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Dark Magus
Dark Magus is a live double album by the American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded on March 30, 1974, at Carnegie Hall in New York City, during the electric period in Davis' career. His group at the time included bassist Michael Henderson, drummer Al Foster, percussionist Mtume, saxophonist Dave Liebman, and guitarists Pete Cosey and Reggie Lucas; Davis used the performance to audition saxophonist Azar Lawrence and guitarist Dominique Gaumont. Dark Magus was produced by Teo Macero and featured four two-part recordings, titled with the Swahili numerals for numbers one through four.
Dark Magus was released after Davis' 1975 retirement, upon which Columbia Records issued a series of albums of his live music and studio outtakes. After releasing the Agharta (1975) live recording in the United States, Columbia released the live Pangaea (1976) and Dark Magus (1977) albums only in Japan, through CBS/Sony. The label's A&R executive, Tatsu Nosaki, suggested the album's title, which refers to the Magus from Zoroastrianism.
Despite an ambivalent reception by contemporary music critics, Dark Magus inspired noise rock acts of the late 1970s and experimental funk artists of the 1980s. In retrospective reviews, critics praised its jazz-rock musical aesthetic and the group members' performances, and some believed certain elements foreshadowed jungle music. The album was not released in the United States until its July 1997 reissue by Columbia/Legacy.
Miles Davis was 47 years old when he was asked to play Carnegie Hall in 1974, which followed four years of relentless touring. He had played the venue numerous times before and recorded a live album there in 1961. By 1974, Davis had been dealing with several severe mental and physical health problems, including depression, cocaine and sex addictions, osteoarthritis, bursitis, and sickle-cell anemia. He had also lost respect with both critics and his contemporaries because of his musical explorations into more rock- and funk-oriented sounds. Influenced by Karlheinz Stockhausen, Davis wanted to avoid individual songs and instead record extended movements that developed into a different composition. He played his trumpet sparsely and became less of the focal point for his band, whom he allowed more freedom to improvise and with whom he rarely rehearsed, so that the young musicians he enlisted would be tested to learn and play together onstage.
The March 30, 1974, concert featured an ethnically and age-diverse audience that included young hippies and old, wealthy attendees. According to Magnet magazine's Bryan Bierman, "the hip, 'with it' kids [sat] side-by-side with middle-aged tuxedoed couples, expecting to hear 'My Funny Valentine.'" Although he lived only 15 minutes away, Davis arrived at the venue more than an hour late. When the band walked out onstage, he followed with his back turned to the audience, casually strolling onstage while the other musicians were setting up. Davis immediately began to play, and the band responded by playing a dense rhythm in unison. Saxophonist Dave Liebman, writing in the 1997 US reissue liner notes for Dark Magus, recalled the start of the show: "It is his whim .. That's the thing! ... Miles can do that and have three thousand musicians follow him. Right? So what I learned in that respect from Miles was to be able to watch him and be on his case."
Somehow, he would get you to play in a manner that in most cases you would never do again.
Davis used the show to audition two new members—tenor saxophonist Azar Lawrence and guitarist Dominique Gaumont. Lawrence was a highly regarded young saxophonist at the time, while Gaumont was enlisted by Davis in response to incumbent guitarist Reggie Lucas's demand for a pay raise. Although it was unexpected, Liebman later characterized the move as typical Davis: "What he was doing—which he often does at big kinda gigs like that—is change the shit up, by doing something totally out. Totally unexpected. I mean, we had been a band together on the road for a year ... And then, suddenly, a live date, New York City, Carnegie Hall, the cat pulls two cats who never even saw each other. I mean, you gotta say, 'Is the man mad or is he – he's either mad or extremely subtle."
[Davis] shifted gears at will in his early-'70s music, orchestrating moods and settings to subjugate the individual musical inspirations of his young close-enough-for-funk subgeniuses to the life of a single palpitating organism that would have perished without them—no arrangements, little composition, and not many solos either, although at any moment a player could find himself left to fly off on his own.
