Miles Davis-Live Evil (1971)

“Live Evil” was Miles Davis’s eighth live album, recorded during his effervescent jazz-rock period at the legendary Cellar Door in Washington, D.C., in December 1970. However, not all the material on this double album was recorded live. Some tracks were recorded at Columbia Studios in New York during the early months of that year, so technically it’s a “live” album, with some studio recordings. Generally, the shorter tracks are studio recordings, while the longer tracks are mostly live with some additional studio parts. Because of this, the lineup of musicians is extensive, starting with Miles Davis (trumpet), Gary Bartz (saxophone), John McLaughlin (guitar), Keith Jarrett (keyboards), Michael Henderson (bass), Jack DeJohnette (drums), Airto Moreira (percussion), Hermeto Pascoal (percussion), Ron Carter (bass), Steve Grossman (soprano saxophone), Chick Corea (organ), Herbie Hancock (electric piano and organ), Dave Holland (bass), and Joe Zawinul (electric piano). Overall, the album's atmosphere is funky and jazz-rock with many modified and altered electric pianos. Occasionally, it softens and becomes almost chamber-like without percussion. It's difficult to compare this to any of Davis's previous albums (studio or live), but it's stylistically similar to the legendary "Bitches Brew". The opening track, "Sivad", begins in funky jam-rock territory, while "Little Church" is avant-garde orchestral jazz without drums. The next track is "Medley: Gemini / Double Image", which begins in blues-rock territory, not far removed from the musical structure of early Led Zeppelin, becoming increasingly dissonant and avant-garde as it progresses. The suite "What I Say" opens with an incredible funky drum roll, featuring great interplay between McLaughlin's guitar, Davis's trumpet, and the rest of the band. The short tracks "Nem Um Talvez" and "Selim" are very avant-garde orchestral jazz pieces. "Funky Tonk", as its title suggests, is another long jazz-funk-rock track, with complex percussion and great electric keyboard moments, although the guitar carries the instrumental weight while the other instruments gradually take center stage, culminating in a controlled improvisation. The album closes with the longest track, "Inamorata and Narration", which is probably the most avant-garde piece on the entire record. It begins in a funky jazz-rock style with Miles delivering a wah-wah trumpet solo. The music becomes looser and more improvisational as it progresses, ending in a kind of atmospheric avant-jazz rock. “Live Evil” is undoubtedly one of Miles Davis’s best live albums, and with its spectacular cover art, it is considered another of his masterpieces.