Miles Davis - The Cellar Door Sessions 1970

These mythical, Washington, DC December dates, released for the first in this impressive six-CD compilation, are an extension of Miles Davis's fusion LP, Live-Evil. Davis’s piercing, electronically altered trumpet tones fire up of his young Turks; keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson , percussionist Airto Moreira, saxophonist Gary Bartz, and guitarist John McLaughlin. Davis's acoustic fans hated the adventurous and extended, jazz-rock excursions of selections like "Directions," "What I Say," and "It's About That Time," but there was no denying the complex interplay and improvisations, especially with Jarrett's rare Fender Rhodes electric piano and organ solos. Bartz's snaky, alto and soprano sax lines are equally astounding in this context, as is McLaughlin's "Hendrixsation" of the jazz guitar tradition. Davis bragged that he could "put together the greatest rock n' roll band you ever heard." He came pretty close to doing just that. --Eugene Holley, Jr. Amazon.com

amazing music

Livevil is one of my favorate albums of all time. These, of course,are the unedited tapes that record was culled from, and they are as glorious as the 1971 album.

The basic idea is that the band streches out over long, repetative, circular grooves, somethimes for almost an hour. The bass player-who I think was a Motown session guy- plays heavy, repetative lines, and plays them hard. The rest of the band spreads out across this.

But what I said is accademic and doesn't begin to describe how powerful this music is. Miles preens around like a lion stalking pray, blowing stinging lines out of his Wha-Wha trumpet. The rest of the band add their solos, or push the person soloing.

A listener can tell that the band was reacting to one another, totally spontainiously. A keybord can interject a potant little run during a sax solo, or vice vica. A number can be funky one minute, and in complete free-noise ecctacy the next. They are master musicains making it up as they go along. This is all highly amplified, and highly electric. It makes Bitches Brew seem tame and watery by compairson. Masterful improvised music.

The box set is as long as it is expensive, but well worth the price. You litterally get over six hours of the best improvisers in jazz playing at the top of their game June 7, 2008

Just superb...

Astonishing, life affirming, energetic music of the highest order. From the first few notes, it grabs you. February 8, 2008

Not planned as one of the great 8

Not part of the planned 8 box sets covering Miles' tenure at Columbia (that took from 1997-2007 to complete)....but a crucial box nonetheless. Hours upon hours of sessions from 1970 that showcase Miles exploring the genre of jazz fusion. Remember , in 1970 fusion was still in it's infancy , and Miles was one of the pioneers of it. You won't be disappointed if you add this box to your collection ! December 18, 2007

mucho miles

The Cellar Door Sessions 1970

miles and miles and miles and miles and miles and miles. very nice to fill the changer with!!! September 15, 2007

Just how was live-evil chosen?

There is a lot to chew on in this box set. As many other reviewers have said, it is a testament to the prodigy that was miles davis. One thing that intrigues me though, is the weakest material (discs five and six) was used for the live-evil compilation. I really think it must have been a marketing driven decision, as the other four discs really do outshine the live-evil material.

And if you're still undecided, 90 bucks for 6 discs of guaranteed vintage miles is a no brainer. August 28, 2007

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