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Miles Davis - Live-Evil (1971) [Japan 2020] MCH PS3 ISO + Hi-Res FLAC
![Miles Davis - Live-Evil (1971) [Japan 2020] MCH PS3 ISO + Hi-Res FLAC](https://pixhost.icu/avaxhome/8c/33/0078338c.jpg)
Miles Davis - Live-Evil (1971) [Japan 2020]
PS3 Rip | 2x SACD ISO | DSD64 2.0 & DST64 5.0 > 1-bit/2.8224 MHz | 101:00 minutes | Scans included | 6,85 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/96 kHz | 101:47 minutes | Scans (LQ) | 2,41 GB
Features Stereo and Quadrophonic Surround Sound | Label: Sony Japan # SICJ-10012~3
"Live-Evil" is an album of both live and studio recordings by American jazz musician Miles Davis. This greatest masterpieces of all genres finally becomes SACD multichannel (quadraphonic) hybrid format reissue. Remastered in 2019. The 4ch mix of the front and rear is a sound source recorded in Quadraphonic, initially released in March 1973, and can be said to be a long-awaited revival release. The stereo mix that can be heard on SACD have been newly mastered from the analog master. Japanese original release.
Live-Evil is one of Miles Davis' most confusing and illuminating documents. As a double album, it features very different settings of his band – and indeed two very different bands. The double-LP CD package is an amalgam of a December 19, 1970, gig at the Cellar Door, which featured a band comprised of Miles, bassist Michael Henderson, drummer Jack DeJohnette, guitarist John McLaughlin, saxophonist Gary Bartz, Keith Jarrett on organ, and percussionist Airto. These tunes show a septet that grooved hard and fast, touching on the great funkiness that would come on later. But they are also misleading in that McLaughlin only joined the band for this night of a four-night stand; he wasn't really a member of the band at this time. Therefore, as fine and deeply lyrically grooved-out as these tracks are, they feel just a bit stiff – check any edition of this band without him and hear the difference. The other band on these discs was recorded in Columbia's Studio B and subbed Ron Carter or Dave Holland on bass, added Chick Corea and Herbie Hancock on electric pianos, dropped the guitar on "Selim" and "Nem Um Talvez," and subbed Steve Grossman over Gary Bartz while adding Hermeto Pascoal on percussion and drums in one place ("Selim"). In fact, these sessions were recorded earlier than the live dates, the previous June in fact, when the three-keyboard band was beginning to fall apart. Why the discs were not issued separately or as a live disc and a studio disc has more to do with Miles' mind than anything else. As for the performances, the live material is wonderfully immediate and fiery: "Sivad," "Funky Tonk," and "What I Say" all cream with enthusiasm, even if they are a tad unsure of how to accommodate McLaughlin. Of the studio tracks, only "Little Red Church" comes up to that level of excitement, but the other tracks, particularly "Gemini/Double Image," have a winding, whirring kind of dynamic to them that seems to turn them back in on themselves, as if the band was really pushing in a free direction that Miles was trying to rein in. It's an awesome record, but it's because of its flaws rather than in spite of them. This is the sound of transition and complexity, and somehow it still grooves wonderfully.
Tracklist
DISC ONE:
01. Sivad (Recorded December 19, 1970 at The Cellar Door, Washington, DC & May 19, 1970 at Columbia Studio B, New York, NY)
02. Little Church (Recorded June 4, 1970 at Columbia Studio B, New York, NY)
03. Medley: Gemini/Double Image (Recorded February 6, 1970 at Columbia Studio B, New York, NY)
04. What I Say (Recorded December 19, 1970 at The Cellar Door, Washington, DC)
05. Nem Um Talvez Recorded June 3, 1970 at Columbia Studio B, New York, NY
DISC TWO:
01. Selim (Recorded June 3, 1970 at Columbia Studio B, New York, NY)
02. Funky Tonk (Recorded December 19, 1970 at The Cellar Door, Washington, DC)
03. Inamorata and Narration By Conrad Roberts(Recorded December 19, 1970 at The Cellar Door, Washington, DC)
As part of the early push into Quadrophonic, “Live Evil” was released on QS quadrophonic vinyl back in the day, and now nearly a half century later it has been transferred into the digital domain and released on multi-channel SACD. This Japanese hybrid SACD edition contains both quad and stereo DSD layers and is housed in a 7inch cardboard sleeve packaging with a sticker featuring the artwork.
