Miles Davis the Complete Guide

Miles Davis The Complete Guide

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Contents Articles Overview Miles Davis Miles Davis Quintet

Studio albums

1 1 17 19

Blue Period

19

Dig

21

Miles Davis and Horns

23

Blue Haze

25

Walkin'

27

Collectors' Items

29

Bags' Groove

31

Miles Davis and the Modern Jazz Giants

33

Musings of Miles

35

Blue Moods

37

Quintet / Sextet

39

Miles: The New Miles Davis Quintet

40

Cookin' with the Miles Davis Quintet

42

Relaxin' with the Miles Davis Quintet

44

Workin' with the Miles Davis Quintet

46

Steamin' with the Miles Davis Quintet

48

'Round About Midnight

50

Miles Ahead

54

Milestones

57

Porgy and Bess

59

1958 Miles

65

Kind of Blue

72

Sketches of Spain

85

Someday My Prince Will Come

88

Quiet Nights

90

Seven Steps to Heaven

92

E.S.P.

94

Miles Smiles

97

Sorcerer

100

Nefertiti

102

Miles in the Sky

105

Water Babies

107

Filles de Kilimanjaro

109

In a Silent Way

114

Bitches Brew

119

A Tribute to Jack Johnson

125

Live-Evil|Live-Evil

128

On the Corner

134

Big Fun

138

Get Up with It

145

The Man with the Horn

149

Star People

151

Decoy

153

You're Under Arrest

155

Tutu

157

Amandla

159

Aura

161

Doo-Bop

164

Live albums

166

Miles Davis Quintet at Peacock Alley

166

Amsterdam Concert

168

Miles Davis at Newport 1958

169

In Europe

171

My Funny Valentine

173

Four & More

176

Miles in Tokyo

179

Miles in Berlin

182

The Complete Live at the Plugged Nickel 1965

184

Live at the Fillmore East, March 7, 1970: It's About that Time

189

Black Beauty: Live at the Fillmore West

191

Miles Davis at Fillmore: Live at the Fillmore East

194

The Cellar Door Sessions

197

In Concert: Live at Philharmonic Hall

200

Jazz at the Plaza

202

Dark Magus

204

Agharta

207

Pangaea

210

Miles! Miles! Miles!

212

We Want Miles

214

The Complete Miles Davis at Montreux

216

Live Around the World

221

Compilation albums

222

Miles Davis Volume 1

222


225

Birth of the Cool

227

Circle in the Round

232

Basic Miles

234

Super Hits

236

Box sets

240

The Columbia Years 1955–1985

240

The Complete Studio Recordings of The Miles Davis Quintet 1965–1968

243

The Complete Bitches Brew Sessions

244

The Complete Columbia Recordings of Miles Davis with John Coltrane

248

The Complete In a Silent Way Sessions

252

In Person Friday and Saturday Nights at the Blackhawk, Complete

254

The Complete Jack Johnson Sessions

261

Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964

265

The Complete On the Corner Sessions

266

Miles Davis: The Complete Columbia Album Collection

276

Videos and films

279

Miles in Paris

279

Dingo

280

Compositions

282

"Donna Lee"

282

"Solar"

283

"Milestones"

284

"All Blues"

286

"Blue in Green"

287

"Flamenco Sketches"

288

"Freddie Freeloader"

289

"So What"

291

Soundtracks

293

Ascenseur pour l'échafaud

293

Music from Siesta

296

Dingo

298

The Hot Spot

301

As sideman and collaboration recordings

305

"Billie's Bounce"

305

Bird on 52nd St.

307

Cool Bird

309

Conception

311

Somethin' Else

314

Miles & Monk at Newport

316

CK

318

Back on the Block

321

Miles & Quincy Live at Montreux

326

Miles Davis & Gil Evans: The Complete Columbia Studio Recordings

328

Related biographies

333

Cannonball Adderley

333

Kei Akagi

336

Don Alias

337

John Beasley

339

Bob Berg

341

Elwood Buchanan

343

Ron Carter

344

Paul Chambers

350

Jimmy Cobb

357

George Coleman

362

John Coltrane

365

Chick Corea

377

Betty Davis

383

Bill Evans (pianist)

386

Bill Evans (saxophonist)

393

Gil Evans

395

Foley

398

Sonny Fortune

399

Al Foster

401

Red Garland

403

Kenny Garrett

406

Herbie Hancock

410

Jimmy Heath

422

Dave Holland

425

Robert Irving III

431

Keith Jarrett

435

Darryl Jones

443

Philly Joe Jones

445

Wynton Kelly

447

Lee Konitz

453

Azar Lawrence

459

Dave Liebman

461

Teo Macero

473

Al McKibbon

478

John McLaughlin

480

Jackie McLean

488

Bennie Maupin

493

Palle Mikkelborg

495

Marcus Miller

496

Airto Moreira

501

Hermeto Pascoal

505

Sam Rivers

508

Badal Roy

512

John Scofield

517

Wayne Shorter

523

Sonny Stitt

529

Gary Thomas

532

Tony Williams

534

Joe Zawinul

540

Related articles and tributes

546

Directions in Music: Live at Massey Hall

546

5892 Milesdavis

548

Selim Sivad: A Tribute to Miles Davis

549

So Near, So Far (Musings for Miles)

551

A Tribute to Miles

553

Discography and lists

555

Discography

555

References Article Sources and Contributors

586

Image Sources, Licenses and Contributors

595

Article Licenses License

599

1

Overview Miles Davis Miles Dewey Davis III

Photo of Davis in 1955 taken by Tom Palumbo Background information Birth name

Miles Dewey Davis III

Born

May 26, 1926Alton, Illinois, United States

Died

September 28, 1991 (aged 65)Santa Monica, California, United States

Genres

Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk jazz rap

Occupations

Bandleader, composer, trumpeter, artist

Instruments

Trumpet, flugelhorn, piano, organ, vocals

Years active

1944–1975, 1980–1991

[1] [2]

Associated acts Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans Website

www.milesdavis.com

[3]

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion. Many well-known musicians rose to prominence as members of Davis' ensembles, including saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, Keith Jarrett and Kei Akagi; guitarists John McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster. On October 7, 2008, his album Kind of Blue, released in 1959, received its fourth platinum certification from the RIAA, signifying sales of 4 million copies.[4] Miles Davis was inducted into the Rock and Roll Hall of Fame in 2006.[5] Davis was noted as "one of the key figures in the history of jazz".[6]

Miles Davis

2

On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the US House of Representatives to recognize and commemorate the album Kind of Blue on its 50th anniversary. The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music."[7] It passed, unanimously, with a vote of 409–0 on December 15, 2009.[8]

Biography Early life (1926–44) Miles Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy. Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato.[9] Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything."[10] Clark Terry was another important early influence. By age 16, Davis was a member of the music society and playing professionally when not at school. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis' mother insisted that he finish his final year of high school. In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson, was out sick. Even after this experience, once Eckstine's band left town, Davis' parents were still keen for him to continue formal academic studies.

New York and the bebop years begin (1944–48) In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music. Upon arriving in New York, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.[9] Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.

Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach, August 1947

Davis dropped out of Juilliard, after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. However, he also acknowledged that Juilliard helped give him a grounding in music theory that would prove valuable in later years.

Miles Davis

3

Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group. This was the first of many recordings to which Davis contributed in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers.[11] In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947. Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his quintet, which also featured Max Roach on drums, Al Haig (replaced later by Sir Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass. With Parker's quintet, Davis went into the studio several times, already showing hints of the style for which he would become known. On an oft-quoted take of Parker's signature song, "Now's the Time", Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that would follow. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York.[12] In 1948, Parker returned to New York, and Davis rejoined his group. Coleman Hawkins and Miles Davis, ca. September 1947

The relationships within the quintet, however, were growing tense. Parker's erratic behavior (attributable to his well-known drug addiction) and artistic choices (both Davis and Roach objected to having Duke Jordan as a pianist[9] and would have preferred Bud Powell) became sources of friction. In December 1948, disputes over money (Davis claims he was not being paid) began to strain their relationship even further. Davis finally left the group following a confrontation with Parker at the Royal Roost. For Davis, his departure from Parker's group marked the beginning of a period in which he worked mainly as a freelancer and as a sideman in some of the most important combos on the New York jazz scene.

Birth of the Cool (1948–49)

Miles Davis on piano with Howard McGhee and Brick Fleagle, September 1947

In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers (including Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan) unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene of the time. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested

Miles Davis the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band" moniker that was to be associated with the combo). Davis took an active role in the project,[13] so much so that it soon became "his project". The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations. The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". It was, in fact, so unusual that Davis had to persuade the Roost's manager, Ralph Watkins, to allow the sign to be worded in this way; he prevailed only with the help of Monte Kay, the club's artistic director. The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebuffed their criticisms.[14] A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the "cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis' group. For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.[9] The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by Davis, who claimed the invention of the cool style and resented the success that was later enjoyed—in large part because of the media's attention—by white "cool jazz" musicians (Mulligan and Dave Brubeck in particular). This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that would bear important results in the years to follow.

Hard bop and the "Blue Period" (1950–54) The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco. Many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in France, but Davis decided to return to New York. Back in the States, he began to feel deeply depressed. The depression was due in part to his separation from Gréco, in part to his feeling underappreciated by the critics (who were hailing Davis' former collaborators as leaders of the cool jazz movement), and in part to the unraveling of his liaison with a former St. Louis schoolmate who was living with him in New York and with whom he had two children.

4

Miles Davis These are the factors to which Davis traces a heroin habit that deeply affected him for the next four years. Though Davis denies it in his autobiography, it is also likely that the environment in which he was living played a role. Most of Davis' associates at the time, some of them perhaps in imitation of Charlie Parker, had drug addictions of their own (among them, sax players Sonny Rollins and Dexter Gordon, trumpeters Fats Navarro and Freddie Webster, and drummer Art Blakey). For the next four years, Davis supported his habit partly with his music and partly by living the life of a hustler.[15] By 1953, his drug addiction was beginning to impair his ability to perform. Heroin had killed some of his friends (Navarro and Freddie Webster). He himself had been arrested for drug possession while on tour in Los Angeles, and his drug habit had been made public in a devastating interview that Cab Calloway gave to Down Beat.[16] Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954 after returning to his father's home in St. Louis for several months and literally locking himself in a room until he had gone through a painful withdrawal. During this period he avoided New York and played mostly in Detroit and other midwestern towns, where drugs were then harder to come by. A widely-related story, attributed to Richard (Prophet) Jennings[17] [18] was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.[19] Despite all the personal turmoil, the 1950–54 period was actually quite fruitful for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.[20] In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis' style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that grew to be his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound was to become so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis. The most important Prestige recordings of this period (Dig, Blue Haze, Bags' Groove, Miles Davis and the Modern Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis' recovery from his addiction. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album. With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues.[21] A few critics[10] go as far as to call Walkin' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time (and of course many of them recorded or played with Davis).

5

Miles Davis Also in this period Davis gained a reputation for being distant, cold, and withdrawn and for having a quick temper. Among the several factors that contributed to this reputation were his contempt for the critics and specialized press and some well-publicized confrontations with the public and with fellow musicians. (One occasion, in which he had a near fight with Thelonious Monk during the recording of Bags' Groove, received wide exposure in the specialized press.)[22] The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice,[23] earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.[24]

First great quintet and sextet (1955–58) Back in New York and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian "Cannonball" Adderley. The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes.[25] The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading figure on the musical scene, contrasted by playing high-energy solos. With the new formation also came a new recording contract. In Newport, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received 'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album. The records became almost instant classics and were instrumental in establishing Davis' quintet as one of the best on the jazz scene. The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians.[26] Davis played some gigs at the Cafe Bohemia with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's film Ascenseur pour l'échafaud. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising. Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis recorded Milestones, an album anticipating the new directions he was preparing to give to his music. Almost immediately after the recording of Milestones, Davis fired Garland and, shortly afterward, Jones, again for behavioral problems; he replaced them with Bill Evans——a young white pianist with a strong classical background——and drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the

6

Miles Davis sextet performed and toured extensively and produced a record (1958 Miles, also known as 58 Sessions). Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.

Recordings with Gil Evans (1957–63) In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well as trumpet. The first, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's "The Duke," as well as Léo Delibes's "The Maids of Cadiz," the first piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the different tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.[27] In 1958, Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites. Sketches of Spain (1959–1960) featured songs by contemporary Spanish composer Joaquin Rodrigo and also Manuel de Falla, as well as Gil Evans originals with a Spanish flavor. Miles Davis at Carnegie Hall (1961) includes Rodrigo's Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans' direction. Sessions with Davis and Evans in 1962 resulted in the album Quiet Nights, a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company; Davis blamed producer Teo Macero, whom he didn't speak to for more than two years.[28] This was the last time Evans and Davis made a full album together; despite the professional separation, however, Davis noted later that "my best friend is Gil Evans."[29]

Kind of Blue (1959–64) In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans' piano style.[30] Both Davis and Evans were personally acquainted with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956.[31] Davis, however, had neglected to inform current pianist Kelly of Evans' role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album.[32] "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven to be both highly popular and enormously influential. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certified as quadruple platinum (4 million copies sold). In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.[33] The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis Jazz Studies Program." [34] In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on."[35] Davis

7

Miles Davis explained that he worked at the nightclub and refused to move.[36] The officer said that he would arrest Davis and grabbed him as Davis protected himself.[35] Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation.[35] Two nearby detectives held the crowd back as a third detective, Don Rolker, approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head.[35] Davis attempted to pursue the case in the courts, before eventually dropping the proceedings in a plea bargain in order to recover his suspended Cabaret Card, enabling him to return to work in New York clubs. Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis' 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in Olympia, Paris (where Davis and Coltrane had played a few months before) and the Live in Stockholm album. In 1963, Davis' longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven. The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be traced through the Seven Steps to Heaven album, In Europe (July 1963), My Funny Valentine (February 1964), and Four and More (also February 1964). The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed. Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this configuration can be heard on Miles in Tokyo! (July 1964). By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the quintet. Shorter became the group's principal composer, and some of his compositions of this era (including "Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first official recording, Miles in Berlin (September 1964). On returning to the United States later that year, ever the musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting The Byrds signed to Columbia Records.

Second great quintet (1964–68) By the time of E.S.P. (1965), Davis' lineup consisted of Wayne Shorter, Herbie Hancock, Ron Carter (bass), and Tony Williams (drums). The last of his acoustic bands, this group is often referred to as "the second great quintet." A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965, released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. It is reasonable to point out though, that whilst some of the titles remain the same as the tunes employed by the 1950s quintet, the speed and distance of departure from the framework of the standards bears no comparison. It could even be said that the listening experience to these standards as live performances is as much of a radical take on the jazz of the time as the new compositions of the studio albums listed below. The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, first appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the USA and Europe in 1982. It was followed by a series of studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de

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Miles Davis Kilimanjaro (1968). The quintet's approach to improvisation came to be known as "time no changes" or "freebop," because they abandoned the more conventional chord-change-based approach of bebop for a modal approach. Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to perform in this way until his retirement in 1975. Miles in the Sky and Filles de Kilimanjaro, on which electric bass, electric piano, and electric guitar were tentatively introduced on some tracks, pointed the way to the subsequent fusion phase of Davis' career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de Kilimanjaro had been recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock would occasionally contribute to future recording sessions. Davis soon began to take over the compositional duties of his sidemen.

Electric Miles (1968–75) Davis' influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix,[5] many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette. Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an occasional standard. In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally."[37] His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music."[38] [39] Both Bitches Brew and In a Silent Way feature "extended" (more than 20 minutes each) compositions that were never actually "played straight through" by the musicians in the studio. Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques.[40] Both records, especially Bitches Brew, proved to be big sellers. Starting with Bitches Brew, Davis' albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, the Grateful Dead, Neil Young, and Santana. Several live albums were recorded during the early 1970s at these performances: Live at the Fillmore East, March 7, 1970: It's About That Time (March 1970), Black Beauty (April 1970), and Miles Davis at Fillmore: Live at the Fillmore East (June 1970).[5]

9

Miles Davis By the time of Live-Evil in December 1970, Davis' ensemble had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and Michael Henderson, often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970. In 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis' own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him. The resulting album, 1971's A Tribute to Jack Johnson, contained two long pieces that featured musicians (some of whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971. As Davis stated in his autobiography, he wanted to make music for the young African-American audience. On the Corner (1972) blended funk elements with the traditional jazz styles he had played his entire career. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album was not promoted by the "traditional" jazz radio stations. After recording On the Corner, Davis put together a new group, with only Michael Henderson, Carlos Garnett, and percussionist Mtume returning from the previous band. It included guitarist Reggie Lucas, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was unusual in that none of the sidemen were major jazz instrumentalists; as a result, the music emphasized rhythmic density and shifting textures instead of individual solos. This group, which recorded in the Philharmonic Hall for the album In Concert (1972), was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute with the band; in 1974, he was replaced by Sonny Fortune. Big Fun (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up With It (1974) collected recordings from the previous five years. Get Up With It included "He Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis' most lauded pieces from this era, "Calypso Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was available in the US; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he was to record for five years. Davis was troubled by osteoarthritis (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), and his performances were routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February 1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his trumpet playing "is of the highest and most adventurous order." After a Newport Jazz Festival performance at Avery Fisher Hall in New York on July 1, 1975, Davis withdrew almost completely from the public eye for six years. As Gil Evans said, "His organism is tired. And after all the music he's contributed for 35 years, he needs a rest." In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as hermit, his house as a wreck, and detailing his drug and sex addictions.[9] In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped

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Miles Davis

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practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, Davis' musical descendants would be in the realm of New Wave rock, and in particular the styling of Prince.

Last decade (1981–91) By 1979, Davis had rekindled his relationship with actress Cicely Tyson. With Tyson, Davis would overcome his cocaine addiction and regain his enthusiasm for music. As he had not played trumpet for the better part of three years, regaining his famed embouchure proved to be particularly arduous. While recording The Man with the Horn (sessions were spread sporadically over 1979–1981), Davis played mostly wahwah with a younger, larger band. The initial large band was eventually abandoned in favor of a smaller combo featuring saxophonist Bill Evans and bass player Marcus Miles Davis at the Nice Jazz Festival in July 1989 Miller, both of whom would be among Davis' most regular collaborators throughout the decade. He married Tyson in 1981; they would divorce in 1988. The Man with the Horn was finally released in 1981 and received a poor critical reception despite selling fairly well. In May, the new band played two dates as part of the Newport Jazz Festival. The concerts, as well as the live recording We Want Miles from the ensuing tour, received positive reviews.

Miles Davis at North Sea Jazz Festival in 1987

By late 1982, Davis' band included French percussionist Mino Cinelu and guitarist John Scofield, with whom he worked closely on the album Star People. In mid-1983, while working on the tracks for Decoy, an album mixing soul music and electronica that was released in 1984, Davis brought in producer, composer and keyboardist Robert Irving III, who had earlier collaborated with him on The Man with the Horn. With a seven-piece band, including Scofield, Evans, keyboardist and music director Irving, drummer Al Foster and bassist Darryl Jones (later of The Rolling Stones), Davis played a series of European gigs to positive receptions. While in Europe, he took part in the recording of Aura, an orchestral tribute to Davis composed by Danish trumpeter

Palle Mikkelborg. You're Under Arrest, Davis' next album, was released in 1985 and included another brief stylistic detour. Included on the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and "Human Nature" from Michael Jackson. Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was scrapped. Davis noted that many of today's accepted jazz standards were in fact pop songs from Broadway theater, and that he was simply updating the "standards" repertoire with new material. 1985 also saw Davis guest-star on the TV show Miami Vice as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" (first aired November 8, 1985).[41]

Miles Davis

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You're Under Arrest also proved to be Davis' final album for Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis' more recent fusion recordings as not being "'true' jazz", comments Davis initially shrugged off, calling Marsalis "a nice young man, only confused". This changed after Marsalis appeared, unannounced, onstage in the midst of a Davis performance. Marsalis whispered into Davis' ear that "someone" had told him to do so; Davis responded by ordering him off the stage.[42] Davis grew irritated at Columbia's delay releasing Aura. The breaking point in the label-artist relationship appears to have come when a Columbia jazz producer requested Davis place a goodwill birthday call to Marsalis. Davis signed with Warner Brothers shortly thereafter. Davis collaborated with a number of figures from the British new wave movement during this period, including Scritti Politti.[43] At the invitation of producer Bill Laswell, Davis recorded some trumpet parts during sessions for Public Image Ltd.'s Album, according to Public Image's John Lydon in the liner notes of their Plastic Box box set. In Lydon's words, however, "strangely enough, we didn't use (his contributions)." (Also according to Lydon in the Plastic Box notes, Davis favorably compared Lydon's singing voice to his trumpet sound.)[44]

Miles Davis 1984 in Bad Segeberg

Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio tools—programmed synthesizers, samples and drum loops—to create an entirely new setting for Davis' playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987. He followed Tutu with Amandla, another collaboration with Miller and George Duke, plus the soundtracks to four movies: Street Smart, Siesta, The Hot Spot, and Dingo. He continued to tour with a band of constantly rotating personnel and a critical stock at a level higher than it had been for 15 years. His last recordings, both released posthumously, were the hip hop-influenced studio album Doo-Bop and Miles & Quincy Live at Montreux, a collaboration with Quincy Jones for the 1991 Montreux Jazz Festival in which Davis performed the repertoire from his 1940s and 1950s recordings for the first time in decades. In 1988 he had a small part as a street musician in the film Scrooged, starring Bill Murray. He received the Grammy Lifetime Achievement Award in 1990. In 1989, Miles was interviewed on 60 Minutes by Harry Reasoner. In early 1991, he appeared in the Rolf de Heer film Dingo as a jazz musician. In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned locals. The performance was one of Davis' last on film. Miles Davis died on September 28, 1991 from the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65.[5] He is buried in Woodlawn Cemetery in The Bronx.[45]

Miles Davis

Legacy and influence Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of music. He has been described as “one of the great innovators in jazz”.[46] The Rolling Stone Encyclopedia of Rock & Roll noted "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music".[47] His album Kind of Blue is the best-selling album in the history of jazz music and was praised by the United States House of Representatives to "pass a symbolic resolution honoring the masterpiece and reaffirming jazz as a national treasure."[48] As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. Statue in Kielce, Poland These include Wayne Shorter,[49] Cannonball Adderley,[50] Herbie Hancock,[51] Cassandra Wilson,[52] Lalo Schifrin,[53] Tangerine Dream,[54] Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Sugizo, Bill Evans, Bill Hardman, The Lounge Lizards, Hugh Masekela, John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Duane Allman, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting,[55] Lonnie Liston Smith, Jiří Stivín, Tim Hagans, Julie Christensen, Jerry Garcia, David Grisman, Vassar Clements, Snooky Young, Prince, and Christian Scott. Miles' influence on the people who played with him has been described by music writer and author Christopher Smith as follows: Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary. [...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance. His approach, owing largely to the African American performance tradition that focused on individual expression, emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz musicians.[56] In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music.[57] Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. In a 2006 survey of people between 10 and 49 years of age in Japan, Oricon Style found "My Funny Valentine" by Davis to be the fifth most popular Valentine's Day song in Japan.[58]

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Miles Davis

Awards • • • • • • • • • • • • • • • •

Winner; Down Beat Reader's Poll Best Trumpet Player 1955 Winner; Down Beat Reader's Poll Best Trumpet Player 1957 Winner; Down Beat Reader's Poll Best Trumpet Player 1961 Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for Sketches of Spain (1960) Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for Bitches Brew (1970) Grammy Award for Best Jazz Instrumental Performance, Soloist for We Want Miles (1982) Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark) Doctor of Music, honoris causa (1986; New England Conservatory) Grammy Award for Best Jazz Instrumental Performance, Soloist for Tutu (1986) Grammy Award for Best Jazz Instrumental Performance, Soloist for Aura (1989) Grammy Award for Best Jazz Instrumental Performance, Big Band for Aura (1989) Grammy Lifetime Achievement Award (1990) Australian Film Institute Award for Best Original Music Score for Dingo, shared with Michel Legrand (1991) Knighted into the Legion of Honor (July 16, 1991; Paris) Grammy Award for Best R&B Instrumental Performance for Doo-Bop (1992) Grammy Award for Best Large Jazz Ensemble Performance for Miles & Quincy Live at Montreux (1993)

• • • • •

Hollywood Walk of Fame Star (February 19, 1998) Rock and Roll Hall of Fame Induction (March 13, 2006) Hollywood's Rockwalk Induction (September 28, 2006) RIAA Quadruple Platinum for Kind of Blue St. Louis Walk of Fame

Sidemen Rhythm section • • • • • • • • •

1950: pianist John Lewis, bassist Al McKibbon, drummer Max Roach 1951: pianist Walter Bishop, Jr., bassist Tommy Potter, drummer Art Blakey 1956: pianist Tommy Flanagan, bassist Paul Chambers, drummer Art Taylor 1955–58: pianist Red Garland, bassist Paul Chambers, drummer Philly Joe Jones 1959–63: pianist Wynton Kelly, bassist Paul Chambers, drummer Jimmy Cobb 1963–68: pianist Herbie Hancock, bassist Ron Carter, drummer Tony Williams 1968–70: pianist Chick Corea, bassist Dave Holland, drummer Tony Williams 1971: pianist Keith Jarrett, bassist Michael Henderson, drummer Jack DeJohnette, percussionist Airto Moreira 1969–72: pianists Joe Zawinul, Chick Corea, Keith Jarrett, Herbie Hancock, Larry Young, Harold Williams, Hermeto Pascoal, Lonnie Liston Smith, Cedric Lawson • 1970s: guitarists John McLaughlin, Reggie Lucas, Pete Cosey, David Creamer, Dominique Gaumont, Cornell Dupree

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Miles Davis

Notes [1] Fadoir, Nick, "Jazz and Hip Hop: You Know, for Kids" (http:/ / www. thebiggreen. net/ 2009/ 10/ 15/ jazz-and-hip-hop-you-know-for-kids/ ), The Big Green, Michigan State University, 15 October 2009. [2] Considine, J.D., "Jazz And Rap A Jarring Mix" (http:/ / articles. sun-sentinel. com/ 1992-07-06/ features/ 9202180225_1_doo-bop-miles-davis-emb), The Baltimore Sun, July 6, 1992 [3] http:/ / www. milesdavis. com/ [4] RIAA database - Gold & Platinum search item Kind of Blue (http:/ / www. riaa. com/ goldandplatinumdata. php?table=SEARCH_RESULTS). Recording Industry Association of America. Retrieved on October 17, 2008. [5] "Miles Davis" (http:/ / www. rockhall. com/ inductee/ miles-davis). The Rock and Roll Hall of Fame. The Rock and Roll Hall of Fame and Museum, Inc.. . Retrieved June 29, 2009. [6] "Miles Davis". The Rock and Roll Hall of Fame. The Rock and Roll Hall of Fame and Museum, Inc.. http:/ / www. rockhall. com/ inductee/ miles-davis. Retrieved June 29, 2009. [7] Associated Press article published December 15, 2009 http:/ / www. google. com/ hostednews/ ap/ article/ ALeqM5iUiZ2PQojIOgYW99dtMTcpluXfmwD9CJTRPO0 [8] House Resolution H.RES.894 http:/ / clerk. house. gov/ evs/ 2009/ roll971. xml [9] Miles Davis and Quincy Troupe, Miles: The Autobiography, Simon and Schuster, 1989, ISBN 0671635042. [10] Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ books?id=6QArFwi9buUC& printsec=frontcover), Da Capo Press, 2001. [11] See the Plosin session database (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=461018). [12] On this occasion, Mingus bitterly criticized Davis for abandoning his "musical father" (see Autobiography). [13] "Miles, the bandleader. He took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and generally cracked the whip." Gerry Mulligan "I hear America singing," [14] "So I just told them that if a guy could play as good as Lee Konitz played—that's who they were mad about most, because there were a lot of black alto players around—I would hire him every time, and I wouldn't give a damn if he was green with red breath. I'm hiring a motherfucker to play, not for what color he is." Miles Davis, Autobiography [15] In his autobiography Davis recalls exploiting prostitutes and getting money from most of his friends. [16] In his autobiography, Davis says he never forgave Calloway for that interview. He also says that African Americans were being unfairly singled out as drug users among the larger community of jazz musicians who used drugs at the time. [17] Crawford, Mark, "Miles Davis: Evil genius of jazz", Ebony (January 1961) pp.69-74 (http:/ / books. google. com/ books?id=GyvbN5PqVCAC& pg=PA74& dq=Miles+ Davis+ Baker's+ Keyboard+ Lounge& hl=en& ei=UGxITf-0Ooeg9ASw7vTXCA& sa=X& oi=book_result& ct=result& resnum=5& ved=0CEUQ6AEwBA#v=onepage& q=Miles Davis Baker's Keyboard Lounge& f=false) [18] Neisenson, Eric, Round About Midnight: A Portrait of Miles Davis Da Capo Press, 1996 ISBN 0306806843, 9780306806841 pp 88-89 (http:/ / books. google. com/ books?id=_-MMx7OGSrQC& pg=PA88& dq=Miles+ Davis+ Baker's+ Keyboard+ Lounge& hl=en& ei=jWVITc-lDInE8ASAg-ThCA& sa=X& oi=book_result& ct=result& resnum=2& ved=0CDQQ6AEwAQ#v=onepage& q& f=false) [19] Davis, Miles and Troup, Quincy, Miles, the Autobiography, Simon and Schuster, 1990 ISBN 0671725823, 9780671725822 pp 173-174 (http:/ / books. google. com/ books?id=xgAVXHhuNYgC& pg=PA173& dq=Miles+ Davis+ Baker's+ Keyboard+ Lounge& hl=en& ei=jWVITc-lDInE8ASAg-ThCA& sa=X& oi=book_result& ct=result& resnum=1& ved=0CC4Q6AEwAA#v=onepage& q& f=false) [20] "Back in bebop, everybody used to play real fast. But I didn't ever like playing a bunch of scales and shit. I always tried to play the most important notes in the chord, to break it up. I used to hear all them musicians playing all them scales and notes and never nothing you could remember." Miles Davis, The Autobiography. [21] Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to Alan Lomax (The Land Where the Blues Began. New York: Pantheon, 1993), African American players working in white establishments would avoid references to the blues altogether. [22] Davis had asked Monk to "lay off" (stop playing) while he was soloing. In the autobiography, Davis says that Monk "could not play behind a horn". Charles Mingus reported this, and more, in his "Open Letter to Miles Davis" (http:/ / www. mingusmingusmingus. com/ Mingus/ miles_davis. html). [23] Acquired by shouting at a record producer while still ailing after a recent operation to the throat – Autobiography [24] Davis began to be referred to as "the Prince of Darkness" in liner notes of the records of this period, and the moniker persists to this day; see, for instance, his obituary (http:/ / findarticles. com/ p/ articles/ mi_hb1367/ is_199111/ ai_n5603401/ ) on "The Nation", and countless references in DVD (http:/ / www. amazon. com/ dp/ B000ALZI3I), movies (http:/ / www. pbs. org/ jazz/ biography/ artist_id_davis_miles. htm) and print articles (http:/ / www. allaboutjazz. com/ php/ article. php?id=29834). [25] Some inspired by Ahmad Jamal: see, for instance, the performance of "Billy Boy" on Milestones. [26] Especially Jones and Coltrane, whom Davis both fired. Davis – Autobiography. [27] Cook, op. cit. [28] Carr, Ian (1999). Miles Davis: the definitive biography (http:/ / books. google. com/ books?id=BmtRIbly1RIC& pg=PA192). Thunder's Mouth Press. pp. 192–93. ISBN 9781560252412. . [29] Lees, Gene. You Can't Steal a Gift: Dizzy, Clark, Milt, and Nat. Yale University Press (2001), p. 24 [30] Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.

15

Miles Davis [31] Ibid., pp. 29–30, 74. [32] Ibid., p. 95. [33] "US House of Reps honours Miles Davis album - ABC News (Australian Broadcasting Corporation)" (http:/ / www. abc. net. au/ news/ stories/ 2009/ 12/ 16/ 2773218. htm). Abc.net.au. 2009-12-16. . Retrieved 2011-01-06. [34] "Taking care of Buddy : News-Record.com : Greensboro & the Triad's most trusted source for local news and analysis" (http:/ / www. news-record. com/ content/ 2009/ 10/ 17/ article/ taking_care_of_buddy). News-Record.com. . Retrieved 2011-01-06. [35] "Was Miles Davis beaten over blonde?" (http:/ / news. google. com/ newspapers?id=5JslAAAAIBAJ& sjid=SfUFAAAAIBAJ& dq=was miles davis beaten over blonde& pg=3151,5145962). Baltimore Afro-American. September 1, 1959. . Retrieved 27 August 2010. [36] "Jazz Trumpeter Miles Davis In Joust With Cops" (http:/ / news. google. com/ newspapers?id=3PQeAAAAIBAJ& sjid=4ooEAAAAIBAJ& pg=2499,2153156& dq=miles-davis+ arrested& hl=en). Sarasota Journal. August 26, 1959. . Retrieved 27 August 2010. [37] Chambers, J. K. (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp. 246.. ISBN 0306808498. [38] Carr, Ian (1998). Miles Davis: The Definitive Biography. Thunder's Mouth Press. pp. 284, 303, 304, 306. ISBN 1560252413. [39] Tingen, Paul (Thursday, April 17, 2008 5:02:21 PM). "Miles Beyond: The Making of Bitches Brew" (http:/ / www. miles-beyond. com/ bitchesbrew. htm). . Retrieved June 29, 2009. [40] Freeman, Philip (November 1, 2005). Running the Voodoo Down: The Electric Music of Miles Davis. San Francisco, CA: Backbeat Books. pp. 83–84. ISBN 978-0879308285. [41] "Miami Vice" Junk Love (1985) (http:/ / www. imdb. com/ title/ tt0647083/ ) at the Internet Movie Database [42] Miles: The Autobiography, Picador, page 364. [43] Intro.de article (in German) (http:/ / www. intro. de/ magazin/ musik/ 23035596?current_page=1). [44] "Fodderstompf" (http:/ / www. fodderstompf. com/ DISCOGRAPHY/ LP/ 3albumLP. html). Fodderstompf. 2009-03-10. . Retrieved 2011-01-06. [45] Latest activity 5 hours ago. "Dark Magus: The Jekyll and Hyde Life of Miles Davis (9780879308759): Gregory Davis, Les Sussman, Clark Terry: Books" (http:/ / www. amazon. com/ dp/ 0879308753). Amazon.com. . Retrieved 2011-01-06. [46] The Complete Jack Johnson Sessions Review (http:/ / www. bbc. co. uk/ music/ reviews/ 6zdp). BBC [47] Miles David Biography (http:/ / www. rollingstone. com/ artists/ milesdavis/ biography). Rolling Stone Magazine [48] US politicians honour Miles Davis album (http:/ / www. rnw. nl/ english/ article/ us-politicians-honour-miles-davis-album). Radio Netherlands Worldwide [49] Wayne Shorter: Artist Profile (http:/ / www. rollingstone. com/ artists/ wayneshorter). Rolling Stone [50] Cannonball Adderley: Artist Profile (http:/ / www. rollingstone. com/ artists/ cannonballadderley). Rolling Stone [51] Herbie Hancock: Artist Profile (http:/ / www. rollingstone. com/ artists/ herbiehancock). Rolling Stone [52] Traveling Miles (http:/ / jazztimes. com/ articles/ 7534-traveling-miles-cassandra-wilson). Jazz Times [53] Lalo Schifrin Biography (http:/ / www. allmusic. com/ artist/ p1383). Allmusic [54] Tangerine Dream Biography (http:/ / www. allmusic. com/ artist/ p2807). Allmusic [55] Sting Biography (http:/ / www. allmusic. com/ artist/ p5536). Allmusic [56] Cristopher Smith: A Sense of the Possible. Miles Davis and the Semiotics of Improvised Performance. TDR, Vol. 39, No. 3 (Autumn, 1995), pp. 41-55. [57] NEC Honorary Doctor of Music Degree (http:/ / necmusic. edu/ about-nec/ awards-honors/ nec-honorary-doctor-music-degree). New England Conservatory [58] "大公開！『バレンタインソング』といえばこの曲！ [The Great Exhibition! When speaking of a "Valentine song", this is the song!]" (http:/ / www. webcitation. org/ 5oIA3Hpll) (in Japanese). Oricon Style. February 3, 2006. Archived from the original (http:/ / www. oricon. co. jp/ news/ ranking/ 11073/ ) on March 17, 2010. . Retrieved March 17, 2010.

References • • • • • • • •

Carr, Ian. Miles Davis. ISBN 0-00-653026-5. Chambers, Jack. Milestones: The Music and Times of Miles Davis. ISBN 0-306-80849-8. Cole, George. The Last Miles: The Music of Miles Davis 1980–1991. ISBN 1-904768-18-0. Cook, Richard (2007). "It's About That Time: Miles Davis On and Off Record". Oxford University Press. ISBN 978-0195322668 Cook, Richard, and Brian Morton. Entry "Miles Davis" in Penguin Guide to Jazz, Penguin, ISBN 0-14-017949-6. Davis, Miles & Troupe, Quincy. Miles: The Autobiography. ISBN 0-671-63504-2. Davis, Gregory. Dark Magus: The Jekyll & Hyde Life of Miles Davis. ISBN 978-0-87930-875-9. Early, Gerald. Miles Davis and American Culture. ISBN 1-883982-37-5 cloth, ISBN 1-883982-38-3, paper.

• Szwed, John. So What: The Life of Miles Davis. ISBN 0-434-00759-5. • Tingen, Paul. Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. ISBN 0-8230-8360-8. (http:// www.miles-beyond.com)

16

Miles Davis • Mandel, Howard (2007). "Miles, Ornette, Cecil: Jazz Beyond Jazz". Routledge. ISBN 0415967147.

External links Web sites dedicated to Miles Davis: • • • • • • • •

Miles Davis (http://www.milesdavis.com) – official website. Miles Davis (http://www.miles-davis.com) – official Sony Music website. Miles Davis (http://www.allmusic.com/artist/p6377) at Allmusic Miles Davis (http://topics.nytimes.com/top/reference/timestopics/people/d/miles_davis/) collected news and commentary at The New York Times Miles Davis (http://www.guardian.co.uk/music/miles-davis) collected news and commentary at The Guardian Works by or about Miles Davis (http://worldcat.org/identities/lccn-n50-35608) in libraries (WorldCat catalog) Miles From India review (http://www.finndian.com/review-miles-from-india) Interview with Bill Boggs (http://http://www.billboggs.com/miles_vid.htm)

Miles Davis Quintet The Miles Davis Quintet was an American cool jazz quintet formed in 1955 by trumpet player Miles Davis. The quintet featured John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on double-bass, Philly Joe Jones on drums and Miles Davis on the trumpet. Although all members of the group are considered very important contributors to the jazz idiom today, at the time of its formation the members of Miles' Quintet were virtually unknown. The Miles Davis Quintet is often referred to as Miles Davis' 'First Great Quintet' to distinguish between Davis' other notable quintet aptly titled the 'Second Great Quintet' (1964-1968), which consisted of Herbie Hancock on piano, Ron Carter on double bass, Tony Williams on drums, and Wayne Shorter on tenor saxophone.

History Miles Davis had already kicked his heroin addiction in early 1954 when he performed such a strong version of Thelonious Monk's "'Round Midnight" at the Newport Jazz Festival in 1955, that Columbia Records signed Davis to a recording contract. This allowed him to assemble a working band.[1] The first recording of the newly formed group was Miles: The New Miles Davis Quintet from 1955. However, Davis had to fulfill the obligations of his contract with Prestige Records for four more albums during this time. These four albums (Cookin' with the Miles Davis Quintet, Relaxin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Steamin' with the Miles Davis Quintet) were recorded within two days during May in 1956 by Rudy Van Gelder. The legendary 1950s quintet recorded one last album for Columbia, 'Round About Midnight. The group was never stable, especially since several of the members were addicted to heroin, and Davis disbanded the group in early 1957. Coltrane and Chambers would continue to record with Davis in the following years, recording the album Kind of Blue (1959) with the addition of Cannonball Adderley on alto sax, which is widely considered Davis' greatest album and one of the greatest jazz albums ever made.

17

Miles Davis Quintet

Second quintet Davis switched between a number of musicians during the time after the breakup of his first quintet, and finally landed four musicians that would make up his Second Quintet. This group of musicians started working together during the 1964 release of Miles in Berlin and continued recording together until the autumn of 1968, recording a great deal of landmark albums for Columbia Records. The performance style of the group was often referred to by Davis as "time, no changes," suggesting an approach founded on time (or rhythm) and freer tonality. The younger members of the group (Ron Carter, Tony Williams, and Herbie Hancock) would incorporate aspects of free jazz while keeping the more modal approach unveiled by Davis on Kind of Blue. When Davis began moving away from the more "straight ahead" sound of his earlier works to a new style that incorporated rock and pop music aspects in the late 1960s, Carter departed in 1968. The remaining trio of Wayne Shorter, Hancock, and Williams would continue to play with Davis during his jazz fusion period, but each member would leave by the end of the 1960's. Those three would be key players in the further development of fusion during the 1970s, Williams forming his band The Tony Williams Lifetime, Hancock with The Headhunters, and Shorter with Weather Report.

References [1] Allmusic Biography of Miles Davis (http:/ / www. allmusic. com/ artist/ p6377)

18

19

Studio albums Blue Period Blue Period

Studio album by Miles Davis Released

1951

Recorded January 17 and October 5, 1951 at Apex Studio, New York Genre

Jazz

Length

18:53

Label

Prestige

Producer Bob Weinstock Professional reviews Allmusic

link

[1]

Miles Davis chronology

Conception (1951)

Blue Period (1951)

Dig (1951)

Blue Period is a 1951 album by Miles Davis. Recorded over the course of two 1951 recording sessions at New York's Apex Studio, it was his first release for Prestige Records, and his major-label debut album. "Bluing" and "Out of the Blue", two Davis compositions, were recorded on October 5, 1951. "Blue Room", composed by Rodgers and Hart, was recorded earlier that year, at a January 17 session. Blue Period has never been reissued on compact disc, but its music is featured on the currently available Miles Davis albums Dig (Tracks 1 and 3) and Miles Davis and Horns (Track 2).

Blue Period

Track listing 1. "Bluing" (Miles Davis) - 9:55 2. "Blue Room" (Rodgers and Hart) - 6:15 3. "Out of the Blue" (Davis) - 2:48

Personnel • • • • • •

Miles Davis - trumpet Jackie McLean - alto saxophone Sonny Rollins - tenor saxophone Walter Bishop, Jr. - piano Tommy Potter - double bass Art Blakey - drums

On "Blue Room" • Miles Davis - trumpet • Bennie Green - trombone • John Lewis - piano • Percy Heath - double bass • Roy Haynes - drums

External Links Miles Davis entry at JazzDisco.org [2]

References [1] http:/ / www. allmusic. com/ album/ r153674 [2] http:/ / www. jazzdisco. org/ miles-davis/ discography/

20

Dig

21

Dig Dig


1951 (12 inch: 1956)

Recorded

October 5, 1951 at Apex Studio, New York

Genre

Jazz

Length

34:45 (Original 10" Format) 44:00 (12" Reissue)

Label

Prestige

Producer

Bob Weinstock Professional reviews

Allmusic

link

[1]


Blue Period (1951)

Dig (1951)

Miles Davis with Horns (1956)

Dig is an album by Miles Davis on Prestige Records, catalogue number 7012. Initially released in the ten-inch format in 1951, at a time when the twelve-inch LP format was reserved for classical music, Dig was later reissued as a twelve-inch LP with additional tracks. Subsequent compact disc reissues duplicate the twelve-inch track listing. After inaugurating the school of cool jazz with the Birth of the Cool recording sessions in 1949 and 1950, Davis almost immediately turned away from that sound in the early 1950s, to which this recording attests. Dig was also the recording debut of saxophonist Jackie McLean.

Dig

22

Track listing All tracks written by Miles Davis except "Paper Moon" by Harold Arlen, Yip Harburg, and Billy Rose, "My Old Flame" by Sam Coslow and Arthur Johnston, and "Conception" by George Shearing.

10" LP Side one 1. "Dig" (7:33) 2. "It's Only A Paper Moon" (5:23) 3. "Denial" (5:39) Side two 1. "Bluing" (9:55) 2. "Out of the Blue" (6:15)

12" LP/CD reissue Side one 1. "Dig" (7:33) 2. "It's Only A Paper Moon" (5:23) 3. "Denial" (5:39) Side two 1. 2. 3. 4.

"Bluing" (9:55) "Out of the Blue" (6:15) "My Old Flame" (4:01) "Conception" (6:34)

Personnel • • • • • • •

Miles Davis - trumpet Jackie McLean - alto saxophone (on Davis originals only) Sonny Rollins - tenor saxophone Walter Bishop, Jr. - piano Tommy Potter - double bass or Charles Mingus - double bass (on "Conception" only) Art Blakey - drums

References [1] http:/ / www. allmusic. com/ album/ r106089


23

Miles Davis and Horns Miles Davis and Horns


1956

Recorded

January 17, 1951 at Apex Studio, New York, February 19, 1953 at Beltone Studio, New York

Genre

Jazz

Length

33:12

Label

Prestige Miles Davis chronology

Dig (1951)

Miles Davis and Horns (1956)

Miles Davis Volume 1 (1955)

Miles Davis and Horns is an album by jazz trumpeter Miles Davis, released in 1956. It was recorded on January 17, 1951 (Tracks 1-4, 9) and February 19, 1953 (Tracks 5-8).

Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.

"Morpheus" (John Lewis) (2:21) "Down" (Miles Davis) (2:51) "Blue Room" (Take 2) (Rodgers & Hart) (3:00) "Whispering" (M. Schonberger, R. Coburn, V. Rose) (3:03) "Tasty Pudding" (Al Cohn) (3:20) "Willie The Wailer" (Cohn) (4:26) "Floppy" (Cohn) (6:00) "For Adults Only" (Cohn) (5:33) "Blue Room" (Take 1) (Rodgers & Hart)


Personnel • Miles Davis - Trumpet • John Lewis - Piano • • • •

Bennie Green - Trombone (Tracks 1-4; 9) Sonny Rollins - Tenor Saxophone (Tracks 1-4; 9) Percy Heath - Bass (Tracks 1-4; 9) Roy Haynes - Drums (Tracks 1-4; 9

• • • • •

Zoot Sims - Tenor Saxophone (Tracks 5-8) Leonard Gaskin - Bass (Tracks 5-8) Kenny Clarke - Drums (Tracks 5-8) Sonny Truitt - Trombone (Tracks 5-8) Al Cohn - Tenor Saxophone (Tracks 5-8)

24

Blue Haze

25

Blue Haze Blue Haze


1954

Recorded May 19, 1953 at WOR Studio, New York; March 15, 1954 at Beltone Studio, New York & April 3, 1954 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

30:05

Label

Prestige Professional reviews

•

Allmusic

link

[1]



Blue Haze (1954)

Walkin' (1954)

Blue Haze is an album recorded in 1953 and 1954 by Miles Davis, for Prestige Records. The first track on the album is from the 3 April 1954 session which resulted in half of the album Walkin' (and was originally included on the 10" vinyl version of that album). The remainder is the result of two sessions on 19 May 1953 and 15 March 1954, the first being a quintet with John Lewis, Charles Mingus (on piano, not bass), Percy Heath and Max Roach, and the second a quartet with Horace Silver, Heath, and Art Blakey. Tracks 2 and 7 are wrongly credited as Davis compositions - they are both in fact by Eddie Vinson (see also Donna Lee for possible explanation of this). However, Vinson supposedly wrote these tunes for Davis, and this is probably how the confusion has occurred.

Blue Haze

26

Track listing Track

Song Title

Written by

1.

I'll Remember April

D. Raye, G. DePaul and P. Johnston 7:52

2.

Four

M. Davis and E. Vinson

4:00

3.

Old Devil Moon

B. Lane and E.Y. Harburg

3:22

4.

Smooch

M. Davis and C. Mingus

3:04

5.

Blue Haze

M. Davis

6:08

6.

When Lights are Low B. Carter and C. Williams

3:25

7.

Tune Up

M. Davis and E. Vinson

3:52

8.

Miles Ahead

M. Davis and G. Evans

4:28

Performers "Smooch", "When Lights are Low", "Tune Up", "Miles Ahead" (19 May 1953): • • • • •

Miles Davis - Trumpet John Lewis - Piano (not on "Smooch") Charles Mingus - Piano ("Smooch" only) Percy Heath - Bass Max Roach - drums

"Four", "Old Devil Moon", "Blue Haze" (15 March 1954): • • • •

Miles Davis - Trumpet Horace Silver - Piano Percy Heath - Bass Art Blakey - drums

"I'll Remember April" (3 April 1954): • • • • •

Time

Miles Davis - Trumpet David Schildkraut - Alto saxophone Horace Silver - Piano Percy Heath - Bass Kenny Clarke - drums


Walkin'

27

Walkin' Walkin'


1954 (10"); 1957 (12")

Recorded April 3 & April 29, 1954 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

37:40

Label

Prestige

Producer Bob Weinstock Professional reviews Allmusic

link

[1] Miles Davis chronology

Blue Haze (1954)

Walkin' (1954)

Collectors' Items (1956)

Walkin' is an album recorded on 3 April and 29 April 1954 by a group led by Miles Davis, for Prestige Records. Credited to the "Miles Davis All-Stars", the first session was a quintet with David Schildkraut on alto saxophone. Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. The second session was a sextet with J. J. Johnson on trombone and Lucky Thompson on tenor saxophone, the rhythm section was the same for both sessions. The original 10" vinyl release included "I'll Remember April", recorded at the quintet session. When reissued on the 12" format, "Love Me or Leave Me" was substituted, and "I'll Remember April" can now be found on the album Blue Haze. The album's title track, a staple of Davis's live set for many years, was also covered by Bobby McFerrin on his 1987 album Spontaneous Inventions.

Walkin'

28

Track listing No. Title

Writer(s)

1. "Walkin'"

R. Carpenter

2. "Blue 'n' Boogie"

Dizzy Gillespie, Frank Paparelli

8:15

3. "Solar"

Miles Davis

4:41

13:24

4. "You Don't Know What Love Is" Gene de Paul (Don Raye wrote the lyrics, but this version is instrumental.)

4:20

5. "Love Me or Leave Me"

6:54

Walter Donaldson (Gus Kahn wrote the lyrics, but this version is instrumental.)

Performers • • • • • • •

Length

Miles Davis - Trumpet Lucky Thompson - Tenor saxophone (tracks 1, 2) J. J. Johnson - Trombone (tracks 1, 2) David Schildkraut - Alto saxophone (tracks 3-5) Horace Silver - Piano Percy Heath - Bass Kenny Clarke - drums

References / Notes [1] http:/ / www. allmusic. com/ album/ r106178/ credits

Collectors' Items

29

Collectors' Items Collectors' Items


1956

Recorded January 30, 1953 and March 16, 1956 in New York City, NY Genre

Jazz

Length

43:47

Label


•

Allmusic

link

[1]


Walkin' (1954)


Bags' Groove (1957)

Collectors' Items is a 1953–1956 studio album by Miles Davis. There are two sessions collected on the album with, apart from Davis, largely different musicians. The first 1953 session is "Compulsion", "The Serpent's Tooth" (two takes) and "'Round About Midnight". The second 1956 session is "In Your Own Sweet Way", "Vierd Blues" and "No Line". The personnel for the first session were Davis, Sonny Rollins and Charlie Parker (credited under the nom de plume "Charlie Chan" due to his contractual obligations to a rival label) on tenor saxes, Walter Bishop on piano, Percy Heath on bass and Philly Joe Jones on drums. For the second session, the tenor sax was Rollins alone, the piano was Tommy Flanagan, the bass Paul Chambers and Art Taylor on drums. According to the sleeve notes by Ira Gitler, the 1953 session was only the second time Parker had recorded on a tenor sax. According to the CD edition's liner notes, that session was the only time Parker and Rollins recorded together. Parker was also billed as "Charlie Chan" on the 1953 album Jazz at Massey Hall.

Collectors' Items

Track listing 1. 2. 3. 4. 5. 6. 7.

"Serpent's Tooth [Take 1]" "Serpent's Tooth [Take 2]" "'Round Midnight" "Compulsion" "No Line" "Vierd Blues" "In Your Own Sweet Way"

Additional tracks not included on the original Prestige vinyl LP: 1. 2. 3. 4. 5.

"Conception" "Nature Boy" "There's No You" "Easy Living" "Alone Together"

"Conception" recorded 5 October 1952 (first released on Prestige 7013), with Miles Davis (trumpet), Sonny Rollins (tenor sax), Walter Bishop (piano), Tommy Potter (bass), Art Blakey (drums); the remainder recorded in 1955 for Debut Records (originally released as the album Blue Moods), with Miles Davis (trumpet), Britt Woodman (trombone), Charles Mingus (bass), Teddy Charles (vibes), Elvin Jines (drums)

Personnel January 30, 1953 session • • • • • •

Miles Davis - Trumpet Sonny Rollins - Tenor Saxophone Charlie Parker ("Charlie Chan") - Tenor Saxophone Walter Bishop - Piano Percy Heath - Bass Philly Joe Jones - Drums

March 16, 1956 session • • • • •

Miles Davis - Trumpet Sonny Rollins - Tenor Saxophone Tommy Flanagan - Piano Paul Chambers - Bass Art Taylor - Drums


30

Bags' Groove

31

Bags' Groove Bags' Groove


1957

Recorded June 29 & December 24, 1954 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

45:53

Label


•

Allmusic

link

[1]



Bags' Groove (1957)

Miles Davis and the Modern Jazz Giants (1958)

Bags' Groove is a jazz album recorded by Miles Davis in 1954 for Prestige Records. Both takes of the title track come from a session on December 24, 1954 ("Bags" was vibraphonist Milt Jackson's nickname). The rest of the album was recorded earlier in the year, on 29 June. (The other tracks from the December session are found on the album Miles Davis and the Modern Jazz Giants. All of the tracks from the December session are on Disc 3 of the Thelonious Monk Complete Prestige Recordings CD box set.) The title composition and the three compositions on the album by the young Sonny Rollins all went on to become jazz standards. The track "Oleo" was the first time that Davis used the Harmon mute on a studio recording. It would become an important part of his trumpet sound for the rest of his career.

Bags' Groove

Track listing 1. 2. 3. 4. 5. 6. 7.

"Bags' Groove" (Milt Jackson) [take 1] – 11:12 "Bags' Groove" [take 2] – 9:20 "Airegin" (Sonny Rollins) – 4:57 "Oleo" (Rollins) – 5:10 "But Not for Me" (George Gershwin) [take 2] – 4:34 "Doxy" (Rollins) – 4:51 "But Not for Me" [take 1] – 5:42

Performers • • • • •

Miles Davis - Trumpet Sonny Rollins - Tenor saxophone Horace Silver - Piano Percy Heath - Bass Kenny Clarke - drums

On "Bags' Groove": • • • • •

Miles Davis - Trumpet Milt Jackson - Vibraphone Thelonious Monk - Piano Percy Heath - Bass Kenny Clarke - drums


32


33

Miles Davis and the Modern Jazz Giants Miles Davis and the Modern Jazz Giants


1958

Recorded 24 December 1954, 26 October 1956 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

41:58

Label

Prestige Professional reviews [1] All About Jazz (favorable) link [2] Allmusic link

• •


Bags' Groove (1957)


Musings of Miles (1955)

Miles Davis and the Modern Jazz Giants is an album recorded by Miles Davis, for Prestige Records. Most of the album comes from a session on 24 December 1954, but "'Round Midnight" is from the sessions by Davis's new quintet in 1956 which resulted in Steamin' with the Miles Davis Quintet and three other albums to fulfill Davis's contract with Prestige. The 1954 session is notable as the only time Thelonious Monk made a studio recording with Davis - the two men did not get on well, as Davis felt Monk ought to be "laying out" (refraining from playing) during the trumpeter's solos. Ira Gitler, who was present at the session and wrote the sleevenotes for the album, dispels the myth that the two men confronted each other physically, but there was argument throughout the session. The first take of "The Man I Love" has a false start caused by Monk asking when he should start playing, and an exasperated Davis telling engineer Rudy Van Gelder, "Hey Rudy, put this on the record, man - all of it!". In his autobiography, Davis recalls "When I heard stories later saying that me and him was almost about to fight after I had him lay out while I was playing on 'Bags' Groove,' I was shocked, because Monk and I were, first, very close, and second, he was too big and strong for me to even be thinking about fighting [...] All I did was tell him to lay out when I was playing. My asking him to lay


34

out had something to do with music, not friendship. He used to tell cats to lay out himself."[3] "Bags' Groove", also recorded at the 1954 session, can be found on the album Bags' Groove.

Track listing Track

Song Title

Originally By

Time

1.

The Man I Love G. Gershwin and I. Gershwin

7:57

2.

Swing Spring

10:44

3.

'Round Midnight B. Hanighen, C. Williams, T. Monk 5:20

4.

Bemsha Swing

5.

The Man I Love G. Gershwin and I. Gershwin

M. Davis

T. Monk and D. Best

9:30 8:29


Miles Davis - Trumpet Milt Jackson - Vibraphone Thelonious Monk - Piano Percy Heath - Bass Kenny Clarke - drums

On "'Round Midnight": • • • • •

Miles Davis - Trumpet John Coltrane - Tenor saxophone Philly Joe Jones - drums Red Garland - Piano Paul Chambers - Bass

References [1] http:/ / www. allaboutjazz. com/ php/ article. php?id=4480 [2] http:/ / www. allmusic. com/ album/ r137472/ review [3] Davis, Miles; Troupe, Quincy (1990). Miles, the Autobiography (http:/ / books. google. com/ books?id=xgAVXHhuNYgC& lpg=PP1& pg=PA80#v=onepage& q& f=false). New York: Simon & Schuster. p. 80. ISBN 9780671725822. . Retrieved 2011-02-04.

Musings of Miles

35

Musings of Miles The Musings of Miles


1955

Recorded

June 7, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey

Genre

Jazz

Length

35:47

Label



The Musings of Miles (1955)

Blue Moods (1955)

The Musings of Miles is an album recorded by Miles Davis for Prestige Records in 1955. The rhythm section of this quartet is the nucleus of the group that later became known as Miles' First Great Quintet. The First Great Quintet would record in the same year. "A Night in Tunisia" features Philly Joe Jones playing with special drum sticks which had bells riveted to the shaft.

Track listing

Musings of Miles

36

Track

Originally By

Time

1.

"Will You Still Be Mine?"

M. Dennis and T. Adair

6:23

2.

"I See Your Face Before Me"

A. Schwartz and H. Dietz

4:46

3.

"I Didn't"

M. Davis

6:06

4.

"A Gal In Calico"

A. Schwartz and L. Robin

5:18

5.

"A Night in Tunisia"

D. Gillespie and F. Paparelli 7:24

6.

"Green Haze"

M. Davis

Performers • • • •

Song Title

Miles Davis - Trumpet Red Garland - Piano Oscar Pettiford - Bass Philly Joe Jones - drums

5:50

Blue Moods

37

Blue Moods Blue Moods


1955

Recorded July 9, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

26:50

Label

Debut America Records (France) Miles Davis chronology

Musings of Miles (1955)

Blue Moods (1955)

Quintet / Sextet (1955)

Blue Moods is 1955 album by Miles Davis. It brings together Miles Davis with Charles Mingus, accompanied by Elvin Jones on drums. The arrangement of "Alone Together" was by Charles Mingus, while the other tracks were arranged by Teddy Charles. It was released on Mingus's own Debut Records label. According to the original sleeve notes, the relatively short playing time of the album was because "the recording was cut at 160 lines per inch (instead of the usual 210 to 260 lines per square inch) making the grooves wider and deeper and allowing for more area between the grooves for bass frequencies […] and was deemed necessary to reproduce the extended bass range and give the listener more quality to that of high fidelity tape recording."

Track listing

Blue Moods

38

Track

Song Title

Time

1.

"Nature Boy"

ahbez

2.

"Alone Together"

Dietz and Schwartz 7:17

3.

"There's No You"

Adair and Hopper

4.

"Easy Living"

Rainger and Robin 5:03

5.

"Smooch (*Bonus)"


Originally By

Miles Davis - Trumpet Britt Woodman - Trombone Charles Mingus - Double Bass Teddy Charles - Vibes Elvin Jones - drums

External links Blue Moods liner notes [1]

References [1] http:/ / www. plosin. com/ milesAhead/ prlp/ deb120. html

6:14

8:06

3:06

Quintet / Sextet

39

Quintet / Sextet Quintet / Sextet


1955

Recorded August 5, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

30:38

Label


Blue Moods (1955)


Miles: The New Miles Davis Quintet (1956)

Quintet / Sextet is an album which compiles recordings made for Prestige Records on 5 August 1955 by Miles Davis. Credited to "Miles Davis and Milt Jackson", this was an "all-star" session, and did not feature any of the members of Davis's working group of the time (Sonny Rollins, Red Garland, Paul Chambers, and Philly Joe Jones). Jackie McLean only plays on his own compositions.

Track listing 1. 2. 3. 4.

"Dr. Jackle" (J. McLean) - 8:52 "Bitty Ditty" (T. Jones) - 6:34 "Minor March" (J. McLean) - 8:14 "Changes" (R. Bryant) - 7:10


Miles Davis - Trumpet Milt Jackson - Vibraphone Jackie McLean - Alto saxophone Ray Bryant - Piano

Quintet / Sextet

40

• Percy Heath - Bass • Arthur Taylor - drums

Miles: The New Miles Davis Quintet Miles: The New Miles Davis Quintet


April 1956

Recorded November 16, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

33:26

Label

Prestige

Producer Bob Weinstock Professional reviews •

Allmusic

link

[1]



Miles: The New Miles Davis Quintet' (1956)

Cookin' (1957)

Miles: The New Miles Davis Quintet is an album recorded on 15 November 1955 by Miles Davis, for Prestige Records. As the name suggests, it was the first to feature his now-famous "first great quintet" (though in fact they had recorded a session for Columbia Records three weeks earlier, eventually released on the album 'Round About Midnight). The album is often known as Miles, since that is the only word on the cover. As with the other albums recorded for Prestige the following year, the quintet was playing familiar material in a fairly straightforward manner. Coltrane does not play on "There is No Greater Love".

Miles: The New Miles Davis Quintet

41

Track listing Track

Song Title

Time

1.

"Just Squeeze Me"

2.

"There Is No Greater Love" Marty Symes and Isham Jones

5:16

3.

"How Am I to Know?"

Dorothy Parker and Jack King

4:37

4.

"S'posin'"

Paul Denniker and Andy Razaf 5:12

5.

"Miles' Theme"

Miles Davis

5:47

6.

"Stablemates"

Benny Golson

5:19


Originally By

Miles Davis - Trumpet John Coltrane - Tenor saxophone Red Garland - Piano Paul Chambers - Bass Philly Joe Jones - drums


Duke Ellington and Lee Gaines 7:25


42

Cookin' with the Miles Davis Quintet Cookin' with the Miles Davis Quintet


1957

Recorded October 26, 1956 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

33:15

Label

Prestige

Producer Bob Weinstock Professional reviews • •

Allmusic Music Box

[1] link [2] link


Miles Cookin Relaxin' (1956) (1957) (1958)

Cookin' with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on the 11th of May 1956 and the 26th of October in the same year resulted in four albums—this one, Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet and Workin' with the Miles Davis Quintet. This was the first of the four to be released. In response to the album title, Davis said, "After all, that's what we did—came in and cooked".[3]



"My Funny Valentine" (Richard Rodgers) – 6:03 "Blues by Five" (Miles Davis) – 9:59 "Airegin" (Sonny Rollins) – 4:27 "Tune Up"/"When Lights Are Low" (Miles Davis)/(Benny Carter, Spencer Williams) – 13:09 All tracks are from the October session.


Miles Davis – trumpet, band leader Paul Chambers – double bass John Coltrane – tenor saxophone Red Garland – piano Philly Joe Jones – drums

References [1] http:/ / www. allmusic. com/ album/ r189102 [2] http:/ / www. musicbox-online. com/ reviews-2007/ miles-davis-cookin. html [3] PRESTIGE LP 7094: Cookin' with The Miles Davis Quintet (http:/ / www. plosin. com/ milesAhead/ prlp/ prlp7094. html). Retrieved 20 July 2008.

43


44

Relaxin' with the Miles Davis Quintet Relaxin' with The Miles Davis Quintet


1958

Recorded May 11 and October 26, 1956 at Rudy Van Gelder Studio, Hackensack, New Jersey Genre

Jazz

Length

36:13

Label

Prestige


Allmusic

link

[1]


Cookin' Relaxin' Steamin' (1957) (1958) (1961)

Relaxin' with The Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on 11 May 1956 and 26 October in the same year resulted in four albums—this one, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet and Cookin' with the Miles Davis Quintet. These four albums are considered to be one of the best performances for the whole hard bop subgenre. The album was remastered by Rudy Van Gelder in 2005 for Prestige Records. This album includes dialogue snippets taken from the original master reel. It also emphasizes the Miles Davis' concentrated ballad-style playing with his medium-register trumpet.


Track listing 1. 2. 3. 4. 5. 6.

"If I Were a Bell" (Frank Loesser) – 8:15 "You're My Everything" (Harry Warren) – 5:18 "I Could Write a Book" (Richard Rodgers) – 5:09 "Oleo" (Sonny Rollins) – 6:18 "It Could Happen to You" (Jimmy van Heusen) – 6:37 "Woody 'n' You" (Dizzy Gillespie) – 5:02

The first four tracks are from the October session, the other two from May.


Miles Davis - Trumpet John Coltrane - Tenor saxophone Red Garland - Piano Paul Chambers - Bass Philly Joe Jones - drums


45


46

Workin' with the Miles Davis Quintet Workin'


September 1959


Jazz

Length

41:59

Label

Prestige


Allmusic

link

[1]


Steamin' Workin' (1961) (1959)

'Round about Midnight (1957)

Workin' with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on the 11th of May 1956 and the 26th of October in the same year resulted in four albums—this one, Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet and Cookin' with the Miles Davis Quintet. Track 2 is a composition written for Davis by Eddie Vinson (see Blue Haze for more details). "Trane's Blues" (also known as "Vierd Blues", a tongue-in-cheek reference to Blue Note founder Francis Wolff's heavily-accented verdict on it), also credited to Davis, is in fact a John Coltrane composition (originally titled "John Paul Jones", and from an earlier session led by bassist Paul Chambers. Before the closing statement of theme, Coltrane and Davis play a bit of Charlie Parker's "The Hymn".) On "Half Nelson", Paul Chambers plays the bassline on a cello.


Track listing 1. 2. 3. 4. 5. 6. 7. 8.

"It Never Entered My Mind" (Richard Rodgers) – 5:26 "Four" (Miles Davis) – 7:15 "In Your Own Sweet Way" (Dave Brubeck) – 5:45 "The Theme" [take 1] (Davis) – 2:01 "Trane's Blues" (a.k.a "Vierd Blues") (John Coltrane) – 8:35 "Ahmad's Blues" (Ahmad Jamal) – 7:26 "Half Nelson" (Davis) – 4:48 "The Theme" [take 2] (Davis) – 1:03

All tracks are from the May session, apart from "Half Nelson", from October.


Miles Davis – Trumpet John Coltrane – Tenor saxophone Red Garland – Piano Paul Chambers – Bass, Cello

• Philly Joe Jones – drums


47


48

Steamin' with the Miles Davis Quintet Steamin'


May 1961


Jazz

Length

39:55

Label

Prestige


Allmusic

link

[1]


Relaxin' Steamin' Workin' (1957) (1961) (1959)

Steamin' with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on May 11, 1956 and October 26 in the same year resulted in four albums—this one, Relaxin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet and Cookin' with the Miles Davis Quintet. This album centers around the improvisations of the quintet as well as the interactions between the members of the quintet.


Track listing 1. 2. 3. 4. 5. 6. 7.

"Surrey with the Fringe on Top" (Richard Rodgers) – 9:07 "Salt Peanuts" (Dizzy Gillespie, Kenny Clarke) – 6:09 "Something I Dreamed Last Night" (Sammy Fain) – 6:17 "Diane" (Lew Pollack, Ernö Rapée) – 7:52 "Well, You Needn't" (Thelonious Monk) – 6:22 "When I Fall in Love" (Victor Young) – 4:25 "Old Devil Moon" (E. Y. "Yip" Hardburg-Burton Lane) – 3:22*

All tracks are from the May session, apart from Well, You Needn't, from October. • Bonus Track (B4): Miles Davis (tp), Horace Silver (p), Percy Heath (b) Art Blakey (d). New York March 15 1954


Miles Davis – Trumpet John Coltrane – Tenor saxophone Red Garland – Piano Paul Chambers – Bass

• Philly Joe Jones – drums


49


50

'Round About Midnight 'Round About Midnight


March 18, 1957

Recorded

October 26, 1955; June 5 and September 10, 1956 30th Street Studios (New York, New York)

Genre

Jazz

Length

38:47 (Original LP) 58:18 (Reissue)

Label

Columbia CL-949

Producer

George Avakian Miles Davis chronology

Workin' with The Miles Davis Quintet (1957)

'Round About Midnight (1957)

Miles Ahead (1957)

'Round About Midnight is an album by jazz musician Miles Davis. It was his debut on Columbia Records, and was originally released in March 1957 (CL 949). The album took its name from the Thelonious Monk song "'Round Midnight". Recording sessions took place at Columbia Studio D on October 26 1955, and at Columbia's 30th Street Studio on June 5 and September 10 1956. 'Round About Midnight is widely recognized by jazz critics as a landmark album in hard bop and one of the greatest jazz albums of all time. On April 17 2001, Sony reissued the album for compact disc on its Columbia/Legacy label, which featured 24-bit remastering and included bonus tracks and master takes from the initial sessions. A further two-disc reissue on June 14, 2005, was released, as part of Sony's Legacy Edition series, which featured the 2001 reissue and a second disc containing Davis' celebrated Newport Jazz Festival of 1955 performance of "'Round Midnight", along with a recording of the quintet's set from the 1956 Pacific Jazz Festival.


Conception At the Newport Jazz Festival in 1955, Davis performed the song "'Round Midnight" as part of an all-star jam session, with the song's composer Thelonious Monk, along with Connie Kay and Percy Heath of the Modern Jazz Quartet, Zoot Sims, and Gerry Mulligan. Davis's solo received an extremely positive reception from many jazz fans, and critics.[1] It was viewed as a significant comeback[1] and indication of a healthy, drug-free Miles (he had in fact been free from heroin addiction for well over a year).[2] Miles's response to this performance was typically laconic: "What are they talking about? I just played the way I always play."[3] George Avakian of Columbia Records was in the audience, and his brother Aram persuaded him that he ought to sign Davis to the label.[4] Davis was eventually signed to Columbia Records, and was able to form his famous "first great quintet" with John Coltrane on saxophone. 'Round About Midnight was to be his first album for his new label. Davis was still under contract to Prestige Records, but had an agreement that he could record material for Columbia to release after the expiry of his Prestige contract. The recording dates for the album were at Columbia Records studios; the first session was on October 27 1955 at Studio D, during which the tracks "Tadd's Delight", "Dear Old Stockholm" and the soon-to-be standard "Bye Bye Blackbird" were recorded. This is the first studio recording of the quintet. The remainder of the album was recorded during sessions on June 5 and September 10 1956 at Columbia's 30th Street Studio. During the same period, the Miles Davis Quintet was also recording albums to fulfill its contract with Prestige. It is however worth noting that the earliest sessions for 'Round About Midnight (that produced "Ah-Leu-Cha", "Two Bass Hit", "Little Melonae" and "Budo") was the first recording to ever be done by this formation of the Miles Davis Quintet.

Reception and influence On release, 'Round About Midnight received an average reception. Ralph Berton of The Record Changer described it as "orthodox, middle-of-the-road conservative progressive jazz." The Penguin Guide to Jazz Recordings states that the recording "sounds like a footnote" to the Prestige contractual obligation sessions (eventually released as the albums Miles, Relaxin', Workin', Steamin', and Cookin'), and that "the material is fine but somehow fails to cast quite the consistent spell which the Prestige recordings do."[5] Throughout the years following its initial reception, 'Round About Midnight's standing among critics has improved significantly. Music writer Eugene Holley, Jr. later praised the album in a review, writing: Stylistically, Midnight encompasses standards (or soon-to-be standards) such as "Dear Old Stockholm", "Bye-Bye Blackbird", Tadd Dameron's "Tadd's Delight", and Jackie McLean's forward-thinking composition "Little Melonae." Miles and company reprise "Budo" from the historic Birth of the Cool sessions. The standout track is Davis's Harmon-muted reading of Thelonious Monk's ballad, "'Round Midnight, which is still a Miles standard bearer... If you want to hear the origins of post-bop modern jazz, this is it.[6] Considered by most to be one of the pinnacles of the hard bop era, the song selection on Midnight represents a summation of the earlier bebop era, with the performances tempered by Davis' inherent lyricism but rooted in the new style as promoted by hard bop pioneers Art Blakey and Horace Silver with the Jazz Messengers, and the Max Roach / Clifford Brown quintet, in 1956 featuring ex-Davis foil Sonny Rollins. Coltrane had yet to become an iconic figure in jazz history, his presence in the Davis Quintet a let-down to many in lieu of the aforementioned Rollins. His style, while embryonically frenetic and searching, was not quite the sheets of sound approach celebrated later in the decade. In April 1957, Coltrane's heroin use would lead to his leaving Davis and working with Monk, and under Monk's tutelage the saxophonist's playing style solidified considerably.

51


Track listing Side one 1. "'Round Midnight" (Monk, Williams) – 6:00 2. "Ah-Leu-Cha" (Parker) – 5:55 3. "All of You" (Porter) – 7:05

Side two 1. "Bye Bye Blackbird" (Henderson) – 7:59 2. "Tadd's Delight" (Dameron) – 4:33 3. "Dear Old Stockholm" (Traditional, arranged by Getz) – 7:55

Legacy edition Disc one Bonus cuts from the 2001 reissue. All songs from October 1955 session, except where noted. 1. "Two Bass Hit" (Gillespie, Lewis) – 3:47 2. "Little Melonae" (McLean) – 7:24 3. "Budo" (Miles Davis, Powell) – 4:17 4. "Sweet Sue, Just You" (Harris, Young) – 3:39 (September 1956 session) Disc two All tracks from the Pacific Jazz Festival of February, 1956 except where noted 1. 2. 3. 4. 5. 6. 7. 8. 9.

"'Round Midnight" – 6:00 (live from the Newport Jazz Festival 1955) Introduction by Gene Norman – 1:35 "Chance It (Max Making Wax)" (Pettiford) – 4:33 "Walkin'" (Carpenter) – 10:02 Dialogue by Gene Norman and Miles Davis – 0:27 "It Never Entered My Mind" (Rodgers, Hart) – 5:17 "Woody 'n' You" (Gillespie) – 5:45 "Salt Peanuts" (Gillespie, Clarke) – 4:33 "Closing Theme" (Davis) – 0:27

Personnel Musicians • • • • •

Miles Davis - trumpet John Coltrane - tenor saxophone Red Garland - piano Paul Chambers - bass Philly Joe Jones - drums

Newport Jazz All-Star Personnel • Miles Davis - trumpet • Zoot Sims - tenor saxophone • Gerry Mulligan - baritone saxophone • Thelonious Monk - piano • Percy Heath - bass

52

'Round About Midnight • Connie Kay - drums

Additional Personnel • • • • • • • • • • • • • •

George Avakian - Producer, Liner Notes Frank Laico - Engineer Teo Macero - Mastering Don Hunstein - Photography Aram Avakian - Photography Dennis Stock - Photography Seth Rothstein - Reissue Project Director Michael Cuscuna - Reissue Producer Bob Belden - Reissue Producer Randall Martin - Reissue Design Ray Moore - Reissue Engineer Mark Wilder - Reissue Engineering and Mastering Howard Fritzson - Reissue Art Director Bob Blumentha Reissue Liner Notes

Notes [1] [2] [3] [4] [5]

Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp. 205–206. ISBN 0-306-80849-8. Davis, Miles (1989). Miles: The Autobiography. Simon & Schuster. pp. 167–170. ISBN 0-671-72582-3. Morgenstern, Dan (2004). Living with Jazz. Random House. ISBN 0-375-42072-X. Carr, Ian (1999). Miles Davis: The Definitive Biography. Thunder's Mouth Press. p. 88. ISBN 1-56025-241-3. Cook, Richard; Brian Morton (2006) [1992]. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.). New York: Penguin. p. 321. ISBN 0-14-102327-9. [6] Amazon.com: Editorial Reviews - 'Round About Midnight (http:/ / www. amazon. com/ Round-About-Midnight-Miles-Davis/ dp/ B00005B58W)

References • Nisenson, E. 'Round About Midnight - A Portrait Of Miles Davis. Da Capo Press, 2nd ed., 1996. • Allmusic - "Round About Midnight (Bonus Tracks)>Credits" (http://www.allmusic.com/album/r630505/ credits). • Jurek, T. - "Round About Midnight (Bound Tracks)>Review" (http://www.allmusic.com/album/r630505/ review).

53

Miles Ahead

54

Miles Ahead Miles Ahead


1957

Recorded May 6, May 10, May 23, May 27 and August 22, 1957 at Columbia 30th Street Studio, New York City Genre

Cool jazz

Length

37:21 (Original LP) 51:57 (CD reissue)

Label

Columbia (CL 1041)

Producer George Avakian, Cal Lampley Professional reviews Allmusic

•

Down Beat

•

Entertainment Weekly (A) link

•

The Independent (favorable) link

•

link

[1]

•

Penguin Guide to Jazz

•

Warr.org

Miles Ahead (1957)

Milestones (1958)

Alternate cover

[3] [4]

link link



[2]

link

[6]

[5]

Miles Ahead

55

LP cover used for reissues

Miles Ahead is a jazz album by Miles Davis that was released in 1957 under Columbia label as CL 1041. This was the first album following Birth of the Cool that Davis recorded with Gil Evans, with whom he would go on to release albums such as Porgy and Bess and Sketches of Spain. Gil Evans combined the ten pieces that make up the album in a kind of suite, each following the preceding one without interruption; the only exception to this rule was on the title track since it was placed last on side A. Davis is the only soloist on Miles Ahead, which also features a prominent horn section of 16 players. Art Taylor played drums on the sessions and current Miles Davis Quintet member Paul Chambers was the bassist. A fifth recording date involved Davis alone (re-)recording material to cover or patch mistakes or omissions in his solos using overdubbing. The fact that this album originally was produced in mono makes these inserted over-dubbings rather obvious in the new stereo setting.

Reception The Penguin Guide to Jazz gave Miles Ahead a four-star rating out of a possible four stars, and called the album "a quiet masterpiece... with a guaranteed place in the top flight of Miles albums."[7] Of Davis' flugelhorn, Kevin Whitehead of Cadence wrote that it "seemed to suit [Davis] better than trumpet: more full-bodied, less shrill, it glosses over his technical deficiencies."[8] The Penguin Guide, on the other hand, opined that "the flugelhorn's sound isn't so very different from his trumpet soloing, though palpably softer-edged.... [S]ome of the burnish seems to be lost."[7]

Album cover Miles reportedly was unhappy about the album's original cover, which featured a photograph of a young white woman and child aboard a sailboat. He made his displeasure known to Columbia executive George Avakian, asking, "Why'd you put that white bitch on there?"[9] Avakian later stated that the question was made in jest. For later releases of the record, however, the original cover-photo has been substituted by a photograph of Miles Davis.


"Springsville" (John Carisi) – 3:27 "The Maids of Cadiz" (Léo Delibes) – 3:53 "The Duke" (Dave Brubeck) – 3:35 "My Ship" (Kurt Weill) – 4:28 •

Ira Gershwin wrote lyrics for this song, but this recording is instrumental.

Miles Ahead 5. "Miles Ahead" (Davis, Evans) – 3:29 6. "Blues for Pablo" (Evans) – 5:18 7. "New Rhumba" (Ahmad Jamal) – 4:37 8. Medley Pt. 1: "The Meaning of the Blues" (Bobby Troup, Leah Worth) – 2:48 9. Medley Pt. 2: "Lament" (J. J. Johnson) – 2:14 10. "I Don't Wanna Be Kissed (By Anyone But You)" (Jack Elliot/Harold Spina) – 3:05 A current CD reissue contains alternate takes of "Springsville", "Miles Ahead" (incorrectly labeled as being one of "Blues for Pablo"), a complete rehearsal take of "The Meaning of the Blues," and "Lament" (recorded as a continuous track by Avakian as a contingency plan) and "I Don't Wanna Be Kissed (By Anyone But You)".


Miles Davis – flugelhorn Bernie Glow – Lead trumpet Ernie Royal – Trumpets Louis Mucci – Trumpets Taft Jordan – Trumpets John Carisi – Trumpets

• • • • • • • • • • • • •

Frank Rehak – Trombones Jimmy Cleveland – Trombones Joe Bennett – Trombones Tom Mitchell – Bass trombone Willie Ruff – Horns Tony Miranda – Horns Bill Barber – Tuba Lee Konitz – Alto sax Danny Bank – Bass clarinet Romeo Penque – Flute and clarinet Sid Cooper – Flute and clarinet Paul Chambers – Bass Art Taylor – Drums

References [1] [2] [3] [4] [5] [6] [7]

http:/ / www. allmusic. com/ album/ r106144 http:/ / www. tower. com/ miles-ahead-davis-cd/ wapi/ 106692997 http:/ / www. ew. com/ ew/ article/ 0,,315776_3,00. html http:/ / findarticles. com/ p/ articles/ mi_qn4158/ is_19981209/ ai_n14204648 http:/ / www. acclaimedmusic. net/ Current/ A1817. htm http:/ / www. warr. org/ miles. html#MilesAhead Cook, Richard; Brian Morton (2006) [1992]. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed.). New York: Penguin. pp. 321. ISBN 0-141-02327-9. [8] Whitehead, Kevin (1994). Ron Wynn. ed. All Music Guide to Jazz. San Francisco: Miller Freeman. p. 196. ISBN 0879303085 [9] Miles Davis and Quincy Troupe, Miles: The Autobiography, Simon and Schuster, 1989, ISBN 0671635042.

56

Milestones

57

Milestones Milestones Studio album by Miles Davis Released

September 2, 1958

Recorded February 4 and March 4, 1958 at Columbia 30th Street Studio, New York City Genre

Jazz

Length

47:36 (LP), 69:00 (CD)

Label

Columbia CL 1193

Producer George Avakian Professional reviews [1] All About Jazz (favorable) link [2] Allmusic link [3] PopMatters (favorable) link

• • •


Miles Ahead (1957)

Milestones (1958)

Porgy and Bess (1958)

Milestones is an album recorded in February and March 1958 by Miles Davis. It is renowned for including Miles' first forays into the developing modal jazz experiments, as noticed on the piece "Milestones" (not to be confused with "Miles" - recorded, by Davis, in 1948), which would be followed to its logical conclusion on Kind of Blue. Furthermore, the playing of his sextet, which featured Cannonball Adderley and John Coltrane contributing on such tracks as "Straight No Chaser", have induced it to be highly regarded by jazz musicians, fans and critics alike. It was also the last time the rhythm section of Jones, Garland and Chambers would ever play with Miles on record. Coltrane returned to Davis’s group in 1958, contributing to the “modal phase” albums Milestones (1958) and Kind of Blue (1959), both considered essential examples of 1950s modern jazz. Davis at this point was experimenting with modes—i.e., scale patterns other than major and minor.[4]

Reception The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "one of the very great modern-jazz albums."[5]

Track listing Side one 1. "Dr. Jackle" - 5:47 (Jackie McLean) 2. "Sid's Ahead" - 12:59 (Miles Davis) 3. "Two Bass Hit" - 5:13 (John Lewis - Dizzy Gillespie)

Milestones

Side two 1. "Milestones" - 5:45 (Davis)[6] 2. "Billy Boy" - 7:14 (traditional, arr. Ahmad Jamal) 3. "Straight, No Chaser" - 10:41 (Thelonious Monk)

CD track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.

"Dr. Jackle" - 5:47 "Sid's Ahead" - 12:59 "Two Bass Hit" - 5:13 "Milestones" - 5:42 "Billy Boy" - 7:10 "Straight, No Chaser" - 10:35 "Two Bass Hit" (Alternate Take) - 4:30 "Milestones" (Alternate Take) - 6:00 "Straight, No Chaser" (Alternate Take) - 10:30

Tracks 3-8 recorded on February 4, 1958; tracks 1 and 2 recorded on March 4, 1958.

Performers • • • • • •

Miles Davis - Trumpet, Piano (on "Sid's Ahead") Cannonball Adderley - Alto saxophone John Coltrane - Tenor saxophone Red Garland - Piano Paul Chambers - Double bass Philly Joe Jones - Drums

Notes [1] [2] [3] [4]

http:/ / www. allaboutjazz. com/ php/ article. php?id=7554 http:/ / www. allmusic. com/ album/ r106105 http:/ / www. popmatters. com/ music/ reviews/ d/ davismiles-milestones. shtml http:/ / www. britannica. com/ EBchecked/ topic/ 1286546/ Milestones Encyclopedia - Britannica Online EncyclopediaProvides complete text of Encyclopaedia Britannica with search capabilities, related... [5] Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th. ed.). New York: Penguin. pp. 321–2. ISBN 0-14-102327-9. [6] Referred to as "Milestones" on Davis' later recordings, and is not to be confused with the earlier "Milestones", a bebop melody written by John Lewis, credited to Davis, first recorded in 1947.

58

Porgy and Bess

59

Porgy and Bess Porgy and Bess


1958

Recorded

July 22–August 18, 1958 30th Street Studio (New York, New York)

Genre

Jazz, third stream, cool jazz

Length

50:53

Label

Columbia CL-1274

Producer

Teo Macero, Cal Lampley Miles Davis chronology

Milestones (1958)


1958 Miles (1958)

Alternative cover

Porgy and Bess

60

UK 45 rpm release

Porgy and Bess is a studio album by jazz musician Miles Davis, released in 1958 on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's opera Porgy and Bess. The album was recorded in four sessions on July 22, July 29, August 4, and August 18, 1958 at Columbia's 30th Street Studio in New York City. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations.[1] Jazz critics have regarded the album as historic.[2] [3]

Background Conception In 1958, Miles Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity.[4] Five years earlier, in 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords.[5] Abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using scales or a series of scales for improvisations.[5] His approach to improvisation came to be known as modal in jazz.[5] Davis saw Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled "thick".[6] Modal composition, with its reliance on scales and modes, represented, as Davis put it,[4] "a return to melody".[7] In a 1958 interview with Nat Hentoff of The Jazz Review, Davis remarked on the modal approach: When Gil wrote the arrangement of "I Loves You, Porgy," he only wrote a scale for me. No chords... gives you a lot more freedom and space to hear things... there will be fewer chords but infinite possibilities as to what to do with them. Classical composers have been writing this way for years, but jazz musicians seldom have.[8] —Miles Davis In early 1958, Miles Davis began using with this approach and his sextet.[9] Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his 1958 album Milestones, which was based on two modes, recorded in April of that year.[9] Instead of soloing in the straight, conventional, melodic way, Davis’s new style of improvisation featured rapid mode and scale changes played against sparse chord changes.[10] [5] Davis' second collaboration with Gil Evans on Porgy and Bess gave him more room for experimentation with Russell's concept and with third stream playing, as Evans' compositions for Davis featured this modal approach.[4]

Porgy and Bess

Adaptation The musical, commercial and critical success of 1957's Miles Ahead helped make future Miles Davis and Gil Evans ventures possible, as it impressed Columbia Records enough for them to bestow further artistic control upon Davis and Evans. At that period, the Samuel Goldwyn film adaptation of the George Gershwin/DuBose Heyward/Ira Gershwin opera Porgy and Bess was in production, set for release in June 1959. The advance publicity for the film was considerable, and with the late-'50s vogue for recorded "jazz versions of...", a number of Porgy and Bess jazz interpretations were released. These ranged from an all-star big band version arranged and conducted by Bill Potts to one by Bob Crosby and the Bobcats. Most were not as memorable as the Miles Davis/Gil Evans version. Following the first collaboration with Evans, Davis followed up on these efforts with much interest in symphonic readings, which, at the time, jazzmen were not known for, and neither were some classically trained musicians known for interpreting jazz scores. However, Miles enlisted members of his sextet, anyway, including Cannonball Adderley and Paul Chambers.

Reception and influence The second in a series of Davis/Evans collaborations, Porgy and Bess was well-received upon its release by music critics and publications, including The New York Times and Los Angeles Times.[16] [20] Music writer Bill Kirchner wrote "In this century's American music, three partnerships have been most influential: Duke Ellington/Billy Strayhorn, Frank Sinatra/Nelson Riddle, and Miles Davis/Gil Evans."[21] As one of Miles Davis' best-selling albums, Porgy and Bess has earned recognition as a landmark album in orchestral jazz. Davis biographer Jack Chambers described the album as "a new score, with its own integrity, order and action." [22] The album's appeal was more widespread among critics following its reissue in 1997. Robert Gilbert of All About Jazz praised Porgy and Bess, stating "one of many great albums that Miles Davis recorded over his lifetime. It reaches a higher plateau than most, though, in its way that it can reach the listener on both a musical and emotional level. That the album is still able to do this after almost forty-five years is a testament to the rare magic that occurred in a New York studio over four days in the summer of 1958."[12] In an August 1997 issue, JazzTimes magazine called Porgy and Bess "possibly the best of the collaborations between Miles and Gil Evans... Evans is justly regarded as the master of modern orchestration and Porgy and Bess shows him at his best."[15] The album was included in Elvis Costello’s "500 Albums You Need" (Vanity Fair, Issue No. 483 11/00)[23] and was also ranked #785 on the Virgin "All-Time Top 1000 Album" list.[24]

Track listing All compositions written by George Gershwin, except otherwise noted; Ira Gershwin and DuBose Heyward wrote lyrics to the opera Porgy and Bess, but these recordings are instrumental.

Side one

61

Porgy and Bess

62

Track

Recorded

1.

8/4/58

2.

Song Title

Writer(s)

Time

The Buzzard Song

G. Gershwin

4:07

7/29/58

Bess, You Is My Woman Now

G. Gershwin

5:10

3.

7/22/58

Gone

Gil Evans

3:37

4.

7/22/58

Gone, Gone, Gone

G. Gershwin

2:03

5.

8/4/58

Summertime

G. Gershwin

3:17

6.

8/4/58

Oh Bess, Oh Where's My Bess?

G. Gershwin

4:18

Side two Track

Recorded

1.

8/4/58

2.

Song Title

Writer

Time

Prayer (Oh Doctor Jesus)

G. Gershwin

4:39

7/29/58

Fisherman, Strawberry and Devil Crab

G. Gershwin

4:06

3.

7/22/58

My Man's Gone Now

G. Gershwin

6:14

4.

7/29/58

It Ain't Necessarily So

G. Gershwin

4:23

5.

7/29/58

Here Come De Honey Man

G. Gershwin

1:18

6.

8/18/58

I Wants to Stay Here (a.k.a. I Loves You, Porgy)

G. Gershwin

3:39

7.

8/4/58

There's a Boat That's Leaving Soon for New York

G. Gershwin

3:23

Bonus tracks Bonus cuts featured on the 1997 compact disc reissue. Track

Recorded

Song Title

Writer

Time

1.

8/18/58

I Loves You, Porgy (take 1, second version)

G. Gershwin

4:14

2.

7/22/58

Gone (take 4)

Gil Evans

3:40

Personnel Musicians • • • • • • • • • •

Miles Davis - trumpet, flugelhorn Ernie Royal, Bernie Glow, Johnny Coles and Louis Mucci - trumpet Dick Hixon, Frank Rehak, Jimmy Cleveland and Joe Bennett - trombone Willie Ruff, Julius Watkins and Gunther Schuller - horn Bill Barber - tuba Phil Bodner, Jerome Richardson and Romeo Penque - flute, alto flute & clarinet Cannonball Adderley - alto saxophone Danny Bank - alto flute & bass clarinet Paul Chambers - bass Jimmy Cobb - drums (except tracks 3,4, 9, & 15)

• Philly Joe Jones - drums (tracks 3, 4, 9, & 15) • Gil Evans - arranger & conductor

Porgy and Bess

Production • Cal Lampley - producer • Frank Laico - recording engineer • Roy DeCarava - cover photo

Notes [1] Album/Product notes and reviews (http:/ / 72. 14. 205. 104/ search?q=cache:f6GHBikMJsAJ:cd. ciao. co. uk/ Porgy_And_Bess_Remastered_Miles_Davis__5969765+ JazzTimes+ (8/ 97,+ p. 106)+ -+ ". . . PORGY+ AND+ BESS& hl=en& ct=clnk& cd=2& gl=us) [2] Porgy and Bess Presentation Zankel Hall, NYC (http:/ / www. allaboutjazz. com/ php/ news. php?id=17228) [3] Larkin, Colin. " Review: Porgy and Bess (http:/ / www. acclaimedmusic. net/ Current/ A1841. htm)". Virgin Encyclopedia of Popular Music: March 1, 2002. [4] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC& pg=PA67& vq="Modal+ jazz,"& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. pp. s. 67–68. ISBN 0-306-81067-0. . [5] "George Russell - About George" (http:/ / www. georgerussell. com/ gr. html). Concept Publishing. . Retrieved 2008-07-27. [6] Kahn (2001), p16. [7] Palmer, Robert (1997). "Liner Notes to 1997 Reissue" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master. html). Kind of Blue (CD). New York, NY: Sony Music Entertainment, Inc./Columbia Records. [8] Nat Hentoff, "An Afternoon with Miles Davis", The Jazz Review, December 1958. [9] "allmusic {{{Milestones > Overview}}}" (http:/ / www. allmusic. com/ album/ r106105). All Media Guide, LLC.. . Retrieved 2008-07-27. [10] "Miles Davis: Jazz at the Plaza < Music - PopMatters" (http:/ / www. popmatters. com/ pm/ review/ 16671/ davismiles-jazzattheplaza). PopMatters.com. . Retrieved 2008-07-27. [11] Planer, Lindsay. Review: Porgy and Bess (http:/ / www. allmusic. com/ album/ r106094). Allmusic. Retrieved on 2009-07-21. [12] Gilbert, Robert. Review: Porgy and Bess (http:/ / www. allaboutjazz. com/ php/ article. php?id=11204). All About Jazz. Retrieved on 2008-12-21. [13] Sandow, Greg. Review: Porgy and Bess (http:/ / www. ew. com/ ew/ article/ 0,,315776_3,00. html). Entertainment Weekly. Retrieved on 2009-07-20. [14] Emmons, Steve. Review: Porgy and Bess (http:/ / articles. latimes. com/ 1992-12-03/ news/ ol-2119_1_miles-davis). Los Angeles Times: December 3, 1992. [15] Columnist. " Review: Porgy and Bess (http:/ / www. tower. com/ porgy-bess-miles-davis-cd/ wapi/ 106693134)". JazzTimes: 106. August 1997. [16] Wilson, John S. " Review: Porgy and Bess (http:/ / select. nytimes. com/ gst/ abstract. html?res=F70D13FC3F59127A93C5AB1782D85F4D8585F9)". The New York Times: X13. September 27, 1959. [17] Cook, Richard. "Review: Porgy and Bess". Penguin Guide to Jazz: 376. September 2002. [18] Hoard, Christian. " Review: Porgy and Bess (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone: 214–217. November 2, 2004. [19] Morris, Chris. Review: Porgy and Bess (http:/ / www. webcitation. org/ 5tEuWgxQ0). Yahoo! Music. Retrieved on 2009-07-20. [20] George, Wally. " Review: Porgy and Bess (http:/ / pqasb. pqarchiver. com/ latimes/ access/ 485176932. html?dids=485176932:485176932& FMT=CITE& FMTS=CITE:AI& type=historic& date=Jun+ 07,+ 1959& author=& pub=Los+ Angeles+ Times& desc=Court+ of+ Records& pqatl=google)". Los Angeles Times: J61. June 7, 1959. [21] Kirchner, Bill. Bill Kirchner's liner notes from the 6-CD box set Miles Davis & Gil Evans: The Complete Studio Recordings. Sony Music Entertainment Inc.. [22] Chambers, Jack. Porgy and Bess album liner notes. Sony Music Entertainment Inc.. [23] Elvis Costello’s 500 Albums You Need at rocklist.net (http:/ / www. rocklistmusic. co. uk/ elvis_costello. htm) [24] top 1000 album list (http:/ / www. rocklistmusic. co. uk/ virgin_1000. htm)

63

Porgy and Bess

References • "The Golden Anniversary of Miles Davis's 'Porgy & Bess'" (http://www.jazz.com/dozens/ the-dozens-the-golden-anniversary-of-porgy-and-bess) by Alan Kurtz et al., ( Jazz.com (http://www.jazz.com)) • Nathan Brackett, Christian Hoard (2004). The New Rolling Stone Album Guide. Completely Revised and Updated 4th Edition. Simon and Schuster. ISBN 0-74320-169-8. • Richard Cook, Brian Morton (2002). The Penguin Guide to Jazz on CD‎. Edition 6. Penguin. ISBN 0140515216. • Porgy and Bess liner notes by Charles Edward Smith & Bill Kirchner. Sony Music Entertainment Inc.. • Colin Larkin (2002). Virgin Encyclopedia of Popular Music. Edition 4. Virgin Books. ISBN 1852279230.

External links • Porgy and Bess (http://www.discogs.com/Miles-Davis-Porgy-And-Bess/master/65105) at Discogs • Accolades: Porgy and Bess (http://www.acclaimedmusic.net/Current/A1841.htm) at Acclaimed Music

64

1958 Miles

65

1958 Miles 1958 Miles


1958 (see release history)

Recorded

September 9 and May 26, 1958 30th Street Studio, Plaza Hotel (New York, New York)

Genre

Jazz, hard bop, modal jazz

Length

63:50

Label

Columbia SL-1268

Producer

Teo Macero Miles Davis chronology


1958 Miles (1958)

Kind of Blue (1959)

Reissue cover

1958 Miles

66

Davis' sextet performing at the Plaza Hotel

1958 Miles is an album by American jazz musician Miles Davis, released in 1958 on Columbia Records.[1] [2] Recording sessions for the album took place on May 26, 1958 at Columbia's 30th Street Studio and September 9, 1958 at the Plaza Hotel in New York City. 1958 Miles consists of three songs featured on the A-side of the LP album Jazz Track, which was released earlier in 1958, and three recordings from Davis' live performance at the Plaza Hotel with his ensemble sextet.[2] [3] The recording date at 30th Street Studio served as the first documented session to feature pianist Bill Evans performing in Davis' group. The sessions for the album in mid-1958, along with the Milestones sessions from earlier that year, were seen by many music writers as elemental in Miles Davis' transition from bebop to the modal style of jazz and were viewed as precursors to his most well-known work, Kind of Blue.[2] [4] Following audio engineering and digital restoration by engineer Larry Keyes at Sony Music New York Studio, the album was reissued on compact disc in 1991 as part of Columbia's Jazz Masterpieces Series.[5] For later reissues, the album was retitled as '58 Sessions Featuring Stella by Starlight or '58 Miles Featuring Stella by Starlight.[5] [6] The complete 1958 sessions for Columbia were issued on the box set The Complete Columbia Recordings of Miles Davis with John Coltrane, and Jazz at the Plaza was reissued in 2001.[7]

Background Conception "No chords... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically inventive you can be... fewer chords but infinite possibilities as to what to do with them. [8]

Miles Davis, on using musical modes rather than chord progression as a harmonic framework, October 1958, The Jazz Review

In 1958, Miles Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering musical creativity.[8] Five years earlier, jazz pianist, composer and theorist George Russell published his Lydian Chromatic Concept of Tonal Organization (1953), which offered an alternative to the practice of musical improvisation based on chords.[9] Abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using musical scales, or a series of scales, for improvisations.[9] Russell's approach to improvisation came to be known as modal in jazz.[9] Davis viewed Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled as "thick."[10] In contrast to the conventional method of composing during the time, modal compositions were to be written as a series of sketches in which each performer is given a set of scales that defines the parameters of their

1958 Miles

67

improvisation.[11] Modal composition, with its reliance on musical scales and modes, represented, as Davis called it,[8] "a return to melody."[11] According to Davis, "Classical composer—some of them—have been writing this way for years, but jazz musicians seldom have".[8] In early 1958, Davis began using this approach with his sextet, a jazz ensemble made up of alto sax player Julian "Cannonball" Adderley, tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones.[12] Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of Milestones (1958), which was based on two modes, recorded in April of that year.[12] Instead of soloing in the straight, conventional, melodic way, Davis’s new style of improvisation featured rapid mode and scale changes played against sparse chord changes.[13] [9] Davis' acclaimed collaboration with Gil Evans on Porgy and Bess gave him an opportunity to experiment with Russell's concept, as Evans' third stream compositions for Davis contained only a musical scale and no chords, the basis for modality.[8]

The Sextet Following the historic Milestones sessions, Davis made some significant personnel changes. By the time John Coltrane had returned from Thelonious Monk's quartet to Davis's sextet, pianist Red Garland and drummer Philly Joe Jones were replaced by Bill Evans and Jimmy Cobb.[2] Problems with money, tardiness, attitude and heroin preceding the Milestones sessions troubled Garland and Jones.[14] During one of these sessions, an incident occurred between Davis and Garland when he was playing piano on the song "Sid's Ahead". Apparently, Davis leaned over his pianist's shoulder, commenting on his piano playing. What was said by Davis is still unknown, but it was enough to make Garland leave the studio, leaving Davis to play piano on the track and straining the friendship between the two musicians.[14] Afterwards, Bill Evans was hired by Davis for his rich precision and ability to understate the piano's solo voice.[15] While Davis was fascinated and taken with the new sound Evans brought and the challenges it inspired, the remainder of the band, including Julian "Cannonball" Adderley, preferred Garland's harder, more rhythmic sound.[15] In a 1960 column for Down Beat magazine, Adderley elaborated on his initial reaction to the change, stating "Especially when he started to use Bill Evans, Miles changed his style from very hard to a softer approach. Bill was brilliant in other areas, but he couldn't make the real things come off."[15] Despite his preference for a harder piano style, Adderley opened up to the new sound. He later used Bill Evans on a July 1958 session for his Portrait of Cannonball LP.[15] Evans' unique piano sound and Davis' experiments with modal jazz would culminate on the '58 Sessions. Documented in a studio session from May 1958 at Columbia's 30th Street Studio and a live gig at the Plaza Hotel's Persian Room in September of that same year, these sessions marked the advent of Davis' new sextet, during what had already become a pivotal year for Davis.[2]

Music Studio session The entire session has an informal feel that is unusual for a studio date. Upon hearing it again I immediately knew why I was so taken with it those many years ago. [2]

Ira Gitler, on the recording session, June 1979

Featured as the first side of 1958 Miles, the May 26 session took place at Columbia's 30th Street Studio in New York City.[16] The songs recorded were previously issued on the second side of Jazz Track, an LP that consisted mostly of songs composed by Davis for the soundtrack to the 1958 French film Ascenseur pour l'échafaud.[3] In contrast to the mood pieces composed for the film, the May session featured Davis' growing curiosity in modal jazz and the relationship of fewer chords and variations with melody. This was the first studio session to feature Bill Evans and Jimmy Cobb in the new sextet, recording on Davis' thirty-second birthday.[17] A different aesthetic was in place during the session, as Bill Evans' first rhapsodic, impressionistic chords on "On Green Dolphin Street" highlighted the mid-tempo track, while Jimmy Cobb's brush technique grooved behind Davis' trumpet solo. John Coltrane and "Cannonball" Adderley doubled and tripled-up their syncopations over Paul

1958 Miles

68

Chambers' transparent counterpoint, as Cobb and Evans pealed away on their instruments, sharing solos with Davis, Addeley and Coltrane.[7] The contrast between hot melodic variations and cool, laid back swing gave the whimsical "Fran Dance" (according to Ira Gitler's liner notes, the song was named after Davis' wife Francis),[2] the romantic "Stella by Starlight", and the jumping "Love for Sale" their elemental tension. This contrast represented Davis' transitional stage between bebop and modality; standard chords and musical variety.[8] The sessions were also notable for featuring Coltrane's unique improvisational style, known as the sheets of sound. Coltrane employed extreme and dense improvisational, yet patterned, lines that consisted of high speed arpeggios and scale patterns played in rapid succession; hundreds of notes running from the lowest to highest registers.[18] "Stella by Starlight" featured Evans' delicate and sparse introduction, which made Coltrane's early solo seem startling. Evans' lush and laconic solo suggested the bittersweet spell he would cast over the Kind of Blue sessions the following year.[17]

Live performance The live portion of the album was recorded in the Persian Room of New York's Plaza Hotel at a September jazz party given by Columbia Records to celebrate "the healthy state of jazz" at the label.[2] Later issued in full as Jazz at the Plaza in 1973,[2] the live set featured three staples of Davis' and Coltrane's concert repertoire during their collaborating years.[7] The sextet opened up with the standard "Straight, No Chaser", originally composed by Thelonious Monk. The musicians took the number at a brisk tempo, and though Jimmy Cobb lacked former drummer Philly Joe's technocratic flair, he and Paul Chambers remained consistent, as the horns carried into whirling solos.[13] Evans used Adderley's solo and the song's tempo to improvise, as he scattered Bud Powell-like clusters. Journalist Lindsey Planer later called the performance "slippery and triple-jointed", and went on to state "The band plays as if Monk might have been in the room that night. This is Davis at his most muted magnificence."[7] The Sonny Rollins-penned "Oleo" followed along at a wild Paul Chambers bass tempo, as Evans' fluid orchestral piano technique suggested multiple key centers and modal impressions.[13] In contrast to the high tempos and improvisation of the other live tunes, "My Funny Valentine" was stately and serene, as Coltrane and Adderley sit out, giving Evans and Davis a more meditative backdrop for sensitive soloing. Evans displayed his soft and sensitive piano style. His unique and challenging sound was one of the reasons Miles Davis had hired him following Philly Joe's departure.[15] The late-night languor of "My Funny Valentine", along with Bill Evans' presence and the more consistent and improving sextet, would hint at the music later featured on Davis' next album, the 1959 jazz masterpiece Kind of Blue.[13]

Reception and influence As parts of Jazz Track and Jazz at the Plaza, respectively, the '58 Sessions chronicled the transition from the brawny agitation of Milestones, to the cerebral tranquility of Kind of Blue.[2] The recording sessions also became known as a stepping stone in Davis' move from bebop to modal jazz. The live side in particular was seen by critics as a glimpse at the sextet that would record Kind of Blue.[13] The complimentary and seemingly spontaneous style of performance ethic and the relationship between Davis and his musicians was fundamental for his work during these sessions and improved onto the Kind of Blue sessions. Jazz historian and journalist Ira Gitler has considered 1958 Miles to be one of Davis' best works, while also noting that he was "very taken with the performances", alluding to the album's recordings after Gitler had listened to them. In the 1979 LP reissue liner notes, Gitler wrote "These prime cuts of the Miles Davis Sextet, representative of what this most influential leader and his trendsetting band of that time, were doing in that particular portion of 1958, are a most welcome addition to the collectors library."[2] The live portion of the album recorded at The Plaza Hotel was noted by critics as an early stage of the new sextet. Music writer Nicholas Taylor later wrote of the Plaza set: An interesting and puzzling period piece, documenting the sextet exploring a sound that would soon morph into the rich tapestry of their 1959 masterpiece... It is the snapshot—albeit a blurred one—of a group of musicians on the verge of greatness, beginning to feel each other’s tics and idiosyncrasies, forming the bonds

1958 Miles

69 of a sextet that would soon alter the history of jazz forever.[13] —Nicholas Taylor

Prior to the live session, Miles Davis had already established a reputation as one of the jazz era's top live performers, following well-received performances at such venues as Birdland, also known as "The Jazz Corner of the World", in New York and the Newport Jazz Festival in Rhode Island during the mid-1950s.[23] The set at the Plaza Hotel further expanded Davis' repertoire in concert venues and increased his popularity among jazz fans and writers. Even though Milestones was Davis' first use of modes and Cannonball Adderley's presence helped make the band became a more powerful sextet, these sessions helped introduce Bill Evans to the music of Miles Davis.[12] [23] The May 26 session, in particular, exposed Evans to Davis' spontaneous ability in the studio to simplify complicated musical structures. In a 1979 interview for the jazz radio station WKCR, Evans remarked on his recording experience with Davis, stating "Miles occasionally might say, 'Right here, I want this sound', and it turn out be a very key thing that changes the whole character of the [song]. For instance, on 'On Green Dolphin Street', the original changes of the chorus aren't the way [we recorded it]: the vamp changes being a major seventh up a minor third, down a half tone. That was [one when] he leaned over and said, 'I want this here.'"[17] Evans' influence would be apparent on the Kind of Blue sessions as it was during the initial 1958 sessions.[4] All recorded studio work by Davis from 1958 for Columbia was later reissued on the box set compilation The Complete Columbia Recordings of Miles Davis with John Coltrane.[24] Following the implementation of his first modal compositions with the title track of Milestones and his first sessions with Bill Evans, the 1958 Sessions, Davis became satisfied with the results. This led to his preparation of an entire album based on modality, his 1959 masterwork, Kind of Blue.[25]

Track listing Original LP Side one Recorded at Columbia's 30th Street Studio, New York, New York on May 26, 1958.[16] 1. 2. 3. 4.

