Miles davis discography download12/27/2022 ![]() Superbly recorded live at Chicago’s Plugged Nickel club, the set finds Miles, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams reinventing small-band jazz with an all-but-psychic flexibility of timing and on-the-fly harmonising. Maybe the best-ever representation of “the second great quintet” at work. The Complete Live at the Plugged Nickel (1995) His long and fruitful relationship with the Canadian composer/arranger Gil Evans gets a spectacular airing on Spanish themes including the smouldering Concierto de Aranjuez, and the quietly conversational Solea. Most at ease in small groups, Miles Davis was also a poetic soloist in concerto-like roles with a big band. The springy, airborne title track is a standout, as is the leader’s incisive improv on Thelonious Monk’s Straight, No Chaser. Milestones (1958)Īlong with Kind of Blue, Milestones is a masterpiece from the 1950s quintet including John Coltrane – expanded to a sextet here by gospel-y alto saxophonist Julian “Cannonball” Adderley. Superb solos from an engaged and attentive Miles, navigating Mikkelborg’s references to all kinds of 20th-century music. In 1985, Denmark’s government awarded Miles Davis its normally classical Sonning prize, and Danish trumpeter Palle Mikkelborg wrote an orchestral suite for the star and – somehow – persuaded him to play on it. The contrast between the reticent, incisive trumpeter and the unquenchable Coltrane is mesmerising. This, with saxophonist John Coltrane, is the dazzling first. The second was the 1960s group including Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. Miles buffs refer to his “first and second great quintets”. Relaxin’ with the Miles Davis Quintet (1958) This classy 50s compilation, including the saxophonist Jackie McLean, pianist Horace Silver and drummer Art Blakey, features both his ballad elegance and some of his most surefooted improv over a bop groove. Miles preferred patience, tension, release and expressiveness of tone to the torrents of notes that often characterised bebop. Photograph: CBS Photo Archive/Getty Images 13. ![]() Miles Davis during rehearsals for an episode of The Robert Herridge Theatre, New York, 1959. Long ignored, the session is on its way to rehabilitation. On the Corner (1972)īill Laswell, Miles’s posthumous remixer, called 1972’s On the Corner “mutant hip-hop” – others have heard dub, pre-punk, drum’n’bass and more in its oceanic, thick-textured, harmony-purged turmoil of multiple keyboards, overdubs, saxes and percussion. Going only by the visuals, the trumpeter reflected the movie’s desolate romanticism perfectly. The director Louis Malle hired a Paris-loving, 31-year-old Miles and a French/US band including the bebop drummer Kenny Clarke to improvise a soundtrack for his noirish 1958 thriller L’Ascenseur Pour L’Echafaud (Lift to the Scaffold). While Laswell’s echoey, bass-pumping, beat-swelling treatments sometimes twist the originals way out of shape, their creator’s spirit runs through it all. Panthalassa: The Music of Miles Davis 1969-1974 (1998)Īudacious but sympathetic remixes by imaginative producer/player Bill Laswell, of music from Miles’s heavily experimental 1970s period, including In a Silent Way. It’s a bit lightweight for its subject, but the Jaco Pastorius tribute is both swinging and soulful, and the title ballad is bittersweet acoustic Miles at his most poignant. Marcus Miller, Miles’s 1980s svengali, scored and glossily produced this late-career set dedicated to South Africa’s liberation from apartheid. ![]() Good originals such as Back Seat Betty, with its wistful trumpet and hard-thumbed Marcus Miller bass hooks, entered the repertoire. Miles comprehensively burned out in 1975, but while his comeback six years later was uncertain, his 1970s edginess was now softened by the rediscovery of his early lyricism. The saxophonist Wayne Shorter broods, the embryonic soul-star George Benson plays terse guitar, Herbie Hancock debuts the formerly unjazzy Fender Rhodes and Tony Williams drums up a perfect storm. Alongside Sonny Rollins and Thelonious Monk, he reveals it here.Ī patchily intriguing set from the next decade, flagging the ever-changing Miles’ migration from free-swinging jazz to rock. But in the 1940s he had been a teenage trumpet hopeful partnering Charlie Parker and by 1954, when this session was recorded, he had an understatedly personal version of the revolutionary bebop sound. In the end, Miles Davis would fascinate jazz, rock and classical fans alike.
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