Dark Magus

This is a good article. Click here for more information.
Source: Wikipedia, the free encyclopedia.

Dark Magus
Live album by
Miles Davis
Released1977
RecordedMarch 30, 1974
VenueCarnegie Hall
New York City
Genre
Length100:58
LabelCBS/Sony
ProducerTeo Macero
Miles Davis chronology
Water Babies
(1976) 		Dark Magus
(1977) 		Circle in the Round
(1979)
Miles Davis live chronology
The Complete Miles Davis at Montreux
(1973) 		Dark Magus
(1974) 		Agharta
(1975)

Dark Magus is a live

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

Magus from Zoroastrianism
.

Despite an ambivalent reception by contemporary music critics, Dark Magus inspired

Legacy
.

Background

The main hall stage of Carnegie Hall

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.[1] Influenced by Karlheinz Stockhausen, Davis wanted to avoid individual songs and instead record extended movements that developed into a different composition.[2] 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.[1]

Dave Liebman (pictured in 1975)

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.'"[1] 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,[1] 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.[3] Saxophonist Dave Liebman, writing in the 1997 US reissue liner notes for Dark Magus,[4] 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."[3]

Somehow, he would get you to play in a manner that in most cases you would never do again.

—Liebman on Davis[5]

Davis used the show to audition two new members—tenor saxophonist Azar Lawrence and guitarist Dominique Gaumont.[3] 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.[6] 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."[3]

Composition and performance

[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.

—Robert Christgau[7]

Dark Magus features four two-part compositions with an average length of 25 minutes each.

shift and change on a whim from Davis", as AllMusic's Thom Jurek said.[8] Davis eschewed his previous performances' keyboardists in favor of a three-guitar lineup of Reggie Lucas, Dominique Gaumont, and Pete Cosey, who had a penchant for guitar wails and pedal effects.[9] Davis often stopped the band with hand signals and created longer empty spaces than traditional jazz breaks, encouraging the soloists to fill them with exaggerated cadenzas.[10]

Throughout the work, Davis soloed only intermittently or played his Yamaha

theme from "Nne."[10] On "Tatu", Gaumont followed Lucas's solo with a long passage characterized by fuzzy wah-wah effects, and Lawrence played briefly with Liebman in a duet before his own disjointed solo.[6] "Tatu" ended with a rendition of "Calypso Frelimo."[3] During the first part of "Nne", they played the Davis-penned composition "Ife."[10] Near the end of "Nne", Davis played a short blues.[6]

According to

passages [that] emerge like moonlit clearings."[11] In The Rough Guide to Rock (2003), Ben Smith described the music as "an amazingly dense amalgam of free jazz and funk",[12] while Fred Kaplan from New York magazine called it "electric jazz-rock fusion."[13]

Release

Dark Magus was released after Davis' retirement, when

The New York Public Library blogger Shawn Donohue describes, "an enigma" as "it is hard to make out anything more than shapes and colors, possibly Davis in tripped out profile on the far right."[15]

The album was not released in the United States until July 1997, when it was

Legacy Records. It was part of the labels' reissue of five two-disc live albums by Davis, including Black Beauty: Miles Davis at Fillmore West (1970), Miles Davis at Fillmore (1970), Live-Evil (1971), and In Concert (1973). The reissued albums featured liner notes written by his sidemen.[4]

Reception and legacy

Retrospective professional reviews
Review scores
SourceRating
Encyclopedia of Popular Music
[17]
Entertainment WeeklyA[18]
Los Angeles Times[19]
MusicHound Jazz3.5/5[20]
The Penguin Guide to Jazz[21]
Pitchfork9.5/10[22]
The Rolling Stone Album Guide[23]

Dark Magus was received ambivalently by contemporary critics but became an inspiration to late 1970s

CODA critic Greg Masters, Davis created among the darkest and most radical auras, feelings, and moods in 20th-century music on Dark Magus.[28]

Reviewing the reissue in 1997 for

drum 'n' bass genre: "Miles was invoking the primordial powers of the electronic urban jungle."[11] In The Penguin Guide to Jazz (1998), Richard Cook and Brian Morton wrote that each performance comprises only "shadings and sanations of sound, and as one gets to know these recordings better one becomes almost fixated on the tiniest inflexions."[21] Pitchfork critic Jason Josephes regarded it as a highly valued Davis record that invokes a sense of coolness in listeners.[22]

Just when you think the shit can't get much higher, Miles comes in and hits the wah-wah down hard on the horn and the next thing you know, you're slappin' five to the man upstairs ... By the rite of Dark Magus, I can fake the cool in no time flat.

