Miles Davis – Get Up With It (1974)

The album is a sprawling, retrospective collection of previously unreleased material recorded between 1970 and 1974. It spans the entire sonic palette of Davis’s electric period, from the hard funk of his On the Corner era to the spacious, psychedelic textures of his later work. The album is a vital document of Davis’s relentless musical evolution, showcasing a range of lineups and styles, with an emphasis on worldbeat, psychedelic soul, and jazz fusion.

The album features a diverse range of musicians, including veterans from the Bitches Brew era and newer players who would define the final years of Davis’s electric bands. The album’s eight tracks are a mosaic of sounds, moods, and experiments.

Background

Get Up with It was released at a critical juncture in Miles Davis’s career, just before his five-year hiatus from music. The album is not a single, cohesive statement but a compilation that reflects his constant search for new sounds and his refusal to be categorized. The tracks were recorded across a four-year period, with some dating back to the sessions for his albums A Tribute to Jack Johnson and On the Corner.

The album’s title track, “He Loved Him Madly,” is a tribute to Duke Ellington, a nod to the legendary bandleader’s signature sign-off: “I love you madly.” This track, along with “Calypso Frelimo,” represents the longest, most meditative work of Davis’s career. The album as a whole showcases a series of distinct bands and their unique sonic approaches, from the gritty rock of “Honky Tonk” to the deep funk of “Rated X,” all culminating in a testament to Davis’s final, electrifying years.

Instrumentation: The Sonic Palette of Get Up with It

The album’s sound is a vibrant and eclectic mix, drawing from funk, rock, and global music traditions. It features a rotating cast of musicians and instrumentation, reflecting the different periods in which the tracks were recorded. The music is characterized by its reliance on deep, repetitive bass lines, multi-layered electric guitars, and a new emphasis on percussion and synthesizers.

• Miles Davis: (Trumpet, Organ) Davis’s playing is at its most raw and expressive here. He uses the electric trumpet with a wah-wah pedal to create a distorted, human-like voice. He also plays organ on several tracks, creating a dense, pulsating rhythmic and harmonic foundation.
• Michael Henderson: (Bass Guitar) Henderson’s bass provides a simple, funky, and relentless rhythmic pulse. His deep, repetitive figures are the anchor for almost every track, cementing the music’s connection to funk and R&B.
• Pete Cosey and Reggie Lucas: (Guitar) Cosey and Lucas’s guitars are at the forefront of the sound. They play a wide range of styles, from wah-wah-soaked, psychedelic textures to hard-edged, rock-influenced solos, creating a chaotic, multi-layered feel.
• Al Foster and Billy Cobham: (Drums) The drumming is a powerful, polyrhythmic force. Foster and Cobham create a dense, highly active rhythmic foundation, blending funk backbeats with jazz improvisation and hard rock energy.
• Mtume: (Percussion) Mtume’s percussion, primarily congas and other hand drums, adds a vital, rhythmic layer. His playing is often a central part of the rhythmic foundation, giving the music a worldbeat and funk-infused feel.
• John McLaughlin and Herbie Hancock: (Guitar, Clavinet) On the earlier track “Honky Tonk,” McLaughlin and Hancock provide a direct link to the Jack Johnson and Bitches Brew era, with McLaughlin’s signature rock guitar and Hancock’s clavinet adding a funky, percussive sound.
• Sonny Fortune, Dave Liebman, Carlos Garnett, Steve Grossman: (Reeds) The various saxophonists and flutists provide a fluid, soloistic voice that soars over the dense rhythmic backing. Their playing is often highly emotive and intense, with a powerful, cutting tone.
• Wally Chambers: (Harmonica) On “Red China Blues,” the harmonica provides a unique, bluesy texture, adding a raw, down-home feel to the electric music.
• Khalil Balakrishna and Badal Roy: (Sitar, Tabla) These Indian instruments add a distinct, otherworldly texture, particularly on “Rated X” and “Billy Preston,” blending Eastern harmonic and rhythmic ideas with the funky, electric sound.
• Keith Jarrett: (Electric Piano, Organ) On “Honky Tonk,” Jarrett’s electric piano provides a more spacious, melodic contrast to the other instruments, a throwback to the more lyrical style of the Bitches Brew sessions.

Track-by-Track Breakdown

A. “He Loved Him Madly” (30:29)

This track is a hypnotic, deeply atmospheric tribute to Duke Ellington. The music is slow, spacious, and meditative, built on a simple, repeating bass line and a quiet, pulsating drum beat. Davis’s trumpet is a central voice, using a wah-wah pedal to create a long, sustained, and ghostly tone. The track is an exercise in tension and release, with subtle shifts in volume and texture, and is one of the most ambient works of Davis’s career.

