SEALED ORIG 1971 MILES DAVIS LIVE EVIL Jazz Psych

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127

STILL SEALED 1971 ORIGINAL FIRST PRESSING                       

~ A PERFECT COPY TO THE LEGEND OF:                           

                     MILES DAVIS

                         LIVE EVIL

\                                           USA - Columbia Records - G 30954

**STILL SEALED** >> NEVER OPENED 1971 ORIGINAL FIRST PRESSING, A PERFECT COPY!

Live-Evil was recorded live at The Cellar Door on December 19, 1970 ...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 essentially pits massive, live recordings against shorter, studio vignettes. The live tracks are from a 1970 band performance at the Cellar Door in Washington, D.C. The lineup is notable for including Keith Jarrett on keyboards (electric piano, no less!) and John McLaughlin sitting in. The Cellar Door tracks are of greatest affinity with the album Miles was making at the time, Jack Johnson, where the music is based around simple riffs that stick around in the same key, with the musicians taking turns soloing. Of these, "What I Say" is the one that takes the gold medal in terms of ferocity and energy, with Jarrett in particular executing some daredevil runs on Fender Rhodes. While these live tracks are interesting to varying degrees (except for "Funky Tonk," which meanders too much), they are all definitely overindulgent in terms of their length and they tend to go on... and on, which is great for those into long jams. "Sivad" starts off great, with Miles making his trumpet talk with wah-wah over a steady groove, which suddenly, out of nowhere, cuts off unexpectedly into a second, more laid back section that gets real atmospheric. When the long "Funky Tonk" get going, it changes direction as well, and the opening of the next track, "Inamorata," appears to be a pretty direct continuation of the same exact jam.

As for the studio vignettes, these consist of short pieces mainly by Brazilian composer Hermeto Pascoal, who whistles along or provides wordless vocals along with Miles' trumpet. Their inclusion offers an interesting counterpoint to the sprawling live tracks, being short studies in ambience. However, on the most beautiful of these, "Little Church," it really sounds like it's a rehearsal take. One pictures in listening to this Miles eyeing Pascoal's cues and doing a run-through of the basic melody; there are what sound like a few duff or shrill notes. Overall the actual music has plenty of killer moves and passages. "What I Say" is unedited, and while the rhythm section stays in the same groove for the entire 21-minute duration of the piece, and it's a killer groove, with some outstanding soloing on top. Keith Jarrett is in fine form, and this recording offers a final look at his freer electric playing before he swore off electric instruments entirely. The whole session is just dirtier and funkier than the more clinical Bitches Brew, offering a good intro to this period of Miles' career.

Side One (25:20)

1. "Sivad" (15:13)

2. "Little Church" (3:14)

3. "Medley: Gemini/Double Image" (5:53)

Side Two (25:12)

1. "What I Say" (21:09)

2. "Nem Um Talvez" (4:03)

Side Three (25:38)

1. "Selim" (2:12)

2. "Funky Tonk" (23:26)

Side Four (26:29)

1. "Inamorata and Narration by Conrad Roberts" (26:29)

CONDITION: STILL SEALED ...never opened ...a perfect copy with NO bends, no split seams, no delete marks, no writing = looks like it was just made yesterday, but in reality is a guaranteed 40 year old first pressing ...unopened, unplayed and factory sealed....

      A cool addition to anyone's music library!

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All imperfections are noted both cover & record