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(1988-1990) The core group lineup for Davis' final ensemble is set (Kenny Garrett, Ricky Wellman, Foley). I hear talk of 1980s-era Davis being past his prime blah blah blah, but I don't recall any other musician in any genre playing with this consistent level of strength, invention, endurance, and relevance at Davis' age (late 50s at the time of these concerts).
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Davis' playing on both 1984 and the second 1985 set is remarkably strong.
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The 1986 concert is a good set, but the bar is raised so high by the 1984-85 performances that it seems a bit less interesting in comparison.
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In 1985 he performs the YOU'RE UNDER ARREST album with a sense of daring and passion missing from that disc. Additionally, the tunes performed show considerable variety, from aggressive funk/jazz to more subtle gems like PACIFIC EXPRESS. Furthermore, he had assembled a fine ensemble that has backed off from the previous decade's cutting edge, offering fiery, inspired playing in a somewhat more conventional yet still bold context, including always provocative solos by Davis and John Scofield. (1984 - 1986) A lot happened with Miles in the interim, but by 1984 Davis' trumpet-playing was back in prime shape. I'd place this with AGHARTA/PANGAEA as the best officially-released documents of this group in a live setting. IMO, this performance is so much better in all respects-including sound quality-than DARK MAGUS and IN CONCERT that there's no comparison. Miles' playing is probably the strongest I've heard him in the 1973-75 period (I also noticed that he seems to use the wah-wah pedal a bit more sparingly than usual, to good effect). After an aggressive first set (which provokes boos from the audience), Davis wins the crowd over with a more subtle second set. (1973) What strikes me is how focused this performance is: you get the unique electronic textures characteristic of Davis' post-ON THE CORNER `70s music, but also a parade of solos (Davis, Dave Liebman, Pete Cosey, and James Mtume) that further overturn the already-inaccurate cliche that this period deemphasized individual expression in favor of a collective approach.