

During the Miles solos, the rest of the instruments provide rhythmic and harmonic support

as well as filling the blank gaps when he takes short breaks. There are points where a hypnotic

effect has been heard. In the electronic guitar, there are instances of a hypnotic pulse, which is a

common feature in rock music. The bass has performed the function of a pedal point and other

instruments have given it a modal reference. The piano for example has not been dominant but

has played its part in providing a modal quality to the music. At 08:06, Miles comes back with his
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usual style of improvisation and plays the traditional rhythm common in his music. This sounds

like the climax of the music. This style may be different from the pre-fusion recordings, but the

virtuosity and the rhythmic progression is similar.

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