At Carnegie Hall (Legacy) [Remaster]

Performer: Miles Davis
Artist: Gil Evans; Jerome Richardson; Hank Mobley; Johnny Coles; Wynton Kelly; Julius Watkins; Paul Chambers; Jimmy Cobb
Distributor: Sony Music Distribution (

Notes: Personnel: Miles Davis (trumpet); Gil Evans (arranger, conductor); Hank Mobley (tenor saxophone); Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet); Jimmy Knepper, Dick Hixon, Frank Rehak (trombone); Julius Watkins, Paul Ingrahan, Bob Swisshelm (French horn); Bill Barber (tuba); Romeo Penque, Jerome Richardson, Eddie Caine, Bob Tricarico, Danny Bank (reeds); Janet Putnam (harp); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums); Bobby Rosengarden (percussion). Producer: Teo Macero. Reissue producer: Michael Cuscuna. Recorded live at Carnegie Hall, New York, New York on May 19, 1961. Includes liner notes by Bob Blumenthal. Digitally remastered by Mark Wilder (Sony Music Studios, New York, New York). This two-CD set makes the entire Carnegie Hall concert of May 19, 1961 available again in its entirety. The Miles Quintet at the time--the post-Coltrane, pre-Shorter era band, with its sound balancing bop and cool schools--is joined by an orchestra arranged and conducted by Miles' longtime friend/frequent collaborator Gil Evans. The recording has more than its share of assets. The sound is pristine. Miles' playing is heartbreaking, romantic, and searingly beautiful. The late Hank Mobley's performance proves he is one of jazz history's most under-appreciated soloists (with that firm yet creamy-soft-at-its-core tenor tone). The orchestration, which balances jazz with subtle classical influences, compliments Miles' band but does not compete with it. One of the best live Miles albums available.

Few musicians have managed to change the course of music--trumpeter Miles Davis did it several times. An early disciple of Charlie Parker, Davis created an austere, understated approach that became the model for cool. His superb albums in the 1950s made him a star, and in the following decade, he brought small-group jazz to the limit before he unapologetically (and, for some, unforgivably) took on jazz-rock. After a break, he re-emerged in the '80s with a mixture of pop and dense, bristling funk. All the while, his refusal to follow anyone but his own muse made him both a hero and an enigma--either way, he was one of the most magnetic, influential figures in American music.

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