Live Miles [Live]

Track Listings

1. Pt. 1: The Albuquerque Concert

2. Pt. 1: The Albuquerque Concert (Continued)

3. Pt. 1: The Albuquerque Concert (Continued)

4. Pt. 1: The Albuquerque Concert (Continued)

5. Pt. 2: The West Berlin Concert

6. Pt. 2: The West Berlin Concert (Continued)

7. Pt. 2: The West Berlin Concert (Continued)

Live Miles,Tangerine Dream,Castle U.S.,Electronic,Jazz Music,New Age / Meditation,Prog-Rock/Art Rock

Live Miles [Live]

Live Miles [Live]

Monterey Jazz Festival Live 1963
Average customer rating:
Monterey Jazz Festival Live 1963
Miles Davis
Manufacturer: Monterey Jazz Fest
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
General | Live Albums | Jazz | Styles | Music
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Monterey Jazz Festival Live 1964

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My Favorite Things: Coltrane at Newport

Cornell 1964

Live at the Monterey Jazz Festival

ASIN: B000RIWAU8
Release Date: 2007-08-21

Tracks:

Waiting for Miles
Autumn Leaves
So What
Stella By Starlight
Walkin'
The Theme

Album Description

LIVE AT THE MONTEREY JAZZ FESTIVALS is an outstanding new CD series of NEVER-BEFORE RELEASED performances by jazz icons recorded live at the world-renowned Monterey Jazz Festival; all recorded at the height of each artists' artistic powers.

These are the inaugural releases of Concord Music Group and Monterey Jazz Festival's MJF RECORDS imprint. All selections are previously unreleased and feature never-before-heard releases culled from historic live archives. Profits realized by the Monterey Jazz Festival from this series will be re-invested into its ongoing jazz education programs. Don't miss these spectacular, rare and historic recordings!

Tracks:

Marbles
Lava
Evil Ways
Faith Interlude
Them Changes
Free Form Funkafide Filth

Customer Reviews:

Great find.......2007-07-07

When this was first releasted,I was 17 years old. This is one of the greatest live recordings ever. If you like Carlos or Buddy,you have to have this.

Wow! latin rock space jam of brain damage consecuences!.......2007-05-11

This concert is great and really a different album than any other Santana Album as the compositions and the band were obviously gathered for this particular concert. Great wind instruments pump the pieces to umprecedented energy levels! I just wished that SONY would release an alternate version without all the claping and wistling from the crowd which tends to get in the way of this great music. Buddy Miles sings great all the way through but it's the santana band that should get most of the praises. Recommended to fans of the first 7 or 8 first Santana albums!

Bought it in 72, and it stood the test of time.......2006-12-17

Sorry Ron, but you don't know what you're talking about. I had this when it came out in 72, and am only here to get another copy...some nearly 25 years later.
On the plus side, I'd bet that you own a great Yoko Ono collection, eh?

Live and different.......2006-09-14

Santana and Buddy Miles toured the US from December 1971 till April 1972.The resulting live album contained both Santana and Buddy Miles hits, plus a full 25 minute great jam.
This is perhaps not the live album Santana fans expected, however the album sold over a million copy and went into the Top Ten of that year.
This is a great album. Highly recommended, and very different from any other material Santana ever released.
If you like this album, try as well another Santana album called: Caravanserai.

This is not happening.......2006-08-25

What is this? I wouldn't call this a Santana album. It lacks that spritual fire that penetrates the mind and heart and takes you higher and higher and deeper and deeper. It lacks the visual quality that is so present on his major projects. It doesn't have the lyrical quality. That "put your hands together"; "every body say yeah"; "every body stand up" doesn't do it for me. All that audience participation is corny and a coverup for a very poor performance. Evil Ways sounds like a poor cover band version of the song.

This is not a good album.

Average customer rating:

A most important period
cellar door
Miles & band at a peak
Amazing!
Burns Up The Mess That Is Live-Evil!

The Cellar Door Sessions 1970
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music

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One Down, One Up: Live at the Half Note
The Legendary Prestige Quintet Sessions
Town Hall, New York City, June 22, 1945
The Complete Jack Johnson Sessions
In Person Friday and Saturday Nights at the Blackhawk, Complete

ASIN: B000AP2Z6C
Release Date: 2005-12-20

Tracks:

Directions
Yesternow
What I Say
Improvisation #1
Inamorata

Tracks:

What I Say
Honky Tonk
It's About That Time
Improvisation #2
Inamorata
Sanctuary

Tracks:

Directions
Honky Tonk
What I Say

Tracks:

Directions
Honky Tonk
What I Say
Sanctuary
Improvisation #3
Inamorata

Tracks:

Directions
Honky Tonk
What I Say

Tracks:

Directions
Improvisation #4
Inamorata
Sanctuary
It's About That Time

Amazon.com

These mythical, Washington, DC December dates, released for the first in this impressive six-CD compilation, are an extension of Miles Davis's fusion LP, Live-Evil. Davis's piercing, electronically altered trumpet tones fire up of his young Turks; keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson , percussionist Airto Moreira, saxophonist Gary Bartz, and guitarist John McLaughlin. Davis's acoustic fans hated the adventurous and extended, jazz-rock excursions of selections like "Directions," "What I Say," and "It's About That Time," but there was no denying the complex interplay and improvisations, especially with Jarrett's rare Fender Rhodes electric piano and organ solos. Bartz's snaky, alto and soprano sax lines are equally astounding in this context, as is McLaughlin's "Hendrixsation" of the jazz guitar tradition. Davis bragged that he could "put together the greatest rock n' roll band you ever heard." He came pretty close to doing just that. --Eugene Holley, Jr.

Customer Reviews:

A most important period.......2007-01-16

I have an unusual reason for getting this boxed set.....I was there for the recording of much of it. I was 19 at the time, and this was the first jazz, with the exception of some Jimmy Smith, that I ever seriously listened to. My roots are in R&B and Funk. Bitches Brew, Live at the Filmore, that music spoke to me, and when I heard about this gig at the Cellar Door(I grew up in the DC area) I knew that this was the best band in the world at that time. So I had to be there. And I wasn't disappointed. So for me, Live Evil and now this set are a documentation of that time, place, and moment.
What can I say? It was incredibly innovative and exciting music. It was more jazz than rock in that it's mostly improvising to funk rhythms with rock instruments in mostly a modal format. The players were playing at their peak of virtuosity and my friend and I knew that this music and the people playing it were at the pinnacle of what was happening at that time. Jazz purism was not even a consideration, it was nothing more than a joke to me, and I had no interest or time for it. For that I'm thankful. I 'm now in my late 50's and I love jazz, straight ahead, even some so-called "smooth jazz" (which is really not jazz, but instrumental R&B soul), but I still have a special place in my heart for the innovative sounds of Miles, Weather Report, the Herbie Hancock Sextet, Chick Corea's Return to Forever, the Mahavishnu Orchestra, everyone save Mahavishu I heard at that incredible club, the Cellar Door.
Thanks so much for the folks who are responsible for this CD boxed set. The comments from Keith Jarrett alone are worth the price!

