Issued in Japan in 1992, a year after Miles' death, this is the complete Tokyo concert from which "Jean-Pierre" was selected for Columbia's We Want Miles album. Ultimately, it adds corroborative detail to the most publicized comeback in jazz history without revealing any startling new facets. The repertoire is a bit different than on the Columbia release; the selections run together in two continuous medleys. "Back Seat Betty," a two-minute "Ursula," "My Man's Gone Now" and "Aida" ("Fast Track") form the first set, and "Fat Time" and "Jean-Pierre" are heard in the second.
BLACK BEAUTY is the initial live document of Miles Davis' electric music built out of blues, free jazz, and post-modern musical thought. The mood is one of controlled chaos, with each soloist in top form, and group interplay at a near-ESP level. … Full DescriptionThe tracks morph naturally into one another; with well-placed phrases from Miles cueing the players' transitions.
The mercurial groove of "Directions," with Steve Grossman's wailing soprano, disintegrates into Stockhausenesque electronic static waves before unloading into the thick blues throttle of "Miles Runs The Voodoo Down." A trumpet solo on "I Fall in Love Too Easily" briefly slows the pace, but the rest is all forward motion. Dave Holland's rumbling bass and Jack DeJohnette's rolling backbeat power the group, while Airto Moreira furnishes exotic percussive colors. By the time Miles begins blasting trumpet runs at Chick Corea's electric piano on "Spanish Key," the worlds of jazz and improvisational rock have been united, undoubtedly leaving the audience feeling that they'd been struck by musical lightning.
Produced with loving care by Claude Nobs, founder of the Montreux Jazz Festival, with no edits or overdubs, this document of Miles Davis's Montreux performances shows through never-before-released material how Miles and company transformed his music live, with their fire, invention, and interplay. The list of sidemen on these dates is a who's who of today's superstars, including saxophonist Dave Liebman, guitarists John Scofield and Robben Ford, keyboardists Adam Holzman and Kei Akagi, bassist Michael Henderson, and percussionist Mtume. Most of the music on these discs features versions of Davis's fusion "hits." The funky and R&B-ish ditty "Ife" and the bouncy "Calypso Frelimo" are rendered with more gusto than their studio versions, as are the in-the-pocket, mid-'80s tunes "Star People" and "New Blues." A package this big has more than a few surprises, however. Chaka Khan lends her powerful pipes to Davis's unique cover of the Michael Jackson sleeper, "Human Nature," and "Al Jarreau" is an upbeat (though too short) tribute to the great vocalise master.
BLACK BEAUTY is the initial live document of Miles Davis' electric music built out of blues, free jazz, and post-modern musical thought. The mood is one of controlled chaos, with each soloist in top form, and group interplay at a near-ESP level. The tracks morph naturally into one another; with well-placed phrases from Miles cueing the players' transitions.
In July 1956, Miles Davis returned to his hometown for a two-night stint at the infamous Peacock Alley in Gaslight Square. Along for the ride, were four more of the greatest jazz musicians ever, especially when taken as a whole. Nearly fifty years later, the gaslights are gone and Saint Louis locals still don't know what hit them.
Peacock Alley 1956 is a CD reissue of the original AM radio broadcast. Never heard of it? That's due to ambiguous legal concerns. Miles signed exclusive contracts, making widespread marketing of such "bootlegs" impossible. Bottom line: few such treasures exist, here's your chance to own one.
A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more. Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).
A collection of material recorded between 1969 and 1972, the period just after Bitches Brew, Big Fun was not issued until 1974. By then, Davis had moved on in other directions, so it became a much-neglected album. The compositions are too scattered to maintain a focus, but there is much to hear within. For example, this was the album that introduced "Ife," a piece recorded during the On the Corner sessions. Built on the simplest of bass vamps and the skimpiest of melodies, it nonetheless was enough to incite Miles's playing. It stayed in his performance book for years, and turned up on other recordings, such as Dark Magus, Agharta, Pangaea, and In Concert. "Go Ahead, John," from the Jack Johnson period in 1970, has a sublimely nasty (and sonically infuriating) guitar solo from John McLaughlin.
Miles in Berlin is an album recorded on September 25, 1964 by the Miles Davis Quintet at the Philharmonie Hall, Berlin, Germany. Finally this classic set by the Second Quintet is widely available in the US. Berlin isn't quite as clean as Funny Valentine and Four and More, the trumpet is clearly overloading the input level here and there, you can hear the distortion. But don't let that put you off. this is another incredible performance by The Mile Davis Quintet. Reissue Producer: Michael Cuscuna and Bob Belden. Mastered by Mark Wilder.
The Olympia concert of March 1960 is clearly a historically important recording. No fan of Trane or Miles should be without it (and Miles soloes extremely well too, eg on All of You). You cannot get a performance like this on a studio recording - to use a trite phrase, "you had to have been there". Listening to this fierce recording is as close as we can come now to "being there".