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At Carnegie Hall
Miles Davis
At Carnegie Hall
Genre: Jazz
  •  Track Listings (6) - Disc #1

Japanese DSD mastered reissue of 1962 release for the late jazz icon. Packaged in a miniature LP sleeve for the first pressing only. 2001 release.


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CD Details

All Artists: Miles Davis
Title: At Carnegie Hall
Members Wishing: 0
Total Copies: 0
Label: Sony
Release Date: 5/23/2001
Album Type: Import, Original recording remastered
Genre: Jazz
Styles: Bebop, Orchestral Jazz
Number of Discs: 1
SwapaCD Credits: 1


Album Description
Japanese DSD mastered reissue of 1962 release for the late jazz icon. Packaged in a miniature LP sleeve for the first pressing only. 2001 release.

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CD Reviews

A historical document
D. Gitlin | Louisville, KY | 06/12/2006
(4 out of 5 stars)

"Teo Macero sold Miles and Columbia on recording this event. He ordered all the necessary equipment to record what would have been a terrific recording. However -- unsurprising considering his temprement -- Miles decided the day before the event he neither wanted to play nor record the event. While he was convinced to play, he would not budge on the recording.

Macero, however, had four single mics hid strategically throughout the stage so he could at least have one copy of the event. For all of the tribulations (Max Roach's protest nonwithstanding), Miles, Gil Evans, the band, and the orchestra were all able to put on an impressive event. The crowd was overwhelmed, and Miles himself said to Teo afterward that he wanted to release it after all.

Blame the temper of the times for the poor recording. But remember to praise Teo for his foresight in recording this anyways."
Virtues easily outweigh defects
Joost Daalder | South Australia | 10/05/2005
(5 out of 5 stars)

"To my mind Miles never played better than at this recording. There is a new searching and driving vitality to his playing which probably indicated that he had reached the absolute peak of his powers but was still pushing himself further. His technique was certainly better than ever. Don't let the imperfections of the recording as an inadequate document of sound disturb you - not really worth worrying about, as one can hear enough to know that this was an exceptional performance. Hank Mobley on tenor complements Miles well, and the new thythm section whips the horms along with great impetus. The tracks with Gil Evans and his orchestra have a spontaneity lacking on the more polished studio-recorded equivalents. This record is not immaculate - but it is a very great one and clearly a must-have for any serious Davis fan, because he plays here in a way that he doesn't on any other recording, and produces unusual excitement even for this, the most permanently satisfying and richly artistic musician in jazz, whose music is sure to go down the centuries as great by any standard at any time. - Joost Daalder"
On "So What", Mobley Is Uncoscious
Nathan C. Larson | Los Angeles, CA USA | 09/12/2008
(5 out of 5 stars)

"I had this in LP form years ago. I also have the cd version. I like the quintet sides best. "So What" is for me, one of the classic performances of all time. In it's most famous version, on Kind Of Blue, Miles recorded it at a slow medium tempo. All subsequent versions have been uptempoed. This is truly one of the great Jazz compositions, with the most haunting aura. A swinging exploration of the Dorian Mode. John Coletrane later wrote "Impressions" based on these changes and that was a masterpiece as well.

I've heard many of the live versions Miles recoded of this tune, but this is my favorite. As great as Miles plays here, it is Hank Mobley who steals the show. His solo on "So What" is his finest moment, and as great a solo as any Jazzman has ever made. In a lifetime of listening to Jazz, this is a highpoint for me.

I always love to listen and compare the many live solos by Wynton Kelly on "So What". This is great one by him too.

The rest of the performances of the evening though good, seem far less inspired. There was a protest at Carnegie Hall that night, and perhaps the tensions of the evening broke the concentration of the musicians. Then too, it was a complicated show alternating between the quintet and The Gil Evans Orchestra, and that may have been distracting."