Customer Reviews

Miles Davis At Carnegie Hall

5 star:		(8)
4 star:		(3)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

This was a great and underrated Davis ensemble. The fact that they were playing some of the innovative pieces of the Gil Evans/Davis era with full orchestral accompaniment and in a live setting (and with acoustics of Carnegie Hall no less) should have made for a mounumental recording. As a historic document, it's a must-have: the playing is without reservation, first rate. But then, the sound. Even with remastering, you can't fix mike overload, and it is there often, and most specifically on Miles' principal mike of all places. At best the high dyanmics make for a rough sound, almost frayed and thready in its texture. Anyone used to listening to overmiked recordings, especially live ones from the 30's and 40's can deal with this, and enjoy it, if you like a rough, electric timbre to your trumpet sound. But at worst it's just full-blown distortion, distracting and disappointing and would have been so if any other instrument or player was playing in any other venue, whether Carnegie Hall or your cousin's wedding reception at the Elks Club. And this after all, IS Miles Davis, and this IS Carnegie Hall. Me, I can live with the sonic shortcomings; the performace, the occasion, and the lineup are all too important not to. But it's really a shame; this could have been, all around, one of the finest recordings, live or in studio, of Miles' career. As it is-- well, I have it playing now. So there you go.

This is a very good mono soundboard recording of (indeed) a legendary concert. Miles is at the peak of his acoustic form, the rhythm section really cooks, Gil Evans and friends add some tasteful backing, and saxophonist Hank Mobley steps out of the Coltranian shadows for his moment in the sun.

And if you're wondering why "Someday My Prince Will Come" is so short, it's because Miles walked off during a protest against the concert's organisers by Max Roach at the foot of the stage. The otherwise excellent liner notes make no mention of the incident.

Teo Macero sold Miles and Columbia on recording this event. He ordered all the necessary equipment to record what would have been a terrific recording. However -- unsurprising considering his temprement -- Miles decided the day before the event he neither wanted to play nor record the event. While he was convinced to play, he would not budge on the recording.

Macero, however, had four single mics hid strategically throughout the stage so he could at least have one copy of the event. For all of the tribulations (Max Roach's protest nonwithstanding), Miles, Gil Evans, the band, and the orchestra were all able to put on an impressive event. The crowd was overwhelmed, and Miles himself said to Teo afterward that he wanted to release it after all.

Blame the temper of the times for the poor recording. But remember to praise Teo for his foresight in recording this anyways.

Miles Davis at Carnegie Hall is a perfect complement for any serious fan of Jazz. The playing is certainly imperfect at times, notice the Orchestral breakdown durring the introduction to So What, but taken as a whole is truly breathtaking. This album combines the Miles Davis Quintet (although not in its greatest incarnation c. 1956 but still a kicking group, and certainly the swingingist of any that Miles played with) and the Gil Evans Orchestra. The music choices exhibit Miles' transition from the bob and cool jazz of the 50's to the more free form music of the 60's. Here, Miles shines as the avant garde musician. The highlight of the CD, for me, is the great version of Walkin', a Miles Davis standard for years, played with an intensity lacking in earlier versions. Of course to hear the song in full bloom, check out the Plugged Nickel versions.

To my mind Miles never played better than at this recording. There is a new searching and driving vitality to his playing which probably indicated that he had reached the absolute peak of his powers but was still pushing himself further. His technique was certainly better than ever. Don't let the imperfections of the recording as an inadequate document of sound disturb you - not really worth worrying about, as one can hear enough to know that this was an exceptional performance. Hank Mobley on tenor complements Miles well, and the new thythm section whips the horms along with great impetus. The tracks with Gil Evans and his orchestra have a spontaneity lacking on the more polished studio-recorded equivalents. This record is not immaculate - but it is a very great one and clearly a must-have for any serious Davis fan, because he plays here in a way that he doesn't on any other recording, and produces unusual excitement even for this, the most permanently satisfying and richly artistic musician in jazz, whose music is sure to go down the centuries as great by any standard at any time. - Joost Daalder

Well if it's classic then why four instead of five stars? Some of the slower songs such as "Spring is Here" and "The Meaning of the Blues" are not played well at all. But that's only two songs so don't let that change your mind if your considering this album.

