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Dark Magus is a live double album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded on March 30, , at Carnegie Hall in New York City, during the electric period in the musician's career. He also used the show to audition saxophonist Azar Lawrence and guitarist Dominique Gaumont. Dark Magus was produced by Teo Macero and featured four two-part recordings titled after Swahili names for the numbers one through four. Dark Magus was released after Davis' retirement, upon which his label, Columbia Records , issued several albums of various outtakes. After releasing the live recordings Agharta and Pangaea , Columbia decided that they did not approve of the albums, and Dark Magus was released only in Japan, in by CBS-Sony. Along with Davis' other records during the s, Dark Magus was received ambivalently by contemporary critics, but it inspired noise rock acts during the late s and the experimental funk artists of the s. In retrospective reviews, critics praised its jazz-rock aesthetic and the group members' performances, and some believed certain parts foreshadowed jungle music. Davis was 47 years old when he was asked to play Carnegie Hall in , which followed four years of relentless touring. He had played the venue numerous times before and recorded a live album there in
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Dark Magus is a live recording of a very specific Carnegie Hall date that included most, but not all, of the members who recorded the classics Agharta and Pangaea. Saxophonists David Liebman and Azar Lawrence were doubling in the saxophone chairs, while Dominique Gaumont , with his Jimi Hendrix -styled effects and riffs, was the band's third guitarist. The deep voodoo funk that gelled on the aforementioned recordings hadn't yet come together on this night at Carnegie, near the end of a tour. Featuring four titles, all of them Swahili names for the numbers one through four, Dark Magus is a jam record.
I have always thought that Miles was heavily influenced by the early 70s Detroit rock scene during this phase of his career. These bands mixed hard proto-punk beats with bluesy funk and avant-garde noise and were light years ahead of many other American rock bands as far as the future of rock was concerned. Creative noisy hard rock is hardly the only influence on here. Dark Magus is similar to other 70s recordings by Miles in that he often breaks the beat down into free sections that are sometimes loud and busy, and other times quiet and ominous. These sections always show the usual Stockhausen and Sun Ra influences, but the difference on this record is that Miles has a bigger band and the sound collages are more dense and interesting. Some of my favorite moments happen when Mtume holds a cheap 70s drum machine up to the microphone and creates humanly impossible dense layers of rhythms while the other band members add electronic sounds and incidental percussion. There are some saxophone led hard funk-rock jams occaisonally, but these sections sound more like Crimson's Earthbound album or Band of Gypsys than 70s party music.