Michael Brecker 1949-2007 R.I.P.

cellar door.......2007-01-10

the cd arrived in a timely fashion and the whole thing was just great. took it to spain as a gift for a host mother of our college age daughter and she loved it. something she had not heard about

Miles & band at a peak.......2006-10-25

I saw Miles Davis in Venice at the old Fenice theater in 1971, a year after this was recorded. Jack deJohnette was replaced by Leon (later Ndugu) Chancler, John McLaughlin was "replaced" by Pete Cosey, and Airto was replaced by Mtume and Don Alias. But Gary Bartz and Keith Jarrett were still there, and it was one of the most intense hour-long sets I have ever heard. Afterwards I went home and listened to the Jack Johnson LP, and realized what was missing - the cohesion the band exhibits on both that album and these Cellar Door Sessions. This was a magic time, in my opinion, for pre-fusion jazz. The right things were happening, and a sort of dark cloud of new inner discovery had descended on musicians both here in the U.S. and overseas, where I was at the time. The Nam war figured heavily in everybody's mind, though we felt that it was reaching its end, and we had somehow helped achieve that. It was almost like that terrible time had sparked a certain creativity in musicians, more adventurous, more "in your face" than jazz or rock had ever been before, in terms of artistic horizons. By the time I saw Miles for the first time in '71, music was already becoming more corporate, although it would be a few years before the complete annihilation of creative expression via music became a reality. Enjoy these discs as snapshots from a much braver, more fearless sonic expeditionary time.

Amazing!.......2006-10-08

It's shame this didn't come out when it was recorded. The music's stunning, especially discs 2 and 4. The last great Miles band.

Burns Up The Mess That Is Live-Evil!.......2006-10-05

I got this for my birthday and I'm still in the process of listening through the entire 6 discs yet again! The review can be summed up in a few short words: This band is SMOKIN' HOT!

Listening to Yesternow on Disc 1, right around the 14:50 mark Jarrett is playing incredibly fast chromatic runs, but in a laid back fashion. If you listen very closely (I was wearing headphones) you can hear Miles off mic tell Henderson and DeJohnette to quiet down with a "sssshhhhhhhh" and seconds later, in a very pleased, awe-struck, raspy whisper Miles says "Jesus, that's nice". And nice it is! Jarrett is otherworldly in his playing here. Moments like that aren't even unusual on this release, it all simply incredible. This has to be my favorite electric Miles line-up, hands-down.

Parts of Live-Evil were really great and parts of it were not so great (see my Live-Evil review). One of the nice things that the Cellar Door Sessions does is show us that Airto doesn't really play continuously - one of my criticisms of Live-Evil. With respect to Live-Evil, Airto's playing is placed in context more than any other player here. On Live-Evil it sounds like he doesn't realize it's ok not to play once in a while. On Cellar Sessions we find that perception is the result of Teo's scissors and tape and Airto is actually adding much where it is appropriate and laying low when it isn't appropriate to play. After hearing this, Live-Evil is irrelevant.

Of all the discs I believe 5 and 6 are actually my least favorite (though they all rock!). McLaughlin does sound something like a third wheel when you hear all of the discs. My criticism of his playing in my Live-Evil review stands. Much of McLaughlin's playing just sounds like a fairly thoughtless barrage of notes played as quickly as possible and somewhat sloppily played in places. Some of it is really good but the band does sound tighter without him in my opinion.

Keith Jarrett and Jack DeJohnnette really are what is propelling this band to its critical mass. Both musicians are simply astonishing from the start of disc one through the end of disc six. Henderson provides a good even "bottom" to the sound but its Keith and Jack who are really making this performances happen.

Miles's playing is furious, punishing and this may be the last time he sounded this incredibly good with that horn to his lips.

Gary Bartz is mostly fantastic, there are one or two places where his solos start of somewhat timid, perhaps too thoughtful, the antithesis of McLaughlin's playing. Bartz's playing is superb but at times it sounds as though he's trying to get his footing and playing with caution.

Finally, the booklet that comes with this collection is EXQUISITE. It is loaded with pics, essays by the players, and full of information - enough such that some of the Miles biographies will have to be updated. I love Jack DeJohnettes comments about drummer Buddy Miles from the Band of Gypsies.

I don't think I would ever pay the $90.00 Amazon is asking for this collection (for any collection for that matter) but this is great, great stuff and worth your hard-earned dough! It really is the missing link between Bitches Brew and Miles at the Philharmonic. Maybe you should join the club and purchase at the discount price?

Live at the Fillmore East (March 7, 1970): It's About That Time

Average customer rating:

Clarification Due
A furious barrage of free jazz and intense performances
The Lost Quintet Live - The Power & Dynamic is just AWESOME!
Miles Moves Forward
A Smokin' Performance

Live at the Fillmore East (March 7, 1970): It's About That Time
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

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Live-Evil
Pangaea
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ASIN: B00005M0N2
Release Date: 2001-08-21

Tracks:

Directions
Spanish Key
Masqualero
It's About That Time/The Theme

Tracks:

Directions
Miles Runs The Voodoo Down
Bitches Brew
Spanish Key
It's About That Time/Willie Nelson

Amazon.com

Miles Davis took the stage of New York's Fillmore East with five other players on March 7, 1970. Leaning heavily on the soon-to-be-released Bitches Brew and looking back no further than 1962's "Masqualero," they rumbled, squawled, and stomped through two sets that might have surprised even fans of Davis's new rock-influenced sound. At times edgier than even the challenging Brew, the music was nonstop, polyrhythmic, and crashing while remaining groove-oriented. With Miles blowing one aggressive solo after another, saxophonist Wayne Shorter and drummer Jack DeJohnette rise to the moment while providing reminders of the angular sound of the '60s trio. While "Bitches Brew" itself appears in a drastically shortened but still relatively hushed treatment, the first of two versions of "It's About That Time" breaks away from In a Silent Way's midtempo meditation into full-tilt tumult. These 90 minutes capture Miles headed in the direction of Jack Johnson, stopping to give the rock audience a glimpse of himself working at another peak. --Rickey Wright

