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Live-Evil [CASSETTE]


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by William Ruhlmann

Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz ... Read more in Amazon's Miles Davis Store

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Product details

  • Audio Cassette
  • Label: Sony Music Entertain
  • ASIN: B00000EG9K
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (7 customer reviews)

Disc: 1
1. Sivad
2. Little Church
3. Medley: Gemini/Double Image
4. What I Say
5. Nem Um Talvez
Disc: 2
1. Selim
2. Funky Tonk
3. Inamorata and Narration by Conrad Roberts

Customer Reviews

3.9 out of 5 stars
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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By A. Sajip on 24 Mar 2014
Format: Audio CD Verified Purchase
I wouldn't know where to begin when it comes to trying to categorise any of Miles' endeavours from 1969 to 1975, but pretty much all of the Macero-produced output from that period is stellar.

This would be a tough starting point if you're not into electric Miles - perhaps start off with 'In A Silent Way' (1969) or 'A Tribute to Jack Johnson' (1971), or even the second disc of 'Bitches Brew' (1970). Still, 'Live-Evil' is, on the whole, less dense and challenging than 'On the Corner' (1972) or 'Agharta' (1975).

'What I Say', a 20-minute maelstrom of percussion and keyboards and continual blasts of energy, will knock you off your feet; you'll have serious trouble finding harder rock than this. 'Sivad' is dirty funk, 'Funky Tonk' is kinda what it sounds like, and 'Inamorata' is interesting enough. Together, these 4 live tracks would pretty much fill up an 80-minute disc, and they're the main reason to buy this disc.

There are also some studio tracks, which function as calming but altogether less impressive [this isn't a bad thing - they're inherently more modest] oases.

If you like the insanity that was early '70s Miles, you'll love this. If you're unsure, start with 'Jack Johnson', or even the heady, dense 'On the Corner'.

Spoilers: "Selim" and "Sivad" are "Miles" and "Davis" backwards ;)
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Format: Audio CD
It started out as an attempt to follow up Bitches Brew, but the restless spirit of Miles and his ever mutating line up had already moved on and it became something different. A combination of studio and live recordings (made at the mercurial Cellar Door Sessions) from between February and December 1970, the 7 tracks feature different support artists listed in the booklet. That Miles was searching for something and moving on fast is very evident from this alone. The Cellar Door segments aren't what they seem either, with much editing, including studio inserts from another line up. How could it possibly work? Enter the genius of Teo Macero, a producer versed in musique concrete with an ear for a groove. Compare these edits to the complete versions on the final two discs of The Cellar Door Sessions and judge for yourself how Macero made something entirely different from the constituent pieces. The whole is definitely more than the sum of the parts. An essential link between Bitches Brew and A Tribute To Jack Johnson.
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37 of 54 people found the following review helpful By Mr. K. J. Morris on 4 Jan 2011
Format: Audio CD Verified Purchase
Before starting this review I have to say that I know that what I write will offend many of Davis' fans, but I feel it has to be said.

I have listened to jazz for over forty years, starting with Charlie Parker and Django Renhardt but as the world of fusion burgeoned, I embraced it. I can still hear myself saying that fusion was the future of music, but as I grow older I see that it was merely a cul de sac.

Even back then I avoided this album. I seem to remember hearing it at a friend's and dismissing it as chaotic. I already had In a Silent Way and Bitches Brew and over the years added much of Davis' work to my collection. His work with Parker, the Birth of Cool sessions, his several classic lineups of the fifties and sixties- even several from the era of this record. I still like many of them since many of those bands are wonderful, but gradually I came to an awareness of something rather unpleasant about Davis himself that fed into my appreciation of much of his music and this album in particular. I was 23 when I first noticed it in Bitches Brew but it is there in earlier work too. There is a rage and a cynicism that to me is most unappealing.

I know that the many changes in Davis' style throughout his life are seen as evidence of a restlessly creative individual. Sadly, I think Davis was a sick man many years before his death in 1991 at the relatively young age of 65 and I believe that those changes mirror the breakdown that was occuring in his life. Many have pointed to Davis' experiences as an artist in a racially prejudiced world and his being beaten by police outside a club in New York while at the peak of his recognition amongst jazz fans.
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5 of 8 people found the following review helpful By LR on 6 Jan 2012
Format: Audio CD
music from Kurtz's compound. this is music of the Id. not always pleasant but it does't know how to lie. let yourself go and see where it takes you.
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