Customer Reviews

Live Around the World

5 star:		(23)
4 star:		(2)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

Miles Davis' last decade is often maligned-- usually on the basis of "The Man With the Horn" (Davis' 1981 return to music after a six year hiatus)-- and dismissed as a period of Davis coasting. This assertion is really quite unfair-- admittedly "The Man With the Horn" isn't exactly the most stunning piece of music ever recorded, but Davis produced a substantial amount of music in his later years that really is unfairly dismissed. While his early recordings in the '80s flirted primarily with pop forms, his late '80s recording found him performing in a logical extension of his followers in the fusion movement. This is probably best illustrated in his live performances, and "Live Around the World", culled from shows between 1988 and 1991 is probably the best example of this.

Davis as always surrounded himself with the best young performers on the scene-- contributions in this set come from (among others) Kenny Garrett, Foley, Adam Holzman, Joey DeFrancesco, Ricky Wellman, Robert Irving III and Marilyn Mazur. The band sets up a highly modern framework on which the lead voices can sit-- modern beats, synthesizers and electic bass all swirl in the mix. It's quite unlike what the preconceived notion of jazz is-- on the other hand, virtually every music Davis was involved in was far from the then-preconceived notion of jazz, and fifteen years after his death, it seems this period in his career is finally beginning to get reevaluated.

The performances themselves are largely pieces from his Warner Brothers records-- Davis' playing is remarkably agile and excited, and his band is really made up of superb performers. Of particular revelation is the work of Wellman and Foley, both of whom provide enormously flexible voices and prove capable of stealing the show from the leader. Davis' playing admittedly isn't as powerful as it had been in the past, but he was still more than capable of powerful and sensitive balladry ("Time After Time"), funky explosiveness ("Intruder") and enormous presence ("Tutu").

This is not the kind of music Davis was playing in the '50s or '60s (or for that matter the '70s), but it's certainly good music, and these performances are superb. I always find that approaching a live record as a compilation of multiple shows sacrifices an irreplacable ebb and flow for quality of performance, and I can't really bring myself to think of assembled records like this as five star pieces, but this one is awfully good. Highly recommended.

The music is representative of Miles' driving electronic/bop era along with some heart/soul searching ballads. (If you love Miles' music you'll cry during Time After Time.)

I have every Miles CD/album that I can find. I was blessed to see him perform live several times in the late 80's and early 90's in various venues around the country (New York, Newport, Cleveland).

Miles' career spanned and encompassed most all forms of jazz with himself defining the way since the early 50's after the be-bop era.

This album documents his concerts around the world during his last few years. It is from a collection of live DAT recordings representing the best-of-the-best. The quality is outstanding.

Kenny Garrett (saxophone) is absolutely possessed during his solo on Human Nature, and you can hear Miles' congratulate him afterwards. It was always unusual to ever hear Miles' speak during a performance.

Maybe I enjoy the CD so much because it is from the same music he played when I saw him play. This is a great CD filled with intense energy and deep emotion.

You'll enjoy this collection of historic recordings Live Around The World.

Buy this and We Want Miles if you want a true taste of the Miles Davis experience from the 80s. His studio work during this era just didn't cut it. It was too mechanical and not enough guts. These live versions kick ass. They give the music life and allow the songs to breathe. Are there any other good live Miles discs from the 80s?

See, this is how it works. There is Jazz hybrid music, (rock, fusion, hip-hop, funk, and whatever), and then there is the real deal. Miles is the only deal. Everyone is trying; Miles is supplying. This is cuts from Miles' concerts from 1988 to 1990. It even includes a cut of "Hannibal", from his last live performance. The band includes all the great people from his last period: Kenny Garrett, Adam Holzman, Foley, and too many others. This is "You're Under Arrest", "Tutu", "Amandla", and "In A Silent Way", live. See, everyone's trying to be Miles, but when you put his disc on, Miles sounds a level up. Adam Holzman gets a sound out of his keyboards that I still haven't heard yet from anyone else. Kenny Garrett is in such top form here that you can here Miles telling him how right on he is. Foley is right out in front. The whole band on every cut is a cut above. Of course, then there is Miles playing his muted horn on top of everyone. You can see him with his back towards the audience, bent over with the horn between his legs. He is not the main character, because he coulnd't be any more, but that's what makes him so great. This is HIS MUSIC. You are listening to MILES DAVIS. He lets everyone play, and then he's there. Just so you know he's there. "Hannibal" is eerie. If you like Miles from '83 to the end you will absolutely love this. This is very accessible music. People who are not long time Jazz listeners can follow this; no problem. Also, there is no way to tell this is a group of different concert cuts spliced together. Great editing. Sounds like the same show. The sonics on this disc are extremely superior, espicially for live music. This is also a great disc for a person trying to get into Jazz. Of course, if that is the case, you have to start with Miles. A tremedous introduction to Miles. Great, entertaining Miles. Just superior music. See, the point is this. Everyone came after Miles. Buy this and you'll see why. Rock, Hip-Hop, Funk, Fusion. You can't listen to Progressive Jazz without listening to this. Miles is the Adam and Eve of Progressive Jazz.

The only reason I'm entering this frey fray is because this jazz disc rocks. Taking from the amazon review, "live recordings don't get much better than this.".

Poignant, haunting, groovy and remarkable all true.

Listening to Miles' last performance? Can't beat it.

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 have discovered this disc only few days ago.
Sorry all Miles fans. I am begginer in Miles music,
but thanks I start my adventure with him from so amazing point,
almost turning point in my music world. Thanks Miles for these emotions, shivers of ecstasy :), beauty of sounds.
Times after times is still with me now.....ciao
I recommend this music .....

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!

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.

This is one of my favorite Miles cd's..'Live Around The World' is a great Live Cd, Miles in his later years sounding fantastic as ever! Fusion Jazz at it's BEST!!