"On Green Dolphin Street" (Kaper, Washington) – 9:48 "Fran Dance" (Davis) – 5:48 "Stella by Starlight" (Young, Washington) – 4:41 "Love for Sale" (Porter) – 11:43

Side two Recorded live at The Plaza Hotel, New York, New York on September 9, 1958.[7] 1. "Straight, No Chaser" (Monk) – 10:57 2. "My Funny Valentine" (Rodgers, Hart) – 10:05 3. "Oleo" (Rollins) – 10:48

1958 Miles

70

Bonus track 2006 Sony Japan release featured only side one and a bonus cut.[26] 1. "Little Melonae" (McLean) – 7:22

Personnel Musicians • • • • • •

Miles Davis – trumpet, leader Julian "Cannonball" Adderley – alto saxophone John Coltrane – tenor saxophone Bill Evans – piano Paul Chambers – bass Jimmy Cobb – drums

Production • Teo Macero – producer • Larry Keyes – engineer, remastering • Ira Gitler – liner notes • Mike Berniker – reissue, digital producer

Release history Since its original release in 1958 on Columbia Records, 1958 Miles has had a long and complicated release history. The album has experienced many reissues under different titles and records labels, along with a variety of release date listings. Issued title

Year

Label

Format

Catalog [27]

1958 Miles

1958

Columbia Records

stereo vinyl LP

SL-1268

1958 Miles

1979

CBS Records

remastered LP

CBS 1401

'58 Sessions Featuring Stella by Starlight 1991

Columbia

CD reissue

CK-47835


Columbia

cassette

CT-47835

'58 Miles

1991

CBS

re-released CD

CBS 467918-2

'58 Miles

1991

CBS, Sony Records re-released cassette SRCS-9102[27]

[1] [7]

[7] [27]

[7]


Jazz Records

CD

JR-4679182

1958 Miles

1997

Sony

CD

SRCD-65344

1958 Miles

2001

Sony

CD

SRCD-98004

1958 Miles

2006

Sony

CD

SRCD-1204

1958 Miles

2006

Sony Japan

CD, bonus track

SRCS-966

[1] [1]

[1]

[26]

1958 Miles

Notes [1] Planer, Lindsay. Review: 58 Sessions (http:/ / www. allmusic. com/ album/ r137403). Allmusic. Retrieved on 2009-07-21. [2] "1958 Miles Davis Session - Liner notes by Ira Gitler" (http:/ / www. cannonball-adderley. com/ miles/ miles03. htm). Sitemeter. . Retrieved 2008-07-27. [3] "Discogs.com - Miles Davis - Jazz Track" (http:/ / www. discogs. com/ release/ 511939). Discogs. . Retrieved 2008-07-27. [4] "1958 Miles Davis - Kind Of Blue Period (1955–1961)" (http:/ / web. archive. org/ web/ 20080223193434/ http:/ / www. miles-davis. com/ kindofblue. html). Sony BMG Music Entertainment. Archived from the original (http:/ / www. miles-davis. com/ kindofblue. html) on 2008-02-23. . Retrieved 2008-07-27. [5] "Discogs.com - '58 Sessions Featuring Stella by Starlight" (http:/ / www. discogs. com/ release/ 495913). Discogs.com. . Retrieved 2008-07-27. [6] "Amazon.com: '58 Miles Featuring Stella by Starlight: Miles Davis: Music" (http:/ / www. amazon. com/ dp/ B0000027R5). Amazon.com, Inc.. . Retrieved 2008-08-03. [7] "allmusic '58 Sessions Featuring Stella by Starlight - Overview" (http:/ / www. allmusic. com/ album/ r137403). All Media Guide, LLC.. . Retrieved 2008-07-27. [8] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC& pg=PA67& vq="Modal+ jazz,"& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. pp. 67–68. ISBN 0-306-81067-0. . [9] "George Russell - About George" (http:/ / www. georgerussell. com/ gr. html). Concept Publishing. . Retrieved 2008-07-27. [10] Kahn (2001), p16. [11] Palmer, Robert (1997). "Kind of Blue (CD)" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master. html). New York, NY: Sony Music Entertainment, Inc./Columbia Records. . [12] "allmusic Milestones - Overview" (http:/ / www. allmusic. com/ album/ r106105). All Media Guide, LLC.. . Retrieved 2008-07-27. [13] "Miles Davis: Jazz at the Plaza < Music - PopMatters" (http:/ / www. popmatters. com/ pm/ review/ 16671/ davismiles-jazzattheplaza). PopMatters.com. . Retrieved 2008-07-27. [14] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC& pg=PA76& vq=Garland+ and+ Jones& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. pp. 76–77. ISBN 0-306-81067-0. . [15] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC& pg=PA83& vq=Evans+ was+ caught+ in+ a+ dilemma+ from+ the+ outset& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. pp. 83. ISBN 0-306-81067-0. . [16] "Bill Evans Webpages- The Catalog" (http:/ / www. billevanswebpages. com/ catalog5460. html). Group TGS.. . Retrieved 2008-07-27. [17] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC& pg=PA82& vq=stella& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. pp. 82–83. ISBN 0-306-81067-0. . [18] Porter 1999, p. 111. [19] Columnist. " Review: 58 Sessions (http:/ / www. tower. com/ 58-sessions-miles-davis-cd/ wapi/ 106689140)". Down Beat: 51. October 1991. Accessed 2009-07-22. Archived (http:/ / www. webcitation. org/ 5iUtmeus9) 2009-07-23. [20] Cook, Richard. "Review: 58 Sessions". Penguin Guide to Jazz: 375–376. September 2002. [21] Hoard, Christian. " Review: 58 Sessions (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone: 214–217. November 2, 2004. [22] Larkin, Colin. "Review: 58 Sessions". Virgin Encyclopedia of Popular Music: March 1, 2002. [23] Gitler (1991), p. 2–5. [24] "AllAboutJazz.com - The Complete Columbia Recordings of Miles Davis With John Coltrane" (http:/ / www. allaboutjazz. com/ php/ article. php?id=6242). All About Jazz. . Retrieved 2008-07-27. [25] "Liner note reprint: Miles Davis - Kind of Blue (FLAC - Master Sound - Super Bit Mapping) -" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master. html). Stupid and Contagious. . Retrieved 2008-07-27. [26] "allmusic {{{1958 Miles (Bonus Tracks) > Overview}}}" (http:/ / www. allmusic. com/ album/ r931936). All Media Guide, LLC.. . Retrieved 2008-07-27. [27] "CannonballJazz.com - 58-0728-1958 Discography" (http:/ / www. docstewart. com/ Cannonball/ 1958/ 58-0728/ 58-0728_index. htm). Chris "Doc" Stewart & Cannonball Jazz. . Retrieved 2008-07-27.

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References • Ira Gitler (1991). '58 Sessions Featuring Stella By Starlight album liner notes. Sony Music Entertainment Inc.. • Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http://books.google.com/ ?id=6QArFwi9buUC&pg=PA82&vq=stella&dq=The+Making+of+Kind+of+Blue:+Miles+Davis+and+ His+Masterpiece+bebop). foreword by Jimmy Cobb. Da Capo Press, USA. ISBN 0-306-81067-0. OCLC 48527365. • Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. ISBN 0-472-08643-X. OCLC 42309304. • Nathan Brackett, Christian Hoard (2004). The New Rolling Stone Album Guide. Completely Revised and Updated 4th Edition. Simon and Schuster. ISBN 0-7432-0169-8. • Richard Cook, Brian Morton (2002). The Penguin Guide to Jazz on CD. Edition 6. Penguin. ISBN 0-14-051521-6. • Colin Larkin (2002). Virgin Encyclopedia of Popular Music. Edition 4. Virgin Books. ISBN 1-85227-923-0.

External links • ModalJazz.com (http://www.modaljazz.com) • 1958 Miles (http://www.discogs.com/Miles-Davis-1958-Miles/release/2123862), '58 Sessions Featuring Stella by Starlight (http://www.discogs.com/Miles-Davis-58-Sessions-Featuring-Stella-By-Starlight/release/ 495913) at Discogs

Kind of Blue Kind of Blue


August 17, 1959 (see release history)

Recorded

March 2 and April 22, 1959 30th Street Studio (New York, New York)

Genre

Jazz

Length

45:44

Kind of Blue

73 Label

Columbia CL-1355

Producer

Teo Macero, Irving Townsend Miles Davis chronology

1958 Miles (1958)

Kind of Blue (1959)

Sketches of Spain (1960)

Kind of Blue is a studio album by American jazz musician Miles Davis, released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianists Bill Evans and Wynton Kelly, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley. After the inclusion of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been cited by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums of all time. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Background By late 1958, Davis employed one of the best and most profitable working bands pursuing the hard bop style. His personnel had become stable: alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Bill Evans, long-serving bassist Paul Chambers, and drummer Jimmy Cobb. His band played a mixture of pop standards and bebop originals by Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Tadd Dameron. As with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song.[1] Davis was one of many jazz musicians growing dissatisfied with bebop, and saw its increasingly complex chord changes as hindering creativity.[2]

Left to right: John Coltrane, Cannonball Adderley, Miles Davis and Bill Evans in studio, 1959

In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization,[3] which offered an alternative to the practice of improvisation based on chords and chord changes. Abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using scales, or a series of

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scales, for improvisations: This approach led the way to "modal" in jazz.[4] Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his studio album Milestones (1958), and his first sessions with Bill Evans, 1958 Miles. Satisfied with the results, Davis prepared an entire album based on modality.[5] Pianist Bill Evans, who had studied with Russell but recently departed from Davis's sextet to pursue his own career, was drafted back into the new recording project, the sessions that would become Kind of Blue.[6]

Recording "It must have been made in heaven." [2]

– Jimmy Cobb

Kind of Blue was recorded in two sessions at Columbia Records' 30th Street Studio in New York City, on March 2 for the tracks "So What", "Freddie Freeloader", and "Blue in Green", composing side one of the original LP, and April 22 for the tracks "All Blues", and "Flamenco Sketches", making up side two. Production was handled by Teo Macero, who had produced Davis's previous two LPs, and Irving Townsend.[7] As was Miles Davis's penchant, he called for almost no rehearsal and the musicians had little idea what they were to record. As described in the original liner notes by pianist Bill Evans, Davis had only given the band sketches of scales and melody lines on which to improvise. Once the musicians were assembled, Davis gave brief instructions for each piece and then set to taping the sextet in studio. While the results were impressive with so little preparation, the persistent legend that the entire album was recorded in one pass is untrue. Only "Flamenco Sketches" yielded a complete take on the first try. That take, not the master, was issued in 1997 as a bonus alternate track. The five master takes issued, however, were the only other complete takes; an insert for the ending to "Freddie Freeloader" was recorded, but was not used for release or on the issues of Kind of Blue prior to the 1997 reissue.[8] Pianist Wynton Kelly may not have been happy to see the man he replaced, Bill Evans, back in his old seat. Perhaps to assuage the pianist's feelings, and also to take advantage of Kelly's superior skills as both bluesman and accompanist, Davis had Kelly play instead of Evans on the album's most blues-oriented number, "Freddie Freeloader".[8] The live album Miles Davis at Newport documents this band. However, the Newport Jazz Festival recording on July 3, 1958 reflects the band in its hard bop conception, the presence of a Bill Evans only six weeks into his brief tenure in the Davis band notwithstanding, rather than the modal approach of Kind of Blue.[9]

Music Composition Kind of Blue is based entirely on modality in contrast to Davis's earlier work with the hard bop style of jazz and its complex chord progression and improvisation.[5] The entire album was composed as a series of modal sketches, in which each performer was given a set of scales that defined the parameters of their improvisation and style.[10] This style was in contrast to more typical means of composing, such as providing musicians with a complete score or, as was more common for improvisational jazz, providing the musicians with a chord progression or series of harmonies.[2] Modal jazz of this type was not unique to this album. Davis himself had previously used the same method on his 1958 Milestones album, the '58 Sessions, and Porgy and Bess (1958), on which Davis used modal influences for collaborator Gil Evans's third stream compositions.[2] Also, the original concept and method had been developed in 1953 by pianist and writer George Russell. Davis saw Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled "thick". Modal composition, with its reliance on scales and modes, represented, as Davis called it,[2] "a return to melody."[10] In a 1958 interview with Nat Hentoff of The Jazz Review, Davis elaborated on this form of composition in contrast to the simple chord progression predominant in bebop, stating "No chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the

Kind of Blue [melody] line. It becomes a challenge to see how melodically innovative you can be. When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords... there will be fewer chords but infinite possibilities as to what to do with them."[2]

Content As noted by Bill Evans in the LP liner notes, "Miles conceived these settings only hours before the recording dates."[7] Evans continues with an introduction concerning the modes used in each composition on the album. "So What" consists of a mode based on two scales: sixteen measures of the first, followed by eight measures of the second, and then eight again of the first.[7] "Freddie Freeloader" is a standard twelve bar blues form. "Blue in Green" consists of a ten-measure cycle following a short four-measure introduction.[7] "All Blues" is a twelve bar blues form in 6/8 time. "Flamenco Sketches" consists of five scales, which are each played "as long as the soloist wishes until he has completed the series".[7] Liner notes list Davis as writer of all compositions, but many scholars and fans believe that Bill Evans wrote part or the whole of "Blue in Green" and "Flamenco Sketches".[11] Bill Evans assumed co-credit with Davis for "Blue in Green" when recording it on his Portrait in Jazz album. The Davis estate acknowledged Evans' authorship in 2002.[12] The practice of a band leader's appropriating authorship of a song written by a sideman occurred frequently in the jazz world, as legendary saxophonist Charlie Parker did so to Davis when Parker took a songwriting credit for the tune "Donna Lee", written by Davis while employed as a sideman in Charlie Parker's quintet in the late 1940s.[13] The composition later became a popular jazz standard. Another example is the introduction to "So What", attributed to Gil Evans, which is closely based on the opening measures of French composer Claude Debussy's Voiles (1910), the second prelude from his first collection of preludes.[14]

Reception and influence Jazz scene Kind of Blue was released August 17, 1959, on Columbia Records in the United States, in both mono and stereo format.[25] Since, Kind of Blue has often been regarded as Davis's greatest work; it is his most acclaimed album, and has been cited as the best-selling jazz record released,[26] [27] despite later claims attributing the achievement to Davis's first official gold record Bitches Brew (1969).[28] [29] [30] Music writer Chris Morris cited Kind of Blue as "the distillation of Davis's art."[24] Kind of Blue has also been recognized as one of the most influential albums in the history of jazz. One reviewer has called it a "defining moment of twentieth century music."[31] Several of the songs from the album have become jazz standards. Kind of Blue is consistently ranked among the greatest albums of all time.[32] In a review of the album, Allmusic-senior editor Stephen Thomas Erlewine stated: Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses [sic] such a mystique? Perhaps because this music never flaunts its genius... It's the pinnacle of modal jazz — tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality... It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz — but it's hard to imagine it as anything other than a cornerstone of any jazz collection.[15] —Stephen T. Erlewine In 1958, however, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club, consolidated by the release of his The Shape of Jazz to Come LP the same year, muted the initial impact of Kind of Blue, a happenstance that irritated Davis greatly.[33] Though Davis and Coleman both offered alternatives to the rigid rules of bebop, Davis would never reconcile himself to Coleman's free jazz innovations, although he would incorporate musicians amenable to Coleman's ideas with his great quintet of the mid-1960s, and offer his own

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Kind of Blue version of "free" playing with his jazz fusion outfits in the 1970s.[34] The influence of the album did build, and all of the sidemen from the album would achieve success on their own. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley would front his popular bands with his brother Nat; Kelly, Chambers, and Cobb would continue as a touring unit, recording under Kelly's name as well as in support of Coltrane and Wes Montgomery, among others; Coltrane would go on to become one of the most revered and innovative jazz musicians in history. Even more than Davis, Coltrane took the modal approach and ran with it during his career as a leader in the 1960s, leavening his music with Coleman's ideas as the decade progressed.[35]

Impact on music The album's influence has reached beyond jazz, as musicians of such genres as rock and classical have been influenced by it, while critics have acknowledged it as one of the most influential albums of all time.[36] [37] Many improvisatory rock musicians of the 1960s referred to Kind of Blue for inspiration, along with other Davis albums, as well as Coltrane's modal records My Favorite Things (1961) and A Love Supreme (1965). Guitarist Duane Allman of the Allman Brothers Band said his soloing on songs such as "In Memory of Elizabeth Reed" "comes from Miles and Coltrane, and particularly Kind of Blue. I've listened to that album so many times that for the past couple of years, I haven't hardly listened to anything else."[38] Pink Floyd keyboardist Richard Wright has said that the chord progressions on the album influenced the structure of the introductory chords to the song "Breathe" on their landmark opus The Dark Side of the Moon (1973).[39] In his book Kind of Blue: The Making of a Miles Davis Masterpiece, writer Ashley Kahn wrote "still acknowledged as the height of hip, four decades after it was recorded, Kind of Blue is the premier album of its era, jazz or otherwise. Its vapory piano introduction is universally recognized".[40] Producer Quincy Jones, one of Davis' longtime friends, wrote: "That [Kind of Blue] will always be my music, man. I play Kind of Blue every day—it's my orange juice. It still sounds like it was made yesterday".[40] Pianist Chick Corea, one of Miles' acolytes, was also struck by its majesty, later stating "It's one thing to just play a tune, or play a program of music, but it's another thing to practically create a new language of music, which is what Kind of Blue did."[41] One significant aspect of Kind of Blue is that the entire record, not just one track, was revolutionary. Gary Burton noted this occurrence, stating "It wasn’t just one tune that was a breakthrough, it was the whole record. When new jazz styles come along, the first few attempts to do it are usually kind of shaky. Early Charlie Parker records were like this. But with Kind of Blue [the sextet] all sound like they’re fully into it."[42] Along with The Dave Brubeck Quartet's Time Out (1959) and Coltrane's Giant Steps (1960), Kind of Blue has often been recommended by music writers as an introductory jazz album, for similar reasons: the music on both records is very melodic, and the relaxed quality of the songs makes the improvisation easy for listeners to follow, without sacrificing artistry or experimentation.[43] Upon the release of the 50th anniversary collector's edition of the album, a columnist for All About Jazz stated "Kind of Blue heralded the arrival of a revolutionary new American music, a post-bebop modal jazz structured around simple scales and melodic improvisation. Trumpeter/band leader/composer Miles Davis assembled a sextet of legendary players to create a sublime atmospheric masterpiece. Fifty years after its release, Kind of Blue continues to transport listeners to a realm all its own while inspiring musicians to create to new sounds—from acoustic jazz to post-modern ambient—in every genre imaginable."[44] Later in an interview, renowned hip hop artist and rapper Q-Tip reaffirmed the album's reputation and influence when discussing the significance of Kind of Blue, stating "It's like the Bible—you just have one in your house."[45]

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Accolades Kind of Blue has been cited by writers and music critics as the greatest jazz album of all time and has been ranked at or near the top of numerous "best album" lists in disparate genres.[46] [47] [48] [49] In 2002, Kind of Blue was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry.[50] In selecting the album as number 12 on its list of the 500 greatest albums of all time, Rolling Stone magazine stated "This painterly masterpiece is one of the most important, influential and popular albums in jazz".[51] On December 16, 2009, the United States House of Representatives passed a resolution honoring the fiftieth anniversary of Kind of Blue and "reaffirming jazz as a national treasure".[52]

Track listing All songs composed by Miles Davis (see content section for more information). Only six complete takes of the five tunes on the album exist, indicated by the song numbers. 1. 2. 3. 4.

"So What" – 9:22 "Freddie Freeloader" – 9:46 "Blue in Green" – 5:37 "All Blues" – 11:33

5. "Flamenco Sketches" – 9:26 Reissue bonus track • "Flamenco Sketches" (Alternate take) – 9:32 Tracks 1, 2 and 3 (side one on the original vinyl release) recorded March 2, 1959; tracks 4 and 5 (side two) recorded April 22, 1959. All tracks recorded at Columbia 30th Street Studio, New York City.

Collector's edition Kind of Blue: 50th Anniversary Collector's Edition

Box set by Miles Davis Released

September 30, 2008

Recorded

May 26, 1958 – April 9, 1960

Label

Columbia/Legacy

Producer

Michael Cuscuna, Cal Lampley Miles Davis compilations chronology

Kind of Blue

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The Complete On the Corner Sessions (2007)

Kind of Blue: 50th Anniversary (2008)

Kind of Blue: 50th Anniversary Collector's Edition is a two-disc box set reissue of Miles Davis's studio album Kind of Blue, released September 30, 2008 on Columbia Records and distributed through Legacy Records.[63] Contrary to the edition's title, the release precedes the album's fiftieth anniversary of either recording date or original issue date. The collector's edition features the original Kind of Blue album in its entirety with the "Flamenco Sketches" alternate take, the rare "Freddie Freeloader" false start, and a selection of in-the-studio dialog from the Kind of Blue sessions on the first disc. The second disc features rare musical material from the classic sextet's recording sessions, including the May 26, 1958 session, which was previously available on The Complete Columbia Recordings: 1955-1961 and 1958 Miles. Also included on the second disc is the first authorized release of an extended live performance of "So What" from the 1960 Den Haag Concert. The third disc, a DVD, features a documentary on the conception and recording of Kind of Blue. In addition, the DVD features the "Robert Herridge Theater: The Sound of Miles Davis" television program, which originally aired on April 2, 1959 and starred Miles Davis and John Coltrane. In the box-set packaging, a vinyl LP copy of Kind of Blue, a poster, and an LP-sized 60-page hardbound book are also included.[44]

Disc one 1. "So What" – 9:25 2. "Freddie Freeloader" – 9:49 3. "Blue in Green" – 5:37 4. "All Blues" – 11:35 5. "Flamenco Sketches" – 9:26 6. "Flamenco Sketches" (alternate take) – 9:33 7. "Freddie Freeloader" (studio sequence) – 0:53 8. "Freddie Freeloader" (false start) – 1:27 9. "Freddie Freeloader" (studio sequence 2) – 1:30 10. "So What" (studio sequence) – 1:55 11. "So What" (studio sequence 2) – 0:13 12. "Blue in Green" (studio sequence) – 1:58 13. "Flamenco Sketches" (studio sketches) – 0:45 14. "Flamenco Sketches" (studio sketches 2) – 1:12 15. "All Blues" (studio sketches) – 0:18

Disc two 1. 2. 3. 4. 5. 6.

"On Green Dolphin Street" (Bronislaw Kaper, Ned Washington) – 9:50 "Fran-Dance" (Davis) – 5:49 "Stella by Starlight" (Victor Young, Washington) – 4:46 "Love for Sale" (Cole Porter) – 11:49 "Fran-Dance" (alternate take) – 5:53 "So What" (live) – 17:29

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Personnel Musicians • • • • • • •

Miles Davis – trumpet, band leader Julian "Cannonball" Adderley – alto saxophone, except on "Blue in Green" Paul Chambers – double bass Jimmy Cobb – drums John Coltrane – tenor saxophone Bill Evans – piano (except "Freddie Freeloader") liner notes Wynton Kelly – piano on "Freddie Freeloader"

Production • • • • •

Michael Cuscuna – reissue production Don Hunstein – photography Teo Macero – production Jay Maisel – cover photo Fred Plaut – recording engineering

• Irving Townsend – production • Mark Wilder – remix engineer

Chart history Chart positions Billboard Music Charts (North America) • • •

1977: Jazz Albums – #37 1987: Top Jazz Albums – #10 2001: Top Internet Albums – #14

Sales and certifications Country

Certification

Australia

Platinum

[64]

United Kingdom Gold [65] United States

4× Platinum

Sales 70,000+ 100,000+

[66] 4,000,000+

Kind of Blue

Release history Kind of Blue was originally released as a 12-inch vinyl record, in both stereo and mono. There have been several reissues of Kind of Blue, including additional printings throughout the vinyl era. On some editions, the label switched the order for the two tracks on side two, "All Blues" and "Flamenco Sketches". The record has been remastered many times during the compact disc era, including the 1986 Columbia Jazz Masterpieces reissue and,[67] most notably, the 1992 remastering that corrected the speed for side one, which had been issued slightly off-pitch originally,[68] and the 1997 issue that added the alternate take of "Flamenco Sketches". All releases after the 1997 include the alternate take and are speed-corrected. In 2005, a DualDisc release included the original album, a digital remastering in 5.1 Surround Sound and 1986 Columbia Jazz Masterpieces compact disc reissue LPCM Stereo, and a 25-minute documentary Made in Heaven cover about the making and influence of Kind of Blue. "Kind Of Blue" has also been re-released on a rare 24 carat gold CD collectors version. • • • • • •

• • • • • • •

August 17, 1959–Columbia CS 8163, original stereo vinyl LP August 17, 1959–Columbia CL 1355, original mono vinyl LP 1974–Columbia PC 8163, stereo vinyl LP reissue 1984–Columbia CK 8163, original compact disc issue 1986–Columbia Jazz Masterpiece CK 40579, compact disc, digitally remastered from original master tapes and stereo vinyl LP (CJ 40579) December 8, 1992–Columbia CK 64403, Mastersound Gold CD, super-bit mapping, corrected speed. Liner notes: First time original master used for side 1 of a CD issue Original had been misplaced since before 1984 (CK 8163). 1997 - Double LP Gatefold edition from Classic Records included two side ones at original and corrected speed and a 45 rpm alternate take of Flamenco Sketches March 25, 1997–Columbia CK 64935, compact disc, 20-bit remastering, adds alternate track, corrected speed August 21, 2001–Columbia CS 64935, SACD, corrected speed December 2001–Classic Records CS8163QP, Quiex SV-P 200 gram vinyl, corrected speed, original tracks February 8, 2005–Columbia CN 90887, DualDisc, 20-bit remastered standard compact disc side, 5.1 AC3 Surround Sound, LPCM Stereo side, corrected speed September 30, 2008–Columbia/Legacy CL 8869733552, box set, original album, previously unreleased material, bonus tracks, vinyl LP, DVD January 20, 2009-Sony Legacy, two CDs from the 50th anniversary set (without DVD or vinyl).

The album was also released on many other formats many of which are only to be found second hand. • Two-track open reel tape (US only), Columbia GCB 60, by which Freddie Freeloader and Flamenco Sketches are omitted to keep cost down. This release was on the market less than a year and was discontinued some time after July 1961, after Sketches of Spain had been released as 4-Track only. Sonically most often better than the 4-Track counterpart that replaced it. The reports that the Two-Track version was the only one to be issued at correct speed for the tracks off the first album side are false. None issued at the correct speed.[69] • Four-Track open reel tape (US only), Columbia CQ 379, as the complete 5 track album. This release replaced the Two-Track release and remained in the Columbia catalog for a few years. Some tracks are available on other reel tapes issued current at the time of or following the original release of the album, as by Various Artists. None issued at the correct speed. All Blues in included on the Greatest Hits album.

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Kind of Blue • Armed Forces Radio & Television Service 16 transcription discs. Note these are monophonic and the side marked Flamenco Sketches actually holds All Blues. • Philips Compact Cassette. Both as the original album prior to the Jazz Masterpiece remaster, and as the 1987 Jazz Masterpiece remaster. Neither are at the correct speed. • MiniDisc, Columbia CM 40579 (US). Only as the master prior to 1997, but not as the Jazz Masterpiece remaster. This was unavailable by the end of the 1990s when production of prerecorded MiniDiscs had ceased. None issued at the correct speed.

"Making of" albums Several unofficial CD releases are known to contain the complete sessions with false starts and studio chatter, and all tracks (including the bonus track) in the order these were recorded during the two recording sessions. • An unofficial album entitled "The Making of Kind of Blue" features 73 minutes of the album's recording sessions.[70] • Another unofficial album is entitled "Another Kind of Blue" features the same sessions. A third, two-CD set, contains the complete sessions with false starts, studio chatter and all tracks as they were recorded at a total length of 78:40 minutes, released as: • "Miles Davis — The Making of Kind of Blue - 50th Anniversary Definitive Edition. It's Complete!". The most recent release of this "Making of KoB" CDs is from February 2009, but holds only 73:51 minutes, so it's not that complete as the previous Japanese CD. However this one has to be mentioned too: • "Miles Davis Legendary Collection Series — Miles Davis-The Sessions of Blue." The special box set with CD, DVD, LP, book, poster, etc. has only a selection of the studio chatter and false starts, and is released separately from the music, so there is no connection at all between the music and the studio chatter. To analyze what was going on in the studio during the two recording sessions one of these Japanese releases is essential. These CDs also have "All Blues" without any fade out in its original length. On all other releases "All Blues" has a fade out, and according to the release this fade out is different in length.

Notes [1] Kahn, pp. 86–87. [2] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC& pg=PA67& vq="Modal+ jazz,"& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. pp. 67–68. ISBN 0-306-81067-0. . [3] Russell, George. Lydian Chromatic Concept of Tonal Organization. New York: Russ-Hix Music Pub. Co. Library of Congress Catalog Record available at lccn.loc.gov/unk84111092 (http:/ / lccn. loc. gov/ unk84111092). Lydian Chromatic Concept of Tonal Organization website located at www.lydianchromaticconcept.com (http:/ / www. lydianchromaticconcept. com/ ). Author George Russell’s website located at www.georgerussell.com (http:/ / www. georgerussell. com/ ) [4] "George Russell — About George" (http:/ / www. georgerussell. com/ gr. html). Concept Publishing. . Retrieved July 27, 2008. [5] "Liner note reprint: Miles Davis — Kind of Blue (FLAC — Master Sound — Super Bit Mapping)" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master. html). Stupid and Contagious. . Retrieved July 27, 2008. [6] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC& pg=PA83& vq=Evans+ was+ caught+ in+ a+ dilemma+ from+ the+ outset& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. p. 83. ISBN 0-306-81067-0. . [7] Palmer (1997), pp. 4–7 [8] Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; p. 111. [9] Blumenthal, Bob. Liner Notes, Miles Davis at Newport 1958; Columbia/Legacy CK85202, 2001, p. 4. [10] Palmer, Robert (1997). "Liner Notes to 1997 Reissue" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master. html). Kind of Blue (CD). New York, NY: Sony Music Entertainment, Inc./Columbia Records. [11] Kahn, p. 299a. [12] Kahn, p. 299b. [13] Miles Davis with Quincy Troupe, "Miles: The Autobiography," Simon and Schuster, 2001, pp. 103–104.

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Kind of Blue [14] Kahn, p. 178. [15] Erlewine, Stephen Thomas. Review: Kind of Blue (http:/ / www. allmusic. com/ album/ r104440). Allmusic. Retrieved on 2009-07-21. [16] Columnist. " Review: Kind of Blue (http:/ / books. google. com/ books?id=NgoEAAAAMBAJ& pg=PA28)". Billboard: 28. August 31, 1959. [17] Sandow, Greg. Review: Kind of Blue (http:/ / www. ew. com/ ew/ article/ 0,,315776_3,00. html). Entertainment Weekly. Retrieved on 2009-07-20. [18] Cook, Richard. "Review: Kind of Blue". Penguin Guide to Jazz: 376. September 2002. [19] Schreiber, Ryan. Review: Kind of Blue (http:/ / web. archive. org/ web/ 20021005181357/ www. pitchforkmedia. com/ record-reviews/ d/ davis_miles/ kind-of-blue. shtml). Pitchfork Media. Retrieved on 2009-07-21. [20] Friedman, Lou. Review: Kind of Blue (http:/ / www. popmatters. com/ music/ reviews/ d/ davismiles-kindofbluedd. shtml). PopMatters. Retrieved on 2009-07-20. [21] Columnist. " Review: Kind of Blue (http:/ / www. tower. com/ details/ details. cfm?wapi=106692819)". Q: 116. March 1995. [22] Hoard, Christian. " Review: Kind of Blue (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone: 214–217. November 2, 2004. [23] Fisher, Tyler. Review: Kind of Blue (http:/ / www. sputnikmusic. com/ album. php?reviewid=8031). Sputnikmusic. Retrieved on 2009-07-20. [24] Morris, Chris. Review: Kind of Blue (http:/ / www. webcitation. org/ 5q9T2hGyM). Yahoo! Music. Retrieved on 2009-07-20. [25] Discogs - Kind of Blue search (http:/ / www. discogs. com/ search?type=all& q=Miles+ Davis+ -+ Kind+ Of+ Blue+ Vinyl+ LP+ US+ 1959& btn=Search). Discogs. Retrieved on September 27, 2008. [26] The All-TIME 100 Albums - Kind of Blue (http:/ / www. time. com/ time/ 2006/ 100albums/ 0,27693,Kind_of_Blue,00. html). Time Inc. Retrieved on August 30, 2008. [27] The Dozens - Jazz.com (http:/ / www. jazz. com/ dozens/ the-dozens-the-golden-anniversary-of-porgy-and-bess). jazz.com. Retrieved on August 30, 2008. [28] MILES BEYOND The Making of the Bitches Brew boxed set (http:/ / www. miles-beyond. com/ bitchesbrew. htm). Paul Tingen. Retrieved on August 30, 2008. [29] Miles Electric: A Different Kind of Blue (DVD) - PopMatters (http:/ / www. popmatters. com/ pm/ review/ 16181/ davismiles-mileselectricdvd). PopMatters. Retrieved on August 30, 2008. [30] Miles Davis' Bitches Brew - ColumbiaJazz (http:/ / www. columbiajazz. com/ newsletter2/ brew. html). Columbia. Retrieved on August 30, 2008. [31] Philip B. Pape. "All About Jazz: Kind of Blue — Review" (http:/ / www. allaboutjazz. com/ php/ article. php?id=3786). All About Jazz. . Retrieved September 19, 2008. [32] Acclaimed Music - Kind of Blue (Rankings, rating, etc. (http:/ / www. acclaimedmusic. net/ Current/ A1860. htm). www.acclaimedmusic.net. Retrieved on August 11, 2008. [33] Kahn, p. 183. [34] Jazz Extra - the biography of Miles Davis (http:/ / www. jazzextra. com/ biographies/ miles-davis. php). Jazz Extra. Retrieved on August 11, 2008. [35] Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. pp. 281–283. ISBN 047208643X. [36] Miles Davis: Kind of Blue - NPR (http:/ / www. npr. org/ templates/ story/ story. php?storyId=10862796). NPR. Retrieved on August 19, 2008. [37] NPR's Jazz Profiles: Miles Davis Kind of Blue (http:/ / www. npr. org/ programs/ jazzprofiles/ archive/ miles_kob. html). NPR. Retrieved on August 19, 2008. [38] Poe, Randy (2006). Skydog: the Duane Allman story. San Francisco: Backbeat Books. ISBN 0-879-30891-5. pp. 182–183. [39] Andy Mabbett (1995). The Complete Guide to the Music of Pink Floyd. Omnibus Press, 14/15 Berners Street, London. pp. 178–179. ISBN 0-7119-4301-X. [40] Kahn, p. 19 [41] Kahn, p. 16. [42] Kahn, p. 179. [43] 1959: A Great Year in Jazz (http:/ / www. allaboutjazz. com/ php/ article. php?id=15310). All About Jazz. Retrieved on August 11, 2008. [44] Jazz News: Miles Davis - Kind of Blue: 50th Anniversary Collectors Edition Coming in September (http:/ / www. allaboutjazz. com/ php/ news. php?id=21627). All About Jazz. Retrieved on September 20, 2008. [45] Pitchfork: Kind of Blue 50th Anniversary Edition (http:/ / www. pitchforkmedia. com/ node/ 146120). Pitchfork Media. Retrieved on November 23, 2008. [46] The All-TIME 100 Albums (http:/ / www. time. com/ time/ 2006/ 100albums/ ). Time.com. Retrieved on August 19, 2008. [47] The RS 500 Greatest Albums of All Time (http:/ / www. rollingstone. com/ news/ story/ 5938174/ the_rs_500_greatest_albums_of_all_time). Rolling Stone. Retrieved on August 19, 2008. [48] Rateyourmusic's 'Top Albums of All-Time' (http:/ / rateyourmusic. com/ charts/ top/ album/ all-time). Rate Your Music. Retrieved on August 19, 2008. [49] Tower.com - Kind of Blue review notes (http:/ / www. tower. com/ kind-blue-miles-davis-cd/ wapi/ 106692819). Tower.com. Retrieved on August 19, 2008.

82

Kind of Blue [50] Library of Congress - Kind of Blue (http:/ / www. loc. gov/ rr/ record/ nrpb/ nrpb-2002reg. html). The Library of Congress. Retrieved on August 19, 2008. [51] The RS 500 Greatest Albums of All Time: 12) Kind of Blue (http:/ / www. rollingstone. com/ music/ lists/ 500-greatest-albums-of-all-time-19691231/ kind-of-blue-miles-davis-19691231). Rolling Stone. Retrieved on August 11, 2008. [52] Jarenwattananon, Patrick. The U.S. Congress and the 'Kind of Blue' Blues (http:/ / www. npr. org/ blogs/ ablogsupreme/ 2009/ 12/ congress_kind_of_blue_blues. html). NPR. Retrieved on December 22, 2009. [53] Stockton, Jeff. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. allaboutjazz. com/ php/ article. php?id=31837). All About Jazz. Retrieved on 2010-02-07. [54] Chinen, Nate. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. blender. com/ guide/ reissue/ 55398/ kind-blue-50th-anniversary-collector146s-edition. html). Blender. Retrieved on 2010-02-07. [55] Fordham, John. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. guardian. co. uk/ music/ 2008/ nov/ 21/ miles-davis-anniversary). The Guardian. Retrieved on 2010-02-07. [56] Gill, Andy. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. independent. co. uk/ arts-entertainment/ music/ reviews/ album-miles-davis-deluxe-kind-of-blue-reissue-columbia-971248. html). The Independent. Retrieved on 2010-02-07. [57] Johnson, Martin. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. pastemagazine. com/ articles/ 2008/ 10/ miles-davis-kind-of-blue-50th-anniversary-collecto. html). Paste. Retrieved on 2010-02-07. [58] Garelick, Jon. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / thephoenix. com/ Boston/ Music/ 73379-MILES-DAVIS-KIND-OF-BLUE/ ). The Phoenix. Retrieved on 2010-02-07. [59] Battaglia, Andy. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. pitchforkmedia. com/ node/ 146120). Pitchfork Media. Retrieved on 2010-02-07. [60] Rigby, Paul. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. recordcollectormag. com/ reviews/ review-detail/ 3017). Record Collector. Retrieved on 2010-02-07. [61] Kemp, Mark. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. rollingstone. com/ reviews/ album/ 23659089/ review/ 23637765/ kind_of_blue_50th_anniversary_collectors_edition_box_set). Rolling Stone. Retrieved on 2010-02-07. [62] Spencer, Neil. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. uncut. co. uk/ music/ miles_davis/ reviews/ 12442). Uncut. Retrieved on 2010-02-07. [63] allmusic: Kind of Blue 50th Anniversary Collector's Edition (http:/ / www. allmusic. com/ album/ r1424187). All Media Guide, LLC. Retrieved on November 23, 2008. [64] "ARIA Charts — Accreditations - 2003 Albums" (http:/ / www. aria. com. au/ pages/ aria-charts-accreditations-albums-2003. htm). Aria.com.au. . Retrieved September 19, 2008. [65] "The Bpi" (http:/ / www. bpi. co. uk). Bpi.co.uk. . Retrieved September 19, 2008. [66] RIAA database - Gold & Platinum search item Kind of Blue (http:/ / www. riaa. com/ goldandplatinumdata. php?table=SEARCH_RESULTS). Recording Industry Association of America. Retrieved on October 17, 2008. [67] Discogs.com - Search: Miles Davis - Kind Of Blue (http:/ / www. discogs. com/ search?type=all& q=Miles+ Davis+ -+ Kind+ Of+ Blue& btn=Search). Discogs. Retrieved on August 11, 2008. [68] The Fifth Element #34 (http:/ / www. stereophile. com/ thefifthelement/ 206fifth/ ), Stereophile, February 2006, , retrieved 2010-09-01 [69] From Columbia tape catalogs at the time [70] "Miles Ahead: Discography" (http:/ / www. plosin. com/ milesAhead/ Disco. aspx?id=MakingKB). Plosin.com. . Retrieved September 19, 2008.

References • Palmer, Robert (1997). "Liner Notes to 1997 Reissue". Kind of Blue (CD). New York, NY: Sony Music Entertainment, Inc./Columbia Records • Kahn, Ashley (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. foreword by Cobb, Jimmy, Da Capo Press, USA. ISBN 0-306-81067-0 • Blumenthal, Bob (2001). Liner Notes, Miles Davis at Newport 1958. Columbia/Legacy CK85202 • Nathan Brackett, Christian Hoard (2004). The New Rolling Stone Album Guide. Completely Revised and Updated 4th Edition. Simon and Schuster. ISBN 0-74320-169-8. • Richard Cook, Brian Morton (2002). The Penguin Guide to Jazz on CD‎. Edition 6. Penguin. ISBN 0140515216.

83

Kind of Blue

External links • ModalJazz.com (http://www.modaljazz.com) • Miles Davis: 'Kind of Blue' program (http://www.npr.org/templates/story/story.php?storyId=10862796) in National Public Radio's Jazz Profiles series • 'Kind of Blue' at MILESTONES:A Miles Davis Collector's Site (http://www.oakton.edu/user/~larry/miles/ main/covers/columbia/kindofblue.html)

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Sketches of Spain

85

Sketches of Spain Sketches of Spain


July 18, 1960

Recorded November 20, 1959; March 10, 1960 at Columbia 30th Street Studio, New York Genre

Jazz

Length

41:19

Label

Columbia

Producer Teo Macero & Irving Townsend Professional reviews •

Allmusic

•

link

[2]

Down Beat

•

[1]

[3]


•

Pitchfork Media (10.0/10) link

[4]

[5]

•

Q

•

Rolling Stone

[6]


Kind of Blue (1959)


Someday My Prince Will Come (1961)

Sketches of Spain is an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. The album pairs Davis with arranger and composer Gil Evans, with whom he had collaborated on several other projects, on a program of compositions largely derived from the Spanish folk tradition. (An extended version of the second movement of Joaquin Rodrigo's Concierto de Aranjuez is also included, as well as a song called "Will o' the Wisp", from the ballet El amor brujo by Manuel de Falla.)

Sketches of Spain

86

Reception Sketches of Spain is considered to be one of the most accessible albums of Davis's career: the most recent edition of the Penguin Guide to Jazz on CD describes it as "elevated light music". Less improvisational than much other jazz, contemporaries suggested that Sketches of Spain was something other than jazz. Davis replied (according to Rolling Stone magazine), "It's music, and I like it".[7] In 2003, the album was ranked number 356 on Rolling Stone's list of the 500 greatest albums of all time.[7]

Track listing Side one 1. "Concierto de Aranjuez" (Adagio) (Joaquín Rodrigo) – 16:19 2. "Will o' the Wisp" (Manuel de Falla) – 3:47 Side two • "The Pan Piper" (Gil Evans) – 3:52 2. "Saeta" (Evans) – 5:06 3. "Solea" (Evans) – 12:15 1997 reissue bonus tracks • "Song of Our Country" (Evans) – 3:23 2. "Concierto de Aranjuez" (alternative take; part 1) (Rodrigo) – 12:04 3. "Concierto de Aranjuez" (alternative take; part 2 ending) (Rodrigo) – 3:33

Personnel In alphabetical order (Note: this list actually encompasses the total musicians used on several sessions in late 1959 and early 1960. The actual number of players on the piece was 19.) •

Danny Bank — bass clarinet

•

Dick Hixon — trombone

•

Bill Barber — tuba

•

Elvin Jones — percussion

•

John Barrows — French horn

•

Taft Jordan — trumpet

•

Albert Block — flute

•

Jack Knitzer — bassoon

•

James Buffington — French horn

•

Jose Mangual — percussion

•

Eddie Caine — flute, flugelhorn

•

Jimmy McAllister — tuba

•

Paul Chambers — bass

•

Tony Miranda — French horn

•

Earl Chapin — French horn

•

Louis Mucci — trumpet

•

Jimmy Cobb — drums

•

Romeo Penque — oboe

•

Johnny Coles — trumpet

•

Janet Putnam — harp

•

Miles Davis — trumpet, flugelhorn

•

Frank Rehak — trombone

•

Gil Evans — arranger, conductor

•

Ernie Royal — trumpet

•

Harold Feldman — clarinet, flute, oboe •

•

Bernie Glow — trumpet

Joe Singer — French horn

Sketches of Spain

Trivia • Buckethead's 2002 album, Electric Tears, contains a song entitled "Sketches of Spain (For Miles)". • A sample from "Concierto de Aranjuez" was used in the Chroma Key song "Before You Started". • In the Clint Eastwood film The Gauntlet (1977) the Jerry Fielding soundtrack music for the climactic gauntlet sequence is an almost identical copy of the "Solea" track. • Two Almodóvar films have featured songs from this album: Tacones lejanos (High Heels), where "Solea" is heard over the opening credits; and La flor de mi secreto (The flower of my secret), where "Saeta" is heard in a ballet scene. • The band Tears for Fears has a song called "Sketches of Pain" on the album Raoul and the Kings of Spain. • Dutch band The Nits released a song in 1983 on their album Kilo called "Sketches Of Spain". The title was directly inspired by the Miles Davis album, even though the song's music and lyrics (about the Spanish Civil War) have no references to it. The song has become one of the band's best known tunes. • In Haruki Murakami's novel, The Wind-Up Bird Chronicle, the main character owns a signed copy of Sketches of Spain. • In the movie The Salton Sea, Val Kilmer's character plays an excerpt from the song Saeta on his trumpet. It is also a prevailing song throughout the movie. • New York screamo band Saetia takes their name from a misspelling of the track "Saeta." • Hip-Hop Producer DJ Premier sampled "Will O' the Wisp" for the tracks "Invasion" and "Wrath of the Math" for the Jeru The Damaja 1996 album Wrath of the Math. • 'Song of Our Country', a bonus track on CD reissues is credited on the sleeve to Gil Evans. Although Evans was responsible for the arrangement the original piece was the second movement of Bachianas Brasileiras No. 2, O Canto da Nossa Terra in Portuguese composed by Brazilian composer Heitor Villa-Lobos. • Mad Men season one episode The Hobo Code features the "Concierto de Aranjuez" during Midges pot party. • In 2010, a cover of the album was recorded featuring Lew Soloff, Solo Trumpet, with Steve Richman conducting the Harmonie Ensemble/New York. • In concert, the Grateful Dead occasionally played a jam inspired by "Solea" that was dubbed by fans as "Spanish Jam". Examples of this jam can be heard on various concert recordings, including Dick's Picks Volume 6.[8] • Bruce Conner used "Concierto de Aranjuez" as the soundtrack to his 1967 film "The White Rose", documenting the 1965 removal of fellow artist Jay DeFeo's magnum opus from her San Francisco apartment.

References [1] [2] [3] [4] [5] [6]

http:/ / www. allmusic. com/ album/ r667784 Tower Records listing (http:/ / www. tower. com/ sketches-spain-miles-davis-cd/ wapi/ 106693154) Sketches of Spain rankings and ratings at AcclaimedMusic.net (http:/ / www. acclaimedmusic. net/ Current/ A1877. htm) http:/ / web. archive. org/ web/ 20030206163503/ www. pitchforkmedia. com/ record-reviews/ d/ davis_miles/ sketches-of-spain. shtml Sketches of Spain details at CDuniverse.com (http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088638/ a/ Sketches+ Of+ Spain. htm) Hoard, Christian. " Review: Sketches of Spain (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone: 214–217. November 2, 2004. [7] "The 500 Greatest Albums of All Time" (http:/ / www. rollingstone. com/ music/ lists/ 500-greatest-albums-of-all-time-19691231/ sketches-of-spain-miles-davis-19691231). Rolling Stone. 2003-11-18. . Retrieved 2011-02-09. [8] http:/ / www. dead. net/ song/ spanish-jam

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88

Someday My Prince Will Come Someday My Prince Will Come/ Kodak Song The woman on the cover of the album was Davis' wife, Frances. Studio album by Miles Davis Released

December 11, 1961

Recorded

March 7-21, 1961 30th Street Studio, New York, New York

Genre

Jazz

Length

41:45

Label

Columbia CS-8456

Producer

Teo Macero Professional reviews [1] All About Jazz (favorable) link [2] Allmusic link [3] Penguin Guide to Jazz [4] Warr.org link

• • • •




Quiet Nights (1963)

Someday My Prince Will Come is a studio album by Miles Davis, recorded in March 1961 in New York City. The album garnered significant critical acclaim, with reviewers praising Davis' precision playing and expansive lyricism.[5] While the liner notes credit the Miles Davis Sextet, only the title track featured six players, with John Coltrane joining the Miles Davis Quintet, which is featured on the bulk of the record. It marked the last time Davis would record with Coltrane and drummer Philly Joe Jones and was the only Davis Quintet studio session to feature saxophonist Hank Mobley.

Track listing All tracks written by Miles Davis unless otherwise noted.

Side one 1. "Someday My Prince Will Come" (Frank Churchill) – 9:04 •

Larry Morey wrote lyrics for this song, but this recording is instrumental.

2. "Old Folks" (Willard Robison) – 5:14 •

Dedette Lee Hill wrote lyrics for this song, but this recording is instrumental.

3. "Pfrancing" – 8:31


Side two • "Drad-Dog" – 4:29 2. "Teo" – 9:34 (in reference to Teo Macero) 3. "I Thought About You" (Jimmy Van Heusen) – 4:53 •

Johnny Mercer wrote lyrics for this song, but this recording is instrumental.

CD reissues include "Blues No. 2" and an alternate take of "Someday My Prince Will Come".


Miles Davis - Trumpet Hank Mobley - Tenor saxophone (on all tracks except #5 and #6, (first solo on #1)) John Coltrane - Tenor saxophone (only on tracks 1 (second solo) & 5) Wynton Kelly - Piano Paul Chambers - double bass Philly Joe Jones - drums (only on "Blues No.2") Jimmy Cobb - drums (on all others)

References [1] [2] [3] [4] [5]

http:/ / www. allaboutjazz. com/ php/ article. php?id=29834 http:/ / www. allmusic. com/ album/ r573782 http:/ / www. acclaimedmusic. net/ Current/ A1895. htm Someday My Prince Will Come ratings at AcclaimedMusic.net http:/ / www. warr. org/ miles. html#Someday AMG review (http:/ / www. allmusic. com/ album/ r573782)

89

Quiet Nights

90

Quiet Nights Quiet Nights

Studio album by Miles Davis/Gil Evans Released

December 1963

Recorded July 27, 1962 - April 17, 1963 at Columbia 30th Street Studio, New York and Columbia Studio, Hollywood, CA Genre

Jazz Bossa Nova

Length

26:57 (original) 39:45 (reissue)

Label

Columbia

Producer Teo Macero Professional reviews •

Allmusic

link

[1]

Miles Davis/Gil Evans chronology


Quiet Nights (1963)

Seven Steps to Heaven (1963)

Quiet Nights is an album recorded in 1962 and 1963 by Miles Davis and Gil Evans at the Columbia 30th Street Studios in New York City. The first six tunes were recorded in 1962 with an orchestra conducted by Evans, and "Summer Night" was recorded in 1963 by Davis with a short-lived quintet (George Coleman, Victor Feldman, Ron Carter and Frank Butler), during the sessions for the album Seven Steps to Heaven, although Coleman lays out on this number. Davis regarded the 27-minute album of bossa-nova songs as an unfinished project, and its release against Davis's wishes caused a lengthy breach with producer Teo Macero.

Quiet Nights

Track listing Side one 1. 2. 3. 4.

"Song No. 2" (aka Prenda Minha, RS folklore/Brazil) - 1:35 "Once upon a Summertime" (Johnny Mercer, Michel Legrand, Eddie Marnay, Eddie Barclay) - 3:25 "Aos pés da cruz" (Marino Pinto, Zé da Zilda, João Gilberto) - 4:14 "Song No. 1" (Evans, Davis) - 4:32

Side two 1. "Wait Till You See Her" (Richard Rodgers, Lorenz Hart) - 4:02 2. "Corcovado" (Antonio Carlos Jobim) - 2:41 3. "Summer Night" (Al Dubin, Harry Warren) - 6:03 CD reissue includes "The Time of the Barracudas", music recorded in 1963 to accompany a play of the same name by Peter Barnes. This features another orchestra conducted by Evans, and the rhythm section of the Davis 60's quintet (Herbie Hancock, Ron Carter and Tony Williams).


91


92

Seven Steps to Heaven Seven Steps to Heaven


1963

Recorded April 16, 1963 at Columbia Studio, Hollywood and May 14, 1963 at Columbia 30th Street Studio, New York Genre

Jazz

Length

46:19

Label

Columbia Records

Producer Teo Macero Professional reviews [1] Allmusic link [2] All About Jazz (favorable) link [4] Warr.org (favorable) link

• • •


Quiet Nights (1963)


E.S.P. (1965)

Seven Steps to Heaven is an album recorded in 1963 by Miles Davis. On the 16th and 17th of April, at Columbia's Los Angeles studios, a quintet comprising Davis, George Coleman, Victor Feldman, Ron Carter and Frank Butler recorded all six tunes plus "Summer Night", for an album to be titled So Near, So Far. A month later, in New York City, Davis re-recorded three of the tunes (tracks 2, 4 & 6) with a new quintet, replacing Feldman with Herbie Hancock and Butler with Tony Williams. The new rhythm section of Hancock, Carter and Williams would form the nucleus of Davis's working band for the next five years. This is the last of Davis's studio albums which relies substantially on standard tunes - once Wayne Shorter joined the quintet in 1964, tunes on studio recordings were almost always composed by members of the group.


Track listing 1. 2. 3. 4. 5. 6.

"Basin Street Blues" (Spencer Williams) - 10:30 "Seven Steps to Heaven" (Victor Feldman, Miles Davis) - 6:26 "I Fall in Love Too Easily" (Jules Styne) - 6:46 "So Near, So Far" (Tony Crombie, Benny Green) - 6:59 "Baby, Won't You Please Come Home?" (Charles Warfield, Clarence Williams) - 8:28 "Joshua" (Victor Feldman) - 7:00

Tracks 1, 3 & 5 are tracks produced from the April session with Feldman, Butler, Carter and feature Davis in a quartet setting without Coleman.

CD reissue includes an alternate take of "So Near, So Far" (from the April session) and "Summer Night", recorded by the Feldman/Butler quintet during the same sessions, but originally released on Quiet Nights. The alternate take of "So Near, So Far" produces a rare phenomenon - an alternate take with a different rhythm section. This would be no great deal were it not for the fact that Feldman and Butler were of such a startlingly different style from Hancock and Williams, almost of a different age.

Personnel • Miles Davis - Trumpet • • • • • •

George Coleman - Tenor Saxophone Victor Feldman - Piano (April session) Herbie Hancock - Piano (May session) Ron Carter - Double bass Frank Butler - drums (April session) Tony Williams - drums (May session)

References [1] http:/ / www. allmusic. com/ album/ seven-steps-to-heaven-r736053 [2] http:/ / www. allaboutjazz. com/ php/ article. php?id=18516

93

E.S.P.

94

E.S.P. E.S.P.


November 1965

Recorded January 20–22, 1965 at Columbia Studios, Hollywood, LA, CA Genre

Jazz Post-bop Modal jazz

Length

48:05

Label

Columbia Records CL9150(Mono), CS9150(Stereo)

Producer Irving Townsend Professional reviews [1] Allmusic link [2] Ink Blot (favorable) link [3] Warr.org link

• • •



E.S.P. (1965)

Miles Smiles (1967)

Recorded in January 1965, E.S.P. is the first album by what is often referred to as Miles Davis second great quintet. The quintet comprising Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams would be the most long-lived of all Davis's groups, and this was their first studio recording together. Unlike the majority of previous Davis albums, E.S.P. consisted entirely of new compositions written by members of the group. Despite the profusion of new material, only one tune ("Agitation") is known to have appeared in the group's live performances. Two versions of this tune appear on the Plugged Nickel recordings from December 1965; it was played live as late as the fall of 1969. "Little One" might be best known for being revisited on Hancock's landmark album, Maiden Voyage, recorded a few weeks later. This version is somewhat more embryonic; Carter's bass is halting, and Davis and Shorter state the

E.S.P.

95

theme with winding, interlocking contrapuntal lines that evoke Davis and Coltrane's version of "Round Midnight". Hancock's solo on Carter's composition, "Eighty-One", also presages his work on that LP - particularly its title track. This is reflected in the liner notes of the 1999 reissue. Shortly thereafter, Shorter's compositions would begin to dominate the Quintet's recordings, though here he contributes only two of the seven songs. The title track is reminiscent of Jackie McLean's "Little Melonae", which Davis had recorded with John Coltrane in 1956. "Iris", by contrast, is another Coltrane-like ballad, not too dissimilar to "Infant Eyes" on Shorter's Speak No Evil album. At over forty-eight minutes, E.S.P. is one of the longest jazz albums of its period. Subsequent Davis recordings would be even longer.

Track listing Original LP tracklist Side 1 1. "E.S.P." (Wayne Shorter) – 5:27 2. "Eighty-One" (Ron Carter, Miles Davis) – 6:11 3. "Little One" (Herbie Hancock) – 7:21 4. "R.J." (Ron Carter) – 3:56 Side 2 1. "Agitation" (Miles Davis) – 7:46 2. "Iris" (Wayne Shorter) – 8:29 3. "Mood" (Ron Carter, Miles Davis) – 8:50

Reissue CD (Legacy Recordings, 1999) tracklist 1. 2. 3. 4. 5. 6. 7.

"E.S.P." (Wayne Shorter) – 5:27 "Eighty-One" (Ron Carter, Miles Davis) – 6:11 "Little One" (Herbie Hancock) – 7:21 "R.J." (Ron Carter) – 3:56 "Agitation" (Miles Davis) – 7:46 "Iris" (Wayne Shorter) – 8:29 "Mood" (Ron Carter, Miles Davis) – 8:50

Personnel • • • • •

Miles Davis - Trumpet Wayne Shorter - Tenor Saxophone Herbie Hancock - Piano Ron Carter - Double Bass Tony Williams - Drums

E.S.P.

Production • Record producer - Irving Townsend • Cover Photography - Bob Cato

References [1] http:/ / www. allmusic. com/ album/ r137441 [2] http:/ / www. inkblotmagazine. com/ rev-archive/ Miles_Davis_ESP. htm [3] http:/ / www. warr. org/ miles. html#ESP

96

Miles Smiles

97

Miles Smiles Miles Smiles Studio album by Miles Davis Released

January 1967

Recorded October 24–October 25, 1966 Columbia 30th Street Studio (New York, New York) Genre

Jazz, post-bop

Length

41:44

Label

Columbia CS–9401

Producer Teo Macero Miles Davis chronology

E.S.P. (1965)

Miles Smiles (1967)

Sorcerer (1967)

Miles Smiles is an album by jazz musician Miles Davis, released in January 1967 on Columbia Records. It was recorded by Davis and his second quintet at Columbia 30th Street Studio in New York City on October 24 and October 25, 1966.[1] It is the second of five albums recorded by Davis's second quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock bassist Ron Carter, and drummer Tony Williams.[1]

Music On three tracks from this album ("Orbits", "Dolores", "Gingerbread Boy"), pianist Herbie Hancock takes the unusual step of dispensing with left-hand chords and playing only right-hand lines. Somewhat unusually for this group, the album includes two compositions not written by members of the group. Both are treated far more freely and loosely than the original versions. In addition, an earlier and more conservative recording of Wayne Shorter's "Footprints" appears on his album Adam's Apple. The contribution from drummer Tony Williams on this album feels especially free, both rhythmically and improvisationally. On "Footprints", we hear his trademark polyrhythmic approach: the piece begins with Ron Carter's repeated bass line played in 6/4 time. Tony Williams initially plays within the 6/4 feel; however, during Miles's first solo, Tony shifts to a 4/4 jazz ride pattern while Ron Carter continues the 6/4 bass line. Three of the album's compositions are known to have made it to Davis's live "book". "Dolores" is known from a single recording in the spring of 1967. "Gingerbread Boy" and "Footprints" were played much more frequently. "Gingerbread Boy" was played as late as the summer of 1969; "Footprints" appears on unofficial live recordings from the Fillmore West in April 1970. Early live versions of "Gingerbread Boy" (from the spring and summer of 1966) retained the melody of Heath's original version. The melody on the studio version is somewhat different (presumably changed by Davis), and ensuing versions often retain this change.

Miles Smiles

Reception Initial reaction Miles Smiles received general acclaim from jazz critics upon its release, receiving praise for its original compositions, the quintet's chemistry and playing, and Davis's phrasing.[3] [9] [6] [7] CODA editor John Norris praised the quintet's "mastery of sensitive interaction" and wrote that they "must be one of the most beautifully integrated groups ever to play jazz".[3] Norris noted that "Every man is listening intently at all times, responding sensitively to mutual hints and directions", and stated "The empathy between Carter, Williams and Hancock, the way they anticipate each other, push each other, support each other, and phrase together - all this without a sign of strain - is really amazing".[3] He cited the Davis-penned "Circle" as the album's highlight and wrote that the composition "defines the excellence of the group... a masterpiece".[3] Nat Hentoff of Stereo Review called Tony Williams and Ron Carter "prodigious technicians and restless", while noting "Though tenor saxophonist Wayne Shorter does not quite reach the incandescent performance level attained by his colleagues, he is inspired by them to deliver some of his most inventive playing on records so far".[7] Hentoff cited the quintet as Davis's "most stimulating rhythm team so far" and concluded with a discource on its potential significance, writing that: [Miles Smiles] is certain to remain an important part of the Davis discography, both for the trumpeter's persistent brilliance and for the lesson by Williams and Carter in how the functions — and the dynamic range — of the jazz rhythm section are being explored and changed.[7] —Nat Hentoff Martin Williams, writing for the Saturday Review, called it "an exceptional recital, Davis's best album in some time, and clear evidence of his continuing dedication as an improvising musician", while stating that it is "directly in the tradition of the 'experimental' Davis recordings, the tradition established by Kind of Blue in 1959—an album whose implications jazz musicians are still exploring—and continued by ESP of 1965—an album which seemed to me much less successful".[6] Williams viewed each player as in their best form, particularly Williams and Carter, noting "their superb contributions are beyond the words I could muster for so brief an account as this one".[6] Time similarly complimented both musicians and stated "Williams expertly helps build the mood and [Carter] has a sure feel for the note that under lines the swirl of chords".[8]

Retrospect Upon its 1992 CD reissue, Q magazine gave the album four out of five stars and called it "essential...one of the quintet's best albums" and cited "Footprints" and "Dolores" as "all-time great jazz compositions".[1] Musician cited Miles Smiles as one of "the great quintet albums" and wrote that it "has lost none of its cutting edge [...] Has any band ever grooved harder than Miles and company do on `Orbits,' `Dolores' or `Gingerbread Boy'—and has Miles ever penned a more touching ballad than `Circle'?".[1] Allmusic editor Stephen Thomas Erlewine gave the album five out of five stars and praised the quintet's compositions as "memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century".[2] Erlewine viewed that the quintet "really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. [...] all their strengths are in full bloom", and elaborated on the music's accessibility, stating: [I]t's not just the fast, manic material that has an edge — slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible — it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release.[2] —Stephen Thomas Erlewine

98

Miles Smiles Giving it four-and-a-half out of five stars, Down Beat complimented its "simpler, drier, more austere sound" and stated "the unrehearsed, rough Miles Smiles holds up so well simply because it was more of a jazz record [...] Davis' exquisite waltz, `Circle,' showcases his lyrical, muted-trumpet playing".[1]

Track listing Side one 1. "Orbits" (Wayne Shorter) - 4:37 2. "Circle" (Miles Davis) - 5:52 3. "Footprints" (Wayne Shorter) - 9:46

Side two 1. "Dolores" (Wayne Shorter) - 6:20 2. "Freedom Jazz Dance" (Eddie Harris) - 7:13 3. "Gingerbread Boy" (Jimmy Heath) - 7:43


Miles Davis – Trumpet Wayne Shorter – Tenor saxophone Herbie Hancock – Piano Ron Carter – Double bass Tony Williams – Drums

Production • Producer - Teo Macero • Recording engineer - Frank Laico • Cover Photography - Vernon Smith

References [1] Product Page: Miles Smiles (http:/ / www. webcitation. org/ 5tyfN523V). Muze. Retrieved on 2010-11-03. [2] Erlewine, Stephen Thomas (November 1, 2001). Review: Miles Smiles (http:/ / www. allmusic. com/ album/ miles-smiles-r106159/ review). Allmusic. Retrieved on 2010-11-03. [3] Norris, John (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=ri8MAQAAIAAJ& q=)". CODA: volume 8. 16–17. [4] Cook, Richard. " Review: Miles Smiles (http:/ / www. acclaimedmusic. net/ Current/ A1967. htm)". The Penguin Guide to Jazz: 376. September 2002. [5] Hoard, Christian (November 1, 2004). " Review: Miles Smiles (http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA214& dq=#v=onepage& q& f=false)". Rolling Stone: 214, 217. [6] Williams, Martin (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=BzzoAAAAMAAJ& q=)". Saturday Review: volume 50. 187. [7] Hentoff, Nat (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=A09UAAAAMAAJ& q=)". Stereo Review: volume 18. 61–62. [8] Columnist (April 21, 1967). Review: Miles Smiles (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,843570-2,00. html). Time. Retrieved on 2010-11-03. [9] Baraka, Imamu Amiri (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=asUJAQAAMAAJ& pg=)". Down Beat: volume 34. 61.

99

Sorcerer

100

Sorcerer Sorcerer


1967

Recorded

May 16 - May 24, 1967 at Columbia Studios B and 30th Street Studio, New York; "Nothing Like You": August 21, 1962 at Columbia Studio A, New York

Genre


Length

40:17 (LP) 52:56 (reissue)

Label

Columbia

Producer

Teo Macero Professional reviews

•

Allmusic

link

[1]


Miles Smiles (1967)

Sorcerer Nefertiti (1967) (1968)

Sorcerer is an album recorded in May 1967 by the Miles Davis quintet. It is the third of five albums that this quintet recorded. It also includes one track from a 1962 session with vocalist Bob Dorough, which was the first time Wayne Shorter recorded with Davis. The album's cover is a photo of actress Cicely Tyson, who at the time was Davis's girlfriend (and many years later his wife), in profile.

Sorcerer

Track listing 1. 2. 3. 4. 5. 6. 7.

"Prince of Darkness" (W. Shorter) "Pee Wee" (T. Williams) "Masqualero" (W. Shorter) "The Sorcerer" (H. Hancock) "Limbo" (W. Shorter) "Vonetta" (W. Shorter) "Nothing Like You" (Bob Dorough) (1962)

CD reissue includes alternate takes of "Masqualero" and "Limbo". The alternate version of "Limbo" was actually recorded in Los Angeles on May 9, several days before the final take went down in New York City. This take also replaces Ron Carter with bassist Buster Williams. Both versions of "Masqualero" was recorded on the same date and with the same personell however. The only tune from the album known to have appeared in Davis's live performances is "Masqualero". Davis's groups performed it as late as April 1970; the last known version appears on the live album Black Beauty.


Miles Davis - Trumpet Wayne Shorter - Tenor saxophone Herbie Hancock - Piano Ron Carter - Double bass Tony Williams - drums

The lineup differs greatly on the track "Nothing Like You" since it was recorded several years prior: • • • • • • • •

Miles Davis - Trumpet Wayne Shorter - Tenor saxophone Bob Dorough - vocals Gil Evans - Arrangements Frank Rehak - Trombone Paul Chambers - Double bass Jimmy Cobb - drums Willie Bobo (William Correa) - bongos


101

Nefertiti

102

Nefertiti Nefertiti


1968

Recorded

June 7, June 22 and July 19, 1967 30th Street Studio (New York, New York)

Genre


Length

39:15 (Original LP) 62:34 (CD Reissue)

Label

Columbia CS-9594

Producer

Teo Macero (A1, A3, B1) Howard Roberts (A2, B2, B3) Professional reviews

• • • •

Allmusic Penguin Guide to Jazz Q Warr.org

link [3]

[1] link

[2]

link [4] link


Sorcerer Nefertiti (1967) (1968)

Miles in the Sky (1968)

Nefertiti is a studio album by jazz musician Miles Davis, released in 1968 on Columbia Records.[5] Recorded on June 7, June 22 and July 19, 1967 at Columbia's 30th Street Studio, the album was Davis' last fully acoustic album. Davis himself did not contribute anything in the way of compositions, which are mostly written by Herbie Hancock and Wayne Shorter.[6] The album reached #8 on the Billboard Top Jazz Albums charts in 1968.[7] Nefertiti was

Nefertiti reissued, CK-65681, in 1998 by Columbia and Legacy Records.[8]

Music The fourth album by Miles Davis' second classic quintet, Nefertiti is best known for the unusual title track, on which the horn section repeats the melody numerous times without individual solos while the rhythm section improvises underneath, reversing the traditional role of a rhythm section.[6] Also featured are the lilting ballad "Fall", Williams's "Hand Jive", a more boppish composition, and the other pieces showcase the group's unique post-bop approach. Both "Nefertiti" and "Riot" entered the Davis quintet's live set. Featuring mostly acoustic arrangements, the music of Nefertiti, while mostly low-key mood music, is rooted in hard bop.[6] While remaining acoustic, the album signaled Miles Davis' transition from bop and modal to jazz fusion.[6] As a transition for Davis, the impressionistic chords of the songs hint at the conception of his next albums, Miles in the Sky, Filles de Kilimanjaro, and the critically acclaimed In a Silent Way, his first three fusion albums.[6] Following Nefertiti's release, Davis would begin to experiment with electric instruments, marking the beginning of his electric period.[9]

Track listing All songs written by Wayne Shorter, except where noted.[6]

Side one 1. "Nefertiti" – 7:52 2. "Fall" – 6:39 3. "Hand Jive" (Williams) – 8:54

Side two 1. "Madness" (Hancock) – 7:31 2. "Riot" (Hancock) – 3:04 3. "Pinocchio" – 5:08 CD reissue includes alternate takes of "Hand Jive" (two takes), "Madness" and "Pinocchio".

Chart history Billboard Music Charts (North America) – Nefertiti[7] • 1968: Top Jazz Albums – #8


Miles Davis - trumpet Wayne Shorter - tenor saxophone Herbie Hancock - piano Ron Carter - double bass Tony Williams - drums

103

Nefertiti

Additional personnel • • • •

Teo Macero – producer Howard Roberts – producer Fred Plaut, Ray Moore – engineer Rob Schwarz – mastering

References [1] [2] [3] [4] [5] [6] [7] [8] [9]

http:/ / www. allmusic. com/ album/ r106161 http:/ / www. acclaimedmusic. net/ Current/ A1983. htm http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088982/ a/ Nefertiti. htm http:/ / www. warr. org/ miles. html#Nefertiti "Miles Davis Quintet 1965-'68: The Complete Columbia Studio Recordings of the Miles Davis Quintet - Notes" (http:/ / www. discogs. com/ release/ 1410360). Discogs. . Retrieved 2008-07-31. "allmusic {{{Nefertiti > Overview}}}" (http:/ / www. allmusic. com/ album/ r106161). All Media Guide, LLC.. . Retrieved 2008-07-31. "allmusic {{{Nefertiti > Charts & Awards > Billboard Albums}}}" (http:/ / www. allmusic. com/ album/ r106161/ charts-awards). All Media Guide, LLC.. . Retrieved 2008-07-31. "Discogs.com - Miles Davis - Nefertiti" (http:/ / www. discogs. com/ release/ 219046). Discogs. . Retrieved 2008-07-31. "Jazz Democracy - By Adam Shatz - Slate Magazine" (http:/ / www. slate. com/ id/ 3160/ ). Washington Post.Newsweek Interactive Co. LLC. . Retrieved 2008-07-31.

104

Miles in the Sky

105

Miles in the Sky Miles in the Sky


1968

Recorded

January 16 and May 15 to 17, 1968 Columbia Studio B (New York, New York)

Genre

Fusion, Post-Bop

Length

50:51 70:48 (Re-issue)

Label

Columbia/Legacy

Producer


• • •

Allmusic Down Beat Rolling Stone

[1] link [2] link [3] link


Nefertiti (1968)


Filles de Kilimanjaro (1969)

Miles in the Sky is an album recorded in January and two dates in May 1968. It is the fifth and final album fully made by the Miles Davis second great quintet, for Filles de Kilimanjaro the quintet was beginning to dissolve with Ron Carter and Herbie Hancock being replaced on two of the five songs. Miles in the Sky is notable for the first use of electric piano, electric bass and electric guitar on an issued recording by Davis, a foreshadowing of his move into fusion music over the next few years. Although the album was released shortly after recording the last two songs, the tracks come from different sessions which show different stages of Miles Davis's evolution from acoustic jazz to electric "fusion" music. "Paraphernalia" (recorded January 16, 1968) features George Benson's electric guitar, although it is more conservative in style than

Miles in the Sky

106

the earlier "Circle in the Round" (which however was not released until the late seventies). "Black Comedy" and "Country Son" (May 15 and May 16, 1968 respectively) are Davis's last return to the acoustic quintet format in the studio. "Stuff" (recorded May 17, 1968), with its electric bass, Fender Rhodes piano and binary rhythm, is in yet another idiom, that of the forthcoming Filles de Kilimanjaro. "Paraphernalia" was the only composition from this album to enter Davis's live book.

Track listing Side one No. Title 1. "Stuff"

Writer(s)

Length

Miles Davis

2. "Paraphernalia" Wayne Shorter

16:58 12:36

Side two No. Title

Writer(s)

Length

1. "Black Comedy" Tony Williams 2. "Country Son"

Davis

7:25 13:49

1998 reissue bonus tracks No. Title

Writer(s) Length

1. "Black Comedy (alternate take)" Williams 2. "Country Son (alternate take)"

Davis


Miles Davis — trumpet Wayne Shorter — tenor saxophone Herbie Hancock — piano, electric piano on "Stuff" George Benson — electric guitar on "Paraphernalia" Ron Carter — bass, electric bass on "Stuff" Tony Williams — drums

References [1] http:/ / www. allmusic. com/ album/ r137480 [2] http:/ / www. webcitation. org/ 5uOjhs6Er [3] http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA215#v=onepage& q& f=false

6:26 14:38

Water Babies

107

Water Babies Water Babies


November 2, 1976

Recorded June 7, 13, 23, 1967 at Columbia 30th Street Studio, New York; November 11–12, 1968 at Columbia Studio B, New York Genre

Fusion, Post-Bop

Length

53:05 (original) 63:10 (2002 reissue)

Label

Columbia/Legacy


Allmusic

link

[1]


Get Up with It (1974)

Water Babies (1976)

Circle in the Round (1979)

Water Babies is a studio album by Miles Davis. Released during Miles Davis's retirement in the second half of the seventies, it is a collection of stylistically diverse "leftovers" spanning eighteen months, from the Nefertiti sessions with the Miles Davis Quintet (1967) to the experimental, transitional period between Filles de Kilimanjaro and In a Silent Way (late 1968). Due to these recordings being released years after they were recorded, the three Wayne Shorter compositions recorded during the 1967 session would make their first appearance in 1969 on Shorter's album Super Nova in a much more free jazz, avant-garde style. Side A features the second great quintet of Davis, Shorter, Hancock, Williams and Carter. On side B, Ron Carter is replaced by Dave Holland and Chick Corea doubles with Hancock on electric piano; this line-up is very similar to that who recorded In A Silent Way (in fact tracks 4 to 6 was recorded during those sessions).

Water Babies

Track listing on 1976 original LP version Side one 1. "Water Babies" (Wayne Shorter) – 5:06 2. "Capricorn" (Wayne Shorter) – 8:26 3. "Sweet Pea" (Wayne Shorter) – 7:59

Side two 1. "Two Faced" (Wayne Shorter) – 18:00 2. "Dual Mr. Tillmon Anthony" (Miles Davis, Tony Williams) – 13:20

Track listing on 2002 CD resissue 1. 2. 3. 4.

"Water Babies" (Wayne Shorter) – 5:06 "Capricorn" (Wayne Shorter) – 8:26 "Sweet Pea" (Wayne Shorter) – 7:59 "Two Faced" (Wayne Shorter) – 18:00

5. "Dual Mr. Anthony Tillmon Williams Process" (Miles Davis, Tony Williams) – 13:20 6. "Splash" (Miles Davis) – 10:05

Performers On Tracks 1-3 • • • • •

Miles Davis – trumpet Wayne Shorter – tenor saxophone, soprano saxophone Herbie Hancock – piano Ron Carter – bass Tony Williams – drums

Performers On Tracks 4-6 • • • • •

Miles Davis – trumpet Wayne Shorter – tenor saxophone, soprano saxophone Chick Corea & Herbie Hancock – electric piano Dave Holland – bass Tony Williams – drums


108


109

Filles de Kilimanjaro Filles de Kilimanjaro


1968

Recorded June 19-21 & September 24, 1968 at Columbia 30th Street Studio, New York Genre

Jazz, fusion, post-bop

Length

56:30

Label

Columbia/Legacy




In a Silent Way (1969)

Filles de Kilimanjaro (French for "Girls/Daughters of Kilimanjaro") is a studio album by American jazz recording artist Miles Davis. It was recorded in June and September 1968. The album was first released in the United Kingdom by Columbia Records in 1968,[1] and subsequently in the United States in 1969. The album is a transitional work for Davis, who shifted stylistically from acoustic recordings with his second "great" quintet to his subsequent "electric" period. Filles de Kilimanjaro was well-received by contemporary music critics, who viewed it as a significant release in modern jazz.

Background The June sessions featured Wayne Shorter on saxophone, Herbie Hancock on the electric Rhodes piano, Ron Carter on electric bass, and Tony Williams on drums. The September sessions replaced Hancock with Chick Corea, and Carter with Dave Holland. During the September sessions, Holland played acoustic bass and Corea played an RMI Electra-piano in addition to acoustic piano.[2] :52 These are Holland and Corea's first known recordings with Davis. The album was produced by Teo Macero and engineered by Frank Laico and Arthur Kendy. The album title refers in part to Kilimanjaro African Coffee, a company in which Davis had made a financial investment.[3] :272 Davis decided to list all the song titles in French to give the album an exotic touch.[3] :272

Filles de Kilimanjaro Davis married Betty O. Mabry Davis in September 1968, and named "Mademoiselle Mabry (Miss Mabry)" for her.[2] :52 The song itself was recorded during the same month as Davis' wedding.[2] :52 Betty Davis appears on the album cover.[3] :269

Music The album can be seen as a transitional work between Davis's mainly acoustic recordings with the Second Quintet and his later electric period (for example, Bitches Brew). It is suffused in the heady abstraction of the 1960s, but attentive to blues tonalities, electronic textures, and dancing rhythms of later jazz fusion.[4] Davis apparently saw it as a transitional work for him, as the album was the first in what would become a series of his releases to bear the subtitle "Directions in music by Miles Davis." However, author Paul Tingen points out that while Carter and Hancock played electric instruments at the first recording session, the later session was a bit of a throwback, in which Holland played only acoustic bass and Corea played both acoustic and electric piano.[2] :52 Stanley Crouch, a staunch critic of Davis' use of electric instruments, has described the album as "the trumpeter's last important jazz record."[2] :40,46 Noted linguist and Miles Davis-biographer Jack Chambers later wrote that the band sought to expand beyond their usual minimal structure and find a common mood, wanting listeners to "discover the unity of the pieces instead of just locating it, as viewers must discover the unity in a painting with several simultaneous perspectives".[5] The melodic complexity of "Petits Machins (Little Stuff)" highlights Davis's interest in departing from post-bop structure towards the sounds and textures of his subsequent fusion work.[] Music writer Marcus Singletary commented on its complexity, "True to the general concept of Filles de Kilimanjaro, a mosaic of controlled chaos becomes the defining sound of 'Little Stuff'".[6] On the recording, the quintet expresses an 11/4 meter with a repeating riff and chromatically ascending dominant harmonies in the recording first section.[] Section two moves to a contrasting 10-bar section in 4/4 meter, with the opening six bars relying on an F pedal point in the bass, above which occur shifting harmonies each measure.[] The static F pedal section yields to a syncopated progression with meters seven to eight and a change of bass in meters nine to 10, as the quintet makes an alteration to section two during the improvisations. Music theorist Keith Waters cites this as an example of "Davis's—by now—well-worn practice of metric deletion", in which throughout the trumpet solo, the quintet maintains a repeated nine-bar cycle, rather than the 10 bars of section two heard during the first section.[] The quintet omits meter 10 of section two during the solos and maintains the harmonic progression of meters one through nine. As in the first section, the syncopated progression occurs in meter seven, but Carter does not participate in playing the syncopation of meters seven to eight during the improvisations, while Hancock interprets this progression more freely.[] Singletary said of its musical significance: [T]he fact that these musicians mostly follow each other instinctively into such undefined territory is jolting. Absent of any form of actual standardization, these rare glimpses into the thought processes of geniuses validates their singular language as impossible to replicate in any way that would do this original recording justice. Though relatively brief, this track is the highlight of the album, and its significance to jazz remains tantamount. Through it, an apex of creativity in Miles's career was reached, and the track also shows why each musician here is considered an A-list innovator.[6] —Marcus Singletary As with the album's title track, the quintet does not return to the first section and the recording concludes with a second Davis improvisation.[] Gil Evans, with whom Davis had previously collaborated, helped compose, arrange, and produce the album, though he is not mentioned in the credits.[3] :273 Evans co-composed "Petits Machins", which he later recorded as "Eleven" with himself and Davis listed as co-composers.[3] :273 The song "Mademoiselle Mabry (Miss Mabry)," while credited to Davis, is actually Gil Evans' reworking of "The Wind Cries Mary" by Jimi Hendrix (Davis and Evans had met with Hendrix several times to exchange ideas).[3] :271 At the same time, some portions of the song resemble Lieber and Stoller's "On Broadway".[2] :52

110


Reception Rolling Stone gave the album a positive review upon its release, stating "No amount of track-by-track description here can begin to convey the beauty and intensity. There are five songs, but really they fit together as five expressions of the same basic piece, one sustained work".[4] In a retrospective review of the album, Uncut gave the album five out of five stars and called it "a masterpiece of tropical exoticism".[4] Sputnikmusic staff writer Tyler Fisher commented that the rhythm section-players "sound entirely innovative and fresh" and "The whole band, in both quintets, has an extreme awareness about each other and knows exactly where each soloist is going".[12] Fisher viewed that the album has "a more avant-garde feel" due to a "lack of form and the constant outlook of many measures ahead", while calling it "a full out enjoyable listen, showcasing enough variety and virtuosity to not make the 70-minute album a tiring listen".[12] Allmusic editor Stephen Thomas Erlewine called its music "unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band [...] Where Miles in the Sky meandered a bit, this is considerably more focused", dubbing it as "the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with".[7] Erlewine also cited the album as "the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion", and commented on its significance in Davis's catalogue, stating: [W]hat makes this album so fascinating is that it's possible to hear the breaking point — though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it's possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new [...] [C]ertainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn't fly and search the way that Nefertiti did. But that's not a bad thing — this middle ground between the adventurous bop of the mid-'60s and the fusion of the late '60s is rewarding in its own right, since it's possible to hear great musicians find the foundation of a new form.[7] —Stephen Thomas Erlewine Down Beat critic John Ephland called it "the stylistic precursor to the ever-popular In a Silent Way of 1969", writing that "Filles is performed (and edited) like a suite, with a sense of flow unlike anything Davis had recorded up to that point. That flow is enhanced by a music played all in one key (F), with only five 'tunes,' and with a mood and rhythms that change gradually from start to finish".[5] Ephland concluded in his review, "In passing, Filles de Kilimanjaro is a turning-point album unlike any other for Davis: For the first time, his bebop roots were essentially severed, rockier rhythms, electricity and ostinato-driven bass lines now holding sway".[5] Jim Santella of All About Jazz wrote that the album's music "flows with a lyricism that remains highly regarded in today’s format", concluding in his review that "Filles De Kilimanjaro remains one of the classic albums from their collaboration, and represents a high point in modern jazz".[8]

Track listing All songs were credited to Miles Davis.

Side one 1. "Frelon Brun (Brown Hornet)" – 5:39 2. "Tout de Suite (Right Away)" – 14:07 3. "Petits Machins (Little Stuff)" – 8:07

Side two 1. "Filles de Kilimanjaro (Girls of Kilimanjaro)" – 12:03 2. "Mademoiselle Mabry (Miss Mabry)" – 16:32

111

Filles de Kilimanjaro • The first and last tracks were recorded in September 1968, the others in June. The CD reissue includes a sixth track, an alternate take of "Tout de Suite".

Personnel Musicians • • • • • • •

Miles Davis - Trumpet Wayne Shorter - Tenor saxophone Herbie Hancock - Fender Rhodes electric piano on tracks 1,2,4 & 6 Chick Corea - RMI Electra-piano on tracks 3 & 5 Ron Carter - Electric bass on tracks 1,2,4 & 6 Dave Holland - Double bass on tracks 3 & 5 Tony Williams - Drums

Production • Teo Macero - Production (original recording) • Frank Laico, Arthur Kendy - Engineering • Hiro - Cover art

Notes [1] (1968) Album notes for Filles de Kilimanjaro by Miles Davis [Vinyl LP]. United Kingdom: CBS. [2] Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991 (first printing ed.). New York: Billboard Books. ISBN 0-8230-8346-2. [3] Szwed, John (2002). So What: The Life of Miles Davis (first ed. ed.). New York: Simon & Schuster. ISBN 0-684-85982-3. [4] Miles Davis - Filles De Kilimanjaro CD Album (http:/ / www. webcitation. org/ 5uAu8uxdL). Muze. Retrieved on 2011-04-03. [5] Ephland (2007), p. 315. [6] Singletary, Marcus (November 9, 2008). Miles Davis: Petits Machins (Little Stuff) – Jazz.com | Jazz Music – Jazz Artists – Jazz News (http:/ / www. jazz. com/ music/ 2008/ 11/ 9/ miles-davis-petits-machins-little-stuff). Jazz.com. Retrieved on 2011-04-03. [7] Erlewine, Stephen Thomas (November 1, 2001). Filles de Kilimanjaro - Miles Davis | AllMusic: Review (http:/ / www. allmusic. com/ album/ filles-de-kilimanjaro-r588820/ review). Allmusic. Retrieved on 2011-04-03. [8] Santella, Jim (August 1, 2002). Miles Davis | Filles De Kilimanjaro (http:/ / www. allaboutjazz. com/ php/ article. php?id=10269). All About Jazz. Retrieved on 2011-04-03. [9] Ephland (2007), p. 306. [10] Cook, Richard; Brian Morton (2008) [1992]. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (9th ed.). New York: Penguin. p. 346. ISBN 978-0-141-03401-0. [11] Hoard, Christian (November 2, 2004). " Miles Davis: Album Guide | Rolling Stone Music (http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA215#v=onepage& q& f=false)". Rolling Stone: 214–220. Retrieved on 2011-04-03. [12] Fisher, Tyler (August 20, 2006). Miles Davis - Filles de Kilimanjaro (staff review) | Sputnikmusic (http:/ / www. sputnikmusic. com/ review/ 8803/ Miles-Davis-Filles-de-Kilimanjaro/ ). Sputnikmusic. Retrieved on 2011-04-03.

112


References • Alkyer, Frank; John Ephland, Howard Mandel (2007). The Miles Davis Reader. Hal Leonard Corporation. ISBN 9781423430766. • Waters, Keith (2011). The Studio Recordings of the Miles Davis Quintet, 1965-68. Oxford University Press. ISBN 9780195393835.

External links • Filles de Kilimanjaro (http://www.discogs.com/Miles-Davis-Filles-De-Kilimanjaro/master/62368) at Discogs

113

In a Silent Way

114

In a Silent Way In a Silent Way


July 30, 1969

Recorded

February 18, 1969 CBS 30th Street Studio B (New York, New York)

Genre

Jazz, fusion, electronic, avant-garde jazz

Length

38:10

Label

Columbia CS 9875

Producer




Bitches Brew (1970)

In a Silent Way is a studio album by American jazz musician Miles Davis, released July 30, 1969 on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969 at CBS 30th Street Studio B in New York City. Incorporating elements of classical sonata form, Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances. Upon its release, the album was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis's electronic approach. Since its initial reception, it has been regarded by fans and critics as one of Davis's greatest and most influential works. In 2001, Columbia Legacy and Sony Music released the three-disc box set The Complete In a Silent Way Sessions, which includes the original album, additional tracks, and the unedited recordings used to produce In a Silent Way.[1]

In a Silent Way

Background Although Davis's live performances and previous records such as Miles in the Sky (1968) and Filles de Kilimanjaro (1969) had indicated his stylistic shift to fusion, In a Silent Way featured a full-blown electric approach by Davis.[2] [3] It has been regarded by music writers as the first of Davis's fusion recordings, while marking the beginning of his "electric" period.[4] [3] [5] It is also the first recording by Davis that was largely constructed by the editing and arrangement of producer Teo Macero.[4] Macero's editing techniques have incorporated elements of classical sonata form in Davis' recordings for In a Silent Way.[6] Both of the extended tracks on the album consist of three distinct parts that could be thought of as an exposition, development and recapitulation. The last six minutes of the first track are actually the first six minutes of the same track repeated in exactly the same form. With this "trick" the track takes on a more understandable structure. The album featured virtuoso guitarist and newcomer John McLaughlin, who had one month prior to the February 18th In a Silent Way session recorded his classic debut album Extrapolation. At the request of Tony Williams, McLaughlin moved in early February from England to the US to play with The Tony Williams Lifetime. Williams brought McLaughlin to Davis' house the night before the scheduled session for In a Silent Way. Davis had not heard the guitarist before, but was so impressed that he told him to show up at the studio the next day. McLaughlin would go on to great fame in the 1970s as leader of the Mahavishnu Orchestra. According to producer Bob Belden, organist Larry Young, whom Williams had also recently hired for his Lifetime trio, was also intended to play on In a Silent Way. However, out of fear that he would lose his entire band to Davis, Williams sent Young home as soon as he arrived. Instead Joe Zawinul, who had come to the session only as the composer of the song "In a Silent Way," ended up playing organ on the album.

Reception Initial reaction Peaking at number 134 on the U.S. Billboard Top LPs chart, In a Silent Way became Davis's first album in four years, since My Funny Valentine (1965), to reach the chart.[14] While it performed better commercially than most of Davis's previous work,[15] the album's critics were divided in their reaction upon its release. Its incorporation of electronic instrumentation and experimental structure have been sources of extreme controversy among jazz critics.[16] According to the 2004 edition of The New Rolling Stone Album Guide, Davis's recording process and producer Teo Macero's studio editing of individual recordings into separate tracks for the album "seemed near heretical by jazz standards".[2] In his book Running the Voodoo Down: The Electric Music of Miles Davis, Phil Freedom writes that rock and jazz critics at the time of the album's release were biased in their respective genres, writing "Rock critics thought In a Silent Way sounded like rock, or at least thought Miles was nodding in their direction, and practically wet themselves with joy. Jazz critics, especially ones who didn't listen to much rock, thought it sounded like rock too, and they reacted less favorably".[15] Freeman continues by expressing that both reactions were "rooted, at least partly, in the critic's paranoia about his place in the world", writing that rock criticism was in its early stage of existence and such critics found "reassurance" in viewing the album as having psychedelic rock elements, while jazz critics felt "betrayed" amid the genre's decreasing popularity at the time.[15] However, Freeman wrote that In a Silent Way was distinct from both jazz and rock styles at the time, stating: It didn't swing, the solos weren't even a little bit heroic, and it had electric guitars... But though In a Silent Way wasn't exactly jazz, it certainly wasn't rock. It was the sound of Miles Davis and Teo Macero feeling their way down an unlit hall at three in the morning. It was the soundtrack to all the whispered conversations every creative artist has, all the time, with that doubting, taunting voice that lives in the back of your head, the one asking all the unanswerable questions.[15] —Phil Freeman

115

In a Silent Way In a rave review of the album upon its release, Rolling Stone writer Lester Bangs described In a Silent Way as "the kind of album that gives you faith in the future of music. It is not rock and roll, but it's nothing stereotyped as jazz either. All at once, it owes almost as much to the techniques developed by rock improvisors in the last four years as to Davis' jazz background. It is part of a transcendental new music which flushes categories away and, while using musical devices from all styles and cultures, is defined mainly by its deep emotion and unaffected originality".[11] Davis' next fusion album, Bitches Brew, showed him moving even further into the area that lay between the genres of rock and jazz. The dark, fractured dissonance of Bitches Brew ultimately proved to be instrumental in its success; it far outsold In a Silent Way.[15]

Retrospect Since its initial reception, In a Silent Way has been regarded by fans and critics as one of Davis's best works.[12] In a retrospective review, Blender writer K. Leander Williams called it "a proto-ambient masterpiece".[17] Citing it as "one of Davis’s greatest achievements", Chip O'Brien of PopMatters viewed that producer Teo Macero's studio editing on the album helped Davis "embrace the marriage of music and technology".[4] In regards to its musical significance, O'Brien wrote that In a Silent Way "transcends labels",[4] writing "It is neither jazz nor rock. It isn’t what will eventually become known as fusion, either. It is something altogether different, something universal. There is a beautiful resignation in the sounds of this album, as if Davis is willingly letting go of what has come before, of his early years with Charlie Parker, with John Coltrane and Cannonball Adderley, of his early ‘60s work, and is embracing the future, not only of jazz, but of music itself".[4] Stylus Magazine writer Nick Southall called the album "timeless" and wrote of its influence on music, stating "The fresh modes of constructing music that it presented revolutionised the jazz community, and the shifting, ethereal beauty of the actual music contained within has remained beautiful and wonderful, its echoes heard through the last 30 years, touching dance music, electronica, rock, pop, all music".[3] The Penguin Guide to Jazz has included In a Silent Way in its suggested "Core Collection".[18]

Track listing Side one 1. "Shhh/Peaceful" (Miles Davis) – 18:16 1. "Shhh" – 6:14 2. "Peaceful" – 5:42 3. "Shhh" – 6:20 Side two 1. "In a Silent Way/It's About That Time" (Joe Zawinul, Miles Davis) – 19:52 1. "In a Silent Way" (Joe Zawinul) – 4:11 2. "It's About That Time" (Joe Zawinul & Miles Davis) – 11:27 3. "In a Silent Way" (Joe Zawinul) – 4:14

Chart history

116

In a Silent Way

117

Chart (1969)

Peak [19] position

U.S. Billboard Top LPs

134

U.S. Billboard Best-Selling Jazz LPs

3

U.S. Billboard Best-Selling Soul LPs

40

Personnel Musicians • • • • • • • •

Miles Davis – trumpet Wayne Shorter – soprano saxophone John McLaughlin – electric guitar Chick Corea – electric piano Herbie Hancock – electric piano Joe Zawinul – organ Dave Holland – double bass Tony Williams – drums

Production • • • • • •

Producer – Teo Macero Engineer (remix and editing) – Russ Payne Original recording Engineer – Stan Tonkel Cover Photography – Lee Friedlander [20] Back Cover Photography – John G. Walter Back Cover Notes – Frank Glenn

Notes [1] Kenyon, John. Review: The Complete in a Silent Way Sessions (http:/ / www. popmatters. com/ pm/ review/ davismiles-silentway/ ). PopMatters. Retrieved on 2010-04-01. [2] Hoard, Christian. " Review: In a Silent Way (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA215#v=onepage& q=& f=false)". Rolling Stone: 215–218. November 2, 2004. [3] Southall, Nick. Review: In a Silent Way (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-in-a-silent-way. htm). Stylus Magazine. Retrieved on 2010-04-01. [4] O'Brien, Chip. Review: In a Silent Way (http:/ / www. popmatters. com/ pm/ review/ davismiles-water). PopMatters. Retrieved on 2010-04-01. [5] Tate, Greg. " Voodoo Ray Gun (http:/ / books. google. com/ books?id=Xi0EAAAAMBAJ& pg=PA90& dq=)". Vibe: 90. September 1997. [6] Tingen, Paul, in Miles Beyond (http:/ / www. miles-beyond. com) [7] Jurek, Thom. Review: In a Silent Way (http:/ / www. allmusic. com/ album/ r106165). Allmusic. Retrieved on 2010-04-01. [8] MacLaren, Trevor. Review: In a Silent Way (http:/ / www. allaboutjazz. com/ php/ article. php?id=15060). All About Jazz. Retrieved on 2010-04-01. [9] Cook, Richard. " Review: In a Silent Way (http:/ / www. acclaimedmusic. net/ Current/ A1989. htm)". The Penguin Guide to Jazz: 2000. [10] Leone, Dominique. Review: In a Silent Way (http:/ / pitchfork. com/ reviews/ albums/ 2199-the-complete-in-a-silent-way-sessions/ ). Pitchfork Media. Retrieved on 2010-09-19. [11] Bangs, Lester. Review: In a Silent Way (http:/ / www. webcitation. org/ 5rB2dZu7D). Rolling Stone. Retrieved on 2010-04-01. [12] Hartwig, Andrew. Review: In a Silent Way (http:/ / www. sputnikmusic. com/ album. php?albumid=3237). Sputnikmusic. Retrieved on 2010-04-01. [13] Larkin, Colin. " Review: In a Silent Way (http:/ / www. acclaimedmusic. net/ Current/ A1989. htm)". Virgin Encyclopedia of Popular Music: March 1, 2002. [14] Ruhlmann, William. Biography: Miles Davis (http:/ / www. allmusic. com/ artist/ p6377/ biography). Allmusic. Retrieved on 2010-04-01. [15] Freeman, Phil. " Running the voodoo down: the electric music of Miles Davis (http:/ / books. google. com/ books?id=0xT1CYPMf4cC& pg=PA26& dq=)". Hal Leonard Corporation: 26–27. 2005. [16] Taruskin, Richard. " Music in the Late Twentieth Century: Fusion (http:/ / books. google. com/ books?id=CafvvoPxvzcC& pg=PA335)". Oxford University Press: 335. vol. 5. 2009. [17] Williams, K. Leander. Review: Filles de Kilimanjaro/In a Silent Way/Water Babies (http:/ / www. blender. com/ guide/ reissue/ 51192/ filles-de-kilimanjaroin-silent-waywater-babies. html). Blender. Retrieved on 2010-04-01. [18] Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis" (in English). The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.). New York: Penguin. pp. 326–327. ISBN 0-14-102327-9. [19] Billboard Albums: In a Silent Way (http:/ / www. allmusic. com/ album/ r106165/ charts-awards). Allmusic. Retrieved on 2010-04-01. [20] Smith, Cliff (September 11, 1969). "Rochester After Dark". Rochester Times-Union (Rochester, NY: Gannett Company, Inc.): p. 1D.

In a Silent Way

References • Carr, Ian. Miles Davis: The Definitive Biography. Thunder's Mouth Press, New York, 1998. • Tingen, Paul. Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991. Billboard Books, New York, 2001. Miles Beyond (http://www.miles-beyond.com) • Article about the making of In A Silent Way and Bitches Brew (http://www.miles-beyond.com/ iaswbitchesbrew.htm)

External links • Official website (http://http://www.milesdavis.com/us/music/silent-way) • In a Silent Way (http://www.discogs.com/Miles-Davis-In-A-Silent-Way/master/8408) at Discogs • Electric Miles: A Look at the In a Silent Way and On the Corner Sessions (http://books.google.com/ books?id=lKsu7XejoPkC&pg=PA91) — By Victor Svorinich

118

Bitches Brew

119

Bitches Brew Bitches Brew


April 1970

Recorded

August 19–21, 1969 January 28, 1970 (Bonus track) 30th Street Studio (New York, New York)

Genre

Jazz, fusion, avant-garde jazz

Length

94:11 (Original LP) 106:01 (CD reissue)

Label

Columbia/Legacy GP-26

Producer



Bitches Brew (1970)

A Tribute to Jack Johnson (1971)

Bitches Brew is a studio double album by jazz musician Miles Davis, released in April 1970 on Columbia Records. The album continued his experimentation with electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style. Bitches Brew was Davis's first gold record,[1] selling more than half a million copies.[2] Upon release, it received a mixed response, due to the album's unconventional style and revolutionary sound. Later, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians.[3] In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc box set that included the original album as well as the studio sessions through February 1970.

