Miles Davis: «Тірі Зұлымдық» альбомы

Live Evil is an album of both live and studio recordings by the American jazz musician Miles Davis. Parts of the album featured music from Davis' concert at the Cellar Door in 1970, which producer Teo Macero subsequently edited and pieced together in the studio. They were performed as lengthy, dense jams in the jazz rock style, while the studio recordings consisted mostly of renditions of Hermeto Pascoal compositions. The album was originally released on November 17, 1971.

A number of famous jazz musicians feature on the album, including Keith Jarrett and Jack DeJohnette. One of the key musicians on the album, John McLaughlin, was not a regular member of Miles Davis's band during the time of recording. Davis called McLaughlin at the last minute to join the band for the last of four nights they recorded live at the Cellar Door, as Davis was "looking for an element he hadn't quite nailed down" on the previous nights. Davis had originally intended the album to be a spiritual successor to Bitches Brew, but this idea was abandoned when it became obvious that Live Evil was "something completely different".

The album cover was illustrated by artist Mati Klarwein. Klarwein had painted the front cover independently of Davis, but the back cover was painted with a suggestion from Davis:
"I was doing the picture of the pregnant woman for the cover and the day I finished, Miles called me up and said, 'I want a picture of life on one side and evil on the other.' And all he mentioned was a toad. Then next to me was a copy of Time Magazine which had J. Edgar Hoover on the cover, and he just looked like a toad. I told Miles I found the toad." Record club pressings of the album simply had the album title printed on a black cover.

Live Evil was released by Columbia Records in 1971 to critical acclaim. In a contemporary review for Rolling Stone, Robert Palmer said "this sounds like what Miles had in mind when he first got into electric music and freer structures and rock rhythms". He called the shorter, ballad like recordings "things of great beauty", devoid of solos but full of "stunning, bittersweet lines", while also praising each band member's soloing on the live jams: "Everybody is just playing away, there aren't any weak links, and there isn't any congestion to speak of. Miles reacts to this happy situation by playing his ass off, too". Black World critic Red Scott remarked that all of Live Evils songs "fuse into a perfect complement of musicians passing moods to each other". Pete Welding from Down Beat was less enthusiastic in a two and a half star review, finding the live recordings characterized by "long dull stretches of water treading alternating with moments of strength and inspiration". The magazine's John Corbett later called Live Evil "an outstandingly creative electric collage", Pitchforks Ryan Schreiber believed it was "easily the most accessible of Miles Davis' late '70s [sic] electric releases", describing its music as "at once both sexually steamy and unsettling". He said the live recordings "run the gamut from barroom brawl action funk to sensual bedroom jazz magic, creating two hours of charged eccentricity you'll never forget".