Reissue. Comes with new liner notes. Available only for a limited period of time until March 20, 2015. 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.
PREVIOUSLY UNISSUED! A complete never before released Miles Davis performance with his 1981 sextet with very good sound quality. Recorded live at the Hollywood Bowl in Los Angeles, the show was taped during Miles' comeback tour after a five-year absence from music (during which time he didn't play or record at all). The concert presents a blend of tunes from his albums The Man With the Horn and We Want Miles, plus a delightful version of "My Man's Gone Now" from Gershwin's Porgy and Bess.
Reissue. Comes with new liner notes. Available only for a limited period of time until March 20, 2015. This cd is the second of 2 put out to chronicle Miles' stay at the Blackhawk in San Francisco in 1961. After a period of transition which included the sometimes uneven results of the "Someday My Prince Will Come" lp, Miles' working band of Hank Mobley on tenor sax, Wynton Kelly on piano, Paul Chambers, bass, and drummer Jimmy Cobb, were coming together as a tight unit. Both dates of the Blackhawk shows are prime examples of the greatness of this working group.
This release contains a complete previously unissued concert by the 1966 Miles Davis Quintet. Recorded at the impressing Oriental Theatre in Portland shortly before it was demolished, it presents the only existing testimony of bassist Richard Davis playing with Miles. Among its many highlights are many great trumpet solos by Miles, including his only existing version of "Who Can I Turn To ?" a free jazzoriented So What, and a beautiful reading of My Funny Valentine.
Back in 1958, Jazz at the Plaza was never meant to be a record; it was a Columbia party at the Plaza, a place jazz had never been played before. Also on the bill were Duke Ellington, Billie Holiday, and Jimmy Rushing. Despite the fine remastering job done by the Sony crew, Jazz at the Plaza remains more a curiosity piece than an essential recording by a remarkable band, strictly because of its dodgy recording quality. The 40-minute set is plagued by the problem of barely being able to hear Davis in places, particularly on the stellar opener, "If I Were a Bell," and Evans is all but absent on much of the record.
This previously unreleased live album features Miles Davis on trumpet, George Coleman playing the tenor saxophone, Herbie Hancock on piano, Ron Carter playing bass and Tony Williams on drums. Produced by Jimmy Lyons, this album was recorded live at the Monterey Jazz Festival on September 22, 1963. All proceeds from this recording go to Monterey Jazz Festival-supported jazz education programs.
Reissue with latest 2014 DSD remastering. Comes with liner notes. A great little set – never issued before, but recorded at the same time as Wilen's classic 1959 album Barney, caught live at the Club St-Germain with a group that includes Kenny Dorham on trumpet, Duke Jordan on piano, Paul Rovere on bass, and Daniel Humair on drums. Like the Barney album, these tracks are fantastic – some of the most open-ended playing that Wilen ever did in the 50s, and proof that his tenor work was some of the best jazz coming out of Europe in the postwar years! All tracks are long – and titles include "Reets & I", "The Best Things In Life Are Free", "All The Things You Are", "Round Midnight", and "Time On My Hands".
Jazz at the Plaza is a live album by Miles Davis. It was recorded in 1958 and released in 1973 by Columbia Records. A great lost live set – recorded in 1958 during that pivotal time when Miles was working with Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Philly Joe Jones. The whole thing's a great example of how the group could hold up the perfection of Kind Of Blue in a live setting – and the long tracks include "Straight, No Chaser", "If I Were A Bell", and "Oleo".