Seven Steps: The Complete Columbia Recordings of Miles Davis 1963-1964 is an anomaly among the retrospective sets that have been issued from the late artist's catalog. It does not focus on particular collaborations (Miles with Coltrane, Gil Evans, the second quintet), complete sessions of historic albums (Bitches Brew, In a Silent Way, and Jack Johnson), or live runs (Plugged Nickel and Montreux). Instead, it is a portrait of the artist in flux, in the space between legendary bands, when he was looking for a new mode of expression, trying to find the band that would help him get there. These seven CDs begin after the demise of bands that included John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, Jimmy Cobb, and Wynton Kelly, after his landmark Gil Evans period, and even after his attempts at creating a new band with everyone from Frank Strozier and Harold Mabern to Sonny Rollins and J.J. Johnson.
What I Say is a two volume CD album of live recordings of Miles Davis. The album was released on JMY Records label in Italy. Vol. 1 Recorded in Vienna, 5 November 1971 at the Wiener Konzerthaus. Vol. 2 Recorded live at the Wiener Konzerthaus on November 5, 1971 (tracks 1-3), and at the Fillmore West, San Francisco, October 17, 1970 (tracks 4-6).
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.
The Classic Prestige Sessions 1951-1956 collects all of the sides recorded by trumpeter Miles Davis and tenor saxophonist Sonny Rollins for Prestige during their time together as young players in New York City. Both musicians were just past their formative years during this period, having broken free from the heavy sway of their bop elders – especially alto saxophonist Charlie Parker, who appears here in several classic cuts originally released on Collector's Items. Both Davis and Rollins were expanding the bop mold and beginning to discover their own sound. Davis had already made his mark with the innovative West Coast jazz masterpiece Birth of the Cool and was further developing his romantic and cerebral minimalism. Similarly, Rollins was quickly becoming the heir to Parker's throne as the most searching and muscular saxophonist on the scene. The dichotomy of their sounds made Davis and Rollins a perfect rub as jazz partners and these recordings helped foreshadow and define such future jazz movements as hard bop, post-bop, and even free jazz. Included here are such stellar and classic tracks as "Dig," "Oleo," "Down," "The Serpent's Tooth," "Airegin," "Doxy," and "Vierd Blues"." Although all of these recordings are available elsewhere on the original albums, Davis and Rollins' relationship was an incredibly fertile one and it is great to have all of it compiled together.
4 x CD in book/DVD-style tall packaging. Containing 3 rare and previously unreleased concerts from San Francisco 1970, England 1970 and Melbourne Australia 1988. These concerts highlight the genius that was Miles Davies and are also an important piece of jazz history. All discs have been digitally remastered for superior sound quality .The iconic artwork and in dept sleeve notes make this a must have release for all true jazz fans.
Reissue with latest remastering. Comes with new liner notes. The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly's interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses.
Despite the presence of classic tracks like Joe Zawinul's "Great Expectations," Big Fun feels like the compendium of sources it is. These tracks are all outtakes from other sessions, most notably Bitches Brew, On the Corner, and others. The other element is that many of these tracks appeared in different versions elsewhere. These were second takes, or the unedited takes before producer Teo Macero and Miles were able to edit them, cut and paste their parts into other things, or whatever. That is not to say the album should be dismissed.