Customer Reviews:

Clarification Due.......2007-07-28

Firstly, this double cd IS scorching. The powers that be who didn't release this record for 31 years should be imprisoned for aural robbery.This is by far the best document of this band (including the grossman stuff) I think this is one of the farthest OUT playing Miles has just about ever done (along with the cellar door, agartha) For those reviewers on here who compare this set to Bitches Brew, you must understand this set is an entirely different beast. Bitches Brew was pieced together in the studio and the drumming is very different. Bitches Brew, while not being a "Live" take, had a much more patient feel to it. This music is set apart by Jack Dejohnette. He plays particularly loose on alot of the tracks and it makes the entire band float. Airto only adds to the polymetric, pulse driven energy music. For a while I was surprised at how incredibly loose the approach is, and on repeated listens it continues to gratify. Check out the DVD, Miles Daves:A Different Kind of Electric Blue (? title) on DVD for a set of this band at the Isle of White festival.

A furious barrage of free jazz and intense performances.......2006-09-07

This live March 7, 1970 release is burning hot and intense. Oddly enough, Miles was warming up for the Steve Miller Blues Band and Neil Young and the response from the audience is halfhearted and lukewarm. It seems likely that fans of the comparatively more straightforward material of those two bands were in no way shape or form prepared for this wild barrage of free jazz, jazz-rock, and unfettered experimentation. It's too bad too - this is easily the best set I have heard from this period of Miles (1969-1971) and reinforces in my mind the incalculable impact he had on music.

Alongside Miles (trumpet) is a virtual who's who of the jazz rock scene: Chick Corea (Fender Rhodes electric piano); Jack DeJohnette (drums); Dave Holland (electric bass guitar and acoustic bass); Wayne Shorter (soprano and tenor saxophone); and Airto Moreira (percussion). These guys are all top shelf musicians and turn in some of the most "out there" performances I have ever heard. Chick Corea is especially wild and simply tears the electric piano up - the furious, free-form barrage with Dave Holland during the first set is simply unbelievable. Speaking of the bassist, I happen to like Dave Holland quite a lot - a lot more in fact than Motown bassist Mike Henderson (who played on the Live Evil album, 1971). Dave is a technically superior player and he truly interacts with the other players rather than just laying down an ostinato. Jack DeJohnette is also in top form and churns out a swirling mass of impenetrably dense rhythms, while Wayne Shorter cuts loose with furious torrents of notes that recall free jazzer Eric Dolphy at his most intense. Whew. Let us just say that the performances on this live recording are hot.

Tracks 1-4 comprise a 42 minute jam that holds your attention all the way through, while the second set provides more of the same. Musically, the pieces incorporate elements of free jazz, although some influences taken from James Brown and other soul/funk musicians can be heard as well - even though they really take a back seat to the free jazz and experimental jazz rock.

If you enjoyed this live album, you might also like Bitches Brew (1970); Live Evil (1971); A Tribute to Jack Johnson (1971); and On the Corner (1972). This is all simply amazing stuff and Miles was an extremely forward thinking musician. Very highly recommended.

The Lost Quintet Live - The Power & Dynamic is just AWESOME!.......2006-09-03

The playing on these two discs is masterful and intense. The Fillmore audience full of stoned teens and college students must have been taken aback by this sonic assault. There's some polite applause here and there but they must have been wondering "WTF was that?"

Holland and DeJohnette provide a punishing, pulsing, swinging foundation to the other players to improvise upon - Shorter and Miles go wild. As usual, I am not wild about Corea's distorted electric Fender Rhodes with that Ring Modulator gadget (not a particular good effect in my opinion but it must have been "trippy" at the time), but his playing is fabulous. I will say this disc is probably only for the die-hard Electric Miles collector. Some listeners are going to hate it because there's a lot of "free jazz" (in the Ornette Coleman sense of the expression) going on in here and the cacauphony will be a bit overwhelming at times. This is not a collection I can listen to at any ol' time and it certainly isn't "background music", but I am glad I purchased it.

Just because you like Bitches Brew, Big Fun, Jack Johnson, and On the Corner doesn't mean you are going to like this. The playing is very hot but it's also very free form in places. Some of it even reminds me of Holland and Corea's Circle - The Paris Concert with Anthony Braxton. Fidelity is a little muddy for bass and drums but don't let that put you off. Apparently, according to the Cellar Door Sessions booklet, the engineers were still trying to figure out how to record this band with this concert took place.

Miles Moves Forward.......2006-08-30

Miles Davis' 1969-1970 performances, which saw - or rather heard - the trumpeter fusing the eerily open-ended logic of BITCHES BREW with the screaming stagecraft of the then-burgeoning arena rock scene, represent one of the most exciting links in the solid gold chain of breakthroughs which was his singularly stellar career. Long unavailable in the US, these shows have hit the shelves in a big way over the past nine years as Columbia Records continues its hell-for-leather efforts to get every note Miles ever recorded for the label out to the public. Happily, IT'S ABOUT THAT TIME, like other releases from the same era, more than justifies such a policy.
With saxophonist Wayne Shorter here playing his final gig with Miles, TIME could easily get by on historic importance alone. But riding atop one of Davis' - indeed, one of jazz's - greatest rhythm sections (Chick Corea on electric piano and assorted bizarre circuitry, Dave Holland on bass guitar and Jack DeJohnette on drums and on fire), the two great blowers and composers are given no chance to rest on their laurels. Tunes from BREW and IN A SILENT WAY here coalesce into forty-five-minute suites of crashing, keening, thundering improvisational elan and fearlessly forward momentum. Whether this sort of thing is your cup of tea or not, it's impossible to dismiss; few if any acts in either the jazz or rock sphere could have offered a more powerful concert experience than this in what must surely rank as the absolute peak period for live music of any sort. Never once sinking into either the safety of convention or the lethargy of chaos, this version of the Miles Davis Quintet/Sextet was and remains a formidable unit.
And IT'S ABOUT THAT TIME is a formidable pair of discs. Whether it's the best way to hear Miles and Company at this juncture, however, is rather hard to say. I'd actually call the long-deleted Japan-only release 1969 MILES, recorded in Antibes a month before BITCHES BREW itself, a somewhat more interesting document, as it applies the scorched-earth logic of this band to a broader cross-section of Davis' repertoire, including such pre-electric classics as "'Round Midnight" and "Footprints." By the same token, Shorter's departure, regrettable as it may have been, didn't prevent his bandmates from continuing to jell and explore, with the result that BLACK BEAUTY, recorded a month after this set with Steve Grossman on soprano sax, seems to my ears to achieve the impossible by reaching an even more torrential level of intensity, if only in a few spots.
Nevertheless, with no other recording of this particular combo tackling this particular program currently available, IT'S ABOUT THAT TIME meets five-star criteria for both the sound and significance of its content. Miles forever!