Recorded Columbia Studio E, New York City June 19 or 20, 1974

• Miles Davis — electric trumpet with wah-wah pedal, organ
• Dave Liebman — alto flute
• Reggie Lucas — electric guitar
• Dominique Gaumont — electric guitar
• Michael Henderson — bass guitar
• Al Foster — drums
• James Mtume — percussion

B1. “Maiysha” (14:52)

“Maiysha” is a more melodic and upbeat track, featuring a samba-inspired rhythm and a sweet, lyrical melody. The guitars of Cosey and Lucas provide a warm, harmonically rich backdrop, while the bass and drums lock into a fluid, swinging groove. The track is a departure from the heavier funk of the other pieces, with a more relaxed and romantic feel, particularly through the use of Sonny Fortune’s flute.

Recorded Columbia Studio E, New York City October 7, 1974

• Miles Davis — electric trumpet with wah-wah pedal, organ
• Sonny Fortune — flute
• Pete Cosey — electric guitar
• Reggie Lucas — electric guitar
• Dominique Gaumont — electric guitar
• Michael Henderson — bass guitar
• Al Foster — drums
• James Mtume — percussion

B2. “Honky Tonk” (5:54)

A direct throwback to the sound of A Tribute to Jack Johnson, “Honky Tonk” is a driving, hard-edged rock track. The music is defined by a simple, repeating riff from John McLaughlin’s guitar, a pounding drum beat from Billy Cobham, and the syncopated bass line from Michael Henderson. The track is a short but powerful burst of raw energy, with Davis’s trumpet and Steve Grossman’s soprano sax soaring over the rhythm section.

Recorded Columbia Studio E, New York City May 19, 1970

• Miles Davis — trumpet
• Steve Grossman — soprano saxophone
• John McLaughlin — electric guitar
• Keith Jarrett — electric piano
• Herbie Hancock — clavinet
• Michael Henderson — bass guitar
• Billy Cobham — drums
• Airto Moreira — percussion

B3. “Rated X” (6:50)

“Rated X” is a deep, raw, and hypnotic funk track. The music is built on a simple, repetitive groove, with no prominent solos. The focus is on a dense, layered rhythmic texture created by the drums, bass, and Mtume’s percussion. The track’s centerpiece is Miles Davis’s organ, which provides a series of dissonant, abstract chords that create an unsettling, almost industrial atmosphere.

Recorded Columbia Studio E, New York City September 6, 1972

• Miles Davis — organ
• Cedric Lawson — electric piano
• Reggie Lucas — electric guitar
• Khalil Balakrishna — electric sitar
• Michael Henderson — bass guitar
• Al Foster — drums
• James Mtume — percussion
• Badal Roy — tabla

C. “Calypso Frelimo” (32:07)

“Calypso Frelimo” is the album’s longest track, a sprawling, free-form improvisation built on a loose, polyrhythmic groove. The music is a blend of funk, Afro-Cuban rhythms, and psychedelic rock. The track’s feel is less about melody and more about a sustained, collective exploration of rhythm and texture. The guitars of Cosey and Lucas create a wild, chaotic soundscape, while Davis’s trumpet adds a series of sharp, percussive blasts.

Recorded Columbia Studio E, New York City September 17, 1973

• Miles Davis — electric trumpet with wah-wah pedal, electric piano, organ
• Dave Liebman — flute
• John Stubblefield — soprano saxophone
• Pete Cosey — electric guitar
• Reggie Lucas — electric guitar
• Michael Henderson — bass guitar
• Al Foster — drums
• James Mtume — percussion

D1. “Red China Blues” (4:10)

This is a short, blues-infused track that stands out from the rest of the album. It’s a tight, fast-paced piece with a very clear structure. It features a prominent harmonica solo from Wally Chambers and a funky, rolling rhythm from drummer Bernard “Pretty” Purdie. The track is a throwback to a more traditional blues-rock feel, a concise and fiery statement in the midst of the album’s long-form improvisations.

Recorded Columbia Studio E, New York City March 9, 1972

• Miles Davis — electric trumpet with wah-wah pedal
• Lester Chambers — harmonica
• Cornell Dupree — electric guitar
• Michael Henderson — bass guitar
• Al Foster — drums
• Bernard Purdie — drums
• James Mtume — percussion
• Wade Marcus — brass arrangement
• Billy Jackson — rhythm arrangement

D2. “Mtume” (15:08)

“Mtume” is a deep, hypnotic funk track with a spacious, meditative feel. The music is built on a slow, repetitive bass figure, with the guitars of Cosey and Lucas creating a dreamy, atmospheric texture. The track is a showcase for the hypnotic power of the rhythm section, with Mtume’s percussion adding a subtle but vital rhythmic layer.

