Review Summary: How is it possible that this jewel was not added here in Sputnik?
It would be redundant to talk about the life of Miles Davis, having so many reviews and websites that have already delved deep into the stellar moments of his life, and it would be a delirium to explain, or at least mention, anyone who collaborated in the creation of this live performance. This is due to the incredibly huge number of people with whom Miles collaborated. Suffice it to mention that Miles employed a whole army of various bassists, pianists, drummers, and percussionists, being able to coordinate and focus them under one vision and personality. It is simply impressive how everyone involved was able to maintain the energy and presence that Miles had in his last days. In each piece, Miles makes it clear who is in charge, especially when we talk about "Human Nature" and "Full Nelson", which are like gold nuggets. Of course, with Miles Davis, everyone gets a chance to shine. We all know how he would often pick complete "nobodies" full of potential and talent, and how he would impress everyone with an "out-of-the-blue" arrangement and tone. That was Miles Davis' signature move, and this live performance clearly shows that.
With every classic, gold live performance, there's the saying that the audience rarely becomes so involved in every piece that they transform into an instrument, adding their own emotion and reactions into the recording. Well, with this performance, the audience was infused with such raw energy and tenderness that they quite literally make sure that Miles and company know that they are at the top of the world. Even when Miles couldn't find the words to express himself most of the time, he choose to let everyone around him know how much he loved them, and, oh, boy, does he let us know with "Mr. Pastorious".
Even if you have a deep understanding of Jazz Fusion, you won't let me lie when I say that only Miles can make you feel so invested in a trumpet solo that lasts just a few seconds. Pop allowed Miles to expand his improvisations, which made him stronger and more versatile than ever. And so, it's obvious that Miles looked at recording and live playing as two different entities. Live shows would allow Miles’ music to change according to the individual imagination and youthful talent of his new arrivals.
Live Around The World is comprised of 11 tracks taken from his final four years on the road. While on tour, Miles switched out players depending on availability and his own desire, sometimes adding more musicians that you could count, as I said earlier. The beauty of these performances is that had it not been for Miles, few of these musicians would've found their way to play together or even the opportunity of playing in front of an audience. Just how on Earth was this not a disaster?
On a nightly basis, Miles managed to pull this music together from this huge diversity. Remember, every musician has a personality, taste, tone, experience, and so on. Miles would appear unannounced minutes before the start of each show, count off the opening number, and offer the occasional nod or pointed finger to start a solo, with just a few notes with his trumpet to give a hint of the next melody.
Finally, though Miles had tunes with which he liked to open and close, showing at least some signs of order, he cultivated an atmosphere of flexibility. New guys just had to focus on following Miles' lead and let themselves pour out all of their beautiful energy. If they screwed up, they could trust Miles to pull them back into the spotlight without losing momentum. In conclusion, here Miles is no longer the silent and timid trumpetist of the '60s, he is a reminder of the talented group he had assembled and the thrill they delivered each time they hit the stage. He is now part of all of those strange lives he touched with his music. He now lives within every single smile and applause. May he rest in peace.
