Miles Davis – Live-Evil Vinyl 2xLP Record Album P2S-5668
This listing is for Miles Davis – Live-Evil Vinyl 2xLP Record Album P2S-5668.
Title: Miles Davis – Live-Evil Label: Columbia – P2S 5668 Format: 2 x Vinyl, LP, Album, Stereo Country: US Released: Genre: Jazz Style: Fusion
Condition: Jacket: Good (some edge wear & seam splitting) Vinyl: Very Good
Tracklist:
A1Sivad15:15 A2Little Church3:15 A3Medley: Gemini / Double Image5:54 B1What I Say21:11 B2Nem Um Talvez4:03 C1Selim2:13 C2Funky Tonk23:26 DInamorata And Narration By Conrad Roberts26:37
Live-Evil is an album of both live and studio recordings by American jazz musician Miles Davis. Parts of the album featured music from Davis' concert at the Cellar Door in 1970, which producer Teo Macero subsequently edited and pieced together in the studio. They were performed as lengthy, dense jams in the jazz-rock style, while the studio recordings were renditions of Hermeto Pascoal compositions. The album was originally released on November 17, 1971. A number of famous jazz musicians feature on the album, including Keith Jarrett and Jack DeJohnette. One of the key musicians on the album, John McLaughlin, was not a regular member of Miles Davis's band during the time of recording. Miles called McLaughlin at the last minute to join the band for the last of four nights they recorded live at the Cellar Door, as Miles was "looking for an element he hadn't quite nailed down" on the previous nights. Davis had originally intended the album to be a spiritual successor to Bitches Brew, but this idea was abandoned when it became obvious that Live-Evil was "something completely different".
Live-Evil was released by Columbia Records in 1971 to critical acclaim. In a contemporary review for Rolling Stone, Robert Palmer said "this sounds like what Miles had in mind when he first got into electric music and freer structures and rock rhythms". He called the shorter, ballad-like recordings "things of great beauty", devoid of solos but full of "stunning, bittersweet lines", while also praising each band member's soloing on the live jams: "Everybody is just playing away, there aren't any weak links, and there isn't any congestion to speak of. Miles reacts to this happy situation by playing his ass off, too". Black World critic Red Scott remarked that all of Live-Evil's songs "fuse into a perfect complement of musicians passing moods to each other". Pete Welding from Down Beat was less enthusiastic in a two-and-a-half star review, finding the live recordings characterized by "long dull stretches of water-treading alternating with moments of strength and inspiration". The magazine's John Corbett later called Live-Evil "an outstandingly creative electric collage", while Erik Davis from Spin found the music "kinetic" and described McLaughlin's playing as "Hindu heavy-metal fretwork". Pitchfork's Ryan Schreiber believed it was "easily the most accessible of Miles Davis' late-'70s electric releases", describing its music as "at once both sexually steamy and unsettling". He said the live recordings "run the gamut from barroom brawl action-funk to sensual bedroom jazz magic, creating two hours of charged eccentricity you'll never forget". Robert Christgau said that apart from the meandering "Inamorata", the "long pieces are usually fascinating and often exciting", including "Funky Tonk", which he called Davis's "most compelling rhythmic exploration to date". He believed the shorter pieces sounded like "impressionistic experiments", while "Selim" and "Nem Um Talvez" appropriately "hark back to the late '50s". Edwin C. Faust from Stylus Magazine called Live-Evil "one of the funkiest albums ever recorded" while deeming the "somber" short pieces to be "haunting examples of musical purity—Miles enriching our ears with evocative melodies (his work on Sketches of Spain comes to mind) while the bass creeps cautiously, an organ hums tensly, and human whistles/vocals float about forebodingly like wistful phantoms".
CONDITION Descriptions:
I base the condition of each of my Records off of Ebay's Grading System.
• MINT (M) Looks new and unplayed. Very high vinyl luster and no noticeable label defects. Sounds new. With 45rpm records, this does not always mean there is no surface noise at all.
• NEAR MINT (NM) Looks almost new, but has some minor flaws such as a drill hole; unobtrusive writing on label (e.g., an X on a promo copy); minor scuffing on vinyl; minor color flaking on label, or other insignificant flaws that only slightly detract from visual appeal. May have some minor surface noise, but nothing distracting.
• VERY GOOD (VG) There may be light scuffing and some of the original vinyl luster may be lost. The vinyl and label may appear used, but well cared for. Records may have some more obvious flaws that are not visually degrading such as a sticker on the label; more noticeable writing on the label; scuffing and minor scratches on the vinyl; or minor discoloration of the label. There may be very minor warping of the vinyl. There may be a slight scratch not affecting play.
• GOOD (G) Record has visible signs of handling and playing, such as loss of vinyl luster, minor surface scratches, groove wear, and audible surface noise. Appears well used but not abused. May have a few major flaws, such as scratches, label tears, or stickers, and/or writing.
• FAIR (F) Appears well used and somewhat abused. Audio is not great due to surface noise and scratches. The record may have a stick or a skip. Records in this condition are those you might purchase to fill a hole in your collection until a better copy comes along.
• POOR (P) Well played with little luster and significant surface noise, but still not cracked or broken. Record likely skips and/or sticks. Typically so bad looking that a true “collector” would just toss it out. More useful as a Frisbee. I try not to sell records in this condition.
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