Bitches Brew

120

Recording sessions Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August 1969. Davis called the musicians to the recording studio on very short notice. A few pieces on Bitches Brew were rehearsed before the recording sessions, but at other times the musicians had little or no idea what they were to record. Once in the recording studio, the players were typically given only a few instructions: a tempo count, a few chords or a hint of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. On the quieter moments of "Bitches Brew", for example, Davis's voice is audible, giving instructions to the musicians: snapping his fingers to indicate tempo, or, in his distinctive whisper, saying, "Keep it tight" or telling individuals when to solo. Davis composed most of the music on the album. The two important exceptions were the complex "Pharaoh's Dance" (composed by Joe Zawinul) and the ballad "Sanctuary" (composed by Wayne Shorter). The latter had been recorded as a fairly straightforward ballad early in 1968, but was given a radically different interpretation on Bitches Brew. It begins with Davis and Chick Corea improvising on the standard "I Fall in Love too Easily" before Davis plays the "Sanctuary" theme. Then, not unlike Davis's recording of Shorter's "Nefertiti" two years earlier, the horns repeat the melody over and over while the rhythm section builds up the intensity. The issued "Sanctuary" is actually two consecutive takes of the piece. Despite his reputation as a "cool", melodic improviser, much of Davis's playing on this album is aggressive and explosive, often playing fast runs and venturing into the upper register of the trumpet. His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Davis did not perform on the short piece "John McLaughlin". Mati Klarwein created this artwork for Bitches Brew's gatefold cover.

Post-production There was significant editing done to the recorded music. Short sections were spliced together to create longer pieces, and various effects were applied to the recordings. Enrico Merlin reports: Bitches Brew also pioneered the application of the studio as a musical instrument, featuring stacks of edits and studio effects that were an integral part of the music. Miles and his producer, Teo Macero, used the recording studio in radical new ways, especially in the title track and the opening track, "Pharaoh's Dance". There were many special effects, like tape loops, tape delays, reverb chambers and echo effects. Through intensive tape editing, Macero concocted many totally new musical structures that were later imitated by the band in live concerts. Macero, who has a classical education and was most likely inspired by the 1930s and 1940s musique concrète experiments, used tape editing as a form of arranging and composition. "Pharaoh's Dance" contains 19 edits – its famous stop-start opening is entirely constructed in the studio, using repeat loops of certain sections. Later on in the track there are several micro-edits: for example, a one-second-long fragment that first appears at 8:39 is repeated five times between 8:54 and 8:59. The title track contains 15 edits, again with several short tape loops of, in this case, five seconds (at 3:01, 3:07 and 3:12). Therefore, Bitches Brew not only became a controversial classic of musical innovation, it also became renowned for its pioneering use of studio technology.[4]

Bitches Brew

Innovations Though Bitches Brew was in many ways revolutionary, perhaps its most important innovation was rhythmic. The rhythm section for this recording consists of two bassists (one playing bass guitar, the other double bass), two to three drummers, two to three electric piano players, and a percussionist, all playing at the same time.[5] As Paul Tanner, Maurice Gerow, and David Megill explain, "like rock groups, Davis gives the rhythm section a central role in the ensemble's activities. His use of such a large rhythm section offers the soloists wide but active expanses for their solos."[5] Tanner, Gerow and Megill further explain that "the harmonies used in this recording move very slowly and function modally rather than in a more tonal fashion typical of mainstream jazz.... The static harmonies and rhythm section's collective embellishment create a very open arena for improvisation. The musical result flows from basic rock patterns to hard bop textures, and at times, even passages that are more characteristic of free jazz."[5] The solo voices heard most prominently on this album are the trumpet and the soprano saxophone, respectively of Miles and Wayne Shorter. Notable also is Bennie Maupin's ghostly bass clarinet, which was perhaps the first use of the instrument in jazz not heavily indebted to pioneer Eric Dolphy. The technology of recording, analog tape, disc mastering and inherent recording time constraints (i.e., bandwidth) had, by the late sixties, expanded beyond previous limitations and sonic range for the stereo, vinyl album: Bitches Brew reflects this. In it are found long-form performances which encompass entire improvised suites with rubato sections, tempo changes or the long, slow crescendo more common to a symphonic orchestral piece or Indian raga form than the three-minute rock song. Starting in 1969, Davis' concerts included some of the material that would become Bitches Brew.[6]

Reception Bitches Brew was a turning point in modern jazz. Davis had already spearheaded two major jazz movements – cool and modal jazz – and was about to initiate another major change (like Davis' album Filles de Kilimanjaro, the album's cover also sports the phrase "Directions In Music By Miles Davis" above the title.) Some critics at the time characterized this music as simply obscure and "outside", which recalls Duke Ellington's description of Davis as "the Picasso of jazz." Some jazz fans and musicians felt the album was crossing the limits, or was not jazz at all. One critic writes that "Davis drew a line in the sand that some jazz fans have never crossed, or even forgiven Davis for drawing."[9] Bob Rusch recalls, "this to me was not great Black music, but I cynically saw it as part and parcel of the commercial crap that was beginning to choke and bastardize the catalogs of such dependable companies as Blue Note and Prestige.... I hear it 'better' today because there is now so much music that is worse."[10] On the other hand, many fans, critics, and musicians see the records as an important, vital release. In a 1997 interview, drummer Bobby Previte sums up his feelings about Bitches Brew: "Well, it was groundbreaking, for one. How much groundbreaking music do you hear now? It was music that you had that feeling you never heard quite before. It came from another place. How much music do you hear now like that?"[11] The Penguin Guide to Jazz gave Bitches Brew a four-star rating (out of four stars), describing the recording as "one of the most remarkable creative statements of the last half-century, in any artistic form. It is also profoundly flawed, a gigantic torso of burstingly noisy music that absolutely refuses to resolve itself under any recognized guise."[7] In 2003, the album was ranked number 94 on Rolling Stone magazine's list of the 500 greatest albums of all time.[12] Along with this accolade, the album has been ranked at or near the top of several other magazines' "best albums" lists in disparate genres.[8]

121

Bitches Brew

122

Track listing All pieces were written by Miles Davis, except where noted. Side one 1. "Pharaoh's Dance" (Joe Zawinul) – 20:00 Side two • "Bitches Brew" – 26:59 Side three • "Spanish Key" – 17:29 2. "John McLaughlin" – 4:26 Side four • "Miles Runs the Voodoo Down" – 14:04 2. "Sanctuary" (Shorter) – 10:52 Reissue bonus track 1999 CD release featured a bonus cut recorded in early 1970. • "Feio" (Shorter) – 11:51

Personnel Musicians "Bitches Brew"

"Spanish Key"

"John McLaughlin"

"Pharaoh's Dance" (Joe Zawinul)

"Sanctuary" (Shorter)

Recorded Columbia Studio B, New York City August 21, 1969

Recorded Columbia Studio B, New York City August 19, 1969 • • • Miles Davis - trumpet • • Wayne Shorter - soprano saxophone • • Bennie Maupin - bass clarinet • • Joe Zawinul - electric piano - Left • • Chick Corea - electric piano - Right • • John McLaughlin - electric guitar • • Dave Holland - bass • • Harvey Brooks - electric bass • • Lenny White - drum set - Left • • Jack DeJohnette - drum set - Right • • Don Alias - congas • • Juma Santos (credited as "Jim Riley") - shaker, congas • •

On "John McLaughlin" omit Brooks, Shorter and Davis On "Sanctuary" omit Maupin, Brooks and White

"Miles Runs the Voodoo Down" Recorded Columbia Studio B, New York City August 20, 1969

Miles Davis - trumpet Wayne Shorter - soprano saxophone Bennie Maupin - bass clarinet Joe Zawinul - electric piano - Left Larry Young - electric piano - Center Chick Corea - electric piano - Right John McLaughlin - electric guitar Dave Holland - bass Harvey Brooks - electric bass Lenny White - drum set - Left Jack DeJohnette - drum set - Right Don Alias - Congas Juma Santos (credited as "Jim Riley") - Shaker

"Feio" (Shorter) Recorded Columbia Studio B, New York City January 28, 1970

Bitches Brew

• • • • • • • • • • •

123 Miles Davis - trumpet Wayne Shorter - soprano saxophone Bennie Maupin - bass clarinet Joe Zawinul - electric piano - Left Chick Corea - electric piano - Right John McLaughlin - electric guitar Dave Holland - electric bass Harvey Brooks - electric bass Don Alias - drum set - Left Jack DeJohnette - drum set - Right Juma Santos (credited as "Jim Riley") - congas

• • • • • • • • • •

Miles Davis - trumpet Wayne Shorter - soprano saxophone Bennie Maupin - bass clarinet Joe Zawinul - electric piano - Left Chick Corea - electric piano - Right John McLaughlin - electric guitar Dave Holland - electric bass Billy Cobham - drum set - Left Jack DeJohnette - drum set - Right Airto Moreira - percussion and cuica


Teo Macero – producer Frank Laico – engineer (August 19, 1969 session) Stan Tonkel – engineer (All other sessions) Mark Wilder – mastering Mati Klarwein – cover painting Bob Belden, Michael Cuscuna – reissue producer

References [1] Bitches Brew: Miles Davis' Shot Heard 'Round the Jazz World - ColumbiaJazz (http:/ / www. columbiajazz. com/ newsletter2/ brew. html). Columbia. Retrieved on 2008-08-30. [2] Miles Electric: A Different Kind of Blue (DVD) - PopMatters (http:/ / www. popmatters. com/ pm/ review/ 16181/ davismiles-mileselectricdvd). PopMatters. Retrieved on 2008-08-30. [3] Jurek, Thom. Review: Bitches Brew (http:/ / www. allmusic. com/ album/ r106167). Allmusic. Retrieved on 2010-10-08. [4] Merlin, Enrico (1999). "Slow Brew" (http:/ / web. archive. org/ web/ 20051001114409/ http:/ / www. audiomedia. com/ archive/ features/ uk-0599/ uk-0599-brew/ uk-0599-brew. htm). Audiomedia. AM Publishing Ltd.. Archived from the original (http:/ / www. audiomedia. com/ archive/ features/ uk-0599/ uk-0599-brew/ uk-0599-brew. htm) on 2005-10-01. . Retrieved 2007-08-07. [5] Tanner, Paul O. W.; Maurice Gerow, David W. Megill (1988) [1964]. "Crossover — Fusion". Jazz (6th ed.). Dubuque, IA: William C. Brown, College Division. pp. 135–136. ISBN 0-697-03663-4. [6] Losin, Peter. "Session Details" (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=691026). Miles Ahead. . Retrieved 2007-08-04. "October 26, 1969... 'Bitches Brew'... 'Miles Runs the Voodoo Down'... 'Spanish Key'" [7] Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.). New York: Penguin. pp. 327. ISBN 0-141-02327-9. [8] "Bitches Brew" (http:/ / www. acclaimedmusic. net/ Current/ A1995. htm). AcclaimedMusic.net. . Retrieved 2008-08-30. [9] Meyer, Bill. "Miles Davis: The Complete Bitches Brew Sessions (August 1969-February 1970)" (http:/ / web. archive. org/ web/ 20070630164719/ http:/ / www. inkblotmagazine. com/ rev-archive/ Miles_Davis_Bitches_Complete. htm). Ink Blot Magazine. Archived from the original (http:/ / www. inkblotmagazine. com/ rev-archive/ Miles_Davis_Bitches_Complete. htm) on 2007-06-30. . Retrieved 2007-08-04. [10] Rusch, Bob (1994). Ron Wynn. ed. All Music Guide to Jazz. Allmusic. M. Erlewine, V. Bogdanov (1st ed.). San Francisco: Miller Freeman Books. p. 197. ISBN 0-87930-308-5. [11] Snyder, Matt (December 1997). "An Interview with Bobby Previte" (http:/ / web. archive. org/ web/ 20060112205326/ http:/ / users. bestweb. net/ ~msnyder/ writings/ previte. htm). 5/4 Magazine. Archived from the original (http:/ / users. bestweb. net/ ~msnyder/ writings/ previte. htm) on 2006-01-12. . Retrieved 2007-08-04. [12] Staff (November 2003). RS500: 94) Bitches Brew (http:/ / www. rollingstone. com/ music/ lists/ 6862/ 35223/ 35696). Rolling Stone. Retrieved on 2010-10-08.

Bitches Brew

External links • Salon Entertainment: a Master at dangerous play (http://www.salon.com/ent/music/feature/1998/12/ cov_16featurea.html) • A history of jazz fusion (http://liraproductions.com/jazzrock/htdocs/histhome.htm) • Miles Davis - The Electric Period (http://www.miles-davis.com/electric.html) • Article by Paul Tingen: Complete Bitches Brew Sessions boxed set at the Miles Beyond site (http://www. miles-beyond.com/bitchesbrew.htm) • Article by Paul Tingen: In A Silent Way and Bitches Brew (http://www.miles-beyond.com/iaswbitchesbrew. htm)

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A Tribute to Jack Johnson

125

A Tribute to Jack Johnson A Tribute to Jack Johnson


February 24, 1971

Recorded

February 18 and April 7, 1970 30th Street Studio (New York, New York)

Genre

Fusion, jazz-funk

Length

52:26

Label

Columbia/Legacy

Producer


Bitches Brew (1970)


Live-Evil (1971)

A Tribute to Jack Johnson[11] is a studio album by American jazz musician Miles Davis, released February 24, 1971 on Columbia Records.[2] It also serves as the soundtrack for a documentary by Bill Cayton about the heavyweight world champion boxer Jack Johnson.

Music The first major recording session for the album, which took place on April 7, 1970, was almost accidental: John McLaughlin, awaiting Miles's arrival, began improvising riffs on his guitar, and was shortly joined by Michael Henderson and Billy Cobham. Meanwhile, the producers brought in Herbie Hancock, who had been passing through the building on unrelated business, to play the Farfisa organ. Miles arrived at last and began his solo at about 2:19 on the first track. The album's two long tracks were assembled in the editing room by producer Teo Macero. "Right Off" is constructed from several takes and a solo by Davis recorded in November 1969. It contains a riff from Sly and the Family Stone's "Sing a Simple Song". Much of the track "Yesternow" is built around a slightly modified version of the

A Tribute to Jack Johnson bassline from the James Brown song "Say It Loud - I'm Black and I'm Proud"; this may be a deliberate allusion to the song's Black Power theme as it relates to the film's subject. "Yesternow" also incorporates a brief excerpt of "Shhh/Peaceful" from Davis's 1969 album In a Silent Way and a 10-minute section comprising several takes of the tune "Willie Nelson" from a session on 18 February 1970.

Reception and legacy Jack Johnson was less commercially successful than Davis's previous electric album, Bitches Brew, reaching only #159 on the Billboard 200 where Bitches Brew had risen as high as #35. Some fans and critics, however, consider Jack Johnson to be the musically superior album. In his consumer guide for The Village Voice, critic Robert Christgau gave the album an A+ rating,[5] indicating "an organically conceived masterpiece that repays prolonged listening with new excitement and insight".[12] Christgau dubbed it "a great one" and commented that "all the flash of Bitches Brew coalesces into one brilliant illumination".[5] Down Beat critic John Ephland gave the album four-and-a-half out of five stars and described it as a "heavily edited mélange of musical forms".[6] In a review of the album followings its reissue, John Fordham of The Guardian noted Davis's "whispering electric sound to some of the most trenchantly responsive straight-horn improvising he ever put on disc" and commented on its legacy, stating: Considering that it began as a jam between three bored Miles Davis sidemen, and that the eventual 1971 release was stitched together from a variety of takes, it's a miracle that this album turned out to be one of the most remarkable jazz-rock discs of the era. Columbia didn't even realise what it had with these sessions, and the mid-decade Miles albums that followed - angled toward the pop audience - were far more aggressively marketed than the Jack Johnson set [...] Of course, it's a much starker, less subtly textured setting than Bitches Brew, but in the early jazz-rock hall of fame, it's up there on the top pedestal.[7] —John Fordham Both The Penguin Guide to Jazz and Rolling Stone Album Guide gave A Tribute to Jack Johnson their maximum star-ratings.[8] [10] The Lexington Herald-Leader gave the album four out of four stars and commented that "The preceding In a Silent Way and Bitches Brew were more groundbreaking in that they heralded fusion's arrival. But Davis' playing on Jack Johnson surpasses both recordings".[13] In a retrospective review of the album, Allmusic editor Thom Jurek complimented its "funky, dirty rock & roll jazz" and "chilling, overall high-energy rockist stance", stating "Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero".[1]

Track listing Side one 1. "Right Off" – 26:53 Side two 1. "Yesternow" – 25:34

Personnel The first track and about half of the second track were recorded on 7 April 1970 by this sextet: • Miles Davis - Trumpet • Steve Grossman - Soprano saxophone • John McLaughlin - Electric guitar • Herbie Hancock - Organ • Michael Henderson - Electric bass

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A Tribute to Jack Johnson • Billy Cobham - drums The "Willie Nelson" section of the second track (starting at about 13:55) was recorded on 18 February 1970 by a different and uncredited lineup: • • • • • • •

Miles Davis - Trumpet Bennie Maupin - Bass clarinet John McLaughlin - Electric guitar Sonny Sharrock - Electric guitar Chick Corea - Electric piano Dave Holland - Electric bass Jack DeJohnette - drums

At the end of the "Yesternow" there is a sound clip recorded by actor Brock Peters saying: "I'm Jack Johnson -heavyweight champion of the world! I'm black! They never let me forget it. I'm black all right; I'll never let them forget it."

References [1] Jurek, Thom (November 1, 2001). Review: A Tribute to Jack Johnson (http:/ / www. allmusic. com/ album/ a-tribute-to-jack-johnson-r137455/ review). Allmusic. Retrieved on 2010-01-13. [2] Olson, Paul (February 7, 2005). Review: A Tribute to Jack Johnson (http:/ / www. allaboutjazz. com/ php/ article. php?id=16087). All About Jazz. Retrieved on 2010-01-13. [3] Pareles, Jon (January 5, 2005). Review: A Tribute to Jack Johnson (http:/ / www. blender. com/ guide/ reviews. aspx?id=3203). Blender. Retrieved on 2010-01-13. [4] K.R.C. (January 23, 2005). " Review: A Tribute to Jack Johnson (http:/ / pqasb. pqarchiver. com/ bostonherald/ access/ 788225521. html?dids=788225521:788225521& FMT=ABS& FMTS=ABS:FT& type=current& date=Jan+ 23,+ 2005& author=& pub=Boston+ Herald& desc=MUSIC;+ Discs;+ Rap's+ new+ player+ proves+ he's+ ready+ for+ big+ Game& pqatl=google)". Boston Herald: E.06. [5] Christgau, Robert (1971). Consumer Guide: A Tribute to Jack Johnson (http:/ / www. robertchristgau. com/ get_album. php?id=2403). The Village Voice. Retrieved on 2011-02-01. [6] Alkyer, Frank; John Ephland (2007). The Miles Davis Reader. Hal Leonard Corporation. p. 315–316. ISBN 9781423430766. [7] Fordham, John (April 1, 2005). Review: A Tribute to Jack Johnson (http:/ / www. guardian. co. uk/ music/ 2005/ apr/ 01/ jazz. shopping). The Guardian. Retrieved on 2010-01-13. [8] Cook, Richard (2004). "Review: A Tribute to Jack Johnson". The Penguin Guide to Jazz: 410. [9] Calder, Robert R. (February 24, 2005). Review: A Tribute Jack Johnson (http:/ / www. popmatters. com/ pm/ review/ davismiles-tributejackjohnson/ ). PopMatters. Retrieved on 2010-01-13. [10] Hoard, Christian (November 2, 2004). " Review: A Tribute to Jack Johnson (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA215& dq=)". Rolling Stone: 215–218. [11] The original LP, like the film, was called simply 'Jack Johnson'. [12] Christgau, Robert (1969-89). Consumer Guide: The Grades (http:/ / www. robertchristgau. com/ xg/ bk-cg70/ grades. php). Robert Christgau. Retrieved on 2011-02-01. [13] Columnist (January 21, 2005). " Review: A Tribute to Jack Johnson (http:/ / nl. newsbank. com/ nl-search/ we/ Archives?p_product=LH& s_site=kentucky& p_multi=LH& p_theme=realcities& p_action=search& p_maxdocs=200& p_topdoc=1& p_text_direct-0=107C83230025E7D4& p_field_direct-0=document_id& p_perpage=10& p_sort=YMD_date:D& s_trackval=GooglePM)". Lexington Herald-Leader: 6. (Transcription of original review at talk page)

External links • A Tribute to Jack Johnson (http://www.discogs.com/Miles-Davis-A-Tribute-To-Jack-Johnson/master/8364) at Discogs • The Making of Jack Johnson (http://www.miles-beyond.com/jackjohnson.htm) at Miles Beyond • Sound, Mediation, and Meaning in Miles Davis's A Tribute to Jack Johnson (http://hdl.handle.net/10161/894) — By Jeremy A. Smith (PhD Diss: Duke University, 2008)

127

Live-Evil|Live-Evil

128

Live-Evil|Live-Evil Live-Evil

Studio album / Live album by Miles Davis Released

November 17, 1971

Recorded February 6, June 3–4, 1970 at Columbia Studio B, New York and December 19, 1970 at the Cellar Door Club, Washington Genre

Fusion, jazz-funk

Length

1:41:39

Label

Columbia/Legacy



Live Evil (1971)

Live-Evil

Back cover.

On the Corner (1972)

Live-Evil|Live-Evil

Live-Evil is an album by Miles Davis, much of which was recorded live at The Cellar Door on December 19, 1970, and part of which was recorded in Columbia's Studio B, with different personnel, on February 6, and June 3, 4, 1970. Though all compositions were originally credited to Miles Davis, the studio recordings "Little Church" ("Igrejinha"), "Nem Um Talvez" ("Not Even a Maybe") and "Selim" are by Brazilian composer and multi-instrumentalist Hermeto Pascoal, who also played with the Davis band on these tracks. One of the key musicians on the album, John McLaughlin, was not a regular member of Miles Davis's band during the time of recording. McLaughlin joined the band for one of the four nights at the Cellar Door, rather like a session player; this is not the case for other Davis albums that he worked on. Davis had originally intended the album to be a spiritual successor to Bitches Brew, but this idea was abandoned when it became obvious that Live-Evil was "something completely different".[11]

Musician lineup on Cellar Door segments • • • • • • •

Miles Davis: electric trumpet with wah-wah Gary Bartz: soprano sax, alto sax John McLaughlin: electric guitar Keith Jarrett: Fender Rhodes electric piano, Fender electric organ Michael Henderson: electric bass Jack DeJohnette: drums Airto Moreira: percussion

• Cellar Door Segments, December 19, 1970: "Sivad" (a blend of "Directions," a studio fragment of "Honky Tonk," and a live recording of "Honky Tonk"), "What I Say," "Funky Tonk" and "Inamorata and Narration by Conrad Roberts."

Cover artwork The album cover was illustrated by artist Mati Klarwein. Klarwein had painted the front cover independently of Davis, but the back cover was painted with a suggestion from Davis: "I was doing the picture of the pregnant woman for the cover and the day I finished, Miles called me up and said, 'I want a picture of life on one side and evil on the other.' And all he mentioned was a toad. Then next to me was a copy of Time Magazine which had J. Edgar Hoover on the cover, and he just looked like a toad. I told Miles I found the toad."[12]

Reception Initial reaction Billboard stated that the album "captures the live performance of Davis effectively", citing "Sivad", "Selim", and "What I Say" as highlights.[13] Bob Palmer of Rolling Stone commented that "this sounds like what Miles had in mind when he first got into electric music and freer structures and rock rhythms", and praised each band members' soloing on the album's "extended, 'blowing' tracks", stating "Everybody is just playing away, there aren't any weak links, and there isn't any congestion to speak of. Miles reacts to this happy situation by playing his ass off, too".[7] Palmer wrote of "Little Church", "Nem Um Talvez", and "Selim" as "what used to be called 'ballads'. They feature larger groups but there aren't any solos. Just stunning, bittersweet lines [...] Each of these tracks is under four minutes, and they are all things of great beauty".[7] Black World's Red Scott stated "All the tracks fuse into a perfect complement of musicians passing moods to each other".[14] In his consumer guide for The Village Voice, critic Robert Christgau gave the album an A- rating and called its "long pieces [...] usually fascinating and often exciting".[2] He cited "Funky Tonk" as "Miles's most compelling rhythmic exploration to date" and commented that

129

Live-Evil|Live-Evil "the four short pieces are more like impressionistic experiments".[2]

Retrospect In a retrospective review of the album, Allmusic editor Thom Jurek called its tracks "fine and deeply lyrically grooved-out" and described it as "the sound of transition and complexity, and somehow it still grooves wonderfully", noting "the live material [...] wonderfully immediate and fiery".[1] Edwin C. Faust of Stylus Magazine dubbed Live-Evil "one of the funkiest albums ever recorded" and commented that its "somber" short pieces "are haunting examples of musical purity—Miles enriching our ears with evocative melodies (his work on Sketches of Spain comes to mind) while the bass creeps cautiously, an organ hums tensly, and human whistles/vocals float about forebodingly like wistful phantoms".[10] Tom Sinclair of Entertainment Weekly gave the album an A- rating and stated "With [Davis'] inimitable trumpeting — by turns melancholy, pungent, and lyrical — at the music's center, his electrified cohorts stretch the limits of jazz, rock, and funk".[4] Pitchfork Media's Ryan Schreiber called the album "easily the most accessible of Miles Davis' late-'70s electric releases" and described its music as "at once both sexually steamy and unsettling", writing that "The 15+ minute live jams [...] run the gamut from barroom brawl action-funk to sensual bedroom jazz magic, creating two hours of charged eccentricity you'll never forget".[6]

Track listing Side one 1. "Sivad" - 15:13 2. "Little Church" - 3:14 3. "Medley: Gemini/Double Image" - 5:53 Side two 1. "What I Say" - 21:09 2. "Nem Um Talvez" - 4:03 Side three 1. "Selim" - 2:12 2. "Funky Tonk" - 23:26 Side four 1. "Inamorata and Narration by Conrad Roberts" - 26:29

Recording details Side One (25:20) 1. "Sivad" (15:13) Recorded December 19, 1970 at The Cellar Door, Washington, DC & May 19, 1970 at Columbia Studio C, New York, NY

130

Live-Evil|Live-Evil

131

Timing

Source

00:00-00:01 "Directions" (2nd set) 0:00-0:01 (drum roll) 00:02-03:24 "Directions" (2nd set) 11:30-14:44 + "Honky Tonk" 00:00-00:08 03:25-04:14 "Honky Tonk" (studio, May 19, 1970) 00:00-00:49 04:15-09:11 "Honky Tonk" (2nd set) 05:23-10:20 09:12-15:12 "Honky Tonk" (2nd set) 15:13-21:14

• • • • • • •

Miles Davis: electric trumpet with Wah Wah Gary Bartz: soprano saxophone, flute John McLaughlin: electric guitar Keith Jarrett: electric piano, organ Michael Henderson: electric bass Jack DeJohnette: drums Airto Moreira: percussion

2. "Little Church" (3:14) Recorded June 4, 1970 at Columbia Studio B, New York, NY • • • • • • • • • •

Miles Davis: trumpet Steve Grossman: soprano sax Chick Corea: electric piano Herbie Hancock: electric piano Keith Jarrett: organ John McLaughlin: electric guitar Dave Holland: electric bass, acoustic bass Jack DeJohnette: drums Airto Moreira: percussion Hermeto Pascoal: drums, whistling, voice, electric piano

3. "Medley: Gemini/Double Image" (5:53) Recorded February 6, 1970 at Columbia Studio B, New York, NY • • • • • • • • • •

Miles Davis: trumpet Wayne Shorter: soprano sax Joe Zawinul: electric piano Chick Corea: electric piano John McLaughlin: electric guitar Dave Holland: acoustic bass Khalil Balakrishna: electric sitar Billy Cobham: drums Jack DeJohnette: drums Airto Moreira: percussion

Side Two (25:12) 1. "What I Say" (21:09) Recorded December 19, 1970 at The Cellar Door, Washington, DC

Live-Evil|Live-Evil

132

Timing

Source

00:00-20:50 "What I Say" (2nd set) 00:00-20:50 20:51-21:09 "Sanctuary" (2nd set) 00:00-00:18

• • • • • • •

Miles Davis: electric trumpet with Wah Wah Gary Bartz: soprano saxophone, flute John McLaughlin: electric guitar Keith Jarrett: electric piano, organ Michael Henderson: electric bass Jack DeJohnette: drums Airto Moreira: percussion

2. "Nem Um Talvez" (4:03) Recorded June 3, 1970 at Columbia Studio B, New York, NY • • • • • • • • •

Miles Davis: trumpet Steve Grossman: soprano sax Chick Corea: electric piano Herbie Hancock: electric piano Keith Jarrett: organ Ron Carter: acoustic bass Jack DeJohnette: drums Airto Moreira: percussion Hermeto Pascoal: drums, vocals

Side Three (25:38) 1. "Selim" (2:12) Recorded June 3, 1970 at Columbia Studio B, New York, NY • • • • • • • • •

Miles Davis: trumpet Steve Grossman: soprano sax Chick Corea: electric piano Herbie Hancock: electric piano Keith Jarrett: organ Ron Carter: acoustic bass Jack DeJohnette: drums Airto Moreira: percussion Hermeto Pascoal: drums, vocals

2. "Funky Tonk" (23:26) Recorded December 19, 1970 at The Cellar Door, Washington, DC Timing

Source

00:00-02:54 "Directions" (3rd set) 00:47-03:41 (theme excised) 02:55-04:53 "Directions" (3rd set) 03:54-05:51 (theme excised) 04:54-16:14 "Directions" (3rd set) 06:20-17:39 (theme excised) 16:15-16:50 "Directions" (3rd set) 18:03-18:39 16:51-20:12 "Funky Tonk" (3rd set) 00:00-03:21 20:13-20:18 "Funky Tonk" (3rd set) 03:59-04:04 20:19-23:23 "Funky Tonk" (3rd set) 04:15-07:20

• Miles Davis: electric trumpet with Wah Wah • Gary Bartz: soprano saxophone, flute • John McLaughlin: electric guitar

Live-Evil|Live-Evil • • • •

133

Keith Jarrett: electric piano, organ Michael Henderson: electric bass Jack DeJohnette: drums Airto Moreira: percussion

Side Four (26:29) 1. "Inamorata and Narration by Conrad Roberts" (26:29) Recorded December 19, 1970 at The Cellar Door, Washington, DC Timing

Source

00:00-16:34 "Funky Tonk" (3rd set) 07:21-23:55 16:35-16:47 "Sanctuary" (3rd set) 01:50-02:02 16:47-23:08 "It's About That Time" (3rd set) 00:00-06:21 23:09-26:08 "It's About That Time" 0:00-2:59* Narration by Conrad Roberts first 0:43 26:08-26:28 "Sanctuary" 0:00-0:20* (*) The final two sections are not from The Cellar Door.

• • • • • • • •

Miles Davis: electric trumpet with Wah Wah Gary Bartz: soprano saxophone, flute John McLaughlin: electric guitar Keith Jarrett: electric piano, organ Michael Henderson: electric bass Jack DeJohnette: drums Airto Moreira: percussion Conrad Roberts: vocal narration, poem

Note: The Cellar Door Sessions 1970 box set uses the titles "Improvisation #4" (for Keith Jarrett's keyboard intro) and "Inamorata" instead of "Funky Tonk". In the Source column of the tables above, the title "Funky Tonk" is used.

References [1] Jurek, Thom (November 1, 2002). Review: Live-Evil (http:/ / www. allmusic. com/ album/ r137461/ review). Allmusic. Retrieved on 2011-01-08. [2] Christgau, Robert (1972). Consumer Guide: Live-Evil (http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis). The Village Voice. Retrieved on 2011-01-08. [3] Product Notes – Live-Evil (http:/ / www. webcitation. org/ 5vbJReQwi). Muze. Retrieved on 2011-01-08. [4] Sinclair, Tom (August 1, 1997). Review: Miles Davis live albums (http:/ / www. ew. com/ ew/ article/ 0,,288884,00. html). Entertainment Weekly. Retrieved on 2011-02-26. [5] Cook, Richard (September 2002). " Review: Live-Evil (http:/ / www. acclaimedmusic. net/ Current/ A1998. htm)". The Penguin Guide to Jazz: 377. [6] Schreiber, Ryan (1997). Review: Live-Evil (http:/ / www. webcitation. org/ 5vbJoOcEP). Pitchfork Media. Archived from the original (http:/ / web. archive. org/ web/ 20021021010024/ www. pitchforkmedia. com/ record-reviews/ d/ davis_miles/ live-evil. shtml) on 2011-01-08. [7] Palmer, Bob (January 20, 1972). Review: Live-Evil (http:/ / www. rollingstone. com/ music/ albumreviews/ live-evil-19720120). Rolling Stone. Retrieved on 2011-01-08. [8] Hoard, Christian (November 1, 2004). " Review: Live-Evil (http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA215#v=onepage& q& f=false)". Rolling Stone: 215, 218. [9] Davis, Erik (April 1997). " Freakin' the Funk – Revisiting Miles Davis's '70s Visions (http:/ / books. google. com/ books?id=_uWz-QtMkI4C& pg=PA117#v=onepage& q& f=false)". Spin: 117. [10] Faust, Edwin C. (September 1, 2003). Review: Live-Evil (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-live-evil. htm). Stylus Magazine. Retrieved on 2011-01-08. [11] Davis, Miles. Miles: The Autobiography. ISBN 0634006827 [12] Szwed, John. So What: the Life of Miles Davis, p. 319

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134

[13] Columnist (December 18, 1971). " Review: Live-Evil (http:/ / books. google. com/ books?id=Ng8EAAAAMBAJ& pg=PA25#v=onepage& q& f=false)". Billboard: 25. [14] Scott, Red (September 1972). " Review: Live-Evil (http:/ / books. google. com/ books?id=XrIDAAAAMBAJ& pg=PA19#v=onepage& q& f=false)". Black World: 19, 86.

On the Corner On the Corner


October 11, 1972

Recorded June 1–6 and July 7, 1972 at Columbia Studio E, 49 E. 52nd Street, New York Genre

Jazz-funk, jazz fusion

Length

54:39

Label

Columbia/Legacy


Allmusic

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Alternative Press

[1]

link

link

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Robert Christgau (B+) link

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JazzTimes (favorable)

[3]

[4]

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link

Rolling Stone (favorable) link

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Stylus Magazine (favorable) link

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Spin

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Big Fun (1974)

[7]

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Yahoo! Music (favorable) link

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[6]

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Live-Evil (1971)

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[9]

On the Corner

On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released later that year on Columbia Records. It was scorned by critics at the time of its release and was one of Davis's worst-selling recordings. Its critical standing has improved dramatically with the passage of time, as it is now seen as a strong forerunner of the musical techniques of post punk, hip hop, drum and bass, and electronic music.[4] [10] Joining previous multi-disc Davis reissues of In a Silent Way, A Tribute to Jack Johnson, and Bitches Brew, On the Corner was reissued on the 6-disc boxed set The Complete On the Corner Sessions, released in September 2007.

Music Davis claimed that On the Corner was an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, from a musical standpoint the album was a culmination of sorts of the musique concrète approach that Davis and producer Teo Macero (who had studied with Otto Luening at Columbia University's Computer Music Center) had begun to explore in the late 1960s. Both sides of the record were based around drum and bass grooves, with the melodic parts snipped from hours of jams. These techniques, refined via the use of computers and digital audio equipment, are now standard amongst producers of electronically-based music. Also cited as musical influences on the album by Davis were the contemporary composer Karlheinz Stockhausen,[11] [12] who later recorded with the trumpeter in 1980,[13] and Paul Buckmaster (who played electric cello on the album and contributed some arrangements). Buckmaster and Davis also recorded the song "Ife" in a session during the same period. The song failed to make On The Corner but instead appeared on Big Fun in 1974, it is possible that it wasn't included on the previous because of time restraint.

Track listing All songs written by Miles Davis.

Side one 1. "On the Corner / New York Girl / Thinkin' One Thing and Doin' Another / Vote for Miles" (19:55) 2. "Black Satin" (5:16)

Side two 1. "One and One" (6:09) 2. "Helen Butte / Mr. Freedom X" (23:18) The 1993 CD reissue of On the Corner (which has the "Columbia Jazz Masterpieces" logo stamped on the front cover) separates each "composition" into a distinct track so that the album has 8 tracks rather than 4. Later reissues returned the songs to their original, conflated status.

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On the Corner

Personnel • • • • • • • • • • • • • • • •

Miles Davis – electric trumpet with Wah Wah Dave Liebman – soprano saxophone (A2) Carlos Garnett – soprano and tenor saxophone (B1, B2) Chick Corea – electric piano (A1) Herbie Hancock – electric piano, synthesizer Harold I. Williams – organ, synthesizer Lonnie Liston Smith – organ (B2) John McLaughlin – electric guitar (A1) David Creamer – electric guitar (A2, B1, B2) Michael Henderson – electric bass with Wah Wah Khalil Balakrishna - electric sitar (A2) Bennie Maupin – bass clarinet (B1) Collin Walcott – electric sitar (A1, B1, B2) Badal Roy – tabla Jack DeJohnette – drums Al Foster - drums

• • • •

Jabali Billy Hart – drums, bongos Don Alias – percussion James "Mtume" Foreman – percussion Paul Buckmaster – cello, arrangements

References [1] [2] [3] [4]

http:/ / www. allmusic. com/ album/ r106173 http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088339/ a/ On+ The+ Corner. htm http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis Chinen, Nate (October 2007). Review: The Complete On the Corner Sessions (http:/ / web. archive. org/ web/ 20071011155945/ http:/ / www. jazztimes. com/ reviews/ cd_reviews/ detail. cfm?article_id=18402& section=CD+ Reviews& issue=200710). JazzTimes. Retrieved on 2011-02-12. [5] http:/ / www. acclaimedmusic. net/ Current/ A2005. htm [6] http:/ / www. rollingstone. com/ music/ albumreviews/ on-the-corner-19721207 [7] http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-on-the-corner. htm [8] Hermes, Will (November 2007). " Review: The Complete On the Corner Sessions (http:/ / books. google. com/ books?id=Db0ytsazMqUC& pg=PA124#v=onepage& q& f=false)". Spin: 124. [9] http:/ / music. yahoo. com/ read/ review/ 12035525 [10] Tingen, Paul (October 26, 2007). The most hated album in jazz (http:/ / www. guardian. co. uk/ music/ 2007/ oct/ 26/ jazz. shopping). The Guardian. Retrieved on 2011-02-12. [11] "Miles Davis first heard Stockhausen's music in 1972, and its impact can be felt in Davis's 1972 recording On the Corner, in which cross-cultural elements are mixed with found elements." Barry Bergstein "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship." The Musical Quarterly 76, no. 4. (Winter): p. 503. [12] In Davis' autobiography he states that "I had always written in a circular way and through Stockhausen I could see that I didn't want to ever play again from eight bars to eight bars, because I never end songs: they just keep going on. Through Stockhausen I understood music as a process of elimination and addition" (Miles, New York: Simon & Schuster, 1989, p. 329) [13] "In June of 1980, Miles Davis was joined by the German composer Karlheinz Stockhausen in the studios of Columbia Records; the recording of this collaboration is still unissued." Barry Bergstein "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship" The Musical Quarterly Vol. 76, No. 4 (Winter, 1992), p. 502

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On the Corner

External links • On the Corner track sheets at the Miles Beyond web site (http://www.miles-beyond.com/otc.htm) • The Most Hated Album in Jazz (http://www.guardian.co.uk/music/2007/oct/26/jazz.shopping) at The Guardian • List of top album rankings for On the Corner at AcclaimedMusic.net (http://www.acclaimedmusic.net/ Current/A2005.htm)

137

Big Fun

138

Big Fun Big Fun


May 4, 1974

Recorded November 19, 28, 1969; February 6, 1970; March 3, 1970, and June 12, 1972 Columbia Studios B and E (New York, NY) Genre

Fusion, jazz-funk, avant-garde jazz

Length

98:45

Label

Columbia



Big Fun (1974)


Big Fun is a double album by American jazz recording artist Miles Davis, released May 4, 1974, on Columbia Records. It contains tracks recorded between 1969 and 1972 by Davis. Largely ignored on its original release, it was reissued on August 1, 2000 by Columbia and Legacy Records with additional material, which led to a belated critical reevaluation.

Music Big Fun reflects three different phases from Miles Davis's early-seventies "electric" period. Sides one and four ("Great Expectations/Orange Lady" and "Lonely Fire") were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. They also mark the first time since the beginning of Miles Davis's electric period that he played his trumpet with the Harmon mute which had been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed more emphasis on the medium and low registers.

Big Fun

139

"Ife" was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. It has a drum and electric bass groove (which in fact at one point breaks down due to mistiming) and a plethora of musicians improvising individually and in combinations over variations on the hypnotic bassline.

"Go Ahead John" Recorded on March 7, 1970,[1] "Go Ahead John" is an outtake from Davis's Jack Johnson sessions.[2] The recording is a riff and groove-based, with a relatively sparser line-up of Steve Grossman on soprano saxophone, Dave Holland on bass, Jack DeJohnette on drums, and John McLaughlin on guitar with wah-wah pedal.[2] [3] It was one of the rare occasion in which Davis recorded without a musical keyboard.[1] It was recorded in five sections, ranging from three to 13 minutes, which producer Teo Macero subsequently assembled in post-production four years later for Big Fun.[1] DeJohnette provides a funky, complex groove, Holland plays bass with one constant note repeated, and McLaughlin plays in a staccato style with blues and funk elements.[1] According to one music writer, the track's bass parts has "a trancelike drone that maintains" the predominantly Eastern vibe of the album.[4] Davis's trumpet and McLaughlin's guitar parts were heavily overdubbed for the recording.[5] The overdubbing effect was created by superimposing part of Davis's trumpet solo onto other parts of it, through something Teo Macero calls a "recording loop". Macero later said of this production technique, "You hear the two parts and it's only two parts, but the two parts become four and they become eight parts. This was done over in the editing room and it just adds something to the music [...] I called [Davis] in and I said, 'Come in, I think we've got something you'll like. We'll try it on and if you like it you've got it.' He came in and flipped out. He said it was one of the greatest things he ever heard".[6] DeJohnette's drums were also manipulated by Macero, who used an automatic switcher to have them rattle back and forth between the left and right speakers on the recording.[1] In his book Running the Voodoo Down: The Electric Music of Miles Davis, Davis-biographer Phil Freedom describes this technique as "100 percent Macero" and writes of its significance to the track as a whole, stating: This doesn't create the effect of two drummers. It's just disorienting, throwing the ear off balance in a way that forces the listener to pay close attention. The drums cease to perform their traditional function. Jack DeJohnette's beats, funky and propulsive on the session tapes, are so chopped up that their timekeeping utility is virtually nil. Macero has diced the rhythm so adroitly that we are not even permitted to hear an entire drum hit or hi-hat crash. All that remains are clicks and whooshes, barely identifiable as drums and, again, practically useless as rhythmic indicators. Thus, the pace is maintained by Dave Holland's one-note throb and the occasional descending blues progression he plays. The feeling one gets from "Go Ahead John" becomes one of floating in space.[7] —Phil Freeman Titled as an exhortation by Davis to McLaughlin,[] "Go Ahead John" features a basic, blues motif, centered around E and B♭ flat, as well as modulations introduced by Davis into the D♭ flat scale.[2] The recording begins with McLaughlin's funky wah-wah lines, backing Grossman's sharp, restrained playing, with Davis's first trumpet solo entering at four minutes with scattered ideas.[1] [3] In his book Milestones: The Music and Times of Miles Davis, Jack Chambers writes that the recording's first 11 minutes and its closing four-and-a-half minutes "resemble Willie Nelson [from Jack Johnson] as a head arrangement built on a riff, with the riff sustained this time by McLaughlin's steady wah-wah in the background.[6] Approximately six minutes into it, McLaughlin's guitar solo succeeds Davis's first solo, as the band vamps.[1] Music journalist Todd S. Jenkins writes of this passage in the recording, "Thanks to the then-new wonders of noise gate technology, Jack DeJohnette’s drums and cymbals flit back and forth rapidly from left to right in the mix. With each switch, the guitar’s volume blasts in and out, over and over again, during McLaughlin’s relentlessly acidic solo".[3] Following the passage, an unrelated theme opens with two minutes of a slow blues segment by Davis that is spliced into the recording, accompanied solely by occasional notes from Holland; According to Jack Chambers, Davis's blues solo "becomes a duet with himself by overdubbing, and then builds into a quintet performance lasting ten more minutes".[6] Phil Freeman wrote of this "doubling effect", stating

Big Fun "Miles's two solos fit together perfectly, creating a feel similar to that of New Orleans jazz, with two trumpets weaving intricate, complementary lines around each other".[7] In Milestones: The Music and Times of Miles Davis, Chambers writes of Davis's segment and the complex production of "Go Ahead John", "In spite of the gimmickry, the blues segment manages to state some old verities in a new context, and state them powerfully. Most jazz listeners can hope that someday Go Ahead John will be unscrambled and re-presented to them as, among other things, an unhurried blues by Davis accompanied only by Holland".[6] Down Beat critic John Ephland interprets the recording to be "Miles' most obvious allusion to the Godfather of Soul, James Brown", adding that "Conjuring up images of Brown's 'I Can't Stand Myself' and 'I Got the Feelin',' from '67 and '68, respectively, 'Go Ahead John' shuffles, swirls, gets down and runs rampant, with some very creative editing, courtesy of producer Teo Macero".[8] Allmusic editor Thom Jurek writes of the recording, "There is no piano. What's most interesting about this date is how it prefigures what would become 'Right Off' from Jack Johnson. It doesn't have the same fire, nor does it manage to sustain itself for the duration, but there are some truly wonderful sections in the piece".[2] In Running the Voodoo Down: The Electric Music of Miles Davis, Phil Freedom calls the recording "one of the best things Miles and Macero created during the 1970s", writing that "It's a singular achievement in production, one that presents Miles in a different light than anything else in his catalog".[1]

Reception Initial reaction Released on May 4, 1974, by Columbia Records,[10] Big Fun debuted at number 193 on the U.S. Billboard Top LPs chart and sold 50,000 copies in its first week.[14] [15] It ultimately reached number 179 on the chart and number six on Billboard's Top Jazz LPs chart.[16] According to Todd S. Jenkins of All About Jazz, "The long, ever-droning, darkly exotic electric music, and in fact the very idea of just four songs taking up four full sides of an album, was not too appealing to critics or the general market at a time when short, sharp disco tunes were beginning to chart like wildfire. So Big Fun received generally weak reviews".[3] In a positive review of the album, Billboard stated "Much of the existentialism in musical forms that has characterized Miles Davis' recent offerings are embodied in this new album, but Davis has the creativity of mind and expertise of profession to break away from the conventional and still remain an exciting, interesting, innovative and acceptable artist. This album is in that genre".[10] Bob Palmer of Rolling Stone wrote that "essentially Big Fun is the most consistently appealing, varied and adventurous Miles Davis album since Live/Evil, commands attention as such, and will doubtless give Davis's many imitators something to think about".[5] In his consumer guide for The Village Voice, critic Robert Christgau gave Big Fun an A- rating,[11] indicating "a very good record. If one of its sides doesn't provide intense and consistent satisfaction, then both include several cuts that do".[17] Christgau noted three of its "side-long 'pieces' [...] wind down prematurely", but ultimately commented that "for the most part this is uncommonly beautiful stuff, and it gets better".[11] He singled out "Lonely Fire" as a highlight, writing that "after meandering at the beginning [it] develops into lyrical mood music reminiscent in spirit and fundamental intent of Sketches of Spain".[11]

Retrospect In a retrospective review, Allmusic editor Thomas Jurek complimented "some outstanding playing and composing here", but criticized "the numerous lineups and uneven flow of the tracks", writing that "Despite the presence of classic tracks like Joe Zawinul's 'Great Expectations', Big Fun feels like the compendium of sources it is".[2] The Rolling Stone Album Guide gave it three out of five stars and stated, the album "defies easy categorization, although its dark, moody tracks boast a strong undercurrent of Indian classical rhythms in addition to the expected swathes of rock and funk".[13] However, Alternative Press called the album "essential....colorful and exotic" and wrote that it represents "the high water mark of his experiments in the fusion of rock, funk, electronica and jazz".[9] The Penguin

140

Big Fun

141

Guide to Jazz gave the album three out of four stars and described it as "an entertaining simulation of a top-drawer R&B band, just about pushed into the jazz zone", with the key elements of Davis's "electronic" sound.[12] Stylus Magazine's Edwin C. Faust commented that "a world without this music would be a considerably emptier place" and cited it as Davis's "greatest achievement" with regard to an album's "overall effect".[4] Faust viewed that critics were "privy to the knowledge of recording dates and band line-ups" in their criticism of the album as "scattered" and "unfocussed", and elaborated on its musical significance to Davis's catalogue, stating: Despite critics labeling it “scattered” and “unfocused”, Big Fun has a very consistent vibe throughout. In contrast to its title, the album is moody and hauntingly lyrical—not entirely unlike In a Silent Way. Imagine the foreboding nature of Bitches Brew, with the primitive and funky undercurrent of On the Corner, but also with the majestic melodies of In a Silent Way cresting the surface. Plus, Big Fun is tied together by a stronger Eastern vibe than any of Davis’s other albums [...] Big Fun is the work of a true musical craftsman and an even truer artist.[4] —Edwin C. Faust Down Beat critic John Ephland commented that "there is indeed a sense of adventure, of taking chances with so much talent, and with such skeletal designs", adding that "Big Fun reinforces the notion that Miles' primary contributions to music have come via orchestrating, organizing, enabling. How this music was put together proves to be as interesting as any solo or ensemble work [...] Incidently, the digital sound quality is consistently high throughout".[8]

Track listing 1974 double LP release Side one 1. "Great Expectations" (Davis, Zawinul) - 27:23 • "Great Expectations" (Davis, Zawinul) - 13:34 • "Orange Lady" (Zawinul) - 13:49 Side two 1. "Ife" (Davis) - 21:34 Side three 1. "Go Ahead John" (Davis) - 28:27 Side four 1. "Lonely Fire" (Davis) - 21:21

2000 double CD reissue Disc one 1. 2. 3. 4.

"Great Expectations/Orange Lady" - 27:23 "Ife" - 21:34 "Recollections" (Zawinul) - 18:55 "Trevere" (Davis) - 5:55

Disc two 1. "Go Ahead John" - 28:27 2. "Lonely Fire" - 21:21 3. "The Little Blue Frog" (Davis) - 9:10 4. "Yaphet" (Davis) - 9:39

Big Fun

142

Note: "Great Expectations/Orange Lady" is often shortened to "Great Expectations".

Personnel Musicians "Great Expectations/Orange Lady" (1 November 1969 - Columbia Studio E) "Go Ahead John" (3 March 1970 - Columbia Studio E) • • • • • • • • • • • •

Miles Davis - trumpet Steve Grossman - soprano saxophone Bennie Maupin - bass clarinet John McLaughlin - electric guitar Khalil Balakrishna - electric sitar Bihari Sharima - tabla, tamboura Herbie Hancock - electric piano Chick Corea - electric piano Ron Carter - double bass Harvey Brooks - Fender bass guitar Billy Cobham - drums Airto Moreira - percussion

"Ife" (12 June 1972 - Columbia Studio E) • • • • • • • • • • •

Miles Davis - electric trumpet with Wah Wah Sonny Fortune - soprano saxophone, flute Bennie Maupin - clarinet, flute Carlos Garnett - soprano saxophone Lonnie Liston Smith - piano Harold I. Williams, Jr. - piano Michael Henderson - electric bass Al Foster - drums Billy Hart - drums Badal Roy - tabla James Mtume - African percussion

• • • • •

Miles Davis - trumpet Steve Grossman - soprano saxophone John McLaughlin - electric guitar Dave Holland - electric bass guitar Jack DeJohnette - drums

"Lonely Fire" (28 November 1969 - Columbia Studio E) • • • • • • • • • • •

Miles Davis - trumpet Wayne Shorter - tenor saxophone Bennie Maupin - bass clarinet Khalil Balakrishna - sitar, Indian instruments Chick Corea - electric piano Joe Zawinul - electric piano, Farfisa organ Dave Holland - double bass Harvey Brooks - Fender bass guitar Jack DeJohnette - drums Billy Cobham - drums Airto Moreira - Indian instruments, percussion

+ "The Little Blue Frog" (28 November 1969 - Columbia Studio E)

Big Fun

143

+ "Recollections" (6 February 1970 - Columbia Studio B) • • • • • • • • • •

Miles Davis - trumpet Wayne Shorter - soprano saxophone Bennie Maupin - bass clarinet John McLaughlin - guitar Joe Zawinul - electric piano (left) Chick Corea - electric piano (right) Dave Holland - electric bass guitar Billy Cobham - triangle Jack DeJohnette - drums Airto Moreira - cuíca, percussion

+ "Trevere" (28 November 1969 - Columbia Studio E) • • • • • • • • • • • •

Miles Davis - trumpet Steve Grossman - soprano saxophone Bennie Maupin - bass clarinet Chick Corea - electric piano Larry Young - organ, celeste Khalil Balakrishna - electric sitar Bihari Sharima - tamboura Harvey Brooks - electric bass guitar Dave Holland - double bass Jack DeJohnette - drums Billy Cobham - drums Airto Moreira - cuíca, berimbau

• • • • • • • • • • • • •

Miles Davis - trumpet Steve Grossman - soprano saxophone Bennie Maupin - bass clarinet John McLaughlin - guitar Chick Corea - electric piano Larry Young - organ, celeste Khalil Balakrishna - electric sitar Bihari Sharima - tamboura Harvey Brooks - electric bass guitar Dave Holland - double bass Jack DeJohnette - drums Billy Cobham - drums Airto Moreira - cuíca, berimbau

+ "Yaphet" (19 November 1969 - Columbia Studio E) • • • • • • • • • • • •

Miles Davis - trumpet Steve Grossman - soprano saxophone Bennie Maupin - bass clarinet John McLaughlin - guitar Herbie Hancock - electric piano (left) Chick Corea - electric piano (right) Khalil Balakrishna - electric sitar Bihari Sharima - tamboura, tabla Harvey Brooks - electric bass guitar Ron Carter - double bass Billy Cobham - drums, triangle Airto Moreira - cuíca, berimbau

Additional personnel 2-LP original • • • • • • •

Teo Macero - original record producer Seth Rothstein - project director Frank Laico, Stan Tonkel - original audio engineer Russ Payne, Stan Weiss, John Guerriere - original mix engineer Steve Berkowitz - A&R for Legacy Patti Matheny, Darren Salmieri - A&R coordination Corky McCoy - original cover art

2-CD reissue • • • • • • • • •

Bob Belden - reissue producer Seth Foster - reissue digital remastering at Sony Music Studios, NYC Bennie Maupin - reissue main liner notes Swing Journal Co., Ltd. Japan - reissue backcover photography Uve Kuusik - reissue liner notes photography Howard Fritzson - reissue art direction Randall Martin - reissue design Rachel Dicono - packaging manager John Jackson - production assistance

Big Fun

Sample use • "Lonely Fire" • "Suicidal Thoughts" by the Notorious B.I.G., from the album Ready to Die • "Party Over" by Mobb Deep, from the album The Infamous.

Notes [1] Freeman (2005), p. 92. [2] Jurek, Thom (November 1, 2002). Review: Big Fun (http:/ / www. allmusic. com/ album/ big-fun-r106180/ review). Allmusic. Retrieved on 2011-02-02. [3] Jenkins, Todd S. (June 1, 2001). Review: Big Fun (http:/ / www. allaboutjazz. com/ php/ article. php?id=7910). All About Jazz. Retrieved on 2011-02-02. [4] Faust, Edwin C. (September 1, 2003). Review: Big Fun (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-big-fun. htm). Stylus Magazine. Retrieved on 2011-02-02. [5] Palmer, Bob (June 20, 1974). Review: Big Fun (http:/ / www. rollingstone. com/ music/ albumreviews/ big-fun-19740620). Rolling Stone. Retrieved on 2011-02-02. [6] Chambers (1998), p. 199. [7] Freeman (2005), p. 93. [8] Ephland (2007), p. 302–303. [9] Product Notes – Big Fun (http:/ / www. webcitation. org/ 5wDEtCGY6). Muze. Retrieved on 2011-02-02. [10] Columnist (May 4, 1974). " Review: Big Fun (http:/ / books. google. com/ books?id=cgkEAAAAMBAJ& pg=RA1-PA62#v=onepage& q& f=false)". Billboard: 62. [11] Christgau, Robert (1974). " Consumer Guide: Big Fun (http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis)". The Village Voice. Retrieved on 2011-02-02. [12] Cook, Richard (2004). "Review: Big Fun". The Penguin Guide to Jazz: 424. [13] Hoard, Christian (November 2, 2004). " Review: Big Fun (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA215#v=onepage& q=& f=false)". Rolling Stone: 215, 218. [14] Top LP's & Tape – For Week Ending June 8, 1974 (108-200) (http:/ / books. google. com/ books?id=ZgkEAAAAMBAJ& pg=PT53& dq=#v=onepage& q& f=false). Billboard. Retrieved on 2011-02-02. [15] Tiegal, Eliot (June 1, 1974). " Jazzmen Fusing Rock Into Music for Wider Appeal (http:/ / books. google. com/ books?id=aQkEAAAAMBAJ& pg=PA10& dq=#v=onepage& q& f=false)". Billboard: 1, 10. [16] Charts & Awards: Big Fun (http:/ / www. allmusic. com/ album/ big-fun-r106180/ charts-awards). Allmusic. Retrieved on 2011-02-02. [17] Christgau, Robert (1969-89). Consumer Guide: The Grades (http:/ / www. robertchristgau. com/ xg/ bk-cg70/ grades. php). Robert Christgau. Retrieved on 2011-02-02.

References • Alkyer, Frank; John Ephland (2007). The Miles Davis Reader. Hal Leonard Corporation. ISBN 9781423430766. • Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. ISBN 0-306-80849-8. • Freeman, Phil (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation. ISBN 0879308281.

External links • Big Fun (http://www.discogs.com/Miles-Davis-Big-Fun/master/62306) at Discogs

144

Get Up with It

145

Get Up with It Get Up With It


November 22, 1974

Recorded May 1970 - October 1974 at Columbia Studios B and E (NYC) Genre

Fusion, jazz-funk

Length

123:52

Label

Columbia/Legacy


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All About Jazz (favorable) link

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Rolling Stone (favorable) 1975

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Big Fun (1974)


Water Babies (1976)

Get Up with It is an album collecting tracks recorded between 1970 and 1974 by Miles Davis. Released on November 22, 1974 as a double LP, it was Davis' last studio album before five years of retirement from music. "He Loved Him Madly" is a track recorded in tribute to Duke Ellington, who had died one month before; Brian Eno cited it as a lasting influence on his own work.[8]

Get Up with It

146

Track listing Original 2xLP release Side A 1. "He Loved Him Madly" (1974) –32:20 Side B 1. "Maiysha" (1974) –14:56 2. "Honky Tonk" (1970) –5:57 3. "Rated X" (1972) –6:53 Side C 1. "Calypso Frelimo" (1973) –32:10 Side D 1. "Red China Blues" (1972) –4:10 2. "Mtume" (1974) –15:12 3. "Billy Preston" (1972) –12:35 (Note: The CD re-release merges sides A and B into CD1 and sides C and D into CD2) (All compositions by Miles Davis.)

Tracks and personnel "He Loved Him Madly" Recorded Columbia Studio E, New York City June 19 OR 20, 1974 • • • • • • • •

Miles Davis — electric trumpet with Wah Wah, organ Dave Liebman — Alto flute Pete Cosey — electric guitar Reggie Lucas — electric guitar Dominique Gaumont — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume — percussion

"Maiysha" Recorded Columbia Studio E, New York City October 7, 1974 • • • • • • • •

Miles Davis — electric trumpet with Wah Wah, organ Sonny Fortune — flute Pete Cosey — electric guitar Reggie Lucas — electric guitar Dominique Gaumont — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume — percussion

"Honky Tonk" Recorded Columbia Studio E, New York City May 19, 1970

Get Up with It • • • • • • • •

Miles Davis — trumpet Steve Grossman — soprano saxophone John McLaughlin — electric guitar Keith Jarrett — electric piano Herbie Hancock — clavinet Michael Henderson — bass guitar Billy Cobham — drums Airto Moreira — percussion

"Rated X" Recorded Columbia Studio E, New York City September 6, 1972 • • • • • • •

Miles Davis — organ Cedric Lawson — electric piano Reggie Lucas — electric guitar Khalil Balakrishna — electric sitar Michael Henderson — bass guitar Al Foster — drums James Mtume — percussion

• Badal Roy — tabla "Calypso Frelimo" Recorded Columbia Studio E, New York City September 17, 1973 • • • • • • • •

Miles Davis — electric trumpet with Wah Wah, electric piano, organ Dave Liebman — flute John Stubblefield — soprano saxophone Pete Cosey — electric guitar Reggie Lucas — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume — percussion

"Red China Blues" Recorded Columbia Studio E, New York City March 9, 1972 • • • • • • • • •

Miles Davis — Electric trumpet with Wah Wah Lester Chambers — Harmonica Cornell Dupree — electric guitar Michael Henderson — bass guitar Al Foster — drums Bernard Purdie — drums James Mtume — percussion Wade Marcus — brass arrangement Billy Jackson — rhythm arrangement

"Mtume" Recorded Columbia Studio E, New York City October 7, 1974 • Miles Davis — electric trumpet with Wah Wah, organ • Pete Cosey — electric guitar • Reggie Lucas — electric guitar • Michael Henderson — bass guitar

147

Get Up with It • Al Foster — drums • James Mtume — percussion • Sonny Fortune — flute "Billy Preston" Recorded Columbia Studio E, New York City December 8, 1972 • • • • • • • • •

Miles Davis — electric trumpet with Wah Wah Carlos Garnett — soprano saxophone Cedric Lawson — fender rhodes electric piano Reggie Lucas — electric guitar Khalil Balakrishna — electric sitar Michael Henderson — bass guitar Al Foster — drums James Mtume — percussion Badal Roy — tabla

References [1] [2] [3] [4] [5] [6] [7] [8]

http:/ / www. allmusic. com/ album/ get-up-with-it-r106182/ review http:/ / www. allaboutjazz. com/ php/ article. php?id=6193 http:/ / www. webcitation. org/ 5uk3AT3yJ Christgau, Robert (April 7, 1975). Robert Christgau: Consumer Guide: Apr. 7, 1975 (http:/ / www. robertchristgau. com/ xg/ cg/ cgv4-75. php). The Village Voice. Robert Christgau. Retrieved on 2011-04-02. http:/ / www. acclaimedmusic. net/ Current/ A4553. htm http:/ / www. webcitation. org/ 5uk33QxlN http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-get-up-with-it. htm (1986) Release notes (http:/ / music. hyperreal. org/ artists/ brian_eno/ onland-txt. html) for Ambient 4: On Land by Brian Eno (CD liner). E.G. Records (EGED 20).

148


149

The Man with the Horn The Man with the Horn


July 1981

Recorded

June 1, 1980–May 6, 1981 at Columbia Studio, New York

Genre

Jazz, post-bop, fusion

Length

52:37 (LP) (CD)

Label

Columbia

Producer


•

Allmusic

link

[1]


Directions (Miles Davis album) (1981)

The Man with the Horn (1981)

Star People (1983)

The Man with the Horn is an album released by Miles Davis in 1981, featuring drums Al Foster, saxophonist Bill Evans, guitarists Mike Stern and Barry Finnerty, and others. It was Davis' first new release since 1975, when he'd gone into a reclusive retirement for six years. Rock-oriented in nature, the music fuses 80's pop with improvisational funk and fusion styles. The album marked Davis' return to his more traditional trumpet playing, although the title song "The Man with the Horn" features wah-wah improvisation along with vocals.


Track listing All tracks composed by Miles Davis; except where indicated 1. 2. 3. 4. 5. 6.

"Fat Time" - 9:56 "Back Seat Betty" - 11:16 "Shout" (Glenn Burris, Randy Hall, Robert Irving III) - 5:51 "Aïda" - 8:12 "The Man With The Horn" (Hall, Irving) - 6:35 "Ursula" - 10:46

Personnel Miles Davis - trumpet, arrangements • • • • •

Robert Irving III - synthesizer, piano, arranger Mike Stern - guitar Bill Evans - soprano saxophone Felton Crews - bass Sammy Figueroa - percussion

• Barry Finnerty - guitar • Al Foster - drums • Randy Hall - synthesizer, guitar, arranger, celeste, Moog synthesizer, lead vocals on title track, The Man With The Horn • Marcus Miller - bass


150

Star People

151

Star People Star People


1983

Recorded

August 11, 1982 - February 3, 1983

Genre

Jazz Fusion

Length

58:54 (CD) (LP)

Label

Columbia

Producer

Teo Macero, Bob Belden Professional reviews

Allmusic

link

[1]


The Man With The Horn (1981)

Star People (1983)

Decoy (1984)

Star People is a 1983 album recorded by Miles Davis and issued by Columbia Records. To date, Columbia has not issued Star People on CD in North America, although it is available in North America as part of the box set Miles Davis: The Complete Columbia Album Collection; CBS/Sony have issued the album on CD in Japan.

Star People

Track listing All tracks composed by Miles Davis 1. 2. 3. 4. 5. 6.

"Come Get It" - 11:01 "It Gets Better" - 10:07 "Speak" - 8:28 "Star People" - 18:46 "U'N'I" - 5:55 "Star On Cicely" - 4:26

Personnel Miles Davis - trumpet, keyboards, concept • • • • •

John Scofield - electric guitar Mike Stern - electric guitar Bill Evans - tenor & soprano saxophone Tom Barney - electric bass Mino Cinelu - percussion

• Al Foster - drums • Marcus Miller - electric bass • Gil Evans - arranger Executive producer: Dr George Butler


152

Decoy

153

Decoy Decoy


October 25, 1990 (US) (CD) June 1984 (US) (LP)

Recorded

June 30, 1983 at A&R Studio, NY; July 7, 1983 at Théâtre St. Denis, Montreal; and September 5, 10 and 11, 1983 and Record Plant Studio, NY

Genre

Jazz Fusion

Length

39:36 (CD) (LP)

Label

Columbia

Producer

Miles Davis Professional reviews

•

Allmusic

link

[1]


Star People (1983)

Decoy (1984)

You're Under Arrest (1985)

Decoy is a 1984 album by jazz musician Miles Davis, recorded in 1983.

Track listing 1. 2. 3. 4. 5. 6. 7.

"Decoy" (Davis, Robert Irving III) 8:33 "Robot 415" (Davis, Robert Irving III) 1:09 "Code M.D." (Robert Irving III) 5:58 "Freaky Deaky" (Davis) 4:34 "What It Is" (Davis, John Scofield) recorded live 4:31 "That's Right" (Davis, John Scofield) 11:12 "That's What Happened" (Davis, John Scofield) recorded live 3:30

Decoy

154

Personnel Miles Davis - trumpet, synthesizer, arrangements • • • • • • •

Bill Evans - soprano saxophone Branford Marsalis - soprano saxophone Robert Irving III - synthesizer, synthesizer bass & drum programming John Scofield - guitar Darryl "The Munch" Jones - bass Al Foster - drums Mino Cinelu - percussion

Production Producer: Miles Davis Co-producer: Robert Irving III Associate Co-producer: Vincent Wilburn, Jr. Executive Producer: Dr. George Butler Engineer, Remix: Ronald F. Lorman Assistant Engineer, Edited: Tom Swift Mastered by Bob Ludwig at Masterdisk Package Design: John Berg Cover Photography: Gilles Larrain


You're Under Arrest

155

You're Under Arrest You're Under Arrest


September 9, 1985

Recorded January 26, 1984–January 10, 1985 at Record Plant Studio, New York Genre

Fusion, jazz-funk

Length

43:02

Label

Columbia

Producer Miles Davis and Robert Irving III Professional reviews [1] Allmusic link [2] Rolling Stone (mixed) link

• •


Decoy (1984)


Tutu (1986)

You're Under Arrest is a 1985 album recorded by Miles Davis that saw Miles mix pop tunes with political statements about racism, pollution and war. Among other tracks, the album featured Davis' interpretations of two contemporary pop songs: Cyndi Lauper's "Time After Time" and Michael Jackson's "Human Nature". During the recording sessions, Darryl Jones introduced Sting to his longtime idol Miles Davis. Sting was startled when Davis asked him if he could speak French, and since he did, to translate the Miranda warning into French and yell it into the microphone against a backing track.[3]

You're Under Arrest

Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.

"One Phone Call"/"Street Scenes" (Davis) 4:34 "Human Nature" (John Bettis, Steve Porcaro) 4:30 "Intro: MD 1"/"Something's On Your Mind"/"MD 2" (Davis, Hubert Eaves III, James "D-Train" Williams) 7:17 "Ms. Morrisine" (Davis, Morrisine Tynes Irving, Robert Irving III) 4:57 "Katia Prelude" (Davis, Irving III) 0:40 "Katia" (Davis, Irving III) 7:37 "Time After Time" (Cyndi Lauper, Rob Hyman) 3:37 "You're Under Arrest" (John Scofield) 6:14 "Medley: Jean Pierre"/"You're Under Arrest"/"Then There Were None" (Davis, Irving III, Scofield) 3:23

Personnel Miles Davis: Trumpet, "Police Voices, Davis Voices" on track 1, Synthesizer on track 5,6 John McLaughlin: Guitar on track 4,5,6 John Scofield: Guitar on track 1,2,3,7,9 Bob Berg: Soprano Saxophone on track 1, Tenor Saxophone on track 8,9 Al Foster: Drums on track 1,7,8,9 Vince Wilburn, Jr.: Drums on track 2,3,4,5,6 Robert Irving III: Synthesizers, Celesta, Organ, Clavinet Darryl Jones, A/K/A "The Munch:" Bass Steve Thorton: Percussion, Spanish voice on track 1 Sting (under his real name Gordon Sumner): French policeman's voice on track 1 Marek Olko: Polish voice on track 1 James Prindiville, a.k.a. "J.R.:" Handcuffs on track 1

Production Produced by Miles Davis and Robert Irving III. Co-produced by Vince Wilburn, Jr. Producer: Dr. George Butler Engineer: Ronald F. Lorman Mixing Engineer: Tom Swift Mastering Engineer: Bob Ludwig at Masterdisk, New York City Production Coordination: Jim Rose Art Direction: Lane/Donald Illustration: Miles Davis Photography: Anthony Barboza

156

You're Under Arrest

157

References [1] http:/ / www. allmusic. com/ album/ r106103 [2] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 177991/ review/ 6067406/ youre_under_arrest [3] Sting (2003). Broken Music. Simon & Schuster. ISBN 0-7434-5081-7.

Tutu Tutu


December 1986

Recorded February 6-March 25, 1986 in New York City and Los Angeles Genre

Funk, Jazz Fusion

Length

42:05

Label

Warner Bros.

Producer Marcus Miller, Tommy LiPuma Professional reviews • •

Allmusic Q Magazine

link

[1]



Tutu (1986)

Music from Siesta (1987)

Tutu is an album released in 1986 by trumpeter Miles Davis on Warner Bros. Records. Originally planned as a collaboration with pop singer/songwriter Prince, Davis ultimately worked with bassist/multi-instrumentalist Marcus Miller. Miller wrote and arranged all the songs, except "Tomaas" (co-written by Davis), "Backyard Ritual" (by keyboardist George Duke), and "Perfect Way" (by pop group Scritti Politti). The music is heavily inspired by mid-1980s R&B and funk, with heavy use of synthesizers, sequencers and drum machines.

Tutu

158 Tutu was produced by Tommy LiPuma and Marcus Miller, with the exception of "Backyard Ritual," which was co-produced by Duke and LiPuma. The album is named in tribute to Archbishop Desmond Tutu, the first black Anglican Archbishop of Cape Town, South Africa. The track "Full Nelson" refers to South African politician Nelson Mandela. The cover of this album can be seen in the film The Talented Mr. Ripley, despite being set in the 1950s.

Track listing All tracks composed by Marcus Miller except where indicated: 1. 2. 3. 4. 5. 6. 7. 8.

"Tutu" – 5:15 "Tomaas" – 5:38 (Davis, Marcus Miller) "Portia" – 6:18 "Splatch" – 4:46 "Backyard Ritual" – 4:49 (George Duke) "Perfect Way" – 4:35 (David Gamson, Green Gartside) "Don't Lose Your Mind" – 5:49 "Full Nelson" – 5:06

Performers • Miles Davis - Trumpet • Marcus Miller - Bass guitars, guitar, synthesizers, drum machine programming, bass clarinet, soprano sax, other instruments. • Jason Miles - Synthesizer programming • Paulinho da Costa - Percussion on "Tutu", "Portia", "Splatch", Backyard Ritual" • [Adam Holzman - Synthesizer solo on "Splatch" • Steve Reid - Additional percussion on "Splatch" • George Duke - All except percussion, bass guitar, and trumpet on "Backyard Ritual" • Omar Hakim - Drums and percussion on "Tomaas" • Bernard Wright - Additional synthesizers on "Tomaas" and "Don't Lose Your Mind" • Michał Urbaniak - Electric violin on "Don't Lose Your Mind" • Jabali Billy Hart - drums, bongos


Amandla

159

Amandla Amandla


May 18, 1989

Recorded

December 1988 - early 1989

Genre

Jazz Fusion

Length

43:27

Label

Warner Bros.

Producer

Tommy LiPuma, Marcus Miller, George Duke Professional reviews

•

Allmusic

[1]



Amandla Aura (1989) (1989)

Amandla is an album by jazz musician Miles Davis, released in 1989. It is the third collaboration between Miles Davis and producer/bassist Marcus Miller, after Tutu (1986) and Music From Siesta (1987), and their final album together. The album mixes elements of the genres go-go, zouk, funk and swing jazz, combining electronic instruments with live musicians. The composition “Mr. Pastorius”, featuring drummer Al Foster, is a tribute to late jazz bassist Jaco Pastorius.

Amandla

Track listing All tracks were composed by Marcus Miller, except where indicated. 1. 2. 3. 4. 5. 6. 7. 8.

"Catémbe" – 5:35 "Cobra" (George Duke) – 5:15 "Big Time" – 5:40 "Hannibal" – 5:49 "Jo-Jo" – 4:51 "Amandla" – 5:20 "Jilli" (John Bigham) – 5:05 "Mr. Pastorius" – 5:41

Personnel Miles Davis – trumpet, cover art • George Duke – keyboards, synclavier, arranger • Omar Hakim – drums • Steve Khan – guitar • • • • • • • • • • • • • • • •

Joe Sample – piano Jean-Paul Bourelly – guitar, percussion Don Alias – percussion Foley – guitar soloist Bashiri Johnson – percussion John Bigham – guitar, keyboards, drum programming, arranger Mino Cinelu – percussion Paulinho Da Costa – percussion Joey DeFrancesco – keyboards, photography Al Foster – drums Kenny Garrett – soprano & alto saxophone Michael Landau – guitar Rick Margitza – tenor saxophone Jason Miles – synthesizer, synthesizer programming Marcus Miller – bass, bass clarinet, guitar, arranger Billy Patterson – wah wah guitar

References [1] Yanow, Scott. "Review: Amandla" (http:/ / www. allmusic. com/ album/ r104615). Allmusic. . Retrieved 16 November 2009.

• Cole, George (March 16, 2005) The Last Miles: The Music of Miles Davis, 1980–1991. University of Michigan Press. ISBN 0-472-11501-4

160

Aura

161

Aura Aura


1989

Recorded January 31–February 4, 1985 at Easy Sound Studio, Copenhagen, Denmark Genre

Jazz fusion

Length

66:59

Label

Columbia

Producer Palle Mikkelborg Professional reviews •

Allmusic

link

[1]


Amandla Aura Dingo (1989) (1989) (1991)

Aura is a concept album by Miles Davis, produced by Palle Mikkelborg, released in 1989. All compositions and arrangements are by Danish composer/trumpeter Palle Mikkelborg, who created the suite in tribute to Miles Davis when Davis received the Léonie Sonning Music Prize in December 1984, the year Decoy was released.[2] [3] [4]

Aura

162

Background The main theme consists of 10 notes, yielded by the letters "M-I-L-E-S-D-A-V-I-S" (see BACH motif, and Schoenberg hexachord "EsCHBEG", and the chart at Musical notes#Accidentals). It is introduced at the beginning over a sustained chord of these same notes. The following 9 movements of the suite represent the colours Mikkelborg sees in Miles's aura. The music is scored for an extended jazz big band, and the core of the band is formed by the Danish Radio's Big Band, featuring Niels-Henning Ørsted Pedersen, Thomas Clausen and Marilyn Mazur[5] . Notable international guests such as John McLaughlin and Davis' nephew Vince Wilburn are featured during the recordings.[6] They took place in Copenhagen in 1985 at Davis' own initiative, as he had been very honored and satisfied with the suite. It was the first time Miles Davis recorded with a big band for over 20 years. Aura, however, is not a conventional big band jazz album. The music is perhaps best categorized as fusion jazz with a strong flavor of modern classical music, as many of the orchestral passages reveal Mikkelborg's inspiration from composers like Olivier Messiaen and Charles Ives.[7] Although the album was recorded at Easy Sound Studios in Copenhagen in 1985, contractual issues delayed its release until 1989. The album won a Grammy Award in 1990 for Best Jazz Instrumental Performance.

Track listing All tracks composed and arranged by Palle Mikkelborg 1. "Intro" – 4:48 2. "White" – 6:07 3. "Yellow" – 6:55 4. "Orange" – 8:41 5. "Red" – 6:05 6. "Green" – 8:13 7. "Blue" – 6:36 8. "Electric Red" – 4:19 9. "Indigo" – 6:06 10. "Violet" – 9:04

Personnel • • • • • • • • • • • • •

Trumpet: Miles Davis Trumpets and flugelhorns: Benny Rosenfeld, Idrees Sulieman, Jens Winther, Palle Bolvig, Perry Knudsen Trombones: Jens Engel, Ture Larsen, Vincent Nilsson Bass trombones: Ole Kurt Jensen, Axel Windfel Tuba: Axel Windfel Reeds, flute: Jesper Thilo, Per Carsten, Uffe Karskov, Bent Jædig, Flemming Madsen Saxophones and woodwinds: Bent Jædig, Flemming Madsen, Jesper Thilo, Per Carsten, Uffe Karskov Keyboards: Kenneth Knudsen, Ole Kock Hansen, Thomas Clausen Guitars: Bjarne Roupé, John McLaughlin Bass: Niels-Henning Ørsted Pedersen Fender bass and fretless bass: Bo Stief Drums: Vincent Wilburn jr., Lennart Gruvstedt Electronic drums: Vince Wilburn

• Percussion: Ethan Weisgaard, Marilyn Mazur • Harp: Lillian Thornquist

Aura

163 • Oboe and English horn: Niels Eje • Vocals: Eva Hess-Thaysen • Additional trumpet and flugelhorn: Palle Mikkelborg

Production • Producer: Palle Mikkelborg • Engineers: Henrik Lund, Niels Erik Land • Art Direction: Stacy Drummond • Photography: Gilles Larrain

Notes [1] http:/ / www. allmusic. com/ album/ r137413 [2] A prestigious award, mostly given to classical composers and musicians; see official website (http:/ / www. sonningmusik. dk/ cms/ view/ index. asp?ipageid=221). Miles Davis was the first non-classical musician to receive the prize, and was particularly happy to receive the prize when he learned that Igor Stravinsky was one of the earlier recipients. [3] Prior to the concert, Miles Davis was announced to only play for the last ten minutes of the suite. He eventually played for over 40 minutes, also playing Cyndi Lauper and Rob Hyman's "Time after Time" and his own "Jean Pierre." [4] According to http:/ / www. allmusic. com/ album/ r106102 Decoy was released in 1983. [5] It was during the Aura sessions that Davis became fascinated with Mazur's wide range of percussion talents, and he subsequently hired her for his touring band. [6] At the December 1984 concert, guitarist John Scofield — then member of Davis' touring band — was featured as guest. [7] The 10-note opening theme is played freely against a dissonant background chord in a manner reminiscent of Ives' "The Unanswered Question".

External links • thechem (25 Aug 2007, 09:17:00). "Aura - Miles Davis (http://avaxhome.ws/music/jazz/aurachem.html)" in AvaxHome.ws. • ? (2011). "Miles Davis: Aura (http://www.milesdavis.com/pt/music/aura)", MilesDavis.com.

Doo-Bop

164

Doo-Bop Doo-Bop


June 30, 1992

Recorded January 19, 1991 — February, 1991 at Unique Recording Genre

Jazz rap Hip-hop Jazz-funk acid jazz

Length

40:02

Label

Warner Bros. 26938

Producer Easy Mo Bee Professional reviews •

Allmusic

link

[1]


Dingo Doo-Bop (1991) (1992)

Doo-Bop was jazz innovator Miles Davis' final studio album, which would have marked the beginning of the artist's turn to hip-hop-oriented tracks. However, Davis died on September 28, 1991, before the album was completed. Only six tunes for the album had been completed. To finish off the album, producer Easy Mo Bee was asked to take some of the unreleased trumpet performances (stemming from what Davis called the RubberBand Session), and build tracks that Miles 'would have loved' around the recordings. The album's posthumous songs (as stated in the liner notes) are "High Speed Chase" and "Fantasy." A reprise of the song "Mystery" rounded out the album's nine-track length. The project stemmed from Davis sitting in his New York apartment in the summer with the windows open, listening to the sound of the streets. He wanted to record an album of music that captured these sounds. In early 1991, Davis called up his friend Russell Simmons and asked him to find some young producers who could help create this kind of music, leading to Davis' collaboration with Easy Mo Bee. The result of this collaboration, Doo-Bop, was released

Doo-Bop by Warner Bros. Records on June 30, 1992, and received mixed reviews. The album won the 1993 Grammy Award for Best R&B Instrumental Performance

Track listing All tracks composed by Miles Davis and Easy Mo Bee; except where indicated

Side one 1. "Mystery" 2. "The Doo Bop Song" • contains samples from "Summer Madness" by Kool and the Gang and "La Di Da Di" by Doug E. Fresh and Slick Rick 3. "Chocolate Chip" (Davis, Easy Mo Bee, Donald Hepburn) • contains samples from "Thanks For Everything" by Pleasure and "Bumpin' on Young Street" by Young-Holt Unlimited 4. "High Speed Chase" (Davis, Easy Mo Bee, Larry Mizell) • contains samples from "Street Lady" by Donald Byrd

Side two 1. "Blow" • contains samples from "Give It Up Or Turnit A Loose" by James Brown and "Runnin' Away" by Chocolate Milk 2. "Sonya" 3. "Fantasy" • contains samples from "UFO" by ESG and "Love Pains" by Major Lance 4. "Duke Booty" • contains samples from "Jungle Strut" by Gene Ammons and "I'm Your Boogie Man" by KC & The Sunshine Band 5. "Mystery (Reprise)"


165

166

Live albums Miles Davis Quintet at Peacock Alley Miles Davis at Peacock Alley Live album by Miles Davis Released

2006

Recorded July 14 and July 21, 1956 Genre

Jazz

Label

Jazz Factory

Miles Davis at Peacock Alley is a 1956 album by jazz musician Miles Davis. It was recorded on July 14 and July 21, 1956 at Peacock Alley in St. Louis.

Track listing Original CD release Miles Davis at Peacock Alley Disc 1 (recorded July 14, 1956): 1. 2. 3. 4. 5. 6.

"Intro" (0:41) "Ah-Leu-Cha" 5:53 "A Foggy Day" 5:19 "All of You" 6:35 "Woody ‘n’ You" 5:13 "Walkin’" 7:27

Disc 2 (recorded July 21, 1956): 1. 2. 3. 4. 5. 6. 7.

"Two Bass Hit" 5:16 "Well You Needn’t" 7:39 "Billy Boy" 4:23 "All of You" 11:03 "Airegin" 6:07 "Newk #2/Theme" 7:01 "The Theme" 1:17

Miles Davis Quintet at Peacock Alley


Miles Davis — trumpet John Coltrane — tenor saxophone Red Garland — piano Paul Chambers — bass Philly Joe Jones — drums

167

Amsterdam Concert

168

Amsterdam Concert Amsterdam Concert Live album by Miles Davis Quintet Released

2005

Recorded

1957

Genre

Jazz

Length

58:53

Label

Lone Hill Jazz (2005)

Amsterdam Concert is a rare live Miles Davis recording from 1957. This album, one of the most least-known recordings of Miles Davis, was recorded at the Concertgebouw in Amsterdam on December 8, 1957, a couple of days after the recording of the movie soundtrack Ascenseur pour l'échafaud. On this concert, Miles didn't play with his regular quintet, but with the same line-up he used for the recording of Ascenseur pour l'échafaud. It features Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and Kenny Clarke on drums.

Track listing 1. "Woody 'n' You" (Dizzy Gillespie) - 5:07 2. "Bags' Groove" (Milt Jackson) - 7:17 3. "What's New" (Bob Haggart) - 3:41 4. "But Not for Me" (George Gershwin) - 6:52 5. "A Night in Tunisia" (Gillespie)- 7:30 6. "Four" (Miles Davis)- 4:33 7. "Walkin'" (R. Carpenter)- 6:48 8. "Well You Needn't" (Thelonious Monk)- 5:36 9. "'Round About Midnight" (Monk)- 5:37 10. "Lady Bird" (Tadd Dameron)- 5:50


Miles Davis - Trumpet Barney Wilen - Tenor Saxophone René Urtreger - Piano Pierre Michelot - Bass Kenny Clarke - Drums


169

Miles Davis at Newport 1958 Miles Davis at Newport 1958

Live album by Miles Davis Released

1964

Recorded Newport Jazz Festival, Newport, Rhode Island, July 3, 1958 Genre

Jazz

Length

40:20

Label

Columbia

Producer Teo Macero, Bob Elden and Michael Cuscuna Professional reviews •

Allmusic

link

[1]

At Newport 1958 is a 1964 live album by jazz musician Miles Davis.

Track listing 1. 2. 3. 4. 5. 6. 7.

Introduction By Willis Conover - 2:16 "Ah-leu-cha" (Charlie Parker) - 5:53 "Straight, No Chaser" (Thelonious Monk) - 8:48 "Fran-Dance" (Miles Davis) - 7:14 "Two Bass Hit" (John Lewis, Dizzy Gillespie) - 4:11 "Bye Bye Blackbird" (Mort Dixon, Ray Henderson) - 9:11 "The Theme" (Davis) - 2:49

tracks 2-5 originally issued on Miles and Monk at Newport. tracks 6 and 7 originally issued on Newport Jazz Festival Live. John Coltrane appeared courtesy of Prestige Records.



Miles Davis — trumpet Cannonball Adderley — alto saxophone John Coltrane — tenor saxophone Bill Evans — piano Paul Chambers — bass Jimmy Cobb — drums


170

In Europe

171

In Europe In Europe


1964

Recorded

July 27, 1963 at Festival Mondial, du Jazz Antibes, France

Genre

Jazz

Label

Sony BMG R 106147 Professional reviews

•

Allmusic

link

[1]


Miles & Monk at Newport (1963)

In Europe (1964)

Live at the 1963 Monterey Jazz Festival (1964)

In Europe is an album by Miles Davis, released in 1964.

Track listing 1. 2. 3. 4. 5. 6.

"Autumn Leaves" "Milestones" "I Thought About You" (Bonus track on the CD not on the original vinyl LP.) "Joshua" "All of You" "Walking"

A spoken introduction by Andre Francis precedes these.

In Europe

Musicians • • • • •

Miles Davis trumpet George Coleman tenor sax Herbie Hancock piano Tony Williams drums Ron Carter bass.


172

My Funny Valentine

173

My Funny Valentine My Funny Valentine


May 1965

Recorded February 12, 1964 at The Philharmonic Hall of Lincoln Center, New York City, NY [1]

Genre

Jazz

Length

62:33

Label

Columbia CL 2306(mono LP) CS 2306(stereo LP)


Allmusic

link

[2]


Miles in Europe (1964)

My Funny Valentine (1964)

Four & More (1964)

My Funny Valentine: Miles Davis in Concert is a 1965 live album by Miles Davis. It was recorded at a concert at the Philharmonic Hall of Lincoln Center, New York City, NY, on February 12, 1964. The concert was part of a series of benefits staged at the recently-built Philharmonic Hall (now known as the Avery Fisher Hall), co-sponsored by the NAACP, the Congress of Racial Equality and the Student Nonviolent Coordinating Committee. Davis's set that night was ostensibly in support of voter registration in Mississippi and Louisiana, but he also mentioned in a Melody Maker interview that one of the concerts was in memory of John F. Kennedy, who had been assassinated the previous year. Kennedy's death had struck at the hopes of many in the Civil Rights movement, a cause dear to Miles, who had expressed his admiration for the President in 1962: "I like the Kennedy brothers; they're swinging people."[3] Two albums were assembled from the concert recording. The up-tempo pieces were issued as Four & More, while My Funny Valentine consists of the slow and medium-tempo numbers. Davis biographer Ian Carr notes that the

My Funny Valentine former were "taken too fast and played scrappily", whilst the Funny Valentine pieces "were played with more depth and brilliance than Miles had achieved before."[3] He goes on to laud the album as "one of the very greatest recordings of a live concert … The playing throughout the album is inspired, and Miles in particular reaches tremendous heights. Anyone who wanted to get a vivid idea of the trumpeter's development over the previous eight years or so should compare [earlier recordings of "My Funny Valentine" and "Stella by Starlight"] with the versions on this 1964 live recording."[4] The hurried nature of the faster pieces that night has been partially attributed to the sheer importance of the event weighing on Davis's young rhythm section, who were playing their biggest date yet. Tensions were only worsened by their anger on finding out they would not be paid for the performance. Pianist Herbie Hancock, twenty-three years old at the time, later described the psychological pressure on the quintet: "That was my first time playing at the Philharmonic Hall and that was, like, a big deal, because the new Carnegie Hall was the Philharmonic Hall. Just from the prestige standpoint I really wanted to play good — the whole band really wanted to play good because that was the whole band's first time playing there … although Miles had played at Carnegie Hall before … but it was really a special concert. Only the New York Philharmonic plays there … and I tell you something … it was really funny … when we walked away from that concert, we were all dejected and disappointed. We thought we had really bombed … but then we listened to the record - it sounded fantastic!"[5]

Track listing 1. 2. 3. 4. 5.

"My Funny Valentine" (Richard Rodgers, Lorenz Hart) – 15:03 "All of You" (Cole Porter) – 14:57 "Stella by Starlight" (Ned Washington, Victor Young) – 13:01 "All Blues" (Miles Davis) – 8:57 "I Thought About You" (Johnny Mercer, Jimmy Van Heusen) – 11:14


Miles Davis — Trumpet George Coleman — Tenor Saxophone Herbie Hancock — Piano Ron Carter — Double Bass Tony Williams — Drums

Production Original LP • • • •

Producer — Teo Macero Recording Engineer — Fred Plaut Cover Photography — Giorgio Molinari Liner Notes — Nat Hentoff

Reissue CD(COL 519503 2, 2005) • Reissue Producer — Michael Cuscuna and Bob Belden • Remixed and Mastered — Mark Wilder at Sony Music Studios, New York, NY. • Project Director — Seth Rothstein • Legacy A&R — Steve Berkowitz

174

My Funny Valentine • • • • • •

A&R Coordination — Stacey Boyle Reissue Art Direction — Howard Fritzson Reissue Design — Randall Martin Photography — Giorgio Molinari, Francis Wolff, Chuck Stewart, Vernon Smith Packaging Manager — John Conroy Liner Note — Ron Carter

Sources • Carr, Ian (1998). Miles Davis: The Definitive Biography (Revised edition ed.). HarperCollins. ISBN 0-00-6530265.

References [1] [2] [3] [4] [5]

"Allmusic - Four & More" (http:/ / www. allmusic. com/ album/ r106156). Allmusic. . Retrieved 2009-01-11. http:/ / www. allmusic. com/ album/ r106151 Carr, Miles Davis, pp 194 Carr, Miles Davis, pp 195 Carr, Miles Davis, pp 194–195

175

Four & More

176

Four & More Four & More


January 17, 1966

Recorded February 12, 1964 at The Philharmonic Hall of Lincoln Center, New York City, NY [1]

Genre

Jazz

Length

53:59

Label

Columbia CL 2453(mono LP) CS 2453(stereo LP)


Allmusic

link

[2]


My Funny Valentine (1964)

Four & More (1964)

Miles in Tokyo (1964)

Four & More Recorded live In Concert is a 1964 live album by Miles Davis. It was recorded at a concert at the Philharmonic Hall of Lincoln Center, New York City, NY, on February 12, 1964. Two albums were assembled from the concert recording. The up-tempo pieces were issued on this album, while My Funny Valentine consists of the slow and medium-tempo numbers.

Four & More

Track listing Original LP Track listing Side 1 1. "So What" (Miles Davis) - 9:10 2. "Walkin'" (Richard Henry Carpenter) - 8:06 3. "Joshua/Go-Go (Theme and Announcement)" (Victor Feldman) - 11:14 Side 2 1. "Four" (Miles Davis) - 6:18 2. "Seven Steps To Heaven" (Victor Feldman, Miles Davis) - 7:51 3. "There Is No Greater Love / Go-Go (Theme and Announcement)" (Isham Jones, Marty Symes) - 11:23

Reissue CD(COL 519505 2, 2005) 1. "So What" (Miles Davis) - 9:10 2. "Walkin'" (Richard Henry Carpenter) - 8:07 3. 4. 5. 6. 7. 8.

"Joshua" (Victor Feldman) - 9:32 "Go-Go (Theme and Announcement)" (Miles Davis) - 1:38 "Four" (Miles Davis) - 6:19 "Seven Steps To Heaven" (Victor Feldman, Miles Davis) - 7:44 "There Is No Greater Love" (Isham Jones, Marty Symes) - 10:02 "Go-Go (Theme and Announcement)" (Miles Davis) - 1:21


Miles Davis — Trumpet George Coleman — Tenor Saxophone Herbie Hancock — Piano Tony Williams — Drums Ron Carter — Double Bass


Producer — Teo Macero Recording Engineer — Fred Plaut Cover Photography — Jim Marshall Liner Notes — Billy Taylor, Mort Fega

Reissue CD(COL 519505 2, 2005) • Reissue Producer — Michael Cuscuna and Bob Belden • Remixed and Mastered — Mark Wilder at Sony Music Studios, New York, NY. • Project Director — Seth Rothstein • Legacy A&R — Steve Berkowitz • A&R Coordination — Stacey Boyle • Reissue Art Direction — Howard Fritzson

177

Four & More • • • •

Reissue Design — Randall Martin Photography — Jim Marshall, Jan Perrson, Francis Wolff, Chuck Stewart, Vernon Smith Packaging Manager — John Conroy Liner Note — John Ephland

References [1] "Allmusic - Four & More" (http:/ / www. allmusic. com/ album/ r106156). Allmusic. . Retrieved 2009-01-11. [2] http:/ / www. allmusic. com/ album/ r106156

178

Miles in Tokyo

179

Miles in Tokyo Miles in Tokyo


June 6, 1969 in Japan

Recorded July 14, 1964 at Kohseinenkin Hall, Shinjuku, Tokyo, Japan [1]

Genre

Jazz

Length

51:14(LP) 53:59(CD)

Label

CBS/Sony SONX 60064-R

Producer Kiyoshi Itoh Professional reviews •

Allmusic

link


Four & More (1964)


Miles in Berlin (1964)

Alternative Cover

[2]

Miles in Tokyo

180

1970s Reissue

Miles in Tokyo is a live album recorded on July 14, 1964[3] by the Miles Davis Quintet at the Kohseinenkin Hall, Shinjuku, Tokyo, Japan. It was released in the United States on Compact Disc in 2005 and the first recorded in Japan of Miles Davis.

Track listing Original LP track List Side A (23:03) 1. "Introduction by Teruo Isono" 2. "If I Were a Bell" (Frank Loesser) – 10:18 3. "My Funny Valentine" (Richard Rodgers, Lorenz Hart) – 12:45 Side B (28:11) 1. 2. 3. 4.

"So What" (Miles Davis) – 7:50 "Walkin'" (Richard H. Carpenter) – 9:11 "All of You" (Cole Porter) – 11:10 "Theme and Announcement"

Reissue CD(COL 519507 2, 2005) track List[4] 1. 2. 3. 4. 5. 6. 7.

"Introduction by Teruo Isono" - 1:10 "If I Were a Bell" (Frank Loesser) – 10:14 "My Funny Valentine" (Richard Rodgers, Lorenz Hart) – 12:45 "So What" (Miles Davis) – 8:02 "Walkin'" (Richard H. Carpenter) – 9:11 "All of You" (Cole Porter) – 11:18 "Go-Go [Theme] + closing announcement" (Miles Davis) - (1:19)

Miles in Tokyo


Miles Davis – Trumpet Sam Rivers – Tenor saxophone Herbie Hancock – Piano Ron Carter – Double Bass Tony Williams – Drums


Recording Producer - Kiyoshi Itoh Recording Engineer - Kenichi Handa, Nippon Broadcasting System, Inc. Cover Photography - Akiyoshi Miyashita Album Desigin - Mituru Yamada, Kiyoshi Itoh

Reissue CD(COL 519507 2, 2005) • • • • • • • • • •

Reissue Producer - Michael Cuscuna and Bob Belden Remastered - Mark Wilder at Sony Music Studios, New York, NY. Project Director - Seth Rothstein Legacy A&R - Steve Berkowitz A&R Coordination - Stacey Boyle Reissue Art Direction - Howard Fritzson Reissue Design - Randall Martin Photography - Akiyoshi Miyashita Packaging Manager - Norm Elrod Liner Note - Takao Ogawa

References [1] "Allmusic - Miles in Tokyo" (http:/ / www. allmusic. com/ album/ r534859). Allmusic. . Retrieved 2009-01-10. [2] http:/ / www. allmusic. com/ album/ r152498 [3] Losin, Peter. "Miles Ahead Session Details" (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=640714). Miles Ahead. Peter Losin. . Retrieved 2009-01-10. [4] "Discogs.com - Miles in Tokyo" (http:/ / www. discogs. com/ Miles-Davis-Miles-In-Tokyo/ release/ 1912457). Discogs.com. .

181

Miles in Berlin

182

Miles in Berlin Miles in Berlin


February 1, 1965 in Germany

Recorded September 25, 1964 at Philharmonie Hall, Berlin, Germany Genre

Jazz

Length

57:23

Label

CBS Records SBPG 62976(Nono LP)/S 62967 (Stereo LP)

Producer Rudy Wolpert Professional reviews •

Allmusic

link

[1]



Miles in Berlin (1964)

E.S.P. (1965)

Miles in Berlin is an album recorded on September 25, 1964 by the Miles Davis Quintet at the Philharmonie Hall, Berlin, Germany. It was released in the United States on Compact Disc in 2005 and marks the first recorded work of what is commonly known as Miles Davis' Second Great Quintet.

Miles in Berlin

Track listing Original LP track List Side 1 1. "Milestones" (Miles Davis) – 7:56 2. "Autumn Leaves" (Joseph Kosma, Jacques Prévert, Johnny Mercer) – 12:46 Side 2 1. "So What" (Miles Davis) – 10:38 2. "Walkin'" (Richard H. Carpenter) – 10:36 3. "Theme" (Miles Davis) – 1:48

Reissue CD(COL 519507 2, 2005) track List 1. "Milestones" (Miles Davis) – 8:57 2. "Autumn Leaves" (Joseph Kosma, Jacques Prévert, Johnny Mercer) – 12:37 3. "So What" (Miles Davis) – 10:27 4. "Stella by Starlight" (Victor Young, Ned Washington) - 12:53 5. "Walkin'" (Richard H. Carpenter) – 10:39 6. "Go-Go [Theme] and Announcement" (Miles Davis) – 1:44


Miles Davis – Trumpet Wayne Shorter – Tenor saxophone Herbie Hancock – Piano Ron Carter – Double Bass Tony Williams – Drums

Production • • • • •

Original Producer - Rudy Wolpert Recording Produced - SFB RACIO, Berlin Cover Photography - Rudy Wolpert Reissue Producer - Michael Cuscuna and Bob Belden Remastered - Mark Wilder at Sony Music Studios, New York, NY.


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184

The Complete Live at the Plugged Nickel 1965 The Complete Live at the Plugged Nickel 1965


July 8, 1995

Recorded

December 22–23, 1965

Genre

Jazz

Length

7:32:03 Highlights disc 73:23

Label

Legacy

Producer

Michael Cuscuna Professional reviews

•

Allmusic

link

[1]


Doo-Bop The Complete Live at The Plugged Nickel Highlights from The Plugged Nickel

The Complete Live at the Plugged Nickel 1965 is a compact disc box set of the Miles Davis Quintet, recorded on December 22 and 23, 1965, and released on Legacy Records in July of 1995, catalogue CK 66955. It comprises recordings of seven performance sets over the two nights by the second great Davis quintet at the now-defunct Plugged Nickel nightclub in Chicago. A single-disc sampler, Highlights from the Plugged Nickel, catalogue CK 67377, was released by Legacy on November 14, 1995, and was reissued on February 1, 2008. The box set, however, is currently out of print. The original recordings were produced by Teo Macero.

Background Although the quintet of had already issued the E.S.P. album consisting of original compositions by members of the band, the repertoire at the club included none of those tunes except Davis' "Agitation." Instead the band relied upon standards or items that had been in Davis's live repertoire for several years. Research for a Wayne Shorter biography revealed that drummer Tony Williams, during the plane ride to Chicago, challenged the rest of the band to play anti-jazz, in essence sabotaging the gig by playing whatever one wished rather than the standard versions.[2] The


185

band kept to the challenge, and the tunes were then radically altered for the Plugged Nickel performances.

Content Each disc of the box set of eight discs presents one complete set, with the exception of the second set on the first night of December 22, which is split onto two discs, with the discs in a slimline case and internally numbered accordingly as 2a and 2b. The reasoning for this on the part of Sony is unclear, since the total timing of the music on discs 2a and 2b is under the 80-minute single disc limit. The box set has been awarded a rare crown by the Penguin Guide to Jazz. Some tracks were available on Miles Davis compilations, but the full recordings were not released until the appearance of this box set. A two-disc edition, At Plugged Nickel, Chicago, is no. 25 (discs 30 and 31) in the box set Miles Davis: The Complete Columbia Album Collection[3] . The ten tracks are the same as those that together made up the earlier At Plugged Nickel, Chicago, Vol. 1 and At Plugged Nickel, Chicago, Vol. 2 releases, but some durations are longer. For full details of this and all other releases see the Miles Ahead [4] discography.

Track listing An asterisk (*) indicates previously unissued in complete form.