A Smokin' Performance.......2006-06-08

There are numerous official and bootleg albums dating from the early electric phase of Miles Davis. But It's About That Time is the best that is currently available. The material features a band operating loud and proud, with the solos by Davis and Shorter nothing short of brilliant.

Looking back more than 35 years later, one can easily hear why jazz fans/critics were critical of Davis (in actuality, what else was new) while he took "fusion" into major rock venues, while opening for popular rock acts of the time.

The music is as thrilling to hear today as it certainly was live in 1970. The CD is an essential part of a collector's library who wants to hear Davis and his band tearing it up and get a real understanding in what fusion meant at its inception.

Average customer rating:

Rare Miles - But Poor Recording!!!

Live in Saint Louis 1956
Miles Davis Quintet , and John Coltrane
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

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Live in Den Haag
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Manchester Concert: Complete 1960 Live at the Free Trade Hall

ASIN: B000F7MKQ0
Release Date: 2007-04-24

Tracks:

Intro
Ah-Leu-Cha
Foggy Day
All of You
Woody 'N You
Walkin'
Two Bass Hit
Well You Needn't
Billy Boy
All of You
Airegin
Announcement/The Theme
Sign Off/The Theme

Album Description

An extremely rare collector's item. Virtually forgotten live recordings of the legendary Miles Davis and John Coltrane! This CD comes from two radio broadcasts made in Miles Davis' hometown, Saint Louis, Missouri during the period prior to John Coltrane's first departure from the band, and marks one of the paradoxically few recorded testimonies of Miles performing in Saint Louis. The rarity of this document and the high intensity of the music make this an essential issue for all Miles and Trane fans. The quintet demonstrates its high level of performance throughout the recordings, "swinging like crazy," as the MC clearly states at one point of the programs. Jazz Factory. 2006.

Customer Reviews:

Rare Miles - But Poor Recording!!!.......2007-03-21

Maybe a rare recording, but an extremely bad recording. Miles seems distant when he plays on some tracks, with his sound being drowned out by piano. Coltrane does stand out in parts. Something you may listen to once, for the serious collector. 1 Star for sound, 5 stars for it being rare Miles.

Average customer rating:

Handel: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

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ASIN: B00062FLI8
Release Date: 2004-11-30

Average customer rating:

....actually better than I had expected
A Sweeping Measure Of Musical Presence.
WONDERFULLY HISTORIC LIVE SESSIONS: 2 DAVIS (with COLTRANE) QUINTETS ON ONE DISC

Live in Den Haag
Miles Davis Quintet , and John Coltrane
Manufacturer: Lonehill Jazz
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

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Jazz | Imports | Stores | Music
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Manchester Concert: Complete 1960 Live at the Free Trade Hall
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European Tour '56

ASIN: B000BPN2KY
Release Date: 2005-10-24

Tracks:

So What
Around Midnight
On Green Dolphin Street
Walkin'
Theme
So What [*]
Max Is Making Wax [*]
It Never Entered My Mind [*]
Tune Up [*]
Walkin [*]

Album Description

Recorded at the Kurhaus, Scheveningen, Den Haag, The Netherlands, on April 9,1960. Contains the complete concert plus rare radio and TV broadcasts by Miles and John Coltrane from 1955 to 1959. Includes five bonus tracks 'So What', 'Max Is Making Wax', 'It Never Entered My Mind', 'Tune Up' and 'Walkin'. Lone Hill. 2005.

Album Details

Recorded at the Kurhaus, Scheveningen, Den Haag, the Netherlands, April 9, 1960. Includes the Complete Concert plus Rare Radio and TV Broadcasts by Miles and Coltrane from 1955 to 1959. Featuring John Coltrane, Wynton Kelly, Red Garland, Paul Chambers, Jimmy Cobb and Philly Joe Jones. Includes Booklet with Comprehensive Liner Notes.

Customer Reviews:

....actually better than I had expected.......2007-05-26

I took a chance and ordered this CD and I was plesently surprised. As a whole, the sound quality for the time period is quite good. The performances on all the tunes are energetic. I loved the bonus material, especially the broadcast take of "So What" from 1959 just as much as the Den Haag recordings. One thing remains clear when you listen to this music: Miles and Trane were a great combination that complemented each other magnificantly!

A Sweeping Measure Of Musical Presence........2006-11-15

(from a broader feature, copyright 2006 Michael F. Hopkins)

Some of the finest concert and broadcast performances
of Miles Davis with John Coltrane are wrapped neatly and
sweetly in this Lone Hill Jazz release, offering timeless
Jazz recordings at an exceptionally affordable price. Sound
quality runs from solidly acceptable to utterly superb,
every track of this 1955 to 1960 cavalcade a gem to hear,
time and again.
The feature performances are from the last tour conducted
by the trumpeter and the tenor master who was his greatest
student. Features abound here, but check the wonderfully
rhapsodic take on "Round Midnight"; Miles playful and
full of intrigue, Trane sounding majestic choirs heralding
the giant steps at hand, and deeper strides to come. Dig
pianist Wynton Kelly, bassist Paul Chambers, and drummer
Jimmy Cobb laying down a red carpet of rhythmic nerve,
taking groove onto a whole different level of thought
and move.
Take a trip back to 1959, and a CBS broadcast featuring
Miles and Trane running a slow-burning rendition of "So
What", with additional candlelight touched upon by the Gil
Evans Orchestra". Horizons converge here.

