Davis Cup is the debut album by American pianist Walter Davis Jr. featuring performances recorded in 1959 and released on the Blue Note label. It would be his only effort for the label and one of the few recordings where he figured as the leader. The Allmusic review by Stephen Thomas Erlewine states "Walter Davis Jr.'s debut record as a leader for Blue Note is a terrific hard bop session, a driving collection of six original tunes that emphasize the strengths not only of the pianist himself, but also his supporting band.
Outstanding three CD set featuring the entire July 1988 15 song performance at the Munich Philharmonic Concert Hall plus a blistering 35 minute version of 'Call It Anything' taken from his1970 Isle of Wight Festival show. The Munich concert features able assistance from Kenny Garrett, Bobby Irving, Adam Holzman and Joseph McCreary amongst others while the Isle of Wight track features Chick Corea, Keith Jarrett, Dave Holland and Jack DeJohnette.
The Johnny Hodges-Wild Bill Davis Project, Vol. 4. BLUE HODGE (LP). This out-of-print LP (which has not yet been reissued on CD) is the earliest of several matchups between altoist Johnny Hodges and organist Wild Bill Davis. With the assistance of Les Spann on guitar and flute, bassist Sam Jones and drummer Louis Hayes, Hodges and Davis mostly stick to fresh material, including three then-recent originals by Gary McFarland. Highlights include "Azure Te," "It Shouldn't Happen to a Dream" and "There Is No Greater Love," in addition to some swinging blues.
For nearly half a century, Miles Davis (1926-1991) was arguably the preeminent innovator in jazz - rarely staying in the same place twice, experimenting with the most cutting-edge styles and ideas he could imagine. This year, some of Miles' most enduring works for Columbia Records are collected the way they were originally heard: MILES DAVIS: THE ORIGINAL MONO RECORDINGS. Each CD, newly remastered by Mark Wilder at Battery Studios, is housed in a mini-LP replica jacket, faithfully replicating the original LP sleeves. They are encased in a quality slipcase, alongside a 40-page booklet with rare photos and brand-new essay offering in-depth, first-hand accounts from George Avakian, who signed Miles to Columbia in 1955, AND play-by-play from mastering engineer Mark Wilder. This is the true genius of Miles Davis as most people first heard it, the way it was intended to be heard: in mono.
Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at Philharmonic Hall is the only one documenting his On the Corner street-funk period, which is immediately obvious from the cover art. Actually, in terms of repertoire, the material from Get Up With It, Big Fun, and A Tribute to Jack Johnson each takes up a greater percentage of space, but the hard-driving rhythms and plentiful effects make it clear which of Davis' fusion aesthetics applied. In Concert begins to move Davis' live work even farther away from jazz tradition, as he largely forgoes concepts of soloing or space.