Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2007.

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Davis s second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. Recorded live at Kix, Boston, Massachusetts on June 27, 1981; Avery Fisher Hall, New York, New York on July 5, 1981; Tokyo, Japan on October 4, 1981.

His guitar chops are impeccable, his tone clean without being thin, and his ability to whip off lick after astonishing lick in a variety of styles while still being his own man puts him at the forefront alongside any new breed innovators. With solid swinging support, Eaglin sounds relaxed and totally in command. His sideways spins on old chestnuts like "Hello Josephine" sound refreshing, while his nod to Smiley Lewis on "Down Yonder (We Go Ballin')" and "Lillie Mae" are spot-on treatments imbued with respect for an old New Orleans running buddy. His soulful reading of Dan Penn's "Nine Pound Steel" sets the stage for a couple of strange (on the surface) choices, the Isley Brothers' "It's Your Thing" and Stevie Wonder's "(Boogie On) Reggae Woman," which Eaglin totally stamps with the full-bore charm of his own personality. But if anyone truly doubts that Eaglin is not a serious bluesman to be reckoned with, one listen to the almost seven minutes of "Black Night" will dispel any such notions, even before the guitar solo hits. While many live albums exude a "guess you had to be there" quality to them, this one makes you wish you had been there.