Miles Davis

Lore & Background

The genesis of Live-Evil lies in four nights recorded at the Cellar Door in 1970. While Davis later claimed he called John McLaughlin at the last minute for the final night to find an element missing from previous shows, band members like Gary Bartz contradicted this, noting they knew the weekend was set for a possible album and that McLaughlin would attend. The resulting music consists of lengthy, dense jams performed in a jazz-rock style, contrasted by studio tracks mostly dedicated to Hermeto Pascoal compositions. Producer Teo Macero played an essential role, editing these raw live sessions into the final album structure. The visual identity was shaped by artist Mati Klarwein, who painted the front cover independently but created the back cover based on Davis's request for 'life' and 'evil'; Klarwein later drew inspiration from the February 2, 1970 Time Magazine cover of J. Edgar Hoover, whose toad-like appearance he interpreted into the artwork.

In Their Own Story

In December 1970, the Cellar Door hosted four nights of recording that would define the album Live-Evil. Davis sought a new texture, eventually bringing in John McLaughlin for the final night, though tensions existed over whether his arrival was spontaneous or planned. The band engaged in lengthy jams that producer Teo Macero later edited into the dense, electric sound heard on the record. Back in the studio, the focus shifted to Hermeto Pascoal compositions, offering a different musical texture than the live energy captured earlier. When it came time for artwork, Davis called Mati Klarwein with a simple directive: 'I want a picture of life on one side and evil on the other.' Clarifying only that he needed a toad, Davis pointed Klarwein toward a Time Magazine featuring J. Edgar Hoover, whom the artist likened to the amphibian. The result was a cover reflecting the album's duality, though some record club versions reduced this vision to a simple black sleeve with the title printed in text.

Reader's Guide

Live-Evil offers a unique listening experience by juxtaposing two distinct recording environments: the raw, dense jams from the Cellar Door and the studio-based Pascoal compositions. Listeners should pay attention to how Teo Macero edited these lengthy performances into cohesive tracks, creating the 'jazz-rock style' mentioned in contemporary reviews. The album features a strong ensemble cast; note the interplay between Gary Bartz, Ron Carter, Dave Holland, Keith Jarrett, and Jack DeJohnette. For those interested in the history of John McLaughlin's involvement, listen for his 'Hindu heavy-metal fretwork,' which critics later highlighted as a key element. The album's reception was mixed upon release; while Robert Palmer praised the lack of congestion and Davis's intensity, Pete Welding found long dull stretches. Modern critics like Ryan Schreiber describe the music as 'sexually steamy and unsettling,' capturing the charged eccentricity that runs through both the barroom brawl action-funk and sensual bedroom jazz moments.

Did You Know?

• Producer Teo Macero edited and pieced together the lengthy, dense live jams from the Cellar Door to create the final album tracks.
• John McLaughlin joined the band for only the last of four nights recorded at the Cellar Door in 1970.
• The back cover artwork was inspired by the February 2, 1970 Time Magazine cover of J. Edgar Hoover, whose toad-like appearance was interpreted by artist Mati Klarwein after Davis requested a cover representing 'life' and
• Record club pressings of Live-Evil featured a simple black cover with only the album title printed on it, omitting the original artwork.

Electric Fusion and Studio Craft

Released on November 17, 1971, Live-Evil merges two distinct recording sources: live performances from the Cellar Door in 1970 and studio sessions featuring Hermeto Pascoal compositions. The live material consists of lengthy, dense jams executed in a jazz-rock style, which producer Teo Macero subsequently edited and pieced together to form the final tracks. This editing process was crucial in transforming raw, extended improvisations into the structured album format. In contrast, the studio recordings focus primarily on renditions of Pascoal's works, providing a melodic counterpoint to the live energy. The album stands as a document of Davis's exploration of electric music, freer structures, and rock rhythms, with Macero's work ensuring that the 'happy situation' of the band playing without weak links translated effectively to vinyl.

An All-Star Ensemble and McLaughlin's Arrival

The personnel on Live-Evil includes notable musicians such as Gary Bartz, Ron Carter, Dave Holland, Keith Jarrett, and Jack DeJohnette. A significant narrative point involves guitarist John McLaughlin, who was not a regular member of the band during these sessions. Davis stated he called McLaughlin at the last minute for the final night of four to add an element missing from previous recordings. However, this account contradicted by other members; Gary Bartz clarified that the weekend was planned as a potential recording session and that McLaughlin's presence was anticipated. Despite the conflicting stories regarding his arrival, McLaughlin's contributions were integral, with critics later describing his playing as 'Hindu heavy-metal fretwork.' The ensemble was praised for having no weak links or congestion, allowing each member to solo effectively while Davis reacted by playing intensely.

Visual Symbolism and Mati Klarwein

Artist Mati Klarwein created the iconic cover art for Live-Evil. The front cover was painted independently of Davis's input. However, the back cover originated from a specific suggestion by the musician: 'I want a picture of life on one side and evil on the other,' with only a toad mentioned as a detail. Klarwein found inspiration in a copy of Time Magazine featuring J. Edgar Hoover on the cover, remarking that he looked like a toad, which he then incorporated into the design. This visual duality mirrored the album's musical contrast between live and studio elements. While this artwork is the standard, it is worth noting that record club pressings of the album deviated significantly, featuring simply the album title printed on a black cover without Klarwein's illustrations.

Critical Acclaim and Diverse Reception

Released by Columbia Records in 1971, Live-Evil received critical acclaim with varied perspectives. Robert Palmer of Rolling Stone called it what Davis had in mind for electric music, praising the ballad-like tracks as 'things of great beauty' and noting that every band member played without weak links. Red Scott of Black World observed how the songs fused into a perfect complement of moods. Conversely, Pete Welding from DownBeat gave a two-and-a-half star review, criticizing long dull stretches in the live recordings. Later critics offered high praise; John Corbett called it an 'outstandingly creative electric collage,' while Ryan Schreiber of Pitchfork described the music as 'kinetic' and 'sexually steamy.' Robert Christgau highlighted 'Funky Tonk' as Davis's most compelling rhythmic exploration, and Edwin C. Faust deemed it one of the funkiest albums ever recorded.