Miles Davis
Dark Magus

Miles Davis probably boasts one of the most beautiful discographies in the history of music; yet, as a good rock-loving oaf that I am, a fan of the guitar and distortions, the so-called „electric period“ has always held a special place in my heart.

Made famous by albums such as "In a Silent Way“ and "Bitches Brew“, it reaches its peak for me, however, in live performances, where freedom and improvisation reach their highest peaks, transforming the concerts into true psychedelic rituals, during which the "dark sorcerer“ and his disciples enchanted and hypnotized the audience with performances that bordered on the otherworldly.

Recorded on March 30, 1974 at Carnegie Hall in New York, lasting just over 100 minutes, this double album offers us one of the most gritty, energetic, and tribal performances of the trumpeter, who decided to unleash a line-up featuring no less than 3 electric guitars and to give ample space to the percussive aspect (African-inspired) and, in general, to the rhythmic section; factors that only enhance the shamanic ritual aspect of the execution. This work is also known for being included, in July 2001, by the English music magazine Q in its list of the "50 Heaviest Albums Of All Time“ (you can view the complete list here); a list that leaves, aside from the scantiness and vacuity at the basis of music rankings in general, especially in journalism and with grandiose titles like "Of All Times“, quite puzzled and seems more like a random mix of albums drawn by lot. Not being able to put myself in the shoes of an average listener (of jazz or otherwise), I don't want to be too unbalanced, but I doubt that the average DeBaserian user will be particularly impressed by the heaviness of this album; therefore I advise fans of heavier and more extreme sounds not to get too many illusions, risking disappointment if they hope to find themselves facing a sort of "Reign in Blood“ or "Cop“ of jazz (to stay in the realm of albums to which this is compared in the ranking) and I would suggest maybe directing their morbid attentions to the Painkiller of good Master Zorn. Listening will instead be far more appetizing for those who particularly love more radical and free psychedelic rock or progressive, as in this case, your eager ears will find much to satisfy them.

In conclusion, this is yet another high-quality album produced by our artist, in one of his most fruitful and inspired periods (the decade 65-75), akin to masterpieces like "Live Evil“, "Agartha“, and "Pangaea“, so fans who still do not know the work in question can put their hearts at ease and reach for their wallets; to all others, I can only strongly recommend starting to approach this phenomenal artist, even if maybe the work in question, at least for ears used to less demanding listening, does not present quite the easiest of introductions.