Disc one First Set December 22, 1965 (67:51) No. Title

Writer(s)

Length

1. "If I Were A Bell"

Frank Loesser

16:42

2. "Stella by Starlight"

Ned Washington, Victor Young

12:49

3. "Walkin'"

Richard Carpenter*

15:51

4. "I Fall In Love Too Easily" Jule Styne, Sammy Cahn

11:43

5. "The Theme"

10:19

Miles Davis

Disc two-a Second Set December 22, 1965 (42:41) No. Title

Writer(s)

Length

1. "My Funny Valentine" Richard Rodgers, Lorenz Hart

16:33

2. "Four"

15:05

Miles Davis*

3. "When I Fall in Love" Edward Heyman, Victor Young

Disc two-b Second Set December 22, 1965 (36:47)

10:44


No. Title 1. "Agitation"

186

Writer(s)

Length

Miles Davis

13:13

2. "'Round Midnight" Bernie Hanighen, Cootie Williams, Thelonious Monk

8:42

3. "Milestones"

Miles Davis*

14:04

4. "The Theme"

Miles Davis

0:38

Disc three Third Set December 22, 1965 (69:19) No. Title

Writer(s)

1. "All of You"

Cole Porter

2. "Oleo"

Sonny Rollins

Length 14:38 6:05

3. "I Fall in Love Too Easily" Jule Styne, Sammy Cahn

11:53

4. "No Blues"

Miles Davis*

17:35

5. "I Thought About You"

Johnny Mercer, Jimmy Van Heusen

11:03

6. "The Theme"

Miles Davis

8:05

Disc four First Set December 23, 1965 (52:51) No. Title

Writer(s)

Length

1. "If I Were A Bell"

Frank Loesser

13:29

2. "Stella by Starlight"

Ned Washington, Victor Young

13:09

3. "Walkin'"

Richard Carpenter

11:01

4. "I Fall in Love Too Easily" Jule Styne, Sammy Cahn* 5. "The Theme"

Miles Davis

12:07 2:50

Disc five Second Set December 23, 1965 (65:55) No. Title

Writer(s)

Length

1. "All of You"

Cole Porter

10:39

2. "Agitation"

Miles Davis

10:48

3. "My Funny Valentine"

Richard Rodgers, Lorenz Hart

13:52

4. "On Green Dolphin Street" Ned Washington, Bronisław Kaper*

12:48

5. "So What"

Miles Davis

13:36

6. "The Theme"

Miles Davis

3:28


187

Disc six Third Set December 23, 1965 (69:44) No. Title

Writer(s)

Length

1. "When I Fall in Love"

Edward Heyman, Victor Young

13:39

2. "Milestones"

Miles Davis*

11:49

3. "Autumn Leaves"

Jacques Prevert, Johnny Mercer, Joseph Kosma

11:56

4. "I Fall in Love Too Easily" Jule Styne, Sammy Cahn

11:43

5. "No Blues"

Miles Davis

20:06

6. "The Theme"

Miles Davis

0:22

Disc seven Fourth Set December 23, 1965 (46:55) No. Title

Writer(s)

Length

1. "Stella by Starlight" Ned Washington, Victor Young

14:16

2. "All Blues"

Miles Davis

12:18

3. "Yesterdays"

Jerome Kern, Otto Harbach*

15:00

4. "The Theme"

Miles Davis

4:51

Highlights single disc track listing No. Title

Writer(s)

Date & Set

Length

1. "Milestones"

Miles Davis

12/23 Third

11:49

2. "Yesterdays"

Kern, Harbach

12/23 Fourth

15:00

3. "So What"

Miles Davis

12/23 Second

13:36

4. "Stella by Starlight" Washington, Young

12/23 First

13:09

5. "Walkin'"

Richard Carpenter

12/23 First

11:01

6. "'Round Midnight"

Hanighen, Williams, Monk 12/22 Second


Miles Davis — trumpet Wayne Shorter — tenor saxophone Herbie Hancock — piano Ron Carter — bass Tony Williams — drums

8:42


References [1] http:/ / www. allmusic. com/ album/ r221036 [2] NPR All Things Considered retrieved 17 April 2011 (http:/ / www. npr. org/ player/ v2/ mediaPlayer. html?action=1& t=1& islist=false& id=1579820& m=1579821) [3] The Complete Columbia Album Collection retrieved December 2010 (http:/ / www. plosin. com/ milesahead/ Disco. aspx?id=CCAC) [4] http:/ / www. plosin. com/ milesahead/ Disco. aspx

188


189

Live at the Fillmore East, March 7, 1970: It's About that Time Live at the Fillmore East, March 7, 1970: It's About That Time


July 17, 2001

Recorded

Fillmore East, New York City, March 7, 1970

Genre

Jazz-rock, jazz-funk

Length

90:13

Label

Columbia/Legacy

Producer

Teo Macero

[1]

Professional reviews • • • • •

[2] Allmusic link [3] Robert Christgau link Down Beat July 2001 Penguin Guide to Jazz ( )8th Ed. [3] Pitchfork Media (9.5/10) link

Live at the Fillmore East March 7, 1970: It's About that Time is a live double album by Miles Davis. Sony Music Entertainment released the album in 2001, although the concert had previously circulated as a bootleg recording.[4] The March 7, 1970 concert consisted of two sets, each of which is presented on one compact disc. Live at the Fillmore East records the final concert with saxophonist Wayne Shorter in Davis' band.[5] [6] At the same time, it is one of the first recordings (along with the 1969 Miles Festiva De Juan Pins) to document Davis' use of electric instruments in a concert setting.[6] Davis performed on the nights of March 6 and 7 at Fillmore East; Columbia Records recorded both nights' concerts, but as of 2008 has only released the March 7 show.[5] A number of the compositions performed during the concert appear on Bitches Brew, which had not yet been released at the time of this concert.[7] These performances were as support to Neil Young and Crazy Horse. Young's performance has also been released as a live album.


Track listing All compositions by Miles Davis unless otherwise indicated. CD 1 (first set) 1. 2. 3. 4.

"Directions" (Joe Zawinul) – 8:44 "Spanish Key" – 11:16 "Masqualero" (Wayne Shorter) – 9:57 "It's About That Time/The Theme" – 14:03

CD 2 (second set) 1. 2. 3. 4. 5.

"Directions" (Joe Zawinul) – 10:14 "Miles Runs the Voodoo Down" – 7:40 "Bitches Brew" – 8:02 "Spanish Key" – 8:33 "It's About That Time/Willie Nelson" – 11:42

Personnel • Miles Davis: Trumpet • • • • •

Wayne Shorter: Soprano and Tenor saxophone Chick Corea: Fender Rhodes Electric Piano Dave Holland: Acoustic and Electric Bass Jack DeJohnette: Drums Airto Moreira: Percussion, Cuica


Original Recordings Produced by Teo Macero Concert Produced by Bill Graham Produced for Release by Bob Belden Recorded by Stan Tonkel Mixed by Richard King Mastered by Mark Wilder, Seth Foster

• Art Direction: Howard Fritzson • Design: Alice Butts • Cover Photo: ⒸAmalie R. Rothschild

References [1] [2] [3] [4]

Allmusic - Live at the Fillmore East, March 7, 1970: It's About That Time (http:/ / www. allmusic. com/ album/ r534859) http:/ / www. allmusic. com/ album/ r534859 http:/ / www. pitchforkmedia. com/ article/ record_review/ 16893-live-at-the-fillmore-east-march-7-1970-its-about-that-time Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.). New York: Penguin. p. 328. ISBN 0-141-02327-9. [5] Losin, Peter. "Miles Ahead Session Details" (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=700307). Miles Ahead. Peter Losin. . Retrieved 2008-08-09. [6] Isaacs, James (2001). "A Series of Firsts and a Very Final Last". Album notes for Live at the Fillmore East March 7, 1970: It's About that Time by Miles Davis. New York: Columbia Records/Sony Music Entertainment. [7] Discogs.com - Bitches Brew (http:/ / www. discogs. com/ release/ 37006) Discogs. Retrieved on 2008-08-30

190


191

Black Beauty: Live at the Fillmore West Black Beauty: Miles Davis at Fillmore West


1973

Recorded

April 10, 1970 at the Fillmore West, San Francisco

Genre

Jazz fusion, jazz-funk

Length

79:20

Label

CBS/Sony Columbia/Legacy (reissue)

Producer

Teo Macero

[1] [2]

Professional reviews •

[2]

Allmusic

[3]

•

Robert Christgau (A-)

[4]

•

Down Beat

•

Entertainment Weekly (A-)

•


•

Musician (favorable)

•

Spin (favorable)

•

The Village Voice (favorable)

[5]

[6]

[4]

[7] [8]


In Concert: Live at Philharmonic Hall (1972)

Black Beauty: Live at the Fillmore West (1973)

Pangaea (1975)

Black Beauty: Miles Davis at Fillmore West is a live album by American jazz recording artist Miles Davis, recorded on April 10, 1970 at the Fillmore West in San Francisco. It was first released in 1973 on vinyl LP in Japan,[9] and reissued in 1997 on a double-CD format in the United States.


Track listing Vinyl LP Record one 1. "Black Beauty - Part I [medley]" – 23:46 2. "Black Beauty - Part II [medley]" – 18:22 Record two 1. "Black Beauty - Part III [medley]" – 17:15 2. "Black Beauty - Part IV [medley]" – 21:28

1997 CD Reissue Disc one 1. "Directions" (Joe Zawinul) - 10:46 2. "Miles Runs the Voodoo Down" (Miles Davis) - 12:22 3. "Willie Nelson" (Miles Davis) - 6:23 4. "I Fall in Love Too Easily" (Sammy Cahn, Jule Styne) - 1:35 5. "Sanctuary" (Wayne Shorter) - 4:01 6. "It's About That Time" (Miles Davis) - 9:59 Disc two 1. "Bitches Brew" (Miles Davis) - 12:53 2. "Masqualero" (Wayne Shorter) - 9:07 3. "Spanish Key/The Theme" (Miles Davis) - 12:14

Personnel Musicians • • • • • •

Miles Davis: Trumpet Steve Grossman: Tenor saxophone, Soprano Sax Chick Corea: Fender Rhodes electric piano Dave Holland: Electric Bass Jack DeJohnette: Drums Airto Moreira: Percussion, Cuica


Producer: Teo Macero Recording Engineer: Stan Tonkel Original Cover Design: Shuichi Yoshida , Teruhisa Tajima Cover Photography: Tadayuki Naitoh Produced for Reissue by Bob Belden Digitally Mastered by Tom Ruff, Sony Music Studios, NYC.

192


References [1] Frank Alkyer, Ed Enright, Jason Koransky (2007). The Miles Davis Reader. Hal Leonard Corporation. p. 339. ISBN 9781423430766. [2] Jurek, Thom (November 1, 2002). Review: Black Beauty: Live at the Fillmore West (http:/ / www. allmusic. com/ album/ black-beauty-miles-davis-at-fillmore-west-r106181/ review). Allmusic. Retrieved on 2011-02-05. [3] Christgau, Robert (October 1997). " Consumer Guide: Black Beauty: Live at the Fillmore West (http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis)". The Village Voice. Retrieved on 2011-02-05. [4] Product Notes – Black Beauty: Miles Davis at Fillmore West (http:/ / www. webcitation. org/ 5wHa4yOXQ). Muze. Retrieved on 2011-02-05. [5] Sinclair, Tom (August 1, 1997). Review: Miles Davis live albums (http:/ / www. ew. com/ ew/ article/ 0,,288884,00. html). Entertainment Weekly. Retrieved on 2011-02-26. [6] Terrell, Tom (October 1997). Review: Black Beauty: Live at the Fillmore West (http:/ / jazztimes. com/ articles/ 9767-black-beauty-miles-davis-at-fillmore-west-miles-davis). JazzTimes. Retrieved on 2011-02-05. [7] Davis, Erik (August 1997). " Freakin' the Funk – Revisiting Miles Davis's '70s Visions (http:/ / books. google. com/ books?id=_uWz-QtMkI4C& pg=PA117#v=onepage& q& f=false)". Spin: 117. [8] Christgau, Robert (October 14, 1997). " Miles Davis's '70s: The Excitement! The Terror! (http:/ / www. robertchristgau. com/ xg/ rock/ davis-97. php)". The Village Voice. Retrieved on 2011-02-05. [9] (1973) Album notes for Black Beauty - Miles Davis At Fillmore West by Miles Davis [Gatefold sleeve]. Japan: CBS/Sony.

External links • Black Beauty: Live at the Fillmore West (http://www.discogs.com/ Miles-Davis-Black-Beauty-Miles-Davis-At-Fillmore-West/master/62310) at Discogs • Miles Ahead: Discography (http://www.plosin.com/milesAhead/Disco.aspx?id=Beauty-CK)

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194

Miles Davis at Fillmore: Live at the Fillmore East At Fillmore


December 1970

Recorded

June 17 – June 20, 1970 at the Fillmore East, New York

Genre

Jazz fusion

Length

101:26

Label

Columbia/Legacy

Producer

Teo Macero Professional reviews [1] Allmusic link [2] Entertainment Weekly (B-)

• •


1969 Miles Festiva De Juan Pins (1969)

Miles Davis at Fillmore: Live at the Fillmore East (1970)

Jazz at the Plaza (1973)

At Fillmore, nowadays, for disambiguation purposes, also known as Miles Davis at Fillmore: Live at the Fillmore East is a 1970 live album by jazz trumpeter Miles Davis and band, recorded at the Fillmore East, New York City on four consecutive days, June 17 through June 20, 1970, originally released as a double vinyl LP. The live performances were heavily edited by producer Teo Macero, and the results were named after the day of the week the band performed. The album is particularly noteworthy for the extraordinarily precocious soprano sax work of the then 19 year old Steve Grossman. For the 1997 Columbia CD reissue, the compositions and composers were correctly identified and indexed. However, the songs remain the heavily-edited versions of the original LP release, not the complete unedited performances. The original LP release had liner notes written by Morgan Ames, Popular Music Editor of Hi Fidelity magazine, and Mort Goode. The 1997 Columbia reissue featured additional liner notes by Miles Davis Septet drummer Jack DeJohnette.


Track listing Vinyl Release Record 1 1. "Wednesday Miles" (17 June 1970) – 24:14 2. "Thursday Miles" (18 June 1970) – 26:55 Record 2 1. "Friday Miles" (19 June 1970) – 27:57 2. "Saturday Miles" (20 June 1970) – 22:20

1997 CD Reissue Disc One (50:53) Wednesday Miles (17 June 1970) 1. "Directions" (Joe Zawinul) (2:29) 2. "Bitches Brew" (0:53) 3. "The Mask" (1:35) 4. "It's About That Time" (8:12) 5. "Bitches Brew/The Theme" (10:55) Thursday Miles (18 June 1970) 6. "Directions" (Joe Zawinul) (5:35) 7. "The Mask" (9:50) 8. "It's About That Time" (11:22) Disc Two (50:13) Friday Miles (19 June 1970) 1. "It's About That Time" (9:01) 2. "I Fall in Love Too Easily" (Jule Styne, Sammy Cahn) (2:00) 3. "Sanctuary" (Wayne Shorter) (3:44) 4. "Bitches Brew/The Theme" (13:09) Saturday Miles (20 June 1970) 5. "It's About That Time" (3:43) 6. "I Fall in Love Too Easily" (Jule Styne, Sammy Cahn) (0:54) 7. "Sanctuary" (Wayne Shorter) (2:49) 8. "Bitches Brew" (6:57) 9. "Willie Nelson/The Theme" (7:57) All compositions by Miles Davis unless otherwise noted.

195


Personnel • • • • • • •

Miles Davis: Trumpet Steve Grossman: Tenor saxophone, Soprano Sax Chick Corea: Fender Rhodes electric piano Keith Jarrett: Electronic organ Dave Holland: Acoustic Bass, Electric Bass Jack DeJohnette: Drums Airto Moreira: Percussion, Cuica


Producer: Teo Macero Recording Engineer: Stan Tonkel Mixed by Russ Payne Original Cover Design: Nick Fasciano Cover Photography: Jim Marshall Original Liner Photography: Don Hunstein

Notes [1] http:/ / www. allmusic. com/ album/ r137412 [2] Sinclair, Tom (August 1, 1997). Review: Miles Davis live albums (http:/ / www. ew. com/ ew/ article/ 0,,288884,00. html). Entertainment Weekly. Retrieved on 2011-02-26.

References • Miles Davis at Fillmore: Live at the Fillmore East (http://www.allmusic.com/artist/r137412) at Allmusic

196


197

The Cellar Door Sessions The Cellar Door Sessions 1970


December 27, 2005

Recorded

December 16–19, 1970, The Cellar Door, Georgetown, Washington D.C., USA

Genre

Jazz Fusion, Funk

Length

349:58

Label

Columbia/Legacy

Producer

Teo Macero Professional reviews [1] Allmusic link [2] Pitchfork Media (9.4/10) link [3] Rolling Stone link

• • •


The Complete Jack Johnson Sessions (1970)

The Cellar Door Sessions 1970 (1970)

The Complete On the Corner Sessions (1972-75)

The Cellar Door Sessions 1970 is a boxed live album released in 2005. It was recorded on several 1970 concerts at the Washington-based nightclub The Cellar Door. Significant portions of Davis' Live-Evil were edited and compiled from the music that appears on discs 5 and 6. It is one of few recordings Keith Jarrett playing electric piano. Live-Evil and this collection are the only recordings of John McLaughlin live performances with Miles Davis.[4]


Track listing Disc 1 Wednesday, December 16 (1st set) 1. 2. 3. 4. 5.

"Directions" (Joe Zawinul) 8:55 "Yesternow" (Miles Davis) 17:05 "What I Say" (Davis) 13:12 "Improvisation #1" (Keith Jarrett) 4:29 "Inamorata" (Davis) 13:59

Disc 2 Thursday, December 17 (2nd set) 1. 2. 3. 4.

"What I Say" 13:33 "Honky Tonk" (Davis) 19:59 "It's About That Time" (Davis) 14:41 "Improvisation #2" (Jarrett) 6:39

5. "Inamorata" 14:33 6. "Sanctuary" (Wayne Shorter) 0:30

Disc 3 Friday, December 18 (2nd set) 1. "Directions" 13:11 2. "Honky Tonk" 18:31 3. "What I Say" 15:09

Disc 4 Friday, December 18 (3rd set) 1. 2. 3. 4. 5. 6.

"Directions" 11:53 "Honky Tonk" 17:00 "What I Say" 14:12 "Sanctuary" 2:03 "Improvisation #3" (Jarrett) 5:04 "Inamorata" 15:14

Disc 5 Saturday, December 19 (2nd set) 1. "Directions" 15:09 2. "Honky Tonk" 20:49 3. "What I Say" 21:31

Disc 6 Saturday, December 19 (3rd set) 1. "Directions" 19:04 2. "Improvisation #4" (Jarrett) 5:03

198

The Cellar Door Sessions 3. "Inamorata" 18:27 4. "Sanctuary" 2:12 5. "It's About That Time" 7:49

Personnel • • • • • • •

Miles Davis: electric trumpet with Wah Wah Gary Bartz: soprano sax and alto sax John McLaughlin: electric guitar (CDs 5-6 only) Keith Jarrett: Fender Rhodes, Fender electric organ Michael Henderson: electric bass Jack DeJohnette: drums Airto Moreira: percussion, cuica (CDs 2-3-4-5-6)

Notes [1] http:/ / www. allmusic. com/ album/ r792134 [2] http:/ / www. pitchforkmedia. com/ article/ record_review/ 16897-the-cellar-door-sessions-1970 [3] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 9309457/ review/ 9438335/ the_cellar_door_sessions_1970 [4] Paul Tingen (2005). "THE CELLAR DOOR RECORDINGS" (http:/ / www. miles-beyond. com/ cellardoor. htm). miles-beyond.com. . Retrieved 2010-11-13.

199


200

In Concert: Live at Philharmonic Hall In Concert: Live at Philharmonic Hall Live album by Miles Davis Released

1973

Recorded

September 29, 1972 at Philharmonic Hall, New York

Genre

Fusion, jazz-funk

Length

46:02 (CD 1), 38:25 (CD 2)

Label

Columbia/Legacy

Producer

Teo Macero Professional reviews link

[1]

•

Allmusic

•

Down Beat

•

Entertainment Weekly (A) link

•

JazzTimes (favorable) link

•

Rolling Stone (favorable) link

•

Spin (favorable) link

link

[2] [3]

[4] [5]

[6]




Pangaea (1975)

In Concert: Live at Philharmonic Hall is a double album recorded by American jazz musician Miles Davis. It was recorded live at Philharmonic Hall, New York, New York on September 29, 1972, and originally released without track or personnel listings. The two discs have since been given the individual titles Foot Fooler and Slickaphonics. According to Allmusic editor Steve Huey, "melody isn't the point of this music; it's about power, rhythm, and the sum energy of the collective, and of Davis' electric jazz-rock albums, In Concert does one of the most mind-bending jobs of living up to those ideals".[7] JazzTimes writer Tom Terrell commented that the album "predicts hip hop ('Rated X''s bassline='White Lines'), Ornette's Prime Time ('Black Satin') and Talking Heads ('Ife')".[8]

Track Listing Disc 1: "FOOT FOOLER" IN CONCERT, PARTS 1 & 2


201

Track

Song Title

Length

1.

Rated X

12:16

2.

Honky Tonk

9:18

3.

Theme from Jack Johnson

10:12

4.

Black Satin/The Theme

14:14

Disc 2: "SLICKAPHONICS" IN CONCERT, PARTS 3 & 4: Track

Song Title

Length

1.

Ife

27:53

2.

Right Off/The Theme

10:30

Performers Miles Davis - electric trumpet with wah-wah Carlos Garnett - soprano & tenor saxophone Cedric Lawson - electric piano, synthesizer Reggie Lucas - electric guitar Khalil Balakrishna - electric sitar Michael Henderson - electric bass Al Foster - drums Badal Roy - tablas James Mtume - percussion

References [1] [2] [3] [4] [5] [6] [7]

http:/ / www. allmusic. com/ album/ r106174 http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088636/ a/ In+ Concert%3A+ Live+ At+ Philharmonic+ Hall. htm http:/ / www. ew. com/ ew/ article/ 0,,288884,00. html http:/ / jazztimes. com/ articles/ 9767-black-beauty-miles-davis-at-fillmore-west-miles-davis http:/ / www. rollingstone. com/ music/ albumreviews/ in-concert-live-at-philharmonic-hall-19730621 http:/ / books. google. com/ books?id=_uWz-QtMkI4C& pg=PA117#v=onepage& q& f=false Huey, Steve (November 1, 2002). Review: In Concert: Live at Philharmonic Hall (http:/ / www. allmusic. com/ album/ in-concert-live-at-philharmonic-hall-r106174/ review). Allmusic. Retrieved on 2011-02-26. [8] Terrell, Tom (October 1997). Review: In Concert: Live at Philharmonic Hall (http:/ / jazztimes. com/ articles/ 9767-black-beauty-miles-davis-at-fillmore-west-miles-davis). JazzTimes. Retrieved on 2011-02-26.

Jazz at the Plaza

202

Jazz at the Plaza Jazz at the Plaza


September 28, 1973

Recorded

September 9, 1958 at the Persian Room, Plaza Hotel, New York City

Genre

Jazz

Length

41:02

Label

Columbia

Producer


Miles Davis at Fillmore: Live at the Fillmore East (1970)



Jazz at the Plaza is a live album by Miles Davis and his famed sextet that would go on to record Kind of Blue six months later. The concert was recorded in 1958 but not released in full until 1973, however, the three last songs appeared (in reverse order) on 1958 Miles. The musicians did not know they were being recorded at the time. The event was a party thrown by Columbia to celebrate the healthy state of their jazz division. Pianist Bill Evans later stated the musicians who were still alive at the time of release were offered payment at the 1958 scale.[1]

Jazz at the Plaza


"If I Were A Bell" – 8:31 "Oleo" – 10:39 "My Funny Valentine" – 10:19 "Straight, No Chaser – 10:56 including "The Theme" [unlisted]


Miles Davis – trumpet John Coltrane – tenor sax Julian "Cannonball" Adderley – alto sax Bill Evans – piano Paul Chambers – bass Jimmy Cobb – drums

References [1] Pettinger, Peter (1998). Bill Evans: How My Heart Sings (http:/ / books. google. com/ books?id=Z7Ema0hvga8C& printsec=frontcover& source=gbs_v2_summary_r& cad=0#v=onepage& q=& f=false). Yale University Press. pp. 60. ISBN 978-0-3000-7193-1. .

203

Dark Magus

204

Dark Magus Dark Magus


1977 (Japan)

Recorded March 30, 1974 Carnegie Hall, New York City, New York, U.S. Genre

Fusion, jazz funk

Length

100:58

Label

Columbia/Legacy

Producer Teo Macero Professional reviews • •

[1]

Allmusic

[2]

Robert Christgau (A)

[3]

•

Down Beat

•

Entertainment Weekly (A)

•


•

Pitchfork Media (9.5/10)

• •

[4]

[5] [6] [7]

Penguin Guide to Jazz [8]

Rolling Stone [9]

•

Spin (favorable)

•

The Village Voice (favorable)

[10]


Agharta (1976)

Dark Magus (1977)

Miles! Miles! Miles! (1981)

Dark Magus is a live album by jazz artist Miles Davis recorded at Carnegie Hall in New York City on March 30, 1974. The album was released in 1977 in Japan as a double-LP by Columbia Records, and released in 1997 in the

Dark Magus United States in a double-CD format. Unlike its predecessor concert recordings released on Pangaea and Agharta, it was remastered and released on November 22, 2002, as part of the Davis comprehensive reissue series by Legacy Records. In 2001, Q magazine named it as one of the 50 Heaviest Albums of All Time.[11] In the linear notes of the CD reissue Dave Liebman confirms that he never heard the titles that were given to the songs by the label before it's release. He refers to the "Moja Pts. 1 & 2" as "Turnaround" (although it's actually the song "Turnaroundphrase") and "Tune in 5", respectively. "Wili Pts. 1 & 2" is mentioned as "Funk" and "For Dave" respectively. "Tatu Pt. 2" and "Nne Pt. 1" are actually versions of "Calypso Frelimo" and "Ife" according to Liebman (although the latter bears very little resemblance to the studio recording from Big Fun).

Track listing Side A 1. "Moja, Pt. 1" – 12:28 2. "Moja, Pt. 2" – 12:40

Side B 1. "Wili, Pt. 1" – 14:20 2. "Wili, Pt. 2" – 10:44

Side C 1. "Tatu, Pt. 1" – 18:47 2. "Tatu, Pt. 2" – 6:29

Side D 1. "Nne, Pt. 1 " – 15:19 2. "Nne, Pt. 2 " – 10:11

Personnel • • • • • • • • • •

Miles Davis – organ, electric trumpet with Wah Wah Dave Liebman – flute, soprano saxophone, tenor saxophone Azar Lawrence – tenor saxophone Pete Cosey – electric guitar, Synthesizer Reggie Lucas – electric guitar Dominique Gaumont – electric guitar Michael Henderson – electric bass Al Foster – drums James Mtume – percussion Teo Macero – producer

205

Dark Magus

References [1] Jurek, Thom (November 1, 2002). Review: Dark Magus (http:/ / www. allmusic. com/ album/ dark-magus-r206252/ review). Allmusic. Retrieved on 2011-02-05. [2] Christgau, Robert (October 1997). " Consumer Guide: Dark Magus (http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis)". The Village Voice. Retrieved on 2011-02-05. [3] Product Notes – Dark Magus (http:/ / www. webcitation. org/ 5wHbZG2XL). Muze. Retrieved on 2011-02-05. [4] Sinclair, Tom (August 1, 1997). Review: Miles Davis live albums (http:/ / www. ew. com/ ew/ article/ 0,,288884,00. html). Entertainment Weekly. Retrieved on 2011-02-26. [5] Terrell, Tom (October 1997). Review: Dark Magus (http:/ / jazztimes. com/ articles/ 9767-black-beauty-miles-davis-at-fillmore-west-miles-davis). JazzTimes. Retrieved on 2011-02-05. [6] Josephes, Jason (1997). " Review: Dark Magus (http:/ / www. webcitation. org/ 5wHbGLfeI)". Pitchfork Media. Archvied from the original (http:/ / web. archive. org/ web/ 20010215230658/ www. pitchforkmedia. com/ record-reviews/ d/ davis_miles/ dark-magus. shtml) on 2011-02-05. [7] Cook, Richard (2004). "Review: Dark Magus". The Penguin Guide to Jazz: 424–425. [8] Hoard, Christian (November 2, 2004). " Review: Dark Magus (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA215#v=onepage& q=& f=false)". Rolling Stone: 215, 218. [9] Davis, Erik (August 1997). " Freakin' the Funk – Revisiting Miles Davis's '70s Visions (http:/ / books. google. com/ books?id=_uWz-QtMkI4C& pg=PA117#v=onepage& q& f=false)". Spin: 117. [10] Christgau, Robert (October 14, 1997). " Miles Davis's '70s: The Excitement! The Terror! (http:/ / www. robertchristgau. com/ xg/ rock/ davis-97. php)". The Village Voice. Retrieved on 2011-02-05. [11] A Selection Of Lists From Q Magazine - Page 2 (http:/ / www. rocklistmusic. co. uk/ qlistspage2. html#50 Heaviest)

• Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991. Watson-Guptill. p. 155. ISBN 0823083462

206

Agharta

207

Agharta Agharta


1976

Recorded

February 1, 1975 at Osaka Festival Hall, Japan

Genre

Fusion, jazz-funk

Length

97:34

Label

Columbia Records

Producer


• • •

[1] Allmusic link [3] Robert Christgau (A) link [2] Mojo (favorable) link Miles Davis chronology

Pangaea Agharta (1975) (1976)

Dark Magus (1977)

Agharta

Agharta

208

Japanese edition design by Tadanori Yokoo.

Agharta is an album recorded by jazz trumpeter Miles Davis in 1975. Both Agharta and Pangaea were recorded on the same day in Osaka, Japan. The Agharta concert took place during an afternoon matinée, whereas Pangaea was recorded in the evening. On all versions of this release songs 1 and 2 on the second disc are mixed up, so the second discs first track is really the one labeled "Theme From Jack Johnson" (which is really a full performance of "Right Off" and ends with a version of the theme from "So What", a track from Davis's 1959 LP Kind of Blue). So track 2 is really the one labeled "Interlude" and is a medley of "Ife" and "For Dave". The master tapes for both Pangaea and Agharta were quite heavily remixed when prepared for release on CD. This led to a lot more details and separation of instruments being heard on the original LP releases, as well as an overall richer and fuller sound. This has somewhat been corrected with the Japanese DSD sound remaster that was released on CD in 2006.

Track listing Disc One 1. "Prelude (Part One)" – 26:01 2. "Prelude (Part Two)" – 6:33 3. "Maiysha" – 12:20 Disc Two 1. "Theme from Jack Johnson" – 26:50 2. "Interlude" – 25:16 All compositions by Miles Davis.

Agharta

Personnel • • • • • • •

Miles Davis – electric trumpet with Wah Wah, organ Sonny Fortune – soprano saxophone, alto saxophone, flute Pete Cosey – electric guitar, Synthesizer, percussion Reggie Lucas – electric guitar Michael Henderson – electric bass Al Foster – drums Mtume – conga, percussion, water drum, rhythm box

Production • Producer - Teo Macero • Director - Keiichi Nakamura • Engineer - Tamoo Suzuki • Assistant Engineer - Mitsuru Kasai, Takaaki Amano

Alternative versions The Japanese CD pressing indexes both "Prelude"s into one track, and the entire second disc is also indexed as one 60-minute track. [3] This is also the index used on the 2009 CD release included in the Miles Davis: The Complete Columbia Album Collection box set, along with the original Japanese cover.

References [1] http:/ / www. allmusic. com/ album/ r106187 [2] http:/ / www. webcitation. org/ 5pvTfVSUW [3] http:/ / www. discogs. com/ release/ 1046026

209

Pangaea

210

Pangaea Pangaea


1975

Recorded

February 1, 1975 at Osaka Festival Hall, Japan

Genre

Fusion, Jazz Funk

Length

88:38

Label

Columbia Records

Producer


•

Allmusic

link

[1]



Pangaea Agharta (1975) (1976)

Pangaea is a double album recorded by jazz trumpeter Miles Davis in 1975. Both Pangaea and Agharta were recorded on the same day in Osaka, Japan. The Agharta concert took place during an afternoon matinee, whereas Pangaea was recorded in the evening. The 1975 LP Japan Edition by CBS include a 7 page booklet with photos and text (in japanese).

Pangaea

Track listing Disc One 1. "Zimbabwe" – 41:48 Disc Two 1. "Gondwana" – 46:50

Personnel • • • • • • •

Miles Davis – electric trumpet with Wah Wah, organ Sonny Fortune – soprano saxophone, alto saxophone, flute Pete Cosey – electric guitar, Synthesizer, percussion Reggie Lucas – electric guitar Michael Henderson – electric bass Al Foster – drums James "Mtume" Forman – conga, percussion, water drum, rhythm box

Production • Producer - Teo Macero • Director - Keiichi Nakamura • Engineer - Tamoo Suzuki • Assistant Engineer - Mitsuru Kasai, Takaaki Amano • Package Coordination - Tony Tiller


211


212

Miles! Miles! Miles! Miles! Miles! Miles!


1993

Recorded

1981

Genre

Jazz Fusion

Label

Sony Japan Miles Davis chronology

Dark Magus (1977)


We Want Miles (1982)

Miles! Miles! Miles! is an album by Miles Davis, released exclusively in Japan in 1993. It contains recordings from the October 4, 1981 concert in Tokyo, including the original version of the track "Jean-Pierre", elsewhere edited by producer Teo Macero to remove the first twenty five seconds of introduction, consisting primarily of a guitar riff and tumbling percussion sounds.[1]

Track listing All tracks composed by Miles Davis; except where indicated Disc One 1. "Back Seat Betty" 2. "Ursula" 3. "My Man's Gone Now" (DuBose Heyward, George Gershwin) Disc Two 1. "Aida" 2. "Fat Time" 3. "Jean Pierre"



Miles Davis – trumpet Marcus Miller – fender bass Bill Evans – soprano sax Mike Stern – guitar Al Foster – drums Mino Cinelu – percussion

References [1] Cole, George (2007). The Last Miles: the Music of Miles Davis, 1980-1991. Ann Arbor: University of Michigan Press. pp. p.107. ISBN 0472032607.

213

We Want Miles

214

We Want Miles We Want Miles


1982

Recorded

June 27, July 5 & October 4, 1981

Genre

Jazz Fusion, Jazz Funk

Length

76:45

Label

CBS

Producer


• •

Allmusic Rolling Stone

[1] link [2] link



We Want Miles (1982)

Munich Concert (1988)

We Want Miles is double album recorded by jazz trumpeter Miles Davis in 1981, produced by Teo Macero and released by Columbia Records in 1982. The album features one of the first live appearances by Davis in more than five years, at the Boston Club “KIX”, on June 27, 1981. Other tracks are recorded at Avery Fisher Hall, New York, on July 5, and in Tokyo, October 4 of that year. First released on CD in Japan as a two-disc set (CBS/Sony CSCS 5131/5132), subsequent CD releases fit the music onto one disc. Columbia Records have never relesaed it on CD in North America. This album won the 1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist.

We Want Miles

Track listing All tracks composed by Miles Davis; except where indicated Side One 1. "Jean Pierre" – 10:30 2. "Back Seat Betty" – 8:10 Side Two • "Fast Track" – 15:10 2. "Jean Pierre" – 4:00 Side Three • "My Mans Gone Now" (DuBose Heyward, George Gershwin) – 20:12 Side Four • "KIX" – 18:45

Personnel • Miles Davis – Trumpet • • • • •

Bill Evans – Soprano saxophone Mike Stern – Electric guitar Marcus Miller – Bass guitar Al Foster – Drums Mino Cinelu – Percussion

Production • Producer: Teo Macero • Series Producer: Henri Renaud • Executive Producer: Dr. George Butler • Control Engineers: Bud Grahm, Don Puluse • Recording Engineers: Hank Altman, Ted Brosnan • Remix Engineers: Don Puluse, Ted Brosnan • Cover Photography: Yasuhisa Yoneda • Inside Photography: Bruce Talamon

References [1] http:/ / www. allmusic. com/ album/ r137520 [2] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 146927/ review/ 5941739/ we_want_miles

215

The Complete Miles Davis at Montreux

216

The Complete Miles Davis at Montreux The Complete Miles Davis at Montreux Live album by Miles Davis Released

2002

Recorded

1973-1991 Montreux Jazz Festival, Lake Geneva, Switzerland

Genre

Jazz-Fusion

Label

Columbia Records

Producer

Claude Nobs Professional reviews

•

Allmusic

link

[1]


The Cellar Door Sessions (1970)

The Complete Miles Davis at Montreux' (2002)

The Complete Miles Davis at Montreux is a 2002 box set of 20 CDs comprising 11 appearances by Miles Davis at the Montreux Jazz Festival between 1973 and 1991.

Track listing Disc 1 1. Miles in Montreux 73, part 1 [Turnaroundphrase] Jul 8, 1973 16:35 2. Miles in Montreux 73, part 2 [Tune in 5] Jul 8, 1973 19:53 Disc 2 1. Ife (Miles Davis) Jul 8, 1973 27:23 2. Calypso Frelimo (M. Davis) Jul 8, 1973 16:00 3. Miles in Montreux 73, part 3 [Unknown 730620] Jul 8, 1973 14:51 Disc 3 1. Speak/That's What Happened (M. Davis/John Scofield) Jul 8, 1984 11:43 2. New Blues (M. Davis) Jul 8, 1984 8:41 3. What It Is (M. Davis-J. Scofield) Jul 8, 1984 8:05 4. It Gets Better (M. Davis) Jul 8, 1984 13:46 5. Something on Your Mind (Hubert Eaves III-James Williams) Jul 8, 1984 11:10 Disc 4 1. Time After Time (Cyndi Lauper-Rob Hyman) Jul 8, 1984 13:56 2. Hopscotch (Marcus Miller) Jul 8, 1984 7:11 3. Bass Solo Jul 8, 1984 1:26 4. Jean Pierre (M. Davis) Jul 8, 1984 10:07 5. Lake Geneva (M. Davis) Jul 8, 1984 4:20

The Complete Miles Davis at Montreux 6. Something on Your Mind (H. Eaves III-J. Williams) [Reprise] Jul 8, 1984 7:31 Disc 5 1. Speak/That's What Happened (M. Davis-J. Scofield) Jul 8, 1984 8:29 2. New Blues (M. Davis) Jul 8, 1984 9:06 3. What It Is (M. Davis-J. Scofield) Jul 8, 1984 9:21 4. It Gets Better (M. Davis) Jul 8, 1984 13:30 5. Something on Your Mind (H. Eaves III-J. Williams) Jul 8, 1984 13:00 Disc 6 1. Time After Time (C. Lauper-R. Hyman) Jul 8, 1984 12:08 2. Hopscotch (M. Miller) Jul 8, 1984 8:09 3. Bass Solo Jul 8, 1984 1:53 4. Jean Pierre (M. Davis) Jul 8, 1984 10:31 5. Lake Geneva (M. Davis) Jul 8, 1984 3:16 6. Something on Your Mind (H. Eaves III-J. Williams) [Reprise] Jul 8, 1984 10:45 7. Code M.D. (Robert Irving III) Jul 8, 1984 6:51 Disc 7 1. One Phone Call/Street Scenes/That's What Happened (M. Davis/J. Scofield) Jul 14, 1985 13:27 2. New Blues (M. Davis) Jul 14, 1985 6:39 3. Maze (M. Davis-Erin Davis-Randy Hall-Zane Giles) Jul 14, 1985 9:55 4. Human Nature (Steve Porcaro-John Bettis) Jul 14, 1985 5:31 5. MD 1/Something on Your Mind/MD 2 (M. Davis/H. Eaves III-J. Williams) Jul 14, 1985 13:24 6. Time After Time (C. Lauper-R. Hyman) Jul 14, 1985 8:18 7. Ms. Morrisine (Morrisine Tynes Irving-M. Davis-R. Irving III) Jul 14, 1985 10:36 Disc 8 1. Code M.D. (R. Irving III) Jul 14, 1985 8:01 2. Pacific Express (John McLaughlin) Jul 14, 1985 14:46 3. Katia (R. Irving III) Jul 14, 1985 7:07 4. Hopscotch (M. Miller) Jul 14, 1985 5:55 5. You're Under Arrest (J. Scofield) Jul 14, 1985 6:38 6. Jean Pierre/You're Under Arrest/Then There Were None (M. Davis/J. Scofield) Jul 14, 1985 9:04 7. Decoy (R. Irving III) Jul 14, 1985 4:13 Disc 9 1. One Phone Call/Street Scenes/That's What Happened (M. Davis/J. Scofield) Jul 14, 1985 14:06 2. New Blues (M. Davis) Jul 14, 1985 6:16 3. Maze (M. Davis-E. Davis-R. Hall-Z. Giles) Jul 14, 1985 10:05 4. Human Nature (S. Porcaro-J. Bettis) Jul 14, 1985 7:37 5. MD 1/Something on Your Mind/MD 2 (M. Davis/H. Eaves III-J. Williams) Jul 14, 1985 13:24 6. Time After Time (C. Lauper-R. Hyman) Jul 14, 1985 11:07 Disc 10

217

The Complete Miles Davis at Montreux 1. Ms. Morrisine (M. Tynes Irving-M. Davis-R. Irving III) Jul 14, 1985 10:12 2. Code M.D. (R. Irving III) Jul 14, 1985 8:10 3. Pacific Express (J. McLaughlin) Jul 14, 1985 15:25 4. Katia (R. Irving III) Jul 14, 1985 8:15 5. Hopscotch (M. Miller) Jul 14, 1985 7:41 6. You're Under Arrest (J. Scofield) Jul 14, 1985 7:16 7. Jean Pierre/You're Under Arrest/Then There Were None (M. Davis/J. Scofield) Jul 14, 1985 8:43 8. Decoy (R. Irving III) Jul 14, 1985 5:04 Disc 11 1. One Phone Call/Street Scenes/That's What Happened (M. Davis/J. Scofield) Jul 17, 1986 9:08 2. New Blues (M. Davis) Jul 17, 1986 5:55 3. Maze (M. Davis-E. Davis-R. Hall-Z. Giles) Jul 17, 1986 10:20 4. Human Nature (S. Porcaro-J. Bettis) Jul 17, 1986 8:36 5. Wrinkle (M. Davis-E. Davis-R. Hall-Z. Giles-Wayne Linsey) Jul 17, 1986 10:55 6. Tutu (M. Miller) Jul 17, 1986 6:53 7. Splatch (M. Miller) Jul 17, 1986 11:16 Disc 12 1. Time After Time (C. Lauper-R. Hyman) Jul 17, 1986 8:32 2. Al Jarreau (M. Davis) Jul 17, 1986 6:23 3. Carnival Time (Neil Larsen) Jul 17, 1986 4:27 4. Burn (R. Irving III-R. Hall) Jul 17, 1986 8:26 5. Portia (M. Miller) Jul 17, 1986 7:22 6. Jean Pierre (M. Davis) Jul 17, 1986 9:35 Disc 13 1. In a Silent Way (Joe Zawinul) Jul 7, 1988 1:04 2. Intruder (M. Davis) Jul 7, 1988 4:54 3. New Blues (M. Davis) Jul 7, 1988 7:07 4. Perfect Way (Green Gartside-David Gamson) Jul 7, 1988 4:50 5. The Senate/Me and You (Joseph "Foley" McCreary) Jul 7, 1988 9:20 6. Human Nature (S. Porcaro-J. Bettis) Jul 7, 1988 13:01 7. Wrinkle (M. Davis-E. Davis-R. Hall-Z. Giles-W. Linsey) Jul 7, 1988 8:15 8. Tutu (M. Miller) Jul 7, 1988 11:05 9. Time After Time (C. Lauper-R. Hyman) Jul 7, 1988 8:11 Disc 14 1. Movie Star (Prince Rogers Nelson) Jul 7, 1988 4:27 2. Splatch (M. Miller) Jul 7, 1988 9:22 3. Heavy Metal Prelude (M. Davis) Jul 7, 1988 5:23 4. Heavy Metal (M. Davis) Jul 7, 1988 6:25 5. Don't Stop Me Now (Steve Lukather-David Paitch) Jul 7, 1988 7:19

218

The Complete Miles Davis at Montreux 6. Carnival Time (N. Larsen) Jul 7, 1988 13:19 7. Jean Pierre (M. Davis) Jul 7, 1988 8:50 8. Tomaas (M. Davis-M. Miller) Jul 7, 1988 11:08 Disc 15 1. Intruder (M. Davis) Jul 21, 1989 5:47 2. New Blues (M. Davis) Jul 21, 1989 12:08 3. Perfect Way (G. Gartside-D. Gamson) Jul 21, 1989 6:35 4. Hannibal (M. Miller) Jul 21, 1989 10:43 5. Human Nature (S. Porcaro-J. Bettis) Jul 21, 1989 10:50 6. Mr. Pastorius (M. Miller) Jul 21, 1989 4:31 7. Tutu (M. Miller) Jul 21, 1989 13:29 Disc 16 1. Jilli (John Bigham) Jul 21, 1989 5:56 2. Time After Time (C. Lauper-R. Hyman) Jul 21, 1989 10:46 3. Jo Jo (M. Miller) Jul 21, 1989 5:35 4. Amandla (M. Davis) Jul 21, 1989 5:16 5. The Senate/Me and You (J. McCreary) Jul 21, 1989 11:47 6. Wrinkle (M. Davis-E. Davis-R. Hall-Z. Giles-W. Linsey) Jul 21, 1989 6:50 7. Portia (M. Miller) Jul 21, 1989 7:47 Disc 17 1. Perfect Way (G. Gartside-D. Gamson) Jul 20, 1990 6:00 2. New Blues (M. Davis) Jul 20, 1990 8:31 3. Hannibal (M. Miller) Jul 20, 1990 10:44 4. The Senate/Me and You (J. McCreary) Jul 20, 1990 10:51 5. In the Night (Larry Blackmon-Merv De Peyer) Jul 20, 1990 3:15 6. Human Nature (S. Porcaro-J. Bettis) Jul 20, 1990 12:48 7. Time After Time (C. Lauper-R. Hyman) Jul 20, 1990 9:13 Disc 18 1. Wrinkle (M. Davis-E. Davis-R. Hall-Z. Giles-W. Linsey) Jul 20, 1990 8:10 2. Tutu (M. Miller) Jul 20, 1990 13:31 3. Don't Stop Me Now (S. Lukather-D. Paitch) Jul 20, 1990 11:22 4. Carnival Time (N. Larsen) Jul 20, 1990 13:38 Disc 19 1. Introduction [Claude Nobs, Quincy Jones] Jul 8, 1991 1:22 2. Boplicity (M. Davis-Gil Evans) Jul 8, 1991 3:40 3. Springsville (John Carisi) [with introduction] Jul 8, 1991 3:42 4. The Maids of Cadiz (Leo Delibes) Jul 8, 1991 3:36 5. The Duke (Dave Brubeck) Jul 8, 1991 4:00 6. My Ship (Kurt Weill-Ira Gershwin) Jul 8, 1991 4:10

219

The Complete Miles Davis at Montreux 7. Miles Ahead (M. Davis-G. Evans) Jul 8, 1991 3:38 8. Blues for Pablo (G. Evans) Jul 8, 1991 6:00 9. Introduction [Quincy Jones] Jul 8, 1991 0:27 10. Gone (G. Evans) Jul 8, 1991 4:10 11. Gone, Gone, Gone (Dubose Heyward-George Gershwin-I. Gershwin) Jul 8, 1991 1:47 12. Summertime (G. Gershwin-I. Gershwin-D. Heyward) Jul 8, 1991 2:54 13. Here Come de Honey Man (D. Heyward-G. Gershwin-I. Gershwin) Jul 8, 1991 3:40 14. The Pan Piper (G. Evans) Jul 8, 1991 1:40 15. Solea (G. Evans) Jul 8, 1991 11:37 Disc 20 1. Perfect Way (G. Gartside-D. Gamson) Jul 19, 1991 5:34 2. New Blues (M. Davis) Jul 19, 1991 15:37 3. Hannibal (M. Miller) Jul 19, 1991 17:41 4. Human Nature (S. Porcaro-J. Bettis) Jul 19, 1991 16:57 5. Time After Time (C. Lauper-R. Hyman) Jul 19, 1991 9:47 6. Wrinkle (M. Davis-E. Davis-R. Hall-Z. Giles-W. Linsey) Jul 19, 1991 4:22

External links • Discography entry at Miles Ahead: A Miles Davis Website [2]

References [1] http:/ / www. allmusic. com/ album/ r599932 [2] http:/ / www. plosin. com/ milesAhead/ Disco. aspx?id=MontreuxBox

220

Live Around the World

221

Live Around the World Live Around The World Live album by Miles Davis Released

May 14, 1996

Recorded 1988-1991 Genre

Jazz

Length

70:48

Label

Warner Bros.

Producer Miles Davis (live), Gordon Meltzer (executive)

Track listing 1. "In A Silent Way" (Joe Zawinul) – 1:49 2. "Intruder" (Miles Davis) – 4:52 3. "New Blues" (Davis) – 5:35 4. Human Nature (Porcaro, Bettis) – 12:48 5. "Mr. Pastorius" (Marcus Miller) – 3:32 6. "Amandla" (Miller) – 5:52 7. "Wrinkle" (Davis) – 7:17 8. "Tutu" (Miller) – 8:53 9. "Full Nelson" (Miller) – 2:48 10. Time After Time (Rob Hyman/Cindy Lauper) – 9:56 11. "Hannibal" (Miller) – 7:22

Personnel • • • • • • • •

Miles Davis – trumpet Kenny Garrett – alto saxophone Foley – lead bass Adam Holzman, Joey DeFrancesco, Robert Irving III, Kei Akagi, John Beasley, Deron Johnson – keyboards Benny Rietveld, Richard Patterson – bass Marilyn Mazur, Munyungo Jackson – percussion Erin Davis – electronic percussion Ricky Wellman – drums

• • • • •

Marcus Miller – fender bass Bill Evans – soprano sax Mike Stern – guitar Al Foster – drums Mino Cinelu – percussion

222

Compilation albums Miles Davis Volume 1 Miles Davis Volume 1

Compilation album by Miles Davis Released

1955

Recorded

May 9, 1952 at WOR Studios in New York City, March 6, 1954 at Van Gelder Studio, Hackensack, New Jersey

Genre

Jazz

Length

57:28

Label

Blue Note

Producer


•

Allmusic

link

[1]


Miles Davis with Horns (1956)



Alternative Cover


223

Miles Davis Volume 1 is an album which compiles tracks recorded by Miles Davis for Blue Note Records on 9 May 1952 and 6 March 1954. The music has been issued on a variety of formats over the years - the tracklisting below is that of the 2001 CD reissue containing all the music recorded at the two sessions. A session in 1953 is compiled on Miles Davis Volume 2. The album was identified by Scott Yanow in his Allmusic essay "Hard Bop" as one of the 17 Essential Hard Bop Recordings.[2]

Track listing Track

Song Title

Time

1.

Dear Old Stockholm

4:10

2.

Chance It

3:00

3.

Donna

3:10

4.

Woody 'n' You

3:22

5.

Yesterdays

3:42

6.

How Deep is the Ocean?

4:36

7.

Chance It (alternate take)

2:51

8.

Donna (alternate take)

3:08

9.

Woody 'n' You (alternate take) 3:19

10.

Take Off

3:37

11.

Lazy Susan

4:00

12.

The Leap

4:28

13.

Well, You Needn't

5:20

14.

Weirdo

4:42

15.

It Never Entered My Mind

4:02

Songs 1-9 were recorded in 1952, while 10-15 were recorded in 1954.


Musicians 1952 • • • • • •

Miles Davis (trumpet) J. J. Johnson (trombone) Jackie McLean (alto saxophone) Gil Coggins (piano) Oscar Pettiford (bass) Kenny Clarke (drums)

1954 • • • •

Miles Davis (trumpet) Horace Silver (piano) Percy Heath (bass) Art Blakey (drums)

References [1] http:/ / www. allmusic. com/ album/ r137515 [2] Yanow, S. Hard Bop (http:/ / www. allmusic. com/ explore/ essay/ ) accessed December 7, 2009

224


225

Miles Davis Volume 2 Miles Davis Volume 2


1955

Recorded

April 20, 1953 at WOR Studios in New York City

Genre

Jazz

Length

39:07

Label

Blue Note

Producer


•

Allmusic

link

[1]




Alternative Cover

Blue Haze (1955)


226

Miles Davis Volume 2 is an album which compiles tracks recorded for Blue Note Records on 20 April 1953 by Miles Davis. Tracks 1-6 were originally released on a 10" LP, the tracklisting below is that of the 2001 reissue containing all the music recorded at the session. Davis's other recordings for Blue Note (in 1952 and 1954) are collected on Miles Davis Volume 1.

Track listing Track

Time

1.

Kelo

3:20

2.

Enigma

3:25

3.

Ray's Idea

3:46

4.

Tempus Fugit

3:53

5.

C.T.A.

3:36

6.

I Waited For You

3:31

7.

Kelo (Alternate Take)

3:27

8.

Enigma (Alternate Take)

3:27

9.

Ray's Idea (Alternate Take)

3:53

10.

Tempus Fugit (Alternate Take) 4:01

11.

C.T.A. (Alternate Take)

Musicians • • • • • •

Song Title

Miles Davis (trumpet) J. J. Johnson (trombone) Jimmy Heath (tenor saxophone) Gil Coggins (piano) Percy Heath (bass) Art Blakey (drums)


3:18

Birth of the Cool

227

Birth of the Cool Birth of the Cool


1957

Recorded

January 21 and April 22, 1949, March 9, 1950 (New York, New York)

Genre

Cool jazz

Length

35:29

Label

Capitol

Producer

Walter Rivers, Pete Rugolo Professional reviews

•

[1]

Allmusic

[2]

•

All About Jazz (favorable)

•

MusicHound

•

Q

•

[3] [4] [3]


•

Rolling Stone

•

Virgin Encyclopedia

[5] [3]



Birth of the Cool (1957)

Miles Ahead (1957)

Miles Davis compilation chronology

Birth of the Cool

228



Basic Miles (1973)

Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in 1957 on Capitol Records.[6] [7] It compiles twelve songs recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950.[8] Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements strongly inspired by classical music, and marked a major development in post-bebop jazz. As the title implies, these recordings are considered seminal in the history of cool jazz. The majority of the recordings on the record are under three minutes. The album has since been reissued many times. Blue Note recently released a version using the original tapes from Rudy Van Gelder, who produced the album.

Background and recording history Gil Evans contributed some charts to the sessions, acting as an advisor to a group of musicians who had met in his small New York apartment above a Chinese laundry. Evans had gained a reputation in the jazz world for his orchestration of bebop tunes for the Claude Thornhill orchestra, including Davis's "Donna Lee". Davis was seeking an alternative to the small groups typical of contemporary jazz (he was a member of Charlie Parker's quintet at the time), and in 1947 started to organize the loose circle of musicians into a working group. Rehearsals and experiments took place over the next year. The nonet performed live only briefly—initially for a two week engagement in late August and early September 1948 at the Royal Roost Club in New York. Billed as the "Miles Davis Band", the group at this time consisted of Davis (trumpet), Mike Zwerin (trombone), Bill Barber (tuba), Junior Collins (French horn), Gerry Mulligan (baritone saxophone), Lee Konitz (alto saxophone), John Lewis (piano), Al McKibbon (bass), and Max Roach (drums). Former Dizzy Gillespie vocalist Kenny Hagood was featured on a few songs. Unusually, the arrangers (Mulligan, Evans and Lewis) were given credit. The group returned to the Royal Roost later in September, and recordings from 4 September and 18 September 1948, were included on the 1998 Complete Birth of the Cool CD, alongside the later studio sides. There was a further short residency the following year at the Clique Club, but the nonet was not a financial success, and disbanded. In 1949 Davis had a contract with Capitol to record twelve sides for 78 rpm singles. He thus reformed the nonet to record three sessions in January and April 1949 and March 1950. Davis, Konitz, Mulligan and Barber were the only musicians who played on all three sessions, though the instrumental lineup was constant (excepting the omission of piano on a few songs). Originally released as singles, eight of the tracks were compiled in 1953 on a 10" vinyl album in Capitol's Classics in Jazz series, and Birth of the Cool was released in 1957 as a 12" LP that added the remaining three unreleased instrumental pieces ("Move", "Budo" and "Boplicity").[8] The final track, "Darn That Dream" (the only song with vocals, by Hagood), was included with the other eleven on a 1971 LP.[8] Subsequent releases have been based on this last arrangement. Musically, the songs on Birth of the Cool stand as an important reaction to the prominent bebop form in contemporary jazz. Though the break can be exaggerated—Charlie Parker participated in the discussions Evans led, most of the musicians were drawn from the bebop scene, and many continued to play in that style for years afterward—it inspired a whole school of jazz musicians, particularly in California in what is usually referred to as "West Coast jazz" or the "cool school".

Birth of the Cool

Cleo Henry Cleo Henry was the pen name used by Davis as the composer credit on the track "Boplicity", which was in fact written by Davis and arranged by Gil Evans. Cleota Henry Davis was Davis's mother. No other composition was ever written under this pen name by Davis.

Track listing Arrangements by the composer unless otherwise noted. 1. 2. 3. 4. 5. 6. 7. 8. 9.

"Move" (Denzil Best, arranged by John Lewis) – 2:32 "Jeru" (Gerry Mulligan) – 3:10 "Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:17 "Venus de Milo" (Mulligan) – 3:10 "Budo" (Miles Davis, Bud Powell, arranged by Lewis) – 2:32 "Deception" (Davis, arranged by Mulligan) – 2:45 "Godchild" (George Wallington, arranged by Mulligan) – 3:07 "Boplicity" (Cleo Henry, i.e. Davis and Gil Evans, arranged by Evans) – 2:59 "Rocker" (Mulligan) – 3:03

10. "Israel" (Johnny Carisi) – 2:15 11. "Rouge" (John Lewis) – 3:13 1971 bonus track 1. "Darn That Dream" (Eddie DeLange, James Van Heusen, arranged by Mulligan) – 3:26

Recording dates • Tracks 1, 2, 5, 7 – 21 January 1949 • Tracks 4, 8, 10, 11 – 22 April 1949 • Tracks 3, 6, 9, 12 – 9 March 1950 Recorded at WOR Studios, New York, New York.

The Complete Birth of the Cool (The Studio Sessions) Arrangements by the composer unless otherwise noted. 1. "Move" (Denzil Best, arranged by John Lewis) – 2:32 2. "Jeru" (Gerry Mulligan) – 3:10 3. "Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:17 4. "Venus de Milo" (Mulligan) – 3:10 5. "Budo" (Miles Davis, Bud Powell, arranged by Lewis) – 2:32 6. "Deception" (Davis, arranged by Mulligan) – 2:45 7. "Godchild" (George Wallington, arranged by Mulligan) – 3:07 8. "Boplicity" (Cleo Henry, i.e. Davis and Gil Evans, arranged by Evans) – 2:59 9. "Rocker" (Mulligan) – 3:03 10. "Israel" (Johnny Carisi) – 2:15 11. "Rouge" (John Lewis) – 3:13 12. "Darn That Dream" (Eddie DeLange, James Van Heusen, arranged by Mulligan) – 3:26

229

Birth of the Cool

Recording dates • Tracks 1, 2, 5, 7 – 21 January 1949 • Tracks 4, 8, 10, 11 – 22 April 1949 • Tracks 3, 6, 9, 12 – 9 March 1950 Recorded at WOR Studios, New York, New York.

The Complete Birth of the Cool (The Live Sessions) Arrangements by the composer unless otherwise noted. 1. 2. 3. 4. 5. 6. 7. 8.

"Birth of the Cool Theme" (Gil Evans) - 0:19 - (arranged by G.Evans) "Symphony Sid announces the band" "Move" (Denzil Best) - 3:40 "Why Do I love You" (DeSylva, Gershwin, Gershwin) - 3:41 - (arranged by J.Lewis) "Godchild" (George Wallington) - 5:15 "Symphony Sid introduction" - 0:27 "S'il Vous Plait" (John Lewis) - (arranged by J.Lewis) "Moon Dreams" (Chummy MacGregor, Johnny Mercer) - 5:06

9. "Budo (Hallucinations)" (Bud Powell, Miles Davis) - 1:25 10. "Darn That Dream" (Eddie DeLange, James Van Heusen) - 4:25 11. "Move" (Denzil Best) - 4:48 12. "Moon Dreams" (Chummy MacGregor, Johnny Mercer) - 3:46 13. "Budo (Hallucinations)" (Bud Powell, Miles Davis) - 4:23

Recording dates • Tracks 1-9 recorded September 4, 1948, tracks 10-13 il September 18, 1948, Live at Royal Roost in New York.

Personnel • • • • • • • • • • • • • • • • •

Miles Davis – trumpet (all) Kai Winding – trombone (January 1949) J. J. Johnson – trombone (April 1949, March 1950) Junior Collins – French horn (January 1949) Sandy Siegelstein – French horn (April 1949) Gunther Schuller – French horn (March 1950) Bill Barber – tuba (all) Lee Konitz – alto saxophone (all) Gerry Mulligan – baritone saxophone (all) Al Haig – piano (January 1949) John Lewis – piano (April 1949, March 1950) Joe Shulman – bass (January 1949) Nelson Boyd – bass (April 1949) Al McKibbon – bass (March 1950) Max Roach – drums (January 1949, March 1950) Kenny Clarke – drums (April 1949) Kenny Hagood – vocal ("Darn That Dream" only)

The Complete Birth Of The Cool (The Live Sessions) • Miles Davis - trumpet

230

Birth of the Cool • • • • • • • • •

Mike Zwerin - trombone Junior Collins - French horn Bill Barber - tuba Lee Konitz - alto saxophone Gerry Mulligan - baritone saxophone John Lewis – piano Al McKibbon – bass Max Roach – drums Kenny Hagood – vocal (only Why Do I Love You and Darn That Dream)

Notes [1] Erlewine, Stephen Thomas (November 1, 2001). Review: Birth of the Cool (http:/ / www. allmusic. com/ album/ birth-of-the-cool-r104727/ review). Allmusic. Retrieved on 2011-01-02. [2] Fortuna, Michael (July 1, 2001). Review: Birth of the Cool (http:/ / www. allaboutjazz. com/ php/ article. php?id=8285). All About Jazz. Retrieved on 2011-01-02. [3] Acclaimed Music - Classics in Jazz/Birth of the Cool (http:/ / www. acclaimedmusic. net/ Current/ A1788. htm). AcclaimedMusic. Retrieved on 2011-01-02. [4] Product Notes – Birth of the Cool (http:/ / www. webcitation. org/ 5vRWpbspe). Muze. Retrieved on 2011-01-02. [5] Hoard, Christian (November 1, 2004). " Review: Miles Smiles (http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA214& dq=#v=onepage& q& f=false)". Rolling Stone: 214, 217. [6] Smith, Chris (2009). 101 Albums That Changed Popular Music (http:/ / books. google. com/ books?id=Jk5fPOyRIXEC& pg=PA9& dq=). US: Oxford University Press. p. 9. ISBN 0195373715. . Retrieved 2011-02-22. [7] Davis, Miles; Jeff Sultanof (2002). Miles Davis - Birth of the Cool Complete Score Book (http:/ / www. scribd. com/ doc/ 35654619/ Miles-Davis-Birth-of-the-Cool-Hal-Leonard). US: Hal Leonard. pp. 2–3. ISBN 634006827. . Retrieved 2011-02-22. [8] Smith, Chris. " 101 Albums That Changed Popular Music: Birth of the Cool (http:/ / books. google. com/ books?id=Jk5fPOyRIXEC& pg=PA9& dq=)". Oxford University Press: 7–9. 2009.

References • "Miles Davis's Memorable Nonet" (http://www.jazz.com/jazz-blog/2008/9/3/birth-of-cool) by Ted Gioia ( Jazz.com (http://www.jazz.com)) • "The Birth of the Cool" (http://www.jazz.com/dozens/the-dozens-the-birth-of-the-cool) by Jeff Sultanof ( Jazz.com (http://www.jazz.com)) • Gridley, Mark C. (2009). "Jazz Styles: Tenth Edition"

Further reading • Davis, Miles; Troupe, Quincy, Miles, the autobiography (http://books.google.com/ books?id=xgAVXHhuNYgC&printsec=frontcover), Simon and Schuster, 1990. ISBN 0671725823. Cf. pp.117-118 (http://books.google.com/books?id=xgAVXHhuNYgC&printsec=frontcover#PPA117,M1)

External links • Birth of the Cool (http://www.discogs.com/Miles-Davis-Birth-Of-The-Cool/master/62308) at Discogs

231

Circle in the Round

232

Circle in the Round Circle in the Round


November 1979

Recorded

October 27, 1955 – January 27, 1970

Genre

Jazz-rock, hard bop

Length

98:25

Label

Columbia/Legacy Professional reviews

•

Allmusic

link

[1]


Water Babies (1976)

Circle in the Round (1979)

Directions (Miles Davis album) (1981)

Circle in the Round is an album by jazz musician Miles Davis. It collects outtakes from a variety of sessions. Despite its lack of unity, Circle in the Round was an essential release in that, apart from 1950s recordings with Davis's quintet and sextet, it documented key moments in his career, until then unknown to the record-buying public. By arranging the tracks in chronological order the album shows Davis's progression in sound over the years. "Circle in the Round" is the first studio recording in which he departed from the acoustic quintet, and therefore marks the inception of his "electric" period. The title track, recorded in 1967, was the earliest released recording of Miles that featured the sound of the electric guitar (played by Joe Beck), something that would become prominent in his music over the years. The slightly later "Teo's Bag", "Side Car" (two takes), "Splash" and "Sanctuary" all show him experimenting with various formations, all including at least one amplified instrument. "Guinnevere" is from the same "electric" sessions of early 1970, with sitar and tabla, which yielded "Great Expectations", "Orange Lady" and "Lonely Fire" (released on Big Fun).

Circle in the Round

Track listing All tracks by Miles Davis except were noted

First CD release Circle in the Round (Columbia) Disc 1 1. 2. 3. 4.

"Two Bass Hit" (Dizzy Gillespie, John Lewis) (10/27/1955) – 3:43 "Love For Sale" (Cole Porter) (5/26/1958) – 11:52 "Blues No. 2" (3/21/1961) – 6:51 "Circle in the Round" (12/4/1967) – 26:17

Disc 2 1. 2. 3. 4. 5. 6.

"Teo’s Bag" (1/16/1968) – 5:58 "Side Car I" (2/13/1968) – 5:00 "Side Car II" (2/13/1968) – 3:37 "Splash" (11/12/1968) – 8:33 "Sanctuary" (Wayne Shorter) (5/2/1969) – 8:52 "Guinnevere" (David Crosby) (1/27/1970) – 18:06

Personnel Recorded between October 27, 1955 and January 27, 1970. • • • • • • • • • • • • • • • • • • • • • • • • •

Miles Davis — trumpet, bells, chimes John Coltrane — tenor saxophone (track 1, 2) Cannonball Adderley — alto saxophone (track 2) Hank Mobley — tenor saxophone (track 3) Wayne Shorter — tenor saxophone (tracks 4-10) Bernie Maupin — bass clarinet (track 10) Khalil Balakrishna — sitar (track 10) Joe Beck — guitar (track 4) George Benson — guitar (tracks 5,7,9) John McLaughlin — guitar (track 10) Red Garland — piano (tracks 1-2) Bill Evans — piano (track 2) Wynton Kelly — piano (track 3) Herbie Hancock — piano (tracks 4-9), celeste (track 4) Chick Corea — piano (tracks 8,10) Joe Zawinul — piano (track 10) Paul Chambers — bass (tracks 1-3) Ron Carter — bass (tracks 4-7,9) Dave Holland — bass (track 8,10) Philly Joe Jones — drums (tracks 1,3) Jimmy Cobb — drums (track 2) Tony Williams — drums (tracks 4-9) Billy Cobham — drums (track 10) Jack DeJohnette — drums (track 10) Airto Moreira — percussion (track 10)

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Circle in the Round

234


Basic Miles Basic Miles


1973

Recorded

October 27, 1955 – August 23, 1962

Genre

Jazz

Label

Columbia, CBS

Producer

Teo Macero, George Avakian Professional reviews

•

Allmusic

link

[1]

Basic Miles is a compilation album of recordings by jazz musician Miles Davis.

Track listing Original CD release Basic Miles (Columbia) 1. 2. 3. 4. 5. 6. 7. 8. 9.

"Budo" (recorded Oct. 27, 1955; from the compilation "Jazz Omnibus") "Stella by Starlight" (recorded May 26, 1958) "Sweet Sue Just You" (recorded Sept. 10, 1956; from the compilation "Leonard Bernstein: What Is Jazz") "Little Melonae" (remake of 1955 original; recorded March 4, 1958) "Miles Ahead" (recorded May 10, 1957) "On Green Dolphin Street" (recorded May 26, 1958) "Round Midnight" (recorded Sept. 10, 1956) "Fran-Dance" (recorded July 4, 1958) "Devil May Care" (recorded August 23, 1962)

Basic Miles

Personnel Recorded between September 10, 1956 and August 23, 1962. • • • • • • • • • • • • • •

Miles Davis — trumpet, flugelhorn (track 5) John Coltrane — tenor saxophone (tracks 1-4,6-8) Julian "Cannonball" Adderley — tenor saxophone (tracks 6,8) Wayne Shorter — tenor saxophone (track 9) Frank Rehak — trombone (track 5, 9) Bill Evans — piano (tracks 2,6) Red Garland — piano (tracks 1,3,4,7) Wynton Kelly — piano (track 8) Paul Chambers — bass Jimmy Cobb — Drums (tracks 2,6,8,9) Philly Joe Jones — Drums (tracks 1,3,4,7) Art Taylor — Drums (track 5) William Correa — bongos (track 9) Lee Konitz — alto sax (track 5)


235

Super Hits

236

Super Hits Super Hits

Original cover Greatest hits album by Miles Davis Released

April 17, 2001

Recorded

1956–1985

Genre

Jazz

Length

48:43

Language

Instrumental

Label

Sony/Legacy

Producer

Teo Macero and Irving Townsend, Teo Macero, Miles Davis and Robert Irving III, Teo Macero and Cal Lampley, Irving Townsend, Gil Evans and Miles Davis, and Miles Davis and Robert Irving III

Compiler

Bob Belden Professional reviews

•

Allmusic

link

[1]

Miles Davis compilations chronology

The Columbia Years (1990)

Super Hits (2001)

The Essential Miles Davis (2001)

Re-release cover

Super Hits

Super Hits is a greatest hits album from Miles Davis. Released in 2001, it reached #22 on Billboard's Jazz Albums chart.[2]

Track listing 1. "So What" (Davis) – 9:22 (from Kind of Blue) 2. "Someday My Prince Will Come" (Frank Churchill and Larry Morey) – 9:02 (from Someday My Prince Will Come) 3. "Time After Time" (Cyndi Lauper and Rob Hyman) – 3:39 (from You're Under Arrest) 4. "Summertime" (George Gershwin, Ira Gershwin, and DuBose Heyward) – 3:17 (from Porgy and Bess) 5. "Eighty-One" (Ron Carter and Davis) – 6:21 (from E.S.P.) 6. "Bye Bye Blackbird" (Ray Henderson) – 7:54 (from 'Round About Midnight) 7. "New Rhumba" (Ahmad Jamal) – 4:37 (from Miles Ahead) 8. "Human Nature" (Steve Porcaro and John Bettis) – 4:31 (from You're Under Arrest)

Personnel "So What" • • • • • •

Cannonball Adderley – alto saxophone Paul Chambers – upright bass Jimmy Cobb – drum kit John Coltrane – tenor saxophone Miles Davis – trumpet, band leader Bill Evans – piano

"Someday My Prince Will Come" • • • • • •

Paul Chambers – double bass Jimmy Cobb – drum kit John Coltrane – tenor saxophone Miles Davis – trumpet, band leader Wynton Kelly – piano Hank Mobley – tenor saxophone

"Time After Time" • Bob Berg – soprano saxophone • Miles Davis – trumpet

237

Super Hits • • • • •

Al Foster – drums Robert Irving III – synthesizer Darryl Jones – bass John McLaughlin – guitar John Scofield – guitar

"Summertime" • • • • • • • • • • •

Cannonball Adderley – alto saxophone Danny Bank – alto flute, bass clarinet Bill Barber – tuba Phil Bodner – flute, alto flute, clarinet Joe Bennett – trombone Paul Chambers – bass Jimmy Cleveland – trombone Jimmy Cobb – drum kit Johnny Coles – trumpet Miles Davis – trumpet, flugelhorn Gil Evans – arrangement and conducting

• • • • • • • • • •

Bernie Glow – trumpet Dick Hixon – trombone Louis Mucci – trumpet Romeo Penque – flute, alto flute, clarinet Frank Rehak – trombone Jerome Richardson – flute, alto flute, clarinet Ernie Royal – trumpet Willie Ruff – horn Gunther Schuller – horn Julius Watkins – horn

"Eighty-One" • • • • •

Ron Carter – double bass Miles Davis – trumpet Herbie Hancock – piano Wayne Shorter – tenor saxophone Tony Williams – drum kit

"Bye Bye Blackbird" • • • • •

Paul Chambers – bass John Coltrane – tenor saxophone Miles Davis – trumpet Red Garland – piano Philly Joe Jones – drum kit

"New Rhumba" • Danny Bank – bass clarinet • Bill Barber – tuba • Joe Bennett – trombone • John Carisi – trumpet • Paul Chambers – bass • Jimmy Cleveland – trombone

238

Super Hits • • • • • • • • • • • • •

239

Sid Cooper – flute, clarinet Miles Davis – flugelhorn Bernie Glow – trumpet Taft Jordan – trumpet Lee Konitz – alto saxophone Tom Mitchell – bass trombone Tony Miranda – horn Louis Mucci – trumpet Romeo Penque – flute, clarinet Frank Rehak – trombone Ernie Royal – trumpet Willie Ruff – horn Art Taylor – drum kit

"Human Nature" • Bob Berg – soprano sax • Miles Davis – trumpet • Al Foster – drums • • • •

Robert Irving III – synthesizer Darryl Jones – bass John McLaughlin – guitar John Scofield – guitar

Release history Region

Date

Label

United States April 17, 2001 Sony Sony

United States 2007

Format

Catalog

Compact Disc 85186 Cassette tape

85186

Sbme Special MKTS. CD

705375

Sony BMG

705375

CD

References [1] http:/ / www. allmusic. com/ album/ r528377 [2] "Super Hits - Miles Davis" (http:/ / www. billboard. com/ album/ miles-davis/ super-hits/ 473501#/ album/ miles-davis/ super-hits/ 473501). Billboard. . Retrieved 2010-10-19.

External links • Super Hits (http://www.allmusic.com/album/r528377) at Allmusic

240

Box sets The Columbia Years 1955–1985 The Columbia Years 1955-1985


1988

Recorded

1955-1985

Genre

Jazz

Label

Columbia Records

Producer

Various

Professional reviews •

Allmusic

link

[1]

The Columbia Years 1955–1985 is a 4 CD Miles Davis compilation. The box set is furthermore split up into the sections of blues, standards, originals, moods and electric. These cover tracks 1-8 of the first disc, tracks 9-10 and tracks 1-3 from the second disc, tracks 4-7 on the second disc and tracks 1-2 on the third disc, tracks 3-9 on the third disc and the final disc respectively.


Track listing Disc 1 1. "Générique" 2. "All Blues" 3. "Eighty-One" 4. "Blues For Pablo" 5. "Summertime" 6. "Straight, No Chaser" 7. "Footprints" (Digital Remix) 8. "Florence Sur Les Champs Élysées" 9. "I Thought About You" 10. "Someday My Prince Will Come" (Alternate Take) (Digital Remix) Tracks 1,3,8 and 9 are mono recordings. Track 9 is previously unreleased. The version of Straight, No Chaser is from the recording Miles And Monk At Newport.

Disc 2 1. 2. 3. 4. 5. 6. 7. 8.

"Bye Bye Blackbird" "My Funny Valentine" (Digital Remix) "Love for Sale" (Digital Remix) "Budo" "Miles" "Filles De Kilimanjaro" "Fran-Dance" (Digital Remix) "Seven Steps to Heaven"

Track 4 is a mono recording.

Disc 3 1. 2. 3. 4. 5. 6. 7. 8. 9.

"Flamenco Sketches" "So What" "Water babies" "Saeta" "Masqualero" "Pinocchio" (Digital Remix) "Summer Night" (Digital Remix) "Fall" "It's About That Time"

Track 2 is a mono recording.

241


Disc 4 1. 2. 3. 4. 5. 6. 7. 8.

"Sivad (Excerpt)" "What it Is" "Ms. Morrisine" "Shout" "Honky Tonk" "Star On Cicely" "Thinkin' One Thing And Doin' Another" "Miles Runs The Voodoo Down"


242

The Complete Studio Recordings of The Miles Davis Quintet 1965–1968

The Complete Studio Recordings of The Miles Davis Quintet 1965–1968 The Complete Studio Recordings of The Miles Davis Quintet 1965–1968


24 March 1998

Recorded

20 January 1965 – 21 June 1968

Length

7:19:07

Label

Columbia

The Complete Studio Recordings of The Miles Davis Quintet 1965–1968 is a box set of six CDs covering the work of Miles Davis and his critically acclaimed second great quintet which featured Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. The box set includes all songs from, as well as some rehearsal and alternative takes, the albums E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky and the quintet tracks from Filles de Kilimanjaro and Water Babies. The tracklist is sequenced in chronological order with the alternative takes preceding the final album version. A few of the tracks were previously unissued. • Detailed track information in Discogs.com [1]

References [1] http:/ / www. discogs. com/ Miles-Davis-Miles-Davis-Quintet-1965-68/ release/ 1410360

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244

The Complete Bitches Brew Sessions The Complete Bitches Brew Sessions


24 November 1998, reissued in 11 May 2004

Recorded

August 19, 1969 - February 6, 1970

Genre


Length

264:40

Label

Columbia/Legacy/Sony Music

Producer

Teo Macero (orig. recordings), Bob Belden, Michael Cuscuna Professional reviews

•

Allmusic

link

[1]


(Box 5) The Complete In a Silent Way Sessions (2001)

(Box 6) The Complete Bitches Brew Sessions (1998)

(Box 7) The Complete Jack Johnson Sessions (2003)


The Complete Bitches Brew Sessions is a four-disc box set of music recordings by trumpeter Miles Davis. The set collects all tracks Davis recorded between August 19, 1969 and February 6, 1970, including the 1970 double album Bitches Brew in its entirety. However, the title of the box set is somewhat of a misnomer: outside of the Bitches Brew tracks themselves, none of the other tracks appeared on Bitches Brew upon its original release, nor were they recorded during the same August 1969 sessions that resulted in Bitches Brew. Furthermore, additional material recorded for, but not used in Bitches Brew, is not included in this set; mainly rehearsal takes and unedited performances of the six album tracks. These have however later been illegally bootlegged and given the titles Deep Brew Vol. 1 and Vol. 2).

245

The original 1998 box set included metal binding and a slipcase cover.

When questioned by Paul Tingen why most of the material in fact was not recorded either for or at the same sessions as the original album, re-issue producer Bob Belden cleared up how their thought process went. According to him and the engineer all the songs Miles Davis recorded between August 1969 and early February 1970 used very similar line-ups to those on Bitches Brew and the main thing they all had in common was the emphasis on keyboards. Every song here includes two to three keyboard players, most often Chick Corea, Joe Zawinul and Herbie Hancock. It wasn't until late in February 1970 that Davis refined his concept by dropping the multiple electric pianists and going for a more guitar-heavy sound. Those following sessions were collected on The Complete Jack Johnson Sessions. The box set includes some tracks that had never been previously released, one of which, the Wayne Shorter composition "Feio," has since appeared as a bonus track on late compact disc reissues of Bitches Brew. A few of the other tracks in the box set had previously appeared on the albums Live-Evil, Big Fun, and Circle in the Round. The Complete Bitches Brew Sessions is chronologically number "6" in a series of Miles Davis box sets issued by Columbia Records/Legacy Records/Sony Music (the numbering scheme refers to the chronological order of the original recordings, not the release order of the box sets themselves). The set was reissued on 11 May 2004 with new packaging.

Track listing Disc one 1. 2. 3. 4.

"Pharaoh's Dance" (Joe Zawinul) – 20:06 "Bitches Brew" (Miles Davis) – 26:58 "Spanish Key" (Davis) – 17:34 "John McLaughlin" (Davis) – 4:22

Disc two 1. 2. 3. 4.

"Miles Runs the Voodoo Down" (Davis) – 14:01 "Sanctuary" (Wayne Shorter) – 10:56 "Great Expectations" (Davis - Zawinul) – 13:45 "Orange Lady" (Zawinul) – 13:50

5. "Yaphet" (Davis) – 9:39 6. "Corrado" (Davis) – 13:11 Disc three

The Complete Bitches Brew Sessions 1. 2. 3. 4. 5. 6.

"Trevere" (Davis) – 5:55 "The Big Green Serpent" (Davis) – 3:35 "The Little Blue Frog" (alternate take) (Davis) – 12:13 "The Little Blue Frog" (Davis) – 9:09 "Lonely Fire" (Davis) – 21:09 "Guinnevere" (David Crosby) – 21:07

Disc four 1. 2. 3. 4. 5.

"Feio" (Shorter) – 11:49 "Double Image" (Zawinul) – 8:25 "Recollections" (Zawinul) – 18:54 "Take It or Leave It" (Zawinul) – 2:13 "Medley: Gemini / Double Image" (Zawinul) – 5:52

Personnel Collective listing for all recording sessions. • Miles Davis - Trumpet, Vocals • • • • • • • • • • • • • • • • • • •

Don Alias - Percussion, Conga, Drums Khalil Balakrishna - Sitar Harvey Brooks - Bass, Electric bass Ron Carter - Bass Billy Cobham - Drums, Triangle Chick Corea - Electric piano Jack DeJohnette - Drums Steve Grossman - Soprano saxophone Herbie Hancock - Electric piano Dave Holland - Bass, Electric bass Bennie Maupin - Bass clarinet John McLaughlin - Guitar Airto Moreira - Berimbau, Cuíca, Percussion Bihari Sharma - Tabla, Tamboura Wayne Shorter - Soprano saxophone Juma Santos (Jim Riley) - Conga, Shaker Lenny White - Drums Larry Young - Organ, Celeste, Electric piano Joe Zawinul - Electric piano

246


References • Belden, Bob and Michael Cuscuna. "Discography/Album Index." The Complete Bitches Brew Sessions by Miles Davis. Sony Music Entertainment C4K 65570, 1998.

External links • Article by Paul Tingen about the making of the Complete Bitches Brew Sessions boxed set at Miles Beyond [2]

References [1] http:/ / www. allmusic. com/ album/ r372751 [2] http:/ / www. miles-beyond. com/ bitchesbrew. htm

247


248

The Complete Columbia Recordings of Miles Davis with John Coltrane The Complete Columbia Recordings of Miles Davis with John Coltrane

Box set by Miles Davis and John Coltrane Released

2000 2004 (reissue)

Recorded

October 26, 1955 to March 21, 1961

Genre

Jazz

Length

6:26:01 (all discs) 73:18 (disc 1) 68:41 (disc 2) 75:22 (disc 3) 69:21 (disc 4) 58:56 (disc 5) 40:23 (disc 6)

Label

Columbia Professional reviews

•

Allmusic

link

[1]

The Complete Columbia Recordings of Miles Davis with John Coltrane is a box set by jazz musicians Miles Davis and John Coltrane. It is the first box set in a series of eight from Columbia/Legacy compiling Davis's work for Columbia Records. Originally issued in 2000 in a limited-edition metal slipcase, it was reissued in 2004 in an oversized book format.


Albums Davis' and Coltrane's work together for Columbia produced three studio albums, two tracks from a fourth, and two live albums, all of which are contained in this box set: • • • • •

'Round About Midnight (released March 4, 1957) Milestones (released September 2, 1958) Kind of Blue (released August 17, 1959) Someday My Prince Will Come (released December 11, 1961) (2 tracks only) Miles & Monk at Newport (released May 11, 1964) (one side only), reissued as Miles Davis At Newport 1958 in 2001 • Jazz at the Plaza (released September 28, 1973)

Track listing Original CD release The Complete Columbia Recordings of Miles Davis with John Coltrane, 2000 (Columbia)

Disc 1 1. Two Bass Hit (Alternate Take) - 3:21 2. Two Bass Hit - 3:44 1 3. Ah-Leu-Cha (Alternate Take) - 5:51 4. Ah-Leu-Cha - 5:53 2 5. Ah-Leu-Cha (Take 5) - 5:25 6. Little Melonae - 7:22 2 7. Budo (Alternate Take) - 5:02 8 8. Budo - 4:17 1 9. Dear Old Stockholm - 7:51 2 10. Bye Bye Blackbird (Alternate Take) - 7:50 11. Bye Bye Blackbird - 7:56 2 12. Tadd's Delight - 4:28 2 13. Tadd's Delight (Alternate Take) - 4:18

Disc 2 1. Dear Old Stockholm (Alternate Take) - 6:42 2. All of You (Alternate Take) - 7:31 3. All of You - 7:03 2 4. Sweet Sue, Just You (First Version) - 4:23 5. Sweet Sue, Just You (False Start with Discussion Between Leonard Bernstein & Miles Davis) - 1:58 6. Sweet Sue, Just You (Alternate Take) - 3:32 7. Sweet Sue, Just You - 3:41 8. Miles Davis Comments - :30 9. 'Round Midnight - 5:57 2 10. Two Bass Hit (Alternate Take) - 4:32 11. Two Bass Hit - 5:13 3 12. Billy Boy - 7:12 3 13. Straight No Chaser (Alternate Take) - 10:27

249


Disc 3 1. Straight No Chaser - 10:37 3 2. Milestones - 6:01 3. Milestones - 5:44 3 4. Sid's Ahead - 13:02 3 5. Little Melonae - 7:55 6. Dr. Jackle - 5:49 3 7. On Green Dolphin Street - 9:50 8. Fran-Dance - 5:52 9. Fran-Dance - 5:49 10. Stella by Starlight - 4:43

Disc 4 1. 2. 3. 4.

Love for Sale - 11:49 1 Freddie Freeloader - 1:27 Freddie Freeloader - 9:48 4 So What - 9:23 4

5. 6. 7. 8. 9.

Blue in Green - 5:38 4 Flamenco Sketches - 9:33 Miles Davis Comments - :44 Flamenco Sketches - 9:27 4 All Blues - 11:32 4

Disc 5 1. 2. 3. 4. 5. 6. 7. 8. 9.

Someday My Prince Will Come - 9:05 5 Teo - 9:36 5 Introduction by Willis Conover - 2:15 6 Ah-Leu-Cha - 5:52 6 Straight No Chaser - 8:47 6 Fran-Dance - 7:13 6 Two Bass Hit - 4:10 6 Bye Bye Blackbird - 9:10 6 The Theme - 2:48 6

Disc 6 1. 2. 3. 4. 1

If I Were a Bell - 8:31 7 Oleo - 10:38 7 My Funny Valentine - 10:18 7 Straight No Chaser - 10:56 7

from Circle in the Round from 'Round About Midnight 3 from Milestones 4 from Kind of Blue 5 from Someday My Prince Will Come 6 from Miles Davis At Newport 1958 7 from Jazz at the Plaza/1958 Miles 2

250

The Complete Columbia Recordings of Miles Davis with John Coltrane 8

from The Columbia Years 1955-1985

Personnel Recorded between October 26, 1955 and March 21, 1961 in New York City (except disk 5, tracks 3-9, recorded in Newport, RI). • • • • • • • • • •

Miles Davis — trumpet John Coltrane — tenor saxophone Hank Mobley — tenor saxophone (Disc 5: track 1) Cannonball Adderley — alto saxophone (Disc 3; Disc 4: tracks 1, 6-9; Disc 5: tracks 3-9; Disc 6) Red Garland — piano (Disc 1; Disc 2; Disc 3: tracks 1-6) Bill Evans — piano (Disc 3: tracks 6-10; Disk 4: track 1, 4-9; Disc 5: tracks 3-9; Disc 6) Wynton Kelly — piano (Disc 4: tracks 2-3; Disc 5: tracks1-2) Paul Chambers — bass Philly Joe Jones — drums (Disc 1; Disc 2; Disc 3: tracks 1-6) Jimmy Cobb — drums (Disc 3: tracks 7-10; Disk 4; Disc 5; Disc 6)


251


252

The Complete In a Silent Way Sessions The Complete In a Silent Way Sessions Box set by Miles Davis Released

2001, reissued in 2004

Recorded September 24, 1968-February 20, 1969 Genre


Length

3:19:24 (all discs) 71:55 (disc 1) 67:09 (disc 2) 71:59 (disc 3)

Label

Columbia Records Professional reviews

• • •

[1] Allmusic link [2] Allmusic (2004 reissue) link [3] Pitchfork Media (9.5/10) link

The Complete In a Silent Way Sessions is a three-disc box set of music recordings by trumpeter Miles Davis. As well as the CDs it includes essays by Michael Cuscuna and Bob Belden and details of the recording sessions. It is number five in the Legacy series of Miles Davis' Complete Sessions box-sets.

Track listing Disc 1 1. 2. 3. 4. 5. 6.

Mademoiselle Mabry - 16:37 Frelon Brun (Brown Hornet) - 5:40 Two Faced - 18:03 Dual Mr. Anthony Tillmon Williams Process - 13:23 Splash: Interlude 1/Interlude 2/Interlude 3 [rejected] - 10:08 Splashdown: Interlude 1 (no horns)/Interlude 2 (no horns) - 8:03

Disc 2 1. 2. 3. 4. 5. 6. 7.

Ascent - 14:54 Directions I - 6:50 Directions II - 4:53 Shhh/Peaceful - 19:17 In A Silent Way (rehearsal) - 5:26 In A Silent Way - 4:18 It's About That Time - 11:27


Disc 3 1. 2. 3. 4.

The Ghetto Walk - 26:49 Early Minor - 6:58 Shhh/Peaceful/Shhh (LP Version) - 18:18 In A Silent Way/It's About That Time/In A Silent Way (LP Version) - 19:52

Personnel Musicians • • • • • • • •

Miles Davis – trumpet Wayne Shorter – soprano saxophone John McLaughlin – electric guitar Chick Corea – electric piano Herbie Hancock – electric piano Joe Zawinul – organ Dave Holland – double bass Ron Carter – double bass

• Tony Williams – drums • Jack Dejohnette – drums • Joe Chambers – drums

References [1] http:/ / www. allmusic. com/ album/ r534858 [2] http:/ / www. allmusic. com/ album/ r694572 [3] http:/ / www. pitchforkmedia. com/ article/ record_review/ 16895-the-complete-in-a-silent-way-sessions

253


In Person Friday and Saturday Nights at the Blackhawk, Complete In Person Friday and Saturday Nights at the Blackhawk, Complete


June 3, 2003

Recorded

April 21 - 22, 1961

Genre

Jazz

Length

117:29 ("Friday"), 123:51 ("Saturday")

Label

Sony

Producer

Bob Belden, Michael Cuscuna, Irving Townsend Professional reviews [1] Allmusic link [2] PopMatters (positive) link

• •


Friday Night In Person at the Blackhawk in San Francisco, Complete (2003)

In Person Friday and Saturday Nights at Saturday Night In Person at the Blackhawk the Blackhawk, Complete in San Francisco, Complete (2003) (2003)

254


255

In Person Friday Night at the Blackhawk (CJM reissue shown)

Live album by Miles Davis Quintet Released

1961

Recorded

April 21, 1961, April 22, 1961

Genre

Jazz

Length

53:29, 57:46

Label

Columbia

Producer

Irving Townsend Professional reviews

• •

Allmusic (Vol. 2)

[3] link [4] link

In Person Friday and Saturday Nights at the Blackhawk, Complete, also called The Complete Blackhawk, is a 2003 four disc collection of the 1961 live performances of the Miles Davis Quintet at the Black Hawk nightclub in San Francisco. These sets, performed with recording in mind,[5] forged new ground for jazz musician Miles Davis, who had never previously been recorded live in a club with his combo.[6] Material from the four sets was first released in 1961 by Columbia Records on two albums, titled In Person Friday Night at the Blackhawk and In Person Saturday Night at the Blackhawk (Vol. 2). Although those albums were subsequently re-rereleased several times, the complete sets were not commercially available until Sony Records released this collection. Simultaneous to this release, Sony released the material as two separate double-albums, entitled Friday Night: In Person at the Blackhawk in San Francisco, Complete and Saturday Night: In Person at the Blackhawk in San Francisco, Complete.[7] The complete collection, which included liner notes from the original release by Monterey Jazz Festival co-founder Ralph J. Gleason as well as additional notes by jazz trumpeter Eddie Henderson was critically and commercially well-received. The collection peaked at #9 on Billboard's "Top Jazz Albums" chart.


Critical reception In its review of the four-disc compilation, The New York Times indicated that the set was "the gold standard for straight-ahead, postwar jazz rhythm".[8] All Music, praising the "pristine" sound and "lovely" packaging suggested that "no Davis fan should be without these recordings purchased separately or as a set".[7] The All About Jazz website said that the set was "so fastidiously remastered it sounds live in your living room".[6]

Complete cover imagery The original 1961 albums and the 2003 complete reissues (both the 4-disc and 2-disc) displayed a photograph by Leigh Wiener of Davis with his soon to be second wife, Frances Taylor, for whom the song "Fran-Dance" was composed. In a 2001 article in The New York Times, historian Robin D.G. Kelley drew attention specifically to this image, including Davis's position and the picture's use of lighting, as an example of Davis's camera awareness and manipulation of what Kelley termed a cultural "pimp aesthetic".[9] Kelley argued that such iconic images of Davis help to demonstrate that Davis was a product and representation of "a masculine culture that aspired to be like a pimp, that embraced the cool performative styles of the players (pronounced 'playas'), the 'macks,' the hustlers, who not only circulated in the jazz world but whose walk and talk also drew from the well of black music".[9] This restoration of the original cover art came after a number of years during which the album was issued using a cover with an atmospheric representation of the exterior of the Black Hawk taken during Davis's performance.

Complete track listing The track listing for In Person Friday and Saturday Nights at the Blackhawk, Complete reproduces in its entirety the performances of Friday and Saturday nights, April 21 and 22, 1961. Because of space constraints and a desire not to divide sets, the producers of the box set put sessions 1 and 3 together on the first disc, placing the more energetic and lengthier 2nd set on Disc Two.[6] For the two double-disc sets, the track listing for Friday Night: In Person at the Blackhawk in San Francisco, Complete is that of Disc One and Disc Two, below. For Saturday Night: In Person at the Blackhawk in San Francisco, Complete, it is that of Disc Three and Disc Four. Except where otherwise noted, all songs by Miles Davis.

Disc One 1. 2. 3. 4. 5. 6. 7.

"Oleo" (Sonny Rollins) – 6:56 "No Blues" – 17:13 "Bye Bye (Theme)" – 2:54 "If I Were a Bell" (Frank Henry Loesser) – 12:43 "Fran-Dance" – 7:38 "On Green Dolphin Street" (Bronislau Kaper, Ned Washington) – 12:12 "The Theme" – :44

256


Disc Two 1. 2. 3. 4. 5. 6.

"All of You" (Cole Porter) – 15:47 "Neo" – 10:18 "I Thought About You" (Johnny Mercer, James Van Heusen) – 5:04 "Bye Bye Blackbird" (Mort Dixon, Ray Henderson) – 9:46 "Walkin'" (Richard Carpenter) – 14:16 "Love, I've Found You" (Reverend C.L. Moore, Danny Small) – 1:54

Disc Three 1. 2. 3. 4. 5. 6. 7. 8.

"If I Were a Bell" (Loesser) – 12:44 "So What" – 12:14 "No Blues" – :27 "On Green Dolphin Street" (Kaper, Washington) – 12:04 "Walkin'" (Carpenter) – 12:24 "'Round Midnight" (Bernie Hanighen, Thelonious Monk, Cootie Williams) – 7:29 "Well, You Needn't" (Monk) – 8:02 "The Theme" – :18

Disc Four 1. 2. 3. 4. 5. 6. 7. 8.

"Autumn Leaves" (Joseph Kosma, Johnny Mercer, Jacques Prévert) – 11:45 "Neo" – 12:29 "Two Bass Hit" (Dizzy Gillespie, John Lewis) – 4:36 "Bye Bye (Theme)" – 3:27 "Love, I've Found You" (Moore, Small) – 1:57 "I Thought About You" (Mercer, VanHeusen) – 5:31 "Someday My Prince Will Come" (Frank Churchill, Larry Morey) – 9:38 "Softly, As in a Morning Sunrise" (Oscar Hammerstein II, Sigmund Rombert) – 8:41

Original CD editions track listing Except where otherwise noted, all songs by Miles Davis.

Friday Night 1. 2. 3. 4. 5. 6.

"Walkin'" (Carpenter) – 14:21 "Bye Bye Blackbird" (Dixon, Henderson) – 9:55 "All of You" (Porter) – 15:44 "No Blues" – 8:53 "Bye Bye/The Theme" – 2:42 "Love, I've Found You" (Moore, Small) – 1:54

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Saturday Night 1. 2. 3. 4. 5. 6.

"Well, You Needn't" (Monk) – 8:16 "Fran-Dance" – 7:40 "So What" – 12:43 "Oleo" (Rollins) – 5:18 "If I Were a Bell" (Loesser) – 11:10 "Neo" – 12:39

Original 1961 vinyl editions track listing Except where otherwise noted, all songs by Miles Davis.

Friday Night Side A 1. "Walkin'" (Carpenter) – 14:20 2. "Bye Bye Blackbird" (Dixon, Henderson) – 10:02 Side B 1. 2. 3. 4.

"All of You" (Porter) – 10:30 "No Blues" – 9:09 "Bye Bye/The Theme" – 2:36 "Love, I've Found You" (Moore, Small) – 1:59

Saturday Night Side A 1. "Well, You Needn't" (Monk) – 4:42 2. "Fran-Dance" – 6:06 3. "So What" – 12:44 Side B 1. "Oleo" (Rollins) – 5:12 2. "If I Were a Bell" (Loesser) – 8:40 3. "Neo" – 12:51

Personnel Performance • • • • •

Miles Davis – trumpet Hank Mobley – sax (tenor) Wynton Kelly – piano Paul Chambers – bass Jimmy Cobb – drums

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Production • • • • • • • • • • • • • • • •

Bob Belden – reissue producer Steven Berkowitz – A&R Stacey Boyle – tape research Harold Chapman – engineer Michael Cuscuna – reissue producer Howard Fritzson – reissue art director Ralph J. Gleason – liner notes Eddie Henderson – reissue liner notes Patti Matheny – artist coordination Seth Rothstein – project director Darren Salmieri – artist coordination Chuck Stewart – photography Irving Townsend – producer Mark Unterberger – packaging manager Leigh Wiener – cover photo Mark Wilder – audio remixing, audio mastering

• Kyle Wofford – artist coordination

Further reading • In Person Friday Night At The Blackhawk, Complete, Volume I review [10] at All About Jazz • In Person Saturday Night At The Blackhawk, Complete, Volume II review [11] at All About Jazz

References [1] [2] [3] [4] [5]

http:/ / www. allmusic. com/ album/ r643812 http:/ / www. popmatters. com/ music/ reviews/ d/ davismiles-inperson. shtml http:/ / www. allmusic. com/ album/ r137448 http:/ / www. allmusic. com/ album/ r137500 Staff. Miles Davis: Friday Night at the Blackhawk (http:/ / www. uncut. co. uk/ music/ miles_davis/ reviews/ 5818) Uncut. Retrieved 15-05-08. [6] Colette, Dough. (November 23, 2003) Miles Davis boxes: Jack Johnson and At The Blackhawk (http:/ / www. allaboutjazz. com/ php/ article. php?id=874). All About Jazz. Retrieved 15-05-08 [7] In Person Friday and Saturday Nights at the Blackhawk, Complete (http:/ / www. allmusic. com/ album/ r643812) at Allmusic [8] Ratliff, Ben. (June 8, 2003) At Last: Miles Live at the Blackhawk (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9400E7DD1030F93BA35755C0A9659C8B63) The New York Times. Retrieved 15-05-08. [9] Kelley, Robin D.G. (May 13, 2001) Miles Davis: A jazz genius in the guise of a hustler (http:/ / www. nytimes. com/ 2001/ 05/ 13/ arts/ 13KELL. html?pagewanted=1& ei=5070& en=d5cedcfe78cca7b4& ex=1210996800) New York Times. Retrieved 15-05-08. [10] http:/ / www. allaboutjazz. com/ reviews/ r0503_078. htm [11] http:/ / www. allaboutjazz. com/ php/ article. php?id=11727

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External links • • • •

Complete discography information and song samples from Sony's official site (http://www.miles-davis.com/) In Person Friday Night at the Blackhawk (http://www.allmusic.com/album/r137448) at Allmusic In Person Saturday Night at the Blackhawk, Vol. 2 (http://www.allmusic.com/album/r137500) at Allmusic In Person Friday Night at the Blackhawk, Complete, Vol. 1 (http://www.allmusic.com/album/r643735) at Allmusic • In Person Saturday Night at the Blackhawk, Complete, Vol. 2 (http://www.allmusic.com/album/r643781) at Allmusic

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261

The Complete Jack Johnson Sessions The Complete Jack Johnson Sessions


September 30, 2003

Recorded

November 19, 1969-June 4, 1970

Genre

Jazz-Funk, Jazz-Rock

Length

352:26

Label

Columbia Professional reviews

• •

[1] Allmusic link [2] Pitchfork Media (8.6/10) link Miles Davis chronology

Live-Evil (1970)

The Complete Jack Johnson Sessions (1970)

The Cellar Door Sessions (1970)

The Complete Jack Johnson Sessions were recorded in April 1970 by Miles Davis, and released in September 2003. These sessions formed the basis for the 1970 album A Tribute to Jack Johnson. They were recorded as the soundtrack for a documentary by the same name about the heavyweight world champion boxer Jack Johnson. One of the tracks closes with brief soliloquy by actor Brock Peters portraying Johnson.


Track listing Disc One (75:10) • Tracks 1-4 recorded February 18, 1970 Columbia Studio B, New York, NY • Tracks 5-9 recorded February 27, 1970 Columbia Studio B, New York, NY • Track 10 recorded March 3, 1970 Columbia Studio B, New York, NY 1. "Willie Nelson (Take 2)"** – 6:41 2. "Willie Nelson (Take 3)"* – 10:21 3. "Willie Nelson (Insert 1)"** – 6:33 4. "Willie Nelson (Insert 2)"** – 5:22 5. "Willie Nelson (Remake Take 1)"* – 10:45 6. "Willie Nelson (Remake Take 2)" – 10:17 7. "Johnny Bratton (Take 4)"* – 8:18 8. "Johnny Bratton (Insert 1)"* – 6:39 9. "Johnny Bratton (Insert 2)"* – 5:20 10. "Archie Moore"* – 4:45 Disc Two (68:19) • Tracks 1-5 recorded March 3, 1970 Columbia Studio B, New York, NY • Tracks 6-7 recorded March 17, 1970 Columbia Studio C, New York, NY • Track 8 recorded March 20, 1970 Columbia Studio B, New York, NY 1. 2. 3. 4. 5. 6. 7. 8.

"Go Ahead John (Part One)"** – 13:07 "Go Ahead John (Part Two A)"** – 7:00 "Go Ahead John (Part Two B)"** – 10:06 "Go Ahead John (Part Two C)"** – 3:38 "Go Ahead John (Part One Remake)"** – 11:04 "Duran (Take 4)"* – 5:37 "Duran (Take 6)" – 11:20 "Sugar Ray"* – 6:16

Disc Three (77:48) • Tracks 1-6 recorded April 7, 1970 Columbia Studio B, New York, NY • Tracks 7-8 recorded May 19, 1970 Columbia Studio C, New York, NY 1. 2. 3. 4. 5. 6. 7. 8.

"Right Off (Take 10)" – 11:09 "Right Off (Take 10A)"** – 4:33 "Right Off (Take 11)"** – 5:58 "Right Off (Take 12)"** – 8:49 "Yesternow (Take 16)"* – 9:49 "Yesternow (New Take 4)"** – 16:02 "Honky Tonk (Take 2)"** – 10:04 "Honky Tonk (Take 5)"* – 11:29

Disc Four (71:14) • Tracks 1-2 recorded May 19, 1970 Columbia Studio C, New York, NY • Track 3 recorded May 21, 1970 Columbia Studio C, New York, NY • Tracks 6-10 recorded June 3, 1970 Columbia Studio C, New York, NY • Tracks 11-12 recorded June 4, 1970 Columbia Studio C, New York, NY 1. "Ali (Take 3)"* – 6:50 2. "Ali (Take 4)"* – 10:16

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The Complete Jack Johnson Sessions 3. "Konda"** – 16:29 4. "Nem Um Talvez (Take 17)"* – 2:50 5. "Nem Um Talvez (Take 19)"* – 2:54 6. "Little High People (Take 7)"* – 6:52 7. "Little High People (Take 8)"* – 9:28 8. "Nem Um Talvez (Take 3)"* – 4:36 9. "Nem Um Talvez (Take 4A)" – 2:04 10. "Selim (Take 4B)" – 2:15 11. "Little Church (Take 7)"* – 3:18 12. "Little Church (Take 10)" – 3:15 Disc Five (76:04) • Tracks 1-2 recorded June 4, 1970 Columbia Studio C, New York, NY • Track 3 recorded April 7, 1970 Columbia Studio B, New York, NY • Includes an excerpt from an unaccompanied trumpet solo from November 19 or 18, 1969 • Track 4 recorded April 7, 1970 Columbia Studio B, New York, NY ("Yesternow") + February 18, 1970 Columbia Studio B, New York, NY ("Willie Nelson" uncredited) • Includes an excerpt from the unaccompanied November 1969 trumpet solo with arco bass overdubbed • Includes an excerpt of "Shhh/Peaceful" recorded February 18, 1969 • Includes an excerpt from the unaccompanied November 1969 trumpet solo with the following overdubs: orchestra arranged by Teo Macero and narration by Brock Peters 1. 2. 3. 4.

