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Live Evil by Miles Davis


skeith

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I didnt keep it. But I did hang on to Silent Way, Jack Johnson and Bitches Brew along with my boxes

I never had JJ but have got two BB-boxes as well as the 2CD edition (which I got because of the darnded glue issue with disc one of the BB 4CD box). IASW, I gave away... same with OTC (alas - I know it's also in the box, but I kind of would like to have it separately nevertheless... vinyl would be even cooler though!)

I can't imagine not having it, I have three copies. But I've always had it, bought it when it first was released. It's part of my history.

Same here, albeit I don't go as far back... it was the first (I think) electric Miles album I ever owned (the old french 2CD version "Jazz Originals", produced by Henri Renaud) and I've loved it since I was... I guess 14? Got the digipack version and hung on to it after the Cellar Door box appeared. The original album is still mostly very good to my ears!

The ones with Ndugu are not as wonderful, but worth hearing nonetheless.

He's no J.D., but I really love what I've heard from the Fall 1971 European tour (Ndugu-Mtume-Alias are a great percussion section), and hope that's the basis of a box in the bootleg series to come.

I really, really hope for a bootlegt set from the 1971 European tour, too! Love all those concerts and among the mass of ROIOs, it would be cool to have some sort of authoritative selection on real CD.

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  • 10 years later...
Just now, Late said:

Some day, I want to attend a party where Live Evil is played in full on the hi-fi. Cocktails preferred, but optional.

Ok...in 1982 or do, I played a Halloween party where they were handing out free mushrooms, all you could eat (and I could eat a lot). There were a lot of R&B-ish vamp tunes in this band and I had my soprano on me for the gig...so it wasn't too long before it started sounding like Live-Evilso I went with that all night. It would take a lot to get me to lay off the tenor, but there is no tenor on Live-Evil.

Probably as close as I'll ever come.

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My first three were records given to Peace Corps volunteers by Atlantic Records my father directed in Swaziland (Eswatini). One of the volunteers didn't like them and gave them to me: Thomas Bell and the Contemporary Jazz Quartet "Another Dimension," Leo Wright "Blues Shout," Slide Hampton "Sister Savlation," mono copies. I still have them. 

When I came back to the states I heard "Filles de Kilimanjaro" in the library and bought a copy of that, then "Bitches Brew," "Miles Davis at the Fillmore" and "Live/Evil." "In a Silent Way" was probably next. Then I started going further back into his catalog and following sidemen on Blue Note, Prestige etc. as well as moving forward into Weather Report, Return to Forever, Mahavishnu Orchestra etc.

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I've never liked Live/Evil - the editing choices strike me as just perverse and to no good effect.  And there certainly are other parts of the catalog where I think Teo worked miracles and should have gotten composer credits.  I have the Cellar Door box and prefer the sets without McLaughlin.  On the Corner was the biggest WTF for me in that period.  I wouldn't say I disliked it, just couldn't even begin to process it to form an opinion.  Big Fun was a relief after that.  Get Up With It has some great moments and a lot of variety.

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49 minutes ago, JSngry said:

Big Fun actually seemed "old fashioned" to me when it was released. Get Up With It certainly did not!!!

In Concert was after OTC and before GUWI. 

You're right.

1 hour ago, Guy Berger said:

Maybe it’s more a personal taste thing than any objective assessment of quality, but IMHO Columbia’s post Bitches Brew issuance decisions were poorly prioritized.

Don't disagree with that.  I like Jack Johnson and Get Up With It a lot, Like Big Fun a decent amount.  Some of the other titles, such as At Fillmore, Live Evil, and On The Corner, not as much.  But it's all very subjective, and my rankings on them run counter to much of the commonly accepted wisdom.

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