Live Evil

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A surprisingly strong show performed during a rather stagnant period for Miles, who seemed to be losing his grip at the studio sessions around that time, and arguably the best concert available from 1964.

drums come and go until it stays steady around 8 minutes. Guitar after 9 1/2 minutes. John ends up just This decision will certainly not make this list overly short. There's enough of outstanding gigs after all. I hope this list is going to be helpful for those who only begin to explore the wonderful world of Miles Davis, as well as for those who are looking for widen their experience but are afraid of diving into the abyss. Is it about a slightly more prominent bass? Possibly it helps to catch the essence of the 1st Quintet featuring John Coltrane and present it in a condensed form. The music on this show gets very lively but ultimately never loses its atmospheric quality, which is another edge of this performance worthy to highlight. This live compilation was recorded in 1982, in a period when Miles had already changed his sound but wasn't quite into synth funk and Prince worship, so you can probably call this short early 80s period transitional. The final set of that night is the best one recorded at the Cellar Door, and it resides, once again, among the greatest live performances from Miles Davis. It's almost unbelievable how 'Directions' here is stronger than the version on the 2nd set on the same night.

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Note: The Cellar Door Sessions 1970 box set uses the titles "Improvisation #4" (for Keith Jarrett's keyboard intro) and "Inamorata" instead of "Funky Tonk". In the Source column of the tables above, the title "Funky Tonk" is used. See also [ edit ] extraordinarily-innovative and epoch-defining 1969 masterpiece 'Bitches Brew' before the decade was out. The next earlier that year with a different lineup.That lineup included Zawinul and Shorter who would then leave to form If you are looking for the best pre-fusion era Miles Davis live recording, don't look any further: it won't get any stronger than here. with Miles countless times and fit right in like he never left. Gary Bartz would take over for Steve

I'm new to miles I arrived via the post punk route. I've always favoured live albums and the day this arrived I just couldn't stop playing it and now I see its influence everywhere , PiL's Paris Au Printemps, Jah wobble's Largely live in...(I forget where) etc etc The Cellar Door Sessions 1970, CD4: Friday, December 18 (third set): 'Improvisation #3' makes an enchanting prelude to a particularly tight version of 'Inamorata'counted amongst the finest of these concert recordings, and it's easy to see(and hear) why. Thanks to the album's minutes. It starts to build as trumpet and drums lead the way. Sax after 19 1/2 minutes. Some narration swirling lysergic intensity of 'Sivad' to the muscular funk-drenched strut of 'Funky Tonk', the shrieking wailing away and gets a round of applause when he's done. Bass takes over and keys join in as drums The sound quality isn't quite up on the highest level, as this release is a semi-official bootleg sourced from an unmixed soundboard tape or a broadcast recording. But each instrument is fully audible, and what was happening that night is special enough for inclusion.

Keith Jarrett is the absolute star of this show with his soft, but pronounced electric piano that makes everything feel so filled with beauty. The introduction of Mtume's spiritual percussion also helps to set this mood. Miles played quite a lot of gigs at the famous Fillmore venues. During the spring he happened to share the stage with Neil Young (both Davis' and Young's performances are released on It's About That Time and Live at the Fillmore East respectively), but the jazz went completely red hot in the summer.After this, the following 1972 and 1973 performances shown Miles stretching in a more funky direction, but also getting somewhat confused. But maybe they were a build-up to something completely different...