"The Mask (Part One)"* – 7:47 "The Mask (Part Two)"* – 15:45 "Right Off" – 26:54 "Yesternow" – 25:36

All compositions by Miles Davis except Disc Four, tracks 4 through 12 by Hermeto Pascoal. (*) Previously Unissued (**) Previously Unissued in Full

Personnel • • • • • • • • • • • • • •

Miles Davis - Trumpet Bennie Maupin - Bass Clarinet Steve Grossman - Soprano Saxophone Wayne Shorter - Soprano Saxophone Chick Corea - Electric Piano, Organ, Electric Piano with Ring Modulator Herbie Hancock - Organ, Electric Piano Keith Jarrett - Electric Piano, Electric Piano with Wah Wah Sonny Sharrock - Electric Guitar, Echoplex John McLaughlin - Electric Guitar Dave Holland - Electric Bass, Double Bass Michael Henderson - Electric Bass Gene Perla - Electric Bass Ron Carter - Double Bass Jack DeJohnette - Drums

• Billy Cobham - Drums • Lenny White - Drums

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The Complete Jack Johnson Sessions • Airto Moreira - Percussion, Berimbau, Cuica • Hermeto Pascoal - Voice, Drums

External links • Article about the making of Jack Johnson and The Complete Jack Johnson Sessions boxed set at the Miles Beyond site, dedicated to the electric music of Miles Davis [3]

References [1] http:/ / www. allmusic. com/ album/ r645582 [2] http:/ / www. pitchforkmedia. com/ article/ record_review/ 16896-the-complete-jack-johnson-sessions [3] http:/ / www. miles-beyond. com/ jackjohnson. htm

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265

Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964 Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964


2004

Recorded

1963-1964

Label

Columbia/Legacy Professional reviews

•

Rolling Stone

link

[1]


The Essential Miles Davis (2001)

Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964 (2004)

Cool & Collected (2006)

Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964 is a box set of Miles Davis work for Columbia Records over a two year period. Disc 1 and 2 are the sessions that made up the Seven Steps to Heaven album. Disc 2 and 3 are the sessions that made up the In Europe album. Disc 4 and 5 are the sessions that made up the My Funny Valentine and Four & More albums, both recorded in 1964 at the Lincoln Center, New York, on February 12, 1964. Disc 6 contains the Miles in Tokyo album, with Sam Rivers replacing George Coleman. Disc 7 contains the album Miles in Berlin, which was previously only available in Germany.


References [1] http:/ / www. webcitation. org/ 5uHBqtbth

The Complete On the Corner Sessions The Complete On the Corner Sessions


October 2, 2007

Recorded

Columbia Studio E and Columbia Studio B, 49 E. 53nd Street, (NYC) June 1972- May1975; March 9, 1972; June 1, 1972; June 6, 1972; June 12, 1972; August 23, 1972; September 6, 1972; December 8, 1972; January 4, 1973; July 26, 1973; September 17, 1973; September 18, 1973; June 19, 1974; October 7, 1974; November 6, 1974; May 5, 1975

Genre

Jazz-funk, fusion

Length

6:47:13

Label

Columbia

Producer

Teo Macero Professional reviews [1] Allmusic link [2] BBC (favorable)link [3] Music Box link [4] Pitchfork Media (9.2/10) link [5] Rolling Stone link

• • • • •



The Complete On the Corner Sessions (1972)

Big Fun (1969 - 1972)

The Complete On the Corner Sessions is the eighth and final deluxe box set in Columbia Records' Miles Davis Series[6] . Columbia has released a series of ten box sets containing recordings from the 1950s to the 1970s. These contain material not available on other Columbia albums. Following The Complete In a Silent Way Sessions, The Complete Bitches Brew Sessions, The Complete Jack Johnson Sessions, and The Cellar Door Sessions, this release includes the

266

The Complete On the Corner Sessions funk/jazz fusion album On the Corner, which would have a strong influence on hip hop . The album was Davis' electronic twist on what Duke Ellington called the "jungle sound." His band was made up of musicians trained not only in the basics of jazz, but on the newer sounds of James Brown and Sly Stone. The box set includes more than 6 hours of music. Twelve of these are previously unissued tracks. Another five tracks are previously unissued in full. They cover sixteen sessions from On the Corner, Big Fun, and Get Up with It until Davis's mid-seventies retirement. Miles is joined in these recordings by Chick Corea, Herbie Hancock, John McLaughlin, Jack DeJohnette, Billy Hart, and many others. The 6-CD deluxe edition also contains a 120-page full-color booklet with liner notes and essays by producer Bob Belden, journalist Tom Terrell, and arranger/composer Paul Buckmaster as well as rare photographs and new illustrations[7] .

Recording history As with many of the Miles Davis boxed sets, the overall title is rather misleading. The On the Corner boxed set covers three years of sessions, from March 1972 to May 1975, and contains music with different styles, concepts, approaches and personnel. Similarly, The Complete Bitches Brew Sessions includes all of the sessions Davis recorded between August 1969 and February 1970, although the actual Bitches Brew sessions took place over just three days in August 1969. The sessions for the 1972 album On the Corner were recorded in June and September 1972. On the Corner was scorned by critics at the time of its release and was one of Davis' worst-selling recordings. Its critical standing has improved with the passage of time; today it is seen as a strong forerunner of the musical techniques of hip hop, drum and bass, and electronic music. Davis claimed that On the Corner was an attempt to connect with a young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, from a musical standpoint the album was a culmination of sorts of the musique concrète approach that Davis and producer Teo Macero (who had studied with Otto Luening at Columbia University's Computer Music Center) had begun to explore in the late 1960s. Both sides of the record were based around simple, repetitive drum and bass grooves (the track delineations on the original album were arbitrary), with the "melodic" parts snipped from hours of meandering jams. These techniques, refined via the use of computers and digital audio equipment, are now standard amongst producers of electronically-based music. Davis also cited the contemporary composer [[Karlheinz Stockhausen] (who was later falsely rumored to have recorded with the trumpeter in the late 1970s) and Paul Buckmaster (who played electric cello on the album and contributed some arrangements) as musical influences on the album.

Content The box set contains over three hours of previously unreleased material. On the November 6, 1974 date, guitarist Pete Cosey replaced Al Foster on drums on "Hip-Skip." Later that day he returned to guitar for "What They Do", playing alongside Dominique Gaumont. "Minnie" is based on the Minnie Ripperton song "Loving You", and is considered to have an almost commercial disco sound, the most mainstream-sounding track of the collection. Certain critics argue that it points towards Davis' more melodic and arranged music of the 1980s[8] .

267


Track listing This list is the same as the provisional one that was published in early 2007, but the CD order has been swapped, some of the previously unreleased tracks have undergone edits, coming in at different lengths, and they have been given titles by Vince Wilburn, Davis' nephew, and Erin Davis, Miles' youngest son. Disc One 1. 2. 3. 4. 5.

On The Corner (unedited master, recorded June 1, 1972) - 19:25 On The Corner (take 4, recorded June 1, 1972) - 5:15 One And One (unedited master, recorded June 6, 1972) - 17:55 Helen Butte/Mr. Freedom X (unedited master, recorded June 6, 1972) - 23:37 Jabali (recorded June 12, 1972) - 11:04

Disc 1 remixed by Richard King and Bob Belden in 2007 Disc Two 1. 2. 3. 4.

Ife (recorded June 12, 1972) - 21:33 Chieftain (recorded August 23, 1972) — 14:37 Rated X (recorded September 6, 1972) - 6:50 Turnaround (recorded November 29, 1972) - 17:16

5. U-turnaround (recorded November 1972) - 08:27 Track 1 from BIG FUN Track 3 from GET UP WITH IT Tracks 4 and 5 are outtakes from the same track, sections of which were previously released on Bill Laswell's Panthalassa as Agharta Prelude Dub. See note below. Tracks 2, 3 & 5 remixed by Richard King and Bob Belden in 2007 Disc Three 1. 2. 3. 4. 5. 6.

Billy Preston (recorded December 8, 1972) - 12:33 The Hen (recorded January 4–5, 1973) — 12:55 Big Fun/Holly-wuud (take 2) (recorded July 26, 1973) — 6:32 Big Fun/Holly-wuud (take 3) (recorded July 26, 1973) — 7:07 Peace (recorded July 26, 1973) — 7:01 Mr Foster (recorded September 17, 1973) — 15:14

Track 1 from stereo LP master of GET UP WITH IT Tracks 2-6 remixed by Richard King and Bob Belden in 2007 Disc Four 1. Calypso Frelimo (Sep 17, 1973) - 32:08 2. He Loved Him Madly (Jun 19, 1974) - 32:17 Both tracks from stereo LP master of GET UP WITH IT Disc Five 1. 2. 3. 4. 5. 6.

Maiysha (recorded October 7, 1974) - 14:51 Mtume (recorded October 7, 1974) - 15:08 Mtume (take 11) (recorded October 7, 1974) - 06:51 Hip-Skip (recorded November 6, 1974) - 18:59 What They Do (recorded November 6, 1974) - 11:44 Minnie (recorded May 5, 1975) - 3:53

Tracks 1 & 2 from stereo LP master of GET UP WITH IT Tracks 3-6 remixed by Richard King and Bob Belden in 2007 Disc Six 1. Red China Blues (recorded 3/9/72) - 4:06

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The Complete On the Corner Sessions 2. On The Corner/New York Girl/Thinkin' Of One Thing And Doin' Another/Vote For Miles (recorded June 1, 1972) - 19:54 3. Black Satin (recorded June 1 and July 7, 1972) - 5:15 4. One And One (recorded June 6, 1972) - 6:09 5. Helen Butte/Mr. Freedom X (master)(recorded June 6, 1972) - 23:14 6. Big Fun (recorded July 26, 1972) - 2:32 7. Holly-wuud (recorded July 26, 1972) - 2:54 Track 1 from stereo LP master of GET UP WITH IT Tracks 2-5 are the stereo LP master of ON THE CORNER Tracks 6 & 7 are the masters for a 45 single, both are taken from track 4 on CD 3.

Notes Note 1: All tracks composed by Miles Davis, unless noted otherwise. Note 2: All tracks remixed by Richard King and Bob Belden are previously unreleased. Note 3: On the two Turnaround tracks. The titles are confusing, as "Turnaroundphrase" is the title traditionally given to a completely different piece, namely the opening section of for instance Dark Magus and Pangaea. Saxophonist Dave Liebman called it "Turnaroundphrase", as does Jan Lohmann in his seminal discography on Miles. What's more, Turnaround and U-Turnaround are based on the tune that appears after 22:01 in "Prelude" on Agharta. On the LP version it's actually called "Prelude Pt2." It also appears on another official Sony release, Bill Laswell's Panthalassa. Laswell calls it "Agharta Prelude Dub". Why the makers of the On The Corner boxed set didn't stick to convention as established by Sony itself is a mystery.

Columbia Studio E recording sessions 1972-1976, NYC All sessions listed could possibly be included on the forthcoming box set 1972 • Miles Davis Octet - March 9, 1972 1. Red China Blues (Originally Released on Get Up With It) • Miles Davis and His Band - June 1, 1972 1. 2. 3. 4.

On the Corner New York Girl Thinkin' One Thing and Goin' Another Vote for Miles (All Songs Originally Released on On The Corner)

• Miles Davis and His Band - June 6, 1972 1. One and One 2. Helen Butte / Mr. Freedom X (All Songs Originally Released on On The Corner) • Miles Davis and His Band - June 12, 1972 1. Jabali (unissued) 2. Ife (Originally Released on Big Fun) • Miles Davis and His Band - July 7, 1972 1. Black Satin (Originally Released on On The Corner)

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The Complete On the Corner Sessions • Miles Davis Octet - September 6, 1972 1. Rated X (Originally Released on Get Up With It) • Miles Davis Nonet - September 6, 1972 1. Billy Preston (Originally Released on Get Up With It) 1973 • Miles Davis Septet - July 26, 1973 1. 2. 3. 4. 5.

Holly-Wuud Big Fun TDK Funk TDK Funk (alt. take 1) TDK Funk (alt. take 2) (Unreleased or Unknown Sessions)

• Miles Davis Octet - September 17, 1973 1. Calypso Frelimo (Originally released on Get Up with It) 1974 • Miles Davis Octet - June 19 or 20, 1974 1. He Loved Him Madly (Originally released on Get Up with It) • Miles Davis Octet - October 7, 1974 1. Mtume 2. Maiysha (Originally released on Get Up with It) 1975 • Miles Davis Septet - February 27, 1975 1. Turn of the Century (Untitled piece) (Unreleased or unknown Sessions) • Miles Davis Septet - May 5, 1975 1. Untitled Latin Tracks 1-5 (Unreleased or unknown Sessions) 1976 • Miles Davis Octet - March 30, 1976 1. Mother Dearest Mother 2. Untitled Track 1 3. Untitled Track 2 (Unreleased or unknown Sessions)

270


Performers • • • • • • • • • • • • • • • •

Miles Davis - Electric Trumpet with Wah Wah, organ, Electric piano Badal Roy - Tabla Bennie Maupin - Bass clarinet Carlos Garnett - Alto and tenor saxophone Don Alias - Percussion Chick Corea - synthesiser, Electric piano Collin Walcott - Sitar Dave Liebman - Soprano saxophone David Creamer - Electric guitar Harold I. Williams - Electric piano, synthesiser Herbie Hancock - Organ, Electric piano, synthesiser Jabali Billy Hart - drums, bongos Jack DeJohnette - drums James Mtume Foreman - Percussion John McLaughlin - Electric guitar Lonnie Liston Smith - Organ

• • • • • •

Michael Henderson - Electric bass with Wah Wah Paul Buckmaster - Cello Cedric Lawson - electric piano Reggie Lucas - electric guitar Khalil Balakrishna - electric sitar Al Foster - drums

• • • •

Dave Liebman - flute Pete Cosey - electric guitar Dominique Gaumont - electric guitar Sonny Fortune - flute

Performers by year 1972 • • • • • • • • • •

Miles Davis — electric trumpet with Wah Wah, organ Cedric Lawson — electric piano Reggie Lucas — electric guitar Khalil Balakrishna — electric sitar Michael Henderson — bass guitar Al Foster — drums James Mtume Foreman — percussion Badal Roy — tabla Sonny Fortune — flute Carlos Garnett — soprano saxophone

1973 • Miles Davis — electric trumpet with Wah Wah, electric piano, organ • Dave Liebman — flute • John Stubblefield — soprano saxophone • Pete Cosey — electric guitar

271

The Complete On the Corner Sessions • • • •

Reggie Lucas — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume Foreman — percussion

1974 • • • • • • • • •

Miles Davis — electric trumpet with Wah Wah, organ Dave Liebman — soprano saxophone, flute Sonny Fortune — flute Pete Cosey — electric guitar Reggie Lucas — electric guitar Dominique Gaumont — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume Foreman — percussion

Performers by song "Ife" & "Jabali" (12 June 1972 - Columbia Studio E) • • • • • • • • • • •

Miles Davis - Electric trumpet with Wah Wah Sonny Fortune - soprano saxophone, flute Bennie Maupin - clarinet, flute Carlos Garnett - soprano saxophone Lonnie Smith - piano Harold I. Williams, Jr. - piano Michael Henderson - double bass Al Foster - drums Billy Hart - drums Badal Roy - tabla James Mtume - African percussion

"Rated X" (6 September 1972 - Columbia Studio E) • • • • • • • •

Miles Davis - Electric trumpet with Wah Wah Cedric Lawson – Fender Rhodes electric piano Reggie Lucas - electric guitar Khalil Balakrishna - electric sitar Michael Henderson - bass guitar Al Foster - drums James Mtume Foreman - percussion Badal Roy - tabla

"Billy Preston" (8 December 1972 - Columbia Studio E) • • • • •

Miles Davis - Electric trumpet with Wah Wah Carlos Garnett - soprano saxophone Cedric Lawson – Fender Rhodes electric piano Reggie Lucas - electric guitar Khalil Balakrishna - electric sitar

• Michael Henderson - bass guitar • Al Foster - drums

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The Complete On the Corner Sessions • James Mtume Foreman - percussion • Badal Roy - tabla "Calypso Frelimo" (17 September 1973 - Columbia Studio E) • • • • • • • •

Miles Davis — Electric trumpet with Wah Wah, electric piano, organ Dave Liebman — flute John Stubblefield — soprano saxophone Pete Cosey — electric guitar Reggie Lucas — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume Foreman — percussion

"Calypso Frelimo" (17 September 1973 - Columbia Studio E) • • • • •

Miles Davis — Electric trumpet with Wah Wah, electric piano, organ Dave Liebman — flute John Stubblefield — soprano saxophone Pete Cosey — electric guitar Reggie Lucas — electric guitar

• Michael Henderson — bass guitar • Al Foster — drums • James Mtume Foreman — percussion "He Loved Him Madly" (19 or 20 June 1974 - Columbia Studio E) • • • • • • • •

Miles Davis — Electric trumpet with Wah Wah, organ Dave Liebman — soprano saxophone, flute Pete Cosey — electric guitar Reggie Lucas — electric guitar Dominique Gaumont — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume Foreman — percussion

"Mtume" (7 October 1974 - Columbia Studio E) • • • • • • •

Miles Davis — Electric trumpet with Wah Wah, organ Sonny Fortune — flute Pete Cosey — electric guitar Reggie Lucas — electric guitar Michael Henderson — bass guitar Al Foster — drums James Mtume Foreman — percussion

"Maiysha" (7 October 1974 - Columbia Studio E) • • • • •

Miles Davis — Electric trumpet with Wah Wah, organ Sonny Fortune — flute Pete Cosey — electric guitar Reggie Lucas — electric guitar Dominique Gaumont — electric guitar

• Michael Henderson — bass guitar • Al Foster — drums

273

The Complete On the Corner Sessions • James Mtume Foreman — percussion

Performers by recording session March 9, 1972 Miles Davis (tpt); Wally Chambers (hca); Cornel Dupree (g); Michael Henderson (el-b); Al Foster (d); Bernard Purdie (d); James Mtume Forman (cga, perc); Wade Marcus (brass arr); Billy Jackson (rhythm arr) June 1, 1972 Miles Davis (tpt); Dave Liebman (ss); Chick Corea (synth); Herbie Hancock (org); Harold I. Williams (el-p); John McLaughlin (g); Collin Walcott (sitar); Paul Buckmaster (cello); Michael Henderson (el-b); Jack DeJohnette (d); Jabali Billy Hart (d, perc, bgo); Charles Don Alias (cga, perc); James Mtume Forman (cga, perc); Badal Roy (tabla) June 6, 1972 Miles Davis (tpt); Carlos Garnett (as, ts); Bennie Maupin (bcl); Herbie Hancock (el-p, synth); Harold I. Williams (el-p, synth); Lonnie Liston Smith (org); David Creamer (g); Collin Walcott (sitar); Paul Buckmaster (cello); Michael Henderson (el-b); Jack DeJohnette (d, handclaps); Jabali Billy Hart (d, handclaps); Charles Don Alias (perc, handclaps); James Mtume Forman (perc, handclaps); Badal Roy (tabla, handclaps) June 12, 1972 Miles Davis (tpt); Carlos Garnett (ss); Bennie Maupin (bcl); Lonnie Liston Smith (org); Harold I. Williams (el-p, synth); Michael Henderson (el-b); Al Foster (d); Jabali Billy Hart (d, perc); James Mtume Forman (cga, perc); Badal Roy (tabla) August 23, 1972 Miles Davis (tpt); Cedric Lawson (org); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); Badal Roy (tabla); James Mtume Forman (cga) September 6, 1972 Miles Davis (org); Reggie Lucas (g); Khalil Balakrishna (sitar); Cedric Lawson (synth); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla) November 29, 1972 Miles Davis (tpt); Carlos Garnett (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla) December 8, 1972 Miles Davis (org); Carlos Garnett (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla) January 4, 1973 Miles Davis (tpt); Dave Liebman (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla) July 26, 1973 Miles Davis (tpt, org); Dave Liebman (ss, fl); Pete Cosey (g); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc) September 17, 1973 Miles Davis (tpt, org); Dave Liebman (ts, fl); John Stubblefield (ss); Pete Cosey (g); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc) September 18, 1973 Miles Davis (tpt, org); Dave Liebman (ts); Pete Cosey (g); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga) June 19, 1974 Miles Davis (tpt, org); Dave Liebman (fl); Pete Cosey (g); Reggie Lucas (g); Dominique Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc) October 7, 1974 Miles Davis (tpt, org); Sonny Fortune (ss, fl); Pete Cosey (g); Reggie Lucas (g); Dominique Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc) November 6, 1974 Miles Davis (tpt, org); Sonny Fortune (ss, ts, fl); Pete Cosey (g, d, perc); Reggie Lucas (g); Dominique Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc) May 5, 1975 Miles Davis (tpt, org); Sam Morrison (ts); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

274


References [1] [2] [3] [4] [5] [6] [7] [8]

http:/ / www. allmusic. com/ album/ r1185088 http:/ / www. bbc. co. uk/ music/ release/ 6qdp/ http:/ / www. musicbox-online. com/ reviews-2007/ milesdavis-cornersessions-09172007. html http:/ / www. pitchforkmedia. com/ article/ record_review/ 47055-the-complete-on-the-corner-sessions http:/ / www. rollingstone. com/ reviews/ album/ 16476099/ review/ 17118227/ the_complete_on_the_corner_sessions http:/ / www. amazon. com/ Complete-Corner-Sessions-Miles-Davis/ dp/ B000TLMWMO/ ref=sr_1_1?ie=UTF8& qid=1301238970& sr=1-1 http:/ / www. miles-beyond. com/ otcbox. htm http:/ / www. allmusic. com/ album/ r1185088

External links • Article about release (http://weblogs.variety.com/thesetlist/jazz/index.html) • On The Corner track sheets at the Miles Beyond web site (http://www.miles-beyond.com/otc.htm) • On The Corner official track list, plus annotations on the Miles Beyond site (http://www.miles-beyond.com/ otcbox.htm) • Complete Miles Davis Recording Session and Personnel Listings (http://www.jazzdisco.org/miles/dis/c/ #720309)

275


Miles Davis: The Complete Columbia Album Collection The Complete Columbia Album Collection Box set by Miles Davis Released November 24, 2009 Genre

Jazz

Label

Sony Legacy

Producer Daniel Baumgarten, Richard Seidet

Miles Davis: The Complete Columbia Album Collection is a box set by jazz musician Miles Davis, released in 2009. It contains all the official releases on the Columbia Records label. The box set consists of 70 CDs and 1 DVD.

Album groups • • • •

2nd depth is a live recording. Compilations may not belong to one specific period. No## shows the album order in the box set. rec. stands for recorded year, rel. for released year.

-55 1. No01. In Paris Festival International de Jazz May, 1949 (rec. 1949, rel. 1977)[SRCS 9724]

55-60 with Coltrane with Julian "Cannonball" Adderley / Paul Chambers / John Coltrane / Bill Evans / Wynton Kelly / Hank Mobley / Philly Joe Jones / Jimmy Cobb ... 1. No02. 'Round About Midnight (rec. 1955-1956, rel. 1956)[CK-85201] 2. No05. Milestones (rec. 1958, rel. 1958 .)[CK-85203] 3. No06. 1958 Miles (rec. 1958, rel. 1958)[C6K-65833] 1. No07. At Newport 1958 (rec. 1958, rel. 1958)[CK-85202] 2. No09. Jazz at the Plaza (rec. 1958, rel.1973)[CK-85245] 4. No10. Kind of Blue (rec. 1959, rel. 1959)[CK-64935] 5. No13. Someday My Prince Will Come (rec.1961, rel. 1961)[CK-65919]

with Gil Evans 1. 2. 3. 4.

No04. Miles Ahead (rec. 1957, rel. 1957)[CK-65121] No08. Porgy And Bess (rec. 1958, rel. 1958)[CK-65141] No11. Sketches Of Spain (rec. 1959-1960, rel. 1960)[CK-65142] No17. Quiet Nights (rec. 1962, rel. 1963)[CK-65293] + "Blue Xmas (To Whom It May Concern)" and "Devil May Care" [CXK-67397]

276


61 Sessions with Hank Mobley / Wynton Kelly / Paul Chambers / Jimmy Cobb 1. No14. In Person Friday Night At The Blackhawk, San Francisco Complete (rec. 1961, rel.1961, 2CD)[C2K-87097] 2. No15. In Person Saturday Night At The Blackhawk, San Francisco Complete (rec. 1961, rel.1961, 2CD)[C2K-87100] 3. No16. At Carnegie Hall / The Complete Concert (rec.1961, rel.1962, 2CD)[C2K-65027]

63-64 Sessions with George Coleman (Wayne Shorter) / Herbie Hancock (Victor Feldman) / Ron Carter / Tony Williams (Frank Butler) 1. No18. Seven Steps to Heaven (rec 1963., rel.1963)[CK-93592] 1. 2. 3. 4.

No19. In Europe (rec. 1963, rel. 1964)[CK-93583] No20. My Funny Valentine (rec. 1964, rel.1965)[CK 93593] No21. "Four" & More (rec. 1964, rel.1966)[CK-93595] No22. Miles In Tokyo (rec. 1964, rel. 1969)[CK-93596]

5. No23. Miles In Berlin (rec. 1964, rel.1965)[CK-93594]

65-68 The Miles Davis Quintet with Wayne Shorter / Herbie Hancock / Ron Carter / Tony Williams 1. No24. E.S.P. (rec. 1965, rel. 1965)[CK-65683] 1. No25. Live At The Plugged Nickel (rec.1965, 2CD)[CXK-66955] 2. No26. Miles Smiles (rec.1966, rel. 1967)[CK-65682] 3. No27. Sorcerer (rec.1967, rel. 1967)[CK-65680] 4. No28. Nefertiti (rec. 1967, rel. 1968)[CK-65681] 1. DVD Miles Davis In Germany & Sweden (10/31/67) 5. No30. Miles in the Sky (rec.1968, rel. 1968)[CK-65684] 6. No29. Water Babies (rec. 1967-1968, rel.1976)[CK-86557]

68-70 Music Directed by Miles Davis with Wayne Shorter / Herbie Hancock / Chick Corea / Ron Carter / Tony Williams / John McLaughlin / Joe Zawinul / Keith Jarrett / Jack DeJohnette / ... 1. 2. 3. 4.

No31. Filles de Kilimanjaro (rec. 1968, rel.1969)[CK-86555] No32. In a Silent Way (rec.1969 rel. 1969)[CK-86556] No33. Bitches Brew (rec. 1969, rel. 1970, 2CD)[C2K-65774] No35. A Tribute to Jack Johnson (rec. 1970, rel. 1971)[CK-93599]

1. No36. Live at the Fillmore East, March 7, 1970: It's About that Time (rec. 1970, rel. 2001, 2CD)[C2K-85191] 2. No37. Black Beauty: Miles Davis at the Fillmore West (rec. 1970, rel. 1977, 2CD)[C2K-65138] 3. No38. Miles Davis at Fillmore: Live at the Fillmore East (rec. 1970, rel. 1970, 2CD)[C2K-65139] 4. No39. Isle Of Wight (rec. 1970, rel. 2009) 5. No40. Live-Evil (rec. 1970, rel.1971, 2CD)[C2K-65135] 5. No03. Circle in the Round (rec. 1955 - 1970, rel. 1979, 2CD)[C2K-46862] Compilation 6. No12. Direction (rec. 1960-1970, rel.1981, 2CD)[SRCS 9761/2] Compilation 7. No34. Big Fun (rec.1969-1972, rel. 1974, 2CD)[C2K-63973]

277


72-75 On the Corner 1. No41. On The Corner (rec. 1972, rel.1972)[CK-63980] 1. No42. In Concert: Live at Philharmonic Hall (rec. 1972, rel. 1973, 2CD)[C2K-65140] 2. No44. Get Up With It (rec. 1970-1974, rel.1974, 2CD)[C2K-63970] 1. No43. Dark Magus (rec. 1974, rel.1977, 2CD)[C2K-65137] 2. No45. Agharta (rec. 1975, rel. 1976, 2CD)[C2K-46799] 3. No46. Pangaea (rec. 1975, rel. 1975, 2CD)[C2K-46115]

81-83 with Bill Evans & Marcus Miller 1. No47. The Man With The Horn (rec. 1980-1981, rel.1981)[CK-36790] 2. No48. We Want Miles (rec. 1981, rel. 1982, 2CD)[SICP 1235/6 ] + 3 bonus trks from Miles!, Miles!, Miles! 3. No49. Star People (rec. 1982-1983, rel. 1983)[CK-38657]

83-85 Final albums in Columbia 1. No50. Decoy (rec. 1983, rel. 1984)[CK-38991] 2. No51. You're Under Arrest (rec. 1984-1985, rel. 1985)[CK-40023] 3. No52. Aura (rec. 1985, rel. 1989)[CK-45332]

Production • Box Set Producer - Daniel Baumgarten and Richard Seidet • Boxset Supervision/A&R - Steve Berkowitz • Mastering Engineer - Mark Wilder and Maria at Battery Studio, NYC • Mastering coordination - Donna Kloepfer • Project Direction - Adam Farber and Zak Profera • Archival Research - Michael Panico and Tom Tierney • Tape Research - Matt Kelly • Art Direction and Design - Bruno Lefèvre, Christophe Javault and Juliette Carrico / Objectif Lune [Paris] • English translation - Michelle Sommers and Diane Cousineau • Editorial Supervision [English translation] - Jeremy Holiday and Sheri Miller

External links • Information page in www.kind-of-blue.de [1]

References [1] http:/ / www. kind-of-blue. de/ seiten/ boxen/ miles_columbia_album_collection_box. htm

278

279

Videos and films Miles in Paris Miles in Paris Live album by Miles Davis Released

1990

Recorded November 1989 Genre

Electric Jazz

Length

68:08

Label

Four Aces Records

Producer Warner Bros. Records (Movie)

Miles In Paris is a movie released in 1990. It was filmed in Paris in 1989 when Miles Davis was touring in Europe. Miles was recorded with his septet in various locations in Paris, France. The album version of Miles In Paris was released that same year as an alternative to the movie.

Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.

"Hannibal" – 6:16 (Composed by Marcus Miller) "Jilli" – 5:29 (John Bigham) "Don't Stop Me Now" – 3:01 (S. Lukather & D. Paitch) "Wrinkle" – 3:57 (Erin Davis) "Mr. Pastorius" – 2:39 (Marcus Miller) "Human Nature" – 16:29 (S. Porcaro & J. Bettis) "New Blues" – 13:09 (Miles Davis) "Amandla" – 6:45 (Marcus Miller) "Tutu" – 10:17 (Marcus Miller)


Miles Davis – trumpet Kei Akagi – keyboards John Bigham – electric percussion Kenny Garret – saxophone, flute Joseph McCreary a.k.a. Foley – lead double bass Benjamin Rietveld – double bass Ricky Wellman – drums

Miles in Paris

280

External links • http://www.allaboutjazz.com/php/article.php?id=19702

Dingo Dingo Directed by

Rolf de Heer

Produced by

Rolf de Heer Giorgio Draskovic Marie-Pascale Osterrieth Marc Rosenberg

Written by

Marc Rosenberg

Starring

Colin Friels Miles Davis

Music by

Miles Davis Michel Legrand

Cinematography Denis Lenoir Editing by

Suresh Ayyar

Distributed by

Greycat Films

Release date(s)

31 January 1992

Running time

109 minutes

Country

Australia

Language

English

Dingo is a 1991 Australian film directed by Rolf de Heer and written by Marc Rosenberg. It traces the pilgrimage of John Anderson (played by Colin Friels), an average guy with a passion for jazz, from his home in outback Western Australia to the jazz clubs of Paris, to meet his idol, jazz trumpeter Billy Cross (played by legendary trumpeter Miles Davis). In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned locals. The performance was one of Davis' last on film.

Dingo

281

Music See also: Dingo (soundtrack) Davis, who plays the role of Cross, provided the film's soundtrack in cooperation with Michel Legrand.

Box Office Dingo grossed $132,500 at the box office in Australia.[1]

References [1] Film Victoria - Australian Films at the Australian Box Office (http:/ / film. vic. gov. au/ resources/ documents/ AA4_Aust_Box_office_report. pdf)

External links • Official website (http://http://www.vertigoproductions.com.au/information.php?film_id=5&display=tech) • Dingo (http://www.imdb.com/title/tt0104109/) at the Internet Movie Database • Dingo at the National Film and Sound Archive (http://colsearch.nfsa.afc.gov.au/nfsa/search/display/display. w3p;adv=yes;group=;groupequals=;holdingType=;page=0;parentid=;query=241331;querytype=;rec=0;resCount=10)

282

Compositions "Donna Lee" "Donna Lee" is a bebop jazz standard composed by Miles Davis. It was written in A flat and is based on the chord changes of the traditional jazz standard "(Back Home Again in) Indiana".[1] One unusual feature of the tune is that it begins with a half-bar rest. It is a very complex, fast moving chart that utilizes a compositional style based around the usage of four note groups over each change.

Authorship Miles Davis composed the tune in 1947, his first recorded composition, although authorship is often credited to saxophonist Charlie Parker.[2] Parker was credited on the original 78 rpm recordings, a mistake perpetuated through numerous reissues and causing early confusion.[2] The tune was also copyrighted under Parker's name. It was named after bassist Curly Russell's daughter, Donna Lee Russell, a title assigned by producer Teddy Reig.

Performances "Donna Lee" was originally recorded by the Charlie Parker Quintet on May 8, 1947 for Savoy Records in New York City. The performers for the session were Charlie Parker (alto saxophone), Miles Davis (trumpet), Bud Powell (piano), Tommy Potter (bass), and Max Roach (drums). Also recorded in the same session were "Chasin' the Bird", "Cheryl", and "Buzzy".[3] Jazz bassist Jaco Pastorius recorded his interpretation of the tune, a solo fretless electric bass rendition featuring Don Alias on congas, for his debut album Jaco Pastorius (1976). The tune is a particular favourite of avant-garde saxophonist Anthony Braxton, who has recorded it many times. It is also the last song ever recorded by trumpeter Clifford Brown, prior to his death in a car accident at age 25.

Origin of the name As stated above, the piece is named after bassist Curly Russell's daughter, Donna Lee Russell.[4] In Charles Mingus's quasi-autobiography, Beneath the Underdog, he enters a period in his life where he has two "wives", one named Donna and one named Lee-Marie. When Mingus introduces them to Miles Davis, and as he considers them as one wife exhibiting the best qualities of both people, he refers to them as "Donna-lee".

Notes [1] [2] [3] [4]

Burlingame Chambers (1998), p. 61 http:/ / www. plosin. com/ milesahead/ BirdSessions. aspx?s=470508 Ira Gitler's interview (http:/ / www. jazzwax. com/ 2010/ 07/ ira-gitler-on-bird-song-origins. html) with Mark Myers

"Donna Lee"

283

References • Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. De Capo Press. ISBN 0-306-80849-8 • Burlingame, Sandra "Donna Lee" @ jazzstandards.com (http://www.jazzstandards.com/compositions-1/ donnalee.htm). Accessed 2007 September 20

Further reading • Brian Priestley Chasin’ the Bird: The Life and Legacy of Charlie Parker • Stephanie Stein Crease, Gil Evans: Out of the Cool

"Solar" "Solar" is a musical composition attributed to Miles Davis on the studio album Walkin', considered a modern jazz standard. There is disagreement concerning the exact pronunciation of the tune, whether it was intended as English pronunciation: /ˈsoʊlər/ or English pronunciation: /soʊˈlɑr/. A controversy also exists over authorship of this composition and one current consensus[1] holds that Davis' "Solar" is essentially an earlier song, "Sonny" (or "Sunny"?), written by Chuck Wayne. The first two measures of this song adorn Miles Davis' tombstone in Woodlawn Cemetery.

Chord structure The commonly accepted chord structure[2] for this piece is: A CmMaj7 %

Cm7 or Gm7 Gm7 : C7

FMaj7

%

Fm7

EbMaj7

Ebm7 : Ab7 DbMaj7

Bb7 Dm7b5 : G7

Recordings • • • • • • •

Miles Davis - Walkin' Bill Evans - Sunday at the Village Vanguard Pat Metheny - Question and Answer Brad Mehldau - Art of the Trio, Vol. 4 McCoy Tyner - Live at Sweet Basil Kenny Barron - Live At Bradley's Stanley Clarke Trio - Jazz in the Garden

References [1] Voce, Steve. Chuck Wayne Obituary. The Independent (London), 1997 August 1 ( link (http:/ / findarticles. com/ p/ articles/ mi_qn4158/ is_19970801/ ai_n14122055)). Accessed 6 August 2007 [2] New Real Book Volume 1. New Real Book Volume 1. Petalnuma, CA: Sher Music Co., 1988

"Milestones"

284

"Milestones" "Milestones" Composition by Miles Davis from the album Milestones Released

September 2, 1958

Recorded

1958

Genre

Jazz

Length

5:45

Label

Columbia

Composer

Miles Davis

Producer

George Avakian Milestones track listing

•

"Dr. Jackle"

•

"Sid's Ahead"

•

"Two Bass Hit"

•

"Milestones"

•

"Billy Boy"

•

"Straight, No Chaser"

"Milestones" is a jazz composition written by Miles Davis. It appears on the album of the same name in 1958. It has since become a jazz standard. "Milestones" is the first example of Miles composing in a modal style and experimentation in this piece led to the writing of "So What" from the 1959 album Kind of Blue. It was oringally called "Miles" on the album, and led off the B side of the record. Since people began referring to the tune as "Milestones" rather than "Miles," in later editions of the album the name was changed. The musicians on the original 1958 recording of "Milestones" are: • • • • • •

Miles Davis - Trumpet Cannonball Adderley - Alto saxophone John Coltrane - Tenor saxophone Red Garland - Piano Paul Chambers - Double bass Philly Joe Jones - Drums

Milestones is also the name of another tune by Miles Davis he had written while playing with Charlie Parker. Musically it is not related to the more famous tune. "Milestones" has been performed by • • • • • • • • • •

Elek Bacsik Chet Baker Anthony Braxton Miles Davis Bill Evans Dexter Gordon Herbie Hancock Roy Hargrove Joe Henderson Bobby Jaspar

"Milestones" • • • • • • • • • • • • • • • • •

Wynton Kelly Dave Liebman Wes Montgomery Joe Pass Enrico Rava Buddy Rich Jimmy Smith René Thomas Charles Earland Bob Weir & Ratdog Little Feat Phil Lesh and Friends Phil Collins Big Band Jerry Garcia The Dead Mark Murphy Oliver Nelson

• Turtle Island String Quartet

285

"All Blues"

286

"All Blues" "All Blues" Composition by Miles Davis from the album Kind of Blue Released

August 17, 1959

Recorded

April 22, 1959

Genre

Jazz

Length

11:33

Label

Columbia

Composer

Miles Davis

Producer

Teo Macero Kind of Blue track listing

1. 2. 3. 4. 5.

"So What" "Freddie Freeloader" "Blue in Green" "All Blues" "Flamenco Sketches"

"All Blues" is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a 12 bar blues in 6/4; the chord sequence is that of a basic blues and made up entirely of 7th chords, with a ♭VI in the turnaround instead of just the usual V chord. In the song's original key of G this chord is an E♭7.[1] The piece is made even more distinctive by the bass vamp that repeats through the whole piece, except when a V or ♭VI chord is reached (the 9th and 10th bars of a chorus). Further to this, there is a harmonically similar vamp that is played by the horns (the two saxophones in the case of Kind of Blue) at the beginning and then (usually) continued by the piano under any solos that take place. Each chorus is usually separated by a four-bar vamp which acts as an introduction to the next solo/chorus! While originally an instrumental piece and usually performed as such, lyrics were later written for it by Oscar Brown Jr..

References [1] The Real Book Sixth Edition. Hal Leonard Corporation. p. 18. ISBN 0-634-06038-4.

"Blue in Green"

287

"Blue in Green" "Blue in Green" Composition by Bill Evans and Miles Davis from the album Kind of Blue Released

August 17, 1959

Recorded

March 2, 1959

Genre

Jazz

Length

5:37

Label

Columbia

Composer

Miles Davis and Bill Evans

Producer


1. 2. 3. 4. 5.


"Blue in Green" is the third track on Miles Davis' 1959 album, Kind of Blue. One of two ballads on the LP (the other being "Flamenco Sketches"), "Blue in Green"'s melody is very modal, incorporating the presence of the dorian, mixolydian, and lydian modes. The first measure is a G minor chord with an added natural 13 (Gm13), which contains an F natural but the modal tonality of the piece is already evident as the opening note of the melody is an E natural, which is the leading tone of the F major scale. The natural 13 of the chord is E natural. It has long been speculated that pianist Bill Evans wrote "Blue in Green",[1] even though the LP and most jazz fakebooks credit only Davis with its composition. In his autobiography, Davis maintains that he alone composed the songs on Kind of Blue. The version on Evans' trio album Portrait in Jazz, recorded in 1959, credits the tune to 'Davis-Evans'. Earl Zindars, in an interview conducted by Win Hinkle, said that "Blue in Green" was 100-percent written by Bill Evans.[2] In a 1978 radio interview, Evans said that he himself had written the song.[3] In a recording made in December 1958 or January 1959 for Chet Baker's album Chet (prior to the Kind of Blue sessions), Evans' introduction on the jazz standard "Alone Together" has been directly compared to his playing on "Blue in Green".[4] Jazz fusion guitarist Lee Ritenour covered the song from his 2005 album "Overtime."[5] [6]

References [1] The notes accompanying «Bill Evans - The Complete Riverside Recordings», published in 1984, give credit to both Evans and Davis ((Davis-Evans) Jazz Horn Music/Warner-Tamerlane Publ. — BMI) [2] See page 20 of the Fall 1993 issue of Letter from Evans (http:/ / www2. selu. edu/ orgs/ 34skid/ html/ 23. pdf) where Earl Zindars says "I know that it is [100-percent Bill's] because he wrote it over at my pad where I was staying in East Harlem, 5th floor walkup, and he stayed until 3 o'clock in the morning playing these six bars over and over." [3] http:/ / www. npr. org/ templates/ story/ story. php?storyId=92185496 35m30s - On being asked about the issue by the interviewer (Marian McPartland), Evans said "The truth is I did [write the music]... I don't want to make a federal case out of it, the music exists, and Miles is getting the royalties" [4] http:/ / www. amazon. com/ Chet-20-Bit-Mastering-Baker/ dp/ B00004UENB [5] "Overtime overview" (http:/ / www. allmusic. com/ album/ r740189). Allmusic.com. . [6] "Overtime Lee Ritenour" (http:/ / jazztimes. com/ articles/ 15885-overtime-lee-ritenour). JazzTimes.com. .

"Flamenco Sketches"

288

"Flamenco Sketches" "Flamenco Sketches" Composition by Miles Davis from the album Kind of Blue Released

August 17, 1959

Recorded

March 2 and April 22, 1959

Genre

Jazz

Length

9:26

Label

Columbia

Composer

Miles Davis and Bill Evans

Producer


1. 2. 3. 4. 5.


"Flamenco Sketches" is a jazz composition written by American jazz trumpeter Miles Davis and pianist Bill Evans. It is the fifth track on Davis' 1959 album Kind of Blue, the best-selling jazz record of all time, and an innovative experiment in modal jazz. The track features Miles Davis, John Coltrane, Cannonball Adderley and Bill Evans. The song has no written melody, but is rather defined by a set of chord changes that are improvised over using various modes of the major scale of each tonality. Each musician separately chose the number of bars for each of the modal passages in his solo. Davis gets credit for the song form, but Evans is credited with the opening 4-bar vamp over Cmaj7 and G9sus4, which is the opening theme to his ballad improvisation "Peace Piece." Because of the presence of this vamp, "Flamenco Sketches" is usually played as a ballad. The modes used in "Flamenco Sketches" are as follows: • • • • •

C Ionian (natural major scale) A♭ Mixolydian (Major with a minor 7th) B♭ Ionian G Harmonic Minor over D (alternates over bass notes D and E♭) G Dorian

An alternate take of "Flamenco Sketches" is included on most recent re-issues of Kind of Blue as the sixth and last track.


289

"Freddie Freeloader" "Freddie Freeloader" Composition by Miles Davis from the album Kind of Blue Released

August 17 1959

Recorded

March 2 1959

Genre

Jazz

Length

9:46

Label

Columbia

Composer

Miles Davis

Producer


1. 2. 3. 4. 5.


"Freddie Freeloader" is a composition by Miles Davis and is the second track on his album Kind of Blue. The piece takes the form of a twelve-bar blues in B-flat, but the chord over the final two bars of each chorus is an A-flat7, not the traditional B-flat7 followed by either F7 for a turnaround or some variation of B-flat7 for an ending. Davis employed Wynton Kelly as the pianist for this track in place of Bill Evans, as Kelly was something of a blues specialist.[1] The solos are by Miles Davis, John Coltrane, Cannonball Adderley, Paul Chambers, and Wynton Kelly.[2] According to the documentary Kind of Blue: Made in Heaven, the song was named after an individual named Freddie who would frequently try to see the music Davis and others performed without paying (thus freeloading).[1] The name may have also been inspired by Red Skelton’s most famous character, "Freddie the Freeloader" the hobo clown.[1] [2] "Freddie Freeloader" has proven to be one of Davis' most enduring compositions. Stanley Jordan recorded it for his album Magic Touch. A vocalese version is featured on Freddie Freeloader: Jon Hendricks and Friends (1990) featuring Bobby McFerrin (Wynton Kelly), Al Jarreau (Miles Davis), George Benson (Cannonball Adderley) and Jon Hendricks (John Coltrane).


Notes [1] "Fifty Years Ago Today: "Freddie Freeloader" and the Start of "Kind of Blue"" (http:/ / www. allaboutjazz. com/ php/ news. php?id=31133). All About Jazz. . Retrieved 29 September 2010. [2] Kurtz, Alan. "Miles Davis: Freddie Freeloader" (http:/ / www. jazz. com/ music/ 2009/ 1/ 9/ miles-davis-freddie-freeloader). Jazz.com. . Retrieved 29 September 2010.

External links • " Freddie Freeloader (http://www.allmusic.com/song/t1560010)" at Allmusic

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"So What"

291

"So What" "So What" Composition by Miles Davis from the album Kind of Blue Released

August 17, 1959

Recorded

March 2, 1959

Genre

Jazz

Length

9:22

Label

Columbia

Composer

Miles Davis

Producer


1. 2. 3. 4. 5.


"So What" is the first track on the 1959 Miles Davis album Kind of Blue.

History "So What" is one of the best known examples of modal jazz, set in the Dorian mode and consisting of 16 bars of D Dorian, followed by eight bars of E♭ Dorian and another eight of D Dorian.[1] This AABA structure puts it in the thirty-two bar format of American popular song. The piano-and-bass introduction for the piece was written by Gil Evans for Bill Evans (no relation) and Paul Chambers on Kind of Blue. An orchestrated version by Gil Evans of this introduction is later to be found on a television broadcast given by Miles' Quintet (minus Cannonball Adderley who was ill that day) and the Gil Evans Orchestra; the orchestra gave the introduction, after which the quintet played the rest of "So What". The distinctive voicing employed by Bill Evans for the chords that interject the head, from the bottom up three perfect fourths followed by a major third, has been given the name "So What chord" by such theorists as Mark Levine. While the track is taken at a very moderate tempo on Kind Of Blue, it is played at an extremely fast tempo on later live recordings by the Quintet, such as Four and More. The same chord structure was later used by John Coltrane for his standard "Impressions".[2]

"So What"

Renditions In 1991, saxophonist Candy Dulfer covered the song from her debut album "Saxuality."[3] In 2005, Larry Coryell Trio covered the song from the album "Electric."[4] [5]

References [1] Khan, Steve. "Miles Davis Jazz Trumpet Solo Transcription and Analysis" (http:/ / www. stevekhan. com/ sowhata. htm). . Retrieved 11 October 2010. [2] Nisenson, Eric (1995). Ascension: John Coltrane and his quest. Da Capo Press. p. 126. ISBN 0306806444. [3] "Saxuality overview" (http:/ / www. allmusic. com/ album/ r132182). Allmusic. . [4] "Electric overview" (http:/ / www. allmusic. com/ album/ r787871). Allmusic.com. . [5] "Electric overview" (http:/ / www. allmusic. com/ album/ r787871). Allmusic.com. .

External links • "So What" at jazzstandards.com (http://www.jazzstandards.com/compositions-4/sowhat.htm) • So What - Youtube (http://www.youtube.com/watch?v=EkdxjihGRyI), a 1958 live recording of Miles Davis and John Coltrane performing "So What".

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293

Soundtracks Ascenseur pour l'échafaud Ascenseur pour l'Échafaud

Soundtrack album by Miles Davis Released

1958

Recorded

December 4 and 5, 1957

Genre

Jazz

Length

1:08:48

Label

Fontana Professional reviews

• •

Allmusic [2] Mojo (favorable)

[1]


Miles Ahead (1957)

Ascenseur pour l'Échafaud (1958)

1958 Miles (1958)

Ascenseur pour l'Échafaud is an album by jazz musician Miles Davis. It was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. The album features the musical cues for the 1958 Louis Malle film Ascenseur pour l'Échafaud. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack - possibly inspired by the Modern Jazz Quartet's recording for Roger Vadim's Sait-on jamais (Does One Ever Know), released a few months earlier in 1957. Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. Rappeneau introduced him to Malle, and Davis agreed to record the music after attending a private screening. On December 4, he brought his four


294

sidemen to the recording studio without having had them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room, and, once the plot was explained, the band improvised without any precomposed theme, while edited loops of the musically relevant film sequences were projected in the background. Jazz Track, an album that contains ten songs from this soundtrack, received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.

Track listing No. Title

Length

1. "Nuit Sur Les Champs-Élysées (take 1)"

2:25


5:20


2:47


2:59

5. "Assassinat (take 1)"

2:02


2:10


2:10

8. "Motel"

3:56

9. "Final (take 1)"

3:05

10. "Final (take 2)"

3:00

11. "Final (take 3)"

4:04

12. "Ascenseur"

1:57

13. "Le Petit Bal (take 1)"

2:40

14. "Le Petit Bal (take 2)"

2:53

15. "Séquence Voiture (take 1)"

2:56

16. "Séquence Voiture (take 2)"

2:16

17. "Générique"

2:45

18. "L' Assassinat de Carala"

2:10

19. "Sur L'Autoroute"

2:15

20. "Julien Dans L'Ascenseur"

2:07

21. "Florence Sur Les Champs Élysées"

2:50

22. "Diner au Motel"

3:58

23. "Évasion De Julien"

0:53

24. "Visite Du Vigile"

2:00

25. "Au Bar du Petit Bac"

2:50

26. "Chez Le Photographe Du Motel"

3:50

Note: The tracklisting above refers to the currently available CD version. The original soundtrack to the film, as mixed and edited (with additional reverb) in 1958, and used for the screen, can be heard in tracks 17 to 26.



Miles Davis - trumpet Barney Wilen - tenor saxophone René Urtreger - piano Pierre Michelot - bass Kenny Clarke - drums

References [1] Nastos, Michael G. (2000). Ascenseur Pour l'Échafaud - Miles Davis | AllMusic: Review (http:/ / www. allmusic. com/ album/ ascenseur-pour-lchafaud-r106212/ review). Allmusic. Retrieved on 2011-03-20. [2] Caulfield, Mary (March 3, 2011). Miles Davis - Disc of the day - Mojo (http:/ / www. webcitation. org/ 5xKkjFpRV). Mojo. Archived from the original (http:/ / www. mojo4music. com/ blog/ 2011/ 03/ miles_davis_1. html) on 2011-03-20.

295

Music from Siesta

296

Music from Siesta Music from Siesta

Soundtrack album by Miles Davis and Marcus Miller Released

November 1987

Recorded January-February 1987 at Sigma Sound Studio, New York and Amigos Studio, Hollywood Genre

Classical, Jazz

Length

37:54

Label

Warner Bros./WEA

Producer Marcus Miller Professional reviews •

Allmusic

link

[1]


Tutu (1986)


Amandla (1989)

Music from Siesta is an album released in 1987 by Miles Davis and Marcus Miller. It is the soundtrack of the 1987 film Siesta, directed by Mary Lambert.

Music from Siesta

Track listing All song composed by Marcus Miller; except "Theme For Augustine" by Miles Davis & Marcus Miller 1. "Lost in Madrid, Part 1" - 1:48 2. "Siesta / Kitt's Kiss / Lost in Madrid, Part 2" - 6:54 3. "Theme for Augustine / Wind / Seduction / Kiss" - 6:33 4. "Submission" - 2:32 5. "Lost in Madrid, Part 3" - 0:49 6. "Conchita / Lament" - 6:43 7. "Lost in Madrid, Part 4 / Rat Dance / The Call" - 1:41 8. "Claire / Lost in Madrid, Part 5" - 4:33 9. "Afterglow" - 1:41 10. "Los Feliz" - 4:35

Performers • Miles Davis - trumpet • Marcus Miller - bass • • • • •

John Scofield - acoustic guitar on "Siesta" Omar Hakim - drums on "Siesta" Earl Klugh - classical guitar on "Claire" James Walker - flute on "Los Feliz" Jason Miles - synthesizer programming


297

Dingo

298

Dingo Dingo

Soundtrack album by Miles Davis and Michel Legrand Released

November 5, 1991

Recorded

March 1990 Crystal Studios, Los Angeles, CA

Genre

Jazz

Length

45:45

Label

Warner Bros.

Producer

Gordon Meltzer Professional reviews

•

Allmusic

link

[1]


Aura Dingo Doo-Bop (1989) (1991) (1992)

Dingo: Selections from the Motion Picture Soundtrack is the soundtrack to the 1992 movie of the same name. It was composed by Michel Legrand and performed by Miles Davis and Chuck Findley.

Dingo

299

Track listing 1. "Kimberley Trumpet" 2. "Arrival" 3. "Concert on the Runway" 4. "Departure" 5. "Dingo Howl" 6. "Letter as Hero" 7. "Trumpet Cleaning" 8. "Dream" 9. "Paris Walking I" 10. "Paris Walking II" 11. "Kimberley Trumpet in Paris" 12. "Music Room" 13. "Club Entrance" 14. "Jam Session" 15. "Going Home" 16. "Surprise!"

Personnel • • • • • • • • • • • • • • • • • • • • • • • • •

Jimmy Cleveland – trombone Buddy Collette – woodwind Miles Davis – trumpet Marty Krystall – woodwind Michel Legrand – keyboards, arranger and conductor Alphonse Mouzon – drums, percussion Charles Owens – woodwind Kei Akagi – keyboards Richard Todd – French horn Foley – bass John Bigham – drums, percussion George Bohannon – trombone Oscar Brashear – trumpet Ray Brown – trumpet David Duke – French horn Chuck Findley – trumpet Kenny Garrett – alto saxophone George Graham – trumpet Bill Green – woodwind Thurman Green – trombone Marni Johnson – French horn Jackie Kelso – woodwind Abraham Laboriel – bass Harvey Mason, Sr. – drums, percussion Lew McCreary – trombone

• Dick Nash – trombone • Alan Oldfield – keyboards

Dingo • • • • • •

300 Benny Rietveld – bass Mark Rivett – guitar Nolan Andrew Smith – trumpet John Stephens – woodwind Ricky Wellman – drums, percussion Vincent DeRosa – French horn

References [1] http:/ / www. allmusic. com/ album/ r158334/ review

The Hot Spot

301

The Hot Spot The Hot Spot

theatrical poster Directed by

Dennis Hopper

Produced by

Paul Lewis

Written by

Charles Williams (Novel & Screenplay) Nona Tyson (Screenplay)

Starring

Don Johnson Virginia Madsen Jennifer Connelly

Music by

Jack Nitzsche

Cinematography Ueli Steiger Editing by

Wende Phifer Mate

Distributed by

Orion Pictures

Release date(s)

September 8, 1990 (Toronto Film Festival) October 12, 1990 (general)

Running time

130 minutes

Country

United States

Language

English

Gross revenue

US$1,293,976

The Hot Spot is a 1990 American drama film directed by Dennis Hopper and based on the 1952 book Hell Hath No Fury by Charles Williams. It stars Don Johnson, Virginia Madsen, and Jennifer Connelly, and features a score by Jack Nitzsche played by John Lee Hooker, Miles Davis, Taj Mahal and Roy Rogers.

The Hot Spot

Plot Drifter Harry Madox takes a job as a used car salesman in a small Texas town. In the summer heat, he develops an interest in a couple of hot women, one who works at the car dealership and another who is married to its owner. Gloria Harper is a young, innocent-seeming woman with a secret. It somehow involves a sleazy local man named Frank Sutton who appears to have some hold on her. Dolly Harshaw is a seductive, anything-goes femme fatale married to George Harshaw, the car dealer. She keeps a gun handy and likes to have sex in unusual, dangerous ways. Harry carries on with both while looking for an opportunity to rob the local bank. It ultimately is revealed that Sutton has nude photographs of Gloria, taken from a distance at a remote lakeside setting. Harry lies in wait for Sutton one night and viciously beats him. Dolly begins to see Harry as her ticket to better things. When she coaxes her husband into bed, it is only to bring George's weak heart to a fatal end. A sheriff arrests Harry, suspecting him in the bank job, but can't prove it. Harry decides to leave town with Gloria by his side, but Dolly puts an end to that by revealing to Gloria everything else Harry has been doing in town, including her.

Cast • • • • • • •

Don Johnson as Harry Madox Virginia Madsen as Dolly Harshaw Jennifer Connelly as Gloria Harper Jerry Hardin as George Harshaw William Sadler as Frank Sutton Charles Martin Smith as Lon Gulick Barry Corbin as the Sheriff

Production Charles Williams wrote a screenplay version of his own novel with Nona Tyson in 1962.[1] It was intended for Robert Mitchum. Many years later, Dennis Hopper found the script and updated it.[1] The director described the film as "Last Tango in Texas. Real hot, steamy stuff".[2] A bedroom scene originally called for Madsen to appear naked, but she decided to put on a negligee because she felt that, "Not only was the nudity weak storywise, but it didn't let the audience undress her".[3] Hopper later admitted that Madsen was right.[3] The director gave his impressions of working with Johnson: "He wasn't that bad. He has a lot of people with him. He came on to this film with two bodyguards, a cook, a trainer, ah let's see, a helicopter pilot he comes to and from the set in a helicopter, very glamorous let's see, two drivers, a secretary, and, oh yes, his own hair person, his own make-up person, his own wardrobe person. So when he walks to the set he has five people with him".[4] Johnson found Hopper's approach to filmmaking "a little disappointing, I gotta tell you".[5] Hopper shot the film in Texas during what he described as the "hottest, steamiest weather you could imagine".[6] The swimming scenes were filmed at the Hamilton Pool Preserve.

Reception The Hot Spot had its world premiere at the 1990 Toronto Film Festival.[7] Director Dennis Hopper felt that stars Don Johnson and Virginia Madsen were not as enthusiastic in promoting the film as he would have liked. Hopper said of Johnson that "He says he's not going to do anything for this picture until he reads the reviews."[8] Johnson claims that he was unable to do promotion because he was shooting the film Harley Davidson and the Marlboro Man with Mickey Rourke.[8] Of Madsen, Hopper claimed that she "was very embarrassed" by the amount of her on-screen

302

The Hot Spot nudity.[9] The film was released on October 12, 1990, in 23 theaters, grossing USD $112,188 in its opening weekend. The film grossed only $1.2 million in the North America, far less than the cost of its production.[10] The Hot Spot received generally mixed reviews from critics and currently has a 67 percent rating at Rotten Tomatoes. Roger Ebert gave the film three out of four stars and wrote, "Only movie lovers who have marinated their imaginations in the great B movies from RKO and Republic will recognize The Hot Spot as a superior work in an old tradition."[11] In her review for the New York Times, Janet Maslin wrote, "Mr. Hopper's direction is tough and stylish, in effective contrast with the sunny look of Ueli Steiger's cinematography."[12] USA Today gave the film two-and-a-half stars out of four and wrote, "In other words, Hopper's direction isn't any great shakes, and the wrap-up is somewhat confusing, but this film does make you want to go skinny-dipping with someone else's mate."[13] In his review for the Washington Post, Desson Howe wrote, "Hot Spot will never go down as timeless, neoclassic noir. But, with its Hopperlike moments, over-the-top performances and infectious music, it carries you along for a spell."[14] Entertainment Weekly gave the film a "B" rating and Owen Gleiberman wrote, "Hopper still hasn't learned how to pace a movie, but working from Charles Williams' 1952 novel Hell Hath No Fury he comes up with a reasonably diverting hothouse yarn."[15]

Soundtrack The soundtrack for the film is composed by Jack Nitzsche and features an original collaboration between John Lee Hooker, Miles Davis, Taj Mahal and Roy Rogers. Allmusic describes the soundtrack album as "marvelous music ... something listeners should be thankful for, particularly fans of either Miles Davis or John Lee Hooker".[16]

References [1] [2] [3] [4] [5] [6] [7] [8] [9]

Thomas, Bob (November 22, 1990). "Director Hopper's back in hot spot with new film". The Advertiser. Krum, S (April 18, 1990). "Why Dennis Got Back on His Bike". Herald. Hayward, J (June 9, 1990). "Screen Sirens Sense and Sexuality". Courier-Mail. Malcolm, Derek (November 29, 1990). "The Hopper file". The Guardian. Trebbe, Ann (August 23, 1991). "Movie Marlboro Man". USA Today. Krum, S (October 23, 1990). "Hopper's back in the hot spot". Herald Sun. Harris, Christopher (August 29, 1990). "Frears to attend premiere". Globe and Mail. Trebbe, Ann (September 11, 1990). "Hopper, hopping mad at Johnson". USA Today. Dougherty, Steve (November 12, 1990). "With a New Wife, Son and Movie Uneasy Rider Dennis Hopper Hopes to Find the Hot Spot Back on Top" (http:/ / www. people. com/ people/ archive/ article/ 0,,20113574,00. html). People. . Retrieved 2009-12-09. [10] "The Hot Spot" (http:/ / www. boxofficemojo. com/ movies/ ?id=hotspot. htm). Box Office Mojo. . Retrieved 2008-03-27. [11] Ebert, Roger (October 26, 1990). "The Hot Spot" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19901026/ REVIEWS/ 10260301/ 1023). Chicago Sun-Times. . Retrieved 2009-12-09. [12] Maslin, Janet (October 12, 1990). "Taxidermy and Temptations: Dennis Hopper's Dark World". New York Times. [13] Clark, Mike (October 12, 1990). "Sexy Hot Spot loses some sizzle over time". USA Today. [14] Howe, Desson (October 26, 1990). "Hopper Marks The Hot Spot". Washington Post. [15] Gleiberman, Owen (October 19, 1990). "The Hot Spot" (http:/ / www. ew. com/ ew/ article/ 0,,318392,00. html). Entertainment Weekly. . Retrieved 2009-12-09. [16] http:/ / www. allmusic. com/ album/ r84384

303

The Hot Spot


The Hot Spot (http://www.imdb.com/title/tt0099797/) at the Internet Movie Database The Hot Spot (http://www.allmovie.com/work/23273) at Allmovie The Hot Spot (http://www.rottentomatoes.com/m/1030149-hot_spot/) at Rotten Tomatoes The Hot Spot (http://www.boxofficemojo.com/movies/?id=hotspot.htm) at Box Office Mojo

304

305

As sideman and collaboration recordings "Billie's Bounce" "Billie's Bounce" Composition by Charlie Parker Released

1945

Recorded

November 1945

Genre

Jazz

Label

Savoy

Composer

Charlie Parker

"Billie's Bounce" also known as "Bill's Bounce", is a 12 bar blues in the Key of F jazz composition written in 1945 by Charlie Parker. It was dedicated to Billy Shaw by the Yardbird. The original recording by Charlie Parker and His Re-Boppers was inducted into the Grammy Hall of Fame in 2002.[1] . Copyright 1945 by Atlantic Music Corp. Copyright renewed and assigned 1973 to Atlantic Music Corp. Originally an instrumental, the tune was later added lyrics by Jon Hendricks.[2]

Personnel The original 1945 recording had the following lineup:[2] • • • • •

Charlie Parker – Eb Alto Saxophone Miles Davis – Bb trumpet Dizzy Gillespie – piano (Gillespie also plays trumpet in other recordings from the same session) Curley Russell – bass Max Roach – drums

Renditions • • • • • • • • • • • • • •

Ben Webster and the Modern Jazz Quartet – 1953: An Exceptional Encounter (1953) Shelly Manne – The Three and the Two (1954) Stan Getz and J. J. Johnson – Stan Getz and J.J. Johnson at the Opera House (1957) Wes Montgomery – Fingerpickin (1957) Bud Powell – Bud Plays Bird (1958) Red Garland – Betty Roche – Singin' and Swingin' (1960) Albert Ayler – My Name is Albert Ayler (1963) Don Byas – Anthropology (1963) George Benson – Giblet Gravy (1968) Ella Fitzgerald – Montreux '77 (1977) Johnny Griffin – Birds and Ballads (1978) Robert Wyatt – Radio Experiment Rome, February 1981 (1981/2009) Milcho Leviev and Dave Holland – Up & Down (1987)

"Billie's Bounce" • • • •

Oscar Peterson – Encore at the Blue Note (1990) Dizzy Gillespie – To Bird With Love (1992) David Murray – Saxmen (1993) Keith Jarrett – Tokyo '96 (1996)

See Also Charlie Parker's Savoy and Dial Sessions

Notes [1] Grammy Hall of Fame (http:/ / www. grammy. org/ recording-academy/ awards/ hall-of-fame) - retrieved on 28 April 2009 [2] Billie's Bounce (http:/ / www. jazzstandards. com/ compositions-1/ billiesbounce. htm) at jazzstandards.com (http:/ / www. jazzstandards. com/ ) - retrieved on 28 April 2009

306

Bird on 52nd St.

307

Bird on 52nd St. Bird on 52nd St.

Live album by Charlie Parker Released

1948 (LP); October 21, 1994 (CD release)

Recorded

July 6, 1948 at the Onyx Club, New York

Genre

Jazz

Length

40:01

Label

Debut (JWS 501)

Bird on 52nd St. is a live album by saxophonist Charlie Parker. It was released in 1948 under Debut Records label as JWS 501. It was recorded in 1948[1] on a home tape recorder.[2] Even though it was remastered and restored in 1994, the recording is very problematic with continuous noises and whirrings.

Track listing 1. "52nd Street Theme" (Thelonious Monk) - 2:19 2. "Shaw 'Nuff" (Ray Brown, Gil Fuller, Dizzy Gillespie) - 1:33 3. "Out of Nowhere" (Johnny Green, Edward Heyman) - 3:05 4. "Hot House" (Tadd Dameron) - 2:15 5. "This Time the Dream's on Me" (Harold Arlen, Johnny Mercer) - 2:21 6. "A Night in Tunisia" (Dizzy Gillespie) - 3:29 7. "My Old Flame" (Sam Coslow, Arthur Johnston) - 3:24 8. "52nd Street Theme" - 1:05 9. "The Way You Look Tonight" (Jerome Kern, Dorothy Fields) - 4:42 10. "Out of Nowhere" - 2:35 11. "Chasin' the Bird" (Parker) - 1:47 12. "This Time the Dreams's on Me" - 3:29 13. "Dizzy at Atmosphere" (Gillespie) - 2:59 14. "How High the Moon" (Nancy Hamilton, Morgan Lewis) - 3:38 15. "52nd Street Theme" - 1:14

Bird on 52nd St.


Charlie Parker - alto saxophone Miles Davis - trumpet Duke Jordan - piano Tommy Potter - bass Max Roach - drums

References [1] Charlie Parker discography (http:/ / www. jazzdisco. org/ fantasy-records/ discography-19-1950/ ) [2] Original liner notes

308

Cool Bird

309

Cool Bird Cool Bird Studio album by Charlie Parker Released

2000

Recorded October-December 1947 Genre

Jazz

Cool Bird is a compilation CD released by Magnum Collectors of recording sessions undertaken during October-December 1947 by Charlie Parker's so-called 'classic quintet' for the Dial label featuring Parker, Miles Davis, Duke Jordan, Tommy Potter and Max Roach. They are joined by J. J. Johnson on six of the 22 tracks.

Track listing 1. "Dexterity" (C. Parker) 2. "Bongo Bop" 3. "Dewey Square" 4. "The Hymn (Superman)" 5. "Bird of Paradise" 6. "Embraceable You" (G. Gershwin & I. Gershwin) 7. "Bird Feathers" 8. "Klact-Oveeseds-Tene" 9. "Scrapple from the Apple" (C. Parker) 10. "My Old Flame" 11. "Out Of Nowhere" 12. "Don't Blame Me" 13. "Drifting on a Reed" 14. "Quasimodo" 15. "Charlie's Wig" 16. "Bongo Beep" 17. "Crazeology" 18. "How Deep Is the Ocean" (I. Berlin) 19. "Another Hair Do" 20. "Blue Bird" 21. "Klaunstance" 22. "Bird Gets the Worm" (C. Parker)

Cool Bird


Charlie Parker - (alto sax) Miles Davis (trumpet) Duke Jordan (piano) Tommy Potter (double bass) Max Roach (drums) J. J. Johnson (trombone) - appears on tracks 13-18

310

Conception

311

Conception Conception

Compilation album by Miles Davis, Stan Getz, Lee Konitz Released

1951

Recorded

1949-1951 at Van Gelder Studio, Hackensack

Genre

Jazz

Length

39:36

Label

Prestige (PRLP 7013)

Producer

Bob Weinstock Professional reviews

•

Allmusic

link

[1]



Conception (1951)

Blue Period (1951)

Conception is a compilation album issued in 1951 as PRLP 7013, featuring Miles Davis on a number of tracks. The album features other notable musicians such as Lee Konitz, Sonny Rollins, Stan Getz, Gerry Mulligan and Zoot Sims. All the pieces were recorded at the famous Van Gelder Studio. The cover was designed by Bob Parent.

Conception

Track listing 1. "Odjenar" (George Russell) - 2:52 2. "Hibeck" (Lee Konitz) - 3:07 3. "Yesterdays" (Jerome Kern) - 2:27 4. "Ezz-Thetic" (Russell) - 2:54 5. "Indian Summer" (Victor Herbert)" - 2:35 6. "Duet for Saxophone and Guitar" (Konitz) - 2:41 7. "Conception" (George Shearing) - 4:03 8. "My Old Flame" (Sam Coslow, Arthur Johnston) - 6:36 9. "Intoit" (Stan Getz) - 3:22 10. "Prezervation" (Getz) - 2:44 11. "I May Be Wrong" (Gerry Mulligan) - 3:28 12. "So What" (Mulligan) - 2:44 Note: The final track, "So What", is not the composition of the same name composed by Miles Davis from the 1959 album Kind of Blue.

Recording sessions and personnel June 21, 1949 "Prezervation" • • • •

Stan Getz - Tenor sax Al Haig - Piano Gene Ramey - Bass Stan Levey - Drums

1950 January 6 "Intoit" • • • •

Stan Getz - Tenor sax Al Haig - Piano Tommy Potter - Bass Roy Haynes - Drums

March 15 "I May Be Wrong" • • • • • • • •

Don Ferrara, Howard McGhee, Al Porcino - Trumpets J.J. Johnson, Kai Winding - Trombones Charlie Kennedy - Alto sax Georgie Auld, Zoot Sims - Tenor saxes Gerry Mulligan - Baritone sax Tony Aless - Piano Chubby Jackson - Bass Don Lamond - Drums

"So What" • Gerry Mulligan - Baritone sax

312

Conception • • • • • •

Zoot Sims - Tenor sax Charlie Kennedy - Alto sax J. J. Johnson, Kai Winding - Trombones Tony Aless - Piano Chubby Jackson - Bass Don Lamond - Drums

1951 March 8 "Odjenar", "Hibeck", "Yesterdays", "Ezz-Thetic" • • • • • •

Lee Konitz - Alto sax Miles Davis - Trumpet Sal Mosca - Piano Billy Bauer - Guitar Arnold Fishkin - Bass Max Roach - Drums

March 13 "Indian Summer", "Duet for Saxophone and Guitar" • Lee Konitz - Alto sax • Billy Bauer - Guitar October 5 "Conception", "My Old Flame" • • • • •

Miles Davis - Trumpet Sonny Rollins - Tenor sax Walter Bishop - Piano Tommy Potter - Bass Art Blakey - Drums


313

Somethin' Else

314

Somethin' Else Somethin' Else

Studio album by Cannonball Adderley Released

1958

Recorded

March 9, 1958 at Van Gelder Studio (Hackensack)

Genre

Hard bop, Bebop

Length

43:41

Label

Blue Note (BST 81595)

Producer

Alfred Lion Professional reviews

•

Allmusic

[1]

Cannonball Adderley chronology

Cannonball's Sharpshooters (1958)

Somethin' Else (1958)

Portrait of Cannonball (1958)

Somethin' Else is a 1958 album by jazz musician Julian "Cannonball" Adderley, regarded as a landmark album in the hard bop and cool styles. This LP is notable for the presence and prominent contributions of Miles Davis, in one of his few recording dates for Blue Note Records. Many critics and jazz fans consider Somethin' Else to be among the greatest jazz albums of all time.[2] [3] The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection."[4]

Album information The extent of Davis's leadership or co-leadership on Somethin' Else is disputed. Davis plays several of the first solos, and, according to the liner notes, chose most of the material - he would continue to play "Autumn Leaves" and "Love for Sale", at increasingly frenetic tempos, in the years to come. He also composed the bluesy title track and suggested Adderley cover "Dancing in the Dark" (on which Davis does not appear). The one exception is the 12-bar blues, "One for Daddy-O", written by Adderley's brother Nat (for Chicago radio DJ Holmes "Daddy-O" Daylie, not the Adderleys' father). Nonetheless, at the end of that track, Davis can be heard addressing producer Alfred Lion: "Is

Somethin' Else that what you wanted, Alfred?" The collaboration between Adderley and Davis would continue in 1959 with Davis's Kind of Blue, one of the most universally acclaimed jazz albums. The album also features Art Blakey on drums, with Hank Jones on piano and Sam Jones (no relation) on double bass.

Reissues CD reissues include a bonus track, variously titled "Bangoon" or (originally, and incorrectly) "Alison's Uncle". That song is a Hank Jones composition, more hard bop in orientation than the rest of the record. It features a paradigmatic solo by Blakey (he can be heard humming along during the solo). The title under which the song was originally released, "Alison's Uncle", refers to the fact that the session took place shortly after the wife of Adderley's brother Nat had given birth to a daughter named Alison - thus making Cannonball Adderley "Alison's Uncle".

Track listing 1. "Autumn Leaves" (Joseph Kosma) – 11:01 2. "Love for Sale" (Cole Porter) – 7:06 3. "Somethin' Else" (Miles Davis) – 8:15 4. "One for Daddy-O" (Nat Adderley, Sam Jones) – 8:26 5. "Dancing in the Dark" (Arthur Schwartz) – 4:07 6. "Bangoon" (initially released as "Alison's Uncle" and also noted as "Bangoon" on the RVG edition CD) (Hank Jones) – 5:05 (not on original LP)


Cannonball Adderley - Alto saxophone, Leader Miles Davis - Trumpet Hank Jones - Piano Sam Jones - Bass Art Blakey - Drums

References [1] [2] [3] [4]

Allmusic review (http:/ / www. allmusic. com/ album/ r134300) Blue Note Reviews (http:/ / www. bluenote. com/ detail. asp?SelectionID=9419) Reviews by Amazon Customers (http:/ / www. amazon. com/ dp/ customer-reviews/ B00000I41J) Cook, Richard; Brian Morton (2006) [1992]. "Julian 'Cannonball' Adderley". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.). New York: Penguin. pp. 9. ISBN 0-14-102327-9.

External links • Blue Note 1595 - List of reissues (http://www.cannonball-adderley.com/1595.htm)

315


316

Miles & Monk at Newport Miles & Monk at Newport

Live album by Miles Davis and Thelonious Monk Released

1964

Recorded

May & July 1958, April 1963

Genre

Jazz

Label

Columbia Thelonious Monk chronology

Monk in Tokyo (1963)

Miles & Monk at Newport (1964)

Big Band and Quartet in Concert (1963)

Miles & Monk at Newport was a combined album of a Miles Davis appearance at Newport with an appearance of Thelonious Monk, from the LP era. Despite the title, the two artists do not perform together on the LP, and they are represented on each side by separate live appearances at the Newport Jazz Festival. On the first side of the LP was a series of high tempo performances of bebop tunes and other staples of the Davis live repertoire from 1958. The performance was contemporaneous with Davis' Milestones album. Aside from the 1973 release Jazz at the Plaza (also a 1958 concert) during the LP era, this was the only legitimate (non-bootleg) recording of a live Davis combo performance earlier than the 1960 Blackhawk recordings. As such, this performance and Jazz at the Plaza were the only legitimate live recordings representing the Kind of Blue sextet. On the second side were a few numbers by Thelonious Monk's combo, from a 1963 Newport appearance. It featured the idiosyncratic appearance by clarinetist Pee Wee Russell. In 1973, an expanded version of the Davis Newport performance was released as the LP Miles & Coltrane. In the 1994 the album was released with the Davis Newport performances expanded and the Monk portion released separately on the 2CD Monk compilation Live at Newport 1963-65.


Track listing Original LP Side 1 - Davis in 1958 1. 2. 3. 4.

"Ah-Leu-Cha" (5:55, composed by Charlie Parker) "Straight, No Chaser" (8:52, composed by Thelonious Monk) "Fran-Dance" (7:08, composed by Miles Davis) "Two Bass Hit" (4:19, composed by Dizzy Gillespie and John Lewis)

Side 2 - Monk in 1963 1. "Nutty" (13:57, composed by Thelonious Monk) 2. "Blue Monk" (11:18, composed by Thelonious Monk)

1994 Reissue CD1 - Davis in 1958 1. "Introduction" 2. "Ah-Leu-Cha" 3. 4. 5. 6. 7.

"Straight, No Chaser" "Fran-Dance" "Two Bass Hit" "Bye Bye Blackbird" "Theme"

CD2 - Monk in 1963 1. 2. 3. 4. 5. 6.

"Introduction" "Criss-Cross" "Light Blue" "Nutty" "Blue Monk" "Epistrophy"

Personnel Side One Personnel: • • • • • •

Miles Davis (trumpet) Cannonball Adderley (alto saxophone) John Coltrane (tenor saxophone) Bill Evans (piano) Paul Chambers (bass) Jimmy Cobb (drums)

Side Two personnel: • • • •

Pee Wee Russell (clarinet) Charlie Rouse (tenor saxophone) Thelonious Monk (piano) Butch Warren (bass)

• Frankie Dunlop (drums)

317

CK

318

CK C.K.

Studio album by Chaka Khan Released

November 12, 1988

Recorded

January-1988-September 1988

Genre

Rhythm and blues

Length

49:26

Label

Warner Bros. Records

Producer

Russ Titelman David Frank Chaka Khan Prince Chris Jasper Professional reviews

Allmusic

[1] Chaka Khan chronology

Destiny C.K. (1986) (1988)

Life is a Dance - The Remix Project (1989)

C.K. is the eighth studio album by American R&B/funk singer Chaka Khan, released on the Warner Bros. Records label in 1988. C.K. was Khan's first album not to be recorded with Arif Mardin, instead it had with the exception of two tracks Russ Titelman at the helm as producer, with whom she had collaborated on hits like "Ain't Nobody" (1983), "Eye to Eye" from 1984's platinum-selling I Feel for You as well as "Tight Fit" from her previous album Destiny. Musically C.K. combined a variety of genres such as soul, R&B, funk, pop as well as two jazz titles and altogether the set was more laid-back, less hip-hop influenced and production-wise not as complex and synth-driven as I Feel for You and Destiny. Three singles were released from C.K.: Womack & Womack's Latino-flavoured "It's My Party" which reached #5 on Billboard's R&B Singles chart, "Soul Talkin'" and "Baby Me" which became another Top 10 hit on the R&B chart,

CK

319 peaking at #8. The C.K. album itself also charted higher than the preceding Destiny, reaching #17 on the R&B Albums chart. C.K. opens with Khan's cover of Stevie Wonder's 1970 hit "Signed, Sealed, Delivered I'm Yours", again featuring the composer himself on harmonica, just like on "I Feel for You". One of the two tracks not to be produced by Russ Titelman was the funky and improvisational "Sticky Wicked", Khan's first proper collaboration with Prince after having covered his "I Feel for You" in 1984 and turning it into a million-selling hit single. C.K. also includes a second Prince composition, "Eternity" (produced by David Frank and Khan herself), and some ten years later Khan and Prince were to team up for a full-length album together, Come 2 My House. "C.K." features one track written and co-produced by Chris Jasper, former member of the Isley Brothers, who was also responsible for writing and producing much of the Isley material from 1973 through 1984 before the Isley Brothers breakup. Jasper can also be heard singing background with Chaka on "Make It Last". C.K. features two recordings of jazz classics that since have become mainstays in Khan's live repertoire, "The End of a Love Affair", a tribute to Billie Holiday who first recorded the song on her 1958 album Lady in Satin, and Alec Wilder's "I'll Be Around", the latter with a guest appearance by another legend in the jazz genre, Miles Davis, who in fact also features on the Prince track "Sticky Wicked". One title from the C.K. sessions was only released as a single B-side, "Everybody Needs Some Love" written by former Rufus member David "Hawk" Wolinski, producer Russ Titelman and Khan herself. C.K. was transferred from vinyl to CD in 1988 and remains in print.

Track listing 1. "Signed, Sealed, Delivered (I'm Yours)" (Stevie Wonder, Syreeta Wright, Lula Mae Hardaway, Lee Garrett) 4:45 2. "Soul Talkin'" (Brenda Russell) - 4:15 3. "It's My Party" (Womack & Womack) - 5:11 4. "Eternity" (Prince) - 4:03 5. "Sticky Wicked" (Prince) - 6:54 6. "The End Of A Love Affair" (Edward Redding) - 5:11 7. "Baby Me" (Holly Knight, Billy Steinberg) - 4:04 8. "Make It Last" (Chris Jasper, Margie Jasper) - 4:48 9. "Where Are You Tonite" (Haase, Chaka Khan) - 4:53 10. "I'll Be Around" (Alec Wilder) - 5:21

Personnel • • • • • • • • •

Chaka Khan - vocals Jimmy Bralower - drums tracks: 1, 3, 7 Rob Mounsey - keyboards tracks: 3, 6, 7, 9, 10 Ron Skies - keyboards, drums tracks: 3, 4, 6, 7 Carol Steele - percussion tracks: 1, 3, 8, 9 Omar Hakim - drums tracks: 1, 2 Paul Pesco - guitar tracks: 1, 7 Stevie Wonder - harmonica track: 1 Eddie Martinez - guitar tracks: 2, 3

• Hilary Bercovici - keyboards track: 2 • Steve Lindsey - keyboards track: 2

CK

320 • • • • • • • • • • • • • • • • •

Bobby McFerrin - vocals track: 2 Brenda Russell - vocals track: 2 Cecil Womack - vocals & keyboards track: 4 Eric Leeds - saxophone track: 5 Atlanta Bliss - trumpet track: 5 Miles Davis - trumpet tracks: 5, 10 Marcus Miller - bass guitar tracks: 6, 10 Steve Ferrone - drums tracks: 6, 10 George Benson - guitar track: 6 John Tropea - guitar tracks: 6, 10 Margaret Ross - harp track: 6, 10 David Nadien - orchestra tracks: 6, 10 Dave Grusin - piano tracks: 6, 10 Warren Hill - saxophone tracks: 7, 8 Bernard Wright - keyboards track: 9 Chris Parker - percussion track: 9 Chris Jasper - keyboards, synthesizers, background vocals: 8

Production • • • • • • •

Russ Titelman - record producer tracks 1-3, 6-10 Chaka Khan - producer track: 4 David Frank - producer track: 4 Chris Jasper - producer track: 8 Prince - producer track: 5 Gary Wright - sound mix tracks: 1-5, 7-9 Josh Abbey - sound mix track: 6 & 10

Non-album tracks and remixes • • • • • • • • • •

"Everybody Needs Some Love" (B-side of single "Baby Me", produced by Russ Titelman) - 4:26 "It's My Party" (New Party Mix) - 8:40 "It's My Party" (Club Instrumental) - 5:05 "It's My Party" (Club Edit) - 5:10 "It's My Party" (Dance Dub) - 5:18 "Soul Talkin'" (Serious Soul Mix, remixed by Paul Simpson) - 6:14 "Soul Talkin'" (Serious Soul Edit) - 4:25 "Baby Me" (2 CK's And A Baby Mix) - 6:35 "Baby Me" (Big Baby Mix-Extended Mix) - 4:21 "Baby Me" (Nursery Mix) - 4:25


Back on the Block

321

Back on the Block Back on the Block

Studio album by Quincy Jones Released

November 8, 1989

Recorded

1989 Oceanway Record One Lighthouse Studios Westlake Audio (Los Angeles, California) Digital Recorders (Nashville, Tennessee) Tarpan Studios (San Rafael, California)

Genre

Hip hop, R&B, Jazz

Length

57:54

Label

Qwest

Producer

Quincy Jones Professional reviews [1] Allmusic link [2] Ebony (favorable) link [3] Rolling Stone link [4] Warr.org link

• • • •

Quincy Jones chronology

The Dude (1981)

Back on the Block (1989)

Q's Jook Joint (1995)

Back on the Block is a 1989 studio album produced by Quincy Jones.[5] It features many famous and important musicians and singers, including Ella Fitzgerald, Miles Davis, Ice-T, Big Daddy Kane, Sarah Vaughan, Dizzy Gillespie, George Benson, Luther Vandross, Dionne Warwick, Barry White, Chaka Khan, Take 6, Bobby McFerrin, Al Jarreau and Ray Charles.

Back on the Block

322

Overview Multiple singles were lifted from the album and found success on Pop and R&B radio, including "I'll Be Good To You", "I Don't Go For That", "The Secret Garden (Sweet Seduction Suite)", and "Tomorrow (A Better You, Better Me)". "Tomorrow" is noteworthy for introducing a young Tevin Campbell to the music scene. Back on the Block won the 1991 Grammy Award for Album of the Year. Jones' track, Setembro (Brazilian Wedding Song) was featured on the soundtrack for the 1991 film, Boyz n the Hood.

Ella Fitzgerald and Sarah Vaughan Back on the Block featured the last studio recordings of jazz singers Ella Fitzgerald and Sarah Vaughan. Fitzgerald and Jones had previously worked together on her 1963 album with Count Basie, Ella and Basie!. Jones had produced three albums with Sarah Vaughan when they both worked for Mercury Records.

Grammy Awards At the 33rd Grammy Awards, Back on the Block won seven Grammy Awards, including the Grammy Award for Album of the Year. In arranging, Jerry Hey, Quincy Jones, Ian Prince and Rod Temperton won the Grammy Award for Best Instrumental Arrangement for "Birdland", and Glen Ballard, Hey, Jones and Clif Magness won the Grammy Award for Best Instrumental Arrangement Accompanying Vocal(s) for "The Places You Find Love". Jones also won the Grammy Award for Best Jazz Fusion Performance for "Birdland", and the Grammy Award for Producer of the Year, Non-Classical. Bruce Swedien won the Grammy Award for Best Engineered Album, Non-Classical for his work on the album. Ray Charles and Chaka Khan won the Grammy Award for Best R&B Performance by a Duo or Group with Vocal for "I'll Be Good To You". The Grammy Award for Best Rap Performance by a Duo or Group went to Big Daddy Kane, Ice T, Kool Moe Dee, Melle Mel, Quincy Jones III and Jones for Back on the Block.

Track listing #

Title

Writer(s)

Time

1

"Prologue (2Q's Rap)"

Big Daddy Kane, Jones

2

"Back on the Block"

Jones, Rod Temperton, Siedah Garrett,Caiphus Semenya,Ice-T, Melle Mel, Kane, 6:34 Kool Moe Dee

3

"I Don't Go for That"

Ian Prince

5:11

4

"I'll Be Good to You"

George Johnson, Louis Johnson, Sonora Sam

4:54

5

"The Verb To Be (Introduction to Wee B. Dooinit)" Mervyn Warren

0:29

6

"Wee B. Dooinit (Acapella Party by the Human Bean Band)"

Jones, Garrett, Ian Prince

3:34

7

"The Places You Find Love"

Glen Ballard, Clif Magness, Caiphus Semenya

6:25

8

"Jazz Corner of the World (Introduction to "Birdland")"

Kane, Dee

2:54

9

"Birdland"

Joe Zawinul

5:33

Ivan Lins, Gilson Peranzzetta

5:05

10 "Setembro (Brazilian Wedding Song)"

1:04

Back on the Block

323

11 "One Man Woman"

Garrett, Ian Prince, Harriet Roberts

3:44

12 "Tomorrow (A Better You, Better Me)"

George Johnson, Louis Johnson, Garrett,

4:46

13 "Prelude to the Garden"

Jorge Calandrelli

0:54

14 "The Secret Garden (Sweet Seduction Suite)"

Jones,Temperton, Garrett, El DeBarge

6:41

Chart history These is the history of the Billboard Music Charts (North America) for Back on the Block. Year 1989

Music Chart Billboard 200

Position #9

Top Contemporary Jazz Albums #1 Top R&B/Hip-Hop Albums

Credits Recorded in 1989, in Hollywood, Los Angeles, the credits include: • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Ella Fitzgerald - Vocals Take 6 Chaka Khan Bobby McFerrin Melle Mel Ray Charles Big Daddy Kane Ice-T Luther Vandross Sarah Vaughan Al Jarreau Dionne Warwick Barry White Syreeta Wright Grandmaster Melle Mel Al B. Sure! Tevin Campbell Alvin Chea Andraé Crouch Kool Moe Dee Nadirah Ali Maxi Anderson Peggie Blu McKinley Brown Sandra Crouch Geary Faggett Voncielle Faggett Geary Lanier Foggett Ken Ford

#1

Back on the Block • • • • • • • • • • • • • • • • •

Jania Foxworth Siedah Garrett Tammie Gibson Rose Banks El DeBarge Cedric Dent Chad Durio Jim Gilstrap Jackie Gouche Alex Harris Howard Hewett Reggie Green Jennifer Holliday Pattie Howard James Ingram David Thomas Mervyn Warren

• • • • • • • • • • • • • • • • • • • • • • • • • • • •

Charity Young Shane Shoaf Alfie Silas Perry Morgan Phil Perry Tyren Perry Derrick Schoefield Mark Kibble Edie Lehmann Tiffany Johnson Clif Magness Donovan McCrary Howard McCrary Claude McKnight Jean Johnson McRath Miles Davis - Trumpet Dizzy Gillespie Gary Grant Bill Reichenbach Jr. - Trombone Jerry Hey - Trumpet, Arranger, Keyboards James Moody - Alto saxophone Gerald Albright — Alto saxophone, Vocals Paul Jackson Jr. - Guitar Michael Landau Randy Lukather Steve Lukather George Benson - Guitar, Vocals George Johnson - Guitar, Vocals (bckgr)

• Neil Stubenhaus - Bass guitar • Louis Johnson

324

Back on the Block • • • • • • • • • • • • • • • • •

Nathan East Ollie Brown - Percussion Harvey Mason, Sr. Paulinho Da Costa J.C. Gomez John Robinson Bruce Swedien Bill Summers — Percussion, hindewhu Michael Boddicker - Synthesizer Jorge Calandrelli Randy Kerber Rhett Lawrence David Paich Michael Young Greg Phillinganes Ian Underwood Steve Porcaro

• • • • • • • • • • • •

Joe Zawinul - Vocals, Synthesizer Larry Williams - Keyboards, Saxophone George Duke - Keyboards, Fender Rhodes Herbie Hancock - Keyboards, Synthesizer Pads Sheila E. - Timbales, Soloist Glen Ballard - Arranger Rod Temperton Jesse Jackson - Narrator Quincy Jones - Arranger, Drums, Vocals, Korg M1 Ian Prince — Arranger, Keyboards Caiphus Semenya — Arranger, Conductor, Vocal Arrangement Morris Michael

References [1] [2] [3] [4] [5]

http:/ / www. allmusic. com/ album/ r10576 http:/ / findarticles. com/ p/ articles/ mi_m1077/ is_n4_v45/ ai_8325319/ pg_1 http:/ / www. rollingstone. com/ artists/ quincyjones/ albums/ album/ 197670/ review/ 5942967/ back_on_the_block http:/ / www. warr. org/ quincy. html#BOTB allmusic {{{Back on the Block > Overview}}} (http:/ / www. allmusic. com/ album/ r10576)

325


326

Miles & Quincy Live at Montreux Miles & Quincy Live at Montreux

Live album by Quincy Jones Released

1993

Recorded

Jul 8, 1991

Genre

Cool jazz, Big band

Label

Warner Bros. Professional reviews

•

Allmusic

link

[1]

Quincy Jones chronology

Back on the Block (1989)

Miles & Quincy Live at Montreux (1991)

Q's Jook Joint (1995)

Miles & Quincy Live at Montreux is a Miles Davis collaboration with Quincy Jones for the 1991 Montreux Jazz Festival. For the first time in three decades, Davis returned to the songs arranged by Gil Evans on such classic 1950s albums as Miles Ahead, Porgy and Bess and Sketches of Spain. This album was also the last album recorded by Davis (though recordings from nine days later, despite being recorded at Lyon, would be included on the "Complete Montreux" box set.) It left a lot of people who had been disappointed with his newer, more experimental works happy that he had ended his career on such a high note.


Track listing 1. Introduction by Claude Nobs & Quincy Jones 2. "Boplicity" 3. Introduction to Miles Ahead Medley 4. "Springsville" 5. "Maids Of Cadiz" 6. "The Duke" 7. "My Ship" 8. "Miles Ahead" 9. "Blues For Pablo" 10. Introduction to Porgy And Bess Medley 11. "Orgone" 12. "Gone, Gone, Gone" 13. "Summertime" 14. "Here Come De Honey Man" 15. "The Pan Piper" 16. "Solea"

Personnel Performed by The Gil Evans Orchestra and The George Gruntz Concert Jazz Band. Miles Davis - trumpet Kenny Garrett - alt sax Wallace Roney - trumpet, fluegelhorn Quincy Jones - conductor, producer


327


Miles Davis & Gil Evans: The Complete Columbia Studio Recordings Miles Davis & Gil Evans: The Complete Columbia Studio Recordings Box set by Miles Davis and Gil Evans Released

1996, 2004 (reissue)

Recorded

May 6, 1957 to Feb 16, 1968

Genre

Jazz

Length

426:38

Label

Columbia/Legacy

Compiler

Phil Schaap Professional reviews

• •

[1] Allmusic link [2] Rolling Stone (favorable) link Alternative Cover

Cover of original 1996 release

Miles Davis & Gil Evans: The Complete Columbia Studio Recordings[3] is a box set of music by jazz musicians Miles Davis and Gil Evans originally released on CD in 1996 and remastered and re-released in 2004. It collects work from 1957 through 1968 at Columbia Records recording studios. Miles Davis and Gil Evans had worked together on Davis' landmark 1949 album Birth of the Cool. Evans was a distinguished soloist, but it was his role as arranger that is well-illustrated here with alternate and working takes.

328


Track listing Disc 1 - Miles Ahead (masters released on Miles Ahead) 1. "Springsville" (master) - 3:28 2. "The Maids of Cadiz" (master) - 3:59 3. "The Duke" (master) - 3:28 4. "My Ship" (master) - 4:28 5. "Miles Ahead" (master) - 3:29 6. "Blues For Pablo" (master) - 5:19 7. "New Rhumba" (master) - 4:35 8. "The Meaning of the Blues" (master) - 2:50 9. "Lament" (master) - 2:16 10. "I Don't Wanna Be Kissed (By Anyone But You)" (master) - 3:07 11. "Springsville" (remake take 7) - 3:16 12. "The Maids of Cadiz" (take 1) - 3:57 13. "The Duke" (take 11) - 3:32 14. "My Ship" (take 1) - 4:23 15. "Miles Ahead" (take 4) - 3:32 16. 17. 18. 19. 20.

"Blues For Pablo" (take 1) - 3:01 "New Rhumba" (take 5) - 4:45 "The Meaning of the Blues" (rehearsal take) - 2:49 "Lament" (rehearsal take) - 2:20 "I Don't Wanna Be Kissed (By Anyone But You) (Take 8)" - 3:11

Disc 2 - Porgy And Bess (masters released on Porgy and Bess) 1. "Buzzard Song" (master) - 4:09 2. "Bess, You Is My Woman Now" (master) - 5:12 3. "Gone" (master) - 3:38 4. "Gone, Gone, Gone" (master) - 2:05 5. "Summertime" (master) - 3:21 6. "Oh Bess, Oh Where's My Bess" (master) - 4:31 7. "Prayer (Oh Doctor Jesus)" (master) - 4:42 8. "Fisherman, Strawberry, Devil Crab" (master) - 4:11 9. "My Man's Gone Now" (master) - 6:16 10. "It Ain't Necessarily So" (master) - 4:25 11. "Here Come De Honey Man" (master) - 1:20 12. "I Loves You, Porgy" (master) - 3:43 13. "There's a Boat That's Leaving" (master) - 3:28 14. "Gone" (take 3) - 3:40 15. "Summertime" (take 2) - 3:19 16. "Prayer (Oh Doctor Jesus)" (take 2) - 4:16 17. "I Loves You, Porgy" (take 1, second version) - 4:17 18. "There's a Boat That's Leaving..." (take 2) - 3:41 19. "Oh Bess, Oh Where's My Bess" (take 5) - 4:22 20. "Gone" (take 4) - 3:40 Disc 3 - Sketches Of Spain (masters released on Sketches of Spain) 1. "Concierto De Aranjuez (Adagio)" (master) - 16:23 2. "Will O' the Wisp" (master) - 3:50

329

Miles Davis & Gil Evans: The Complete Columbia Studio Recordings 3. "The Pan Piper" (master) - 23:43 4. "Saeta" (master) - 5:08 5. "Solea" (master) - 12:24 6. "Song of Our Country" (master) - 3:29 7. "Saeta" (full version of master) - 6:05 8. "The Pan Piper" (take 1) - 19:30 9. "Concierto De Aranjuez (Adagio)" (alternate take, part one) - 12:03 10. "Concierto De Aranjuez (Adagio)" (alternate take, part two) - 3:32 11. "Song of Our Country" (take 14) - 3:11 Disc 4 - Quiet Nights And More (masters released on Quiet Nights) 1. 2. 3. 4. 5. 6. 7.

"Song No: 2" (master) - 1:40 "Once Upon a Summertime" (master) - 3:27 "Aos Pes Da Cruz" (master) - 4:18 "Song No: 1" (master) - 4:37 "Wait Till You See Her" (master) - 4:06 "Corcovado" (master) - 2:45 "Blue Xmas" (master) - 2:43

8. "Nothing Like You" (master) - 2:00 9. "Devil May Care" (master) - 3:29 10. "The Time of the Barracudas" (master) - 12:48 11. "Falling Water" (take 4) - 3:45 12. "Falling Water" (take 6) - 4:25 13. "Falling Water" (take 8) - 4:17 14. "Falling Water" (take 9) - 4:23 15. "Springsville" (take 5) - 3:34 16. "The Maids of Cadiz" (take 11) - 4:06 17. "The Maids of Cadiz" (take 11, insert 1) - 2:38 18. "Lament (Medley)" - (take 2) - 2:37 19. "The Duke" (take 1) - 3:30 20. "I Don't Wanna Be Kissed (By Anyone But You)" (CK 53225 issued version) - 3:07 Disc 5 - The Making Of Miles Ahead 1. "Springsville" (rehearsal sequence) - 7:01 2. "Springsville" (rehearsal w/ piano) - 2:32 3. "The Maids of Cadiz" (take 9) - 0:34 4. "The Maids of Cadiz" (take 10) - 4:12 5. "The Maids of Cadiz" (rehearsal sequence) 6. "Count Off For the Duke" (take 3) - 0:37 7. "The Duke" (take 8) - 3:33 8. "The Duke" (piano take 3) - 1:55 9. "My Ship" (take 6) - 4:39 10. "Miles Ahead" (rehearsal sequence) - 1:40 11. "Miles Ahead" (take 12) - 3:34 12. "Miles Ahead" (take 15) - 3:31 13. Studio Discussion - 0:30 14. "My Ship" (take 7) - 4:41 15. "Miles Ahead" (piano insert - mono) - 3:09

330

Miles Davis & Gil Evans: The Complete Columbia Studio Recordings 16. 17. 18. 19. 20. 21. 22.

"Blues For Pablo" (rehearsal sequence) - 5:54 "New Rhumba" (take 2) - 4:40 "Lament" (take 1) - 2:24 "I Don't Wanna Be Kissed (By Anyone But You)" (rehearsal) - 2:13 "I Don't Wanna Be Kissed (By Anyone But You)" (take 5) - 2:58 Studio Discussion - 0:35 "I Don't Wanna Be Kissed (By Anyone But You)" (piano take 4) - 2:57

Disc 6 - Alternate And Rehearsal Takes 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

Studio Discussion - 0:21 "Springsville" (take 8 w/out overdubs) - 3:33 Studio Discussion - 0:06 "Miles Ahead" (take 11 w/out overdubs) - 3:31 "I Don't Wanna Be Kissed (By Anyone But You)" (take 3 w/out overdubs) - 2:59 "Springsville" (overdub take 1) - 2:07 "Springsville" (overdubbed solos 4-5) - 2:20 "Springsville" (overdubbed solos 6-9) - 2:31 "Springsville" (issued overdubbed solo) - 0:26 "Miles Ahead" (issued overdubbed Solo) - 1:53 "Miles Ahead" (overdubbed solo) - 1:35 "I Don't Wanna Be Kissed (By Anyone But You)" (overdubbed solo 1) - 1:05 "I Don't Wanna Be Kissed (By Anyone But You)" (overdubbed solo 2) - 1:25 "I Don't Wanna Be Kissed (By Anyone But You)" (overdubbed solo 4) - 2:04 "I Don't Wanna Be Kissed (By Anyone But You)" (overdubbed solo 8) - 3:04 "I Don't Wanna Be Kissed (By Anyone But You)" (overdubbed solo 19 & 19c) - 2:56 "Miles Ahead" (mono master) - 3:29 "Gone" (rehearsal sequence) - 2:53 "Gone, Gone, Gone" (rehearsal sequence) - 2:57 Studio Discussion - 0:53 "Bess, You Is My Woman Now" (rehearsal take) - 4:57 "It Ain't Necessarily So" (take 1) - 3:22 "Oh Bess, Oh Where's My Bess" (take 3) - 3:53 "I Loves You, Porgy" (rehearsal sequence) - 2:17 "There's A Boat That's Leaving Soon For New York" (remake) - 2:23 "My Man's Gone Now" (remake take) - 6:12 "Song of Our Country" (take 9) - 2:58 "Concierto De Aranjuez (Adagio)" (rehearsal) - 7:20 "Concierto De Aranjuez (Adagio)" (alternate ending) - 1:21

331


Personnel Miles Davis - trumpet Gil Evans - piano

References [1] http:/ / www. allmusic. com/ album/ r239123 [2] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 113120/ review/ 5944683/ miles_davis__gil_evans_the_complete_columbia_studio_recordings [3] The album name is rendered differently in different places.

332

333

Related biographies Cannonball Adderley Cannonball Adderley Birth name

Julian Edwin Adderley

Born

September 15, 1928 Tampa, Florida

Origin

United States

Died

August 8, 1975 (aged 46) Gary, Indiana

Genres

Jazz, Soul jazz

Occupations

Teacher, musician

Instruments

Alto saxophone, soprano saxophone

Years active

1955–1975

Labels

Blue Note, Fantasy, Capitol, Prestige, Riverside

Associated acts Nat Adderley Miles Davis George Duke Yusef Lateef Sam Jones Joe Zawinul Louis Hayes Bobby Timmons Bill Evans

Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the hard-bop era of the 1950s and 1960s. Originally from Tampa, Florida, he moved to New York in the mid 1950s.[1] His nickname derived originally from "cannibal," an honorific title imposed on him by high school colleagues as a tribute to his vast eating capacity.[2] He was the brother of jazz cornetist Nat Adderley.[1]

Early life and career His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching positions at Florida A&M University.[3] Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s.[4] Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.[1] [5] It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.

Cannonball Adderley Prior to joining the Miles Davis band, Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group.[1] Adderley joined the Miles Davis sextet in October 1957, three months prior to John Coltrane's return to the group. Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans's time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?.[1] His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records.[1]

Band leader The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Adderley's first quintet was not very successful; however, after leaving Davis' group, he formed another, again with his brother, which enjoyed more success. The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups, included such noted musicians as: • pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, George Duke, Wynton Kelly, Bill Evans • bassists Ray Brown, Sam Jones, Walter Booker, Victor Gaskin • drummers Louis Hayes, Roy McCurdy • saxophonists Charles Lloyd, Yusef Lateef. The sextet was noteworthy towards the end of the 1960s for achieving crossover success with pop audiences, but doing it without making artistic concessions.

