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67 of 68 people found the following review helpful:
5.0 out of 5 stars
Five stars for the group, four stars for Miles playing, September 28, 2002
If you're in the mood to hear some excellent Miles Davis and don't have any particular biases (e.g., acoustic vs. electric), LIVE IN MUNICH (recorded July 1988) is the best video document yet of his final decade, much better in all respects than MILES IN PARIS (recorded a year later with some of the same personnel). Portions of this DVD were previously issued in Japan, but the program has been greatly expanded here, to the point where you have a nearly-complete, 132 minute-long concert with a sharp picture and fine 5.1 or 24-bit 2.0 sound (I favor the latter). This is one of Miles' most-inspired 1980s-era ensembles, with everyone playing as a team and contributing fine solos. The underrated percussionist Marilyn Mazur is outstanding throughout, the same with acclaimed reedman Kenny Garrett. Lead bassist Foley shows a lot of range (from a whisper on DON'T STOP ME NOW to a scream on HEAVY METAL). Keyboardists Robert Irving III and Adam Holzman, bassist Benjamin Rietveld and drummer Ricky Wellman also excel whether they are soloing or not. Without exception, each bandmember has something distinctive to offer in Davis' group. The music covers a lot of ground, from some fairly cutting-edge funk to poignant ballads that allow Miles in particular an opportunity to recast his classic muted-trumpet style in a modern musical context. Davis does not solo on every track...a number of the compositions are built as features for his sidepersons (e.g., HEAVY METAL PRELUDE for Mazur). With over two hours of material, you really get a full picture of how much stylistic ground Davis covered...in one concert, let alone his entire career. After hearing the expanded/altered live versions here of particular album tracks, you can appreciate that Miles saw his studio projects as blueprints for what would later greatly evolve on his concert tours. The DVD extras range from superfluous (the timeline) to informative (Holzman's liner notes), and there are a few examples of Davis' artwork. There is a bonus second DVD with a 30 minute Miles Davis interview that will please collectors, albeit the context of some of his comments might confuse newcomers. Overall, LIVE IN MUNICH is highly recommended if you are open to this period of Miles' career!
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22 of 24 people found the following review helpful:
5.0 out of 5 stars
WOW!, August 18, 2003
I have adored all of Miles work since I bought my mono copy of Kind of Blue in 1959. I put on this DVD thinking I would check out a couple of tracks only to find myself unable to stop until the last of the 2hrs plus nonstop pinned to my chair ohmuhgawd delight of it all. For those who think Miles doesn't play enough in his latter work, dig it! his instrument IS the band. Nobody complains that Duke Ellington doesn't play enough piano on his recordings. This DVD is an absolute must have for Miles fans: a generous serving of music from a period when up-tight criticism of his music resulted in a scarcity of recordings. While I tend to regard the video of a music performance kind of an extra (music is an AURAL experience; MTV generation needs to shut their eyes and open their ears), the visuals here emphasize the ensemble interaction and Miles role in gently steering the sonic machine. Especially enjoyed watching percussionist Marilyn Mazur's joyful delight in the proceedings.
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10 of 10 people found the following review helpful:
4.0 out of 5 stars
Slick and Groovy!, December 16, 2003
This is an exquisitely produced record of Miles Davis' 1988 performance in accompaniment with an extremely talented, albeit young, touring band. The band is: Miles Davis (Trumpet), Joe "Foley" McCreary (Four-String Guitar), Benny Rietveld (Bass) [Sheila E and Santana's "Supernatural" (1999)], Kenny Garrett (Saxophone and Flute) [Art Blakey and Sting], Marilyn Mazur (Percussion and Dance), Bobby Irving and Adam Holzman (Keyboards and Synthesizers), and Ricky Wellman (Drums) [Chuck Brown and Soul Searchers]. Five of the fifteen tunes are from Davis' Grammy-winning album "Tutu" (1986). Far from hogging the stage, Miles Davis spars continually with band members, allowing them numerous opportunities to segue into solos. That leaves the audience hungering for Miles Davis who delights plentifully with brief moments of brilliance without actually launching into any extended solos of his own.
Included is a rare and irreverent interview with Miles during which he is absentmindedly engaged in another lesser-known passion of his - painting.
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