Recorded Columbia Studio E, New York City October 7, 1974

• Miles Davis — electric trumpet with wah-wah pedal, organ
• Pete Cosey — electric guitar
• Reggie Lucas — electric guitar
• Dominique Gaumont — electric guitar
• Michael Henderson — bass guitar
• Al Foster — drums
• James Mtume — percussion
• Sonny Fortune — flute

D3. “Billy Preston” (12:35)

“Billy Preston” is a spiritual, meditative piece. The music is slow and atmospheric, built on a spacious, organ-heavy backdrop. The track features a sitar and tabla, which give it a unique, Eastern-infused harmonic and rhythmic feel. The track is a testament to Davis’s ability to blend diverse musical traditions, and its serene, meditative quality serves as a gentle, yet powerful, conclusion to the album.

Recorded Columbia Studio E, New York City December 8, 1972

• Miles Davis — electric trumpet with wah-wah pedal
• Carlos Garnett — soprano saxophone
• Cedric Lawson — Fender Rhodes electric piano
• Reggie Lucas — electric guitar
• Khalil Balakrishna — electric sitar
• Michael Henderson — bass guitar
• Al Foster — drums
• James Mtume — percussion
• Badal Roy — tabla

Production: A Radical Approach to Recording

The recording of Get Up with It was a key moment in the evolution of jazz fusion, defined by an innovative use of studio production and editing.

• When: The album was compiled from sessions recorded over a four-year period, from May 19, 1970 to October 7, 1974.
• Where: The sessions took place at Columbia 30th Street Studio in New York City.
• Producer: Teo Macero handled the production and editing. He was a central figure in the creative process, taking the raw, improvisational session tapes and splicing them extensively to create the final long-form compositions. This process of using the studio as a compositional tool was at the heart of the album’s sound.
  • Selected 1970/71 Credits (as producer):
    • Miles Davis — Bitches Brew (1970)
    • Miles Davis — At Fillmore: Live at the Fillmore East (1970)
    • Miles Davis — Live-Evil (1971)
    • Tony Bennett — Tony Bennett’s “Something” (1970)
• Engineer: Stan Tonkel was the primary engineer, whose work was crucial in capturing the complex, multi-layered sound of the large ensemble.
• Notes on Process: The album is a testament to Macero’s editing genius. He took tracks from multiple sessions, with wildly different lineups and musical directions, and seamlessly wove them together into a cohesive, if eclectic, artistic statement. The album’s final cut seamlessly splices multiple takes together, a bold and innovative move that defied traditional musical structure.

The Players

Miles Davis was at a creative peak, fully embracing the new electric sound. His work on this album, a blend of blues, rock, and jazz, was a raw and uncompromising artistic statement.

John McLaughlin solidified his reputation as a guitar virtuoso on this album. He took the aggressive, rock-infused sound of A Tribute to Jack Johnson and distilled it into a more focused, powerful statement. His playing became a cornerstone of the burgeoning fusion genre.

• Other Notable 1970/71 Credits:
  • The Tony Williams Lifetime — Turn It Over (1970)
  • Miles Davis — Live-Evil (1971)
  • Carla Bley — Escalator over the Hill (1971)

Billy Cobham‘s drumming on this album was groundbreaking. His powerful, propulsive, and highly syncopated playing provided a rhythmic blueprint for a new generation of rock and fusion drummers.

• Other Notable 1970/71 Credits:
  • The Brecker Brothers — The Brecker Brothers (1970)
  • Miles Davis — Live-Evil (1971)
  • Mahavishnu Orchestra — The Inner Mounting Flame (1971)

Herbie Hancock was a key figure in Davis’s electric transition. His work on this album, as well as his own releases, showed him fully embracing a more electric, funky sound.

• Other Notable 1970/71 Credits:
  • Quincy Jones — Gula Matari (1970)
  • George Benson — The Other Side of Abbey Road (1970)
  • Miles Davis — Live-Evil (1971)

Keith Jarrett was a key figure in the free jazz and fusion movements of the era. His work on this album, as well as his own, showed his move toward more electric instrumentation.

• Other Notable 1970/71 Credits:
  • Miles Davis — Live-Evil (1971)
  • Gabor Szabo — Gabor Szabo (1971)

Al Foster was a central figure in Davis’s bands throughout the 1970s. His drumming, a seamless blend of funk, rock, and jazz, was a vital part of Davis’s sound during this period.

• Other Notable 1973/74 Credits:
  • Miles Davis — Dark Magus (1974)
  • Herbie Hancock — Sextant (1973)
  • Sonny Rollins — The Way I Feel (1973)

Pete Cosey was a groundbreaking guitarist who brought a raw, psychedelic, and highly experimental sound to Davis’s band. His work here was a defining moment in the development of the genre.

• Other Notable 1974 Credits:
  • Miles Davis — Agharta (1975)
  • Herbie Hancock — Headhunters (1973)
  • Earth, Wind & Fire — Gratitude (1975)

Mtume was a crucial figure in Davis’s band, bringing a unique, polyrhythmic feel to the music. His work here was a defining moment in the development of the jazz-funk sound.

• Other Notable 1974 Credits:

  • Miles Davis — Agharta (1975)

  • Miles Davis — Pangaea (1976)