Later life By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter. In that same year, his quintet appeared at the Monterey Jazz Festival in California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me, starring Clint Eastwood. In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.[6] Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.[1] Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts. Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia Fraternity of America Incorporated (Gamma Theta, University of North Texas, '60, & Xi Omega, Frostburg State University, '70), the largest and oldest music fraternity in America and Alpha Phi Alpha, the oldest existing intercollegiate Greek-letter fraternity established for African Americans (made Beta Nu chapter, Florida A&M University).[7] Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame.[1]

334

Cannonball Adderley

References [1] [2] [3] [4] [5]

allmusic Biography (http:/ / www. allmusic. com/ artist/ p5981) (http:/ / www. cannonball-adderley. com/ 288. htm) Jazz.com: Nat Adderley (http:/ / www. jazz. com/ encyclopedia/ adderley-nat-nathaniel) Lydon, Michael, Ray Charles: Man and Music, Routledge, ISBN 0-415-97043-1, Routledge Publishing, January 22, 2004 Berman, Eleanor. "The jazz of Queens encompasses music royalty" (http:/ / www. post-gazette. com/ pg/ 06001/ 629777. stm), Pittsburgh Post-Gazette, January 1, 2006. Accessed October 1, 2009. "When the trolley tour proceeds, Mr. Knight points out the nearby Dorie Miller Houses, a co-op apartment complex in Corona where Clark Terry and Cannonball and Nat Adderley lived and where saxophonist Jimmy Heath still resides." [6] Julian "Cannonball" Adderley at IMDB (http:/ / www. imdb. com/ name/ nm0011645/ ) [7] List of prominent members at Cornell University website. (http:/ / www. rso. cornell. edu/ alpha/ prominent/ prominent. html)

cannonball adderloy

External links • The Cannonball Adderley Rendez-vous (http://www.cannonball-adderley.com/) • Cannonball Adderley Discography at Jazzdisco.org (http://www.jazzdisco.org/adderley/) • Podcast with clip of Cannonball Adderley's duet with the Nutty Squirrels (http://destinyland.mondoglobo.net/ 2006/08/23/the-war-of-the-singing-rodents/) • History with link to mp3 of Nutty Squirrels/Cannonball Adderley session (http://www.10zenmonkeys.com/ 2006/10/29/haunted-by-chipmunk-ghosts/) • Cannonball Adderley (http://www.allmusic.com/artist/p5981) at Allmusic • Cannonball Adderley at NPR Music (http://www.npr.org/templates/story/story.php?storyId=15404098)

335

Kei Akagi

336

Kei Akagi Kei Akagi Born

March 16, 1953Japan

Genres

Jazz

Instruments

Piano

Associated acts Airto Moreira/Flora Purim, Miles Davis Website

/~yamagen/kei/top.htm

[1]

Kei Akagi (ケイ赤城/赤城恵 Akagi Kei, born March 16, 1953) is a Japanese American jazz pianist most known as a sideman. In particular he is known for his work with the Airto Moreira/Flora Purim group and in Miles Davis's band in the late 1980s and early 1990s. He was born in Japan, but lived in Cleveland, Ohio for part of his childhood, until he moved back to Japan at the age of 12. He later returned to the United States at 22. He is associated with the Californian jazz scene at present. He is the Chancellor Professor of Music at the University of California, Irvine. He also appears on "Frank Gambale live"

Performance History • • • • • • • • •

1979-1985 Airto Moreira/Flora Purim 1984-1985 Joe Farrell 1985-2000 James Newton 1986 Allan Holdsworth 1986 Jean-Luc Ponty 1986-1988 Al Di Meola 1989-1991 Miles Davis 1991-2000 Stanley Turrentine 1994-1995 Sadao Watanabe

Recording History Mirror Puzzle with Charles Fambrough, Willie Jones III & Rick Margitaz (AudioQuest Music, 1994)[2]

External links • Official Website (Japanese) [1] • Billboard bio [3] • Faculty bio UCI [4]

References [1] [2] [3] [4]

http:/ / www. aomori-net. ne. jp/ ~yamagen/ kei/ top. htm Valley-Entertainment.com (http:/ / www. valley-entertainment. com/ mirror-puzzle-1. html) http:/ / www. billboard. com/ bbcom/ bio/ index. jsp?pid=8221 http:/ / music. arts. uci. edu/ content/ kei-akagi

Don Alias

337

Don Alias Don Alias Born

December 25, 1939 New York City, New York United States

Genres

Jazz, jazz fusion

Occupations

Musician

Instruments

Drums, Conga drums, Percussion instruments, djembe

Associated acts Joni Mitchell, Miles Davis, Weather Report, Jaco Pastorius, Pat Metheny, Herbie Hancock Website

Official Website Don Alias

[1]

Charles 'Don' Alias[2] (b. December 25, 1939 New York City, New York; d. March 29, 2006 New York City) was an American jazz percussionist. Alias was best known for his skill at congas and other hand drums. He was, however, a capable drum kit performer: Alias played drums on the song "Miles Runs the Voodoo Down" from Bitches Brew (1969) when neither Lenny White nor Jack DeJohnette were able to capture the marching band rhythm requested by trumpeter Miles Davis.[3] Alias performed on hundreds of recordings, and was perhaps best known for his associations with Miles Davis and saxophonist David Sanborn, though he also performed or recorded with the group Weather Report, singer Joni Mitchell, pianist Herbie Hancock, The Brecker Brothers, Jaco Pastorius, Pat Metheny and many others. Alias was born in New York City and arrived in Boston in the early 1960s intending to study medicine but, after playing congas in a number of local bands, made an abrupt career switch.

Discography As sideman With Philip Bailey • Soul on Jazz (Heads Up International, 2002) With Carla Bley • • • •

Sextet (Watt, 1986-87) Fleur Carnivore (Watt, 1988) The Very Big Carla Bley Band (Watt, 1990) Looking for America (Watt, 2002)

With Miles Davis • Bitches Brew (Columbia, 1970) • On the Corner (Columbia 1971) • Amandla (Warner Bros., 1989) With Jack DeJohnette • Oneness (ECM, 1997) With Joe Farrell • Penny Arcade (CTI, 1973) With Dan Fogelberg

Don Alias • The Innocent Age (Full Moon, 1981) With Bill Frisell • Unspeakable (Elektra Nonesuch, 2004) With Kenny Garrett • Black Hope (Warner Bros, 1992) With Elvin Jones • Merry-Go-Round (Blue Note, 1971) With Joni Mitchell • Don Juan's Reckless Daughter (Asylum, 1977) • Mingus (Asylum, 1979) • Shadows and Light (Asylum, 1980) With Jaco Pastorius • Word of Mouth (Warner Bros., 1980-81) With Carlos Santana and John McLaughlin • Love Devotion Surrender (Columbia, 1973) With James Taylor • Flag (Columbia, 1979) With Weather Report • Weather Report (Columbia, 1971) - uncredited • Black Market (Columbia, 1976)

References [1] http:/ / donalias. com [2] surname pronounced ah-LIE-ahs [3] see the notes for The Complete Bitches Brew Sessions (1998)

External links • Official Website Don Alias (http://donalias.com) • Don Alias's Interview (http://www.digitalinterviews.com/digitalinterviews/views/alias.shtml) • Article in Drummerworld (http://www.drummerworld.com/drummers/Don_Alias.html)

338

John Beasley

339

John Beasley John Beasley Background information Born

1960

Origin

Shreveport, Louisiana, United States

Genres

Jazz, Blues, Soul, R&B, Funk, Afro-Cuban, Latin, Classical, Rock

Occupations

Composer, Producer, Arranger, Pianist

Instruments

Piano, keyboards,

Labels

Resonance Records, Windham Hill Jazz, EWE, Japan

Associated acts Queen Latifah, Wall-E, Miles Davis, Chaka Khan, Steely Dan Website

Official website

[1]

John Beasley (born 1960) is an American composer, pianist, producer, and arranger who has recorded and performed with musicians such as Miles Davis, Steely Dan, Chaka Kahn, James Brown, Spice Girls, Dianne Reeves, Ry Cooder, Chick Corea and Sérgio Mendes, Freddie Hubbard, John Patitucci, Queen Latifah, and Ivan Lins.

Origins Born in Shreveport, Louisiana, Beasley is third generation musician who was raised in a house filled with music. His grandfather, Rule Oliver, played trombone in territory bands and was a junior high school band director for 50 years in Arkansas. His mother, Lida Beasley, is a brass instrumentalist. For most of her career, she taught music at various public schools and colleges, along with being band director and conducting operas. Growing up around musicians, Beasley learned how to play trumpet, oboe, drums, saxophone, and flute, mostly because of his mother's need for wind instrumentalists for her bands. His father, Rule Beasley, is a pianist and bassoonist, who played with the Fort Worth Symphony. Also, he was a professor of music composition at University of North Texas College of Music and at Santa Monica College, where he taught many musicians performing today. Beasley created a drum set with garbage can lids and kitchen pots and pans when he was around two years old. His grandfather started bringing him drum parts, which he put together, and had a drum set from age four to high school. Beasley began piano lessons at age seven and stopped taking formal lessons when he started high school. In six grade, he had private lessons with a university oboe teacher which lasted three years. He taught himself to play the sax, flute, and trumpet and began playing for the John Adams Junior School and Santa Monica College orchestras that his mother led. He was also in the state choir but quit because he got bored. Beasley started writing music in junior high school. After his father bought him a Bobby Timmons record, he wanted to play jazz. In Grade 7, he formed a jazz band with high school-aged friends. Always mesmerized by inner melodies and day dreaming, on family camping trips he packed his score pad to compose and arrange. As soon as he graduated from high school, he started 'gigging'; playing in bars when he was too young to get entry as a customer. Fearless about learning and performing, in just a few years he was touring around the U.S. and internationally with Sérgio Mendes and Freddie Hubbard.

John Beasley

Career At age 14, Beasley wrote a jazz piece for the University of North Texas Jazz Band. Jimmy Lyons, founder of the Monterey Jazz Festival, heard Beasley's piece and recommended him for a scholarship at the Stan Kenton summer jazz camp. The Stan Kenton Orchestra performed Beasley's composition at the camp, and then added it to its repertoire that year. Declining an oboe scholarship from the Juilliard, Beasley went on to tour and record with Miles Davis, Steely Dan, Carly Simon, Barbra Streisand, Baaba Maal, Queen Latifah, Christian McBride and the Los Angeles Philharmonic Orchestra, Chaka Khan, James Brown, and John Pattituci to name a few. Recognizing Beasley's talent for composing and arranging, major recording artists have added Beasley's original sound and music to their projects. At 24, Beasley started writing music for Paramount, Disney, and MGMs television shows, including Cheers, Family Ties, Star Trek, and Fame. He also wrote the Touchstone TV logo, which is still used today. His first brush with Hollywood films was as a pianist playing on film scores for film luminaries such as Thomas Newman, Dave Grusin, Alan Silvestri, and Carmine Coppola in box office hits such as WALL-E", "Finding Nemo, Erin Brockovich, The Godfather III, A Bug's Life, and Austin Powers: The Spy Who Shagged Me.[2] He composes pro bono for films and podcasts for Nobel Peace Prize winning Doctors Without Borders. Along the way, Beasley has written award winning commercials for ad agencies in the US and Germany for over 20 years. While touring with Miles Davis, Beasley was inspired to release his first of seven solo recordings. Today, Beasley, continues to juggle his studio work on hit reality/game shows such as American Idol, Pussycat Dolls Present:, America's Got Talent, and Singing Bee, along with touring as Musical Director for Queen Latifah, conducting workshops, playing on TV/Films, producing other artists, and writing new music. His eighth album, Letter to Herbie, a tribute to 2008 Grammy winner, Herbie Hancock, featuring Christian McBride, Jeff "Tain" Watts, and Roy Hargrove was released in April 2008 and has already topped the Jazz Music Charts. In 2009, he released Positootly!.[3] In 2010 he appeared in a Web-TV simulcast.[4]

References [1] [2] [3] [4]

http:/ / www. beasleymusic. com/ http:/ / www. imdb. com/ name/ nm1707406/ http:/ / www. allaboutjazz. com/ php/ article. php?id=34033 http:/ / www. allaboutjazz. com/ php/ news. php?id=48649

External links • • • • • •

Official website (http://www.beasleymusic.com/) John Beasley (http://www.imdb.com/name/nm1707406/) at the Internet Movie Database John Beasley (http://www.tv.com/person/182928/summary.html) at TV.com John Beasley (http://www.myspace.com/johnbeasleymusic) on Myspace Short exposé of John Beasley playing on YouTube (http://www.youtube.com/watch?v=Pu3NxzERIYY/) John Beasley's page on Resonance Records (http://www.resonancerecords.org/johnbeasley)

340

Bob Berg

341

Bob Berg Bob Berg Birth name

Robert Berg

Born

April 7, 1951

Origin

New York, USA

Died

December 5, 2002 (aged 51)

Genres

Hard bop Post bop

Occupations

Musician

Instruments

Saxophone

Labels

Stretch Records, Denon, GRP

Associated acts Miles Davis, Horace Silver, Cedar Walton, Mike Stern, Chick Corea

Bob Berg (April 7, 1951 – December 5, 2002) was a jazz saxophonist originally from Brooklyn, New York City. He started his musical education at the age of six when he began studying classical piano. He began playing the saxophone at the age of thirteen. Bob Berg was a Juilliard graduate influenced heavily by the late 1964–67 period of John Coltrane's music. He was known for his extremely expressive playing and tone. A student from the hard bop school, he played from 1973 to 1976 with Horace Silver and from 1977 to 1983 with Cedar Walton. Berg became more widely known through his short period in the Miles Davis band. He left Davis's band in 1987 after recording only one album with them. After leaving Davis's band, Berg released a series of solo albums and also performed and recorded frequently in a group co-led with guitarist Mike Stern. On these albums he played a more accessible style of music, mixing funk, jazz and even country music with many other diverse compositional elements to produce albums that were always musical. He often played at the 7th Ave South NYC club. He worked with Chick Corea, Steve Gadd and Eddie Gomez in a great quartet. His tenor saxophone sound was a synthesis of rhythm and blues players like Junior Walker and Arnett Cobb with the lyricism, intellectual freedom and soul of Wayne Shorter, Joe Henderson and John Coltrane. He was tragically killed in a road traffic accident in East Hampton, NY while driving to buy groceries with his wife Arja. The person who crashed into his car was driving a cement truck that accidentally skidded on ice.

Discography As leader • • • • • • • • • •

New Birth (1978; Xanadu Records) Steppin': Live in Europe (1982) Short Stories (1987) Denon Records Cycles (1988) Live at the Sweet Basil with Randy Brecker [Sonet] In the Shadows (1990) New York Journey with M. Genoud, J.C. Lavanchy, I. Malherbe (1990) [Preludio Productions] Back Roads (1991) Virtual Reality (1992) Enter the Spirit (1993)

Bob Berg • • • •

Riddles (1994) The Best of Bob Berg (1995) Another Standard (1997) Jazz Times Superband (2000)

As sideman With Miles Davis • You're Under Arrest (1985) With Horace Silver • Silver 'n Brass (1975) • Silver 'n Wood (1976) With Dizzy Gillespie • Rhythmstick (1990) With Cedar Walton • First Set (1979) [Steeplechase] • Second Set (1979) [Steeplechase] • Third Set (1979) [Steeplechase] • Animation (1979) [CBS] • Eastern Rebellion 3 (1979) [Timeless] With Chick Corea • Time Warp (1995) With Wolfgang Muthspiel • Timezones (1989) With Tom Coster • Let's Set The Record Straight (1993) [JVC] • The Forbidden Zone (1994) [JVC]

External links • Jazz Professional article about his death [1] • Interview with Bob Berg [2]

References [1] http:/ / www. jazzprofessional. com/ report/ Bob%20Berg. htm [2] http:/ / www. allaboutjazz. com/ iviews/ bberg. htm

342

Elwood Buchanan

Elwood Buchanan Elwood C. Buchanan, Sr was an American jazz trumpeter and teacher who became an early mentor of Miles Davis. Buchanan was born in St Louis, Missouri, and was trained in music by Joseph Gustat, the principal trumpeter with the St Louis Symphony Orchestra. He began his career playing in local dance bands, including Andy Kirk's orchestra, and on the riverboats that travelled on the Mississippi River between St Louis and New Orleans. During the late 1930s and early 1940s, he taught music and directed the band at Lincoln High School in East St Louis, and also visited the local elementary schools to give weekly lessons. Buchanan was known for his strict and demanding teaching style, and for encouraging pupils to compete with one another. Buchanan was a friend of Miles Davis's father, who told him of his son's interest in music. Although Davis, at thirteen, was then too young to attend Buchanan's school, Buchanan began giving him private lessons. Davis joined the school band when he began attending Lincoln. Although Buchanan had the band play mainly marches rather than jazz, the techniques he taught profoundly affected Davis' jazz style. In particular, Buchanan went against the times by recommending to his students that they play without vibrato, and is said to have broken Davis of the habit by rapping his knuckles with a ruler and commanding: "Stop shakin' that note. You're going to shake enough when you get old". [1] Buchanan also encouraged Davis to study the lean, relaxed playing of Bobby Hackett (then little known beyond the East Coast) and Harold Shorty Baker. In this, too, Buchanan went against fashion; the most popular trumpeter of the day was Louis Armstrong, whose hot playing style was very different from those of Hackett or Baker. Davis later credited Buchanan with persuading his parents to buy him a new trumpet, rather than a violin as his mother had preferred. Buchanan also introduced Davis to Clark Terry, who would become his recording partner. In his autobiography, Davis recalled: "Mr. Buchanan was the biggest influence on my life up until then. He was definitely the person who took me all the way into music at that time." [2]

Sources • • • •

So What: The Life of Miles Davis by John Szwed (Simon & Schuster, 2002) Milestones: The Music and Times of Miles Davies by J.K. Chambers (Da Capo Press, 1998) Miles Davis: The Autobiography [3] Clark Terry: Having Fun [1] from All About Jazz.

References [1] http:/ / www. allaboutjazz. com/ php/ article. php?id=14904 [2] http:/ / yanko. lib. ru/ books/ bio/ miles. htm#_Toc496769661 [3] http:/ / yanko. lib. ru/ books/ bio/ miles. htm

343

Ron Carter

344

Ron Carter Ron Carter

Ron Carter performing at the European Jazz Expò 2007 Background information Born

May 4, 1937

Origin

Ferndale, Michigan, U.S.

Genres

Orchestral jazz Mainstream jazz Third Stream

Occupations

Professor Clinician Jazz musician

Instruments

Double bass Cello, Piccolo bass

Years active

1960–present

Ron Carter (born May 4, 1937) is an American jazz double-bassist. His appearances on over 2,500 albums make him one of the most-recorded bassists in jazz history, along with Milt Hinton, Ray Brown and Leroy Vinnegar. Carter is also an acclaimed cellist who has recorded numerous times on that instrument.[1]

Biography Carter was born in Ferndale, Michigan. He started to play cello at the age of 10, but when his family moved to Detroit, he ran into difficulties regarding the racial stereotyping of classical musicians and instead moved to bass. He attended the historic Cass Technical High School in Detroit, and, later, the Eastman School of Music, where he played in its Philharmonic Orchestra. He gained his bachelor's degree at Eastman in 1959, and in 1961 a master's degree in double bass performance from the Manhattan School of Music. His first jobs as a jazz musician were with Jaki Byard and Chico Hamilton. His first records were made with Eric Dolphy (another former member of Hamilton's group) and Don Ellis, in 1960. His own first date as leader, Where?, with Dolphy and Mal Waldron and a date also with Dolphy called Out There with George Duvivier and Roy Haynes and Carter on cello; its advanced harmonies and concepts were in step with the third stream movement. Carter came to fame via the second great Miles Davis quintet in the early 1960s, which also included Herbie Hancock, Wayne Shorter and Tony Williams. Carter joined Davis's group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E.S.P., the latter being the first album to feature only the full quintet. It also featured three of Carter's compositions (the only time he contributed compositions to Davis's group). He stayed with Davis until 1968 (when he was replaced by Dave Holland), and participated in a couple of studio sessions with Davis in 1969 and 1970. Although he played electric bass occasionally during this period, he has subsequently eschewed that instrument entirely, and now plays only acoustic bass. Carter was close to Davis and even revealed to an interviewer in 1966 that the famous trumpeter's favorite color was fuchsia.[2]

Ron Carter Carter also performed on some of Hancock, Williams and Shorter's recordings during the sixties for Blue Note Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and others. After leaving Davis, Carter was for several years a mainstay of CTI Records, making albums under his own name and also appearing on many of the label's records with a diverse range of other musicians. Notable musical partnerships in the 70's and 80's included Joe Henderson, Houston Person, Hank Jones, and Cedar Walton. During the 1970s he was a member of the New York Jazz Quartet. He appears on the alternative hip-hop group A Tribe Called Quest's influential album The Low End Theory on a track called "Verses from the Abstract". He also appears as a member of the jazz combo the Classical Jazz Quartet. In 1994, Carter appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time Magazine. In 2001, Carter collaborated with Black Star and John Patton to record "Money Jungle" for the Red Hot Organizatin's compilation album, Red Hot + Indigo, a tribute to Duke Ellington. Carter was Distinguished Professor Emeritus of the Music Department of The City College of New York, having taught there for twenty years,[3] and received an honorary Doctorate from the Berklee College of Music, in Spring 2004. He joined the faculty of the Juilliard School in New York City in 2008, teaching bass in the school's Jazz Studies program. Carter made a notable appearance in Robert Altman's 1996 film Kansas City. The end credits feature him and fellow bassist Christian McBride duetting on Solitude. Ron Carter sits on the Advisory Committee of the Board of Directors of The Jazz Foundation of America as well as the Honorary Founder's Committee.[4] Ron has worked with the Jazz Foundation since its inception to save the homes and the lives of America's elderly jazz and blues musicians including musicians that survived Hurricane Katrina.[5]

345

Ron Carter

Discography As leader • 1961: Where? (Prestige Records) with Eric Dolphy, Charlie Persip, Mal Waldron, George Duvivier • 1966: Out Front (Prestige) • 1969: Uptown Conversation (Embryo Records) • 1973: All Blues (CTI Records) • 1973: Blues Farm • 1974: Spanish Blue • 1975: Anything Goes • 1976: Yellow & Green • 1976: Pastels • 1977: Piccolo • 1977: Third Plane (Milestone) trio with Herbie Hancock and Tony Williams • 1978: 1+3 (JVC) trio live with Hank Jones or Herbie Hancock and Tony Williams • 1978: Peg Leg (Milestone) • 1978: Standard Bearers • 1979: Parade • 1980: New York Slick (Milestone) • 1980: Patrao • 1980: Empire Jazz • 1990: Carnaval • 1991: Meets Bach (Blue Note) • 1992: Friends (Blue Note) • 1994: Jazz, My Romance (Blue Note) • • • • • • • • • • • • •

1995: Mr. Bow Tie (Blue Note) 1995: Brandenburg Concerto (Blue Note) 1997: The Bass and I 1998: So What (Blue Note) trio with Kenny Barron and Lewis Nash 1999: Orfeu (Blue Note) 2001: When Skies Are Grey (Blue Note) 2002: Stardust (Blue Note) 2003: The Golden Striker (Blue Note) 2003: Eight Plus 2003: Ron Carter Plays Bach 2006: Live at The Village Vanguard 2007: Dear Miles 2008: Jazz and Bossa

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Ron Carter

As sideman With Tadd Dameron • The Magic Touch (1962) With Miles Davis • Quiet Nights (1962) • Four & More • • • • • • • • • •

My Funny Valentine Live at the Plugged Nickel Miles Smiles ESP Miles in the Sky Seven Steps to Heaven Sorcerer Filles de Kilimanjaro Water Babies Nefertiti

With Herbie Hancock • Empyrean Isles • • • •

Maiden Voyage Speak Like a Child VSOP Quartet (1981)

With David "Fathead" Newman • Mr. Gentle Mr. Cool : A Tribute To Duke Ellington (1994, Kokopelli Records) With Horace Silver • • • • • • •

Silver 'n Brass (1975) Silver 'n Wood (1976) Silver 'n Voices (1976) Silver 'n Percussion (1977) Silver 'n Strings Play the Music of the Spheres (1978) The Hardbop Grandpop (1996) A Prescription for the Blues (1997)

With Charles Tolliver • Paper Man (1969) - Black Lion Records With McCoy Tyner • • • • • •

The Real McCoy Expansions Trident Counterpoints Fly with the Wind Supertrios

• Extensions With others

347

Ron Carter • • • • • • • • • • • • • • • • •

Alice Coltrane - Ptah, The El Daoud (1970) Toshiko Akiyoshi - Toshiko at Top of the Gate (1968) George Benson - Giblet Gravy (1968) Bob Brookmeyer - Bob Brookmeyer and Friends (1962) Donald Byrd - Electric Byrd (1970), Kofi (1969–70) Stan Getz - Voices (1967) Billy Cobham - Spectrum (1973) Harry Connick, Jr. - Harry Connick Jr. (1987) Eric Dolphy - Out There (1960), Far Cry (1960) Lou Donaldson - Lush Life (1967), Sophisticated Lou (1973) Roberta Flack - First Take (1970), Quiet Fire (1971), Killing Me Softly (1973) Bill Frisell - Bill Frisell, Ron Carter, Paul Motian (2006) Johnny Frigo - Live from Studio A in New York City (1988) Jim Hall - Concierto (1975), Live at Village West (1984), Telephone (1985), Alone Together (1986) Chico Hamilton - The Further Adventures of El Chico (Impulse!, 1966) Gene Harris - Gene Harris of the Three Sounds (1972) Coleman Hawkins - Night Hawk (1961) with Eddie Davis and Tommy Flanagan

• • • • • • • • • • • • • • • • • • • • • • • • • • • •

Joe Henderson - Power to the People, The State Of The Tenor: Live At The Village Vanguard Andrew Hill - Grass Roots (1968), Lift Every Voice (1969), Passing Ships (1969) Freddie Hubbard - Red Clay (1970), First Light (1971) Bobby Hutcherson - Components (1965) Milt Jackson - Sunflower (1972) Quincy Jones - Gula Matari (1970) Steve Kuhn and Gary McFarland - The October Suite (Impulse!, 1966) Helen Merrill - Duets (1987) Wes Montgomery - So Much Guitar (1961), Tequila, California Dreaming Oliver Nelson - Sound Pieces (1966) Happenings (1966) New York Jazz Quartet - In Concert in Japan (1975) Hermeto Pascoal - Hermeto (1971), Slaves Mass (1976) Duke Pearson - Sweet Honey Bee (1966) Austin Peralta - Maiden Voyage (2006) Sam Rivers - Fuchsia Swing Song (1964), Contours (1965) Shirley Scott - On a Clear Day (1966) Gil Scott-Heron - Pieces of a Man (1972) Marlena Shaw - From the Depths of My Soul (1973) Wayne Shorter - Speak No Evil (1964), The All Seeing Eye (1965) Grace Slick- Manhole (1973) Gábor Szabó - Spellbinder (Impulse!, 1966) Livingston Taylor-"Pajamas" from the album In Harmony (1980) Bobby Timmons - In Person (1961), Born to Be Blue! (1963), The Soul Man! (1966), Got to Get It! (1967) Mal Waldron - The Quest (1961) Kai Winding - The Incredible Kai Winding Trombones (Impulse!, 1960) A Tribe Called Quest - The Low End Theory (1991) Eli Degibri - Israeli Song (2010) Giorgio - Party Of The Century (2010)

• Red Garland - Red Garland's Piano (1957)

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Ron Carter

Filmography • 2003: Ron Carter & Art Farmer: Live at Sweet Basil with Cedar Walton and Billy Higgins[6] • 2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham[7]

References [1] [2] [3] [4]

Allmusic biography (http:/ / www. allmusic. com/ artist/ p6251/ biography) http:/ / danouellette. artistshare. com/ default. aspx Ron Carter Official Website (http:/ / www. roncarter. net) jerryjazzmusician.com. 2009-13-10. URL: http:/ / www. jerryjazzmusician. com/ mainHTML. cfm?page=storfer. html. Accessed: 2009-13-10. (Archived by jerryjazzmusician.com at http:/ / www. jerryjazzmusician. com/ mainHTML. cfm?page=storfer. html) [5] ireport.com. 2009-13-10. URL: http:/ / www. ireport. com/ docs/ DOC-337150. Accessed: 2009-13-10. (Archived by ireport.com at http:/ / www. ireport. com/ docs/ DOC-337150) [6] VIEW DVD Listing (http:/ / www. view. com/ ron_carter_and_art_farmer_live_at_sweet_basil_dvd. aspx) [7] VIEW DVD Listing (http:/ / www. view. com/ herbie_hancock_trio_hurricane_dvd. aspx)

External links • Ron Carter Official Website (http://www.roncarter.net) • Interview with Ron Carter (http://thebadplus.typepad.com/dothemath/2007/06/interview_with_.html) • 2006 Interview with Ron Carter (http://www.stateofmindmusic.com/?entry=428) • Interview with Ron Carter (2007) (http://www.artistshousemusic.org/videos/music+industry+profile+ legendary+jazz+bassist+ron+carter) • Ron Carter at All About Jazz (http://www.allaboutjazz.com/php/musician.php?id=5580) • Bassist Ron Carter, an Interview With Editor Jake Kot (http://www.bass-musician-magazine.com/General/ bass-musician-magazine-detail.asp?year=2008&month=12&article-id=528507067) • Ron Carter's dedicated page on the Party Of The Century project (http://potc.giorgiosound.com/index. php?page=Ron Carter) • Video interview with Ron Carter at allaboutjazz.com (http://www.allaboutjazz.com/php/news.php?id=50133)

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Paul Chambers

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Paul Chambers Paul Chambers Birth name

Paul Laurence Dunbar Chambers, Jr.

Born

April 22, 1935 Pittsburgh, Pennsylvania United States

Died

January 4, 1969 (aged 33)

Genres

Jazz

Occupations

Musician

Instruments

Upright bass, tuba, cello, baritone saxophone, baritone horn

Labels

Blue Note Records, Prestige Records, Verve Records, Riverside Records

Associated acts Miles Davis Quintet

Paul Laurence Dunbar Chambers, Jr. (April 22, 1935 – January 4, 1969) was a jazz bassist. A fixture of rhythm sections during the 1950s and 1960s, his importance in the development of jazz bass can be measured not only by the length and breadth of his work in this short period but also his impeccable time, intonation, and virtuosic improvisations.[1]

Biography Born in Pittsburgh, Pennsylvania on April 22, 1935, Chambers was raised in Detroit, Michigan following the death of his mother. He began playing music with several of his schoolmates; the baritone horn was his first instrument.[1] Later he took up the tuba. "I got along pretty well, but it's quite a job to carry it around in those long parades, and I didn't like the instrument that much." Chambers became a string bassist around 1949.[1] His formal bass training got going in earnest in 1952, when he began taking lessons with a bassist in the Detroit Symphony Orchestra. Chambers did some classical work himself, with a group called the Detroit String Band that was, in effect, a rehearsal symphony orchestra. Studying at Cass Technical High School off and on from 1952 to 1955, he played in Cass' own symphony, and in various other student groups, one of which had him playing baritone saxophone. By the time he left for New York at the invitation of tenor saxophonist Paul Quinichette, he had absorbed a working knowledge of many instruments.[1] Jazz bass players were largely limited to timekeeping with drums, until Duke Ellington's bassist Jimmy Blanton began a transformation in the instrument's role at the end of the 1930s. Chambers was about 15 when he started to listen to Charlie Parker and Bud Powell, his first jazz influences. Oscar Pettiford and Ray Brown were the first bassists he admired, and these were followed by Percy Heath, Milt Hinton and Wendell Marshall for their rhythm section work, and Charles Mingus and George Duvivier for their technical prowess and for their efforts in broadening the scope of jazz bass. Blanton was his all-time favorite. Playing his first gig at one of the little bars in the Hastings Street area, he was soon doing club jobs with Thad Jones, Barry Harris and others. From 1954 on through 1955, he gained significance touring with such musicians as Bennie Green, Quinichette, George Wallington, J. J. Johnson and Kai Winding. In 1955 he joined the Miles Davis quintet, staying on with the group until 1963 and appearing on many classic albums, including Kind of Blue. One of Chambers's most noted performances was on that album's first track, "So What", which opens with a brief duet featuring Chambers and pianist Bill Evans. The sessions for Kind of Blue were difficult for all of the musicians, working to the peak of their musical abilities. Chambers' playing on Kind of Blue are considered some of the most patient and thought out bass lines in the history of jazz. From 1963 until 1968 Chambers played with the Wynton Kelly trio. He freelanced

Paul Chambers frequently as a sideman for other important names in jazz throughout his career. During the course of his lifetime Paul Chambers developed addictions to both alcohol and heroin. On January 4, 1969 he died of tuberculosis at the premature age of 33.

Influence Chambers' accompaniment and solos with Davis and other leaders remain distinctive and influential. He and Slam Stewart were among the first jazz bassists to perform arco or bowed features. From his role in the Davis band, Chambers was the bassist in two rhythm sections. The first, with Red Garland on piano and Philly Joe Jones on drums, came to be known as "the rhythm section," that name featured on a celebrated album by saxophonist Art Pepper, Art Pepper Meets the Rhythm Section. The second, with Wynton Kelly and Jimmy Cobb, made many sessions as a unit, recording albums with John Coltrane, Wes Montgomery, and by themselves under Kelly's name in albums such as Kelly Blue. Paul Chambers was in great demand as a session musician, and played on numerous albums during the period he was active including such landmarks as Thelonious Monk's Brilliant Corners, Coltrane's Giant Steps, and Oliver Nelson's The Blues and the Abstract Truth. Many musicians wrote songs dedicated to Chambers. Long-time fellow Davis bandmate, pianist Red Garland, wrote the tune "The P.C. Blues", and Coltrane's song "Mr. P.C." is named after Chambers. Tommy Flanagan wrote "Big Paul", which was performed on the John Coltrane and Kenny Burrell Prestige 1958 LP. Max Roach wrote a drum solo called "Five For Paul", on a 1977 drum solo LP recorded in Japan, and Sonny Rollins wrote "Paul's Pal" for him as well. Chambers' various bass solos that were captured on classic recordings by Miles Davis, John Coltrane, Red Garland, Lee Morgan, Sonny Rollins, Jackie McClean inspired music educator Jim Stinnett to write "The Music of Paul Chambers." This three volume series continues to serve bassists throughout the US and the world. [2]

Discography As a leader • • • • • • • • • • •

Chambers' Music (Aladdin/Jazz West, 1956) Whims Of Chambers (Blue Note, 1956) Paul Chambers Quintet (Blue Note, 1957) Bass on Top (Blue Note, 1957) Go (Vee-Jay, 1959) High Step (Blue Note, 1956) (w/John Coltrane) The East/West Controversy (Xanadu, 1957) (w/Hampton Hawes) We Three (Prestige/New Jazz, 1958) (w/Roy Haynes & Phineas Newborn) Ease It (Charly/Affinity, 1959) (w/Julian "Cannonball" Adderley) Just Friends (Charly/Le Jazz, 1959) (w/Julian "Cannonball" Adderley) 1st Bassman (Vee-Jay, 1960)

351

Paul Chambers

As sideman Cannonball Adderley • Julian "Cannonball" Adderley (EmArcy, 1955) • Cannonball Adderley Quintet in Chicago (Mercury, 1959) • Cannonball Takes Charge (Riverside, 1959) Nat Adderley • Introducing Nat Adderley (Mercury/Wing, 1955); reissued as Them Adderleys (Limelight, 1966) • Naturally! (Jazzland, 1961) Toshiko Akiyoshi • The Toshiko Trio (Storyville, 1956) • Toshiko Mariano and her Big Band (Vee-Jay, 1964) Lorez Alexandria • Alexandria the Great (Impulse!, 1964) Chet Baker • Chet (Riverside, 1959) Tina Brooks • Back To The Tracks (Blue Note, 1960) Kenny Burrell • Introducing Kenny Burrell (Blue Note, 1956) • John Jenkins with Kenny Burrell (Blue Note, 1957) • Kenny Burrell and John Coltrane (Prestige, 1958) Donald Byrd • Motor City Scene (Bethlehem, 1960) Sonny Clark • • • • •

Sonny's Crib (Blue Note, 1957) Sonny Clark Trio (Blue Note, 1957) Cool Struttin' (Blue Note, 1958) Blues In The Night (Blue Note, 1958) My Conception (Blue Note, 1959)

Jimmy Cleveland • Introducing Jimmy Cleveland And His All Stars (EmArcy, 1955) John Coltrane • • • • • • • •

Blue Train (Blue Note, 1957) Coltrane (Prestige, 1957) Bahia (Prestige, 1958) Black Pearls (Prestige, 1958) Lush Life (Prestige, 1958) Settin' The Pace (Prestige, 1958) Traneing In (Prestige, 1958) Soultrane (Prestige, 1958)

• Stardust (Prestige, 1958) • The Believer (Prestige, 1958) • The Last Trane (Prestige, 1958)

352

Paul Chambers • (w/Milt Jackson) Bags and Trane (Atlantic, 1960) • Giant Steps (Atlantic, 1960) • (w/Julian "Cannonball" Adderley) Cannonball and Coltrane (Phillips, 1965) Miles Davis • • • • • • • • • • • • •

Miles (Prestige, 1955) 'Round About Midnight (Columbia, 1955) Cookin' (Prestige, 1956) Relaxin' (Prestige, 1956) Steamin' (Prestige, 1956) Workin' (Prestige, 1956) Collectors' Items (Prestige, 1956) Miles Ahead (Columbia, 1957) Milestones (Columbia, 1958) Porgy and Bess (Columbia, 1958) Kind of Blue (Columbia, 1959) Sketches of Spain (Columbia, 1960) Someday My Prince Will Come (Columbia, 1961)

• In Person Friday and Saturday Nights at the Blackhawk, Complete (1961) • Quiet Nights (Columbia, 1962) Kenny Dorham • Blue Spring (Riverside, 1959) • Quiet Kenny (Prestige, 1959) • Whistle Stop (Blue Note, 1961) Kenny Drew • Kenny Drew Trio (Riverside, 1956) Bill Evans • On Green Dolphin Street (Riverside, 1959) Gil Evans • Gil Evans & Ten (Prestige, 1957) • The Complete Pacific Jazz Sessions' (Pacific Jazz, 1958) • The Individualism of Gil Evans (Verve, 1964) Curtis Fuller • Curtis Fuller with Red Garland (Prestige, 1957) • The Opener (Blue Note, 1957) • Curtis Fuller Jazztette with Benny Golson (Savoy, 1959) Red Garland • • • • • •

A Garland of Red (Prestige, 1956) Groovy (Prestige, 1957) Red Garland Revisited! (Prestige, 1957) Red Garland's Piano (Prestige, 1957) P.C. Blues (Prestige, 1957) Dig It! (Prestige, 1958)

• Can't See For Lookin' (Prestige, 1958) • It's a Blue World (Prestige, 1958)

353

Paul Chambers • Manteca (Prestige, 1958) • All Kinds of Weather (Prestige, 1959) • Red in Bluesville (Prestige, 1959) Dexter Gordon • Dexter Calling (Blue Note, 1961) Benny Golson • • • •

Benny Golson's New York Scene (Contemporary, 1957) The Modern Touch (Riverside, 1958) Groovin' With Golson (Prestige, 1959) Turning Point (Mercury, 1962)

Bennie Green • Bennie Green Blows His Horn (Prestige, 1955) • The 45 Session (Blue Note, 1958) • Glidin' Along (Jazzland, 1961) Grant Green • First Session (Blue Note, 1960) Johnny Griffin • A Blowing Session (Blue Note, 1957) • The Congregation (Blue Note, 1957) Herbie Hancock • Inventions and Dimensions (Blue Note, 1963) Barry Harris • Bull's Eye (Fantasy, 1968) Joe Henderson • Four (Verve, 1968) • Straight, No Chaser (Verve, 1968) Freddie Hubbard • Here to Stay (Blue Note, 1962) Milt "Bags" Jackson • Bags and Trane (Atlantic, (w/John Coltrane) 1960) • Statements (Impulse!, 1961) John Jenkins • John Jenkins with Kenny Burrell (Blue Note, 1957) J. J. Johnson • The Eminent Jay Jay Johnson Volume 2 (Blue Note, 1955) • Trombone For 2 (w/Kai Winding) (Columbia, 1955) • The Great Kai & J. J. (w/Kai Winding)(Impulse!, 1960) Philly Joe Jones • Philly Joe's Beat (Atlantic, 1960) • Philly Joe Jones & Elvin Jones Together! (Atlantic, 1964) Clifford Jordan • Cliff Jordan (Blue Note, 1957)

354

Paul Chambers Wynton Kelly • • • • • •

Piano (Riverside, 1958) Kelly Blue (Riverside, 1959) Kelly at Midnight (Vee-Jay, 1960) Kelly Great (Vee-Jay, 1960) Wynton Kelly! (Vee-Jay, 1961) Comin' in the Back Door (Verve, 1963)

Abbey Lincoln • That's Him (Riverside, 1957) Jackie McLean • • • •

McLean's Scene (Prestige/New Jazz, 1957) Jackie's Bag (Blue Note, 1959) New Soil (Blue Note, 1959) Capuchin Swing (Blue Note, 1960)

Blue Mitchell • Out of the Blue (Riverside, 1958) Hank Mobley • • • • • • •

Tenor Conclave (Prestige, 1956) Peckin' Time (Blue Note, 1958) Roll Call (Blue Note, 1960) Soul Station (Blue Note, 1960) Workout (Blue Note, 1961) Another Workout (Blue Note, 1961) The Turnaround (Blue Note, 1965)

Thelonious Monk • Brilliant Corners (Riverside, 1956) Lee Morgan • • • • • • • •

Lee Morgan Sextet (Blue Note, 1956) Lee Morgan Vol. 3 (Blue Note, 1957) City Lights (Blue Note, 1957) The Cooker (Blue Note, 1957) Lee-Way (Blue Note, 1960) Here's Lee Morgan (Vee-Jay, 1960) Charisma (Blue Note, 1966) The Rajah (Blue Note, 1966)

Wes Montgomery • Full House (Riverside, 1962) • Smokin' at the Half Note (Verve, 1965) • Willow Weep for Me (Verve, 1969) Oliver Nelson • The Blues and the Abstract Truth (Impulse!, 1961) Phineas Newborn, Jr. • A World of Piano (Contemporary, 1961)

355

Paul Chambers Art Pepper • Art Pepper Meets the Rhythm Section (Contemporary, 1957) • Gettin' Together (Contemporary, 1960) Bud Powell • Bud! The Amazing Bud Powell (Vol. 3) (Blue Note, 1957) • The Scene Changes: The Amazing Bud Powell (Vol. 5) (Blue Note, 1958) Ike Quebec • Blue And Sentimental (Blue Note, 1961) Sonny Red • Out of the Blue (Blue Note, 1960) Freddie Redd • Shades of Redd (Blue Note, 1960) • Redd's Blues (Blue Note, 1961) Sonny Rollins • Tenor Madness (Prestige, 1956) • Sonny Rollins: Volume 2 (Blue Note, 1957) • Sound of Sonny (Riverside, 1957) Louis Smith • Smithville (Blue Note, 1958) Frank Strozier • Fantastic (Koch Jazz, 1960) Art Taylor • A.T.'s Delight (Blue Note, 1960) Clark Terry • Serenade to a Bus Seat (Riverside, 1957) Kai Winding • The Trombone Sound (Columbia, 1955) • Trombone For 2 (w/J. J. Johnson)(Columbia, 1955) • The Great Kai & J. J. (w/J. J. Johnson)(Impulse!, 1960)

References [1] Allmusic Biography (http:/ / www. allmusic. com/ artist/ p63587/ biography) [2] (http:/ / www. jimstinnett. com/ books. html#anchorchambers)

356

Jimmy Cobb

357

Jimmy Cobb Jimmy Wilbur Cobb (born January 20, 1929 in Washington D.C.) is an American jazz drummer. Probably his most famous work is on Miles Davis' Kind of Blue (1959), considered by many to be the quintessential jazz record. Cobb is the last surviving player from the session. He also played on other famous Davis albums, including Sketches of Spain, Someday My Prince Will Come, Live at Carnegie Hall, Live at the Blackhawk, and briefly on Porgy and Bess and Sorcerer. He has worked extensively with a wide range of artists, including Dinah Washington, Pearl Bailey, Clark Terry, Cannonball Adderley, Dizzy Gillespie, John Coltrane, Sarah Vaughan, Billie Holiday, Wynton Kelly, Stan Getz, Wes Montgomery, Gil Evans, Miles Davis, Paul Chambers, Kenny Burrell, J. J. Johnson, Sonny Stitt, Nat Adderley, Hank Jones, Ron Carter, George Coleman, Fathead Newman, Geri Allen, Earl Bostic, Leo Parker, Charlie Rouse, Ernie Royal, Philly Joe Jones, Bobby Timmons, Walter Booker, Jerome Richardson, Keter Betts, Jimmy Cleveland, Sam Jones, Red Garland, Joe Henderson, Eddie Gomez, Bill Evans, Stefan Karlsson, Jeremy Steig, Richard Wyands, Peter Bernstein, Richie Cole, Nancy Wilson, Ricky Ford, David Amram, and many more.

Photo by Tom Beetz

Awards In June 2008, Jimmy was the recipient of the Don Redman Heritage award. On October 17, 2008, Jimmy was one of 6 to be presented with the 2009 National Endowment for the Arts, NEA Jazz Masters, award. Band: Jimmy currently leads the Jimmy Cobb "So What" Band, celebrating 50 years of Kind of Blue and the music of Miles Davis. As a result of his rhythmic timing, his unsurpassed experience, and unique style, Cobb is one of the most sought-after jazz musicians today. List of Festivals Cobb has performed at in the past: 1. 2. 3. 4. 5. 6. 7. 8.

Newport Jazz festival Stanford Jazz festival Playboy jazz festival JVC Jazz festival Montreux Jazz festival New Orleans Jazz, festival Child of the Sun Jazz Festival Teluride Jazz festival

9. Saratoga Jazz festival 10. Montreal Jazz festival

Jimmy Cobb 11. 12. 13. 14. 15. 16. 17. 18. 19.

358

Guinness Jazz festival Edinburgh Jazz festival Vancouver Jazz festival Singapore Jazz festival Cape May Jazz festival Red Rock Jazz festival Oakland Jazz festival Nova Sad Old Gold Jazz Festival Winnipeg Jazz Festival and Many more…

Marsalis Music Honors series In 2006 the album Marsalis Music Honors Jimmy Cobb was released, as part of the Marsalis Music Honors series. The album's musicians include Ellis Marsalis on piano.

Marsalis Music Honors Jimmy Cobb Studio album by Jimmy Cobb Released

March 14, 2006 March 20, 2006

Recorded University of North Carolina - Greensboro, School of Music, Greensboro, NC March 7–8, 2005 Genre

Jazz

Length

62 minutes

Label

Marsalis Music/Rounder Records

Producer Branford Marsalis

Track listing 1. "Mr. Lucky" (Henry Mancini) - 6:32 2. "W.K." (Jimmy Cobb, David Matthews) - 7:12 3. "Eleanor (Sister Cobb)" (Jimmy Cobb) - 6:11 4. "Composition 101" (Jimmy Cobb) - 6:46 5. "Can You Read My Mind" (John Williams) - 7:31 6. "There is Something About You (I Don't Know)" (Andrew "Tex" Allen") - 5:56 7. "Johnny One Note" (Richard Rogers, Lorenz Hart) - 6:05 8. "Real Time" (Richard Tee) - 4:16 9. "Tell Me" (Ellis Marsalis) - 5:16 10. "Tune 341" (Jimmy Cobb, David Matthews) - 6:12

Jimmy Cobb

Personnel • • • •

Jimmy Cobb - drums Ellis Marsalis - piano Andrew Speight - saxophone Orlando Le Fleming - bass

Discography As sideman With Cannonball Adderley • • • • • •

Sophisticated Swing (EmArcy, 1956) Cannonball Enroute (EmArcy, 1957) Cannonball's Sharpshooters (EmArcy, 1958) Jump for Joy (EmArcy, 1958) Cannonball Adderley Quintet in Chicago (Mercury, 1959) Cannonball Takes Charge (Riverside, 1959)

With Nat Adderley • That's Right! (Riverside, 1960) With Toshiko Akiyoshi (Vee-Jay, 1964) • Toshiko Mariano and her Big Band With Lorez Alexandria • Alexandria the Great (Impulse!, 1964) With John Coltrane • • • • • •

Standard Coltrane (Prestige, 1958) Stardust (Prestige, 1958) Kenny Burrell and John Coltrane (Prestige, 1958) Bahia ((Prestige, 1958) Giant Steps on "Naima" only (Atlantic, 1959) Coltrane Jazz (Atlantic, 1959)

With Miles Davis • • • • • • • •

Porgy and Bess (Columbia, 1958) 1958 Miles (Columbia, 1958) Jazz at the Plaza (Columbia, 1958) Kind of Blue (Columbia, 1959) Sketches of Spain (Columbia, 1960) Someday My Prince Will Come (Columbia, 1961) In Person Friday and Saturday Nights at the Blackhawk, Complete (Columbia, 1961) Miles & Monk at Newport (Columbia, 1963)

With Kenny Dorham • Blue Spring (Riverside, 1959) With Curtis Fuller • Soul Trombone (Impulse!, 1961) With Paul Gonsalves

359

Jimmy Cobb • Gettin' Together (Jazzland, 1960) With Joe Henderson • Four (Verve, 1968) • Straight, No Chaser (Verve, 1968) With John Hendricks • Freddie Freeloader (Denon, 1990) With Wynton Kelly • • • • • • • • •

Kelly Blue (Riverside, 1959) Wynton Kelly! (Vee-Jay, 1961) Someday My Prince Will Come (Vee-Jay, 1961) Comin' in the Back Door (Verve, 1963) It's All Right! (Verve, 1964) Undiluted (Verve, 1965) Blues on Purpose (Xanadu, 1965) Full View (Riverside, 1967) Last Trio Session (Delmark, 1968)

With Pat Martino • Desperado (Prestige, 1970) With Wes Montgomery • • • • • • •

Full House (Riverside, 1962) Boss Guitar (Riverside, 1963) Guitar on the Go (Riverside, 1963) The Alternative Wes Montgomery (Riverside, 1963) Smokin' at the Half Note (Verve, 1965) Smokin' Guitar (Verve, 1965) Willow Weep for Me (Verve, 1969)

With Art Pepper • Gettin' Together (Contemporary, 1960) With Sonny Red • Out of the Blue (Blue Note, 1960) With Shirley Scott • For Members Only (Impulse!, 1963) • On a Clear Day (Impulse!, 1966) With Wayne Shorter • Introducing Wayne Shorter (Vee-Jay, 1959) With Bobby Timmons • • • • •

This Here is Bobby Timmons (Riveside, 1960) Easy Does It (Riverside, 1961) From the Bottom (Riverside, 1964) The Soul Man! (Prestige, 1966) Got to Get It! (Milestone, 1967)

With Sarah Vaughan • Live in Japan (Mainstream, 1975)

360

Jimmy Cobb • Ronnie Scott's Presents Sarah Vaughan Live (Pye, 1977)

External links • • • • • • • •

Jimmy Cobb - Legendary Jazz Drummer [1] - includes full discography Join Jimmy Cobb on Twitter [2] Join Jimmy Cobb on FaceBook [3] Myspace - The Official Jimmy Cobb [4] Jimmy Cobb Music [5] Drummerworld.com Page [6] Jazz Icon Jimmy Cobb [7] Jimmy Cobb interview at allaboutjazz.com [8]

References [1] [2] [3] [4]

http:/ / jimmycobb. net/ discography. html http:/ / twitter. com/ JimmyCobb http:/ / www. facebook. com/ people/ Jimmy-Cobb/ 1633486668 http:/ / www. myspace. com/ theofficialjimmycobb

[5] [6] [7] [8]

http:/ / jimmycobb. net/ purchase. html http:/ / www. drummerworld. com/ drummers/ Jimmy_Cobb. html http:/ / www. sonicbids. com/ epk/ epk. aspx?epk_id=149427 http:/ / www. allaboutjazz. com/ php/ news. php?id=79097

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George Coleman

362

George Coleman George Coleman Birth name

George Edward Coleman

Born

March 8, 1935

Origin

Memphis, Tennessee, USA

Genres

Jazz, Hard bop, Post-bop

Occupations

Saxophonist Composer Bandleader Teacher

Instruments

Saxophone

Years active

1950s–present

Labels

Evidence, Telarc

Associated acts Jimmy Smith Miles Davis Herbie Hancock B.B. King Max Roach Slide Hampton Lionel Hampton Ahmad Jamal Joey DeFrancesco Website

www.GeorgeColeman.com

[1]

George Edward Coleman (born March 8, 1935 in Memphis, Tennessee) is an American hard bop saxophonist, bandleader, and composer, known chiefly for his work with Miles Davis and Herbie Hancock in the 1960s.

Biography Coleman taught himself to play the alto saxophone in his teens, inspired (like many jazz musicians of his generation) by Charlie Parker. Among his schoolmates were Harold Mabern, Booker Little, Frank Strozier, Hank Crawford and Charles Lloyd.[2] After working with Ray Charles, Coleman started working with B.B. King in 1953,[3] at which point he switched to tenor saxophone.[4] In 1956 Coleman moved to Chicago, along with Booker Little, where he worked with Gene Ammons and Johnny Griffin before joining Max Roach Quintet 1958-1959. Coleman recorded with organist Jimmy Smith's Houseparty (1957), with Lee Morgan, Curtis Fuller, Eddie McFadden, Kenny Burrell, and Donald Bailey. Moving to New York with Max Roach in that year, he went on to play with Slide Hampton (1959–1962), Ron Carter, Jimmy Cobb, and Wild Bill Davis (1962), before joining Miles Davis Quintet in 1963-1964.[5] His most famous albums with Davis (and the rhythm section of Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)) are Seven Steps to Heaven (1963), A Rare Home Town Appearance (1963), Côte Blues (1963), In Europe (1963), My Funny Valentine (1964) and Four & More, both live recordings of a concert in Lincoln Center for the Performing Arts in New York in February 1964. Shortly after this concert, Coleman was replaced by Wayne Shorter. The following year, he played on Herbie Hancock's Maiden Voyage (1964), with Ron Carter and Tony Williams, generally considered to be one of the pianist's finest albums. He played with Lionel Hampton (1965–1966), also in 1965 and performed on Chet Baker's The Prestige Sessions, with Kirk Lightsey, Herman

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Wright and Roy Brooks.[6] Charles Mingus (1977–1978), Shirley Scott (1972), Clark Terry, Horace Silver, Elvin Jones (1968), Ahmad Jamal (1994, 2000) and many others. Coleman also appeared in the film "Freejack", the 1992 science-fiction film with Emilio Estevez, Mick Jagger and Anthony Hopkins; and 1996’s "Preacher’s Wife" with Denzel Washington and Whitney Houston.[7] Coleman is still recording. His CD as co-leader, Four Generations of Miles: A Live Tribute to Miles, with bassist Ron Carter, drummer Jimmy Cobb and guitarist Mike Stern was released on Chesky Records in October 2002 and concentrates almost exclusively on the 1950s repertoire of Miles Davis. Tracks include: "There Is No Greater Love," "All Blues," "On Green Dolphin Street," "Blue in Green," "81," "Freddie Freeloader," "My Funny Valentine," "If I Were a Bell," and "Oleo." He recently was heard on Joey DeFrancesco's 2006 release Organic Vibes, along with vibraphonist Bobby Hutcherson, Billboard's Top Jazz Album, peaked to #17.[8]

Discography As leader Year

Title

Label

1976

Revival

1988

Playing Changes

JHR

1989

Manhattan Panorama

Evidence

1991

My Horns of Plenty

Verve

1992

At Yoshi's (Live)

Evidence

1998

I Could Write a Book: The Music of Richard Rodgers

Telarc

2000

Danger High Voltage

Two & Four Recordings

2002

Four Generations of Miles: A Live Tribute to Miles

Chesky

As sideman With Miles Davis • • • • •

Personnel

Quiet Nights (Columbia) In Europe (Columbia) Seven Steps to Heaven (Columbia) My Funny Valentine (Columbia) Four & More (Columbia)

With Slide Hampton • Sister Salvation (Atlantic) • Somethin' Sanctified (Atlantic) • Jazz With A Twist (Atlantic) With Herbie Hancock • Maiden Voyage (Blue Note) With Elvin Jones • Poly-Currents (Blue Note, 1969) • Coalition (Blue Note, 1970) With Booker Little • Booker Little and Friend (Bethlehem, 1961)

George Coleman With Lee Morgan • City Lights (Blue Note) With John Patton • Memphis to New York Spirit (Blue Note, 1969) With Duke Pearson • Honeybuns (Atlantic) • Prairie Dog (Atlantic) With Max Roach • • • •

Deeds Not Words (Riverside) Max Roach Plus Four Plays Charlie Parker (Emarcy) On The Chicago Scene (Emarcy) Max Roach Quintet At Newport (Emarcy)

With Jimmy Smith • House Party (Blue Note, 1957–58) • The Sermon! (Blue Note, 1958) With Mal Waldron • Sweet Love, Bitter (Impulse!, 1967) With Reuben Wilson • Love Bug (Blue Note, 1969)

References [1] [2] [3] [4] [5] [6] [7] [8]

http:/ / www. georgecoleman. com/ Vladimir, Bogdanov. All Music Guide to the Blues: The Definitive Guide to the Blues, Backbeat Books, page 133, (2003) - ISBN 0879307366 All About Jazz: George Coleman: This Gentleman can PLAY (http:/ / www. allaboutjazz. com/ php/ article. php?id=1078) Larkin, Colin. The Guinness Encyclopedia of Popular Music, Guinness, page 887, (1995) - ISBN 1561591769 Billboard: George Coleman bio (http:/ / www. billboard. com/ bbcom/ bio/ index. jsp?pid=6406) Yanow, Scott. Trumpet Kings: The Players Who Shaped the Sound of Jazz Trumpet, Backbeat Books, page 34, (2001) - ISBN 0879306408 IMDb: George Coleman (http:/ / imdb. com/ name/ nm0171042/ ) Billboard: Organic Vibes (http:/ / www. billboard. com/ bbcom/ retrieve_chart_history. do?model. chartFormatGroupName=Albums& model. vnuArtistId=54623& model. vnuAlbumId=1056455)

External links • George Coleman official website (http://www.georgecoleman.com/) • George Coleman as Sideman (http://www.georgecoleman.com/discography_frame_index.html)

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John Coltrane John Coltrane Birth name

John William Coltrane

Also known as

"Trane"

Born

September 23, 1926 Hamlet, North Carolina, U.S.

Died

July 17, 1967 (aged 40) Huntington, New York, U.S.

Genres

Jazz, avant-garde jazz, bebop, hard bop, post bop, modal jazz, free jazz

Occupations

Saxophonist, composer, bandleader

Instruments

Tenor saxophone, soprano saxophone, alto saxophone

Years active

1946–1967

Labels

Prestige, Blue Note, Atlantic, Impulse!, Pablo

Associated acts Miles Davis Quintet, Thelonious Monk Website

johncoltrane.com

[1]

Saint John William Coltrane Born

September 23, 1926Hamlet, North Carolina, U.S.

Died

July 17, 1967 (aged 40)Huntington, New York, U.S.

Patronage All Artists Information about Coltrane's canonization [2]

John William Coltrane (aka "Trane"; September 23, 1926 – July 17, 1967[3] ) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and later was at the forefront of free jazz. He was prolific, organizing at least fifty recording sessions as a leader during his recording career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk. As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane, and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians, and remains one of the most significant tenor saxophonists in jazz history. He received many posthumous awards and recognition, including canonization by the African Orthodox Church as Saint John William Coltrane. In 2007, Coltrane was awarded the Pulitzer Prize Special Citation for his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz."[4]

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Biography Early life and career (1926–1954) John Coltrane was born in Hamlet, North Carolina on September 23, 1926, and grew up in High Point, NC, attending William Penn High School (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of each other, leaving John to be raised by his mother and a close cousin.[5] In June 1943 he moved to Philadelphia, Pennsylvania. He enlisted in the Navy in 1945, and played in the Navy jazz band once he was stationed in Hawaii. Coltrane returned to civilian life in 1946 and began jazz theory studies with Philadelphia guitarist and composer Dennis Sandole. Coltrane continued under Sandole's tutelage until the early 1950s. Originally an altoist,[6] during this time Coltrane also began playing tenor saxophone with the Eddie Vinson Band. Coltrane later referred to this point in his life as a time when "a wider area of listening opened up for me. There were many things that people like Hawk, and Ben, and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally."[7]

Coltrane's first recordings were made when he was a sailor

An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat article in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes."[6] Parker became an early idol, and they played together on occasion in the late 1940s. Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music from some 1946 recording sessions had been played for Miles Davis—possibly impressing the latter.[3] There are recordings of Coltrane from as early as 1945. He was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early- to mid-1950s.

Miles and Monk period (1955–1957) Coltrane was freelancing in Philadelphia in the summer of 1955 while studying with guitarist Dennis Sandole when he received a call from trumpeter Miles Davis. Davis, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with heroin, was again active, and was about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet" to distinguish it from Davis's later group with Wayne Shorter) from October 1955 through April 1957 (with a few absences), a period during which Davis released several influential recordings which revealed the first signs of Coltrane's growing ability. This First Quintet, represented by two marathon recording sessions for Prestige in 1956 that resulted in the albums Cookin', Relaxin', Workin', and Steamin', disbanded in mid April due partly to Coltrane's heroin addiction.[3] During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot, a legendary jazz club, and played in Monk's quartet (July–December 1957), but owing to contractual conflicts took part in only one official studio recording session with this group. A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records in 1993 as Live at the Five Spot-Discovery!. More significantly, a high-quality tape of a concert given by this quartet in November 1957 surfaced, and in 2005 Blue Note made it available on CD. Recorded by Voice of America, the performances confirm the group's reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall, is widely acclaimed.

John Coltrane Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and the title track, "Moment's Notice," and "Lazy Bird", have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.[3]

Davis and Coltrane again Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of sound" to describe the style Coltrane developed during his stint with Monk and was perfecting in Davis' group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions Milestones and Kind of Blue, and the live recordings Miles & Monk at Newport and Jazz at the Plaza.[3] At the end of this period Coltrane recorded his first album for Atlantic Records, Giant Steps, comprised exclusively of his own compositions. The album's title track is generally considered to have the most complex and difficult chord progression of any widely-played jazz composition. Giant Steps utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he would continue throughout his career.[3]

First albums as leader Coltrane formed his first group, a quartet, in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men long had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions were the later released albums Coltrane's Sound and Coltrane Plays the Blues. Still with Atlantic Records, for whom he had recorded Giant Steps, his first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things. Around the end of his tenure with Davis, Coltrane had begun playing soprano saxophone, an unconventional move considering the instrument's near obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Miles Davis claimed to have given Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement (Coltrane changes) used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26-2," "Satellite," "Body and Soul", and "The Night Has a Thousand Eyes".

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First years with Impulse Records (1960–1962) In May 1961, Coltrane's contract with Atlantic was bought out by the newly formed Impulse! Records label.[8] An advantage to Coltrane recording with Impulse! was that it would enable him to work again with engineer Rudy Van Gelder, who had taped both his and Davis's Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label. By early 1961, bassist Davis had been replaced by Reggie Workman while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Coltrane and wife Alice, 1962 Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he'd played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!"[9] The most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the 'Trane", was strongly inspired by Gilmore's music.[10] During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was famously booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane, along with Eric Dolphy, as players of "Anti-Jazz" in an article that bewildered and upset the musicians.[11] Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some jazz musicians (including Trane's old boss, Miles Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being".[12]

Classic Quartet period (1962–1965) In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk about You." The criticism of the quintet with Dolphy may have had an impact on Coltrane. In contrast to the radicalism of Trane's 1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of Coltrane, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington and John Coltrane and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The Impulse compilation Coltrane for Lovers is largely drawn from these three albums. The album Ballads is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember". Despite a more polished approach in the studio, in concert the quartet continued to balance "standard" and its own more exploratory and challenging music, as can be seen on the Impressions album (two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues), Coltrane at Newport (where he plays "My Favorite Things") and Live at Birdland both from 1963. Coltrane later said he enjoyed having a "balanced catalogue."

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John Coltrane The Classic Quartet produced their most famous record, A Love Supreme, in December 1964. It is reported that Coltrane, who struggeld with repeated drug addiction, derived inspiration for "A Love Supreme" through a near overdose in 1957 which galvanized him to spirituality.[13] A culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns would characterize much of Coltrane's composing and playing from this point onwards, as can be seen from album titles such as Ascension, Om and Meditations. The fourth movement of A Love Supreme, "Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. Despite its challenging musical content, the album was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of Coltrane, Tyner, Jones and Garrison. Indeed the previous album Crescent recorded only a few months before already shows the adventurousness and rapport between these musicians. The album was composed at Coltrane's home in Dix Hills on Long Island. The quartet only played A Love Supreme live once—in July 1965 at a concert in Antibes, France. By then, Coltrane's music had grown even more adventurous, and the performance provides an interesting contrast to the original.

Avant-garde jazz and the second quartet (1965–1967) In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence Impulse! became a leading free jazz record label. After A Love Supreme was recorded, Ayler's apocalyptic style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965). In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute long piece that included adventurous solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965. By any measure, Sanders was one of the most abrasive, virtuosic saxophonists then playing. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with Sanders, the more he gravitated to Sanders' unique sound.

Adding to the quartet By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free-jazz form's intensity into their own solo projects.

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John Coltrane There are speculations that in 1965 Coltrane may have begun using LSD[14] [15] - informing the sublime, "cosmic" transcendence of his late period. After Jones's and Tyner's departures, Coltrane led a quintet with Pharoah Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes even being an hour long. Concert solos for band members regularly extended beyond fifteen minutes in duration. Despite the radicalism of the horns, the rhythm section with Ali and Alice Coltrane had a more relaxed, random but meditative feel than with Jones and Tyner. The group can be heard on several live recordings from 1966, including Live at the Village Vanguard Again! and Live in Japan. In 1967, Coltrane entered the studio several times; though pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings were either with the quartet minus Sanders (Expression and Stellar Regions) or as a duo with Ali. The latter duo produced six performances which appear on the album Interstellar Space.

Death and funeral Coltrane died from liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. His funeral was held on Friday, July 21 at St. Peters Lutheran Church in New York City. The Albert Ayler Quartet and The Ornette Coleman Quartet respectively opened and closed the service. He is buried at Pinelawn Cemetery in Farmingdale, N.Y. Biographer Lewis Porter has suggested, somewhat controversially, that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use.[16] In a 1968 interview Albert Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, though Alice Coltrane later denied this. His death surprised many in the musical community who were not aware of his condition. Miles Davis commented: "Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all."[17] The Coltrane family reportedly remains in possession of much more as-yet-unreleased music, mostly mono reference tapes made for the saxophonist and, as with the 1995 release Stellar Regions, master tapes that were checked out of the studio and never returned. The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged much of its unreleased material in the 1970s.[18] Lewis Porter has stated that Alice Coltrane, who died in 2007, intended to release this music, but over a long period of time; her son Ravi Coltrane, responsible for reviewing the material, is also pursuing his own career.

Instruments Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became known for playing primarily.[3] In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. The cover of his album My Favorite Things features Coltrane playing soprano.[3] Toward the end of his career, he experimented with flute in his live performances and studio recordings.

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Religious beliefs Coltrane was born and raised in a Christian home, and was influenced by religion and spirituality from childhood. His maternal grandfather, the Reverend William Blair, was a preacher at an African Methodist Episcopal Zion Church[19] [20] in High Point, North Carolina, and John's paternal grandfather, Reverend William H. Coltrane, was an A.M.E. Zion minister in Hamlet, North Carolina.[19] John's parents met through church affiliation, and married in 1925.[19] John was born in 1926. As a youth, John practiced music in the southern African-American church. In A Night in Tunisia: Imaginings of Africa in Jazz, Norman Weinstein notes the parallel between Coltrane's music and his experience in the southern church.[21] In 1955, Coltrane married Juanita Naima Grubbs, a Muslim convert, (for whom he later wrote the piece "Naima"), and came into contact with Islam.[22] Coltrane explored Hinduism, the Kabbalah, Jiddu Krishnamurti, African history, and the philosophical teachings of Plato and Aristotle.[23] Coltrane also became interested in Zen Buddhism and, later in his career, visited Buddhist temples during his 1966 tour of Japan.[24] Since 1948, Coltrane had struggled with heroin addiction[25] [26] as well as alcoholism.[26] In 1957, Coltrane changed his life for the better. He had a religious experience which may have been what finally led him to overcome his addictions to alcohol and heroin.[27] In the liner notes of A Love Supreme (released in 1965) Coltrane states "[d]uring the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music." In his 1965 album Meditations, Coltrane wrote about uplifting people, "...To inspire them to realize more and more of their capacities for living meaningful lives. Because there certainly is meaning to life."[28] John and Naima Coltrane had no children together and were separated by the summer of 1963, and not long after that John met pianist Alice McLeod (who soon became Alice Coltrane).[29] John and Alice moved in together and had two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately married."[30] John Jr. was born in 1964, Ravi was born in 1965, and Oranyan (Oran) was born in 1967.[30] According to Lavezzoli, "Alice brought happiness and stability to John's life, not only because they had children, but also because they shared many of the same spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also understood what it was like to be a professional musician".[30] Moustafa Bayoumi, an associate professor of English at Brooklyn College, City University of New York, argues that Coltrane's A Love Supreme (recorded in December 1964 and released in 1965) features Coltrane chanting, "Allah Supreme."[31] However, in Lewis Porter's book John Coltrane: His Life and Music (2000), on page 242, he describes the lyrics this way: "Coltrane and another voice - probably himself overdubbed - chant the words "a love supreme" in unison with the bass ostinato". In Peter Lavezzoli's book The Dawn of Indian Music in the West: Bhairavi (2006), on page 283, he says, "Certainly in his opening solo in "Acknowledgment," with his constant modulations of the same phrase in different keys, Coltrane assumes the role of the preacher. After stating the theme in every possible key, Coltrane concludes his solo and quietly begins to chant, "A love supreme . . . . a love supreme," singing the same four notes played by Garrison on the bass. After chanting "A love supreme" sixteen times, Coltrane and the band shift from F minor down to E flat minor, and the chant slowly tapers off." Whatever the case may be, the liner notes to A Love Supreme appear to mention God in a Universalist sense, and do not advocate one religion over another.[32] Further evidence of this universal view regarding spirituality can be found in the liner notes of Meditations (1965), in which Coltrane declares, "I believe in all religions."[30] Lavezzoli points out that "After A Love Supreme, most of Coltrane's song and album titles had spiritual implications: Ascension, Om, Selflessness, Meditations, "Amen," "Ascent," "Attaining," "Dear Lord," "Prayer and Meditation Suite," and the opening movement of Meditations, "The Father and the Son and the Holy Ghost," the most obvious Christian reference in any of Coltrane's work."[30] Coltrane's collection of books included The Gospel of Sri Ramakrishna, the Bhagavad Gita, Paramahansa Yogananda's Autobiography of a Yogi, which, Lavezzoli points out, "recounts Yogananda's search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and

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Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah, and astrology with equal sincerity."[33] In October 1965, Coltrane recorded Om, referring to the sacred syllable in Hinduism, which symbolizes the infinite or the entire Universe. Coltrane described Om as the "first syllable, the primal word, the word of power". The 29-minute recording contains chants from the Bhagavad-Gita, a Hindu holy book, as well as Coltrane and Pharoah Sanders chanting from a Buddhist text, The Tibetan Book of the Dead,[34] and reciting a passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in all things. Coltrane's spiritual journey was interwoven with his investigation into world music. He believed not only in a universal musical structure which transcended ethnic distinctions, but in being able to harness the mystical language of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control them, and elicit a response from the audience. Coltrane said: "I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed."[35]

Legacy The influence Coltrane has had on music spans many different genres and musicians. Coltrane's massive influence on jazz, both mainstream and avant-garde, began during his lifetime and continued to grow after his death. He is one of the most dominant influences on post-1960 jazz saxophonists and has inspired an entire generation of jazz musicians. In 1965, he was inducted into the Down Beat Jazz Hall of Fame. In 1972, A Love Supreme was certified gold by the RIAA for selling over half a million copies in Japan. This album, as well as My Favorite Things, was certified gold in the United States in 2001. In 1982 Coltrane was awarded a posthumous Grammy for "Best Jazz Solo Performance" on the album Bye Bye Blackbird, and in 1997, was awarded the Grammy Lifetime Achievement Award.[7] In 1967, Nirvana released a B-side titled "Requiem to John Coltrane" almost immediately upon his death. His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. Coltrane's son, Ravi Coltrane, named after the great Indian sitarist Ravi Shankar, who was greatly admired by Coltrane, has followed in his father's footsteps and is a prominent contemporary saxophonist. A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills neighborhood of Huntington, New York, where he resided from 1964 until his death in 1967, was added to the National Register of Historic Places on June 29, 2007. His revolutionary use of multi-tonic systems in jazz has become a widespread composition and reharmonization technique known as "Coltrane changes". In 2002, scholar Molefi Kete Asante listed John Coltrane on his list of 100 Greatest African Americans.[36]

John Coltrane House, 1511 North Thirty-third Street, Philadelphia

Coltrane's tenor (Selmer Mark VI, serial number 125571, dated 1965) and soprano (Selmer Mark VI, serial number 99626, dated 1962) saxophones were auctioned on February 20, 2005 to raise money for the John Coltrane Foundation. The soprano raised $70,800 but the tenor remained unsold.[37]

John Coltrane

Sainthood The African Orthodox Church canonized Coltrane in 1982.[38] However, the Saint John Coltrane African Orthodox Church, San Francisco, which is fondly known as "the Coltrane church", is the only African Orthodox Church whose services incorporate Coltrane's music and use his lyrics as prayers in their liturgy.[39] A documentary on Coltrane, featuring this San Francisco branch of the Church and presented by Alan Yentob, was produced for the BBC in 2004.[40] Samuel G. Freedman writes in his New York Times article "Sunday Religion Inspired By Saturday Nights", December 1, 2007, "... the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane’s own experience and message." In the same article, he comments on John Coltrane's place in the canon of American St. John Coltrane the Divine Sound Baptist music. "In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. In 1964, he recorded A Love Supreme, an album of original praise music in a free-jazz mode... In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, 'A saint.'" [41] John Coltrane is depicted as one of the ninety saints in the monumental Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The Dancing Saints icon is a 3000-square-foot (280 m2) painting rendered in the Byzantine iconographic style that wraps around the entire church rotunda. The icon was executed by iconographer Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who has painted other icons of Coltrane for the Coltrane Church.[42] Saint Barnabas Episcopal Church in Newark, New Jersey included Coltrane on their list of historical black saints and even made a "case for sainthood" for him in an article on their former website.[43]

Discography Prestige and Blue Note Records • • • • •

Coltrane (debut solo LP) (1957) Blue Train (1957) John Coltrane with The Red Garland Trio (1957) Soultrane (1958) Lush Life (1958)

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Atlantic Records • • • • • •

Giant Steps (first album entirely of Coltrane compositions) (1960) Coltrane Jazz (first appearance by McCoy Tyner and Elvin Jones) (1961) My Favorite Things (1961) Olé Coltrane (features Eric Dolphy, compositions by Coltrane and Tyner) (1961) Coltrane Plays the Blues (1962) Coltrane's Sound (1964)

Impulse! Records • • • • • • • •

Africa/Brass (brass arranged by Tyner and Dolphy) (1961) Live! at the Village Vanguard (features Dolphy, first appearance by Jimmy Garrison) (1962) Coltrane (first album to solely feature the "classic quartet") (1962) Duke Ellington & John Coltrane (1963) Ballads (1963) John Coltrane and Johnny Hartman (1963) Impressions (1963) Live at Birdland (1963)

• • • • • • • • •

Crescent (1964) A Love Supreme (1965) The John Coltrane Quartet Plays (1965) Ascension (1965) New Thing at Newport (live with Archie Shepp) (1965) Kulu Se Mama (1966) Meditations (quartet plus Pharoah Sanders and Rashied Ali) (1966) Live at the Village Vanguard Again! (featuring Alice Coltrane, as well as Sanders and Ali) (1966) Expression (posthumous and final Coltrane-approved release; one track features Coltrane on flute) (1967)

References [1] [2] [3] [4]

http:/ / www. johncoltrane. com/ http:/ / articles. sfgate. com/ 1998-06-16/ music/ 17722625_1_saint-john-coltrane-patron-saint-black-jesus allmusic Biography (http:/ / www. allmusic. com/ artist/ p65851/ biography) "The 2007 Pulitzer Prize Winners Special Awards and Citations" (http:/ / www. pulitzer. org/ citation/ 2007-Special-Awards-and-Citations). Pulitzer Prize Committee. Thursday, June 25, 2009 1:51:03 PM. . Retrieved 2009-06-29. [5] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music (http:/ / books. google. com/ ?id=OsiDu2wDVXgC& dq=john+ coltrane& printsec=frontcover). Ann Arbor, Michigan: University of Michigan Press. pp. 15–17. ISBN 978-0472086436. . [6] John Coltrane "Coltrane on Coltrane", (http:/ / www. downbeat. com/ default. asp?sect=stories& subsect=story_detail& sid=353) Down Beat, 29 September 1960 [7] "John Coltrane Biography" (http:/ / www. johncoltrane. com/ swf/ main. htm). The John Coltrane Foundation. Friday, May 11, 2007 3:11:27 AM. . Retrieved 2009-06-29. [8] Ratliff, Ben (2007). Coltrane: The Story of a Sound. New York: Farrar, Straus & Giroux. ISBN 0-374-12606-2. [9] Corbett, John. "John Gilmore: The Hard Bop Homepage" (http:/ / members. tripod. com/ ~hardbop/ gilmore. html). Eric B. Olsen. Down Beat. . Retrieved 2007-12-08. [10] Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. p. 235. [11] Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. pp. 235–236. [12] Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. pp. 179. ISBN 0306806444. [13] "A Love Supreme" (http:/ / www. abbeville. com/ jazz/ 160. asp). . [14] Porter 1998, pp. 265-266. [15] Mandel, Howard (2008-01-30). "John Coltrane: Divine Wind" (http:/ / www. thewire. co. uk/ articles/ 539/ ?pageno=5). The Wire (221). . Retrieved 2009-06-29. [16] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp. 292. ISBN 978-0472086436.

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John Coltrane [17] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. p. 290 [18] "ABC-Paramount Records Story" (http:/ / www. bsnpubs. com/ abc/ abcstory. html), by David Edwards, Patrice Eyries, and Mike Callahan, Both Sides Now website, retrieved January 29, 2007. [19] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music (http:/ / books. google. com/ ?id=OsiDu2wDVXgC& dq=john+ coltrane& printsec=frontcover). Ann Arbor, Michigan: University of Michigan Press. pp. 5–6. ISBN 978-0472086436. . [20] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 270 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5.) [21] A Night in Tunisia: Imaginings of Africa in Jazz by Norman C. Weinstein, page 61 (1993, Hal Leonard Corporation . ISBN 0-87910-167-9.) [22] Jessie Carney Smith, ed. "John Coltrane" (http:/ / www. gale. cengage. com/ free_resources/ bhm/ bio/ coltrane_j. htm). Gale (Cengage). . Retrieved 2009-06-26. [23] Emmett G. Price III. "John Coltrane, "A Love Supreme" and GOD" (http:/ / www. allaboutjazz. com/ coltrane/ article_003. htm). allaboutjazz.com. . Retrieved 2008-10-09. [24] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, pages 286-287 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5.) [25] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music (http:/ / books. google. com/ ?id=OsiDu2wDVXgC& dq=john+ coltrane& printsec=frontcover). Ann Arbor, Michigan: University of Michigan Press. pp. 61. ISBN 978-0472086436. . [26] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 271 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5.) [27] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, pages 272-273 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5.) [28] Scott Anderson (Spring 1996). "John Coltrane, Avant Garde Jazz, and the Evolution of My Favorite Things" (http:/ / room34. com/ coltrane/ thesis). room34.com. . Retrieved 2008-10-09. [29] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 281 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5.) [30] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 286 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5.) [31] Jonathan Curiel (2004-08-15). "Muslim roots of the blues: The music of famous American blues singers reaches back through the South to the culture of West Africa" (http:/ / www. sfgate. com/ cgi-bin/ article. cgi?f=/ c/ a/ 2004/ 08/ 15/ INGMC85SSK1. DTL). San Francisco Chronicle. . Retrieved 2008-10-09. [32] John Coltrane's liner notes to A Love Supreme, December 1964 (http:/ / www. jindustry. com/ xtra/ coltrane/ html/ saintjohn. html) [33] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, pages 280-281 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5.) [34] Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. pp. 183. ISBN 0306806444. [35] Porter 1998, p. 211 [36] Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8. [37] "John Coltrane's Saxophones/ Benefit Auction /see description below" (http:/ / drrick. com/ trane/ trane. htm). drrick.com. . Retrieved 2011-04-07. [38] Saint John Coltrane African Orthodox Church web site (http:/ / www. coltranechurch. org/ ) [39] Article "The Jazz Church" (http:/ / elvispelvis. com/ jazzchurch. htm) by Gordon Polatnick at www.elvispelvis.com [40] 2004 BBC documentary (http:/ / www. diverse. tv/ programme. aspx?id=67) on the Saint John Coltrane African Orthodox Church at www.diverse.tv [41] Samuel G. Freedman, " Sunday Religion, Inspired by Saturday Nights (http:/ / www. nytimes. com/ 2007/ 12/ 01/ us/ 01religion. html)", New York Time (December 1, 2007). [42] Saint Gregory's of Nyssa Episcopal Church web site (http:/ / www. saintgregorys. org/ worship/ art_section/ 243/ ) [43] " John Coltrane The Case for Sainthood (http:/ / web. archive. org/ web/ 20090510123849/ http:/ / www. forministry. com/ USNJECUSASBECS/ SaintJohnColtrane. dsp)". St. Barnabas Episcopal Church website.

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Sources • Kahn, Ashley (2003) [2002]. A Love Supreme: The Story of John Coltrane's Signature Album. Elvin Jones. Penguin Books. ISBN 0142003522. • Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group. ISBN 0826418155. • Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. ISBN 0306806444. • Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. ISBN 047208643X. • Ratliff, Ben (2007). Coltrane: The Story of a Sound. New York: Farrar, Straus & Giroux. ISBN 0-374-12606-2. • Simpkins, Cuthbert (1989) [1975]. Coltrane: A Biography. New York: Herndon House Publishers. ISBN 0-915-54282-X. • Thomas, J.C. (1975). Chasin' the Trane. New York: Da Capo. ISBN 0-306-80043-8. • Woideck, Carl (1998). The John Coltrane Companion. New York: Schirmer Books. ISBN 0-02-864790-4.

External links • Official Website (http://www.johncoltrane.com) • 1957 Carnegie Hall Performance in Transcription and Analysis (http://www.colby.edu/music/honors/ Bertholf.pdf) • "John Coltrane" (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=218). Find a Grave. Retrieved 2008-03-31. • Infography about John Coltrane (http://www.infography.com/content/736735270236.html)

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Chick Corea Chick Corea

Chick Corea in 2009 Background information Birth name

Armando Anthony Corea

Born

June 12, 1941

Origin

Chelsea, Massachusetts, U.S.

Genres

Jazz Jazz fusion Post bop Latin jazz Classical Music Avant-garde jazz

Occupations

Pianist Keyboardist Composer Bandleader

Instruments

Piano, keyboards, Synthesizers, organ, Vibraphone, drums

Years active

1962–present

Labels

ECM, Polydor, Stretch, Warner Bros.

[1]

Associated acts Return to Forever, Five Peace Band, Chaka Khan Website

http:/ / www. chickcorea. com

Armando Anthony "Chick" Corea (born June 12, 1941)[2] is an American jazz pianist, keyboardist, and composer. Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.[2] Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting Scientology.[3]

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378

Life and career Youth Corea was born in Chelsea, Massachusetts. He is of Sicilian and Spanish descent.[4] Armando's father, a jazz trumpet player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument. Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for The Knights of St. Rose, a Drum & Bugle Corp based in Chelsea. Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club. He eventually decided to move to New York where he studied musical education for one month at Columbia University and six months at The Juilliard School. He quit after finding both disappointing, but liked the atmosphere of New York where the musical scene became the starting point for his professional career.

Early career Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaría. One of the earliest recordings of his playing is with Blue Mitchell's quintet on The Thing To Do. This album features his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune features a drum solo by a very young Al Foster.) His first album as a leader was Tones for Joan's Bones in 1966, two years before the release of his album Now He Sings, Now He Sobs, with Roy Haynes on drums and Miroslav Vitouš on bass.[2] He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records).[2]

Avant garde period From 1968 to 1971 Chick Corea had associations with avant garde players and his solo style revealed a dissonant, avant garde orientation. His avant garde playing can be heard on his solo works of the period, his solos in live recordings under the leadership of Miles Davis, his recordings with Circle, and his playing on Joe Farrell's Song of the Wind album on CTI Records. In September 1968 Corea replaced Herbie Hancock in the piano chair in Davis' band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent Way, and Bitches Brew. In concert, Davis' rhythm section of Corea, Dave Holland, and Jack DeJohnette combined elements of free jazz improvisation and rock music. Corea experimented using electric instruments with the Davis band, mainly the Fender Rhodes electric piano. In live performance he frequently processed the output of his electric piano with a device called a ring modulator, producing sounds reminiscent of composer

Chick Corea, 2007

Chick Corea Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Live at the Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.[2] Holland and Corea left to form their own group, Circle, active between 1970 and 1971. This free jazz group featured multi-reed player Anthony Braxton and drummer Barry Altschul. This band was documented on Blue Note and ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the strings. In 1971 or 1972 Corea struck out on his own. The concept of communication with an audience became a big thing for me at the time. The reason I was using that concept so much at that point in my life — in 1968, 1969 or so — was because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later.[5]

Jazz fusion In the early 1970s Corea took a profound stylistic turn from avant garde playing to a crossover jazz fusion style that incorporated Latin jazz elements. He founded Return to Forever in 1971. This band had a fusion sound and even though it relied on electronic instrumentation it drew more on Brazilian and Spanish-American musical styles than on rock music. On its first two records, Return to Forever featured Flora Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute Bobby McFerrin and Chick Corea, New Orleans and soprano saxophone. Airto Moreira played drums. Corea's Jazz and Heritage Festival in 2008 compositions for this group often had a Brazilian tinge. In 1972 Corea played many of the early Return to Forever songs in a group he put together for Stan Getz. This group, with Stanley Clarke on bass and Tony Williams on drums, recorded the Columbia label album Captain Marvel under Getz's name. . Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played drums. No one replaced vocalist Purim. (Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.) In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977. Thereafter, Corea focused on solo projects.[2] Corea's composition "Spain" first appeared on the 1972 Return to Forever album Light as a Feather. This is probably his most popular piece, and it has been recorded by a variety of artists. There are also a variety of subsequent recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that appeared in 1999, and a collaborative piano and voice-as-instrument arrangement with Bobby McFerrin on the 1992 album Play. Corea usually performs "Spain" with a prelude based on Joaquín Rodrigo's Concierto de Aranjuez (1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain". In 1976 he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Moran and electric violinist Jean-Luc Ponty. The late Ana Mazzotti, a Brazilian jazz pianist and vocalist, dedicated what is perhaps her last ever recorded track, "Grand Chick", to Chick Corea. The song may be found on her "Ao Vivo Guaruja 1982" album. As Ana Mazzotti worked with Brazilian jazz fusion masters Azymuth in her first album, it was further testament to Chick Corea's influence in the genre.

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Duet projects In the 1970s Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet albums on ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. A new record called The New Crystal Silence (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008. The package includes a disc of duets and another disc featuring the Sydney Symphony. Later, toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Herbie Hancock. These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other composers such as Béla Bartók. In December 2007 Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck.[6] Fleck and Corea toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle."[7] In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi). The duo played a concert at Tokyo's Budokan arena on April 30.[8]

Later work Corea's other bands include the Elektric Band, the Akoustic Band, and Origin. The Akoustic Band released a self-titled album in 1989, and featured John Patitucci on bass and Dave Weckl on drums. It marked a turn back toward traditional jazz in Corea's career, and the bulk of his subsequent recordings have been acoustic ones. The Akoustic Band also provided the music for the 1986 Pixar short Luxo Jr. with their song The Game Maker. [2]

Corea performs with Béla Fleck, March 1, 2008

In 1992 Corea started his own record label, Stretch Records.

In 2001 the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums, respectively, released the album Past, Present & Futures. The 11-song album includes only one standard composition (Fats Waller's "Jitterbug Waltz"). The rest of the tunes are Corea originals. He also participated in 1998's Like Minds, which features Gary Burton on vibes, Pat Metheny on guitar, Dave Holland on bass and Roy Haynes on drums. Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano concerto — and an adaptation of his signature piece, Spain for a full symphony orchestra — and performed it in 1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any keyboards: His String Quartet No. 1, specifically written for and performed by the highly acclaimed Orion String Quartet on 2004's Summerfest. Corea has continued releasing jazz fusion concept albums such as To the Stars (2004) and Ultimate Adventure (2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group. In 2008 the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al Di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and mainstream publications.[9] Most of the group's studio recordings were re-released on the compilation Return to Forever: The Anthology to coincide with the tour. A concert DVD recorded during their performance at the Montreux Jazz Festival was released in May 2009. He is recently working on a collaboration CD with the Grammy Award winning jazz vocal group The Manhattan Transfer, due to be released in August 2009.

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381

A new group, the 5 Peace Band, which features Corea and guitarist John McLaughlin began a world tour in October 2008. Corea previously worked with McLaughlin in Miles Davis' late-1960s bands, including the group that recorded Davis' album Bitches Brew. Joining Corea and McLaughlin in the 5 Peace Band are saxophonist Kenny Garrett, and bassist Christian McBride. Drummer Vinnie Colaiuta played with the band in Europe and on select North American dates; Brian Blade played all dates in Asia and Australia, and most dates in North America.

Scientology Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of Scientology, has been a continual source of inspiration. In 1968 Corea discovered Dianetics, Hubbard's principal work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters until Hubbard's death in 1986, and Corea even had three guest appearances on Hubbard's 1982 album Space Jazz: The Soundtrack of the Book Battlefield Earth, noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man."[3] Corea claimed that Scientology became a profound influence on his musical direction in the early 1970s: I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people. [10] In 1998 Chick Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th anniversary of Freedom Magazine, the Church of Scientology's investigative news journal, at the National Press Club in Washington, D.C., to honor 11 human rights activists.[11]

Other beliefs In a recent interview with jazz journalist C.B.Liddell, Corea also emphasized the importance of The Golden Rule, which he defined as, "you treat others well and you will be treated well back." "I find that if I treat others well, the kindness is returned to me," he added.[12]

Awards Over the years, he has been nominated for 51 Grammy Awards out of which he has won 15: Year

Award

Album/song

1976 Best jazz instrumental performance, group

No Mystery (with Return to Forever)

1977 Best arrangement of an instrumental recording

"Leprechaun's Dream", The Leprechaun


The Leprechaun


Friends


Duet (with Gary Burton)


In Concert, Zürich, October 28, 1979 (with Gary Burton)

1989 Best R&B instrumental performance

"Light Years", GRP Super Live In Concert (with Elektric Band)


Akoustic Band (with Akoustic Band)

2000 Best instrumental solo

"Rhumbata", Native Sense (with Gary Burton)

2001 Best jazz instrumental performance

Like Minds (with Gary Burton, Pat Metheny, Roy Haynes and Dave Holland)

2002 Best instrumental arrangement

"Spain for Sextet & Orchestra", Corea.Concerto

2004 Best jazz instrumental solo

"Matrix"


"The Ultimate Adventure"

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382

2008 Best jazz instrumental album

The New Crystal Silence (with Gary Burton)

2010 Best jazz instrumental album

Five Peace Band — Live (with John McLaughlin, Kenny Garrett, Christian McBride, Vinnie Colaiuta)

His 1968 album Now He Sings, Now He Sobs was inducted in the Grammy Hall of Fame in 1999. In 2010, he was named doctor honoris causa at Norwegian University of Science and Technology (NTNU).[13]

References [1] [2] [3] [4] [5] [6]

http:/ / www. allmusic. com/ artist/ chick-corea-p66463/ biography allmusic Biography (http:/ / www. allmusic. com/ artist/ p66463/ biography) "All About Jazz" (http:/ / www. allaboutjazz. com/ php/ article. php?id=15351). . Retrieved 2008-03-24. http:/ / www. jazz. com/ music/ 2007/ 11/ 5/ chick-corea-brazil "Chick Corea Interview on ArtistInterviews" (http:/ / www. artistinterviews. eu/ ?page_id=6& parent_id=22). . Retrieved 2008-03-28. Levine, Doug (24 April 2007). "Chick Corea, Bela Fleck Collaborate On New CD" (http:/ / www. voanews. com/ english/ archive/ 2007-04/ 2007-04-24-voa68. cfm). VOA News (Voice of America). . Retrieved 1 January 2009. [7] http:/ / www. concordmusicgroup. com/ news/ concord-music-group-garners-28-grammy-nominations/ [8] http:/ / www. nme. com/ video/ id/ S2m4Oy9TWmo/ search/ flh [9] Chinen, Nate (August 3, 2008). "The Return of Return to Forever" (http:/ / www. nytimes. com/ 2008/ 08/ 03/ arts/ music/ 03chin. html). The New York Times. . Retrieved April 1, 2010. [10] Down Beat, October 21, 1976, p.47 [11] Haywood You Remember Garden City Park (http:/ / antonnews. com/ mineolaamerican/ 1998/ 10/ 23/ news/ ) [12] http:/ / yknow-interviews. blogspot. com/ 2010/ 12/ chick-corea-jazz-pianist. html [13] http:/ / www. nrk. no/ nyheter/ distrikt/ nrk_trondelag/ 1. 7355183


Official site (http://www.chickcorea.com/) Official discography (http://www.chickcorea.com/discography.html) Jazzreview.com biography (http://www.jazzreview.com/articledetails.cfm?ID=498) Verve Records Archived (http://web.archive.org/20071013193702/http://www.vervemusicgroup.com/ artist.aspx?aid=2713) October 13, 2007 at the Wayback Machine.

• An Interview with Chick Corea (http://www.bobrosenbaum.com/transcripts/corea1.pdf) by Bob Rosenbaum, July 1974 (PDF file) 'You put these notes together and you come out with that sound, and isn’t it beautiful. So what? What does it do to another person? What does it do to your neighborhood?'

Betty Davis

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Betty Davis Betty Davis Birth name

Betty Mabry

Born

July 26, 1945 Durham, North Carolina, USA

Origin

New York City, New York, USA

Genres

Funk, soul, rock, funk rock, glam rock

Occupations

Singer, Songwriter

Instruments

Vocals

Years active

1970–1980

Labels

MPC

Associated acts Miles Davis

Betty Davis (née Betty Mabry) (born July 26, 1945)[1] is an American funk, rock and soul singer. She was also Miles Davis's second wife.

Background She worked as a model, appearing in photo spreads in Seventeen, Ebony and Glamour.[2] In her time in New York, Mabry met several musicians including Jimi Hendrix and Sly Stone.

Marriage to Miles Davis Mabry met Miles Davis in 1967 and married him in September 1968. In just one year of marriage she influenced him greatly. The Miles Davis album Filles de Kilimanjaro included a song named after her and her photo on the front cover. In his autobiography, Miles credited Mabry with helping to plant the seeds of his future musical explorations by introducing the trumpeter to psychedelic rock guitarist Jimi Hendrix and funk innovator Sly Stone. It is believed that Hendrix and Betty Davis had an affair that hastened the end of her marriage to Miles Davis, but Betty denies this. What's more, Hendrix and Miles stayed close after the divorce, planning to record until Hendrix's death. The influence of Hendrix and especially Sly Stone on Miles Davis was obvious on the album Bitches Brew, which ushered in the era of jazz fusion. The origin of the album's title is unknown, but some believe Miles was subtly paying tribute to the woman whose intersecting relationships helped spur the album's genesis. In fact, it is said that he originally wanted to call the album Witches' Brew — it was Betty who convinced him to change it.[3]

Music career After the breakup of her marriage with Davis, Betty moved to London to pursue her modeling career. She wrote music while in the UK and returned to the US with the intention of recording songs with Santana. Instead, she organized a group of talented West Coast funk musicians to make her own recordings. Her first record, Betty Davis, was released in 1973. It had impressive lyrics and funky grooves on songs such as "Anti Love Song," as well as an impressive list of musicians: • Neal Schon (Santana/Journey) Doug Rodrigues (Buzzy Linhart, Lenny White) - guitar • Gregg Errico (Sly & The Family Stone) - drums • Larry Graham (Sly & The Family Stone and eponym of Graham Central Station) - bass

Betty Davis • • • • • • • • •

384

Patryce Banks (Graham Central Station) - percussion Willie Sparks (Graham Central Station) - drums Hershall Kennedy (Graham Central Station) - horns Greg Adams (Tower of Power) - horns Mic Gillette (Tower of Power) - horns Skip Mesquite (Tower of Power) - saxophone Merl Saunders - electric piano Pete Sears - acoustic piano The Pointer Sisters - background vocals

Davis released two more studio albums, They Say I'm Different (1974) and her major label debut on Island Records Nasty Gal (1975). None of the three albums was a commercial success. Davis remained a cult figure as a singer, due in part to her open sexual attitude, which was controversial for the time. Some of her shows were boycotted and her songs were not played on the radio due to pressure by religious groups. However, with the passage of time her records have become highly regarded by collectors of soul and funk music. Both Betty Davis and They Say I'm Different were re-released by Seattle's Light in the Attic Records on May 1, 2007. In September 2009 Light in the Attic Records reissued Nasty Gal and her unreleased 4th studio album recorded in 1976, re-titled as Is It Love or Desire? (the original title was Crashin' From Passion). Both reissues contained extensive liner notes and shed some light on the mystery of why her 4th album, considered possibly to be her best work by many members of her band (Herbie Hancock, Chuck Rainey, Alphonse Mouzon), was shelved by the record label and remained unreleased for 33 years. After a final recording session in 1979, Davis eventually stopped making music and returned to Pennsylvania. Material from the 1979 recording session was eventually used for two bootleg albums, Hangin' Out In Hollywood (1995) and Crashin' From Passion (1996). A greatest hits album, Anti Love: The Best of Betty Davis, was released in 2000.

Discography Original Studio Albums Year

Album

Label

Notes

1973

Betty Davis

Just Sunshine Light in the Attic (2009 re-release)

1st studio album; produced by Greg Errico

1974

They Say I'm Different

Just Sunshine Light in the Attic (2009 re-release)

2nd studio album; produced by Betty Davis

1975

Nasty Gal

Island Light in the Attic (2009 re-release)

3rd studio album; produced by Betty Davis

2009

Is It Love or Desire?

Light in the Attic

4th album; recorded in 1976 and released in 2009

Betty Davis

Unofficial Releases • Hangin' Out In Hollywood (1995) (Charly) / Crashin' From Passion (Razor & Tie) (1996) • Compilation of material recorded in 1979 and released in 1995 and 1996 without the artist's consent • Anti Love: The Best of Betty Davis (2000) (UFoxy) • Compilation • This Is It! Anthology (2005) (Vampisoul) • Compilation

References [1] http:/ / www. allmusic. com/ artist/ p16873 [2] (http:/ / www. soulwalking. co. uk/ Betty Davis. html) Soulwalking.co.uk Retrieved on 06-05-07 [3] (http:/ / www. thedailymaverick. co. za/ article/ 2010-09-07-madonna-before-madonna-the-woman-who-introduced-miles-to-hendrix-finally-speaks) thedailymaverick.co.za Retrieved on 07-09-10

External links • The Sound of Young America: Betty Davis Interview (http://www.maximumfun.org/blog/2007/06/ podcast-tsoya-betty-davis.html) – June 21, 2007: Betty Davis gives her first radio interview in 30 years. • Neil Spencer, "Miles Davis: The muse who changed him, and the heady Brew that rewrote jazz", The Guardian, 5 September 2010 (http://www.guardian.co.uk/music/2010/sep/05/miles-davis-bitches-brew-reissue) includes 2010 interview with Betty Davis. • Betty Davis: Betty Davis (http://www.allaboutjazz.com/php/article.php?id=765) – Album review • Betty Davis (http://www.allmusic.com/artist/p16873) at Allmusic

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386

Bill Evans (pianist) Bill Evans

Bill Evans performing at the Montreux Jazz Festival (Switzerland) with his trio consisting of Marc Johnson, bass & Philly Joe Jones, drums, July 13, 1978. Background information Birth name

William John Evans

Born

August 16, 1929

Died

September 15, 1980 (aged 51)

Genres

Jazz, modal jazz, third stream, cool jazz, post-bop

Occupations

Pianist Composer Arranger

Instruments

Piano

Years active

1950s-1980

Labels

Riverside, Verve, Fantasy

[1]

Associated acts George Russell, Miles Davis, Cannonball Adderley, Philly Joe Jones, Scott LaFaro, Paul Motian, Eddie Gomez, Marty Morell, Tony Bennett, Jim Hall

William John Evans, known as Bill Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists including: Chick Corea, Herbie Hancock, John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Warren Bernhardt, Michel Petrucciani and Keith Jarrett, as well as many other musicians world-wide. The music of Bill Evans continues to inspire younger pianists like Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias[2] and arguably Brad Mehldau,[3] early in his career. He is considered by some to be the most influential post World War II jazz pianist.[4] Evans is an inductee of the Down Beat Jazz Hall of Fame.[5]


Biography Early life Bill Evans was born in Plainfield, New Jersey, United States, to a mother of Rusyn ancestry and a father of Welsh descent.[6] He received his first musical training at his mother's church. Evans's mother was an amateur pianist with an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a proficient flautist by age 13 and could play the violin. At age 12, Evans filled in for his older brother Harry in Buddy Valentino's band.[7] At this age he was able to interpret classical music, but he couldn't improvise. In the beginning, he was playing exactly what was written in the sheet, but soon he was trying to improvise, and - following his fascination in this subject - he was learning about harmony of the songs, and how to alter it. He was playing dance music (and jazz) at home for some time.[8] In the late 1940s, he played boogie woogie in various New York City clubs. He attended Southeastern Louisiana University on a music scholarship and in 1950 performed Beethoven's Third Piano Concerto on his senior recital there, graduating with a degree in piano performance and teaching. He was also among the founding members of SLU's Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the fraternity's football team, helping them win the school's 1949 intramural tournament.[8] Evans's first professional job was with sax player Herbie Fields's band, based in Chicago. During the summer of 1950, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at Washington D.C.'s Howard Theater. In addition to Fields and Evans, the band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon its return to Chicago, Evans and Aton worked as a duo in Chicago clubs, often backing singer Lurlean Hunter. Shortly thereafter, Evans received his draft notice and entered the U.S. Army. After his army service, Evans returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he also mentored younger music students.

1950s Working in New York in the 1950s, Evans gained recognition as a sideman in traditional and so-called Third Stream jazz groups. During this period he had the opportunity to record in many different contexts with some of the best jazz musicians of the time. Seminal recordings made with composer/theoretician George Russell, including "Concerto for Billy the Kid" and "All About Rosie", are notable for Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver Nelson, Tony Scott, and Art Farmer. In 1956, he made his debut album, New Jazz Conceptions, featuring the original version of "Waltz for Debby", for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans by a demo tape guitarist Mundell Lowe played to him over the phone. In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis's famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans's introspective scalar approach to improvisation deeply influenced Davis's style. Davis wrote in his autobiography, "Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got, was like crystal notes or sparkling water cascading down from some clear waterfall." Additionally, Davis said, "I've sure learned a lot from Bill Evans. He plays the piano the way it should be played." Evans's desire to pursue his own projects as a leader (and increasing problems with drug use) led him to leave the Davis sextet in late 1958. Shortly after, he recorded Everybody Digs Bill Evans, documenting the wholly original meditative sound he was exploring at the time. But Evans came back to the sextet at Davis's request to record the jazz classic Kind of Blue in early 1959. Evans's contribution to the album was overlooked for years; in addition to cowriting the song "Blue in Green",[9] he had also already developed the ostinato figure from the track "Flamenco Sketches" on the 1958 solo recording "Peace Piece" from his album Everybody Digs Bill Evans. Evans also penned

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Bill Evans (pianist) the heralded liner notes for Kind of Blue comparing jazz improvisation to Japanese visual art.[10] By the fall of 1959, he had started his own trio.