While I really like the larger packaging for a variety of reasons, I also find it a bit of a hassle to unpack and handle the SACD, which correlates similarly to a vinyl record by first removing it from the outer plastic protective sleeve, followed by the cardboard sleeve, then the inner plastic sleeve, and finally popping it off the supporting plastic flat tray. However, I digress, the classic vinyl feel and enclosed booklets make up an excellent package that is filled with two SACD’s full of some of the most powerful electric jazz ever recorded.
For those wondering why the SACD is still the preferred format for many high resolution releases, I often think about this myself. From a technical standpoint, a conversion from DSD to PCM audio would yield a lossless file that is close to 24-bit / 96kHz, thus sound quality wise listeners are getting an excellent codec. Simply put, SACD’s load really fast and are simple to navigate. Both DVD-A and Blu-ray’s can carry complex menus with load times that seem interminable. But a huge advantage is the difficulty in copying the material, and for this reason alone, SACD’s are a much better choice for record labels.
OK, it really does come down to sound quality, and that is why I write these reviews. As a multi-channel enthusiast, I prefer to skip poorly mixed and lousy sounding releases. I am sure other enthusiasts also don’t want to needlessly spend money on releases that aren’t up to par, especially the pricier box sets. I can immediately say that Live-Evil is worth every penny, provided the music moves you. This album is not for everyone, it stretches the boundaries of jazz a bit into the avant-garde. The music can be heavy and dissonant, yet this is precisely what makes Live-Evil so remarkable for many fans like myself.
For the inquisitive, let’s be clear, this is a quad disc, although the channel layout indicates there are 5.0 channels, the center channel is not used. The mix is all encompassing with the band fully surrounding the sweet spot with drums spread across the front channels, along with Davis’ trumpet, the sax and keyboards. The bass has been planted in the back right channel but does extend across to the back left where McLaughlin’s guitar sits.
The instrument layout is by no means consistent throughout the discs, and right from the start of the first track “Sivad” detailed above there is a good amount of separation and openness across the soundscape. Drums are somewhat distant, with a natural sound that likely is representative of the acoustic space of the night club. Down to the amplifier buzzing and warm bass these live recordings absolutely open up on the quad mix. While I am thrilled with the dynamics and overall clarity, I also must comment that the limitations of tape saturation, noise floors, and similar aspects of analog technology lead me to an awareness that this would be a much more resilient recording if made today on high resolution digital equipment. However, the charm of the harmonic distortion and push towards full saturation would lead to a much less organic recording that truly is representative of the era.
Although audience members are typically treated with sound pouring from the stage, the quad mix of Live-Evil in some ways puts listeners right up on the stage with the musicians. Not only will you hear the room space around the guitar as McLaughlin tares through his solos heard from the back left channel on the fourth track “What I Say,” but the pure ambience surrounding DeJohnette’s drums become very evident on his extended solo. The kit seemingly spreads around all four channels, with a strong focus on the right side, which includes the kick drum beating from the back right channel.
As I hinted above about the live material, the performances are immediate and fiery, played with great enthusiasm. The studio sessions are an entirely different flavor, parts of which lead deeply into the avant-garde. Certainly, Davis is featured even more on these three tracks that have a tighter and more refined sound quality compared to the live disc. While there is still plenty of cross pollination among the instruments, it seems there is also some isolation that realistically isn’t possible during a live performance. Thus, I find the quad mix of the studio session disc to have greater separation and almost a complete removal of the splashy blurring heard on the live disc. The free direction creates an awesome recording, amidst its improvisational flaws that grooves amazingly well nearly a half decade later.
I would be remiss in not mentioning the importance of having four full range speakers, preferably identical, when experiencing the Live-Evil quad mix. With the bass pushed toward the rears, a full range speaker that is common in the front channels becomes critical for the best enjoyment of this and many other quad and surround mixes that dig deep into the lower frequencies across all of the channels.
Now, for those readers who remain in the stereo camp, each SACD contains a 2.0 stereo DSD layer that sounds very good overall. I missed some of the deep lows heard on the quad mix, but felt the upper frequencies were not as saturated, leading to a clearer top end. I may even find the audience position with the stereoscape across the front channels to be more appealing for the live disc, yet I missed the depth and rather enjoy being surrounded by the band. Likewise, the difference in mixing and mastering lead to an entirely different balance among the instruments, such as more prominence given to the cymbals.