Back to 1955, Miles and Coltrane featuring their original
quintet with pianist Red Garland, bassist Paul Chambers and
drummer Philly Joe Jones. The "Tonight Show" numbers (host
Steve Allen showing his renowned regard for deeper forms
of Music) captures the quintet in exceptional form. "Max
Is Making Wax" is a scorcher of the highest order, and the
twilight rendition if "It Never Entered My Mind" is a
serene wonder which will stir many a heart.

The album closes on a 1956 club performance from Philadelphia,
Pa. Featuring "Walkin'" in all its prancing glory, and a
smoothly scintillating presentation of "Tune Up", the
selections served notice to an age of what was at hand.

Its sounds still serve notice to a world that there is
much to be heard. For those who dare to challenge the
silence with something other than mere noise, it stands,
a living monument to all with something meaningful to
say.

WONDERFULLY HISTORIC LIVE SESSIONS: 2 DAVIS (with COLTRANE) QUINTETS ON ONE DISC.......2006-03-11

Five Big Stars!! This splendid CD captures Miles Davis, John Coltrane, and Mr PC (Paul Chambers) in two enjoyable live frameworks: the 1955 Quintet, with "Red" Garland on piano and "Philly Joe" Jones on drums, recorded at two separate venues in the US, and the 1960 Quintet with Wynton Kelly on piano and Jimmy Cobb on drums captured in performance in The Haag, The Netherlands and CBS' "Studio 61" TV show. This is a great way to compare the two groups performing some of the best songs from their repertoire without switching CD discs. "Walking" is performed by each quintet, so one can make a direct comparison, song to song. Literally, two legendary Miles Davis Quintets, with John Coltrance on tenor sax, on one CD, side by side.

The performances are uniformly excellent thoughout. Coltrane, in particular, is absolutely smoking both in Europe and in the US sessions. Davis was content to let him run with it: on "So What", he uncorks a steaming 9 minute solo full of his entire bag of tricks at the time: dramatic convoluted phrases, overblowing his reed, false fingering, "Sheets of sound", and "the Coltrane wail". Davis' solo is a terse but soaringly inventive 3 minutes. 'Trane would soon leave this quintet (and the known musical universe to explore his tenor and soprano saxes and his own celestial music), but he was declaratively leaving his mark yet again on post-bop neo-modal jazz history with these seldom heard sessions. 'Trane's solo on the "Studio 61" CBS TV show version of "So What" in 1959 is shorter but may be even better than track 1. Mile's solo is definitely better: a case of 'relaxed intensity', plus he takes two solo bites out of this shining apple.

Of the earlier quintet, it's great hearing Red Garland's block chords and fleeting runs, and Philly Joe's rimshots. The Tonight Show was a shocker in that Steve Allen let them play 2 entire songs with no shortcuts, but then the appreciative Allen was practically a jazz pianist himself. "Max is Making Wax" and "It Never Entered My Mind" are excellent. The Blue Note Club cut (track 10) "Tune Up" takes the cake: Miles is on fire, the early 'Trane is wonderful, and Red Garland is excellent. Highly Recommended early and Mid-Period Miles and 'Trane.

(Note: Tracks 6-10 are bonus tracks appended to the Den Haag tracks. Don't let the shortness of the disc fool you, this is an important slice of late 50's to early 60's jazz history.)

Average customer rating:

Pretty Good after All
I approached this with some unnecessary trepidation
Why You Must Own This Album
Miles Of Smiles For Everyone
It is just Essentially that you must have this album.

Live Around the World
Miles Davis
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music
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We Want Miles
Amandla
Tutu
Aura
Doo-Bop

ASIN: B000002N29
Release Date: 1996-05-14

Tracks:

In A Silent Way
Intruder
New Blues
Human Nature
Mr. Pastorius
Amandla
Wrinkle
Tutu
Full Nelson
Time After Time
Hannibal

Amazon.com

The body of work Davis created in his 40-plus years of recording makes the word "incomparable" grossly inadequate. So, it should be no surprise that these live recordings, drawn from the last three years of his life, are nothing short of remarkable. This collection highlights Davis's funkier 80s repertoire. From the laid back groove of "Mr. Pastorius" to the driving rhythms of "Wrinkle," this was Davis redefining jazz. Even more remarkably, it was all recorded digitally in stereo with no remixes, no overdubs, and a sound so perfect that most musicians couldn't match those standards in a studio. The album's closing version of "Hannibal" was drawn from Davis's final performance, giving both the already haunting composition and the entire album an added poignancy. Jazz doesn't get much better than Davis, and live recordings don't get much better than this. --Bill Snyder

Customer Reviews:

Pretty Good after All.......2007-03-27

This is an album well worth revisiting. A lot of people hated the music that Davis made at the end of his career, which is too bad. This is a fusion album basically, in a league with the best of Weather Report or Pat Metheny. It is also a lot of fun to listen to. Davis's upper range is diminished, but he remains full of fresh ideas. Unlike his Fillmore albums, this live set is accessible and clearly both the band and the audience at the various venuse have a great time. More significantly, Davis seems to be enjoying himself and his young musicians. As usual, he gives them a lot of space and Garrett with a couple of showy solos and the remarkable Foley, who transforms his bass into a lead instrument, take full advantage of their opportunities. The album is not "Kind of Blue," but it is nonetheless fine music and a worthy memento from the final stages of Davis's magnificent career.

I approached this with some unnecessary trepidation.......2007-03-04

I approached this release with much trepidation. It wasn't because I was afraid to waste my money. I'm a huge Miles enthusiast. I have a farily large collection of his recordings (about 60 discs so far) starting with every master take he recorded with Charlie Parker and ending with The Complete Cellar Door Sessions. I have most of his Columbia work up to 1975 including many of the "Complete Sessions" box sets and all of the important Prestige releases including all of the quintet recordings and the Bags' Groove session. I know Miles' and his music very well. When Miles' returned to the stage in 1981, I found I could suddenly relate to all those legacy fans that were so upset when Miles first went electric. I love Miles' music but I did not want to be disappointed with a release from his post-hiatus years. I remember how giddy I was when I spotted the Lp "The Man With The Horn". It was ok, but something wasn't quite right. Much of what I'd heard of his last decade doesn't seem to move me the way the earlier stuff does. Admittedly, that's MY problem and is in no way a reflection on the validity or quality music Miles chose to play in his last years. So, I approached with much trepidation.

