Electric beginnings

This sumptuous double-album recorded in the same vein - and virtually the same musicians - as In A Silent Way yet sounds very differently. Coincidence or intentionally, the disc A is based on the same temporal structure, namely two long pieces of more than 20 minutes each.
Pharaoh's Dance starts on a fast tempo. The atmosphere seems heavy, charged with electricity. The soundscape is more tormented. Everything here is electric, fast paced. It operates in a seeming chaos, perfectly controlled, like a changing civilization. Dissonances, changes in rhythms perfectly illustrate the social changes that are happening. End of major political and social utopias of the time. Disillusionment approaching. Yet the music of Miles Davis is not nihilistic. Far from it. As such, the intro (beautiful) Bitches Brew is revealing. The trumpet of Miles Davis never had such brilliance, even if it appears embedded in a kind of desert. This trumpet theme of the entire song - like a famous flute player - seems to serve as a beacon to all musicians.
Spanisk Key opens the disc B on an omnipresent rhythmic rumble. Again, the trumpet of Miles Davis rips the veil soon joined by John McLaughlin. The style of it clearly prefigured, with his blazing guitar playing, which will be the noise footprint of the Mahavishnu Orchestra (trend Bird of Fire) he founded in the early 70. Miles Runs the Voodoo listening Down the foundations of a whole musical to come are discarded. Santuary comes at cool the intense bubbling, the merger with incandescent opening, always the trumpet and his magical feulement.
By the way did I tell you I loved this record?