While there is a plethora of Miles Davis tribute albums out there, this one is interesting for the basic fact that this horn quartet attempts to evoke his spirit without the use of a trumpet. To add spice, they employ African drums, with kalimba and voice. Selim Sivad: The Music of Miles Davis is the fifteenth album by the jazz group the World Saxophone Quartet and their third on the Canadian Justin Time label. The album features performances by Hamiet Bluiett, John Purcell, Oliver Lake and David Murray, with guests Jack DeJohnette, Chief Bey, Okyerema Asante, and Titos Sompa and is dedicated to Miles Davis.
Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles – this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors – it all merges together, pointing toward the dense soundscapes of Miles' later '60s work.
It was hard to miss Sammy Davis Jr. during the 1960s, as he was prominent on the radio with a number of hits, as well as singing, dancing, and doing comedy on TV and acting in films. Yet the contributions of this talented entertainer have been overlooked since his death in 1990. Harold Mabern has long thought of paying tribute to him and this 2012 release conveys the joy of Davis on-stage, even without vocals. The pianist is joined by tenor saxophonist Eric Alexander, bassist John Webber, and drummer Joe Farnsworth, with a mix of songs from musicals, movies and Davis' hit records. The quartet's swinging take of "Mr. Lucky" features strong solos by Mabern and Alexander…
Deluxe 71 disc box set that contains 52 single CD and double CD albums (which includes the previously unreleased full-length audio version of his 1970 Isle Of Wight performance). The essay is complemented by brief annotations written by Franck Bergerot, covering every single one of the 52 albums. The cornerstones of the box set are the studio and live albums that were released during his tenure at the label, more than 40 titles that he recorded in the 1950s, '60s, '70s and '80s.
Rare deluxe compilation that sounds and looks in all ways amazing. Some great picks on here in Miles' own Deception, Gerry Mulligan's Jeru or Baden Powell's Budo for starters. Lovely audophile piece in lovely taste.
None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes.
With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge – slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices.
With the release of the spectral title tune, and the efforts of the Columbia marketing and publicity departments behind him, a thirty-year old Miles Davis entered into a period of extraordinary artistic maturity and growth. And Miles instinctively knew how to cultivate his star quality. Looming behind those shades, was the diffident, sensitive anti-hero–proud and defiant–who only spoke to his audience through his horn, and turned his back on them when the other soloists were blowing. The combination of attitude and intellect was irresistible. Beginning with ROUND ABOUT MIDNIGHT and proceeding through a remarkable succession of famous recordings over the next 30 years, Miles Davis became one of the greatest soloists, arrangers and talent scouts in the history of American music. People who didn't own a single jazz record came to know his name–Miles was a jazz icon.