With that said, I was pleasantly surprised by Live Around The World. Miles' playing is actually pretty strong; however his solos are also fairly compact for the most part. This isn't the lava-spewing Miles of The Cellar Door Sessions. His quieter, harmon-muted playing on this CD reminds me a lot of the tune "Circle" from Miles Smiles. It's still beautiful here, heartbreakingly beautiful and I'll never get tired of that sound. All the tracks are very good, but there is something missing... there's something of a sterility here and it's probably the modern (at the time) technology. Miles' band is very hot but it doesn't breath fire like the Cellar Door band. With his previous bands, almost anything could happen when Miles played live. This is much more "organized" I can't put my finger on what it is that bothers me about this release, but it's there no matter how much I don't want it to be there.

What do I like about this release is you can hear that Miles, who was long a tortured artist, is actually having a great time with his young band. I think Amandla is probably my favorite of all the tracks and it seems to hark back to an earlier time, despite those blasted synthesizers. The thing I hate about this release is all the Zawinul-esque synthesizers. If someone told me that Miles asked his close friend Joe Zawinul to serve as a consultant for the synth voicings used here, I would believe it. Then again, one has to remember that like always, Miles was playing in the moment. When this was recorded, synths were all over the place and used with abandon. Serious musicians seem to have wised up in the last 15 years. I think the problem with synths is that technology is always moving forward. What sounded really cool 2 years ago, sounds very dated. A synth will NEVER sound like a music where the timbre and attack is control by human action. They are horrible instruments and I wish they'd all just go away. I am also not particularly fond of that cover shot that makes him look like a funky extraterrestrial space man. They should have used the booklet's interior portrait shot for the cover. Miles just had so much humanity in his face.

4.5 stars on Live Around the World. I honestly can't rate this as high as My Funny Valentine, Four and More, Miles In Berlin, The Cellar Door Sessions, and It's About That Time. Those releases are the way I love to hear Miles. This is a good release but I cannot place it on the same level as his other live work, no matter how skillful and good his band plays.

Anyway, If you can handle all the synthesizers then this is an enjoyable release for those of us Miles enthusiastist who remember and know what Miles was all about from 1945 - 1975. Gosh, I sure do miss Miles. My vote for greatest American musician of the twentieth century, hands down.

Peace.

PS - the review that raves about Kenny Garrett's jaw-dropping, mind-numbing tenor sax solo... that's an alto sax man. It's a very good solo but I didn't find it THAT impressive. Frankly, Sonny Fortune's solos on Agharta and Pangea are far better than Garretts - though Garrett's IS quite good. You want impressive tenor sax? Pick up Coltrane's "Sunship" or "Meditations" Now, THAT's jaw-dropping tenor playing.

Why You Must Own This Album.......2006-11-27

Overall, this is a phenomenal album which all Miles fans ought to have. There are however, two reasons why all jazz fans, all music fans and indeed all living and breathing people who love life and love music, must buy this album. First is Kenny Garrett's mind numbing, jaw-dropping 7 minute tenor solo at the end of the 13 minute "Human Nature". I'm pretty sure there's never in the history of music been a better tenor solo than that. If there is, I can't really think of one and I've heard a lot. Coltrane doing "My Favorite Things" at Birdland, maybe - but I think Garrett wins. The first time I heard it, I had to stop what I was doing and go back and listen because I couldn't believe my ears. That was about 6 years ago and the solo has yet to get old. So awed was Miles, that at the end of the tune, you can hear him providing Garrett with the Milesque sarcastic compliment "Kenny...Kenny...That wadn't nothin' man, that wadn't nothin'...I do that every night". Yeah Miles, over the course of a long career you have many, many outstanding solos, but Garrett matched you that night and you clearly knew it.

Reason number two is the closing track "Hanibal" drawn from Miles' last live performance. In his exchanges with Garrett's sax, you can almost hear Miles' dying breaths, pleading for more life, for more air to fill his horn. It's surreal.

Buy this album. Listen and be amazed!

Miles Of Smiles For Everyone.......2006-11-12

During the last few years of his life, Miles Davis did not slow down one bit when it came to touring. It is amazing the schedule he kept as his health declined.

In many ways I feel that the fans and his band kept him going. It is as if the people who meant the most to his incredible career assisted him in those moments when it had to be utterly painful for him to take to the stage.

Take the last cut on this classic live CD - Hannibal - which was recorded at the last performance by Davis. Listen closely and you will appreciate the power of will that Davis demonstrated. His health was rapidly declining and he entered the hospital a mere couple of weeks later.

The critics were mighty silly when the studio versions of Human Nature and Time After Time were released. The theory was posed that the songs were "suggested" to Davis by a record executive. Get real, like a suit would have any pull on what Davis recorded in the studio!

Davis listened to other artists from various genres of music. He did not put up the artificial barriers that plague not only the music industry, but society as a whole. And the myth should be tossed into the gutter after hearing the songs live, especially the extended version of Time After Time.

New Blues features some sizzling playing, while Mr. Pastorius and Tutu again show Davis and the band in top form.

There are plenty of directions one can travel in attempting to chronicle the career of one of the best jazz musicians ever. It may come as a surprise to some that Live Around The World may be a great place to start, since these are the last gigs he performed.

But anyone who appreciates what the stage meant to Davis - and what Davis meant to his fans - will understand why the best from the last can be first.

It is just Essentially that you must have this album........2006-07-17

Miles's Trumpet sound is different from another's.
It's the something special.

Fusion & Jazz rock that you were heard by Miles are also same.

The album was put the perfect performance into, as if to record in the studio room using overdubbing.

Someone said that Miles's trumpet playing in this times is not good as the prime of his musical life.
It's lower-class in terms of sharpness, inspiration, mainstream than his career in the 1950- early 1970.

For sure, I "din't" agree with their opinion.

Obviously, Miles could not play like in those albums.
For example Kind Of Blue, Round about Midnight, Bitche's Brew and much more,

But he shows us what the maturity is in the Performance, let me know Miles himself just like a hard boiled egg.

Through the The tune Dedicated to Jaco Pastorius, "Mr. Pastorius", "TUTU", "Human Nature", and at almost every track,
Miles was playing for us a great master's sound touch.

All together cold and warm moods.

At the particular track "Time After Time", Miles was singing a love song like a great singer. And I never heard another version of "Time After Time", better than for Miles, not forgetting Cyndy Lauper who had sung "Time After Time" with a lyric from the first.

Sometimes, Miles let me cry at the "Time After Time".

If you din't like Jazz Music or your fondness is rock music or another fields, you would not need any question,

like "Is this album appropriate to me?"