One of the great things about the album is that Gil Evans appears on the album and especially with the "Concierto", Evans and his orchestra blend quite well.

And of course we have the famous "cooking" tracks from the Miles Quintet and even though Hank Mobley was no Coltrane he has a great solo on "No Blues" Other highlights like "So What" and "Walkin'" also add to the albums' excellence.

The bottom line is BUY THIS CD. It's really great historic jazz music and one should not pass up on an album this good.

By the time Miles Davis performed at Carnegie Hall in 1961, he was already a jazz icon. He had cut his teeth at 21 years old playing with Charlie Parker, perhaps the greatest jazz musician ever to play a note, then walked away from Charlie because of his destructive and undependable lifestyle. After overcoming his own drug problems, Miles built a steady reputation as a demanding force in modern music, with a trumpet style that continually chartered new waters. His sound was a study in paradox... cool but warm, simple yet complex, aloof but emotional. In the mid-fifties, Miles assembled the most influencial quintet of his era, and he led them with his courageous vision, his extraordinary ear, and a remarkable respect for their individual freedom.

But by 1961, John Coltrane and Bill Evans had left his band and things had changed. Miles changed with it.

This performance at Carnegie Hall released a new Miles Davis onto the scene. He stepped up, stepped into the spotlight, became more aggressive, more attacking, less impressionistic, more expressionistic. In fact, Miles Davis was doing what he always did... he set the trends and he reflected the times perfectly. This was the advent of the 60's, and Miles was going to be on the front lines.

This concert features Miles' quintet, with the sweetness of Hank Mobley on tenor sax as well as the bluesy Winton Kelly on piano and joining the great Paul Chambers (bass) and Jimmy Cobb (drums). But the hallmark of this particular evening was the inclusion of Gil Evans and his 21-piece band, with whom Miles had recorded numerous albums. The warmth and color that their live collaboration produced is only here at this event, only on this record... No fan of classic jazz should be unfamiliar with this unique concert.

Robert Sposato

This is a must-have classic jazz recording. Jazz writers have commented that Miles played in an extroverted, aggressive, brash manner unlike anything he played before or since. What a refreshing, bracing experience. This is what makes this record unique to me. Many reasons can be theorized for this change, including the fact that his rhythm section had been together for a few years, and that he no longer had John Coltrane to play the aggressive style, and he was taking over the more aggressive role. At any rate, Miles wanted to be a big star, and what better way to be famous than to play at Carnegie Hall. (Unfortunately, Miles wanted to be a rock star in later years, leading to his mediocre rock influenced recordings from "In a Silent Way" onwards.) Several have deducted stars from their ratings for the poor sound quality. I don't disagree, but who cares? From the opening notes of "So What', hang on for the ride of your life. And did I mention Hank Mobley's superb work here?

I had this in LP form years ago. I also have the cd version. I like the quintet sides best. "So What" is for me, one of the classic performances of all time. In it's most famous version, on Kind Of Blue, Miles recorded it at a slow medium tempo. All subsequent versions have been uptempoed. This is truly one of the great Jazz compositions, with the most haunting aura. A swinging exploration of the Dorian Mode. John Coletrane later wrote "Impressions" based on these changes and that was a masterpiece as well.

I've heard many of the live versions Miles recoded of this tune, but this is my favorite. As great as Miles plays here, it is Hank Mobley who steals the show. His solo on "So What" is his finest moment, and as great a solo as any Jazzman has ever made. In a lifetime of listening to Jazz, this is a highpoint for me.

I always love to listen and compare the many live solos by Wynton Kelly on "So What". This is great one by him too.

The rest of the performances of the evening though good, seem far less inspired. There was a protest at Carnegie Hall that night, and perhaps the tensions of the evening broke the concentration of the musicians. Then too, it was a complicated show alternating between the quintet and The Gil Evans Orchestra, and that may have been distracting.

Incredible live recording with a terrific combo and orchestra. The piece from Sketches of Spain is worth the price by itself but you will also receive another hour or so of excellent music. The only blemish is the opening trumpet salvo of 'So What' contains one off key note but from that momentary distraction there is nothing but beauty.