This fascinating release comprises live recordings made at the end of 1956, when Miles accepted an offer to tour Europe with a formation called the Birdland All Stars, which also included Lester Young and the Modern Jazz Quartet, along with European musicians such as pianist René Urtréger, bassist Pierre Michelot and drummer Christian Garros. We have here the one and only existing evidence of Miles playing with Lester Young and with the MJQ. It also presents a rare occasion to find Miles playing as the sole horn in a quartet format.
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.
The first volume Legacy’s Miles Davis bootleg series offered audio and video evidence of his second great quintet playing the Newport Jazz Festival in Europe in 1967. Acclaim from critics and fans was universal. This second entry, Live in Europe 1969: Bootleg Series, Vol. 2, showcases almost an entirely different band – only saxophonist Wayne Shorter remains. Bassist Dave Holland, drummer Jack DeJohnette, and pianist Chick Corea made up Davis' road band, and other individuals participated in sessions for Filles de Kilimanjaro and In a Silent Way. These fire-breathing performances offer a band at fever pitch hearing and playing what they knew even then was a new chapter in jazz history.
When he released "Bitches Brew" in 1970, Miles Davis opened up a new angle to jazz which stirred up emotions like no other record before. Some critics accused Davis of selling out, while the public bought it like crazy. It is one of the most examined albums of all time, even garnering a box set of the sessions. To date, "Bitches Brew" is one of the top selling jazz albums of all time. "Miles Electric: A Different Kind of Blue" examines the next step in the creative process…performing these songs live. The 1970 Isle of Wight featured an array of performers from The Who to Jethro Tull to Joni Mitchell. With improvisation playing a big role in the performance, the band (Jack DeJohnette, Chick Corea, Keith Jarrett, Gary Bartz and Dave Holland) had to be "on", yet ready to change on the fly. Directed by award-winning producer Murray Lerner, "Miles Electric" sits down with several of the performers who played with Miles, interspersed with his 1970 Isle of Wight performance, as well as artists such as Carlos Santana and Joni Mitchell, who describe the impact Miles Davis had towards music.
Reissue with latest remastering. Comes with new liner notes. 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.
In January 1973, David Liebman, the saxophonist who played on the first sessions of On The Corner let himself be persuaded to play with the group. It really wasn’t his kind of music, but he thought that “it was where things were happening,” and as was his habit, he joined the fray. And it was prodigious, even if Miles had reduced his band in an attempt to radicalize the Afro-funk directions of On The Corner. No more keyboards, except for a few touches by Miles himself and no more Indian instruments.
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.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. Less heralded than their collaboration with Thelonious Monk (as documented on Bags' Groove and Miles Davis and the Modern Jazz Giants), this August 5, 1955 session with vibraphonist Milt Jackson was Davis' last all-star collaboration before the formation of his first classic quintet. It marked a farewell to an older generation of acolytes and fellow travelers; Davis was entering a new era of leadership and international stardom, and generally he would only record with his working groups.