Don't worry, Just Listen.

Miles can satisfy your pleasure.

Average customer rating:

Too Bad
un viaje
Um...okay....
..and why not five?
I love portions of this... Buy the Cellar Door Sessions Instead

Live-Evil
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music

Pop Rock | Pop | Styles | Music

Jazz Funk | Funk | R&B | Styles | Music
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Dark Magus: Live At Carnegie Hall [2-CD SET]
Agharta
Live at the Fillmore East (March 7, 1970): It's About That Time
A Tribute to Jack Johnson
On the Corner

ASIN: B000002AH1
Release Date: 1997-07-29

Tracks:

Sivad
Little Church
Medley: Gemini/Double Image
What I Say
Nem Um Talvez

Tracks:

Selim
Funky Tonk
Inamorata And Narration

Amazon.com Music Reviews

This is where Miles Davis turned funk into jazz, rock into soul, and chaos into Beauty. With a rotating cast of bands featuring keyboardists Keith Jarrett and Chick Corea, guitarist John McLaughlin, percussionist Airto Moreira, saxophonists Gary Bartz and Wayne Shorter, and myriad other explorers, Davis kept up with the times...and surpassed them. He rocked harder than Sly, got funkier than J.B., and turned jazz inside out, slicing the music open till blood spilled on to the floor. More focused than Bitches Brew, which is all the more surprising since it's actually a piecemeal recording from various dates and venues--some in the studio, some on stage, but all very much l-i-v-e. --Robert Wilonsky

Customer Reviews:

Too Bad.......2007-07-25

It's too bad that this otherwise remarkable music is marred by vocals from the drummer, which ultimately make certain tracks unlistenable, in my opinion. Otherwise it would easily be 5 stars. By the way, at this time, Amazon has the wrong album cover. This is not Live at the Filmore, Amazon.
Too bad, because Live Evil has great cover art.

un viaje.......2007-07-06

este disco es uno de los mejores discos que escuche, realmente hay que estar volado para poder hacer algo como eso, progresiones que se repiten , jammins de 20 min donde cada uno de los musicos da lo mejor de si sin llegar al virtuosismo arrogante , miles realmente es un genio y supo descubrir lo complejo a través de lo minimal como pueden ser una progresión de acordes que se repite y no para masss.
hay que escucharlo una y otra vez

Um...okay...........2007-03-16

So this album is half a bunch of avant-garde tunes without hint of melody, harmony or rhythm that grind the nerves (especially Little Church and the unneeded quarter-hour Sivad), and half a bunch of lengthy live songs that do the whole fusion thing but mostly fail to generate most excitement over their generally 20 minute-plus running times - the exceptions are What'd I Say, which is exciting the whole way through, and Inamorata and Narration, which is at least good through the first ten minutes. I've got nothing against jamming if it's done the right way, and the group certainly had the instrumental prowess. But nothing can save them from the pits of their dull mock-funk grooves.
Miles has made so much good music, I don't know where to begin. But Live-Evil is one of his weakest albums. Actually, I'm not a huge fan of his fusion work in general.

..and why not five?.......2007-02-02

ratings are silly..but although i enjoyed live-evil when i bought it a couple years ago, having recently recieved the cellar door sessions i have to say it is far superior and really makes you question the editing work.

the cellar door box is expensive, if you can afford it its a better choice and i really think its worth the money but if you can't ...you could do far worse things than listen to live-evil.

I love portions of this... Buy the Cellar Door Sessions Instead.......2006-05-05

I owned Live-Evil on Lp when I was younger and though this CD remaster is fabulous, it still sounds like a mish-mash of material. I've not crazy about the stuff recorded with the Brazilian chap, these little minature interludes between the tracks compiled and condensed from the Cellar Door sessions sound out of place and out of tune in places. Now that I've heard these a few times, I'm usually pressing the skip button to get to the next live track. I'm not sure what Teo Macero was smoking (gimme some of that) but there are some HORRIBLE edits in the live material. The feature review claims this is more focused that Bitches Brew. That is sheer nonsense, this release is horribly disjointed due to those annoying little interludes with the Brazilian chap. The tune selection is about as schizophrenic as it could get.

On Nem Um Talvez, one of those little interludes, there is a point where it sounds as though Miles has been playing his horn slightly off mic and then suddenly turns and blasts this one note right in front of the mic. The singer is slightly out of key here making for an extremely uncomfortable moment for those who's ears can appreciate staying on the note! From an engineering perspective, it sounds wretched and amature-ish to me. Note to those who "love" this stuff: This emporer was wearing no clothes at this particular moment.

While I'm a big fan of McLaughlin's work with Miles, it doesn't do much for me here. I'm thinking the band is probably better on the Cellar Door Sessions on the sides where McLaughlin is absent. His playing doesn't sound particularly thoughtful here, it sounds like he's just playing licks as fast as he possibly can. I hate to be irreverent since so may people love this release, but the guy sounds pretty sloppy (on this session)to me (I'm a life-long guitar player. I'm no John McLaughlin but I know sloppy playing when I hear it).

Gary Bartz and Miles's playing is amazing and I really mean that. The improvisations are about as hot as it gets. Jarrett, Henderson, and DeJohnette provide an incredible foundation to all that is going on here.

Airto! Mmmmmm. Not so much. I get tired of Airto trying to whack, pull, bash, shake, and tinkle everything he can get his hands during every second the tape is rolling. Dude. It's ok NOT TO PLAY once in a while. His whistling during the opening track while Miles solos is just plain annoying. He starts wailing like some Porteguese fisherman who has a big crab attached to his big toe by the claw that is chowing down on his foot. "Waaaa la duh luh duh de laaaagggggghhhhhh! Waaaaah duh luh luh du luh laaaaaaaagggggh!" This occurs in a couple of the pieces, even smack dab in the middle of one of Mile's incredible solos. He also has the annoying habit of shaking those sleighbells of his while some of Jarrett's more intense improvisations are in progress. It's very distracting. He keeps shaking this thing that sounds like a box of Good-n-Plenty... Theatre size! Much of what he plays sounds totally out of rhythmic context. Some might find this energetic and exciting but I find myself wishing Airto would just STFU most of the time. Contrast this to Airto's playing on the recently released "It's About That Time" Live at the Fillmore, March 7, 1970. Airto isn't so intrusive on that recording. I do like Airto's work with Santana and Weather Report. I just find it obnoxious and annoying on Live-Evil.