—Jason Josephes, Pitchfork[22]

In

Hendrix, free jazz, and rhythm and blues proudly merged together."[10] By contrast, Don Heckman of the Los Angeles Times found the funk rhythms repetitive and Davis' playing both limited and unexceptional.[19] AllMusic's Thom Jurek called it an exaggerated and excessive showcase of Davis' disoriented psyche and felt that, although the rhythm section is historically captivating, the other musicians' playing is inconsistent, albeit enthraling.[8]

Track listing

All compositions were credited to Miles Davis.

Original release

Side one
No.TitleLength
1."Dark Magus – Moja"25:24
Side two
No.TitleLength
1."Dark Magus – Wili"25:08
Side three
No.TitleLength
1."Dark Magus – Tatu"25:20
Side four
No.TitleLength
1."Dark Magus – Nne"25:32
Total length:1:41:24

1997 CD reissue

Disc one
No.TitleLength
1."Moja (Part 1)"12:28
2."Moja (Part 2)"12:40
3."Wili (Part 1)"14:20
4."Wili (Part 2)"10:44
Disc two
No.TitleLength
1."Tatu (Part 1)"18:47
2."Tatu (Part 2) ('Calypso Frelimo')"6:29
3."Nne (Part 1) ('Ife')"15:19
4."Nne (Part 2)"10:11

Personnel

References

  1. ^ a b c d e Bierman, Bryan. "Hidden Gems: Miles Davis' 'Dark Magus'". Magnet. Retrieved November 20, 2012.
  2. ^ Pierce, Leonard (December 9, 2010). "Miles Davis : Primer". The A.V. Club. Chicago. Retrieved November 20, 2012.
  3. ^ a b c d e f Chambers 1998, p. 265.
  4. ^ a b c "A new jolt of Miles Davis". Austin American-Statesman. July 29, 1997. p. E2. Retrieved November 20, 2012. (subscription required)
  5. ^ a b Christgau, Robert (October 14, 1997). "Miles Davis's '70s: The Excitement! The Terror!". The Village Voice. New York. Retrieved November 20, 2012.
  6. ^ a b c d Chambers 1998, p. 266.
  7. ^ a b c Christgau 2000, p. 73.
  8. ^ a b c d Jurek, Thom (November 1, 2002). "Dark Magus – Miles Davis". AllMusic. Retrieved November 20, 2012.
  9. ^ a b Sachs, Lloyd (July 27, 1997). "Early '70s albums show Miles Davis in free form". Chicago Sun-Times. Retrieved November 20, 2012.
  10. ^ a b c d e f Szwed 2004, p. 338.
  11. ^ a b Davis, Erik (August 1997). "Freakin' the Funk – Revisiting Miles Davis's '70s Visions". Spin. New York: 117. Retrieved November 20, 2012.
  12. ISBN 1-84353-105-4
    . ... an amazingly dense amalgam of free jazz and funk.
  13. ^ Kaplan, Fred (November 15, 2009). "Miles of Miles". New York. Retrieved November 20, 2012.
  14. ^ Chambers 1998, pp. 264–5.
  15. The New York Public Library
    . Retrieved January 3, 2021.
  16. ^
    Down Beat
    . Chicago: 65. July 1997.
  17. ^ Larkin 2006, p. 210.
  18. ^ Sinclair, Tom (August 1, 1997). "Review: Miles Davis live albums". Entertainment Weekly. Archived from the original on November 3, 2014. Retrieved November 20, 2012.
  19. ^ a b Heckman, Don (July 27, 1997). "Unleashing More of the Davis Legacy : MILES DAVIS". Los Angeles Times. Retrieved November 20, 2012.
  20. ISBN 0-8256-7253-8
    .
  21. ^ a b Cook & Morton 1998, p. 393.
  22. ^ a b c Josephes, Jason (1997). "Review: Dark Magus". Pitchfork. Archived from the original on November 15, 1999. Retrieved November 20, 2012.
  23. ^ Considine et al. 2004, p. 215.
  24. ^ Pareles, Jon (September 29, 1991). "Miles Davis, Trumpeter, Dies; Jazz Genius, 65, Defined Cool". The New York Times. Retrieved November 20, 2012.
  25. ^ Christgau, Robert. "Pazz & Jop 1997: Dean's List". The Village Voice. New York. Retrieved November 20, 2012.
  26. Q
    . London: 87. July 2001.
  27. ^ Keenan, David (September 9, 2001). "The Best Albums Ever ... honest". Sunday Herald. Glasgow. Archived from the original on August 2, 2002. Retrieved November 20, 2012.
  28. CODA
    .
  29. ^ Terrell, Tom (October 1997). Review: Dark Magus. JazzTimes. Retrieved on February 5, 2011.
  30. ^ Considine et al. 2004, p. 219.
  31. ^ McCord, Jeff (December 12, 1997). "Miles and Miles of Miles: The Columbia Legacy". The Austin Chronicle. Retrieved November 20, 2012.

Bibliography

Further reading

External links
Retrieved from "https://en.wikipedia.org/w/index.php?title=Dark_Magus&oldid=1195211331"