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17 of 18 found the following review helpful:
 Great performance, important document, not good sound.Sep 30, 2005
By A. Rocheleau
"Al from Orlando"
This was a great and underrated Davis ensemble. The fact that they were playing some of the innovative pieces of the Gil Evans/Davis era with full orchestral accompaniment and in a live setting (and with acoustics of Carnegie Hall no less) should have made for a mounumental recording. As a historic document, it's a must-have: the playing is without reservation, first rate. But then, the sound. Even with remastering, you can't fix mike overload, and it is there often, and most specifically on Miles' principal mike of all places. At best the high dyanmics make for a rough sound, almost frayed and thready in its texture. Anyone used to listening to overmiked recordings, especially live ones from the 30's and 40's can deal with this, and enjoy it, if you like a rough, electric timbre to your trumpet sound. But at worst it's just full-blown distortion, distracting and disappointing and would have been so if any other instrument or player was playing in any other venue, whether Carnegie Hall or your cousin's wedding reception at the Elks Club. And this after all, IS Miles Davis, and this IS Carnegie Hall. Me, I can live with the sonic shortcomings; the performace, the occasion, and the lineup are all too important not to. But it's really a shame; this could have been, all around, one of the finest recordings, live or in studio, of Miles' career. As it is-- well, I have it playing now. So there you go.
13 of 14 found the following review helpful:
 Simply BeautifulSep 24, 2001
This is a very good mono soundboard recording of (indeed) a legendary concert. Miles is at the peak of his acoustic form, the rhythm section really cooks, Gil Evans and friends add some tasteful backing, and saxophonist Hank Mobley steps out of the Coltranian shadows for his moment in the sun.And if you're wondering why "Someday My Prince Will Come" is so short, it's because Miles walked off during a protest against the concert's organisers by Max Roach at the foot of the stage. The otherwise excellent liner notes make no mention of the incident.
10 of 11 found the following review helpful:
A historical documentJun 12, 2006
By David G.
"David G."
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.
5 of 5 found the following review helpful:
Miles showcases his playing in a time of transition.May 21, 1998
By chris@aboveallphoto.com
Miles Davis at Carnegie Hall is a perfect complement for any serious fan of Jazz. The playing is certainly imperfect at times, notice the Orchestral breakdown durring the introduction to So What, but taken as a whole is truly breathtaking. This album combines the Miles Davis Quintet (although not in its greatest incarnation c. 1956 but still a kicking group, and certainly the swingingist of any that Miles played with) and the Gil Evans Orchestra. The music choices exhibit Miles' transition from the bob and cool jazz of the 50's to the more free form music of the 60's. Here, Miles shines as the avant garde musician. The highlight of the CD, for me, is the great version of Walkin', a Miles Davis standard for years, played with an intensity lacking in earlier versions. Of course to hear the song in full bloom, check out the Plugged Nickel versions.
7 of 8 found the following review helpful:
Virtues easily outweigh defectsOct 05, 2005
By Joost Daalder
"Joost Daalder"
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
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