{"id":9585,"date":"2026-09-19T18:10:00","date_gmt":"2026-09-19T16:10:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/isle-of-wight-1970-miles-davis-2\/"},"modified":"2026-09-19T18:10:00","modified_gmt":"2026-09-19T16:10:00","slug":"isle-of-wight-1970-miles-davis","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/isle-of-wight-1970-miles-davis\/","title":{"rendered":"Isle of Wight 1970 – Miles Davis"},"content":{"rendered":"

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Appelez \u00e7a comme vous voulez, et assumez<\/h3>\n

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Afton Down, \u00eele de Wight, 29 ao\u00fbt 1970. Le festival a d\u00e9bord\u00e9 toute id\u00e9e polie d’un public de jazz. Les estimations se disputent encore entre quelques centaines de milliers et la vantardise plus large des organisateurs. Miles Davis n’est pas venu r\u00e9gler le d\u00e9bat. Il est venu avec le groupe \u00e9lectrique qui vient de mettre Bitches Brew<\/em> dans le monde, en mars de cette ann\u00e9e, et il joue un seul set continu d’un peu plus d’une demi-heure. Chick Corea et Keith Jarrett aux claviers \u00e9lectriques, Dave Holland \u00e0 la basse, Jack DeJohnette \u00e0 la batterie, Gary Bartz au saxophone, Airto Moreira aux percussions. Pas d’annonces entre lesquelles une foule pourrait applaudir. La musique passe par Directions<\/em>, Bitches Brew<\/em>, Spanish Key<\/em>, et ne s’arr\u00eate pas pour \u00eatre admir\u00e9e.<\/p>\n

Il a l’habitude de se tourner vers le groupe plus que vers les gens qui ont pay\u00e9. Sur une sc\u00e8ne de festival, \u00e7a se lit comme du d\u00e9dain, et c’est en partie \u00e7a, et en partie une m\u00e9thode. Le son int\u00e9ressant se passe entre les claviers et la batterie, pas dans un sourire vers le fond de la colline. Les publics rock de 1970 apprennent que le jazz peut \u00eatre fort sans devenir une clinique de solos. Ce set est la le\u00e7on, donn\u00e9e vite, sans tableau. Le Fender Rhodes occupe le milieu de l’image. La trompette le coupe en phrases courtes et claires, puis laisse un trou pour que Jarrett ou Corea s’y comportent mal.<\/p>\n

Quand on lui demande comment appeler le morceau, il refuse la dignit\u00e9 d’un titre. Appelez \u00e7a comme vous voulez. La formule est rest\u00e9e, ce qui aurait agac\u00e9 un homme qui d\u00e9testait \u00eatre cit\u00e9, et c’est le bon nom. Un set de festival qui ne se casse pas en chansons ne fait pas le difficile pour le sport. Il refuse l’id\u00e9e que l’attention vienne en singles. L’\u00eele de Wight, pleine de gens venus pour des guitares, a eu une trentaine de minutes d’une musique qui se fichait qu’ils aient un morceau pr\u00e9f\u00e9r\u00e9. Certains en ont trouv\u00e9 un quand m\u00eame.<\/p>\n

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\n

Appelez \u00e7a comme vous voulez.<\/p>\n<\/blockquote>\n

(Miles Davis, \u00e0 qui l’on demandait un titre, \u00eele de Wight, 1970)<\/em><\/p>\n

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La bande a surv\u00e9cu, dans le film Miles Electric<\/em> et dans des \u00e9ditions plus tardives, et c’est ainsi qu’une colline de 1970 est devenue un document qu’on peut mettre dans une cuisine. Ce que la cuisine rate, c’est le d\u00e9calage d’\u00e9chelle : un groupe de jazz, m\u00eame \u00e9lectrique, est une id\u00e9e de chambre, et cette chambre a \u00e9t\u00e9 pos\u00e9e dans une foule de la taille d’une ville. Davis n’a pas agrandi les gestes pour suivre. Il a jou\u00e9 comme si la ville allait devoir se pencher. Un nombre surprenant de gens l’ont fait.<\/p>\n

Le jazz, sur ce site, est une \u00e9tag\u00e8re mince. Cette nuit est la raison pour laquelle l’\u00e9tag\u00e8re ne devrait pas rester vide. Pas parce que l’\u00eele de Wight a fait de Miles une rock star. Il ne voulait pas le poste. Parce que pendant une demi-heure un festival b\u00e2ti sur le volume et le r\u00e9pertoire a d\u00fb s’asseoir avec une musique qui \u00e9tait du volume et pas de r\u00e9pertoire, ou plut\u00f4t un r\u00e9pertoire qui refusait de s’annoncer. Appelez \u00e7a comme vous voulez. Puis \u00e9coutez assez longtemps pour entendre que le haussement d’\u00e9paules \u00e9tait une forme.<\/p>\n

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Le 29 ao\u00fbt 1970, Miles Davis emm\u00e8ne un groupe \u00e9lectrique \u00e0 l’\u00eele de Wight et joue un seul set sans coupure, diffus\u00e9 plus tard sous le titre qu’il a laiss\u00e9 passer : Call It Anything.<\/p>\n","protected":false},"author":1,"featured_media":9533,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[273,281],"tags":[259,887],"class_list":["post-9585","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chronicles","category-concerts","tag-blues-jazz","tag-miles-davis","post_format-post-format-video"],"yoast_head":"\nIsle of Wight 1970 - Miles Davis - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/isle-of-wight-1970-miles-davis\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Isle of Wight 1970 - 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