Regardless of your choice for the DSD layer, I wager that this edition is the best sounding to date. I strongly recommend picking up Live-Evil if the music is up your alley. Collectors of quad will certainly want this for the absorbing mixes and frankly I think that this is a must have for any fan of fusion-jazz and Mile Davis for that matter.
– Written by Wesley Derbyshire, hiresedition-com
While I really like the larger packaging for a variety of reasons, I also find it a bit of a hassle to unpack and handle the SACD, which correlates similarly to a vinyl record by first removing it from the outer plastic protective sleeve, followed by the cardboard sleeve, then the inner plastic sleeve, and finally popping it off the supporting plastic flat tray. However, I digress, the classic vinyl feel and enclosed booklets make up an excellent package that is filled with two SACD’s full of some of the most powerful electric jazz ever recorded.
For those wondering why the SACD is still the preferred format for many high resolution releases, I often think about this myself. From a technical standpoint, a conversion from DSD to PCM audio would yield a lossless file that is close to 24-bit / 96kHz, thus sound quality wise listeners are getting an excellent codec. Simply put, SACD’s load really fast and are simple to navigate. Both DVD-A and Blu-ray’s can carry complex menus with load times that seem interminable. But a huge advantage is the difficulty in copying the material, and for this reason alone, SACD’s are a much better choice for record labels.
OK, it really does come down to sound quality, and that is why I write these reviews. As a multi-channel enthusiast, I prefer to skip poorly mixed and lousy sounding releases. I am sure other enthusiasts also don’t want to needlessly spend money on releases that aren’t up to par, especially the pricier box sets. I can immediately say that Live-Evil is worth every penny, provided the music moves you. This album is not for everyone, it stretches the boundaries of jazz a bit into the avant-garde. The music can be heavy and dissonant, yet this is precisely what makes Live-Evil so remarkable for many fans like myself.
For the inquisitive, let’s be clear, this is a quad disc, although the channel layout indicates there are 5.0 channels, the center channel is not used. The mix is all encompassing with the band fully surrounding the sweet spot with drums spread across the front channels, along with Davis’ trumpet, the sax and keyboards. The bass has been planted in the back right channel but does extend across to the back left where McLaughlin’s guitar sits.
The instrument layout is by no means consistent throughout the discs, and right from the start of the first track “Sivad” detailed above there is a good amount of separation and openness across the soundscape. Drums are somewhat distant, with a natural sound that likely is representative of the acoustic space of the night club. Down to the amplifier buzzing and warm bass these live recordings absolutely open up on the quad mix. While I am thrilled with the dynamics and overall clarity, I also must comment that the limitations of tape saturation, noise floors, and similar aspects of analog technology lead me to an awareness that this would be a much more resilient recording if made today on high resolution digital equipment. However, the charm of the harmonic distortion and push towards full saturation would lead to a much less organic recording that truly is representative of the era.
Although audience members are typically treated with sound pouring from the stage, the quad mix of Live-Evil in some ways puts listeners right up on the stage with the musicians. Not only will you hear the room space around the guitar as McLaughlin tares through his solos heard from the back left channel on the fourth track “What I Say,” but the pure ambience surrounding DeJohnette’s drums become very evident on his extended solo. The kit seemingly spreads around all four channels, with a strong focus on the right side, which includes the kick drum beating from the back right channel.
As I hinted above about the live material, the performances are immediate and fiery, played with great enthusiasm. The studio sessions are an entirely different flavor, parts of which lead deeply into the avant-garde. Certainly, Davis is featured even more on these three tracks that have a tighter and more refined sound quality compared to the live disc. While there is still plenty of cross pollination among the instruments, it seems there is also some isolation that realistically isn’t possible during a live performance. Thus, I find the quad mix of the studio session disc to have greater separation and almost a complete removal of the splashy blurring heard on the live disc. The free direction creates an awesome recording, amidst its improvisational flaws that grooves amazingly well nearly a half decade later.
I would be remiss in not mentioning the importance of having four full range speakers, preferably identical, when experiencing the Live-Evil quad mix. With the bass pushed toward the rears, a full range speaker that is common in the front channels becomes critical for the best enjoyment of this and many other quad and surround mixes that dig deep into the lower frequencies across all of the channels.
