Album Info
| Artist: | Miles Davis |
| Album: | Live-Evil |
| Gatefold: | Yes |
| Released: | Europe, 26 Nov 2021 |
Tracklist:
| A1 | Sivad | 15:15 |
| A2 | Little Church | 3:15 |
| Medley | ||
| A3a | Gemini | |
| A3b | Double Image | |
| B1 | What I Say | 21:11 |
| B2 | Nem Um Talvez | 4:03 |
| C1 | Selim | 2:13 |
| C2 | Funky Tonk | 23:26 |
| D | Inamorata And Narration By Conrad Roberts | 26:37 |
Info About Buying Vinyl From Our Record Store
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Description
"Live-Evil" by Miles Davis is a fascinating album that captures the essence of his electric period, blending jazz with rock, funk, and avant-garde elements. Released on November 17, 1971, this double album is a live and studio hybrid, showcasing Davis's innovative approach to music during this era.
The album is a product of two distinct recording sessions. The live tracks were recorded at the Cellar Door in Washington, D.C., in December 1970, while the studio tracks were laid down at Columbia's Studio B in New York City. The live recordings feature an ensemble of talented musicians, including Keith Jarrett on electric piano and organ, John McLaughlin on electric guitar, and Jack DeJohnette on drums, among others. This lineup brought a dynamic and experimental energy to the performances, which is palpable throughout the album.
One of the standout tracks is "Sivad," which opens the album with a powerful groove and showcases Davis's trumpet in a fiery dialogue with McLaughlin's guitar. The track "What I Say" is another highlight, featuring a relentless rhythm section that propels the music forward with an infectious energy. The interplay between the musicians is remarkable, creating a sound that is both chaotic and cohesive.
The studio tracks, such as "Little Church" and "Selim," offer a contrast to the live recordings. These pieces are more introspective and atmospheric, with a focus on texture and mood. "Little Church," composed by Hermeto Pascoal, is a serene and meditative piece that highlights Davis's ability to convey deep emotion through his trumpet.
"Live-Evil" received critical acclaim upon its release and has since been regarded as one of Davis's most adventurous works. Critics praised the album for its bold experimentation and the seamless integration of different musical styles. The album's cover art, designed by Mati Klarwein, is also notable for its surreal and psychedelic imagery, which complements the music's boundary-pushing nature.
In terms of cultural significance, "Live-Evil" is a testament to Miles Davis's role as a pioneer in the fusion of jazz with other genres. During the early 1970s, Davis was at the forefront of the jazz fusion movement, and "Live-Evil" exemplifies his willingness to push the boundaries of jazz and explore new sonic territories. This album, along with others from his electric period, influenced countless musicians and helped shape the direction of jazz and popular music in the decades that followed.
The album's title, "Live-Evil," is a palindrome, reflecting the dual nature of the recordings—live and studio, structured and spontaneous. This duality is a central theme of the album, as it captures the tension and harmony between different musical elements and approaches.
Overall, "Live-Evil" is a compelling and challenging listen that rewards those who are open to its experimental nature. It stands as a testament to Miles Davis's genius and his ability to continually reinvent himself and his music. Whether you're a longtime fan of Davis or new to his work, "Live-Evil" offers a unique and exhilarating experience that is well worth exploring.