1960s At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios—and jazz bands in general—of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor. In addition to introducing a new freedom of interplay within the piano trio, Evans began (in performances such as "My Foolish Heart" from the Vanguard sessions) to explore extremely slow ballad tempos and quiet volume levels, which had been virtually unknown in jazz. His chordal voicings became more impressionistic, reminiscent of classical composers such as Debussy, Ravel, Scriabin, and Satie, and he moved away from the thick block chords he had often used with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, reflecting the influence of jazz pianist Bud Powell. Like Davis, Evans was a pioneer of modal jazz, favoring harmonies that helped avoid some of the idioms of bebop and other earlier jazz. In tunes like Time Remembered, the chord changes more or less absorbed the derivative styles of bebop and instead relied on unexpected shifts in color. It was still possible (and desirable) to make these changes swing, and a certain spontaneity appeared in expert solos that were played over the new sound. Most composers refer to the style of Time Remembered as "plateau modal," because of its frequent juxtaposition of harmony. LaFaro's death at age 25 in a car accident, ten days after the Vanguard performances, devastated Evans. He did not record or perform in public again for several months. His first recording after LaFaro's death was the duet album Undercurrent, with guitarist Jim Hall, released on United Artist Jazz records in 1963. Recorded in two sessions on April 24 and May 14, 1962, it is now widely regarded as a classic jazz piano-guitar duet recording. The album is also notable for its striking cover image, "Weeki Wachee Spring, Florida" by photographer Toni Frissell. The original LP and the first CD reissue featured a cropped, blue-tinted version, overlaid with the title and the Blue Note logo; but for the most recent (24-bit remastered) CD reissue, the image has been restored to its original black-and-white coloration and size, without lettering. When he re-formed his trio in 1962, Evans replaced LaFaro with bassist Chuck Israels, initially keeping Motian on the drums. Two albums, Moonbeams and How My Heart Sings!, resulted. In 1963, after having switched from Riverside to the much more widely distributed Verve, he recorded Conversations With Myself, an innovative album on which he employed overdubbing, layering up to three individual tracks of piano for each song. The album won him his first Grammy award, for Best Instrumental Jazz Performance — Soloist or Small Group. Though his time with Verve was prolific in terms of recording, his artistic output was uneven. Despite Israels's fast development and the creativity of new drummer Grady Tate, they were ill-represented by the rather perfunctory album Bill Evans Trio with Symphony Orchestra, with the piece Pavane by Gabriel Fauré remarkably reinvented with improvisations by Evans. Some unique contexts were attempted, such as a big-band live album at Town Hall, recorded but never issued due to Evans's dissatisfaction with it (although the jazz trio portion of the Pavane concert was made into its own somewhat successful release), and an album with a symphony orchestra, not warmly received by critics.

388

Bill Evans (pianist) During this time, Helen Keane, Evans's manager, began having an important influence. One of the first women in her field, she significantly helped to maintain the progress (or prevent the deterioration) of Evans's career in spite of his self-destructive lifestyle. In 1966, Evans discovered the remarkable young Puerto Rican bass player Eddie Gomez. In what turned out to be an eleven-year stay, the sensitive and creative Gomez sparked new developments in both Evans's playing and his trio conception. One of the most significant releases during this period is Bill Evans at the Montreux Jazz Festival, from 1968. Although it was the only album Evans made with drummer Jack DeJohnette, it has remained a critical and fan favorite, due to the trio's remarkable energy and interplay. Other highlights from this period include "Solo—In Memory of His Father" from Bill Evans at Town Hall (1966), which introduced the famous theme "Turn Out the Stars," a second successful pairing with guitarist Jim Hall; Intermodulation (1966); and the subdued, crystalline solo album Alone (1968), featuring a 14-minute-plus version of "Never Let Me Go."

1970s In 1968, Marty Morell joined the trio on drums and remained until 1975, when he retired to family life. This was Evans's most stable, longest-lasting group. Evans had kicked his heroin habit and was entering a period of personal stability as well. The group made several albums, including From Left to Right (1970), which features Evans's first use of electric piano; The Bill Evans Album (1971), which won two Grammies; The Tokyo Concert (1973); Since We Met (1974); and But Beautiful (1974), featuring the trio plus legendary tenor saxophonist Stan Getz in live performances from Holland and Belgium, released posthumously in 1996. Morell was an energetic, straight-ahead drummer, unlike many of the trio's former percussionists, and many critics feel that this was a period of little growth for Evans. After Morell left, Evans and Gomez recorded two duo albums, Intuition and Montreux III. In 1974, Bill Evans recorded a multimovement jazz concerto specifically written for him by Claus Ogerman entitled Symbiosis, originally released on the MPS Records label. The 1970s also saw Evans collaborate with the singer Tony Bennett on 1975's The Tony Bennett/Bill Evans Album and 1977's Together Again. On September 13, 1975, Evans's son, Evan, was born. Evan Evans did not often see his always-touring father. A child prodigy, he embarked on a career in film scoring, ambitiously attending college courses in 20th-century composition, instrumentation, and electronic composition at the age of ten. He also studied with many of his father's contemporaries, including Lalo Schifrin and harmony specialist Bernard Maury. In 1976, Marty Morell was replaced on drums by Eliot Zigmund. Several interesting collaborations followed, and it was not until 1977 that the trio was able to record an album together. Both I Will Say Goodbye (Evans's last album for Fantasy Records) and You Must Believe in Spring (for Warner Bros., released posthumously) highlighted changes that would become significant in the last stage of Evans's career. A greater emphasis was placed on group improvisation and interaction, Evans was reaching new expressive heights in his soloing, and new experiments with harmony and keys were attempted. Gomez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer he considered his "all-time favorite drummer" and with whom he had recorded his second album in 1957, to fill in. Several bassists were tried, with the remarkable Michael Moore staying the longest. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio was Evans's last. Although they released only one record before Evans's death in 1980 (The Paris Concert, Edition One and Edition Two, 1979), they rivaled (and arguably exceeded) the first trio in their powerful group interactions. Evans stated that this was possibly his best trio, a claim supported by the many recordings that have since surfaced, each documenting the remarkable musical journey of his final year. The Debussylike impressionism of the first trio had given way to a dark and urgent yet undeniably compelling, deeply moving (if not mesmerizing) romantic expressionism. Evans's Rusyn ancestry is sometimes confused with a "Russian" ethnic background. His music reflects Russian titans like the Rachmaninoffesque pianism of his brooding constructions and the Shostakovich-like "Danse Macabre"

389

Bill Evans (pianist) modal explorations of "Nardis", the piece he reworked each time it served as the finale of his performances. But the "anticipatory meter" that Evans deliberately perfected with his last trio reflects late Ravel, especially the controversial second half of the French composer's dark and turbulent La Valse. The recording documenting Evans's playing during the week preceding his death is the valedictory "The Last Waltz." Many albums and compilations have been released in recent years, including three multidisc boxed sets: Turn Out the Stars (Warner Bros.), The Last Waltz, and Consecration. The Warner Bros. set is a selection of material from Evans's final residency at New York's Village Vanguard club, nearly two decades after his classic performances there with the La Faro/Motian trio; the other two are drawn from his performances at San Francisco's Keystone Korner the week before his death. A particularly revealing comparison of early and late Evans (1966, 1980) is a 2007 DVD of two previously unreleased telecasts, The Oslo Concerts.

Death Evans's drug addiction most likely began during his stint with Miles Davis in the late 1950s. A heroin addict for much of his career, his health was generally poor, and his financial situation worse, for most of the 1960s. By the end of that decade, he appeared to have succeeded in overcoming his addiction to heroin. However, during the 1970s, cocaine use became a serious and ultimately fatal problem for Evans. His body finally gave out in September 1980, when—ravaged by psychoactive drugs, a perforated liver, and a lifelong battle with hepatitis—he died in New York City of a bleeding ulcer, cirrhosis of the liver, and bronchial pneumonia. Evans's friend Gene Lees bleakly summarized Evans's struggle with drugs to Peter Pettinger as "the longest suicide in history".[8] At the time of his death, Evans was residing with his partner Laurie Verchomin [11], in Fort Lee, New Jersey.[6] Bill Evans is buried at Roselawn Memorial Park and Mausoleum, Baton Rouge, East Baton Rouge Parish, Louisiana (Section #161, Plot K), next to his brother Harry Evans, who died the previous year. The inscription reads, "William John Evans; August 16, 1929; September 15, 1980".

Legacy As music critic Richard S. Ginell noted, “With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners. There is no more influential jazz-oriented pianist -- only McCoy Tyner exerts nearly as much pull among younger players and journeymen -- and Evans has left his mark on such noted players as Herbie Hancock, Keith Jarrett, Chick Corea, Brad Mehldau.” [12] Bill Evans's musicianship has been a model for many pianists in various genres. His music displayed a creative mastery of harmony, rhythm, and interpretive jazz conception, fusing elements from jazz, classical, and ethnic music. In his duos and trios, Evans developed in unprecedented ways a unique conception of ensemble performance and a classical sense of form and conceptual scale. His '60s recordings Conversations with Myself and Further Conversations with Myself were innovative solo performances involving multiple layers of overdubs recorded in the studio by Evans himself. Evans's work continues to influence pianists, guitarists, composers, and interpreters of jazz music around the world. Many of his tunes, such as "Waltz for Debby", "Turn Out the Stars," "Very Early," and "Funkallero," have become often-recorded jazz standards. Many tribute recordings featuring his compositions and favorite tunes have been released in the years following his passing (see below) as well as tribute compositions. Pat Metheny's "September 15th" is one such recording. During his lifetime, Evans was honored with 31 Grammy nominations and seven Awards. In 1994, he was posthumously honored with the Grammy Lifetime Achievement Award.

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Tribute albums • • • • • • • • • • • • • • •

1981: Elegy For Bill Evans by Richie Beirach 1986: Music of Bill Evans by the Kronos Quartet with Eddie Gomez and Jim Hall. 1990: Bill Evans by Paul Motian 1991: Bill Evans: A Tribute by Jimmy Rowles, McCoy Tyner, Herbie Hancock, John Lewis, and Dave McKenna (Palo Alto Records) 1992: Then Along Came Bill: A Tribute to Bill Evans by Sylvia Syms 1993: Time Remembered: John Mclaughlin Plays Bill Evans by John Mclaughlin 1994: Now & Then: A Tribute to Bill Evans by Mitchel Forman 1994: Your Story: The Music of Bill Evans by Howard Alden 1996: Turn Out The Stars - The Songs Of Bill Evans by Dominic Alldis 1997: Conversations with Bill Evans by Jean-Yves Thibaudet 1998: Evanessence: Tribute to Bill Evans by Fred Hersch 1998: I Remember Bill: A Tribute to Bill Evans by Don Sebesky and Larry Coryell 2000: Conviction: Thoughts Of Bill Evans by Roseanna Vitro 2000: Remembering Bill Evans - A Vocal Tribute by Karen Gallinger 2002: Homage To Bill Evans And Jim Hall by Luigi Tessarollo with Stefano Bollani

• • • • • • • • •

2002: Play Bill Evans by The Danish Radio Jazz Orchestra & Jim McNeely 2003: Bill Evans: Tribute to the Great Post-Bop Pianist by Paul Motian 2006: Paz - Niño Josele and the music of Bill Evans by Niño Josele 2006: Remembering the Rain: The Music of Bill Evans by Stephen D. Anderson 2007: Playsong - The Music Of Bill Evans by Hilde Hefte 2008: Bill Evans Project by Riccardo Fioravanti Trio 2008: Something for you - Eliane Elias Sings and Plays Bill Evans by Eliane Elias 2008: We Sing Bill Evans by Joan Diaz Trio 2009: Bill Evans Compositions Vol. 1 & Vol. 2 by Stefano Battaglia

References [1] http:/ / www. allmusic. com/ artist/ bill-evans-p6477 [2] All About Jazz on Eliane Elias. (http:/ / www. allaboutjazz. com/ php/ article. php?id=28148) [3] Articles by Samuel Chell (All About Jazz) (http:/ / www. allaboutjazz. com/ php/ article. php?id=25824) and Kristen MacKenzie (pp. 4 and 18) (http:/ / www. bradmehldau. com/ content/ music/ pdf/ mackenzie. pdf). [4] Cook, Richard & Morton, Brian (2008). The Penguin Guide to Jazz Recordings 9th edition. Penguin. ISBN 0141034017. [5] "1981 Down Beat Critics Poll" (http:/ / www. downbeat. com/ default. asp?sect=stories& subsect=story_detail& sid=707). downbeat.com. . Retrieved 2008-11-14. [6] Wilson, John S. "Bill Evans, Jazz Pianist Praised For Lyricism and Structure, Dies; 'In Touch With His Feelings' Trouble With Scales" (http:/ / select. nytimes. com/ gst/ abstract. html?res=F30610FC3A5C12728DDDAE0994D1405B8084F1D3), The New York Times, September 17, 1980. Accessed June 30, 2009. "Mr. Evans, who lived in Fort Lee, N.J., toured in Europe this summer." [7] Simpson, Joel. Bill Evans. Biography (http:/ / www. allaboutjazz. com/ php/ musician. php?id=6592) [8] Pettinger, Peter (2002). Bill Evans: How My Heart Sings (New Ed ed.). Yale University Press. ISBN 0300097271. [9] The liner notes to Bill Evans - The Complete Riverside Recordings, published in 1984, give credit to both Evans and Davis ((Davis-Evans) Jazz Horn Music/Warner-Tamerlane Publ. — BMI). [10] Bill Evans (1959). "Liner notes" (http:/ / www. billevanswebpages. com/ kindblue. html). Kind of Blue. . [11] http:/ / www. laurieverchomin. com/ media/ [12] Richard S. Ginell. "Bill Evans" (http:/ / www. allmusic. com/ artist/ bill-evans-p6477). allmusic.com. . Retrieved August 25, 2010.

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Further reading • Shadwick, Keith (2002). Bill Evans Everything Happens To Me - a musical biography (Paperback ed.). Backbeat Books. ISBN 0879307080.

External links • • • • •

billevans.net Detailed Discography (http://www.billevans.net) Bill Evans entry — Jazz Discography Project (http://www.jazzdisco.org/evans/cat/a/) The Bill Evans Webpages (http://www.billevanswebpages.com/) Bill Evans: Time Remembered (http://www.billevans.nl) The Work of Claus Ogerman (http://bjbear71.com/Ogerman/Claus.html) — Bill Evans' work with composer/arranger/conductor Claus Ogerman is documented here in a pictorial discography of original albums and compilations, many with explanatory liner notes. • "Remembering Bill Evans" (http://www.jazz.com/jazz-blog/2008/1/29/remembering-bill-evans) by Ted Gioia, Jazz.com (http://www.jazz.com), January, 2008. • Letter From Evans (http://www.scribd.com/search?cat=redesign&q=Letter+From+Evans&x=20&y=11) edited by Win Hinkle — newsletter dedicated solely to the music and the life of Bill Evans, published 1989–94. Link is to all issues. • "Bill Evans: Twelve Essential Recordings by Ted Gioia" (http://www.jazz.com/dozens/ the-dozens-essential-bill-evans) • Bill Evans A Complete Blog Discography Project (http://www.theuniversalmindof.blogspot.com/) • The Bill Evans Memorial Library (http://home.btconnect.com/beml/)

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Bill Evans (saxophonist)

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Bill Evans (saxophonist) Bill Evans

Bill Evans in Warsaw, Poland July 24, 2004 Background information Born

8 February 1958 Clarendon Hills, Illinois United States

Genres

Jazz fusion, jazz, bluegrass

Occupations

Musician, songwriter, record producer

Instruments

Saxophone, clarinet

Years active

1980s-Present

[1]

Associated acts Miles Davis, Elements. Website

Bill Evans official Web site

[2]

Bill Evans (born February 9, 1958 in Clarendon Hills, Illinois) is an American jazz saxophonist.[3] His father was a classical piano prodigy and until junior high school Evans studied classical clarinet. Early in his studies he was able to hear such artists as Sonny Stitt and Stan Getz live at the Jazz Showcase in Chicago. He attended Hinsdale Central High School and studied with tenor saxophonist Vince Micko. His stylistic influences are wide ranging and include players such as Sonny Rollins, Joe Henderson, John Coltrane, Stan Getz, Steve Grossman, and Dave Liebman. He has stated that although he never transcribed solos, he was able to get a very deep intuitive feel and understanding of each of these players' styles.

Biography He plays primarily tenor and soprano saxophones. Evans attended North Texas State University and William Paterson University, where he studied with Dave Liebman, a Miles Davis alumnus. Moving to NYC in 1979 he spent countless hours in lofts playing jazz standards and perfecting his improvisational style. At the age of 22 he joined Miles Davis and was part of his musical comeback in the early to mid 1980s.[3] Notable albums recorded with Miles include The Man With The Horn, We Want Miles, Star People, and Decoy. In addition he has played, toured and recorded with artists such as Herbie Hancock, John McLaughlin,[3] Michael Franks, Willie Nelson, Mick Jagger, Les McCann, Mark Egan, Danny Gottlieb, Ian Anderson and Randy Brecker, among others. He is featured on the Petite Blonde album[3] with Victor Bailey, Dennis Chambers, Mitch Forman, and Chuck Loeb. Two of his most recent albums Soul Insider and Soulgrass were nominated for Grammy awards. Soulgrass was a ground breaking bluegrass/jazz fusion concept involving such musicians as Bela Fleck, Sam Bush, Bruce Hornsby, and drummer Vinnie Colaiuta.

Bill Evans (saxophonist) During the 1980s and 1990s he was a member of the group Elements.[3] Beginning in 1990 Bill has been touring with his own band playing close to 90 concerts a year worldwide. He has recorded over 17 solo CD's and received 2 Grammy Award nominations. He recorded an award-winning CD called Bill Evans - Vans Joint with the WDR Orchestra in 2009. He has played a wide variety of music with his solo projects including bluegrass influenced jazz to funk to contemporary groove and is considered a renaissance man in many circles. Evans has admitted, "I like to use the instruments used in Americana like the banjo, fiddle, mandolin and steel guitar. I just write my music using those instruments." Evans is also the east coast full co-chairman of the Caster Reelers Fishing Organization. a small but exclusive fishing club. Their favored fishing grounds are Quetico Provincial Park in Ontario, Canada.

Discography • • • • • •

Living in the Crest of a Wave (1984, Elektra/Musician) The Alternative Man (1986, Blue Note) Summertime (1989, Jazz City) Let the Juice Loose – Live at the Tokyo Blue Note Vol 1 (1990, Jazz City) The Gambler – Live at the Tokyo Blue Note Vol 2 (1991, Jazz City) Petite Blond (1992, Lipstick Records)

• • • • • • • • • • • •

Evans, Bailey, Dennis Chambers, Mitchel Forman, Loeb – Petite Blonde (1992, Lipstick Records) Push (1993, Lipstick Records) Bill Evans & Push – Live in Europe (1995, Lipstick Records) Escape (1996, ESC Records) Starfish & the Moon (1997, Escapade) Touch (1998, ESC/EFA) Soul Insider (2000, ESC/EFA) Big Fun (2003, ESC Records) Soulgrass (2005, BHM Zyx) Bill Evans, Randy Brecker − Soulbop Band – Live (2005, BHM/Zyx) The Other Side of Something (2007, intuition) Vans Joint (2009, BHM/Zyx)

References [1] http:/ / www. allmusic. com/ artist/ bill-evans-p36779 [2] http:/ / www. billevanssax. com/ [3] Yanow, Scott. "Biography: Bill Evans" (http:/ / www. allmusic. com/ artist/ p36779/ biography). Allmusic. . Retrieved 31 May 2010.

External links • Bill Evans official Web site (http://www.billevanssax.com/)

394

Gil Evans

395

Gil Evans Gil Evans

With Ryo Kawasaki at Sweet Basil in New York City,1982 Background information Born

May 13, 1912

Died

April 20, 1988 (aged 75)

Genres

Jazz, Third stream

Occupations

Composer

Years active

1933–1988

Labels

Impulse!, Prestige Records Notable instruments Piano

Gil Evans (born 13 May 1912 in Toronto, Canada, died 20 March 1988 in Cuernavaca, Mexico) was a jazz pianist, arranger, composer and bandleader, active in the United States. He played an important role in the development of cool jazz, modal jazz, free jazz and jazz fusion, and collaborated extensively with Miles Davis.[1]

Biography Born Ian Ernest Gilmore Green, his name was changed early on to Evans, the name of his stepfather. His family moved to Stockton, California where he spent most of his youth. After 1946, he lived and worked primarily in New York City, living for many years at Westbeth Artists Community.[1] Between 1941 and 1948, he worked as an arranger for the Claude Thornhill Orchestra. Evans' modest basement apartment behind a New York City Chinese laundry soon became a meeting place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading bebop performer Charlie Parker himself. In 1948, Evans, with Miles Davis, Gerry Mulligan, and others, collaborated on a band book for a nonet. The group was booked for a week at the "Royal Roost" as an intermission group on the bill with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949 and 1950. These recordings were reissued on a 1957 Miles Davis LP titled Birth of the Cool. Later, while Davis was under contract to Columbia Records, producer George Avakian suggested that Davis work with any of several arrangers. Davis immediately chose Evans. The three albums that resulted from the resulting collaboration are Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960). Another collaboration from this period, Quiet Nights (1962) was issued later, against the wishes of Davis, who broke with his then-producer Teo Macero for a time as a result. Although these four records were marketed primarily under Davis's name (and credited to Miles Davis with Orchestra Under the Direction of Gil Evans), Evans's contribution was as important as Davis's. Their work coupled Evans's classic big band jazz stylings and arrangements with Davis's solo playing. Evans also contributed behind the scenes to Davis' classic quintet albums of the 1960s.

Gil Evans From 1957 onwards Evans recorded, under his own name, Big Stuff (1957, aka Gil Evans & Ten), New Bottle Old Wine and Great Jazz Standards (a.k.a. "Pacific Standard Time", 1957–58), Out of the Cool (1960), and The Individualism Of Gil Evans (1964). Among the featured soloists on these records were Lee Konitz, Steve Lacy, Johnny Coles and Cannonball Adderley. In 1965 he arranged the big band tracks on Kenny Burrell's Guitar Forms album. Evans was quite warm to Latin and Brazilian music. 1966 he recorded a 'special' Latin album with his orchestra, Look To The Rainbow, for the Brazilian singer Astrud Gilberto. Evans toured extensively during 1972-87, performing frequently in European concerts and festivals, and traveling twice to Japan, once with Jaco Pastorius. In the 1970s, following Davis and many other jazz musicians, Evans worked in the free jazz and jazz-rock idioms, gaining a new generation of admirers. Evans had a particular interest in the work of rock guitarist Jimi Hendrix. Hendrix's 1970 death made impossible a scheduled meeting with Evans to discuss having Hendrix front a big band led by Evans. In 1974, he released an album of his arrangements of music by Hendrix. In 1986, Evans produced and arranged the soundtrack to the film of the Colin MacInnes book Absolute Beginners, thereby working with such contemporary artists as Sade Adu, Patsy Kensit's Eight Wonder, The Style Council, Jerry Dammers, Smiley Culture, Edward Tudor-Pole, and, notably, David Bowie. In 1987, Evans recorded a live CD with Sting, featuring big band arrangements of songs by and with The Police. In April 1983, the Gil Evans Orchestra was booked into the Sweet Basil jazz club (Greenwich Village, New York) by jazz producer and Sweet Basil owner Horst Liepolt. This turned out to be a regular Monday night engagement for Evans for nearly five years and also resulted in the release of a number of successful albums by Gil Evans and the Monday Night Orchestra (produced by Horst Liepolt). One of these albums, Bud and Bird, won the Grammy award for Grammy Award for Best Jazz Instrumental Performance, Big Band in 1989. In 1986, Evans was inducted into the Down Beat Jazz Hall of Fame. Evans died in the same Mexican city as Charles Mingus, Cuernavaca.[1]

Discography • • • • • • • • • • • • • • • • • • •

1957: Gil Evans & Ten 1958: New Bottle Old Wine 1958: Dream of You (with Helen Merrill) 1959: Great Jazz Standards 1960: Out of the Cool 1961: Into the Hot 1964: The Individualism of Gil Evans 1965: Guitar Forms (with Kenny Burrell) 1966: Look to the Rainbow (with Astrud Gilberto) 1971: Blues in Orbit 1971: Where Flamingos Fly (Artists House) 1973: Svengali 1975: Plays the Music of Jimi Hendrix 1975: There Comes a Time 1976: Tokyo Concert 1977: Priestess (Antilles Records) 1978: Little Wing (Circle Records (Germany)) 1980: Live at the Public Theater Volume 1 & 2 1986: Live at Sweet Basil

• 1986: Farewell • 1986: Bud and Bird (Grammy Award for Best Jazz Instrumental Performance, Big Band) • 1986: Absolute Beginners Soundtrack

396

Gil Evans • • • • • • •

1987: Live at Umbria Jazz: Volume 1 & 2 1987: Collaboration (with Helen Merrill) 1987: 75th Birthday Concert 1987: Paris Blues (duo with Steve Lacy) 1987: Last Session (with Sting) 1988: A Tribute to Gil 1990: Gil Evans with RMS - Take Me To The Sun

Arrangements for Miles Davis • • • •

1957: Miles Ahead 1958: Porgy and Bess 1960: Sketches of Spain 1963: Quiet Nights

Filmography • 2005: RMS Live With Gil Evans at the Montreux Jazz Festival 1983 • 2007: Gil Evans and His Orchestra[2] • 2007: Strange Fruit with Sting • 2009: Miles Davis The Cool Jazz Sound

Compositions Gil Evans' compositions include "La Nevada", "Boplicity" with Miles Davis as by Cleo Henry, "Miles Ahead", "Eleven", "London", "Jambangle", "Prelude to Orgone", "Orgone", "C Blues", "Zee Zee", "Waltz", "Jelly Roll", "Sunken Treasure", "Alyrio", "Anita's Dance", "Copenhagen Sight", "Variation on the Misery", "Spaced", "Proclamation", and "So Long".

References [1] Allmusic Biography (http:/ / www. allmusic. com/ artist/ p74579) [2] VIEW Video DVD Listing (http:/ / www. view. com/ gil_evans_and_his_orchestra_dvd. aspx)

External links • Gil Evans Homepage (http://www.gilevans.com) • Interview with "Gil Evans: Out Of The Cool" author Stephanie Stein Crease (http://www.jerryjazzmusician. com/mainHTML.cfm?page=crease.html#)

397

Foley

Foley Joseph McCreary, Jr., known professionally as Foley, is an American composer, musician, and photographer who is best known as the "lead bassist" with trumpeter Miles Davis from 1987 until 1991. With his custom-made Blue Marble "lead bass," tuned nearly an octave higher than a standard bass guitar and processed through various effects, Foley was able to create the illusion of a lead guitarist.[1]

Biography Foley spent his early years playing in Columbus, Ohio, where he was born and raised, composing and recording his own music. Foley is featured on the Miles Davis albums Amandla, Dingo, Live Around the World, The Complete Miles Davis at Montreux, and countless live bootleg recordings.[1] Foley also plays a lead bass solo on Mint Condition's R&B Top 40 hit "So Fine" and the interlude track "Gumbo" from their CD From the Mint Factory. In 1993, during his time at Motown, Foley released 7 Years Ago....Directions In Smart-Alec Music. The album featured the AIDS-related song "If It's Positive,"[2] which is widely regarded as the first in a long line of AIDS awareness songs during the early 1990s. Foley performed this song live on BET's award-winning show Teen Summit, in which then-host Belma Johnson had taken an AIDS/HIV test and revealed the results live on the air. That episode, featuring "If It's Positive" and Foley's AIDS awareness concerns, helped BET to win their first NAACP Image Award. The video features guest appearances from Speech and Aerle Taree [3] of Arrested Development. The video had heavy rotation on BET as well. Foley later joined Arrested Development and can be seen in the group's "Ease My Mind" video and their Arsenio Hall appearance in which he served as music arranger. He toured with Arrested Development from 1993 to 1994, alternately playing bass with Arrested Development and drums with Fishbone, during Lollapalooza '93. The Cité de la Musique showed a Miles Davis exhibition from October 16, 2009 to January 17, 2010 that included Foley's famous "lead bass." Foley has shared the stage with an array of diverse artists including Sly Stone, George Clinton, Santana, Herbie Hancock, Prince, Chaka Khan, Patrice Rushen, El DeBarge, Al Jarreau, Alice in Chains, Foreigner, Bootsy Collins, Fishbone, Arrested Development, David Sanborn , Jungle Bros., Macy Gray, Mint Condition, Monica, Davina, Larry Dunn, Lenny White, Marcus Miller, Res, Khaleel, and Primus. Foley can currently be seen playing drums on tour with George Clinton. In 2008, he served as music arranger for performances with George Clinton and His Gangsters of Love on The Tonight Show and The Late Show.

References [1] Cole, George. "Miles's Musician Profiles: Foley," (http:/ / www. thelastmiles. com/ profiles_foley. php) The Last Miles, 2005. Last accessed March 6, 2006. [2] "If It's Positive" music video on YouTube (http:/ / www. youtube. com/ watch?v=KztYdkxh1cE) [3] http:/ / www. aerletaree. com/

External links • Official website (http://www.smartalecmusic.com) • Allmusic entry (http://www.allmusic.com/artist/p50012/biography) • YouTube Channel (http://www.youtube.com/smartalecFILMS)

398

Sonny Fortune

Sonny Fortune Sonny Fortune (born May 19, 1939 in Philadelphia, Pennsylvania) is an American jazz alto saxophonist and flautist. He also plays soprano saxophone, tenor saxophone, baritone saxophone and clarinet.[1]

Biography After moving to New York City in 1967 he recorded and appeared live with drummer Elvin Jones's group. In 1968 he was a member of Mongo Santamaría's band. He subsequently performed with singer Leon Thomas, and with pianist McCoy Tyner (1971–73).[1] In 1974 he replaced Dave Liebman in Miles Davis's ensemble, remaining until spring 1975, when he was succeeded by Sam Morrison. Fortune was the first alto player to record with Miles since Cannonball Adderley on Kind of Blue in 1959, and he can be heard on the albums Big Fun, Get Up With It, Agharta and Pangaea, the last two recorded live in Japan.[1] He joined Adderley's brother, Nat, after his brief tenure with Davis, and then went on to form his own group in June 1975, recording two albums for the A&M Horizon Sonny Fortune in April, 2007 label. During the 1990s, he recorded several acclaimed albums for the Blue Note label. He has also performed with Roy Brooks, Buddy Rich, George Benson, Rabih Abou Khalil, Roy Ayers, Oliver Nelson, Gary Bartz, Rashied Ali and Pharoah Sanders, as well as appearing on the live album The Atlantic Family Live at Montreux (1977).[1]

Discography As leader • • • • • • • • • • •

1974: Long Before Our Mothers Cried (Strata-East Records) 1975: Awakening (A&M/Horizon Records) 1976: Waves of Dreams (A&M/Horizon) 1977: Serengeti Minstrel 1978: Infinity Is 1979: With Sound Reason 1992: Laying It Down 1993: Monk's Mood 1994: Four In One 1995: A Better Understanding 1996: From Now On

• 2000: In the Spirit of John Coltrane • 2003: Continuum

399

Sonny Fortune • 2007: You And The Night And The Music • 2009: Last Night at Sweet Rhythm

As sideman With Rabih Abou-Khalil • Al-Jadida (1990) With Miles Davis • • • •

Get Up with It (1974) Big Fun (1975) Pangaea (1975) Agharta (1975)

With Alphonse Mouzon • The Essence of Mystery (1972) With McCoy Tyner • Sahara (1972) With Mal Waldron • Crowd Scene (Soul Note, 1989) • Where Are You? (Soul Note, 1989)

Filmography • Elvin Jones: Jazz Machine (2008) with Sonny Fortune, Ravi Coltrane, Willie Pickens and Chip Jackson[2] • Europafest: Jazz Highlights (2008) with Mike Stern, Sonny Fortune, Bob Berg, Sun Ra, Archie Shepp, John Zorn, Bill Frisell, and more[3]

References [1] Allmusic Biography (http:/ / www. allmusic. com/ artist/ p6514/ biography) [2] VIEW DVD Listing (http:/ / www. view. com/ elvin_jones_jazz_machine_dvd. aspx) [3] Arkadia DVD Listing (http:/ / www. view. com/ europafest_jazz_highlights_dvd. aspx)

External links • SonnyFortune.com (http://www.sonnyfortune.com/) official home page

400

Al Foster

401

Al Foster Al Foster

Al Foster Quintet in Trieste, Italy 2007 Background information Born

January 18, 1944 Richmond, Virginia, United States

Genres

Jazz

Occupations

Musician

Instruments

Drum set

Years active

1960s-Present

[1]


Al Foster (born January 18, 1943 in Richmond, Virginia) is an American jazz drummer. Foster played with Miles Davis's large funk fusion group in the 70s, was one of the few people to have contact with Miles during his retirement, and was also part of his comeback album "The Man With the Horn" of 1981. He was the only musician to play in Miles' band for both periods.

Biography Foster grew up in New York. He began playing drums at the age of 13 and made his recording debut, with Blue Mitchell, at 16.[2] He joined Miles Davis's group when Jack DeJohnette left.[2] As a member of the Davis band from 1972 to 1985, Foster's contribution to Davis' music is articulated by Davis himself in his 1989 autobiography, Miles: The Autobiography, where Davis describes the first time he heard Foster play live in 1972 at the Cellar Club on 95th Street in Manhattan: 'He [Foster] knocked me out because he had such a groove and he would just lay it right in there. That was the kind of thing I was looking for. AI could set it up for everybody else to play off and just keep the groove going forever." Other artists Foster has performed and recorded with include Joe Henderson, Freddie Hubbard, McCoy Tyner, Wayne Shorter, Bobby Hutcherson, John Scofield, Pat Metheny, Charlie Haden, Randy & Michael Brecker, Bill Evans, George Benson, Kenny Drew, Carmen McRae, Stan Getz, Toots Thielemans, Dexter Gordon, Hank Jones, George Mraz, Blue Mitchell and Chick Corea. Over the years, Foster has toured extensively with Herbie Hancock, Sonny Rollins, and Joe Henderson, becoming a major attraction in all three bands as well as an integral part of them. He is an all-round drummer, who has played in musical styles ranging from bebop to free form to jazz/rock. Recently Foster has recorded and toured with his own band. He began composing in the 1970s. He likens it to playing chess with the piano. Although he does not read music, he can play his songs on the piano with a groove.

Al Foster Since 1996 Al has been touring with his own band, featuring bassist Douglas Weiss. The current band also features Israeli born Saxophonist Eli Degibri, and Adam Birnbaum on piano. The band has played over 1000 concert and club dates all over the world, including the UK, Italy, France, Holland, Germany, Belgium, Spain, Portugal, Poland, Russia, South Africa.

Discography As leader • The Night Of The Wolf (Vinyl, 7", 1975, Roulette Records) music by Ivano Fossati and Oscar Prudente[3] . • Brandyn (1996, Laika Records) with Chris Potter, Dave Kikoski and Doug Weiss. • Love, Peace and Jazz! Live at the Village Vanguard (2008, JazzEyes) with Eli Degibri, Kevin Hays and Doug Weiss. • The Paris Concert (DVD - 2008, Inakustic Gmbh) with Eddie Henderson, Eli Degibri, Aaron Goldberg, George Colligan and Doug Weiss.

As co-leader • Oh! (ScoLoHoFo) (2003) with Joe Lovano, John Scofield, Dave Holland

As sideman With Miles Davis • • • • • • • • • • • • •

On the Corner (1972) In Concert: Live at Philharmonic Hall (1973) Big Fun (1974) Get Up with It (1974) Dark Magus (1974) Agharta (1975) Pangaea (1975) The Man with the Horn (1981) We Want Miles (1981) Star People (1983) Decoy (1984) You're Under Arrest (1985) Amandla (1989)

With Blue Mitchell • The Thing to Do (1964) • Down with It! (1965) With Sonny Rollins • • • • •

Nubia (1978) Don't Ask (1979) Love at First Sight (1980) Here's to the People (1991) Sonny Rollins + 3 (1995)

With McCoy Tyner • Horizon (1979) • Quartets 4 X 4 (1980)

402

Al Foster • • • •

It's About Time (with Jackie McLean, 1985) New York Reunion (1991) McCoy Tyner Plays John Coltrane (1997) McCoy Tyner with Stanley Clarke and Al Foster (1998)

With others • • • • • • • • • • • •

Silver 'n Brass (with Horace Silver, 1975) Witches, Goblins, Etc. (with Sadik Hakim, piano, and Errol Walters, bass) Steeplechase 1977)[4] Everything Must Change (with Johnny Lytle, 1978) In, Out And Around (with Mike Nock, 1978) Elegie For Bill Evans (with Richie Beirach, 1981) So Near, So Far (Musings for Miles) (with Joe Henderson, 1992) Pure (with Chris Potter, Concord Records 1994) Time Well Spent (with Andy LaVerne and George Mraz, 1994) I Remember Miles (with Shirley Horn, 1998) Oh!(with John Scofield, Joe Lovano, Dave Holand, 2003) The Montreal Tapes: a tribute to Joe Henderson (with Charlie Haden and Joe Henderson, 2004) Israeli Song (with Eli Degibri, 2010)

References [1] [2] [3] [4]

http:/ / www. allmusic. com/ artist/ al-foster-p77092/ biography Lewis, Dave. "Al Foster: Biography" (http:/ / www. allmusic. com/ artist/ p77092). Allmusic. . Retrieved 2010-03-25. discogs (http:/ / www. discogs. com/ Al-Foster-Band-The-Night-Of-The-Wolf/ release/ 2153994) Jazz International, 1978

Red Garland William "Red" Garland (May 13, 1923–April 23, 1984) was an American hard bop jazz pianist whose block chord style, in part originated by Milt Buckner, influenced many forthcoming pianists in the jazz idiom.[1] [2]

Biography Beginnings William "Red" Garland was born in Dallas, Texas in 1923. Though he came from a non-musical family, Garland showed an early interest in music. He began his musical studies on the clarinet and alto saxophone but in 1940 switched to the piano. Garland spent copious amounts of time practicing and rapidly developed into a proficient player. A short early career as a welterweight boxer did not seem to hurt his playing hands. He fought a young Sugar Ray Robinson before making the switch to a full-time musician.

Garland's sound Garland's trademark block chord technique, a commonly borrowed maneuver in jazz piano today, was unique and differed from the methods of earlier block chord pioneers such as George Shearing and Milt Buckner. Garland's block chords were constructed of three notes in the right hand and four notes in the left hand, with the right hand one octave above the left. The right hand played the melody in octaves with a perfect 5th placed in the middle of the octave (a 5th above the lowest note of the octave) even when it seemed to not suit the harmony. The 5th played in the middle of the octave becomes virtually inaudible when the chord in the left hand is played simultaneously, but the added 5th gives the voicings a particularly rich, distinctive and slightly out-of-tune character.

403

Red Garland Garland's left hand played four note chords that simultaneously beat out the same exact rhythm as the right hand melody played. But, unlike George Shearing's block chord method, Garland's left hand chords did not change positions or inversions until the next chord change occurred. It's also worth noting that Garland's four note left hand chord voicings occasionally left out the roots of the chords, which later became a chord style associated with pianist Bill Evans. Garland's block chord method had a brighter quality, slightly more dissonance, and a fullness in the upper register compared to the mellower Shearing block chord sound. Garland's solo lines also had a glassy, shimmering tone that matched the quality of his chords.

Early work After the Second World War, Garland performed with Roy Eldridge, Coleman Hawkins, Charlie Parker, and Lester Young. He found steady work in the cities of Boston, New York and Philadelphia. In the late 1940s he toured with Eddie Vinson at the same time that John Coltrane was in Vinson's band. His creativity and playing ability continued to improve, though he was still somewhat obscure. By the time he became a pianist for Miles Davis he was influenced by Ahmad Jamal and Charlie Parker's pianist Walter Bishop.

Miles Davis Quintet Garland became famous in 1955 when he joined the Miles Davis Quintet featuring John Coltrane, Philly Joe Jones and Paul Chambers. Davis was a big fan of boxing and was impressed that Garland had boxed earlier in his life. Together the group recorded their famous Prestige albums, Miles: The New Miles Davis Quintet, Workin, Steamin', Cookin', and Relaxin'. Garland's style is prominent in these seminal recordings—evident in his distinctive chord voicings, his sophisticated accompaniment and his musical references to Ahmad Jamal's style. One critic dismissed Garland as a "cocktail" pianist. The quintet's recordings would arguably influence the Free jazz movement more than some of the more jazz avant-garde records of the time. Garland played on the first of Davis's many Columbia recordings, 'Round About Midnight. Though he would continue playing with Miles, their relationship was beginning to deteriorate. By 1958, Garland and Jones had started to become more erratic in turning up for recordings and gigs. He was eventually fired by Miles, but later returned to play on another jazz classic, Milestones. Davis was displeased when Garland quoted Davis's much earlier and by then famous solo from "Now's The Time" in block chords during the slower take of "Straight, No Chaser." Garland walked out of one of the sessions for Milestones, so that on the track "Sid's Ahead" Davis comped behind the saxophone solos.

After the Miles Davis Quintet In 1958 Garland formed his own trio. Among the musicians the trio recorded with are Pepper Adams, Nat Adderley (Cannonball Adderley's brother), Ray Barretto, Kenny Burrell, Eddie "Lockjaw" Davis, Jimmy Heath, Harold Land, Philly Joe Jones, Blue Mitchell, Ira Sullivan, and Leroy Vinnegar. The trio also recorded as a quintet with John Coltrane and Donald Byrd. Altogether Garland led 19 recording sessions while at Prestige Records and was involved in 25 sessions for Fantasy Records. He stopped playing professionally for a number of years in the 1960s when the popularity of rock and roll music coincided with a substantial drop in the popularity of jazz. Garland eventually returned to his native Texas in the 1970s. His mother was in need of closer supervision in her declining years. He led a recording in 1977 named Crossings which reunited him with Philly Joe Jones, and he teamed up with world-class bassist Ron Carter. His later work tended to sound more modern and less polished than his better known recordings. He continued recording until his death from a heart attack in 1984, aged 61.

404

Red Garland

Partial discography As leader • • • • • • • • • •

A Garland of Red (1956; Prestige Records) Red Garland's Piano (1956; Prestige Records) Soul Junction (1957; Prestige Records) High Pressure (1957; Prestige Records) All Mornin' Long (1957) Dig It! (1958) All Kinds of Weather (1958; Prestige Records) Soul Burnin' (1960; Prestige Records) Keystones! (1977; Xanadu Records) Red Alert (1977; Galaxy Records)

As sideman With John Coltrane • Traneing In (1957) • Lush Life (1957) • Soultrane (1958) With Miles Davis • • • • • • •

Miles: The New Miles Davis Quintet (1955) Cookin' with The Miles Davis Quintet (1956) Relaxin' with The Miles Davis Quintet (1956) Workin' with The Miles Davis Quintet (1956) Steamin' with The Miles Davis Quintet (1956) 'Round About Midnight (1957) Milestones (1958)

With Art Pepper • Art Pepper Meets the Rhythm Section (1957)

References [1] Allmusic (http:/ / www. allmusic. com/ artist/ p6557/ biography) [2] Allaboutjazz.com (http:/ / www. allaboutjazz. com/ bios/ rxgbio. htm)

405

Kenny Garrett

406

Kenny Garrett Kenny Garrett

Background information Born

October 9, 1960 Detroit, Michigan United States

Genres

Jazz Post bop

Occupations

Musician Bandleader

Years active

1978–present

Labels

Atlantic Records, Warner Bros. Records, Mack Avenue Records, Criss Cross Jazz

Associated acts Five Peace Band, Miles Davis, Woody Shaw, Art Blakey, Marcus Miller Website

Official Site

[1]

Kenny Garrett is a Grammy Award winning American post bop jazz saxophonist and flautist, who gained fame as a member of the Duke Ellington Orchestra, and Miles Davis' band as a young man. He has since pursued a critically acclaimed solo career, and most recently, by joining a supergroup of jazz musicians, titled the Five Peace Band.

Biography Kenny Garrett was born in Detroit, Michigan on October 9, 1960; Garrett is a 1978 graduate of Mackenzie High School. His father was a carpenter who played tenor saxophone as a hobby. Garrett's own career as a saxophonist took off when he joined the Duke Ellington Orchestra in 1978,[2] then led by Duke's son, Mercer Ellington. Three years later he played in the Mel Lewis Orchestra, playing the music of Thad Jones and also the Dannie Richmond Quartet, focusing on Charles Mingus's music. In 1984, he recorded his first album as a bandleader, Introducing Kenny Garrett, on the CrissCross label. He then recorded two albums with Atlantic Records; Prisoner of Love and African Exchange Student. Garrett signed to the Warner Bros. Records label, and beginning with Black Hope, in 1992,[2] he has continued to record with them. Among his notable recordings on Warner Bros. are Pursuance: The Music of John Coltrane, recorded in 1996, and Songbook, his first album made up entirely of his own compositions, recorded in 1997 and nominated for a Grammy Award. During his career, Garrett has performed and recorded with many jazz greats such as Miles Davis, Art Blakey, Joe Henderson, Freddie Hubbard, Woody Shaw, McCoy Tyner, Pharoah Sanders, Brian Blade, Marcus Miller, Chick Corea, John McLaughlin, Herbie Hancock, Bobby Hutcherson, Ron Carter, Elvin Jones, and Mulgrew Miller. Garrett's music sometimes exhibits Asian influence, an aspect which is especially prevalent in his 2006 recording, Beyond the Wall.

Kenny Garrett

407

While Garrett is most well known in many circles for the five years he spent playing with Miles Davis during Miles' electric period, he states that he has become accustomed to the association: "I was in Miles' band for about five years. I think that tag will always be there. That is five years of my life. That's the only musical situation that I was there longer than a year. It was a good five years. I have gotten used to that. Some people became aware of me through Miles and then they would come to my concerts. I think that is part of my history and I am proud of that. I am still trying to carve out my own name and my own music. I just look at it as a part of history and it is going to be there. Every time they mention Kenny Garrett, there will probably be some association with Miles Davis, but at the same time, when they mention Herbie Hancock, they always mention Miles Davis, or Wayne Shorter. You get used to it after a while." (allaboutjazz.com) Garrett's latest album is Sketches of MD: Live at the Iridium, featuring Pharoah Sanders. It was released on September 23, 2008. On his website, KennyGarrett.com, he states that his current band consists of electric bass and organ. Garrett performed in a world tour, 2008-2009 with Chick Corea, John McLaughlin, Christian McBride and Brian Blade/Vinnie Colaiuta as the "Five Peace Band". The CD "Five Peace Band - Live" won a GRAMMY Award on January 31, 2010.

Christian McBride, John McLaughlin, Vinnie Colaiuta and Kenny Garrett Photo: Pierre Corbucci

On May 7, 2011 Kenny Garrett was presented an Honorary Doctorate in Music Degree from Berklee College of Music, Boston, Massachusetts. Garrett was the Commencement Speaker. There were 908 graduates - the largest graduating class in Berklee history. The commencement ceremony took place at the Agganis Arena (Boston University). Four thousand people were in attendance.

Discography As leader • • • • • • • • • • • • • •

Introducing Kenny Garrett, 1984 5 Paddle Wheel, 1988 Prisoner of Love, 1989 (Atlantic Records) African Exchange Student, 1990 (Atlantic) Black Hope, 1992 (Warner Bros. Records) Introducing Kenny Garrett, 1994 Threshold, 1994 Triology, 1995 Stars & Stripes Live, 1995 Pursuance: The Music Of John Coltrane, 1996 Songbook, 1997 (GRAMMY nomination) Simply Said, 1999 Old Folks, 2001 Birds Of A Feather: A Tribute To Charlie Parker, 2001

• Happy People, 2002 • Standard of Language, 2003 • Beyond The Wall, 2006 (GRAMMY nomination)

Kenny Garrett • Sketches of MD - live at the Iridium, 2008

As sideman With Miles Davis • Amandla (1989) • Miles & Quincy Live at Montreux (1991) With Marcus Miller • • • • •

The Sun Don't Lie (1993) Tales (1995) Live & More (1998) M² (2001) Panther/live (2004)

With Other Artists (these are just a few of the 230+ sideman recordings) • Chick Corea • John McLaughlin • Vinnie Colaiuta • • • • • • • • • • • • • • • • • • • • • •

Christian McBride Donald Byrd Q-Tip Mike Stern Terence Blanchard Cedar Walton Javon Jackson Duke Ellington Orchestra Wayman Tisdale Steve Turre Roy Haynes Lenny White Clifton Anderson Jeff "Tain" Watts John Scofield Charnett Moffett Rodney Kendrick Jazzmatazz Geri Allen Dennis Chambers Donald Byrd Philippe Saisse

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Kenny Garrett

References [1] http:/ / www. kennygarrett. com/ [2] Skelly, Richard. "Kenny Garrett: Biography" (http:/ / www. allmusic. com/ artist/ p78930). Allmusic. . Retrieved 2010-03-21.


Official Site (http://www.kennygarrett.com/) Kenny Garrett (http://beta.asoundstrategy.com/kennygarrett/) Bio at The Duke Jazz Archive (http://www-music.duke.edu/jazz_archive/artists/garrett.kenny/01/) Allmusic (http://www.allmusic.com/artist/p78930) Allaboutjazz (http://www.allaboutjazz.com/php/article.php?id=255)

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Herbie Hancock Herbie Hancock

Hancock in concert at the Nice Jazz Festival 2010 Background information Birth name

Herbert Jeffrey Hancock

Also known as

Herbie Hancock

Born

April 12, 1940 Chicago, Illinois United States

Genres

Jazz, bebop, post bop, jazz fusion, hard bop, jazz-funk, funk, R&B, electro funk, classical

Occupations

Musician, composer, bandleader

Instruments

piano, synthesizer, organ, clavinet, keytar, vocoder

Years active

1961–present

Labels

Columbia, Blue Note, Verve, Warner Bros. Records

Associated acts Miles Davis Quintet, Jaco Pastorius, Stevie Wonder Website

Official website of Herbie Hancock

[1]

Herbert Jeffrey "Herbie" Hancock (b. April 12, 1940) is an American pianist, bandleader and composer.[2] As part of Miles Davis's "second great quintet", Hancock helped redefine the role of a jazz rhythm section, and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace synthesizers and funk. Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel. Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award after Getz/Gilberto in 1965. As a member of Soka Gakkai, Hancock is an adherent of the Nichiren school of Mahayana Buddhism.[3] [4]

Herbie Hancock

Early life and career Hancock was born in Chicago, Illinois. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy,[5] he played the first movement of Mozart's Piano Concerto No. 5 at a young people's concert with the Chicago Symphony at age eleven.[6] Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's: ..by the time I actually heard the Hi-Lo's, I started picking that stuff out; my ear was happening. I could hear stuff and that's when I really learned some much farther-out voicings -like the harmonies I used on 'Speak Like a Child' -just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it music after two years. In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student.[7] Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. (He later graduated from Grinnell, which also awarded him an honorary Doctor of Fine Arts degree in 1972).[6] [8] Donald Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo Santamaría with a hit single, but more importantly for Hancock, Takin' Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band.

Miles Davis quintet and Blue Note Hancock received considerable attention when, in May 1963,[6] he joined Miles Davis's "second great quintet." This new band was essentially Miles Davis surrounded by fresh, new talent. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Tony Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet would gel with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been especially praised for its innovation and flexibility. The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment - using quartal harmony and Debussy-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the later half of the sixties their approach became so sophisticated and unorthodox that conventional chord changes would hardly be discernible; hence their improvisational concept would become known as "Time, No Changes". While in the Davis' band, Hancock also found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Wayne Shorter, Tony Williams, Grant Green, Bobby Hutcherson, Sam Rivers, Donald Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard. His albums Empyrean Isles (1964) and Maiden Voyage (1965) were to be two of the most famous and influential jazz LPs of the sixties, winning praise for both their innovation and accessibility (the latter demonstrated by the subsequent enormous popularity of the Maiden Voyage title track as a jazz standard, and by the jazz rap group US3

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having a hit single with "Cantaloop" (derived from "Cantaloupe Island" on Empyrean Isles) some twenty five years later). Empyrean Isles featured the Davis rhythm section of Hancock, Carter and Williams with the addition of Freddie Hubbard on cornet, while Maiden Voyage also added former Davis saxophonist George Coleman (with Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the post-bop style. Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles — My Point of View (1963), Speak Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of almost entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo Martinez. During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup, the first of many soundtracks he recorded in his career. Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved to be instrumental in his future artistic endeavors. Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued to appear on Miles Davis records for the next few years. Noteworthy appearances include In a Silent Way, A Tribute to Jack Johnson and On the Corner.

Fat Albert and Mwandishi Hancock left Blue Note in 1969, signing up with Warner Bros. Records. In 1969, Hancock composed the soundtrack for the Bill Cosby animated children's television show Fat Albert and the Cosby Kids. Titled Fat Albert Rotunda, the album was mainly an R&B-influenced album with strong jazz overtones. One of the jazzier songs on the record, "Tell Me A Bedtime Story", was later re-worked as a more electronic sounding song for the Quincy Jones album, Sounds...and Stuff Like That. Hancock became fascinated with accumulating musical gadgets and toys. Together with the profound influence of Davis's Bitches Brew, this fascination would culminate in a series of albums in which electronic instruments are coupled with acoustic instruments. Hancock's first ventures into electronic music started with a sextet comprising Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson (trumpet), Julian Priester (trombone), and multireedist Bennie Maupin. Dr. Patrick Gleeson was eventually added to the mix to play and program the synthesizers. In fact, Hancock was one of the first jazz pianists to completely embrace electronic keyboards.

2010Hancock playing a Roland AX-7 keytar, at The Roundhouse, Camden, London, 2006

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The sextet, later a septet with the addition of Gleeson, made three experimental albums under Hancock's name: Mwandishi (1971), Crossings (1972) (both on Warner Bros. Records), and Sextant (1973) (released on Columbia Records); two more, Realization and Inside Out, were recorded under Henderson's name with essentially the same personnel. The music often had very free improvisations and showed influence from the electronic music of some contemporary classical composers. Synthesizer player Patrick Gleeson, one of the first musicians to play synthesizer on any jazz recording, introduced the instrument on Crossings, released in 1972, one of a handful of influential electronic jazz/fusion recordings to feature synthesizer that same year. On Crossings (as well as on I Sing the Body Electric), the synthesizer is used more as an improvisatory global orchestration device than as a strictly melodic instrument. This reflected Gleeson's (and Powell's) interest in contemporary European electronic music techniques and in the West Coast synthesis techniques of Morton Subotnick and other contemporaries, several of whom were resident at one time or another, as was Gleeson, at The Mills College Tape Music Center. An early review of Crossings in Downbeat magazine complained about the synthesizer, but a few years later the magazine noted in a cover story on Gleeson that he was "a pioneer" in the field of electronics in jazz. Gleeson used a modular Moog III for the recording of the album, but used an ARP 2600 synthesizer, and occasionally an ARP Soloist for the group's live performances. On Sextant Gleeson used the more compact ARP synthesizers instead of the larger Moog III for both studio and live performances. In the albums following The Crossings, Hancock started to play synth himself and unlike Gleeson, he plays it as a melodical and rhythm instrument just like electric pianos. Hancock's three records released in 1971-1973, became later known as the "Mwandishi" albums, so-called after a Swahili name Hancock sometimes used during this era (Mwandishi is Swahili for writer). The first two, including Fat Albert Rotunda were made available on the 2-CD set Mwandishi: the Complete Warner Bros. Recordings, released in 1994, but are now sold as individual CD editions. Of the three electronic albums, Sextant is probably the most experimental since the Arp synthesizers are used extensively, and some advanced improvisation ("post-modal free impressionism") is found on the tracks "Hornets" and "Hidden Shadows" (which is in the meter 19/4). "Hornets" was later revised on the 2001 album Future2Future as "Virtual Hornets". Among the instruments Hancock and Gleeson used were Fender Rhodes piano, ARP Odyssey, ARP 2600, ARP Pro Soloist Synthesizer, a Mellotron and the Moog synthesizer III. All three Warner Bros. albums Fat Albert Rotunda, Mwandishi, and Crossings, were remastered in 2001 and released in Europe but were not released in the U.S.A. as of June 2005. In the Winter of 2006-2007 a remastered edition of Crossings was announced and scheduled for release in the Spring.

Headhunters and Death Wish After the sometimes "airy" and decidedly experimental "Mwandishi" albums, Hancock was eager to perform more "earthy" and "funky" music. The Mwandishi albums — though these days seen as respected early fusion recordings — had seen mixed reviews and poor sales, so it is probable that Hancock was motivated by financial concerns as well as artistic restlessness. Hancock was also bothered by the fact that many people did not understand avant-garde music. He explained that he loved funk music, especially Sly Stone's music, so he wanted to try to make funk himself. Hancock performing in concert, 2005

Herbie Hancock He gathered a new band, which he called The Headhunters, keeping only Maupin from the sextet and adding bassist Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason. The album Head Hunters, released in 1973, was a major hit and crossed over to pop audiences, though it prompted criticism from some jazz fans. Head Hunters was recorded at Different Fur studios. Despite charges of "selling out", Stephen Erlewine of Allmusic positively reviewed the album amongst other friendly critics, saying, "Head Hunters still sounds fresh and vital three decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop."[9] Mason was replaced by Mike Clark, and the band released a second album, Thrust, the following year. (A live album from a Japan performance, consisting of compositions from those first two Head Hunters releases was released in 1975 as Flood. The record has since been released on CD in Japan.) This was almost as well-received as its predecessor, if not attaining the same level of commercial success. The Headhunters made another successful album (called Survival of the Fittest) without Hancock, while Hancock himself started to make even more commercial albums, often featuring members of the band, but no longer billed as The Headhunters. The Headhunters reunited with Hancock in 1998 for Return of the Headhunters, and a version of the band (featuring Jackson and Clark) continues to play live and record. In 1973, Hancock composed his second masterful soundtrack to the controversial film The Spook Who Sat By The Door. Then in 1974, Hancock also composed the soundtrack to the first Death Wish film. One of his memorable songs, "Joanna's Theme", would later be re-recorded in 1997 on his duet album with Wayne Shorter 1 + 1. Hancock's next jazz-funk albums of the 1970s were Man-Child (1975), and Secrets (1976), which point toward the more commercial direction Hancock would take over the next decade. These albums feature the members of the 'Headhunters' band, but also a variety of other musicians in important roles.

Back to the Basics: VSOP and the Future Shock During late 1970s and early 1980s, Hancock toured with his "V.S.O.P." quintet, which featured all the members of the 1960s Miles Davis quintet except Davis, who was replaced by trumpet giant Freddie Hubbard. There was constant speculation that one day Davis would reunite with his classic band, but he never did so. VSOP recorded several live albums in the late 1970s, including VSOP (1976), and VSOP: The Quintet (1977). In 1978, Hancock recorded a duet with Chick Corea, who had replaced him in the Miles Davis band a decade earlier. He also released a solo acoustic piano album titled The Piano (1978), which, like so many Hancock albums at the time, was initially released only in Japan. (It was finally released in the US in 2004.) Several other Japan-only releases have yet to surface in the US, such as Dedication (1974), VSOP: Tempest in the Colosseum (1977), and Direct Step (1978). Live Under the Sky was a VSOP album remastered for the US in 2004, and included an entire second concert from the July 1979 tour. From 1978-1982, Hancock recorded many albums consisting of jazz-inflected disco and pop music, beginning with Sunlight (featuring guest musicians like Tony Williams and Jaco Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit,[10] "I Thought It Was You", although critics were unimpressed.[11] This led to more vocoder on the 1979 follow-up, Feets, Don't Fail Me Now, which gave him another UK hit in "You Bet Your Love".[10] Albums such as Monster (1980), Magic Windows (1981), and Lite Me Up (1982) were some of Hancock's most criticized and unwelcomed albums, the market at the time being somewhat saturated with similar pop-jazz hybrids from the likes of former bandmate Freddie Hubbard. Hancock himself had quite a limited role in some of those albums, leaving singing, composing and even producing to others. Mr. Hands (1980) is perhaps the one album during this period that was critically acclaimed. To the delight of many fans, there were no vocals on the album, and one track featured Jaco Pastorius on bass. The album contained a wide variety of different styles, including a disco instrumental song, a Latin-jazz number and an electronic piece in which Hancock plays alone with the help of computers.

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Herbie Hancock Hancock also found time to record more traditional jazz while creating more commercially oriented music. He toured with Tony Williams and Ron Carter in 1981, recording Herbie Hancock Trio, a five-track live album released only in Japan. A month later, he recorded Quartet with Wynton Marsalis, released in the US the following year. Hancock, Williams and Carter toured internationally with Wynton and his brother Branford Marsalis in what was affectinately known as "VSOP II". This quintet can be heard on Marsalis' debut album on Columbia (1981). In 1982 he contributed to the Simple Minds album New Gold Dream (81,82,83,84), playing a synthesizer solo on the track 'Hunter and The Hunted'. In 1983, Hancock had a mainstream hit with the Grammy-award winning instrumental single "Rockit" from the album Future Shock. It was perhaps the first mainstream single to feature scratching, and also featured an innovative animated music video which was directed by Godley and Creme and showed several robot-like artworks by Jim Whiting. The video was a hit on MTV and reached #8 in the UK.[12] The video won five different categories at the inaugural MTV Video Music Awards. This single ushered in a collaboration with noted bassist and producer Bill Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: Future Shock (1983), Sound-System (1984) and Perfect Machine (1988). Despite the success of "Rockit", Hancock's trio of Laswell-produced albums (particularly the latter two) are among the most critically derided of his entire career, perhaps even more so than his erstwhile pop-jazz experiments. Hancock's level of actual contribution to these albums was also questioned, with some critics contending that the Laswell albums should have been labelled "Bill Laswell featuring Herbie Hancock". During this period, he appeared onstage at the Grammy awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in a famous synthesizer jam (The video on Youtube can be found here.) [13]. Lesser known works from the 80s are the live album Jazz Africa and the studio album Village Life (1984) which were recorded with Gambian kora player Foday Musa Suso. [14] Also, in 1985 he performed as a guest on the album So Red The Rose by the Duran Duran shoot off group Arcadia. He also provided introductory and closing comments for the PBS rebroadcast in the United States of the BBC educational series from the mid-1980s, Rock School (not to be confused with the most recent Gene Simmons' Rock School series). In 1986, Hancock performed and acted in the film 'Round Midnight. He also wrote the score/soundtrack, for which he won an Academy Award for Original Music Score. Often he would write music for TV commercials. "Maiden Voyage", in fact, started out as a cologne advertisement. At the end of the Perfect Machine tour, Hancock decided to leave Columbia Records after a 15-plus-year relationship. As of June 2005, almost half of his Columbia recordings have been remastered. The first three US releases, Sextant, Head Hunters and Thrust as well as the last four releases Future Shock, Sound-System, the soundtrack to Round Midnight and Perfect Machine. Everything released in America from Man-Child to Quartet has yet to be remastered. Some albums, made and initially released in the US, were remastered between 1999 and 2001 in other countries such as Magic Windows and Monster. Hancock also re-released some of his Japan-only releases in the West, such as The Piano.

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1990s and later After leaving Columbia, Hancock took a break. Then, with friends Ron Carter, Tony Williams, Wayne Shorter, and Davis admirer Wallace Roney, they recorded A Tribute to Miles which was released in 1994. The album contained two live recordings and studio recording classics with Roney playing Davis's part as trumpet player. The album won a Grammy for best group album. He also toured with Jack DeJohnette, Dave Holland and Pat Metheny in 1990 on their Parallel Realities tour, which included a memorable performance at the Montreux Jazz Festival in July 1990. Hancock's next album, Dis Is Da Drum released in 1994 saw him return to Acid Jazz. Also in 1994, Hancock appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time Magazine. 1995's The New Standard found him and an all-star band including John Scofield, Jack DeJohnette and Michael Brecker interpreting pop songs by Nirvana, Stevie Wonder, Hancock live in concert The Beatles, Prince, Peter Gabriel and others. A 1997 duet album with Wayne Shorter titled 1 + 1 was successful, the song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition, and Hancock also achieved great success in 1998 with his album Gershwin's World which featured inventive readings of George & Ira Gershwin standards by Hancock and a plethora of guest stars including Stevie Wonder, Joni Mitchell and Shorter. Hancock toured the world in the support of Gershwin's World with a sextet that featured Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson. In 2001, Hancock recorded Future2Future, which reunited Hancock with Bill Laswell and featured doses of electronica as well as turntablist Rob Swift of The X-Ecutioners. Hancock later toured with the band, and released a live concert DVD with a different lineup which also included the "Rockit" music video. Also in 2001, Hancock partnered with Michael Brecker and Roy Hargrove to record a live concert album saluting Davis and John Coltrane called Directions in Music: Live at Massey Hall recorded live in Toronto. The threesome toured t support the album, and have toured on and off through 2005. 2005 saw the release of a duet album called Possibilities. It features duets with Carlos Santana, Paul Simon, Annie Lennox, John Mayer, Christina Aguilera, Sting and others. In 2006, Possibilities was nominated for Grammy awards in two categories: "A Song For You", featuring Christina Aguilera was nominated for a Grammy Award for Best Pop Instrumental Performance, and "Gelo No Montanha", featuring Trey Anastasio on guitar was nominated for a Grammy Award for Best Instrumental Performance. Neither nomination resulted in an award. Also in 2005, Hancock toured Europe with a new quartet that included Beninese guitarist Lionel Loueke, and explored textures ranging from ambient to straight jazz to African music. Plus, during the Summer of 2005, Hancock re-staffed the famous Head Hunters and went on tour with them, including a performance at The Bonnaroo Music & Arts Festival.

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417 However, this lineup did not consist of any of the original Headhunters musicians. The group included Marcus Miller, Terri Lyne Carrington, Lionel Loueke and John Mayer. Hancock also served as the first artist in residence for Bonnaroo that summer.

Also in 2006, Sony BMG Music Entertainment (which bought out Hancock's old label, Columbia Records) released the two-disc retrospective The Essential Herbie Hancock. This two-disc set is the first compilation of Herbie's work at Warner Bros. Records, Blue Note Records, Columbia and at Verve/Polygram. This became Hancock's second major Hancock playing at the XM Sonic Stage at The Bonnaroo compilation of work since the 2002 Columbia-only "The Music & Arts Festival Herbie Hancock Box" which was released at first in a plastic 4x4 cube then re-released in 2004 in a long box set. Hancock also in 2006, recorded a new song with Josh Groban and Eric Mouquet (co-founder of Deep Forest) titled "Machine". It is featured on Josh Groban's CD "Awake". Hancock also recorded and improvised with guitarist Lionel Loueke on Loueke's debut album Virgin Forest [15] on the ObliqSound label in 2006, resulting in two improvisational tracks "Le Réveil des Agneaux (The Awakening of the Lambs)" and "La Poursuite du lion (The Lion's Pursuit)". Hancock, a longtime associate and friend of Joni Mitchell released a 2007 album, River: The Joni Letters, that paid tribute to her work. Norah Jones and Tina Turner recorded vocals,[16] as did Corinne Bailey Rae, and Leonard Cohen contributed a spoken piece set to Hancock's piano. Mitchell herself also made an appearance. The album was released on September 25, simultaneously with the release of Mitchell's album Shine.[17] "River" was nominated for and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honor. The album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for Best Instrumental Jazz Solo. Recently Hancock performed at the Shriner's Children's Hospital Charity Fundraiser with Sheila E, Jim Brickman, Kirk Whalum and Wendy Alane Wright. His latest work includes assisting the production of the Kanye West track "RoboCop", found on 808s & Heartbreak. On June 14, 2008, Hancock performed at Rhythm on the Vine at the South Coast Winery in Temecula, California for Shriners Hospital for Children. Other performers at the event, that raised $515,000 for Shriners Hospital, were contemporary music artist Jim Brickman, and Sheila E. & the E. Family Band.[18] On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for American President Barack Obama.[19] Hancock also performed the Rhapsody in Blue at the 2009 Classical BRIT Awards with classical pianist Lang Lang. Hancock was named as the Los Angeles Philharmonic's creative chair for jazz for 2010-12.[20] In June 2010, Hancock released his newest album, The Imagine Project. On June 5, 2010, Hancock received an Alumni Award from his alma mater, Grinnell College.[21]

Discography

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Title

Year

Label

Takin' Off

1962

Blue Note

My Point of View

1963

Blue Note

Inventions and Dimensions

1963

Blue Note

Empyrean Isles

1964

Blue Note

Maiden Voyage

1965

Blue Note

Blow-Up (Soundtrack)

1966

MGM

Speak Like a Child

1968

Blue Note

The Prisoner

1969

Blue Note

Fat Albert Rotunda

1969

Warner Bros.

Mwandishi

1970

Warner Bros.

He Who Lives In Many Places (with bassist Terry Plumeri)

1971

Airborne.

Crossings

1972

Warner Bros.

Sextant

1973

Columbia

Head Hunters

1973

Columbia

Thrust

1974

Columbia

Death Wish (Soundtrack)

1974

Columbia

Dedication

1974

Columbia

Man-Child

1975

Columbia

Flood (Live album)

1975

Columbia

Secrets

1976

Columbia

VSOP (Live album)

1976

Columbia

Herbie Hancock Trio

1977

Columbia

VSOP: The Quintet (Live album)

1977

Columbia

VSOP: Tempest in the Colosseum (Live album)

1977

Columbia

Sunlight

1977

Columbia

Directstep

1978

Columbia

An Evening with Herbie Hancock & Chick Corea: In Concert (Live album with Chick Corea)

1978

Columbia

The Piano

1979

Columbia

Feets, Don't Fail Me Now

1979

Columbia

VSOP: Live Under the Sky (Live album)

1979

Columbia

CoreaHancock (Live album with Chick Corea)

1979

Polydor

Monster

1980

Columbia

Mr. Hands

1980

Columbia

Herbie Hancock Trio

1981

Columbia

Magic Windows

1981

Columbia

Lite Me Up

1982

Columbia

Quartet (Live album)

1982

Columbia

Future Shock

1983

Columbia

Herbie Hancock

419

Sound-System

1984

Columbia

Village Life (with Foday Musa Suso)

1985

Columbia

Round Midnight (Soundtrack)

1986

Columbia

Jazz Africa (Live album with Foday Musa Suso)

1987

Polygram

Perfect Machine

1988

Columbia

A Tribute to Miles

1994

Qwest/Warner Bros.

Dis Is Da Drum

1994

Verve/Mercury

The New Standard

1995

Verve

1 + 1 (with Wayne Shorter)

1997

Verve

Gershwin's World

1998

Verve

Future2Future

2001

Transparent

Directions in Music: Live at Massey Hall (Live album)

2002

Verve

Possibilities

2005

Concord/Hear Music

River: The Joni Letters

2007

Verve

Then and Now: the Definitive Herbie Hancock

2008

Verve

The Imagine Project

2010

Hancock

Filmography As a Leader • 2000: Dejohnette, Hancock, Holland and Metheny - Live in Concert • 2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham[22] • 2002: The Jazz Channel Presents Herbie Hancock (BET on Jazz) with Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson • 2004: Herbie Hancock - Future2Future Live • 2006: Herbie Hancock - Possibilities with John Mayer, Christina Aguilera, Joss Stone, and more

Awards Academy Awards • 1986, Original Soundtrack, for Round Midnight

Grammy Awards 1. 1984, Best R&B Instrumental Performance, for Rockit 2. 1985, Best R&B Instrumental Performance, for Sound-System 3. 1988, Best Instrumental Composition, for Call Sheet Blues 4. 1995, Best Jazz Instrumental Performance, Individual Or Group, for A Tribute to Miles 5. 1997, Best Instrumental Composition, for Manhattan (Island Of Lights And Love) 6. 1999, Best Instrumental Arrangement Accompanying Vocal(s), for St. Louis Blues 7. 1999, Best Jazz Instrumental Performance, Individual Or Group, for Gershwin's World 8. 2003, Best Jazz Instrumental Album, Individual or Group, for Directions in Music: Live at Massey Hall 9. 2003, Best Jazz Instrumental Solo, for My Ship 10. 2005, Best Jazz Instrumental Solo, for Speak Like a Child

Herbie Hancock 11. 12. 13. 14.

2008, Album of the Year, for River: The Joni Letters 2008, Best Contemporary Jazz Album, for River: The Joni Letters 2011, Best Improvised Jazz Solo, for A Change Is Gonna Come 2012, Best jazz song to make the world end' '

Playboy Music Poll • • • • • •

Best Jazz Group, 1985 Best Jazz Keyboards, 1985 Best Jazz Album - Rockit, 1985 Best Jazz Keyboards, 1986 Best R&B Instrumentalist, 1987 Best Jazz Instrumentalist, 1988

Keyboard Magazine's Readers Poll • Best Jazz & Pop Keyboardist, 1983 • Best Jazz Pianist, 1987 • Best Jazz Keyboardist, 1987 • Best Jazz Pianist, 1988

Other notable awards • • • • • • • • • • • •

MTV Awards (5 awards in total) - Best Concept Video - Rockit, 1983–84 Gold Note Jazz Awards - NY Chapter of the National Black MBA Association, 1985 French Award Officer of the Order of Arts & Letters-Paris, 1985 BMI Film Music Award "Round Midnight", 1986 U.S. Radio Award "Best Original Music Scoring - Thom McAnn Shoes", 1986 Los Angeles Film Critics Association "Best Score - Round Midnight", 1986 BMI Film Music Award "Colors", 1989 Soul Train Music Award "Best Jazz Album - The New Standard", 1997 Festival International Jazz de Montreal Prix Miles Davis, 1997 VH1's 100 Greatest Videos "Rockit" is "10th Greatest Video", 2001 NEA Jazz Masters Award, 2004 Downbeat Magazine Readers Poll Hall of Fame, 2005

[23]

References [1] http:/ / www. herbiehancock. com/ [2] "Britannica Concise Encyclopedia: Herbie Hancock" (http:/ / www. answers. com/ topic/ herbie-hancock). Herbie Hancock Biography. Answers Corporation. 2010. . Retrieved 1 July 2010. [3] http:/ / www. beliefnet. com/ Faiths/ Buddhism/ 2007/ 10/ Herbie-Fully-Buddhist. aspx [4] Burk, Greg (February 24, 2008). "He's still full of surprises" (http:/ / articles. latimes. com/ 2008/ feb/ 24/ entertainment/ ca-hancock24). The Los Angeles Times. . [5] "Who influenced Herbie Hancock?" (http:/ / wiki. answers. com/ Q/ Who_influenced_Herbie_Hancock& src=ansTT). Answers.com. Answers Corporation. 2010. . Retrieved 1 July 2010. [6] Dobbins, Bill and Kernfeld, Barry. "Herbie Hancock", Grove Music Online, ed. L. Macy (accessed 19 February 2007), grovemusic.com (http:/ / www. grovemusic. com/ ) (subscription access). [7] "CHRIS ANDERSON" (http:/ / www. mapleshaderecords. com/ cds/ 56922. php). Review of Love Locked Out. Mapleshade Music. . Retrieved 1 July 2010. [8] The tune Dr Honoris Causa written by Joe Zawinul and performed by Cannonball Adderley's quintet is an ironic celebration of the honorary degree.

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Herbie Hancock [9] Erlewine, Stephen Thomas (2010). "Headhunters Herbie Hancock" (http:/ / www. allmusic. com/ album/ r140166/ review). Allmusic review of Headhunters. Rovi Corporation. . Retrieved 1 July 2010. [10] Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 242. ISBN 1-904994-10-5. [11] http:/ / www. warr. org/ hancock. html [12] Brown, T. Kutner, J. & Warwick, N. The Complete Book of the British Charts. Omnibus Press (ISBN 0711990751), 2002, p.447 [13] http:/ / it. youtube. com/ watch?v=ZZEGHnAxEpo [14] http:/ / www. pandora. com/ music/ artist/ 3feb50074a703d1a [15] http:/ / www. obliqsound. com/ releases/ virgin_forest. html [16] Andre Mayer (June 18, 2007). "Key figure: An interview with jazz legend Herbie Hancock" (http:/ / www. cbc. ca/ arts/ music/ hancock. html). CBC News. . Retrieved 2007-09-11. [17] JoniMitchell.com (http:/ / www. jonimitchell. com/ news/ index. cfm) [18] Shriners Hospitals for Children, "About Rhythm on the Vine" (http:/ / www. rhythmonthevine. org/ index. cfm/ id/ 2/ About-ROTV/ ), Rhythm on the Vine, 2008. [19] "Obama: People Who Love This Country Can Change It" (http:/ / www. foxnews. com/ politics/ 2009/ 01/ 18/ obama-family-arrives-concert-lincoln-memorial/ ). Foxnews. January 18, 2009. . Retrieved 2009-02-09. [20] Haga, E. Herbie Hancock Named L.A. Philharmonic's Next Creative Chair for Jazz (http:/ / jazztimes. com/ articles/ 24981-herbie-hancock-named-l-a-philharmonic-s-next-creative-chair-for-jazz), Jazz Times, August 5, 2009. [21] Alumni Award: Herbert J. Hancock '60 (http:/ / loggia. grinnell. edu/ Page. aspx?pid=1098), Hancock received an Alumni Award from Grinnell College at the annual Alumni Assembly June 5, 2010. [22] VIEW DVD Listing (http:/ / www. view. com/ herbie_hancock_trio_hurricane_dvd. aspx) [23] Hancock named Harvard Foundation Artist of the Year — The Harvard University Gazette (http:/ / www. news. harvard. edu/ gazette/ 2008/ 02. 28/ 99-culturalrhythms. html)

External links • • • • • • •

•

• •

•

Official website of Herbie Hancock (http://www.herbiehancock.com/) Official Herbie Hancock MySpace page (http://www.myspace.com/herbiehancock) Herbie Hancock at Verve Records (http://vervemusicgroup.com/artist.aspx?ob=pri&src=wiki&aid=2846) River:The Joni Letters at Verve Records (http://vervemusicgroup.com/product.aspx?ob=n&src=art& pid=11770) Possibilities (http://www.herbiehancock.com/music/) Herbie Hancock Discography (http://www.stamil.homepage.t-online.de/hhdisco.htm) Herbie Hancock Discography Interview with Herbie Hancock (http://applematters.com/index.php/section/comments/ the_applematters_interview_herbie_hancock/) on music and technology from AppleMatters (http://www. applematters.com) Interview with Herbie Hancock (http://www.livedaily.com/interviews/ liveDaily_Interview_Herbie_Hancock-8360.html) on the "Possibilities" album release from LiveDaily (http:// www.livedaily.com/) Herbie Hancock: Outside The Comfort Zone (http://www.jambase.com/headsup.asp?storyID=11098& disp=all) Herbie Hancock interview from JamBase (http://www.jambase.com/) "Herbie Hancock: Essential Recordings" (http://www.jazz.com/dozens/ the-dozens-twelve-essential-herbie-hancock-performances) by Ted Gioia ( www.jazz.com (http://www.jazz. com)) Herbie Hancock's Grinnell College Alumni Award citation (http://loggia.grinnell.edu/Page.aspx?pid=1098) from Grinnell College Alumni Assembly on June 5, 2010.

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Jimmy Heath

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Jimmy Heath Jimmy Heath Percy Heath and Jimmy (1977) Background information Birth name

James Edward Heath

Also known as

Little Bird

Born

October 25, 1926

Origin

Philadelphia, PA, United States

Genres

Jazz

Occupations

musician, educator

Instruments

saxophone

Associated acts Heath Brothers Website

[1]

James Edward Heath (born October 25, 1926),[2] nicknamed Little Bird, is an American jazz saxophonist, composer and arranger. He is the brother of bassist Percy Heath and drummer Albert Heath.

Biography Jimmy originally played alto saxophone but after the influence of Charlie Parker on his work for Howard McGhee and Dizzy Gillespie in the late 1940s, he earned the nickname "Little Bird" (Parker's nickname was Bird) and he switched to tenor sax.[2] He briefly joined Miles Davis's group in 1959, replacing John Coltrane, and also worked with Kenny Dorham and Gil Evans.[2] [3] He recorded extensively as leader and sideman. During the 1960s, he frequently worked with Milt Jackson and Art Farmer.[2] In 1975, he and his brothers formed the Heath Brothers, also featuring pianist Stanley Cowell.[2] Heath composed most of the 1956 Chet Baker and Art Pepper album Playboys.[2] In the 1980s, he joined the faculty of the Aaron Copland School of Music at Queens College in the City University of New York. With the rank of Professor, he led the creation of the Jazz Program at Queens College and attracted prominent musicians such as Donald Byrd to the campus. He also served on the Board of the Louis Armstrong Archives on campus, and the restoration and management of the Louis and Lucille Armstrong Residence in Corona, Queens, near his own home.[4] In addition to teaching at Queens College for over twenty years, he has also taught at Jazzmobile.[3] Heath was a recipient of the 2003 NEA Jazz Masters Award.[3] In 2004, he was awarded an honorary Doctorate in Human Letters.[5] Heath is the father of R&B songwriter/musician James Mtume.[6]

Jimmy Heath


1959: The Thumper (Riverside Records) 1959: Nice People (Original Jazz Classics) 1960: Really Big! (Riverside Records) 1961: The Quota (Riverside Records) 1962: Triple Threat (Riverside Records) 1963: Fast Company (Milestone Records) 1963: Swamp Seed (Riverside Records) 1964: On the Trail (Riverside Records) 1972: The Gap Sealer (Cobblestone Records) 1972: Jimmy (Muse Records) 1973: Love and Understanding (Xanadu Records) 1974: Time and the Place (Landmark Records) 1975: Picture of Heath (Xanadu Records) 1975: Marchin' On (Strata East Records)

• • • • • • • •

1979: In Motion (Columbia Records) 1985: New Picture (Landmark Records) 1987: Peer Pleasure (Landmark Records) 1992: Little Man, Big Band (Verve Records) 1994: You've Changed (Steeplechase Records) 1995: You or Me (Steeplechase Records) 2006: Turn Up the Heath (Planet Arts Recordings) 2009: Endurance (Jazz Legacy Productions)

As sideman • • • • • • • • • • • • • • • • •

1948: Howard McGhee - The Howard McGhee Sextet with Milt Jackson 1959: Blue Mitchell - Blue Soul (Riverside) 1960: Nat Adderley - That's Right! (Riverside) 1960: Kenny Dorham - Show Boat (Time) 1962: Blue Mitchell - A Sure Thing (Riverside) 1962: Curtis Fuller - Soul Trombone (Impulse!) 1962: Pony Poindexter - Pony's Express 1962: Milt Jackson - Statements (Impulse!) 1964: Milt Jackson - Spanish Fly 1964: Milt Jackson - Jazz 'n' Samba (Impulse!) 1965: Donald Byrd - Up with Donald Byrd (Verve) 1965: Cal Tjader - Soul Sauce (Verve) 1970: Herbie Mann - Big Boss Mann 1974: Red Garland - The Quota 1974: Milt Jackson - Olinga (CTI) 1976: Stanley Cowell - Regeneration 2006: Nancy Wilson - Turned to Blue

With Continuum • Mad About Tadd (1980, Palo Alto Records)[7]

423

Jimmy Heath

References [1] http:/ / www. jimmyheath. com [2] Allmusic biography (http:/ / www. allmusic. com/ artist/ p6707) [3] Friedwald, Will (July 19, 2010). "A Jazz Colossus Steps Out" (http:/ / online. wsj. com/ article/ SB10001424052748704518904575366003370572496. html?KEYWORDS=jimmy+ heath). The Wall Street Journal (New York: Dow Jones & Co.). ISSN 0099-9660. . Retrieved July 20, 2010. [4] Berman, Eleanor. "The jazz of Queens encompasses music royalty" (http:/ / www. post-gazette. com/ pg/ 06001/ 629777. stm), Pittsburgh Post-Gazette, January 1, 2006. Accessed October 1, 2009. "When the trolley tour proceeds, Mr. Knight points out the nearby Dorie Miller Houses, a co-op apartment complex in Corona where Clark Terry and Cannonball and Nat Adderley lived and where saxophonist Jimmy Heath still resides." [5] CUNY.edu (http:/ / www. qc. cuny. edu/ nis/ Releases/ viewNews. php?id=69) [6] National Endowment for the Arts. "NEA Jazz Masters: Jimmy Heath" (http:/ / www. arts. gov/ honors/ jazz/ jmCMS/ master. php?id=2003_01). National Endowment for the Arts. . Retrieved 20 July 2010. [7] Allmusic review (http:/ / www. allmusic. com/ album/ r33823)

External links • Personal website (http://www.jimmyheath.com) • Brotherly Jazz:The Heath Brothers DVD Documentary (http://www.brotherlyjazz.com) • Jimmy Heath's oral history video excerpts (http://www.visionaryproject.com/heathjimmy) at The National Visionary Leadership Project

424

Dave Holland

425

Dave Holland Dave Holland

Background information Born

October 1, 1946 Wolverhampton, Staffordshire EnglandUnited Kingdom

Genres

Jazz, avant-garde, jazz fusion

Occupations

Musician, composer, bandleader

Instruments

bass, guitar, ukulele

Years active

1967–present

Labels

Dare2

Associated acts Miles Davis, Chick Corea, Circle, Anthony Braxton, Kenny Wheeler, Gateway, Chris Potter Website

Dave Holland.com

[1]

Dave Holland (born October 1, 1946) is a jazz bassist, composer and bandleader who has been performing and recording for five decades, and has lived in the United States for 40 years.[2] His work ranges from pieces for solo performance to big band. Holland runs his own independent record label, Dare2, which he launched in 2005. He has explained his musical philosophy by quoting fellow jazz artist Sam Rivers. "Sam said, ‘Don’t leave anything out—play all of it,’ ” Holland once told a radio interviewer. “That's become almost a mantra for me over the years as I've tried to find a way to build a vehicle which lets me utilize the full spectrum which includes the tradition, playing the blues and improvising freely. I love all that music, and there's been a desire to reconcile all those areas, to make them relevant, hopefully, in a contemporary context, as one music."

Biography Born in Wolverhampton, England, Holland taught himself how to play stringed instruments, beginning at four on the ukulele, then graduating to guitar and later bass guitar. He quit school at the age of 15 to pursue his profession in a top 40 band, but soon gravitated to jazz. After seeing an issue of Down Beat where Ray Brown had won the critics' poll for best bass player, Holland went to a record store, and bought a couple of LPs featuring Brown backing pianist Oscar Peterson. He also bought two Leroy Vinnegar albums (Leroy Walks! and Leroy Walks Again) because the bassist was posed with his instrument on the cover. Within a week, Holland traded in his bass guitar for an acoustic bass and began practicing with the records. In addition to Brown and Vinnegar, Holland was drawn to the bassists Charles Mingus and Jimmy Garrison.

Dave Holland After moving to London in 1964, Holland played acoustic bass in small venues and studied with James Edward Merrett, principal bassist of the Philharmonia Orchestra and, later, the BBC Symphony Orchestra. Merrett trained him to sight read and then recommended he apply to the Guildhall School of Music and Drama. Holland received a fulltime scholarship for the three-year program. At 20, Holland was keeping a busy schedule in school, studios and Ronnie Scott's Jazz Club, London’s premier jazz club, where he often played in bands that supported such touring American jazz saxophonists as Coleman Hawkins, Ben Webster and Joe Henderson. He also linked up with other British jazz musicians, including guitarist John McLaughlin, saxophonist Evan Parker, reedsman John Surman, South Africa-born, London-based pianist Chris McGregor, and drummer John Stevens, and performed on the Spontaneous Music Ensemble's classic 1968 album Karyobin. He also began a working relationship with Canada-born, England-based trumpeter Kenny Wheeler that continues today.

With Miles Davis In 1968, Miles Davis and Philly Joe Jones heard him at Ronnie Scott's Jazz Club, playing in a combo that opened for the Bill Evans Trio. Jones told Holland that Davis wanted him to join his band (replacing Ron Carter). Davis left the UK before Holland could contact him directly, and two weeks later Holland was given three days' notice to fly to New York for an engagement at Count Basie's nightclub. He arrived the night before, staying with Jack DeJohnette, a previous acquaintance. The following day Herbie Hancock took him to the club, and his two years with Davis began. This was also Hancock's last gig as Davis's pianist, as he left afterwards for a honeymoon in Brazil and was replaced by Chick Corea when he couldn't return for an engagement due to illness. Holland's first recordings with Davis were in September 1968, and he appears or half of the album Filles de Kilimanjaro (with Davis, Corea, Wayne Shorter and Tony Williams). Holland was a member of Davis's rhythm section through the summer of 1970; he appears on the albums In a Silent Way and Bitches' Brew. All three of his studio recordings with Davis were important in the evolution of jazz fusion.{{Citation needed|date=April 2011} In the first year of his tenure with Davis, Holland played primarily upright bass. By the end of 1969, he played electric bass guitar (often treated with Wah-wah pedal and other electronic effects) with greater frequency as Davis's music became increasingly electronic, amp-based and funky. Holland was also a member of Davis's working group during this time, unlike many of the musicians who would appear only on the trumpeter's studio recordings. The so-called "lost quintet" of Davis, Shorter, Corea, Holland and Jack DeJohnette was active in 1969 but never made any studio recordings as a quintet. A 1970 live recording of this group plus percussionist Airto Moreira, Live at the Fillmore East, March 7, 1970: It's About That Time, was issued in 2001. Steve Grossman replaced Shorter in early 1970; Keith Jarrett joined the group as a second keyboardist thereafter, and Gary Bartz replaced Grossman during the summer of 1970.

Post-Davis and the 1970s After leaving Davis's group, Holland briefly joined the avant-garde jazz group Circle with Chick Corea, Barry Altschul and Anthony Braxton. This started a 34-year association with the ECM record label. After recording a few albums, Circle disbanded when Corea was replaced by Sam Rivers. 1972 saw the recording of Conference of the Birds, with Rivers, Altschul and Braxton – Holland's first recording as a leader, and the beginning of a long musical relationship with Rivers. The title of the album is taken from that of a 4,500 line epic poem by Persian Sufist writer, Farid al-Din Attar. Holland worked as a leader and as a sideman with many other jazz artists in the 1970s, including Stan Getz and the Gateway Trio with John Abercrombie and DeJohnette. The Gateway trio released two influential modern jazz albums in 1975 and 1977, and reformed in 1994 for a recording session which yielded another two albums. During the mid-'70s, Holland recorded several important albums with Braxton – including "New York, Fall 1974" (1974) and "Five Pieces (1975)" – that were released on Arista Records. His performances with Braxton also were documented on live recordings such as "Quartet (Dortmund)" (1976) and "Town Hall 1972" (1972), originally

426

Dave Holland released on the Swiss Hat Hut label. Holland also recorded duo sessions with saxophonist Rivers and fellow bassist Barre Phillips, and the solo bass album Emerald Tears. As a sideman, he appeared on rock and pop recordings as well, working with singer Bonnie Raitt on her 1972 album Give It Up.

The 1980s Holland formed his first working quintet in 1983, and over the next four years released Jumpin’ In, Seeds of Time, and Razor’s Edge, featuring alto saxophonist Steve Coleman, trumpeter Wheeler and trombonist Julian Priester. Subsequently, he formed the Dave Holland Trio (with Coleman and DeJohnette) for the 1988 album Triplicate, and teamed with Coleman, electric guitarist Kevin Eubanks and drummer Marvin “Smitty” Smith for Extensions. He also recorded Life Cycle, an album of compositions played on solo cello. The bassist also continued to collaborate with his peers, often connecting with legendary figures from the previous generation of jazz icons. In 1989, Holland teamed with drummer Billy Higgins and pianist Hank Jones to record The Oracle, and joined drummer Roy Haynes and guitarist Pat Metheny to make Question & Answer.

The 1990s and 2000s During the ‘90s, he renewed an affiliation, begun in the 1970s, with Joe Henderson, joining the tenor saxophonist on So Near (So Far), a tribute to Miles Davis, Porgy & Bess, and Joe Henderson Big Band. Holland also reunited with vocalist Betty Carter, touring and recording the live album Feed the Fire (1993). Fellow Davis album Herbie Hancock invited Holland to tour with him in 1992, subsequently recording The New Standard. Holland joined Hancock’s band again in 1996. (More recently, he was part of the sessions for River: The Joni Letters, winner of the 2008 Grammy for Album of the Year.) As a leader, Holland formed his third quartet – and released Dream of the Elders (1995), which introduced the vibraphonist Steve Nelson to his ensembles. Holland also formed his current quintet, which includes tenor saxophonist Chris Potter, trombonist Robin Eubanks and, a more recent addition, drummer Nate Smith. Their recordings to date are Points of View, Not for Nothin, Prime Directive, Extended Play: Live at Birdland and Critical Mass. In addition to releasing four quintet albums on ECM, Holland debuted his Big Band, which released What Goes Around in 2002. The album won Holland his first Grammy award as a leader, in the Best Large Jazz Ensemble Album category. The second Big Band recording, Overtime (2005), was released on Holland's own Dare2 record label and again won the Grammy in the Best Large Jazz Ensemble Album category. Holland’s work with the group won wide public recognition that year. He won Downbeat's Critics Poll for Musician of the Year, Big Band of the Year, and Acoustic Bassist of the Year (he also garnered top bassist in the 2006 poll). The Jazz Journalist’s Association also honored him as Musician and Acoustic Bassist of the Year. He was the recipient of the prestigious Miles Davis Award at the Montreal Jazz Festival. Also in 2005, Holland formed Dare2 Records, an independent record label that allowed him to have more control over his recordings. Besides Overtime, the label has released the quintet recording Critical Mass (2006) and the sextet recording Pass It On (2008). Pathways, the debut recording of Holland’s octet, was released on March 23, 2010. On October 5, 2010, Holland released Hands, a studio album featuring flamenco guitarist Pepe Habichuela. In 2009, Holland was a co-founder of an all-star group called The Overtone Quartet. The group consisted of Holland on bass, Chris Potter on tenor saxophone, Jason Moran on piano, and Eric Harland on drums. The group toured extensively throughout the United States and Europe. Off the bandstand, Holland has received honorary doctorates from the New England Conservatory (Boston), where he held a fulltime teaching position from 1987-'88 and where he has been visiting artist in residence since 2005; Berklee College of Music (Boston); and Birmingham Conservatoire (Birmingham, England). He was also named Fellow of the Guildhall School of Music and Drama (London). From 1982-'89, Holland served as the artistic director of the Banff Summer Jazz Workshop through the Banff School of Fine Arts in Alberta, Canada. In addition, he has taught workshops and master classes around the world at universities and music schools.

427

Dave Holland Holland currently resides in upstate New York.

Discography As leader • • • • • • • • • • • •

1971 - Music from Two Basses (with Barre Phillips) - ECM 1972 - Conference of the Birds - 1972 - ECM 1976 - Sam Rivers/Dave Holland Vols. 1 & 2 - Improvising Artists 1977 - Emerald Tears - ECM 1982 - Life Cycle - ECM 1983 - Jumpin' In - ECM 1984 - Seeds of Time - ECM 1987 - The Razor's Edge - ECM 1988 - Triplicate - ECM 1990 - Extensions - ECM 1990 - Question and Answer - collaboration with Pat Metheny and Roy Haynes 1993 - Ones All - Intuition

• • • • • • • • • • • • •

1995 - Dream of the Elders - ECM 1998 - Points of View - ECM 1998 - Thimar - ECM (with Anouar Brahem and John Surman) 2000 - Prime Directive - ECM 2001 - Not For Nothin' - ECM 2002 - What Goes Around - ECM 2003 - Extended Play: Live at Birdland - ECM 2005 - Overtime - Dare2 2006 - Critical Mass - Dare2 2007 - Live at The 2007 Monterey Jazz Festival 2008 - Pass It On - Dare2 2010 - Pathways - Dare2 2010 - Hands - Dare2

Compilation: • 2004 - Rarum, Vol. 10: Selected Recordings - 2004 - ECM

As sideman With Miles Davis • • • • • • • • •

Filles de Kilimanjaro (1968) In a Silent Way (1969) 1969 Miles - Festiva De Juan Pins (1969) Bitches Brew (1969) Live at the Fillmore East, March 7, 1970: It's About That Time (1970) Miles Davis at Fillmore: Live at the Fillmore East (1970) Black Beauty: Live at the Fillmore West (1970) Live-Evil (1970) Big Fun (1969–1972)

With Chick Corea • A.R.C. (1970) ECM

428

Dave Holland • • • •

Song Of Singing Blue Note Sundance (1969) Groove Merchant Early Days Denon Is (1969) Groove Merchant

With Circle • • • • •

Circulus Blue Note Circlin' In Blue Note Paris Concert (1971) ECM Live In Germany SOPL 1943 Gathering SOPL 20

With Anthony Braxton • • • • •

New York, Fall 1974 (1974) Arista Five Pieces (1975) (1975) Arista Anthony Braxton Live (1975) Arista The Montreux/Berlin Concerts [live] (1975) Arista Quartet (Dortmund) [live] (1976) HatART

With Kenny Wheeler • • • • • • • •

Gnu High (1975) ECM Deer Wan (1977) ECM Double, Double You, 1984 Flutter By, Butterfly, 1988 Music For Large & Small Ensembles, 1990 The Widow In The Window (1990) Angel Song (1997) ECM What Now? (2005)

With Gateway • • • •

Gateway (1975) ECM Gateway 2 (1977) ECM Homecoming (1994) ECM In the Moment (1994) ECM

With John Hartford • Morning Bugle (1972) Warner Bros. • Vassar Clements, John Hartford, Dave Holland Rounder (1988) With others • • • • • • • •

Lee Konitz, Satori (1974) Tomasz Stańko, Balladyna (1976) ECM 1071 Betty Carter, Feed the Fire (1993) Verve Joe Henderson, So Near, So Far (Musings for Miles) (1993) Bill Frisell, With Dave Holland and Elvin Jones (2001) Nonesuch Claudia Acuna, Rhythm of Life (2002) Verve Scolohofo, Oh! (2003) Blue Note Records Herbie Hancock, River: The Joni Letters (2006) Verve

• Norman Blake, Tut Taylor, Sam Bush, Butch Robins, Vassar Clements, Jethro Burns, Norman Blake/Tut Taylor/Sam Bush/Butch Robins/Vassar Clements/David Holland/Jethro Burns (1976) Flying Fish

429

Dave Holland

Filmography As a leader • • • •

2000: Dejohnette, Hancock, Holland and Metheny - Live in Concert 2005: Dave Holland Quintet - Live in Freiburg 2009: Dave Holland Quintet: Vortex 2009: Dave Holland Quintet - Live from the Zelt-Musik-Festival, Freiburg 1986

As a sideman • 2004: Miles Electric - A Different Kind of Blue

References [1] http:/ / daveholland. com/ [2] Allmusic (http:/ / www. allmusic. com/ artist/ dave-holland-p6757/ biography)


Official website (http://daveholland.com/) Dave Holland on ECM Records (http://www.trovar.com/ECM/ECM.php?artist=Holland) Audio Interview (http://www.icebergradio.com/daveholland) with Dave Holland Review of Critical Mass from JazzChicago.net (http://www.jazzchicago.net/reviews/dhq.html) Dave Holland: Jazz at the Bass Level, Oregon Music News (http://oregonmusicnews.com/blog/2010/02/23/ portland-jazz-festival-dave-holland-jazz-at-the-bass-level/) • Artist's biography at AllAboutJazz.com (http://www.allaboutjazz.com/php/musician.php?id=7683)

430

Robert Irving III

431

Robert Irving III Robert Irving III

Robert Irving III Background information Born

1953

Origin

Chicago, Illinois, U.S.

Genres

Jazz, R&B

Occupations Keyboardist, songwriter, arranger, record producer Years active 1979–present Labels

Verve Forecast Records, Sonic Portraits Entertainment

Website

[1]

Robert Irving III, (1953) is an American pianist, composer, arranger and music educator A native of Chicago, Irving was one of a group of young Chicago musicians that in the late '70s and early '80s formed the nucleus of Miles Davis' recording and touring bands. Irving left the Davis band in 1989, and has gone on to a prolific career as touring musician, composer, arranger, producer, educator and interdisciplinary artist. Irving has recently (with the 2007 release of New Momentum) resumed his career as a recording artist under his own name.

Early background Irving's first musical instrument was the bugle, followed by a range of brass instruments including cornet, French horn, and valve trombone. While he was a brass player, Irving also studied piano to further his knowledge of musical theory. Irving's family moved to North Carolina in 1969 and remained there until 1978. While in North Carolina, Irving continued his studies in musical theory, played trombone in concert bands, keyboards for pop/funk and fusion bands, and organ and piano for gospel groups. Hammond organ and keyboards became his primary instruments. After returning to Chicago in 1978, Irving connected with a number of young musicians, including Vince Wilburn Jr. and Darryl Jones who would later join him in the Miles Davis band. These musicians formed a series of bands, including Data and AL7. In 1979, AL7 was invited by arranger/producer Tom Tom 84 to record some demo tapes for Maurice White (of Earth, Wind, & Fire).

Robert Irving III

The Miles Davis connection In 1980, an Irving composition entitled Space was played for Wilburn's uncle, Miles Davis. Space captured Davis' interest, and led to Irving, Wilburn and their band being invited to New York for Davis' first recording sessions in several years. The fruits of these sessions were included on the 1981 album, The Man with the Horn, the first recording Davis had released in six years. The title track, The Man With the Horn, was co-written and arranged by Irving, who also co-wrote and arranged another track titled Shout. Returning to Chicago, Irving continued his composing, arranging, and producing; notably, working on albums for Ramsey Lewis (1981 and 1982), Randy Hall, and others. Also, in 1982 Irving became musical director and pianist for the Kuumba Theater production of The Little Dreamer… a Nite in the Life of Bessie Smith and studied stride-piano with the legendary Little Brother Montgomery, who had composed music for the show. Then, in 1983 Davis invited Irving to once again return to work with him as composer, arranger and co-producer.

The Davis - Irving collaborations The initial Miles Davis - Robert Irving III collaboration resulted in the album Decoy. Irving then joined Davis' touring band, where he remained for 5 years, holding the keyboard chair and the role of musical director. Notably, in the role of musical director, Irving was responsible for musical arrangements, rehearsals (which Davis never attended), and musical liaison between Davis and group members that included some of the leading musicians of the era, such as John Scofield, Bill Evans, Mike Stern, Kenny Garrett and Darryl Jones. In those roles, Irving listened to recordings of each night’s performance with Davis to cull what were spontaneous creative ideas … that then became a permanent part of the group’s musical arrangements. Some of that work is finely exhibited on The Complete Miles Davis at Montreux collection. Irving also collaborated with Davis (as composer, producer and arranger) on the 1985 recording, You're Under Arrest. The album included Grammy-nominated covers of “Time After Time” and “Human Nature.” While working on the material for You're Under Arrest, Irving added to his arranging credentials by studying with Gil Evans, who decades earlier had famously arranged some of Miles Davis’ most celebrated recordings. Later, Irving extended this musical direction on projects such as his film score for the feature film Street Smart also with André Lassalle on guitar (1985), starring Morgan Freeman and Christopher Reeve -- with Miles Davis as featured instrumentalist. Irving remained with the Davis band until 1989, remaining close to Davis until Davis’ death in 1991.

Musician, bandleader, producer, composer, arranger Since leaving the Davis band, Irving has been based in Chicago and has kept active on many musical fronts, continuing to develop as a pianist, arranger, composer and producer. He has performed, as leader and sideman, with a list of musicians that includes David Murray, Wallace Roney, Eddie Henderson, Lenny White, and fellow Miles Davis alumni Darryl Jones, Vince Wilburn Jr., and Al Foster. He has contributed to these settings as composer and arranger and pianist. Irving released his first solo album in 1988, Midnight Dream, which featured John Scofield, Darryl Jones, Buddy Williams, André Lassalle and Phil Perry. In addition, Irving recorded as leader and music director of the Davis alumni bands ESP and ESP2, on a number of David Murray albums, as a member of Khalil El Zabar's Juba Collective, and with Wallace Roney. He has produced albums for, among others, Terri Lyne Carrington (Real Life Story, 1990). In the Chicago community, Irving has taught and lectured at numerous schools, workshops and community events, and he founded Chicago's African Arts

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Robert Irving III Ensemble (an 18-piece pan-African jazz group commissioned by the African Festival of the Arts). Irving also composed the score for the George Tillman, Jr.'s 1995 feature film, Scenes for the Soul, and, composed for the Miami Chamber Symphony (Mademoiselle Mandarin, a concerto for jazz harp and orchestra, featuring Swiss harpist, Markus Klinko).

New Momentum With the 2007 release of New Momentum on the Sonic Portraits Entertainment label, Irving has returned to recording under his own name. The CD was co-produced by Terri Lyne Carrington. The CD is a Billboard Magazine "critics' choice" (highly recommended for musical merit.) An excerpt of a The Billboard Review article - April 7, 2007 (by Dan Ouellette): Conspicuously absent as a leader since serving as Miles Davis’ fusion-oriented musical director in the ‘80’s, Robert Irving III returns in dramatic fashion on “New Momentum,” the premiere release for indie Sonic Portraits. The disc is largely an acoustic piano trio date, highlighted by Irving originals and two nods to his mentor’s ‘60’s repertoire: a buoyant cover of Davis’ “Seven Steps to Heaven” and a refined take on Wayne Shorter’s “Nefertiti”. What’s so remarkable about Irving’s return from obscurity is the fresh, vital sound, spurred by his pianistic dynamism, and infused with an imaginative improvisational approach that encompasses dancing tempo shifts and harmonic curves. Bassist Buster Williams costars, with arco support on the ballad “Primordial Waters”, low-end punch to the title track and a walking bass conversation with Irving on the midtempo groove tune “Always . . . Sometimes”. Irving is also a painter. When he was a member of Miles Davis’ band, Davis encouraged him to take up painting. Irving actually began painting regularly in 1997, and has seen his work exhibited in a number of galleries.

