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In Concert (Miles Davis album)
''In Concert'' is a live double album by American jazz musician Miles Davis. It was recorded at the Philharmonic Hall in New York City. Columbia Records' original release did not credit any personnel, recording date, or track listing, apart from the inner liner listing the two titles "Foot Fooler" and "Slickaphonics".
== Critical reception ==
In a contemporary review of the album, Bob Palmer of ''Rolling Stone'' magazine wrote that, although Carlos Garnett's saxophone playing is marginalized, the music is "bracing, popping, at least one step ahead of the many Davis imitators. There are few real surprises, but there's a continuing skein of rhythms, themes and developments that makes fine extended listening." In a 1981 review, Robert Christgau gave ''In Concert'' an "A–" and said that, although "it takes a while to get into gear" and is "pretty narrow in function", its "urban voodoo" has "more going for it rhythmically than ''On the Corner''." In an article for ''The Village Voice'', Christgau wrote of the album upon its reissue in 1997:
According to Allmusic editor Steve Huey, "melody isn't the point of this music; it's about power, rhythm, and the sum energy of the collective, and of Davis' electric jazz-rock albums, ''In Concert'' does one of the most mind-bending jobs of living up to those ideals".〔Huey, Steve (November 1, 2002). (Review: ''In Concert: Live at Philharmonic Hall'' ). Allmusic. Retrieved on 2011-02-26.〕 Erik Davis, writing in ''Spin'' magazine, praised its "rhythmic wall of sound" and said that its music is "of such propulsive psychedelic density that it makes the heaviest P-Funk sound like the Archies." ''JazzTimes'' writer Tom Terrell called Davis "a spiritual Hendrix with his own cosmic band of gypsies", and commented that the album's "visionary performance ... predicts hip hop ('Rated X's bassline = 'White Lines'), Ornette's Prime Time ('Black Satin') and Talking Heads ('Ife')".〔Terrell, Tom (October 1997). (Review: ''In Concert: Live at Philharmonic Hall'' ). ''JazzTimes''. Retrieved on 2011-02-26.〕
In a mixed review, Don Heckman of the ''Los Angeles Times'' criticized Davis' use of the wah-wah effects controller and said that he was "not in particularly exceptional form" because he had "moved more deeply into pounding funk rhythms and fairly static sound textures."〔 In ''The Rolling Stone Album Guide'' (2004), J. D. Considine felt that, although it was "occasionally fascinating, the busily churning rhythms often seem oddly static, as if the band were laboriously treading water."
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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