Jarrett's playing is amazing but I can't stand those nasaly little shrieks of joy he makes when he feels he's played something very cool. Surely they could have edited that stuff out. Really irritating. He made an entire career out incredible playing accentuated by those nasaly, joyful shrieks of his.

The artwork selected for this release (though painted by a white Swede who converted to Islam) is overtly rascist (turn it over) but then Miles always did have a problem with lumping all of us white folks into the same group of "white, blue-eyed devils". I love Mile's music but this was a particular annoyance. Judgement coming from a man who fathered illegitmate children in all corners of the globe and all points in between is just ridiculous.

Yeah, this review reads like I hate this disc but I don't. This really is one hot band! But there are some problems with the interludes and the inclusion of an unrestrained Airto. I love Mile's music from this period. I pull Live-Evil out and play it once in a while and enjoy large portions of it. I pull out his other material such as Bitches Brew, Tribute to Jack Johnson, Big Fun and On the Corner far more frequenly. As far as I'm concerned Live-Evil is for the complete-ist and I am a complete-ist. Maybe the Cellar Door Sessions is better? I don't know and I'm not going to spend $90.00 to find out. Maybe I'll find a used copy on Ebay? :)

Postscript: I did manage to pickup a new copy of The Cellar Door Sessions without having to take out a second mortgage on my home. It was work every penny of the $60.00 I paid for it. If you like the live material on Live-Evil then you really want to get hold of a copy of The Cellar Door Sessions. It puts all of the musicians in context, including Airto. My criticism of him did not stand up when I heard the complete performances. The perception that he plays constantly is a product of the cruddy edits that Teo made to the performances to create this mess called Live-Evil.

Dark Magus: Live At Carnegie Hall [2-CD SET]

Average customer rating:

Sheer raw power
Oh, That Tenor
Devils Funk
Very good, don't overestimate the evil
Funk It Up

Dark Magus: Live At Carnegie Hall [2-CD SET]
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music

Pop Rock | Pop | Styles | Music

Jazz Funk | Funk | R&B | Styles | Music
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Pangaea
Agharta
Live-Evil
Live at the Fillmore East (March 7, 1970): It's About That Time
Get Up with It

ASIN: B000002AH2
Release Date: 1997-07-29

Tracks:

Moja (Part 1)
Moja (Part 2)
Wili (Part 1)
Wili (Part 2)

Tracks:

Tatu (Part 1)
Tatu (Part 2)
Nne (Part 1 ('Ife')
Nne (Part 2)

Customer Reviews:

Sheer raw power.......2007-08-02

Zappa was wrong: This is jazz from hell. It's got bits of funk, and hard rock, a few African rhythms, and a lot of noise. Plenty of power, too. In other words, it's insane. A 100-minute cacophony. Barely any discernable melodies. A lot of heavy guitar, soprano sax, and Miles' own trumpet. You thought Pangaea was in-your-face and nasty? It's lounge music. This is a difficult album to review, simply because it's so different: for one, it's essentially a 100-minute song, arguably making it the longest piece of music in history. For another, it's loud. A powerhouse of an album. It's also very, very good. And very angry. "Dark" is an understatement: It's like letting a monster loose and listening to the carnage that results from its being unleashed. Still, what amazing carnage... When the intensity lets up, as it does on "Wlii, pt. 2" and "Tatu, pt. 2" (which is really "Calypso Frelimo"), things do get a little slow and boring. On every other part but those, however, this is a perfect album: the groove is nonstop, every guitar solo is heavy, every other solo (including numerous trumpet and soprano sax ones) is loaded with emotion, and it damn near sustains itself across its 100 minutes. Like Pangaea and Agharta, this is essential live Miles.

Oh, That Tenor.......2007-07-17

Please read all of these eloquent love letter reviews. I agree with nearly all of them. As a fan of "the trio" (Pangea, Afgharta, Dark Magus), this chronologically first of 3 gets the most listen. All I wish to add is: let's not minimize the contribution of Azar Lawrence. I really think part of the difference between this and the other two Japanese concerts is the absolutely nasty tone he gets on the tenor sax. While many reviewers find his musicianship subpar, his sparse growling solos really add a heft to the band's attitude that effects the music after he's silent.

Devils Funk.......2006-10-27

Wow get this !!
how can i put it , its not about the genre with this album its about how you take it on board ( be wary ) . Its what some might call the jazzy mans Pink floyd but again its down to the individual listening experience.
I like all kinds of Music and do not subscribe to one train of thought in discerning them one way or the other, and this had me F***ED up with a capital F. Its surely something everyone should here just to say that you have been audibly pleasured.!!!! To me its the Devil himself breaking wind and it sounds fantastic , Demonic Funk at its best ( slate me all you want jazz man ). Get it and enjoy.

Very good, don't overestimate the evil.......2006-09-17

Dense, wild, and churning, but in 2006 I don't think Dark Magus is that evil. The liner notes written by Dave Leibman give the impression that very little was planned in advance, that the group went up there and improvised over a few riffs or parts. It's a funky album, but the funk has the slackness of when a jam band tries to get funky, I believe because the band was improvising. "On The Corner" is funkier because it's tighter. There are three guitarists credited, but I can't hear all three of them playing simultaneously. That keeps the music from being too muddled. The sound is typical for a mid-70's live album, so the last thing we'd want is all 9 musicians rocking out at the same time. Miles' playing focuses on sharp staccato phrases. There aren't any long continuous solos like yesteryear. When there is a longer solo, he leaves a lot of space between notes. It's a different style, not my favorite, but it's good trumpet-playing. When Dave Liebman or Azar Lawrence come in with a more traditional-sounding sax solo, it's almost a relief to have a more familiar sound. Lastly, Al Foster's drum playing is superb, he ties everything together and gets the band going when things start to dissolve.

Funk It Up.......2006-06-20

The live CD is a "companion piece" to the brilliant studio recording On The Corner.

Though many fans may point to the sonic sound pieced together by three guitarists, the music is dominated by the rhythms set down by Al Foster, Michael Henderson and Mtume.

Miles had truly put together a legendary rock band and these final concerts were a fitting culmination of a major creative era by an artist not afraid to redefine the boundaries of jazz.

The only frustrating part of the CD is on the second disc, where a solo by Miles is faded out as if it was a studio recording. I would hope that in the future a listener will be able to hear the complete piece.

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