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Live - Evil Original recording reissued, Original recording remastered, Live

4.5 out of 5 stars 80 customer reviews

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Audio CD, Original recording reissued, Original recording remastered, July 29, 1997
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Editorial Reviews

Product Description

DAVIS MILES LIVE-EVIL (2 CDS)

Amazon.com

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
  • Sample this album Artist (Sample)
1
30
15:13
Album Only
2
30
3:14
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3
30
5:53
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4
30
21:09
Album Only
5
30
4:03
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Disc 2
1
30
2:13
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2
30
23:25
Album Only
3
30
26:29
Album Only

Product Details

  • Audio CD (July 29, 1997)
  • Ltd ed. edition
  • Original Release Date: July 29, 1997
  • Number of Discs: 2
  • Format: Original recording reissued, Original recording remastered, Live
  • Label: Columbia / Legacy
  • Run Time: 102 minutes
  • ASIN: B000002AH1
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (80 customer reviews)
  • Amazon Best Sellers Rank: #115,932 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By P Magnum HALL OF FAMEVINE VOICE on December 7, 2000
Format: Audio CD
Live-Evil is one of the deepest and darkest albums Miles Davis (or anyone else) has recorded. Recorded either live in the studio or on stage at the Cellar Door in Washington, D.C., Mr. Davis and his band are in a wicked state of mind. The title is a palindrome and the song titles "Selim" and "Savid" are Miles Davis backwards. That is appropriate as Mr. Davis turns his fusion work inside out. Mr. Davis gets underneath the grooves and turns them inside out, exposing their underbelly. "What I Say" is a great example of him mining for sounds undreneath the surface. A truly complex and ambitious piece of work that you will find yourself putting on and on again.
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Format: Audio CD
There was a certain style of extended riffing that became known as "fusion" ... other artists such as the original Soft Machine were able to fuse rock and jazz in entirely different ways ... Miles and his band did it in an entirely different way from anyone else on this release.
The bulk of this album (85 minutes or so) was recorded at the Cellar Door in D.C., in late 1970. The band is tight. Jack deJohnette is kicking up dust in all directions, Keith Jarrett is at his most pointed and soulful, and guest star John McLaughlin is playing the type of brilliant solos that Miles was presumably hoping for.
"Sivad" is a killer groove piece, but "What I Say" is even more impressive. It's 20+ minutes of rolling groove placed on top of a highly aggressive beat. It's timeless energy music and Miles does some of his best soloing on top of it. Sides 3 and 4 are more deliberately formless, they're big rolling jams that don't go anywhere in particular. But Side 1 and 2 make this must-have.
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Format: Audio CD
OH MY GOD! The first time I heard this album, I was speechless. It still has the same impact on me every time I hear it. It is jazz, it is funk, it is soul, it is r&b, it is avant-garde, it is blues, it is hip-hop. But "Live-Evil" extends far beyond any feeble attempts at categorization...IT IS MILES! Every musician should aspire to create music so enduringly fresh.
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Format: Audio CD
The previous reviewer is wrong when he says the muscians on this albumn are not jazz musicians. Keith Jarrett, Jack DeJohnette, John Mclaughlin and Gary Bartz were (and still are) some of the most techincally accomplished musicians around. Only Michael Henderson, who plays bass on this albumn, had no previous jazz experience. All of the above are playing at a career best on this album.
I'd say this albumn is better and more focused than Bithces Brew and includes some of the best fusion music Miles ever played. 'What I say' is a highlight for me; surely this must be one of the most angriest, intense tracks ever recorded. Finally, Miles' playing is on top form and he plays with amazing confidence and speed. If you've listened to a couple of Miles Davis's electric albumns and you like what you hear; then get this.
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Format: Audio CD
How is it that John McLaughlin was not a part of the full time band? He just sat in on these recordings...he just came in and sat with the band for a week during the Cellar Door sessions. That is amazing. The band is so tight you just can't believe that the musicians were always coming and going, especially McLaughlin whose guitar work is unreal. This is one of the best live albums ever recorded because their is no difference between the studio sound and the live sound. Davis knew this, he wanted a live album because he knew the power and character of the band was most apparent live. This album is incredible, I have never heard anything like it. I am genuinely intimidated by the perfection and innovation. No album has ever sounded like this, all subsequent jazz-funk-fusion recordings seem like mere echoes from the power and precision here.
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Format: Audio CD
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'm 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.
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