Now, for those readers who remain in the stereo camp, each SACD contains a 2.0 stereo DSD layer that sounds very good overall. I missed some of the deep lows heard on the quad mix, but felt the upper frequencies were not as saturated, leading to a clearer top end. I may even find the audience position with the stereoscape across the front channels to be more appealing for the live disc, yet I missed the depth and rather enjoy being surrounded by the band. Likewise, the difference in mixing and mastering lead to an entirely different balance among the instruments, such as more prominence given to the cymbals.
Regardless of your choice for the DSD layer, I wager that this edition is the best sounding to date. I strongly recommend picking up Live-Evil if the music is up your alley. Collectors of quad will certainly want this for the absorbing mixes and frankly I think that this is a must have for any fan of fusion-jazz and Mile Davis for that matter.
– Written by Wesley Derbyshire, hiresedition-com
foobar2000 1.5.4 / Dynamic Range Meter 1.1.1
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR9 -4.02 dB -21.58 dB 14:53 01-Sivad
DR7 -8.10 dB -22.89 dB 3:14 02-Little Church
DR10 -4.98 dB -23.12 dB 5:54 03-Medley:Gemini/Double Image
DR10 -2.72 dB -19.06 dB 20:57 04-What I Say
DR8 -6.75 dB -22.84 dB 4:07 05-Nem Um Talvez
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 5
Official DR value: DR9
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 5
Bits per sample: 1
Bitrate: 14112 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR8 -7.49 dB -22.58 dB 2:18 01-Selim
DR9 -4.36 dB -19.87 dB 23:15 02-Funky Tonk
DR9 -3.42 dB -18.98 dB 26:22 03-Inamorata and Narration By Conrad Roberts
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 3
Official DR value: DR8
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 5
Bits per sample: 1
Bitrate: 14112 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -5.95 dB -19.73 dB 15:14 01-Sivad
DR9 -6.68 dB -19.13 dB 3:15 02-Little Church
DR11 -5.87 dB -19.53 dB 5:54 03-Medley:Gemini/Double Image
DR10 -7.09 dB -19.36 dB 21:09 04-What I Say
DR11 -6.30 dB -20.33 dB 4:03 05-Nem Um Talvez
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 5
Official DR value: DR10
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR9 -8.98 dB -23.72 dB 2:14 01-Selim
DR11 -7.16 dB -20.51 dB 23:26 02-Funky Tonk
DR11 -5.90 dB -19.21 dB 26:31 03-Inamorata and Narration By Conrad Roberts
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 3
Official DR value: DR10
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR9 -4.02 dB -21.58 dB 14:53 01-Sivad
DR7 -8.10 dB -22.89 dB 3:14 02-Little Church
DR10 -4.98 dB -23.12 dB 5:54 03-Medley:Gemini/Double Image
DR10 -2.72 dB -19.06 dB 20:57 04-What I Say
DR8 -6.75 dB -22.84 dB 4:07 05-Nem Um Talvez
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 5
Official DR value: DR9
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 5
Bits per sample: 1
Bitrate: 14112 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR8 -7.49 dB -22.58 dB 2:18 01-Selim
DR9 -4.36 dB -19.87 dB 23:15 02-Funky Tonk
DR9 -3.42 dB -18.98 dB 26:22 03-Inamorata and Narration By Conrad Roberts
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 3
Official DR value: DR8
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 5
Bits per sample: 1
Bitrate: 14112 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -5.95 dB -19.73 dB 15:14 01-Sivad
DR9 -6.68 dB -19.13 dB 3:15 02-Little Church
DR11 -5.87 dB -19.53 dB 5:54 03-Medley:Gemini/Double Image
DR10 -7.09 dB -19.36 dB 21:09 04-What I Say
DR11 -6.30 dB -20.33 dB 4:03 05-Nem Um Talvez
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 5
Official DR value: DR10
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Miles Davis / Live Evil
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR9 -8.98 dB -23.72 dB 2:14 01-Selim
DR11 -7.16 dB -20.51 dB 23:26 02-Funky Tonk
DR11 -5.90 dB -19.21 dB 26:31 03-Inamorata and Narration By Conrad Roberts
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 3
Official DR value: DR10
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
Thanks to KingCrim!
Uncompressed SACD ISO size > 3,71 + 3,93 GB
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