1965 could’ve easily been the end of the road for Miles Davis. Having spent much of the year laid up in a NY hospital, he returned to the stage with a quintet whose virtuosity had grown formulaic. En route to a two-week run at Chicago’s Plugged Nickel, drummer Tony Williams hatched a plan for a renewed language. "What if we made anti-music?” The results, documented on the newly reissued Complete Live at the Plugged Nickel, changed the landscape of modern jazz . . .
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