Chords for Miles Davis live in Europe 1969

_ Neuen Klang des Miles Davis Quintets ist das elektrische Klavier von Chick Corea. _ _ _
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_ In 69 the fact that I was playing with Miles Davis, which was _ a dream come true for me.
_ I was pretty mono-focused on that band and my life as a musician, trying to [G] get my own thing going,
and definitely _ _ enjoying every moment with Miles in that quintet.
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[A] _ _ _ _ _ _ [B] _ _
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[G] _ [C] _ _ [Ab] Miles was always able [Ebm] to, but that period especially, was [N] able to get a sound out of the trumpet
that _ _ _ almost took it out of the category of being a trumpet, an instrument.
It just had this _ _ rich_
It was the way he played in tune, too.
_ _ He nailed the pitch, he nailed notes, and it would just go through you like this.
He was quite fit [Eb] and playing great. _
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_ _ The quintet _ just [Gbm] before that quintet, with Herbie and [Gb] Tony, [Ebm] Ron, _
_ actually [E] took that standard form _ [Gb] _ that [N] Miles had developed and got pretty free with it.
That was a pretty avant-garde band, too.
I think that was in [F] the air, this thing of vaporizing themes and just going places.
But I saw that Miles couldn't use that as a basis for where he was going.
In retrospect, if I look at it now, _ _ it's pretty obvious where Miles was going.
He wanted to reconnect [Eb] with audiences. _ _
_ _ To do that, he put _ a groove and a rhythm back into his music. _
[Bb] _ _ _ [Ab] _ _ _ _ _
[Gb] _ _ _ [Ab] _ _ _ [Fm] _ _
_ [N] _ _ _ _ _ _ _
_ _ He more and more put _ flavors of _ _ the youth [Gb] of the time [Db] into his _ presentation.
The way he dressed, the _ musicians he hired, the way they played, the [G] electric guitar, and so forth and so on. _ _
[C] _ _ _ _ _ _ I used to hang out with Dave.
We were the same age, and [Ab] we were the newcomers to the [Gb] band.
We [Em] were both into the free music [E] aspect of the band.
That's what [B] interested us.
_ _ _ [Eb] _ _
[Dbm] _ _ _ _ [C] _ Then [N] Miles, obviously, by what he was doing, was [D] in a kind of a [B] search.
He was doing a little bit of this, a [Ab] little bit of that, and then he brought the electric [Dbm] piano in.
That was a [Eb] statement of some kind.
[Em] Then, as the concerts developed, Miles kept going [Ab] more and more to a groove rhythm.
_ _ He'd start a groove rhythm, and then the band would go in all kinds of different directions,
with Wayne's solo, and then mine, and then [F] what Dave and Jack would do.
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[Gbm] _ When Miles first wanted [Ab] to have me play electric piano, I struggled with it for a while, because I really didn't like it. _
[Gb] _ [G] _ _ [Gbm] I was struggling with it, because I [C] was with _ _ a maestro [Gbm] _ and hero of mine.
All of these [Db] guys were, and here I [Gb] am with an instrument that I hated the sound [Fm] of.
It just ate [B] me up.
But, _ [A] as we [Ab] continued to [G] tour, _ [Eb] I got more of the idea of [Ab] what Miles was doing,
and [B] the Fender Rhodes [Gb] started to [E] figure it out.
They started to [Ab] see how to work it, and how to bring that [A] more into the sonic thing that Miles was [Gb] looking for.
Then, as an afterthought, the [Em] whole idea of _ having [D] _ _
[C] a band that had _ [C] some kind of an electric sound to it
appealed to me for the same reason, I believe, that [Db] Miles had,
which was [Db] a different sound, and it was a sound of youth.
_ [Em] _ _ _ _ [E] _ _
_ It was the sound of _ pop and rock, too, but yet I could play jazz on it. _ _
What we did in the studio with _ the Bitches Brew [Dbm] Sessions [D] was experimental. _ _ _
_ _ The first time I got called to go to the studio,
oh, [E] we're going to record, wow, we're going to record,
I figured we were going to record what we were doing live.
_ _ [Gb] I was kind of [D] disappointed at first that we weren't,
but [C] then I quickly saw that Miles was using the recording as experimenting [Ab] with [Fm] new themes,
[Gb] different combinations and different musicians and stuff,
[C] and that's how those sessions progressed.
It was like [D] one thing after the next.
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[C] _ [Ab] _ But then when [Gb] we went back out on the road,
the cue for what we were going to do would start [Abm] with Miles' first few [C] notes. _
[G] _ _ _ _ [D] _ _ _ _
[Bb] _ _ _ _ [F] _ _ [Eb] We would know what we were doing by Miles playing a few notes, _ _
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[Gb] he'd come on the stage and he'd stand by the microphone often [D] before he played a note,
and we knew that he was waiting [Dm] for us to settle down so that he could [Eb] introduce the next theme,
and [Gb] that's what he would do, he'd [Ab] introduce the next theme, [Db] and we'd be off.
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_ [E] _ _ _ _ _ [G] Miles [Gb] always played intense.
_ [Abm] _ During that whole period I played with [Dbm] him, he played magnificent,
[Fm] he was a magnificent [Ab] trumpeter.
He played high too, he played some [D] thick high notes.
Sometimes when trumpet [Bb] players play high it gets thin,
and he had some _
[G] _ _ searing.wow. [Eb] _ _ _ [Eb] _ _ _ _ _ [Db] _ _ [F] _ _
[D] _ _ [Eb] _ _ _ _ [Dbm] _ _
[Abm] _ [Db] _ _ _ [Gb] _ _ _ _
[G] _ _ [D] _ _ _ _ [Cm] It's funny, that band [F] was called, what was it called? [F] The guy's writers used to call it the Lost Quintet, _ [Db] so we found it. _ _ _ _ _ [G] _ _ _ _
[C] _ _ _ _ _ [Db] _ _ [Ab] _
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