Spin - 1/98, p.88Ranked #2
on Spin's list of "Top 10 Reissues."
Spin - 8/97, p.117
"...Miles runs his horn through a wah-wah pedal, lending a mutant-fonky twist to an array of plaintive cries, karate chops, and beautiful bop runs....music of such propulsive psychedelic density that it makes the heaviest P-Funk sound like the Archies..."
Entertainment Weekly - 8/01/97, p.75
"...With his inimitable trumpeting--by turns melancholy, pungent, and lyrical--at the music's center, his electrified cohorts stretch the limits of jazz, rock, and funk..."
- Rating: A
Down Beat - 7/97, p.654 stars (out of 5)
- "...Sly Stone is clearly the pop totem here..."
JazzTimes - 10/97, p.87
"...a visionary performance, IN CONCERT predicts hip hop, Ornette's Prime Time and Talking Heads..."
Musician - 8/97, p.87
"...The ears-open interactivity of Davis' ensembles--that ability to engage in serious musical conversation while flying in the upper atmosphere--is enough to shame any current bebop-babbling jazz automaton..."
Personnel: Miles Davis (trumpet); Carlos Garnett (soprano & tenor saxophones); Cedric Lawson (electric piano, synthesizer); Reggie Lucas (guitar); Khalil Balakrishna (electric sitar); Michael Henderson (electric bass); Al Foster (drums); Badal Roy (tabla); Mtume (percussion).
Producer: Teo Macero.
Reissue producer: Bob Belden.
Recorded live at Philharmonic Hall, New York, New York on September 29, 1972. Originally released on Columbia (32092). Includes liner notes by Bobby Previte.
Digitally remastered by Tom Ruff (Sony Music Studios, New York, New York).
By the time Miles Davis took it to the Philharmonic Hall stage to record IN CONCERT, his electric experimentation was boiling down to a singular Everest-sized epiphany: it's all about the groove! Such exotic touches as tabla and electric sitar help define the global aesthetic he sought.
IN CONCERT cruises at an unwavering, break-neck pace. Cedric Lawson's keyboards and Reggie Lucas' guitar set up swirls of textural color, setting the stage for Miles, who squeezes more electronic nuances out of his fuzzed-up horn than any pedal-happy guitar god. "Jack Johnson" is hard, funky rock, with careening lines of power and majesty. "Black Satin" is a Sly Stone-ish workout; the unmatched acid jazz prototype. The awesome speed of "Right Off" closes the proceedings, Al Foster, Badal Roy and Mtume pushing Davis' trumpet to even greater extremes. By all rights, rhythms this frenzied weren't supposed to exist for another twenty years, but cuts like "Rated X" clearly demonstrate Davis' lack of concern for what was supposed to be.