Andy Beta reviews Miles Davis’s Get Up With It for Pitchfork:
His trajectory up to that point was a blur of a different hue. From teen sideman to Charlie Parker’s bebop revolution to a solo career that’s better compared to Pablo Picasso than other jazz musicians, Miles instigated entire paradigm shifts in music. Or, as he hissed to a matron at a White House dinner in the 1980s: “I’ve changed music five or six times.” Most narratives point to iconic albums like Birth of the Cool, Relaxin’ With the Miles Davis Quintet, Kind of Blue, Sketches of Spain, Miles Smiles and Bitches Brew, but his 1974 album Get Up With It hangs like an ominous storm cloud over them all, the one that fans of his other works might hesitate to name, his last studio album before he fell mute for the rest of the decade. Like Orpheus grieving in the underworld or Marlow going up the river, Miles went to a place that forever altered his DNA. When he finally returned to the studio, he never sounded the same.