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Dark Magus
Dark Magus is a live double album by the American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded on March 30, 1974, at Carnegie Hall in New York City, during the electric period in Davis' career. His group at the time included bassist Michael Henderson, drummer Al Foster, percussionist Mtume, saxophonist Dave Liebman, and guitarists Pete Cosey and Reggie Lucas; Davis used the performance to audition saxophonist Azar Lawrence and guitarist Dominique Gaumont. Dark Magus was produced by Teo Macero and featured four two-part recordings, titled with the Swahili numerals for numbers one through four.
Dark Magus was released after Davis' 1975 retirement, upon which Columbia Records issued a series of albums of his live music and studio outtakes. After releasing the Agharta (1975) live recording in the United States, Columbia released the live Pangaea (1976) and Dark Magus (1977) albums only in Japan, through CBS/Sony. The label's A&R executive, Tatsu Nosaki, suggested the album's title, which refers to the Magus from Zoroastrianism.
Despite an ambivalent reception by contemporary music critics, Dark Magus inspired noise rock acts of the late 1970s and experimental funk artists of the 1980s. In retrospective reviews, critics praised its jazz-rock musical aesthetic and the group members' performances, and some believed certain elements foreshadowed jungle music. The album was not released in the United States until its July 1997 reissue by Columbia/Legacy.
Miles Davis was 47 years old when he was asked to play Carnegie Hall in 1974, which followed four years of relentless touring. He had played the venue numerous times before and recorded a live album there in 1961. By 1974, Davis had been dealing with several severe mental and physical health problems, including depression, cocaine and sex addictions, osteoarthritis, bursitis, and sickle-cell anemia. He had also lost respect with both critics and his contemporaries because of his musical explorations into more rock- and funk-oriented sounds. Influenced by Karlheinz Stockhausen, Davis wanted to avoid individual songs and instead record extended movements that developed into a different composition. He played his trumpet sparsely and became less of the focal point for his band, whom he allowed more freedom to improvise and with whom he rarely rehearsed, so that the young musicians he enlisted would be tested to learn and play together onstage.
The March 30, 1974, concert featured an ethnically and age-diverse audience that included young hippies and old, wealthy attendees. According to Magnet magazine's Bryan Bierman, "the hip, 'with it' kids [sat] side-by-side with middle-aged tuxedoed couples, expecting to hear 'My Funny Valentine.'" Although he lived only 15 minutes away, Davis arrived at the venue more than an hour late. When the band walked out onstage, he followed with his back turned to the audience, casually strolling onstage while the other musicians were setting up. Davis immediately began to play, and the band responded by playing a dense rhythm in unison. Saxophonist Dave Liebman, writing in the 1997 US reissue liner notes for Dark Magus, recalled the start of the show: "It is his whim .. That's the thing! ... Miles can do that and have three thousand musicians follow him. Right? So what I learned in that respect from Miles was to be able to watch him and be on his case."
Somehow, he would get you to play in a manner that in most cases you would never do again.
Davis used the show to audition two new members—tenor saxophonist Azar Lawrence and guitarist Dominique Gaumont. Lawrence was a highly regarded young saxophonist at the time, while Gaumont was enlisted by Davis in response to incumbent guitarist Reggie Lucas's demand for a pay raise. Although it was unexpected, Liebman later characterized the move as typical Davis: "What he was doing—which he often does at big kinda gigs like that—is change the shit up, by doing something totally out. Totally unexpected. I mean, we had been a band together on the road for a year ... And then, suddenly, a live date, New York City, Carnegie Hall, the cat pulls two cats who never even saw each other. I mean, you gotta say, 'Is the man mad or is he – he's either mad or extremely subtle."
[Davis] shifted gears at will in his early-'70s music, orchestrating moods and settings to subjugate the individual musical inspirations of his young close-enough-for-funk subgeniuses to the life of a single palpitating organism that would have perished without them—no arrangements, little composition, and not many solos either, although at any moment a player could find himself left to fly off on his own.