Release Date: 1972

Track Listing
Disc One
1)  Savid (15:13)
fast
2)  Little Church (3:14)
fast
3)  Medley:Gemeni/Double Image (5:53)
fast
4)  What I Say (21:09)
fast
5)  Nem Um Talvez (4:03)
fast

Disc Two
1)  Selim (2:21)
fast
2)  Funky Tonk (23:26)
fast
3)  Inamorata and Narration by Conrad Roberts (26:29)
fast

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Member: Chuck AzEee! (Profile) (All Album Reviews by Chuck AzEee!)
Date: 11/16/2004
Format: CD (Album)

According to most jazz critics, Live/Evil was the last straw, or until Miles released On The Corner. No one knew where Miles was headed in his musical direction.

Ever since Miles began his experimentations in the late sixties with R&B grooves and rock flamboyant excess, Miles albums were becoming more jam fest, rather than song oriented. No longer could you play a Miles Davis album and kick off your shoes and relax to. The music was created to cater to the younger, more hip crowd that was flocking to see Jimi Hendrix, Cream, led Zeppelin and Sly and The Family Stone to name a few, and Miles had seen the possibilities of this marriage of combining jazz's improvisational abilities with rock/R&B sensibilities.

Many have experimented before Miles, but with the release of both In A Silent Way and Bitches Brew, the genre of jazz would take on an addition to its ranks, that would later be termed "fusion" or "jazz-rock".

Here on Live/Evil, now readily available commercially, the newer packaging now shed light on what was a rather confusing listing of band member participation, Track listing and venue appearances.

The performances on Live/Evil are not all of the songs are live as per say on the disc's title, but the songs the gems, CD opener "Sivad", "What I Say" and "Funky Tonk" were recorded December 19th, 1970 at The Cellar Door in Washington DC, and needless to say that these songs are the most powerful tracks on the discs. The rest of the songs are studio edits from the Bitches Brew sessions which would consummate the rest of the material on this album, bordering on odd, the similar narrated ending as "Jack Johnson", creepy "Nem Um Talvez/Selim", concert staple "Gemini/Double Image" and lovely "Little Church".

Miles Davis might have been ushering in a new jazz direction with his albums during 1969/70, but the critics were killing brutally within their reviews, but he could care less, he achieved what he set to do... That was to get the younger crowd to listen to his music.

Charles
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