Selected discography • 2007—Robert Irving III, New Momentum (Sonic Portraits Entertainment) -- leader, composer, arranger and producer (with Terri Lyne Carrington) • 2002—Juba Collective (Kahil El'Zabar), Juba Collective -- piano, organ, keyboards • 2002—Miles Davis, The Complete Miles Davis at Montreux -- composer, arranger, keyboards • 1997—Wallace Roney, Village -- keyboards • 1997—David Murray, Fo Deuk Revue -- piano, composer • 1996—David Murray, Dark Star (#1 on Billboard chart) -- organ, piano, synthesizers • 1995—David Murray, Jug-a-Lug -- organ, synthesizers • 1994—David Murray, The Tip -- organ, synthesizers • 1992—ESP, ESP (Robert Irving III, Darryl Jones, Bobby Broom, Kirk Whalum, Toby Williams) -- composer, arranger, keyboards, producer • 1991—Susan Osborne, Wabi (Nippon Music Award for Best Creative Concept) -- producer • 1989—Terri Lyne Carrington, Real Life Story (Grammy Award Nominee) -- producer • 1989—Robert Lee Irving, Midnight Dream -- composer, arranger, keyboards, producer • 1985—Miles Davis, You're Under Arrest (Grammy Award Nominee) -- composer, arranger, keyboards, producer • 1983—Miles Davis, Decoy (Downbeat Album of the Year) -- composer, arranger, keyboards, producer • 1981—Miles Davis, The Man With the Horn -- composer, arranger, keyboards, producer

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Robert Irving III

References Cole, George, The Last Miles (University of Michigan Press 2005)


"Robert Irving III" site [2] "Sonic Portraits Entertainment" site [1] "The Last Miles" site [3] Robert Irving III interview at Allaboutjazz.com [4]

References [1] [2] [3] [4]

http:/ / www. sonic-portraits. com http:/ / www. myspace. com/ robertirvingiii http:/ / www. thelastmiles. com http:/ / www. allaboutjazz. com/ php/ news. php?id=74333

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Keith Jarrett

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Keith Jarrett Keith Jarrett Born

May 8, 1945 Allentown, Pennsylvania, U.S.

Genres

Jazz, Western classical music, Jazz fusion, Free Improvisation

Occupations Pianist Organist Composer Instruments Piano Organ Soprano Saxophone Melodica Years active 1966–present Labels

Atlantic Records Impulse! Records ECM/Universal Classics

Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American pianist/composer who performs both jazz and classical music. Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in jazz, jazz fusion, and classical music; as a group leader and a solo performer. His improvisations draw not only from the traditions of jazz, but from other genres as well, especially Western classical music, gospel, blues, and ethnic folk music. In 2003, Jarrett received the Polar Music Prize, the first (and to this day only) recipient not to share the prize with a co-recipient,[1] and in 2004 he received the Léonie Sonning Music Prize. In 2008, he was inducted into the Down Beat Hall of Fame in the magazine's 73rd Annual Readers' Poll.

Early years Jarrett, who is of Hungarian and Scottish extraction, grew up in suburban Allentown, Pennsylvania, with significant early exposure to music.[2] He possessed absolute pitch, and he displayed prodigious musical talents as a young child. He began piano lessons just before his third birthday, and at age five he appeared on a TV talent program hosted by the swing bandleader Paul Whiteman.[3] The young Jarrett gave his first formal piano recital at the age of seven, playing works by composers including Mozart, Bach, Beethoven, and Saint-Saëns, and ending with two of his own compositions.[4] Encouraged especially by his mother, Jarrett took intensive classical piano lessons with a series of teachers, including Eleanor Sokoloff of the Curtis Institute. In his teens, as a student at Emmaus High School in Emmaus, Pennsylvania, Jarrett learned jazz and quickly became proficient in it. In his early teens, he developed a strong interest in the contemporary jazz scene; a Dave Brubeck performance was an early inspiration. At one point, he had an offer to study classical composition in Paris with the famed teacher Nadia Boulanger—an opportunity that pleased Jarrett's mother but that Jarrett, already leaning toward jazz, decided to turn down.[5] Following his graduation from Emmaus High School in 1963,[6] Jarrett moved from Allentown to Boston, Massachusetts, where he attended the Berklee College of Music and played cocktail piano in local clubs. After a year he moved to New York City, where he played at the Village Vanguard.

Keith Jarrett In New York, Art Blakey hired Jarrett to play with the Jazz Messengers. During a show with that group he was noticed by Jack DeJohnette who (as he recalled years later) immediately realized the talent and the unstoppable flow of ideas of the unknown pianist. DeJohnette talked to Jarrett and soon recommended him to his own band leader, Charles Lloyd. The Charles Lloyd Quartet had formed not long before and were exploring open, improvised forms while building supple grooves; without quite realizing it at first, they were moving into terrain that was also being explored, although from another stylistic background, by some of the psychedelic rock bands of the west coast. Their 1966 album Forest Flower was one of the most successful jazz recordings of the mid-1960s and when they were invited to play the Fillmore in San Francisco, they won over the local hippie audience. Although the band would become plagued by internal instability and (according to Jarrett) siphoning-off of show revenue by Lloyd, its tours across America and Europe, even to Moscow, made Jarrett a widely noticed musician in rock and jazz underground circles. It also laid the foundations of a lasting musical bond with drummer Jack DeJohnette (who also plays the piano). The two would cooperate in many contexts during their later careers. In those years, Jarrett also began to record his own tracks as a leader of small informal groups, at first in a trio with Charlie Haden and Paul Motian. Jarrett's first album as a leader, Life Between the Exit Signs (1967), was released on the Vortex label, to be followed by Restoration Ruin (1968), which is arguably the most bizarre entry in the Jarrett catalog. Not only does Jarrett barely touch the piano, but he plays all the other instruments on what is essentially a folk-rock album, and even sings. Another trio album with Haden and Motian, titled Somewhere Before, followed later in 1968, this one recorded live for Atlantic Records.

Miles Davis The Charles Lloyd Quartet with Jarrett, Ron McClure and Jack DeJohnette came to an end in 1968, after the recording of Soundtrack because of disputes over money as well as artistic differences.[7] Jarrett was asked to join the Miles Davis group after Miles heard him in a New York City club (according to another version Jarrett tells, Miles had brought his entire band to see a tour date of Jarrett's own trio in Paris; the Davis band being practically the only audience, an attention that made Jarrett feel embarrassed). During his tenure with Davis, he played both Fender Contempo electronic organ and Fender Rhodes electric piano, alternating with Chick Corea; they can be heard side by side on some 1970 recordings, for instance the August, 1970 Isle of Wight Festival performance preserved in the film Miles Electric: A Different Kind of Blue and now on Bitches Brew Live [8] After Corea left in 1970, Jarrett often played electric piano and organ simultaneously. Despite his growing dislike of amplified music and electric instruments within jazz, he continued with the group out of respect for Davis and because of his desire to work with Jack DeJohnette. He has often cited Davis as a vital influence, both musical and personal, on his own thinking about music and improvisation. Jarrett is heard on several Davis albums: Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door Sessions (recorded December 16–19, 1970, at the Cellar Door club in Washington, DC), and Live-Evil, which is largely composed of heavily edited Cellar Door recordings. The extended sessions from these recordings can be heard on The Complete Cellar Door Sessions. Jarrett also plays electric organ on Get Up With It; the song he is featured on, "Honky Tonk", is an abridged version of a track available in its entirety on The Complete Jack Johnson Sessions. In addition, part of a track called "Konda" (recorded May 21, 1970) was released during Davis's late-1970s retirement on a compilation album called Directions (1980). The track, which features an extended Fender-Rhodes piano introduction by Jarrett, was released in full on 2003's The Complete Jack Johnson Sessions.[9]

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1970s quartets From 1971 to 1976, Jarrett added saxophonist Dewey Redman to the existing trio with Haden and Motian. The so-called American quartet was often supplemented by an extra percussionist, such as Danny Johnson, Guilherme Franco, or Airto Moreira, and occasionally by guitarist Sam Brown. The quartet members played various instruments, with Jarrett often being heard on soprano saxophone and percussion as well as piano; Redman on musette, a Chinese double-reed instrument; and Motian and Haden on a variety of percussion. Haden also produced a variety of unusual plucked and percussive sounds with his acoustic bass, even running it through a wah-wah pedal for one track ("Mortgage on My Soul," on the album Birth). The group recorded two albums for Atlantic Records in 1971, El Juicio (The Judgement) and Birth; one on Columbia Records, Expectations that included rock-influenced guitar by Sam Brown as well as string and brass arrangements, and for which his contract with Columbia was immediately terminated; seven albums on Impulse! Records; and two on the ECM label. The last two albums, both recorded for Impulse!, feature mainly the compositions of the other band members, as opposed to Jarrett's own, which dominated the previous albums. Jarrett's compositions and the strong musical identities of the group members gave this ensemble a very distinctive sound. The quartet's music is an amalgam of free jazz, straight-ahead post-bop, gospel music, and exotic, Middle-Eastern-sounding improvisations. In the mid- and late 1970s Jarrett led a "European quartet" concurrently with the American quartet, which was recorded by ECM. This combo consisted of saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen. This ensemble played in a style similar to that of the American quartet, but with many of the avant-garde and Americana elements replaced by the European folk influences that characterized the work of ECM artists at the time. Jarrett became involved in a legal wrangle following the release of the album Gaucho in 1980 by the U.S. rock band Steely Dan. The album's title track, credited to Donald Fagen and Walter Becker, bore an undeniable resemblance to Jarrett's "Long As You Know You're Living Yours," from the Belonging album. When a Musician magazine interviewer pointed out the similarity, Becker admitted that he loved the Jarrett composition and Fagen said they had been influenced by it. After their comments were published, Jarrett sued, and Becker and Fagen were forced to add his name to the credits and to include him in the royalties.[10]

Solo piano Jarrett's first album for ECM, Facing You (1971), was a solo piano date recorded in the studio. He has continued to record solo piano albums in the studio intermittently throughout his career, including Staircase (1976), The Moth and the Flame (1981), and The Melody at Night, With You (1999). Book of Ways (1986) is a studio recording of clavichord solos. The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing totally improvised solo concerts, and it is the popularity of these voluminous concert recordings that has made him one of the best-selling jazz artists in history, not to mention one of the most ambitious and innovative. Albums released from these concerts include The Köln Concert (1975) which became the best selling piano recording in history;[11] and Sun Bear Concerts (1976) - a 10-LP (and later 6-CD) Box Set. Another of Jarrett's solo concerts, Dark Intervals (1987, Tokyo), had less of a free-form improvisation feel to it because of the brevity of the pieces. Sounding more like a set of short compositions, these pieces are nonetheless entirely improvised. After a hiatus, Jarrett returned to the extended solo improvised concert format with Paris Concert (1990), Vienna Concert (1991), and La Scala (1995), before his career was interrupted by chronic fatigue syndrome. These later concerts tend to be more influenced by classical music than the earlier ones, reflecting his interest in composers such as Bach and Shostakovich, and are mostly less indebted to popular genres such as blues and gospel. The Vienna

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Keith Jarrett Concert in particular has been widely hailed as a masterpiece of improvisation, with its huge, arch-like opening movement, with a stunningly dissonant, virtuosic middle section, framed by more lyrical sections; Jarrett himself, in the liner notes to the album, named it his greatest achievement and the fulfillment of everything he was aiming to accomplish. Jarrett has commented that his best performances have been when he has had only the slightest notion of what he was going to play at the next moment. An apocryphal account of one such performance had Jarrett staring at the piano for several minutes without playing; as the audience grew increasingly uncomfortable, one member shouted to Jarrett, "D sharp!", to which the pianist responded, "Thank you!", and launched into an improvisation. Jarrett's 100th solo performance in Japan was captured on video at Suntory Hall Tokyo on April 14, 1987, and released the same year. The recording was titled Solo Tribute. This is a set of almost all standard songs. Another video recording, titled Last Solo, was released in 1987 from a live solo concert at Kan-i Hoken hall, Tokyo, Japan, recorded January 25, 1984. Both Solo Tribute and Last Solo were reissued on Image Entertainment DVD in 2002. In the late 1990s, Jarrett was diagnosed with chronic fatigue syndrome (CFS) and was unable to leave his home for long periods of time. It was during this period that he recorded The Melody at Night, With You, a solo piano effort consisting of jazz standards presented with very little of the reinterpretation he usually employs. The album had originally been a Christmas gift to his second wife, Rose Anne. By 2000, Jarrett had returned to touring, both solo and with the Standards Trio. Two 2002 solo concerts in Japan, Jarrett's first solo piano concerts following his illness, were released on the 2005 CD Radiance (a complete concert in Osaka, and excerpts from one in Tokyo), and the 2006 DVD Tokyo Solo (the entire Tokyo performance). In contrast with previous concerts (which were generally a pair of continuous improvisations 30–40 minutes long), the 2002 concerts consist of a linked series of shorter improvisations (some as short as a minute and a half, a few of fifteen or twenty minutes). In September 2005 at Carnegie Hall, Jarrett performed his first solo concert in North America in more than ten years, released a year later as a double-CD set (The Carnegie Hall Concert). On November 26, 2008, he performed solo in the Salle Pleyel in Paris, and a few days later, on December 1, at London's Royal Festival Hall, marking the first time Jarrett had played solo in London in seventeen years. These concerts were released in October 2009 on the album Paris / London: Testament.

The Standards Trio In 1983, at the suggestion of ECM head Manfred Eicher,[12] Jarrett asked bassist Gary Peacock and drummer Jack DeJohnette, with whom he had worked on Peacock's 1977 album Tales of Another, to record an album of jazz standards, simply titled Standards, Volume 1. Two more albums, Standards, Volume 2 and Changes, both recorded at the same session, followed soon after. The success of these albums and the group's ensuing tour, which came as traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new Standards Trio becoming one of the premier working groups in jazz, and certainly one of the most enduring, continuing to record and tour for more than twenty-five years. The trio has recorded numerous live and studio albums consisting primarily of jazz repertory material. The trio members each cite Ahmad Jamal as a major influence in their musical development for his use of both melodic and multi-tonal lines.. The Jarrett-Peacock-DeJohnette trio also produced recordings that consist largely of challenging original material, most notably 1987's Changeless. (These recordings are noted above.) Several of the standards albums contain an original track or two, some attributed to Jarrett but mostly group improvisations. The live recordings Inside Out and Always Let Me Go (both released in 2001) marked a renewed interest by the trio in wholly improvised free jazz. By this point in their history, the musical communication among these three men had become nothing short of

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Keith Jarrett telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The Standards Trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler for acoustics, will play these days) and is one of the few truly successful jazz groups to play both straight-ahead (as opposed to smooth) and free jazz. A related recording, At the Deer Head Inn (1992), is a live album of standards recorded with Paul Motian replacing DeJohnette, at the venue in Delaware Water Gap, Pennsylvania, 40 miles from Jarrett's hometown, where he had his first job as a jazz pianist. It was the first time Jarrett and Motian had played together since the demise of the American quartet sixteen years earlier.

Classical music Since the early 1970s, Jarrett's success as a jazz musician has enabled him to maintain a parallel career as a classical composer and pianist, recording almost exclusively for ECM Records. In The Light, an album made in 1973, consists of short pieces for solo piano, strings, and various chamber ensembles, including a string quartet and a brass quintet, and a piece for cellos and trombones. This collection demonstrates a young composer's affinity for a variety of classical styles, with varying degrees of success. Luminessence (1974) and Arbour Zena (1975) both combine composed pieces for strings with improvising jazz musicians, including Jan Garbarek and Charlie Haden. The strings here have a moody, contemplative feel that is characteristic of the "ECM sound" of the 1970s, and is also particularly well-suited to Garbarek's keening saxophone improvisations. From an academic standpoint, these compositions are dismissed by many classical music aficionados as lightweight, but Jarrett appeared to be working more towards a synthesis between composed and improvised music at this time, rather than the production of formal classical works. From this point on, however, his classical work would adhere to more conventional disciplines. Ritual (1977) is a composed solo piano piece recorded by Dennis Russell Davies that is somewhat reminiscent of Jarrett's own solo piano recordings. The Celestial Hawk (1980) is a piece for orchestra, percussion, and piano that Jarrett performed and recorded with the Syracuse Symphony under Christopher Keene. This piece is the largest and longest of Jarrett's efforts as a classical composer. Bridge of Light (1993) is the last recording of classical compositions to appear under Jarrett's name. The album contains three pieces written for a soloist with orchestra, and one for violin and piano. The pieces date from 1984 and 1990. In 1988 New World Records released the CD Lou Harrison: Piano Concerto and Suite for Violin, Piano, and Small Orchestra, featuring Jarrett on piano, with Naoto Otomo conducting the piano concerto with the New Japan Philharmonic. Robert Hughes conducted the Suite for Violin, Piano, and Small Orchestra. In 1992 came the release of Jarrett's performance of Peggy Glanville-Hicks's Etruscan Concerto, with Dennis Russell Davies conducting the Brooklyn Philharmonic Orchestra. This was released on Music Masters Classics, with pieces by Lou Harrison and Terry Riley. In 1995 the record label Music Masters Jazz released a CD on which one track featured Jarrett performing the exquisite solo piano part in Lousadzak, a 17-minute piano concerto by American composer Alan Hovhaness. The conductor again was Dennis Russell Davies. Most of Jarrett's classical recordings are of older repertoire, but Jarrett may have been introduced to this modern work by his one-time manager George Avakian, who was a friend of the composer. Jarrett has also recorded classical works for ECM by composers such as Bach, Handel, Shostakovich, and Arvo Pärt. In 2004, Jarrett was awarded the Léonie Sonning Music Prize. The prestigious award usually associated with classical musicians and composers has only previously been given to one other jazz musician—Miles Davis. The first person to receive the award was Igor Stravinsky, in 1959.

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Other works Jarrett also plays harpsichord, clavichord, organ, soprano saxophone, drums, and many other instruments. He often played saxophone and various forms of percussion in the American quartet, though his recordings since the breakup of that group have rarely featured these instruments. On the majority of his recordings in the last twenty years, he has played acoustic piano only. He has spoken with some regret of his decision to give up playing the saxophone, in particular. On April 15, 1978, Jarrett was the musical guest on Saturday Night Live. His music has also been used on many television shows, including The Sopranos on HBO. The 2001 German film Bella Martha (English title: Mostly Martha), whose music consultant was ECM founder and head Manfred Eicher, features Jarrett's "Country," from the European quartet album My Song.[13]

Idiosyncrasies One of Jarrett's trademarks is his frequent, loud vocalizations (grunting, squealing, and tuneless singing), similar to that of Glenn Gould, Thelonious Monk, Erroll Garner, Oscar Peterson, Ralph Sutton, Willie "The Lion" Smith, Paul Asaro, and Cecil Taylor. Jarrett is also physically active while playing, writhing, gyrating, and almost dancing on the piano bench. These behaviors occur in his jazz and improvised solo performances, but are for the most part absent whenever he plays classical repertory. Jarrett has noted his vocalizations are based on involvement, not content, and are more of an interaction than a reaction, ultimately enhancing the quality of the music.[14] However, Jarrett is notoriously intolerant of audience noise, including coughing and other involuntary sounds, especially during solo improvised performances. He feels that extraneous noise affects his musical inspiration, and distracts from the purity of the sound. As a result, cough drops are routinely supplied to Jarrett's audiences in cold weather, and he has even been known to stop playing and lead the crowd in a group cough. This intolerance was made clear during a concert on October 31, 2006, at the restored Salle Pleyel in Paris. After making an impassioned plea to the audience to stop coughing, Jarrett walked out of the concert during the first half, refusing at first to continue, although he did subsequently return to the stage to finish the first half, and also the second. A further solo concert three days later went undisturbed, following an official announcement beforehand urging the audience to minimize extraneous noise. In 2008, during the first half of another Paris concert, Jarrett complained to the audience about the quality of the piano that he had been given, walking off between solos and remonstrating with staff at the venue. Following an extended interval, the piano was replaced. In 2007, in concert in Perugia during the Umbria Jazz Festival, angered by photographers Jarrett implored the audience: "I do not speak Italian, so someone who speaks English can tell all these assholes with cameras to turn them fucking off right now. Right now! No more photographs, including that red light right there. If we see any more lights, I reserve the right (and I think the privilege is yours to hear us), but I reserve the right and Jack and Gary reserve the right to stop playing and leave the goddamn city!" This caused the organizers of the Festival to declare that they will never invite him again.[15] . In a performance at Carnegie Hall on 16 January 2011, he stopped in the middle of a quiet improvisation in an apparent reaction to an audience member's persistent coughing. After a moment's silence, he remarked, "Where's the coughing now?" and continued playing. He subsequently said, "Since I'm the only person in this hall who can't leave, I have just one solution to deal with this coughing--play loud! Is that what you want?". Before he went back to playing another quiet tune, he said, "Maybe I should draw a circle with a line through it and issue a warning--Soft Song."[16] Jarrett is also extremely protective of the quality of recordings of his concerts. In 1992, a trio concert at the Royal Festival Hall in London was temporarily stopped as he thought he had identified someone in the audience with a recording device. It turned out to be a light on the mixing desk and the concert resumed after an apology. Similarly, a 2010 concert in Lyon was interrupted after he confused the electric devices on an audience member's wheelchair with recording equipment. The concert resumed, although without apology.

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Keith Jarrett Jarrett has been known for many years to be strongly opposed to electronic instruments and equipment. His liner notes for the 1973 album Solo Concerts: Bremen/Lausanne states: "I am, and have been, carrying on an anti-electric-music crusade of which this is an exhibit for the prosecution. Electricity goes through all of us and is not to be relegated to wires." He has largely eschewed electric or electronic instruments since his time with Miles Davis. For many years he has been a follower of the teachings of metaphysician and mystic G. I. Gurdjieff. In 1980 he recorded an album of Gurdjieff's compositions, called Sacred Hymns, for ECM.

Personal Jarrett lives in an 18th-century farmhouse in Oxford Township, New Jersey, in rural Warren County. He uses a converted barn on his property as a recording studio and practice facility.[17] Jarrett's first marriage, to Margot Erney, ended in divorce. He and his second wife Rose Anne (née Colavito) divorced in 2010 after a thirty-year marriage. Jarrett has four brothers, all younger, two of whom are involved in music. Chris Jarrett is also a pianist, and Scott Jarrett is a producer and songwriter. Noah Jarrett, one of two sons from Jarrett's first marriage, is a bassist and composer.

References [1] http:/ / www. polarmusicprize. org/ newSite/ aboutprize. shtml. Retrieved Jan. 19, 2010. [2] "Music: Growing Into The Silence" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,983616,00. html). Time. October 23, 1995. . [3] Carr, Ian. Keith Jarrett: The Man and His Music (New York: Da Capo, 1992), p. 8. [4] Carr, Ian. Keith Jarrett, p. 7. [5] Carr, Ian. Keith Jarrett, p. 17. [6] http:/ / www. mcall. com/ news/ local/ all-a1_5jarrett. 6572968sep14,0,4716330. story?page=2. [7] Carr, Ian. Keith Jarrett, pp. 38–39. [8] http:/ / www. amazon. co. uk/ dp/ B004ENAC4I [9] Davis, Miles. The Complete Jack Johnson Sessions. Columbia/Legacy, 2003. [10] Don't Mess with Steely Dan (http:/ / www. postgazette. com/ pg/ 06216/ 711039-153. stm); Brian Sweet, Steely Dan: Reelin' in the Years (London: Omnibus Press, 1994), p. 144. [11] Keith Jarrett Biography (http:/ / www. allaboutjazz. com/ php/ musician. php?id=7984), All About Jazz accessed April 6, 2010 [12] Smith, Steve. "40 Years Old, a Musical House Without Walls". New York Times, Dec. 23, 2009 [13] http:/ / www. imdb. com/ title/ tt0246772/ soundtrack. Retrieved Jan. 16, 2010. [14] Jarrett, Keith. The Art of Improvisation. (DVD). Euroarts, 2005 [15] Keith Jarrett Officially Banned from Umbria Jazz Festival After Outburst, JazzTimes Magazine, July 16, 2007. (http:/ / jazztimes. com/ articles/ 23750-keith-jarrett-officially-banned-from-umbria-jazz-festival-after-outburst) [16] Observed by audience member at Carnegie Hall, 16 January 2011 [17] "A One-of-a-Kind Artist Prepares for His Solo" (http:/ / online. wsj. com/ article/ SB123319724806127435. html). The Wall Street Journal. 2009-01-09. . Retrieved 2009-04-08.

Sources • Carr, Ian. Keith Jarrett: The Man and His Music (http://www.amazon.co.uk/dp/0306804786). 1992 ISBN 0586092196 • Ian Carr, Digby Fairweather, Brian Priestley. ' The Rough Guide to Jazz (http://www.amazon.co.uk/dp/ 1843532565)'. 2003 ISBN 1-84353-256-5

External links • KeithJarrett.it (http://www.keithjarrett.it) The most complete fan site dedicated to Keith Jarrett • Keith Jarrett fansite (http://www.keithjarrett.org). • Interview with Ethan Iverson for BBC (2009) (http://dothemath.typepad.com/dtm/interview-with-keith-jarrett. html)

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Keith Jarrett • Art of the States: Keith Jarrett (http://artofthestates.org/cgi-bin/performer.pl?perf=691) performing Lousadzak, op. 48 (1944) by Alan Hovhaness • Keith Jarrett at Yahoo!Groups (http://launch.groups.yahoo.com/group/keithjarrett/). • Keith Jarrett on ECM Records (http://www.ecmrecords.com/Catalogue/ECM/1900/1900.php?lvredir=712& cat=/Artists/Jarrett+Keith##Keith+Jarrett&catid=0&doctype=Catalogue&order=releasedate& rubchooser=901&mainrubchooser=9). • Keith Jarrett by Otacílio Melgaço (http://keithjarrett.vilabol.uol.com.br) • Keith Jarrett: a short biography (fan site). (http://www.lynndavidnewton.com/music/kj/JarrettSketch.html) • "Keith Jarrett Standards Trio Celebrates Its 25th Anniversary" (http://www.jazz.com/jazz-blog/2008/2/4/ keith-jarrett-standards-trio-celebrates-its-25th-anniversary) by Ted Gioia Jazz.com (http://www.jazz.com). • Keith Jarrett on Marian McPartland's Piano Jazz (NPR). (http://www.npr.org/programs/pianojazz/ previousguests/winter2007/jarrett.html) • Recent Interview (2007) (http://www.culturekiosque.com/jazz/portrait/keith_jarrett.html#hp/) • 1997 New York Times profile of Jarrett (http://query.nytimes.com/gst/fullpage. html?res=9C00E0DD153DF93AA35751C0A961958260) • Keith Jarrett Transcriptions Project (http://dark-intervals.com/index_en.html) – Transcriptions (http:// dark-intervals.com/transcriptions.html) • Keith Jarrett on ECM Records (http://www.trovar.com/ECM/ECM.php?artist=Jarrett)

442

Darryl Jones

443

Darryl Jones Darryl Jones Background information Also known as

The Munch

Born

11 December 1961 Chicago, Illinois United States

Genres

Jazz, Rock and roll, R&B, Progressive jazz, Pop rock

Occupations

Musician, film scorer, Actor

Instruments

Bass guitar, guitar

Years active

1980 - present

Associated acts The Rolling Stones, Miles Davis, Website

Darryl Jones's Web Site

[1]

Notable instruments Fender Jazz Bass Lakland Darryl Jones Signature Bass

Darryl Jones (born December 11, 1961),[2] also known as "The Munch",[3] is an American bass guitarist. Jones began his notable career as a session musician, where he gained the experience and confidence to play with some of the most highly regarded recording artists, in jazz, blues, and rock music. Most recently, he has been best known in his role as primary bassist for The Rolling Stones since Bill Wyman's departure in 1993.

Career Jones was born in Chicago, Illinois.[2] As a youth, his father, a drummer, supported his musical interests and initially taught his son to play the guitar. A neighbor who was a bassist convinced Darryl to switch to playing the bass instead.[2] Jones attended Southern Illinois University Carbondale. One musician that Jones first played with in his studio sessions was the nephew of noted jazz musician Miles Davis, Vince Wilburn Jr. He told Jones that Miles Davis was looking for a new bass player, and vouched for him. Jones called Miles Davis, who gave him his first touring gig,[4] and from that point to years later, was mentored by Davis, after joining Davis' band in 1983. As a young protege, Jones recorded with Davis playing bass guitar on the Miles Davis albums Decoy (1984) and You're Under Arrest (1985). Jones has worked with jazz recording artists who include Herbie Hancock's Headhunters, Mike Stern, John Scofield, and Steps Ahead, as well as touring pop and rock artists Cher, Sting, Peter Gabriel, Madonna, Eric Clapton and Joan Armatrading. Jones has performed and recorded with The Rolling Stones since founding bassist Bill Wyman's retirement in 1993. In the manner of other tour and recording sidemen for the band, such as saxophonist Bobby Keys and keyboardist Chuck Leavell, Jones' stage movement and audience interaction is low-key and he generally wears understated apparel on stage. He is a salaried employee and does not share financial participation in the band's worldwide publishing, recording and concert touring revenues.

Darryl Jones

References [1] http:/ / www. darryljones. com [2] Jones, Darryl (2010). "Darryl Jones BIO" (http:/ / www. darryljones. com/ home/ frameset_one. htm). . Retrieved 31 October 2010. [3] Jisi, Chris (Jan/Feb 1995). "Darryl Jones: Like A Rolling Stone" (http:/ / www. abasses. com/ darryljones/ bassplayer. htm). Bass Player Magazine: biography and interview. Bass Player magazine. . Retrieved 31 October 2010. [4] Goldsher, Alan (2009). "Darryl Jones Stone Unturned" (http:/ / www. bassplayer. com/ article/ darryl-jones-stone/ jul-05/ 11380). Bass Player magazine, New Bay Media. . Retrieved 7 November 2010.

Notes • Goldsher, Alan (August 2005). " Darryl Jones Stone Unturned (http://www.bassplayer.com/story. asp?sectioncode=21&storycode=9825)". Bass Player • Coryat,Karl. (February 2003) " Darryl Jones on Playing with the Rolling Stones, Sting, and Miles Davis - to Name a Few (http://www.bassplayer.com/article/darryl-jones-rolling/February-2003/584)". Bass Player. • Jisi, Chris. (January 2000) " Darryl Jones: Like A Rolling Stone (http://www.bassplayer.com/article/ darryl-jones-playing/January-2000/6980)". Bass Player. • Wissmann, Chris (1996). " Former SIU Student Playing Bass for Rolling Stones (http://users.midwestmail. com/nightlife/cdalerocks/nightlife/zzzPermanent/22_DarrylJones.html)". "Nightlife"

External links • A Basses - Darryl Jones Signature Series Bass (http://www.abasses.com/bass.html) • Darryl Jones's Web Site (http://www.darryljones.com)

444

Philly Joe Jones

445

Philly Joe Jones Philly Joe Jones Birth name

Joseph Rudolph Jones

Born

July 15, 1923 Philadelphia, Pennsylvania, United States

Died

August 30, 1985 (aged 62)

Genres

Jazz, hard bop, bebop, cool jazz, modal

Occupations

Drummer

Instruments

Drums


Joseph Rudolph (Philly Joe) Jones (July 15, 1923 – August 30, 1985) was a Philadelphia-born United States jazz drummer, known as the drummer for the Miles Davis Quintet.[1] Philly Joe Jones was often confused with another influential jazz drummer, Jo Jones. The two died only a few days apart from each other.

Biography In 1947 he became the house drummer at Café Society in New York City, where he played with the leading bebop players of the day. Among them, the most important influence on Jones was Tadd Dameron. Jones toured and recorded with Miles Davis Quintet from 1955 to 1958 — a band that became known as "The Quintet".[2] Miles acknowledged that Jones was his favorite drummer[2] (in fact, in his autobiography, Davis admitted to asking other drummers to play that "Philly Joe lick", with mixed results). He organized the Davis Quintet in 1955 so that Jones and Davis would not have difficulties finding competent local musicians to play with them. From 1958 onwards Jones worked as a leader, but continued to work as a sideman with other musicians, including Bill Evans and Hank Mobley. Evans also openly admitted that Philly Joe was his all-time favorite drummer. For two years (1967-69) he taught at a specially organised school in Hampstead, London, but was prevented from otherwise working in the UK by the Musicians' Union. From 1981 he helped to found the group Dameronia, dedicated to the music of the composer Tadd Dameron, and led it until his death.[2] He also played in 2 movies

Discography As leader • • • • • • • • •

1957: The Joe Jones Special - Jazztone 1958: Blues for Dracula (Riverside Records) 1959: Drums Around the World: Philly Joe Jones Big Band Sounds (Riverside) 1959: Showcase (Riverside, with Blue Mitchell, Julian Priester, Pepper Adams) 1960: Philly Joe's Beat - Atlantic 1964: Together! 1968: Mo' Joe - Black Lion 1968: My Fire - Prestige 1977: Mean What You Say - Sonet

Philly Joe Jones • • • • •

1977: Philly Mignon - Galaxy 1978: Drum Songs - Galaxy 1979: Advance! - Galaxy 1981: Octet - Marge 1982: To Tadd with Love - Uptown

As sideman With Miles Davis • • • • • • • •

Cookin' with The Miles Davis Quintet (1956) Relaxin' with The Miles Davis Quintet (1956) Workin' with The Miles Davis Quintet (1956) Steamin' with The Miles Davis Quintet (1956) 'Round About Midnight (1957) Porgy and Bess (1958) Milestones (1958) Someday My Prince Will Come (1961)

With others • • • • • • • • • • • • • • • • • • • • •

Clifford Brown - Memorial Album (1953; Blue Note) J.R. Monterose - J. R. Monterose (1956; Blue Note) Sonny Rollins - Tenor Madness (1956; Riverside) Bennie Green- Bennie Green with Art Farmer (1956) Sonny Rollins - Newk's Time (1957; Blue Note) John Coltrane - Blue Train (1957; Blue Note) Joe Castro - Mood Jazz (1957; Atlantic) Art Pepper - Art Pepper Meets the Rhythm Section (1957; Riverside) Clark Terry - In Orbit (1958; Riverside) Jimmy Smith - Softly as a Summer Breeze (1958; Blue Note) Bill Evans - Everybody Digs Bill Evans (1958; Riverside Records) Blue Mitchell - Big 6 (1958; Riverside) Sonny Clark - Cool Struttin' (1958; Blue Note) Freddie Hubbard - Goin' Up (1960; Blue Note) Dexter Gordon - Dexter Calling... (1961; Blue Note) Blue Mitchell - Smooth as the Wind (1961; Riverside) Hank Mobley - Another Workout (1961; Blue Note) Milt Jackson & Wes Montgomery - Bags Meets Wes! (1962; Riverside) Bill Evans - California Here I Come (1967; Verve) Archie Shepp - Archie Shepp & Philly Joe Jones - (1969; America) Red Garland - Keystones! (1977; Xanadu Records)

References [1] Allmusic biography (http:/ / www. allmusic. com/ artist/ p6850) [2] Carr, Ian; Fairweather, Digby and Priestley, Brian Rough Guide to Jazz Rough Guides, 2004 ISBN 1843532565, 9781843532569 (http:/ / books. google. es/ books?id=I5wrGL-a-Q8C& pg=RA5-PT23& lpg=RA5-PT23& dq="ira+ coleman"+ AND+ bass& source=bl& ots=qwsmOIMpeI& sig=QkscPLAP8IGK4BoLm2rVBMLmEDA& hl=es& ei=HTuQSt3fG8aMjAellrDnDQ& sa=X& oi=book_result& ct=result& resnum=4#v=onepage& q=philly joe jones& f=false) at Google Books

446

Wynton Kelly

447

Wynton Kelly Wynton Kelly Birth name

Wynton Kelly

Born

December 2, 1931

Origin

Brooklyn

Died

April 12, 1971 (aged 39) Toronto, Ontario, Canada

Genres

Jazz

Occupations Musician Instruments Piano

Wynton Kelly (December 2, 1931 – April 12, 1971) was a Jamaican-born jazz pianist, who spent his career in the United States.[1] He is perhaps best known for working with trumpeter Miles Davis in the 1950s.[1]

Biography Son of Jamaican immigrants, Kelly was born in Jamaica,[2] and started his professional career as a teenager, initially as a member of R&B groups. After working with Lee Abrams, Cecil Payne, Dinah Washington and Dizzy Gillespie,[3] he was a member of Miles Davis' Quintet from 1959 to 1963. He appears on Davis' seminal 1959 album Kind of Blue, replacing Bill Evans on the track "Freddie Freeloader". He likewise appears on a single track from John Coltrane's Giant Steps, replacing Tommy Flanagan on "Naima". [1] He recorded 14 titles for Blue Note in a trio (1951), and worked with Washington, Gillespie, and Lester Young during 1951-1952. After serving in the military, he worked with Washington (1955-1957), Charles Mingus (1956-1957), and the Dizzy Gillespie Big Band (1957), but he would be most famous for his stint with Miles Davis (1959-1963), recording such albums with him as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio. Kelly recorded as a leader for Blue Note, Riverside Records, Vee-Jay, Verve, and Milestone.[4] Kelly had a daughter, Tracy, in 1963, with partner Anne. The track, "Little Tracy", from the LP Comin' in the Back Door, is named after Kelly's daughter. Tracy Matisak is a now a Philadelphia television personality. Kelly's second cousin, bassist Marcus Miller, also performed with Miles Davis in the 1980s and 1990s.[1] Kelly died in Toronto, Canada, from an epileptic seizure in April 1971.

Wynton Kelly


1951: Piano Interpretations (Blue Note) 1958: Piano (Riverside) 1959: Kelly Blue (Riverside) 1959: Kelly Great (Vee-Jay) 1960: Kelly at Midnight (Vee-Jay) 1961: Wynton Kelly! (Vee-Jay) 1961: Someday My Prince Will Come (Vee-Jay) 1963: Comin' in the Back Door (Verve) 1964: It's All Right! (Verve) 1965: Undiluted (Verve) 1965: Smokin' at the Half Note (Verve) 1965: Blues on Purpose (Xanadu) 1967: Full View (Milestone) 1968: Last Trio Session (Delmark)

As sideman With Julian "Cannonball" Adderley • • • • •

Things Are Getting Better (1958) Cannonball Adderley Quintet in Chicago (1959) Cannonball Takes Charge (1959) African Waltz (1961) The Cannonball Adderley Quintet Plus (1961)

With Nat Adderley • Much Brass (1959) • That's Right! (1960) • Naturally! (1961) With Lorez Alexandria • Alexandria the Great (1964) • More of the Great (1964) With Gene Ammons • Night Lights (1970) With Walter Benton • Out of This World (1960) With Bob Brookmeyer • Jazz is a Kick (1960) With Joy Bryan • Make the Man Love Me (1961) With Donald Byrd • Off to the Races (1958) With Betty Carter

448

Wynton Kelly • Out There (1958) With Paul Chambers • Go... (1959) • 1st Bassman (1960) With James Clay • The Sound of the Wide Open Spaces!!! (1960) With Jimmy Cleveland • Cleveland Style (1957) With John Coltrane • Coltrane Jazz (1961) With King Curtis • The New Scene of King Curtis (1960) • Soul Meeting (1960) With Miles Davis • Kind of Blue (1959) • Someday My Prince Will Come (1961) With Dizzy Gillespie • • • • •

Dizzy and Strings (1954) Dizzy Atmosphere (1957) Birks' Works (1957) Dizzy in Greece (1957) Dizzy Gillespie at Newport (1957)

With Benny Golson • Benny Golson's New York Scene (1957) • The Modern Touch (1957) • Turning Point (1962) With Paul Gonsalves • Gettin' Together (1960) With Dexter Gordon • The Jumpin' Blues (1970) With Grant Green • First Session (1960) With Johnny Griffin • Introducing Johnny Griffin (1956) • A Blowin' Session (1957) With Eddie Harris • Cool Sax, Warm Heart (1964) With Jimmy Heath • On the Trail (1964) With Bill Henderson • Bill Henderson Sings (1959)

449

Wynton Kelly With Joe Henderson • Four (1968) • Straight, No Chaser (1968) With Ernie Henry • Seven Standards and a Blues (1957) • Last Chorus (1957) With Billie Holiday • Lady Sings the Blues (1956) With Helen Humes • Swingin' with Humes (1961) With Illinois Jacquet • The Blues That's Me (1969) With Eddie Jefferson • Letter From Home (1962) With J. J. Johnson • The Eminent Jay Jay Johnson Volume 2 (1954) With Elvin Jones & Philly Joe Jones • Together! (1961) With Sam Jones • The Chant (1961) With Roland Kirk • Domino (1962) With Steve Lacy • Soprano Sax (1957) With Abbey Lincoln • That's Him (1957) • It's Magic (1958) With Booker Little • Booker Little (1960) With Chuck Magione • Recuerdo (1962) With Blue Mitchell • • • •

Big 6 (1958) Blue Soul (1959) Blue's Moods (1960) A Sure Thing (1962)

With Hank Mobley • Peckin' Time (1958) • Soul Station (1960) • Roll Call (1961) • Workout (1961)

450

Wynton Kelly • Another Workout (1961) With Wes Montgomery • Bags Meets Wes! (1961) • Full House (1962) • Smokin' at the Half Note (1965) With Lee Morgan • Here's Lee Morgan (1960) With Mark Murphy • Rah (1961) With David Newman • Staight Ahead (1960) With Art Pepper • Gettin' Together (1960) With Sonny Red • Out of the Blue (1959) With Dizzy Reece • Star Bright (1959) With Wayne Shorter • Introducing Wayne Shorter (1959) With Sonny Rollins • Sonny Rollins, Vol. 1 (1956) • Newk's Time (1957) With Don Sleet • All Members (1961) With Frank Strozier • Fantastic Frank Strozier (1959) With Art Taylor • A.T.'s Delight (1960) With Teri Thornton • Devil May Care (1960) With Phil Upchurch • Feeling Blue (1967) With Dinah Washington • Back to the Blues (1962)

451

Wynton Kelly

References [1] [2] [3] [4]

Allmusic Biography (http:/ / www. allmusic. com/ artist/ p6884/ biography) Jazz.com (http:/ / www. jazz. com/ encyclopedia/ kelly-wynton). Down Beat Profile (http:/ / www. downbeat. com/ artists/ window. asp?action=new& aid=572& aname=Wynton+ Kelly) See Kelly's discography (http:/ / www. jazzdisco. org/ wynton-kelly/ catalog/ album-index/ ).

External links • Wynton Kelly Discography at jazzzdisco.org (http://www.jazzdisco.org/wynton-kelly/) accessed August 19, 2010 • Wynton Kelly Discography with cover photos (http://www.icnet.ne.jp/~au_discography/wk.htm) accessed August 19, 2010 • Wynton Kelly Hardbop Homepage (http://hardbop.tripod.com/wynton.html) accessed August 20, 2010 • Wynton Kelly Allmusic Biography (http://www.allmusic.com/artist/p6884) accessed August 20, 2010

452

Lee Konitz

453

Lee Konitz Lee Konitz

Background information Birth name

Lee Konitz

Born

October 13, 1927

Origin

Chicago, Illinois, U.S.

Genres

Jazz Cool jazz

Occupations

Saxophonist, Composer

Instruments

Alto saxophone

Labels

RCA Red Seal Atlantic Records Verve Records Prestige Records Palmetto Records

Associated acts Jim Hall, Elvin Jones, Lennie Tristano Warne Marsh

Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois. Generally considered one of the driving forces of Cool Jazz, Konitz has also performed successfully in bebop and avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker exercised a tremendous influence on other players. Konitz, like other students of pianist and theoretician Lennie Tristano, was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz. Konitz's association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis' epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long career, Konitz has played with musicians from a wide variety of jazz styles.

Lee Konitz

Life and career Konitz was born in 1927 in Chicago, Illinois. At age eight Konitz received his first instrument—a clarinet—but later dropped the instrument in favor of the tenor saxophone. Konitz eventually moved from tenor to alto. His greatest influences at the time were the swing big bands he and his brother listened to on the radio, in particular Benny Goodman. Hearing Goodman on the radio is actually what prodded him to ask for a clarinet. On the saxophone he recalls improvising before ever learning to play any standards.[1] Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. The engagement apparently did not start out smoothly, as Ventura is said to have banged his head against a wall when Konitz played. A month later the band parted ways. Between 1945 and 1947 he worked off and on with Jerry Wald. In 1946 he first met pianist Lennie Tristano and worked in a small cocktail bar with him. His next substantial work was done with Claude Thornhill in 1947, with Gil Evans arranging and Gerry Mulligan as a composer in most part.[2] [3] In 1949 he teamed up with the Miles Davis group for one or two weeks and again in 1950 to record Birth of the Cool. Konitz has stated that he considered the group to belong to Gerry Mulligan, and credits Lennie Tristano as the true forebearer of "the cool". His debut as leader also came in 1949, with the release of Subconscious-Lee on Prestige Records. He also turned down an opportunity to work with Benny Goodman that same year—a decision he is on record as regretting.[4] In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra. In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic, consisted entirely of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism. Charlie Parker lent him support on the day Konitz's child was being born in Seattle, Washington with him stuck in New York City. The two were actually good friends, and not the rivals some jazz critics once made them out to be.[5] He has also had problems with his heart which he has received surgery for in the past.[6] In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly the entire history of jazz, from Louis Armstrong's "Struttin' With Some Barbecue" with valve trombonist Marshall Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist Jim Hall. Konitz contributed to the film score for Desperate Characters (1971). Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others. Konitz has become more experimental as he has grown older, and has released a number of free and avant-garde jazz albums, playing alongside many far younger musicians. He has released albums on contemporary free jazz/improv labels such as hatART, Soul Note and Omnitone.

454

Lee Konitz


1949-50: With Tristano, Marsh and Bauer (Prestige) 1953: Konitz Meets Mulligan (With Gerry Mulligan and Chet Baker) (Pacific) 1954: Konitz (Storyville) 1954: Jazz At Storyville (Storyville) 1954: In Harvard Square (Storyville) 1954: Lee Konitz With Warne Marsh (Atlantic) 1956: Lee Konitz Featuring Hans Koller, Lars Gullin, Roland Kovac (Swingtime) 1956: Inside Hi-Fi (Atlantic) 1957: Tranquility (Verve) 1957: The Real Lee Konitz (Atlantic) 1958: Very Cool (Verve) 1958: An Image: Lee Konitz with Strings (Verve) 1959: Lee Konitz Meets Jimmy Giuffre (Verve) 1959: You and Lee (Verve)

• • • • • • • • • • • • • • • • • • • • • • • • • • •

1961: Motion (Verve) 1965: Trio and Quartet (Magnetic) 1966: Modern Jazz Compositions from Haiti (Impulse!) 1967: The Lee Konitz Duets (Milestone: OJC) 1968: Impressive Rome (CAM) 1968: European Episode (CAM) 1969: Peacemeal (Milestone) 1970: Lee Konitz Sax Duets (Music Minus One) 1971: Spirits (Milestone: OJC) 1974: Jazz A Juan (SteepleChase) 1974: Satori (Milestone: OJC) 1974: Lone-Lee (SteepleChase) 1974: I Concentrate on You (A Tribute to Cole Porter) (SteepleChase) 1975: Warne Marsh Quintet: Jazz Exchange (Storyville) 1975: Hal Galper: Windows (SteepleChase) 1975: Trio: Oleo (Sonet) 1975: Chicago 'n' All That Jazz (Denon: LaserLight) 1976: Lee Konitz Meets Warne Marsh Again (PAUSA) 1976: Figure and Spirit (Progressive) 1977: The Lee Konitz Quintet (Chiaroscuro Records) 1977: The Lee Konitz Nonet (Chiaroscuro) 1977: Tenorlee (Candid) 1977: Pyramid (Improvising Artists) 1979: Seasons Change (Circle Records (Germany), with Karl Berger) 1979 Nonet: Live at Laren (Soul Note) 1979: Yes, Yes Nonet (Steeple Chase) 1980: Martial Solal: Live at the Berlin Jazz Days (MPS)

• 1980: Heroes (Verve) • 1980: Anti-heroes (Verve) • 1982: Toot Sweet (Owl)

455

Lee Konitz • • • • • • • • • • • • • • • • •

1983: Glad, Koonix! (Dragon) 1983: Martial Solal: Star Eyes, Hamburg 1983 (HatOLOGY) 1983: Dovetail (Sunnyside) 1983: Dedicated To Lee: Lee Konitz Plays The Music of Lars Gullin (Dragon) 1983: Art of the Duo (Enja) 1984: Wild as Springtime (GFM) 1986: Quartet: Ideal Scene (Soul Note) 1986: Medium Rare (Label Bleu) 1987: Quartet: The New York Album (Soul Note) 1988: The Space Jazz Trio: Blew (Philology) 1988: Solitudes (Philology) 1989: In Rio (MA) 1989: Konitz in Denmark (Rightone) 1989: Round and Round (Music Masters) 1990: Frank Wunsch Quartet: S'Nice (Nabel) 1990: Zounds (Soul Note) 1990: Once Upon a Line (Musidisc)

• • • • • • • • • • • • • • • • • • • • • • • • • • • •

1991: Lars Sjosten Quartet: Friends (Dragon) 1991: Lullaby of Birdland (Candid) 1992: The Jazzpar All Star Nonet: Leewise (Storyville) 1992: Jazz Nocturne (Evidence) 1992: Lunasea (Soul Note) 1992: From Newport to Nice (Philology) 1992: Frank-Lee Speaking (West Wind) 1993: Rhapsody (Evidence) 1993: Renato Sellani: Speakin' Lowly, Volume 1 (Philology) 1993: So Many Stars (Philology) 1993: Rhapsody II (Evidence) 1993: Italian Ballads, Volume1 (Philology) 1993: Brazilian Rhapsody (BMG: Music Masters) 1994: Orchestra Il Suono Improvviso: A Venezia (Philology) 1994: Swiss Kiss (TCB) 1995: Haiku (Nabel) 1995: Umberto Petrin: Breaths and Whispers (Homage to Alexandr Skrjabin) (Philology) 1995: John Pl Indreberg: Step Towards a Dream (Odin) 1995: Don Friedman: Attila Zoller: Thingin' (HatOLOGY) 1995: Move (Moon) 1995: Free with Lee(Philology) 1996: Alone Together (Blue Note) 1996: Live at the Manhattan Jazz Club (GAM) 1996: Guarana (AxolOtl Jazz) 1996: Unaccompanied Live in Yokohama (PSF) 1996: Strings for Holiday: A Tribute To Billie Holiday (Enja) 1996: Lee Konitz Meets Don Friedman (Camerata) 1996: It's You (SteepleChase)

• 1997: Twelve Gershwin in Twelve Keys (Philology) • 1997: Out of Nowhere (SteepleChase)

456

Lee Konitz • • • • • • • • • • • • • • • • •

1997: The Frankfurt Concert (West Wind) 1997: Dearly Beloved (SteepleChase) 1997: Body and Soul (Camerata) 1998: Saxophone Dreams (Koch) 1998: Inside Cole Porter (Philology) 1998: L'Age Mur (Philology) 1998: Tender Lee (for Chet) (Philology) 1998: Self Portrait (Philology) 1998: Dialogues (Challenge) 1999: Dig-It (SteepleChase) 1999: Three Guys (Enja) 1999: Trio: Another Shade of Blue (Blue Note) 2000: The Axis Quartet: Play French Impressionist Music from the Turn of the Twentieth Century (Palmetto) 2000: rich Perry: RichLee! (SteepleChase) 2000 Quartet: Sound of Surprise (RCA Victor) 2000: Pride (SteepleChase) 2001: Franco D'Andrea: Inside Rodgers (Philology)

• • • • • • • • • • • • • • • • • • • • • •

2001: Renato Sellani: Minority, Volume 2: All The Way (The Soft Ways) (Philology) 2001 Trio: Some New Stuff (DIW) 2001 Quintet: Parallels (Chesky) 2002: Matt Wilson: Gong with Wind Suite (Steeplechase) 2002: Irio De Paula: Duas Contas (Philology) 2002: Barbara Casini: Outra Vez (Philology) 2002: At the New Mississippi Jazz Club (Philology) 2003: Live-Lee (Milestone) 2003: Stephano Bollani: Suite for Paolo (Philology) 2003: Kenny Werner: Unleemited (Owl) 2003: A Day in Florence (Philology) 2004: BargaLee (Philology) 2004: Sound-Lee (Membran International) 2004: One Day With Lee (Capri) 2006: Ohad Talmor String Project: Inventions(OmniTone) 2006: New Nonet (directed by Ohad Talmor) (OmniTone) 2007: Riccardo Arrighini: The Soprano Sax Album: Standards (Philology) 2007: Brian Dickenson: The Glen Gould Session (Philology) 2007: Ohad Talmor Big Band: Portology(featuring the Orquestra Jazz de Matosinhos) (OmniTone) 2008: Lee Konitz & Minsarah: Deep Lee (Featuring Jeff Denson, Florian weber, Ziv Ravitz) (ENJA) 2009: Lee Konitz / Dan Tepfer: Duos with Lee (Sunnyside) 2009: Lee Konitz New quartet: Live at the village Vanguard (Featuring Jeff Denson, Florian weber, Ziv Ravitz) (ENJA)

457

Lee Konitz

As sideman With Stan Kenton • • • • • •

City Of Glass This Modern World New Concepts Of Artistry In Rhythm Sketches On Standards Portraits On Standards Kenton Showcase

With Gerry Mulligan • Lee Konitz And The Gerry Mulligan Quartet • Lee Konitz Plays With The Gerry Mulligan Quartet With Miles Davis • Birth of the Cool (1949) • Miles Ahead (1957) With Bill Evans • Crosscurrents (1977) With Gil Evans • Gil Evans & Ten (1957) With Lennie Tristano • Lennie Tristano (1956) With others • • • • • •

1947 - Claude Thornhill and His Orchestra: The Uncollected Claude Thornhill and His Orchestra (Hindsight) 1949 - Lennie Tristano/Warne Marsh: Intuition (Capitol) 1968 - Attila Zoller: Zo-Ko-Ma (MPS Records) 1972 - Charles Mingus: Charles Mingus and Friends in Concert (Columbia) 2006 - Francois Théberge: Soliloque (Effendi Records) 2009 - Jakob Bro: Balladeering (Loveland Records)

With Arkadia Jazz All Stars • Thank You, Gerry!

Television appearances • SOLOS: The Jazz Sessions[7] (2004) • Weightless - a recording session with Jakob Bro (2009)

Further reading Andy Hamilton: *Lee Konitz: Conversations on the Improviser's Art* (University of Michigan Press, 2007). Crafted out of numerous interviews between the author and his subject, the book offers a unique account of Konitz’s life and music, detailing his own insights into his musical education and his experiences with such figures as Miles Davis, Stan Kenton, Warne Marsh, Lennie Tristano, Charles Mingus, Bud Powell and Bill Evans.[8]

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Compositions Lee Konitz's compositions included "Subconscious-Lee", "Thingin'", "Sound-Lee", "Palo Alto", "Kary's Trance", "Riffin'", "Self Portrait in Blues", "Back and Forth", "Figure and Spirit", "Ice Cream Konitz", "Dream Stepper", "Without You Man", "Rebecca", "Mr. 88", "Hi Beck", "Tautology", "Sax of a Kind", "Progression", and "Gundula".

References [1] Robinson, Michael. "An interview with Lee Konitz" (http:/ / www. sawf. org/ Newedit/ edit09182000/ musicarts. asp). . Retrieved 2007-05-31. [2] "Ibid"; Gordon, Jack [3] "Ibid"; Billy Taylor's Jazz at the Kennedy Center [4] "Ibid"; Gordon, Jack [5] "Ibid"; An Interview with Lee Konitz [6] Jung, Fred. "A Fireside Chat With Lee Konitz" (http:/ / www. jazzweekly. com/ interviews/ konitz. htm). . Retrieved 2007-05-31. [7] http:/ / www. solosjazz. com/ a_lee. php [8] http:/ / www. press. umich. edu/ titleDetailDesc. do?id=130264

External links • A 1985 interview (http://www.melmartin.com/html_pages/Interviews/konitz.html) • Lee Konitz: 12 Memorable Duets (http://www.jazz.com/dozens/the-dozens-lee-konitz-duets) by Thierry Quénum (Jazz.com) • Lee Konitz Trio: Live At The Village Vanguard (http://www.npr.org/templates/story/story. php?storyId=122688265) by NPR

Azar Lawrence Azar Lawrence (born 1953)[1] is an American jazz saxophonist, known for his contributions as sideman to McCoy Tyner, Miles Davis, and Freddie Hubbard. Lawrence was the tenor saxophonist Tyner used following John Coltrane's death. Lawrence released Summer Solstice on Prestige Records in 1975, produced by Orrin Keepnews. It featured Raul de Souza, Gerald Hayes, Amaury Tristão, Dom Salvador, Ron Carter, Guilherme Franco on the songs "Novo Ano" and "Highway" which were composed by Amaury Tristão, and Lawrence, Souza, Albert Dailey, Carter and Billy Hart on all other selections. Bridge Into The New Age featured Jean Carn, Woody Shaw, Ray Straughter, Woody Murray, Clint Houston, Billy Hart, Guillerme Franco, Julian Priester, Hadley Caliman, Black Arthur, Joe Bonner, John Heard, Leon "Ndugu" Chancler, Mtume and Kenneth Nash. People Moving featured Patrice Rushen, Jerry Peters, Michael Stanton, John Rowin, Lee Ritenour, Paul Jackson, Harvey Mason. Musician and screenwriter Hebert Baker taught music and mentored Lawrence, who recalled Baker as "one of the greatest pianists who ever lived" and taught Lawrence to reach down deep inside himself for his music.[2]

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Azar Lawrence

Discography As leader • • • • •

1974: Bridge into the New Age (Prestige) 1975: Summer Solstice (Prestige) 1976: People Moving (Prestige) 2009: Prayer For My Ancestors (Furthermore) 2010: Mystic Journey (Furthermore)

As sideman With Mulatu Astatke • Timeless (2010, Mochilla) With Henry Butler • Fivin' Around (1986, Impulse!/MCA) With Miles Davis • Dark Magus (1977) With Henry Franklin • If We Should Meet Again (2007, Skipper Productions) • Home Cookin (2007, Skipper Productions) With Gene Harris • In a Special Way (1976) With Freddie Hubbard • Bundle of Joy (1977) With Woody Shaw • The Moontrane (1974, Muse) With The 360 Degree Music Experience • In: Sanity (Black Saint, 1976) With McCoy Tyner • Enlightenment (1973, Milestone) • Sama Layuca (1974, Milestone) • Atlantis (1974, Milestone) With Harry Whitaker • Black Renaissance (1976, Bay State/Ubiquity)

References [1] Allmusic biography (http:/ / www. allmusic. com/ artist/ p8998/ discography) [2] http:/ / www. thebottomend. co. uk/ Azar_Lawrence_artists. php

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Dave Liebman Dave Liebman (born on 4 September 1946, Brooklyn, New York) is an American saxophonist and flautist.[1] In June 2010, he received a NEA Jazz Masters lifetime achievement award from the National Endowment for the Arts.

Biography David Liebman was born into a Jewish family in Brooklyn, New York, on September 4, 1946. He began classical piano lessons at the age of nine and saxophone by twelve. His interest in jazz was sparked by seeing John Coltrane perform live in New York City clubs such as Birdland, the Village Vanguard and the Half Note. Throughout high school and college, Liebman pursued his jazz interest by studying with Joe Allard, Lennie Tristano, and Charles Lloyd. Upon graduation from New York University (with a degree in American History), he began to seriously devote himself to the full-time pursuit of being a jazz artist. In the early 1970s, after recording with Genya Ravan and Ten Wheel Drive, Liebman took the leading role (as President) in organizing several dozen musicians into a cooperative, Free Life Communication, which became an integral part of the fertile New York loft jazz scene in the early 1970s and was funded by The New York State Council of the Arts and the Space for Innovative Development. After one year spent with Ten Wheel Drive, one of the early jazz fusion groups, Liebman secured the saxophone/flute position with the group of John Coltrane's drummer, Elvin Jones. Within two years, Liebman reached the zenith of his apprenticeship period when Miles Davis hired him. These years, 1970–74, were filled with tours and recordings. At the same time, Liebman began exploring his own music, first in the Open Sky Trio with Bob Moses and then with pianist Richie Beirach in the group Lookout Farm. This group recorded for the German-based ECM label as well as A&M Records while touring the U.S., Canada, India, Japan and Europe. Lookout Farm was awarded the number one position in the category "Group Deserving of Wider Recognition"in the 1976 Down Beat's International Critics' Poll. In 1977, Liebman did a world tour with pianist Chick Corea, followed up the next year by the formation of the David Liebman Quintet with John Scofield, Kenny Kirkland and Terumasa Hino as featured sidemen. After several world tours and recordings by the quintet over three years, he reunited with Richard Beirach. They began performing and recording as a duo, as well as creating the group Quest in 1981. Beginning with bassist George Mraz and drummer Al Foster, the group solidified when Ron McClure and Billy Hart joined in 1984. Through 1991, Quest recorded seven CDs, toured extensively and did many workshops with students worldwide. Liebman's present group, formed in 1991, includes guitarist Vic Juris, bassist Tony Marino and drummer Marko Marcinko. With these musicians, he has pursued an eclectic direction in recording projects that has ranged from jazz standards to Puccini arias, original adaptations from the John Coltrane and Miles Davis repertoires, original compositions in styles ranging from world music to fusion, always maintaining a repertoire that balances the past, present and future. Over the past decades, Liebman has often been featured with top European jazz artists such as Joachim Kühn, Daniel Humair, Paolo Fresu, Jon Christensen, Bobo Stenson and in the World View Trio with Austrian drummer Wolfgang Reisenger and French bassist Jean-Paul Celea. His ability to play in so many diverse styles has led to big band and radio orchestra performances with the Brussels Jazz Orchestra, the WDR and NDR in Germany, the Metropole Orchestra of the Netherlands, the new music group Klangforum from Vienna and, most notably, Liebman was the first improviser to perform with the world famous Ensemble InterContemporain founded by Pierre Boulez in France. On all these occasions, the music is arranged from Liebman's own compositions and improvisations. He has consistently placed among the top finalists in the Down Beat Critics' Poll since 1973 in the Soprano Saxophone category. David Liebman has been featured on several hundred recordings of which he has been the leader or co-leader on over one hundred. Nearly three hundred original compositions have been recorded. His artistic output has ranged from straight-ahead classic jazz to chamber music, from fusion to avant garde, with numerous CDs

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featuring original arrangements of the music of Monk, Miles Davis, Coltrane, Kurt Weill, Alec Wilder, Cole Porter, Jobim and Puccini. Liebman has published material on a variety of subjects including instructional DVDs. He has also published chamber music and over the years has contributed regularly to various periodicals, such as the Saxophone Journal and the International Association of Jazz Educators Journal. He is the author of several milestone books: Self Portrait of a Jazz Artist, A Chromatic Approach to Jazz Harmony and Melody, Developing a Personal Saxophone Sound and numerous others, several of which have been translated into other languages. His teaching activities at universities and in clinic settings have taken him literally around the world as a result of his varied musical directions and expertise on several instruments, along with an ability to articulate the intricacies of the jazz language, aesthetic and technique. Over the years, he has regularly received grantees to study with him funded by the NEA (U.S.), the Canadian Arts Council, as well as Arts Councils of numerous European countries. In 1989, he founded the International Association of Schools of Jazz (IASJ), an organization dedicated to networking educators and students from international jazz schools through periodic meetings, exchange programs and newsletters. Liebman presently serves as the Artistic Director of the IASJ. He scored music for the JazzEx Ballet Company in the Netherlands in the early 1990s and Ocean of Light for Katrina and the Tsunami tragedies in 2006. Liebman has received several distinguished awards including two NEA grants for composition and performance; an Honorary Doctorate from the Sibelius Academy of Helsinki, Finland; a Grammy nomination for Best Solo Performance in 1998 and Best Arrangement for Big Band in 2005; induction into the International Association of Jazz Educator's Hall of Fame in 2000; Artist Grant from the Pennsylvania Council of the Arts in 2005; and Jazz Journalist Award for Soprano Sax in 2007. In June 2010, Liebman received a 2011 NEA Jazz Masters lifetime achievement award from the National Endowment for the Arts, including a stipend of $25,000.[2] [3]

Discography As leader Year

Album Personnel

Label

1973

Lookout Farm

Frank Tusa, Don Alias, Jeff Williams, John Abercrombie, Richard Beirach, Badal ECM Roy

1973

Drum Ode

Gene Perla, Barry Altschul, Collin Walcott

ECM

1973

First Visit

Richie Beirach, Dave Holland, Jack DeJohnette

Phillips LP reissued by West 54 Records CD reissued by West Wind [4] Records

1976

Light'n Up Please

Chris Hayes, Pee Wee Ellis, Jumma Santos, Al Foster, Jeff Berlin, Tony Saunders A&M/Horizon Records

1978

Pendulum!

Randy Brecker, Richard Beirach, Frank Tusa, Al Foster

Artists House

1998

The Elements: Water Giver Of Life

David Liebman (soprano saxophone, tenor saxophone, wood flute), Pat Metheny (guitars), Bill Hart (drums), Cecil McBee (bass)

Arkadia Entertainment Corp.

Dave Liebman

As sideman With Miles Davis • On the Corner • Dark Magus • Get Up with It 1967 • Och Hans Vanner: Lars Werner, Love (Sweden) 1970 • • • • •

Nightscapes: David Liebman/Carvel Six, CBS/Sony (Japan) Hino's Journey To Air: Terumasa Hino, Love TP (Japan) Brief Replies: Ten Wheel Drive, Polydor Peculiar Friends: Ten Wheel Drive, Polydor The Best Of Ten Wheel Drive: Polydor

1971 • My Goal's Beyond: Mahavishnu John McLaughlin, Douglas • Genesis: Elvin Jones, Blue Note • Merry-Go-Round: Elvin Jones, Blue Note 1972 • • • • •

Open Sky: Open Sky Trio Mr. Jones: Elvin Jones, Blue Note Live At The Lighthouse: Elvin Jones, Blue Note (re-released 1990) Vols. 12, Blue Note Jazz Jamboree '72: Elvin Jones, Polskie Nagruna (Poland) From A Whisper To A Scream: Esther Phillips, Kudo

1973 • People In Me: Abbey Lincoln, Inner City (Nippon Phonogram, Japan) • Spirit In The Sky: Open Sky Trio, P.M. 1974 • • • •

Dark Magus: Miles Davis, CBS/Sony Drum Ode: David Liebman, ECM/Polydor (Germany) Get Up With It: Miles Davis, Columbia Somesvilles: Fred Thompkins, Festival

1975 • • • • • • • • •

Ljubljana Jazz Festival '75: Na Koncertinom Podiju (various artists) Jugoton (Yugoslavia) Year Of The Ear: Baird Hersey, Bent BRSI Sweet Hands: David Liebman, A&M;/Horizon Live From Onkel Po's Carnegie Hall: (various artists with Lookout Farm), Polydor (Europe) Father Time: Frank Tusa, Inner City (Enja-Germany) Passing Dreams: Badal Roy, Adamo Ashiribad: Badal Roy, Trio (Japan) Forgotten Fantasies: David Liebman/Richard Beirach, A&M;/Horizon Bittersuite In The Ozone: Bob Moses, Mozown

• From Russia With Jazz: Prince Igor Yahivelich, Different Drummer • What'cha Gonna Do For Me: Steve Satten, Columbia 1976

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Dave Liebman • Wishes/Kochi: Masabumi Kikuchi, East Wind (Japan), Inner City • A Place Within, Link Chamberlain: Muse (*also released as: What's New, David Liebman, Jacobson Tobacco Road Germany) • Main Force: Elvin Jones, Vanguard • The Last Call: David Liebman, Ego (Germany) 1977 • New Moon In Zytron: Jame Zytro, Pacific Arts • Bishop's Bag: Bishop Norman Williams, Theresa 1978 • Pendulum: David Liebman, Artist's House • Mosaic Select 32-(3 CDs): Live at the Village Vanguard with Richie Beirach, randy Brekcer, Al Foster, Frank Tusa • Omertà: David Liebman/Richard Beirach, Trio, Breaktime (Japan) • Tiger In The Rain: Michael Franks, Warner Bros. • Flaming Spirit: Ric Drexler, Claremont • Nature's Revenge: Ryo Kawasaki, MPS 1979 • • • • • • • • • • • • • • •

The Opal Heart: David Liebman, Enja (Germany) Matsuri: Yoshio "Chin" Suzuki, CBS/Sony (Japan) All-In All-Out: Masahiko Satoh, CBS/Sony (Japan) Faun: John McNeil, Steeplechase (Denmark) Secret Places: Nina Sheldon, Plug City Connection: Terumasa Hino, Flying Disc (Japan) Dancing On The Table: Niels Henning Orsted Pedersen, Steeplechase (Denmark) Doin' It Again: David Liebman, Timeless (Holland) "Mr. Foster": Al Foster, Nippon/Columbia (Japan) Who's Who: John Scofield, Arista Novus Family: Bob Moses, Sutra (also titled: Devotion, Soul Note, Italy) Wheels Of Colored Light: Bob Moses, Open Mind (Germany) Home: Steve Swallow, ECM (Germany) Dedications: David Liebman, CMP (Germany) What It Is: David Liebman, CBS/Sony (Japan) Columbia (USA)

1980 • • • • • •

Day Dream: Terumasa Hino, Flying Disk (Japan) Heads Up: Stone Alliance, PM Records If They Only Knew: David Liebman, Timeless (Holland), MCA - Impulse (USA) Susto: Masabumi Kikuchi, Columbia (Japan) Minerva's Owl:Aki Takase, Continental (Japan) Mountain: Nobuyoshi Ino, Nippon/Columbia (Japan)

1981 • Impressions Of Charles Mingus: Teo Macero, Palo Alto • Clean Sweep: John McNeil, Steeplechase (Denmark) • Wings: Yoshio "Chin" Suzuki, Trio (Japan) • Fusion Super Jam: Aurex Jazz '81, EWJ 80210 (Japan) • Visiting This Planet: Tisziji Munoz, Anami Music

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Dave Liebman • • • • •

Memories, Dreams and Reflections: David Liebman, P.M. Records Hearing Voices: Tisziji Munoz, Anami Music Quest: Liebman/Beirach Quartet, Trio, Breaktime (Japan), Palo Alto (USA) So Nobody Else Can Hear: Jimmy Cobb, CVR (rereleased on Estee Disc 0049) Coupe De Tete: Kip Hanrahan, American Clave

1982 • • • • •

Earth Jones: Elvin Jones, Palo Alto (rereleased on Quicksilver QSCD4015)Mistletoe Music: (various artists), Palo Alto "Lieb" Close-Up: David Liebman, CVR Spirit Renewed: David Liebman, Bob Moses, Eddie Gomez, Timeline Records (France 1991) Dogatana: Kazumi Watanabe, Better Days, Nippon Columbia

1983 • • • • •

Symbols Of Hopi: Jill McManus, Concord Mars: Steve Masakowski, Prescription Records Things We Did Last Summer: John McNeil, Steeplechase (Denmark) Picadilly Lilly: University of Miami Concert Jazz Band Introspection: Jukkis Votilla, Finn Records, Polydor (Finland)

• Visit With The Great Spirit: Bob Moses, Gramavision 1984 • Sweet Fury: David Liebman, From Bebop to Now (Canada) • The Spell: Klaus Ignatzek, Nabel (Germany) 1985 • • • • • • • •

Picture Show: David Liebman, PM Records Tender Mercies: Klaus Ignatzek, Nabel Records (Germany) Double Edge: David Liebman/Richard Beirach, Storyville (Denmark) The Duo Live: David Liebman/Richard Beirach, Advance Music (Germany) New Hands: Lars Danielsson, Dragon (Sweden) Guided Dream: Tolvan Big Band with David Liebman, Dragon (Sweden) The Loneliness Of A Long Distance Runner: David Liebman, CMP (Germany) Acoustical Suspension: Teo Macero, Teresa Gramophone Dr. Jazz FW

1986 • • • •

The Story Of Moses: Bob Moses, Gramavision Quest II: Liebman/Beirach Quartet, Storyville (Denmark) Inner Voices: Paolo Fresu, Splash (Italy) Inner Rhythm: Robert Jospe, Tundra

1987 • Homage To John Coltrane: David Liebman, Owl/EMI Records (France), Blue Note (USA), rereleased by Universal in 2002 • Midpoint: Quest, Storyville (Denmark) • The Energy Of The Chance: David Liebman and Dave Love, Heads Up • A Tribute To John Coltrane: David Liebman/Wayne Shorter, King-Paddle Wheel (Japan), Columbia Records (USA) • Rah: Billy Hart, Gramavision • Abracadabra: Jeff Palmer, Soul Note (Italy) • Men's Land: Michel Portal, Label Bleu (France)

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Dave Liebman 1988 • • • • • • •

New York Nights: Quest, Pan (Japan) Trio Plus One: David Liebman, Owl/EMI (France) Natural Selection: Quest, Evidence Unexpected: Zaviot with David Liebman, Jazz Is (Israel) A Sip Of Your Touch: Riccardo Del Fra, Ida (France) Voice Of The Wind: Ed Sarath, Timeline (France) Day And Night: McGill Jazz Ensemble with David Liebman, McGill (Canada)

1989 • • • • • • • •

Trio Plays Cole Porter: Red Records (Italy) Timeline: David Liebman, Owl/EMI (France) Visions: Tom Harrell, Contemporary Chant: Daivd Liebman & Richard Beirach, CMP (Germany) Sail Away: Tom Harrell, Contemporary Something Else: Jack Bruce, CMP (Germany) Nine Again: David Liebman & Franco D'Andrea, Red Records (Italy) Tomorrow's Expectations: David Liebman & Caris Visentin with the Ronan Guilfoyle Trio, FMC (Ireland)

• • • •

Schoenberg Improvisations: Harry Pepl, Amadeo (Austria) The Blessing Of The Old, Long Sound: David Liebman, New Sound Planet (Italy) The House On Lefferts Blvd.: Yosi Levy, MCI (Israel) Homecoming: Abbey Rader [5], Cadence

1990 • • • • • • • • • •

Exaton: Christian LeDelezir, Exaton (France) Manu Pekar And Guests: Columbia (France) The Tree: David Liebman, Soul Note (Italy) One OF A Kind: David Liebman, Line Records (Germany) (*Compilation CD of "Memories, Dreams and Reflections" and "Picture Show" PM Records) Of One Mind: Quest, CMP (Germany) West Side Story Today: David Liebman/Gil Goldstein, Owl/EMI (France) Pacific Rim: Phillip Kahn, Borland International Portal: Gurtu, Cinelu, Liebman, Live In Lille, Sari Seeri (France) Bestial Cluster: Mick Karn, CMP (Germany)

1991 • • • • • • • • • •

Classic Ballads: David Liebman, Candid (England) Looking For The Light—A Tribute to Chet Baker: Phil Markowitz, CB Records Classique: David Liebman, Owl/EMI (France) Poem: Lars Danielsson, Dragon (Sweden) Fresh Enough: Lars Danielsson, Bellaphon (Germany) Blues For McCoy: David Panichi, Spirit Song Convergence: Gunnar Mossblad, Mossblad Music So In Love: Craig Fraedrich, Positive Music Anadolu: Aydin Esen, Columbia/CBS Sony The Moment: Yoshio "Chin" Suzuki, One Voice (Japan)

• Sailing Stone: Motohiko Hino, Fun House (Japan) • Last Day In May: Ed Sarath, Konnex (Germany) 1992

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Dave Liebman • • • • • • •

Setting The Standard: David Liebman, Red Records (Italy) Stranger In Brooklyn: Mike Zilber, Owl/EMI (France) Turn It Around: David Liebman, Owl/EMI (France) Turandot: Bob Belden, Blue Note (Japan) The Yin And The Yout: Paul Wertigo, Vera Bra (Germany) Joy: David Liebman with the JMU Ensemble, Candid (England) Sax Legends 1 And 2: various artists, Paddle Wheel (Japan), Evidence (USA)

• (also released as: The Colossal Saxophone Sessions, Evidence, USA) Life's A Lesson: Ben Sidran, Go Jazz (Japan) • The Seasons: David Liebman, Soul Note (Italy) • New Songs: Manu Pekar, Gorgone (France) • Island: Shiro Mori, Verve Forecast, Polydor K.K (Japan) 1993 • • • •

Besame Mucho: David Liebman, Red Records (Italy) Key Of The Moment: Peter Weniger, Mons (Germany) Tales From The Reefs: Bocle Brothers, One (France) It's There: Motohiko Hino, Fun House (Japan)

• • • • •

King Oedipus: Peter Herbert, Milenium (Austria) Time Changes: Jerry Hahn, Enja (Germany) RH Factor: Reuben Hoch, Bellaphon (Germany) The Gatecrasher: Andreas Manndorf (Austria) Klang Debuts: MHS Big Band St. Gut (Austria)

1994 • • • • • • • • • • • • •

Far North: Liebman, Danielsson, Christensen, Stenson, Curling Legs (Norway) Miles Away: David Liebman, Owl/EMI (France), Blue Note (USA) Particular Vernacular: Bill Gerhardt Planet X (Netherlands) True Image: Jarmo Savolinen, Challenge Records (Netherlands) Gulf: Intergalactic Ballet, TipToe (Germany) Falling Stones: David Liebman with Marc van Roon Trio, Mons (Germany) Songs For My Daughter: David Liebman, Soul Note (Italy) Graphic Reality: David Liebman and Miku Narunsky, Owl/EMI (France) Impressions: Afro Blue Band, Milestone Zyphoid Process: Scott Cutshall, CMP (Germany) From Me To You: Ulf Radelius, DEP (Sweden) When Granny Sleeps: When Granny Sleeps, Storyville (Denmark) Sliding In: Pete McGuinness, Episode

1995 • • • • • •

Adventures: Ken Sangster, Jazz Focus (Canada) No Images: John Hollenbeck (CRI) Luis Vidal with David Liebman: Fresh Sound (Spain) Orchestre De Cambra, Luis Vidal and David Liebman: Fresh Sound (Spain) Mr. X: Mordy Ferber, Ozone New York Rendezvous: Didier Lockwood, JMS (France)

• In The Same Breath: David Liebman, Wolfgang Muthspiel, Mick Goodrick, CMP (Germany) • Voyage: David Liebman, Evidence • Prayer For My Father: Valery Volkov, Sigman International

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Dave Liebman • • • • •

Miss You In New York: T Square, CBS/Sony (Japan) Adventure Publique: Papaq (France) If I Only Knew: Reuben Hoch, Bellaphon (Germany) Meditations Suite: David Liebman, Arkadia Jazz Souls and Masters: David Liebman and Mike Gerber, Cactus(Canada)

1996 • • • • • • • • • • •

New York Breed: Conrad Herwig, Double Time Return Of The Tenor - Standards: David Liebman, Double Time Quatre Fois Trois: Daniel Humair, Label Bleu (France) World View: David Liebman, Jean Paul Celea, Wolfgang Reisinger, Label Bleu (France) Live In NY: Liebman, Danielsson, Stenson, Christensen, Dragon (Sweden) And Into The Light: Greg Waits, Jagre Music Dis Tanz: Michael Nick,Transes Europeenes(France) New Vista: David Liebman, Arkadia Jazz An Echoed Smile: Matt Ballisteras, Palmetto The Music Of Alec Wilder: Vic Juris, Double Time Thought Provoking: Rick DellaRatta, Stella

• • • •

But Beautiful: Dave Liebman, Phil Markowitz, Sunshine Digital (Japan) Homepage: Uli Rennert, SOS Music (Austria) Rencontre: Papaq with David Liebman (France) The Four Elements: Jens Winther, Stunt (Denmark)

1997 • • • • • • • •

Affairs: Rolf Kuhn, Intuition (Germany) Inner Voices: David Liebman, Abbey Rader [5], Abray Swing Time: Peter LaRoca (Sims), Blue Note Off The Coast: Terumasa Hino, Sweet Basil (Japan) Time Immemorial: David Liebman, ENJA (Germany) Free Time: Nick Bissesi, Hallway A Walk in the Clouds... Liebman Plays Puccini: David Liebman, Arkadia Jazz Hunters-Gatherers: Liebman, Votilla, Jormin, Savolinen (Double Time)

1998 Orphee: Allie Defau,Night and Day(France) • Jazz Pioneers of the 70s: with Randy Brecker,Pat Martino,Al Foster,Buster Williams,JoAnne Brackeen, 201 Music • Thank You, John: Arkadia All Stars, Arkadia (Liebman cut nominated for Grammy) • Panthalassa: Bill Laswell with Miles Davis,Columbia • Endless Miles: with various artists,N2K • Invisible City: Andre Bush,Odd Culture • Pink Elephant Magic: JoAnne Brackeen,Arkadia • Sacred System Nagual Site: Bill Laswell,Wicklow • Innermedium: Robert Musso, DIW • Taurus People: John Nugent, Jazz Focus(Canada) • Metal Caribe: Richie Zellon,Song-o-saurus • Spirit Child: Lenora Helms,J Curve • Missing a Page: David Liebman,Jean Paul Celea,Wolfgag Reisinger,Label Bleu(France) • After Dark: David Liebman with the Ronan Guilfoyle Trio,IMC(Ireland)

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Dave Liebman • • • • • • • • • • • • •

Suite for Soprano Sax and Strings: David Liebman with Florian Ross,Naxos Detroit Montreux Jazz Festival: Ford Motor Corporation Pantau-X:Uli Soykal,Pantau(Austria) Sombritude: Amdy Emler, Casa(France) I Mean You: Peter Weniger,Mons(Germany) Meeting Two,Ravi Magnifique,Au Merle Moquer (France) Stamm/Soph Project: Marvin Stamm, Marstam Petty Theft: SkipWilkins and Jill Allen, Cathexis Atelier Musicale Del Ventesimo Secolo: Liebman, Celea, Reisinger, Associazone Culturale(Italy) Passing Dreams: Badal Roy, Greetika (new tracks added to original 1975 recording) The Banff Sessions: John Stowell, Origin Le Jazz Hot: Bill Warfield Big Band featuring Dave Liebman, Planet Arts Colors:: David Liebman, Hatology (Switzerland)

1999 • Monk's Mood :Dave Liebman Trio,Double Time Jazz • Purple Circles: Misako Kano,Jazz Focus(Canada) • Presence of Joy: Tisziji Munoz,Anami Records • • • • •

In Color: Peter Wettre Trio,Resonant Music (Norway) The Unknown Jobim: Dave Liebman Group,GMN Dark Star: Teo Macero TMP 03 Inner Voices Live: Dave Liebman and Abbey Rader [5], Abray IASJ Gala Concert – 4 April 1998 featuring Michael Brecker, David Liebman, IASJ

2000 • • • • • • •

Topaz Under the Moon: Jeff Rehab, Topaz Tour De Force: David Liebman and Petter Wettre, Household Records (Norway) Second Voyage: Lewis Porter, Altrisuoni(Italy) The Daedalus Project-Labyrinth: Dimitrious Vassilakis, Candid (England) Among Birds and Beasts: Marc Van Roon and David Liebman, Apple on the Moon (Holland) Clear Day: JD Walter with David Liebman, Double Time The Human Spirit: Tisziji Munoz, Anami Records

In Harmony's Way: Jeff Berlin, MAJ Records • Live At Big Mama's: Maurizio Giammarco and David Liebman, Soul Note (Italy) • Live at the Jazz School: David Liebman and Mike Zilber, Jazzschool Records 2001 • • • •

In a Mellow Tone: Dave Liebman Group, Zoho Latin-Genesis: w/Dan Moretti, Don Braden,Whaling City Sound Ghosts: Reisinger, Liebman, Celea-Nightbird(France) Sylvan Treasure: Jesse Green, (Chiaroscuro)

• • • •

• Beyond the Line: David Liebman Big Band, Omnitone Records Lichtblau: Andre Nendza-Crecycle Music(Germany) Nuage: Jeff Johnston-Justin Time (Canada) Lunar: David Liebman/Marc Copland Quartet- Hatology Records(Switzerland) Cosmos: David Liebman and Abbey Rader [5]- Cadence CJR1158

• Hope: Piotr Wjastik, Power Bros. (Poland) • Sketches of Spain: David Liebman with the Manhattan School of Music

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Dave Liebman Jazz Orchestra, Jazzheads • Ringin' Bells: Alesandro Fabri Quartet, Via Venuto Jazz Records (Italy) • Live at the Jazz School: David Liebman and Mike Zilber, Jazzschool Records • To Music: Jim Robitaille, Whailing City Sound 2002 • • • • •

Le Jazz Est Un Roman: Alain Gerber, Owl(France) Feel: Cues Trio Meets Dave Liebman, Abeat(Italy) Bookends: David Liebman and Marc Copland, Hatology(Switzerland) These are Them: Al Ashley, Jazz Land Monsoon: Scott Dubois, Soul Note(Italy)

2003 • • • • •

Conversation: Dave Liebman Group, Sunnyside In Berlin: Andreas Schmidt and Friends, Jazzmusic (Germany) Human Circle: The Wayfarer: Dave Liebman with the Budapest Jazz Orchestra, BMC (Hungary) Line Ish: w/ Tony Bianco, Tony Marino, Emanem (England) Seasons Revisited: David Liebman w/ the Gunnar Mossblad Ensemble, Soul Note (Italy)

• • • • • • •

Cruisin': Juergen Seefelder,West Wind (Germany) Reasons for Christmas: Various Artists, PATH Snake Charmer: Rez Abbasi, Earth Sounds Lieb Plays Alec Wilder: Daybreak (Netherlands) Monkey Dance: Tony Bianco, FMR Records (England) In Berlin: Andreas Schmidt and Friends, Jazzmusic (Germany) Day and Nite: David Liebman and Mike Murley, Cornerstone (Canada)

2004 • • • • •

Gathering of Spirits: Saxophone Summit (Liebman, Brecker, Lovano), Telarc Caminando: Jean-Marie Machado / David Liebman, PAO Records (Austria) David Liebman and Richie Beirach Retrospective: Mosaic Select Series #12 Second Look: Vic Juris, Mel Bay Records Different But The Same: David Liebman and Ellery Eskelin, Hatology (Switzerland)

Selected as 2nd Best of the Year -Falter Weekly-Vienna, Austria • • • • • • •

Oracion: Guillermo McGill, Karonte (Spain) Manhattan Dialogues: David Liebman and Phil Markowitz, Zoho Fusion for Miles - A Guitar Tribute: Jeff Richmond, Tone Center Harrison on Harrison: Joel Harrison, High Note After Utopia: Andy Sugg, Newmarket Music (Australia) Refusion: Wolfgang Reisinger, Universal (Austria) Jazz My Soul: Jazz Explorers, Rhythm Dynamics 200

2005 • Flashpoint: David Liebman with Steve Smith, Aydin Esen, Anthony Jackson, Tone Center • Spectacles: Andre Nendza's A.Tronic-Jazzsick(Germany) • Miles Ahead: Dave Liebman with the Manhattan School Orchestra, Jazzheads • Blues All Ways: Dave Liebman, Omnitone • Negative Space: Dave Liebman with Roberto Tarenzi, Tony Arco, Paolo Benedittini, Verve • Grey Matters: David Kane, Magellan • The Distance Runner: David Liebman Solo Performance, Hatology(Switzerland)

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Dave Liebman • • • • • • • • •

Exploration: C.Dal Sasso, Nocturne(France) Three For All: David Liebman, Steve Swallow, Adam Nussbaum(We Three), Challenge(Netherlands) Tiger by the Tail: George Gruntz Concert Jazz Band, Montreux (Switzerland) Faces: Jean Charles Richard, Herade (France) Vienna Dialogues: David Liebman and Bobby Avey, ZoHo 4 More: Thomas Carbou, Twinz Redemption: Quest, Hatology (Switzerland) Forever Lost: Jiannis Pavlidis (England) Dream of Nite: Dave Liebman with Roberto Tarenzi, Tony Arco, Paolo Benedittini, Verve

2006 • • • • • • •

Machinery of the Night: David Kane, Magellan Depth of Emotion: Ed Saindon, World Improvised Music Traces: Dan Stern, Kvetch Records Ltd (England) Back On the Corner: David Liebman Group with Mike Stern and Anthony Jackson, Tone Center Waters Ashore: with Misha Feigin and LaDonna Smith, Transmuseq Records New Light - Live in Oslo: Pettre Wettre, Gene Perla, Scott Neuman, PM Records Identita': Massimo Manzi, Wide Records (Italy)

• Origin: Emre Katari, Rec Jazz (Turkey) • Kopacoustic: Music from the Kopa Festival (Sweden) • Autumn Suite: Jarek Smietana, CDJASR (Poland) 2007 • Seraphic Light: Saxophone Summit (Liebman, Lovano, Coltrane), Telarc • Something Sentimental: Nuttree Quartet with Adam Nussbaum, John Abercrombie, Jay Anderson, Kind of Blue(Switzerland) • Renewal: David Liebman and Ellery Eskelin, Hatology (Switzerland) • Nomads: David Liebman and Michael Stephans, ITM (Germany) • Further Conversations: Dave Liebman Group, True Azul • • • • • •

• Live at the IAJE: Dave Liebman Group, On Site Recording Mona Lisa Puzzle: Hey Rim Jeon, Jazz Jeon Records The Comet's Tail: Chuck Owen and the Jazz Surge Perform the Compositions of Michael Brecker, Mama Records Study in Contrast: Teo Macero, Teo Productions Inc. Obligatory Villagers: Nellie McKay, Hungry Mouse Records Miles from India: Various Artists, Times Square Unibrain: Kakaphonic-Boom a Room

2008 • • • • • • •

Strength to Climb: Jazz Explorers, Jazz Explorers Lieb Plays Kurt Weil: Daybreak (Netherlands) Liebman Meets Intra Live: with Enrico Intra, Alfa (Italy) Porgy and Bess: Dave Liebman with the Manhattan School Orchestra, Jazzheads Remembering The Future: Jon Hemmersam, NCB (Denmark) Live at the Jazz Standard: Mateusz Kotakowski and Dave Liebman,Fenom Media(Poland) Free 4 DAG: Simon Goubert,CR(France)

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Dave Liebman

References [1] Allmusic (http:/ / www. allmusic. com/ artist/ p98423/ discography) [2] http:/ / artsbeat. blogs. nytimes. com/ 2010/ 06/ 24/ nea-will-honor-18-artists/ NEA Will Honor 18 Artists [3] National Endowment for the Arts (June 24, 2010). "National Endowment for the Arts Announces the 2011 NEA Jazz Masters" (http:/ / www. arts. gov/ honors/ jazz/ 2011-NEA-Jazz-Masters-Announced. html). Washington: National Endowment for the Arts. . Retrieved July 19, 2010. [4] Allmusic (http:/ / www. allmusic. com/ album/ 1st-visit-r162794) [5] http:/ / www. abbeyrader. com/


Dave Liebman's web site (http://www.davidliebman.com/) Dave Liebman at AllAboutJazz.com (http://www.allaboutjazz.com/php/musician.php?id=8748) Interview with Dave Liebman (http://www.allaboutjazz.com/php/article.php?id=14749) "In Conversation with Dave Liebman" (http://www.jazz.com/features-and-interviews/2009/1/3/ in-conversation-with-dave-liebman) by Ted Panken

( Jazz.com (http://www.jazz.com))

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Teo Macero

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Teo Macero Teo Macero

Macero at the first Miles Davis Conference held at Washington University in St. Louis, MO on May 11, 1996 (photo:Catherine Rankovic). Background information Birth name

Attilio Joseph Macero

Also known as

Teo Macero

Born

October 30, 1925

Origin

Glens Falls, New York, U.S.

Died

February 19, 2008 (aged 82) New York, U.S.

Genres

Jazz, Classical, Third Stream, Orchestral jazz

Occupations

Composer, saxophonist, Producer

Instruments

Saxophone

Years active

1953–2008

Labels

Columbia

Associated acts

Miles Davis, Charles Mingus, Thelonious Monk, Dave Brubeck

Teo Macero (October 30, 1925 – February 19, 2008), born Attilio Joseph Macero, was an American jazz saxophonist, composer, and record producer. He was a producer at Columbia Records for twenty years, and most notably produced the Miles Davis album, Kind of Blue, which at #12, is the highest-ranked jazz album on Rolling Stone's 500 Greatest Albums of All Time, and according to the RIAA, is the best-selling jazz album of all time. Macero also produced Davis' Bitches Brew, and Dave Brubeck's Time Out, which, along with Kind of Blue, are three of the best-known and most influential jazz albums of all time.

Teo Macero

Biography Early work Teo Macero was born and raised in Glens Falls, New York. After serving in the United States Navy, he moved to New York City in 1948 to attend the Juilliard School of Music. He studied composition, and graduated from Juilliard in 1953 with Bachelor's and Master's degrees. In 1953, Macero co-founded Charles Mingus' Jazz Composers Workshop, and became a major contributor to the New York City avant-garde jazz scene. As a composer, Macero wrote in an atonal style, as well as in third Stream, a synthesis of jazz and classical music. He performed live, and recorded several albums with Mingus and the other Workshop members over the next three years, including Jazzical Moods (in 1954) and Jazz Composers Workshop (in 1955). During this time, Macero also recorded Explorations (DLP-6). While he had contributed compositions to other albums, this was the first full album of his own compositions, and Macero's first album as a leader. Macero plays tenor and alto saxophones on the album, and is joined by Orlando DiGirolamo on accordion, both Mingus and Lou Labella on basses, and Ed Shaughnessy on drums. Explorations was originally released in 1954 on Mingus' Debut Records, and was reissued on CD in 2006 on Fresh Sounds Records, with additional tracks. The 1958 short experimental film Bridges-Go-Round by filmmaker Shirley Clarke featured two alternative soundtracks, one by Louis and Bebe Barron and one by Macero.

Columbia Records producer Macero found greater fame as a producer for Columbia Records. He joined Columbia in 1957, and produced hundreds of records while at the label. Macero worked with dozens of artists at Columbia including Mingus, Duke Ellington, Ella Fitzgerald, Thelonious Monk, Johnny Mathis, Count Basie, Dave Brubeck, Tony Bennett, Charlie Byrd, and Stan Getz. He was also responsible for signing Mingus, Monk, and Byrd to Columbia. Additionally, Macero produced over 100 albums of classical orchestral music for Columbia, including less conventional, contemporary pieces such as And God Created Great Whales by Alan Hovhaness, which required him to overlay recordings of humpbacked whale songs over the orchestral track. He also had an all girl Band called the What Four with Mrs Huntington Hartford in it. They had a hit song called "I'm going to destroy that boy". Macero produced the seminal Dave Brubeck Quartet album Time Out, and Thelonious Monk's first Columbia recording, Monk's Dream, as well as Underground. He also produced Mingus' first Columbia album, Mingus Ah Um. Beyond jazz, he produced a number of Broadway original cast recordings including A Chorus Line and Bye Bye Birdie. And he produced the soundtrack to The Graduate, by Simon and Garfunkel. While Macero produced many artists' albums, he had an especially long and prolific relationship with Miles Davis. He produced most of Davis' Columbia catalog, including the classics Kind of Blue, Porgy and Bess, Sketches of Spain, and Someday My Prince Will Come. Macero's role as producer on Kind of Blue has sometimes been disputed, as some of the early Kind of Blue sessions were overseen by Irving Townsend. But numerous sources, including the original liner notes, support Macero's involvement in the sessions, and preparation of the final album, and credit him as producer.[1] [2] [3] The role of the producer was further expanded on Davis' later forays into electric fusion, such as In a Silent Way, Bitches Brew, and A Tribute to Jack Johnson, which were highlighted by Macero's innovative mixing and editing techniques. In 2001, Miles Davis biographer Paul Tingen likened Macero's role in the electric music of Davis to that of George Martin with The Beatles.[4] Taking his cue from Tingen, Nick Southall described the impact of Macero's work on In a Silent Way in a 2003 Stylus Magazine article: Behind the scenes, Miles and Teo took the tapes of the In A Silent Way sessions and transformed some beautiful, folk-tinged, melody-driven sets into two exquisite, beguiling and otherworldly pieces of

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Teo Macero music. Using techniques that pre-dated the proliferation of tape loops, cut-ups, edits and sequencing in rock, pop, hip hop and dance music, Miles and Teo took apart the original recording and reassembled them outside of any traditional or accepted jazz structure or melodic framework. This idea of taking jazz away from its birth, genesis and flowering as a live art and into the studio would soon become standard practice, but in 1969 it was groundbreaking.[5] Some listeners and critics have complained that Macero overproduced Davis' recordings, and cut too much. But after hearing the unedited tapes from the In A Silent Way sessions, jazz critic John Ballon wrote that the original editing and production "attests to the producing genius of Teo Macero." Ballon continues: It took a force like Teo to splice together a cohesive album out of so many inspired pieces. Not only did Teo have the balls to stand up to Miles on creative decisions, he had the right. And Miles knew it. And while his ego rebelled against any producer messing with his music, Miles knew that incredibly great records were borne out of the conflict and compromise of his relationship with Teo.[6] On Davis' 1970 release, Bitches Brew, Macero continued to expand his innovative practices, and "Bitches Brew not only became a controversial classic of musical innovation, it also became renowned for its pioneering use of studio technology."[7] Some of the controversy at the time also stemmed from the use of the word bitches in the title. Macero recalls that when Davis told him that he wanted to call it Bitches Brew, "I thought he was kidding."[8] The album became the best-selling jazz album of its time, selling 500,000 copies by 1976, when most successful jazz albums sold less than 30,000 copies. Macero's innovative techniques were inspired partially by his association with avant-garde composer Edgard Varèse, and they continue to impact the way musicians, producers, and remixers work in the studio today. Brian Eno, a producer who has worked extensively with U2 and Talking Heads, among others, talked about Macero's influence on him in a 1996 interview with jazzthetik magazine. Eno describes being "fascinated" by Macero's editing techniques and the "spatial" quality he added to the music. "He did something that was extremely modern."[9] In 1975, Macero left Columbia and formed his own production company. However, he continued to work with Davis until 1983, and continued to produce records for Columbia throughout his career.

Composer and arranger Macero also composed and arranged music during his time at Columbia, contributing tracks to (and still producing) several albums including Monk's Monk's Blues, and Something New, Something Blue, a collection of blues compositions and arrangements by Macero, Teddy Charles, Manny Albam, and Bill Russo. He contributed a track to (and produced) John Lewis and Gunther Schuller's Orchestra U.S.A. album, Sonorities, an album of third stream compositions, and he arranged music for easy listening pioneer, André Kostelanetz. He composed, conducted, and produced numerous television and film soundtracks and scores. He scored the 1970 Muhammad Ali documentary, a.k.a. Cassius Clay, and more recently, produced soundtrack music for True Romance, Finding Forrester, and Martin Scorsese's The Blues. Macero has also composed for, conducted, and performed with Leonard Bernstein and the New York Philharmonic, the London Philharmonic Orchestra, the Salt Lake Symphony, the Kansas City Symphony, and The Juilliard School; and has been commissioned by, and composed ballets for, the Joffrey Ballet Company, the Anna Sokolow Ballet Company, the London Ballet Company, the Juilliard Ballet Company, and the American Ballet Theatre.

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Teo Macero

Other work After his tenure at Columbia, Macero continued as a player and producer on other projects, working with Brubeck, Tony Bennett, Herbie Hancock, Michel Legrand, Wallace Roney, Shirley MacLaine, Vernon Reid, Robert Palmer, and DJ Logic. With Robert Palmer he produced the hit song "Addicted To Love". In the 1970s and 1980s, Macero released a handful of his own albums, including Time Plus Seven, Impressions of Charles Mingus, and Acoustical Suspension, before founding his own label, Teorecords, in 1999. Subsequently, he released over a dozen albums of original compositions, and continued to produce reissues of Miles Davis and other artists for various record companies. However, Macero was outspoken in his opposition to the practice of adding back alternate takes that didn't appear on the original albums, or otherwise altering the original music, on the grounds that it corrupts the intentions of the musicians and the producer at the time the recording was made. "They put all the mistakes back in," said Macero. "Don't destroy the original record."[8] In the late 80s Macero tried his hand at country music, producing an album by a New York based band called Sixgun, whose members included Joe Spena, Phil Gelfer, Kenny Davis (Leichtling), Ed Jennings, and Pete DeSalvo. He made this connection through his friend Phil Levitan, manager of the group, and father of well-known Nashville producer and agent, Ken Levitan.

Films A Teo Macero documentary film, Play That, Teo, is currently being produced by Olana DiGirolamo, daughter of Macero's friend and collaborator, Orlando DiGirolamo. Shot by cinematographer Fortunato Procopio, the film features a behind-the-scenes look at the person behind the persona, and includes photos, archival footage, and recordings from Macero's personal collection.[10] Another documentary "Teo" was filmed over the past five years by producer/director Daragh McCarthy and features Teo Macero's last recording session and extensive interviews.[11]

Awards Macero was awarded the BMI Student Composer Award in 1953. Macero received two Guggenheim Fellowships for composition in 1957 and 1958. Macero was awarded a National Endowment for the Arts grant in 1974. Macero received over 20 Recording Industry Association of America (RIAA) Gold, Platinum, and Multi-platinum certifications.

Discography • • • •

Teo Macero with the Prestige Jazz Quartet (Prestige, 1957) Something New, Something Blue with Manny Albam (Columbia, 1959) Impressions of Charles Mingus (Palo Alto, 1983) Acoustical Suspension (Doctor Jazz, 1984)

Notes [1] [2] [3] [4]

Marmorstein, Gary: The Label: The Story of Columbia Records, Thunder's Mouth Press, 2007. Nisenson, Eric: The Making of Kind of Blue, St. Martin's Griffin, 2001. Carr, Ian: Miles Davis: The Definitive Biography, HarperCollins, 1998. Tingen, Paul: (http:/ / www. miles-beyond. com), Miles Beyond, Billboard Books, New York, 2001.

[5] Southall, Nick: "Miles Davis - In A Silent Way" (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-in-a-silent-way. htm), Stylus, September 2003. [6] Ballon, John: "Miles Davis: The Complete In A Silent Way Sessions", All About Jazz, October 2003.

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Teo Macero [7] Tingen, Paul: "The Making Of The Complete Bitches Brew Sessions." (http:/ / www. miles-beyond. com/ bitchesbrew. htm) [8] Interview (http:/ / wcpn. org/ jazz/ jazztracks/ interviews/ teo-macero. html) with Macero by Bobby Jackson. [9] Engelbrecht, Michael: "Interview with Brian Eno", Jazzthetik, November 1996. [10] Play That, Teo (http:/ / www. playthatteo. com/ about. html) film information at official website. [11] Daragh McCarthy,The Guardian, 28 February 2007

References • • • •

Tingen, Paul: Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991, Billboard Books, 2001. Marmorstein, Gary: The Label: The Story of Columbia Records, Thunder's Mouth Press, 2007. Feather, L and Gitler, I (eds): The Biographical Encyclopedia of Jazz, Oxford University Press, 2007. Weidenbaum, Marc: "Higher Sources", Pulse!, August 2001.

External links • Teorecords (http://web.archive.org/web/20060318102707/http://www.teorecords.com/index.html) official site (no longer active) at the Internet Archive. • Teo Macero Collection, 1949-1992 (http://www.nypl.org/sites/default/files/archivalcollections/pdf/ musmacer.pdf) Music Division, New York Public Library for the Performing Arts. • • • • • • • • • • • • • • • • •

Commentable Teo Macero discography (http://www.teomacero.com/discography/). Teo Macero (http://www.imdb.com/name/nm0532163/) at the Internet Movie Database Official site for the documentary film, Play That, Teo (http://www.playthatteo.com). Audio feature (http://www.npr.org/templates/story/story.php?storyId=1134732) about In a Silent Way from National Public Radio. Short clip from "Teo" a documentary in production. (http://www.youtube.com/watch?v=RBrviOJIH4o) Obituary by John Fordham and an appreciation by Daragh McCarthy (http://music.guardian.co.uk/jazz/story/ 0,,2260375,00.html) from the Guardian newspaper. retrieved 28 Feb 2008. Artists House Music (http://www.artistshousemusic.org/videos/producer+and+arranger+teo+macero+on+ his+early+career+in+the+music+business) Exclusive interview conducted in 2004. Miles Beyond (http://www.miles-beyond.com). The book Miles Beyond was the first to fully appreciate Macero's central role in Davis' electric music. The corresponding site also gives extensive details. Daly, Ann: "A Century of Jazz and Modern Dance" (http://www.anndaly.com/author/essays/jazz.html), 2000. Several references (http://www.yair-haklai.co.il/text27.html) to Anna Sokolow and Macero's work together. Le Grand Spectacle (http://www.abt.org/education/archive/ballets/grand_spectacle.html) at the American Ballet Theater. Review (http://www.holeintheweb.com/drp/drptm.htm) of The Best of Teo Macero, by Ted White. Interview (http://www.furious.com/Perfect/teomacero.html) with Macero by Iara Lee. AllMusic (http://www.allmusic.com/artist/p100598/biography) biography of Teo Macero, by Scott Yanow. RIAA album certification database (http://www.riaa.com/goldandplatinumdata.php?table=SEARCH). Guggenheim Foundation (http://www.gf.org/index.html). Ratliff, Ben: "Teo Macero, 82, Record Producer, Dies" (http://www.nytimes.com/2008/02/22/arts/music/ 22macero.html), New York Times, February 22, 2008.

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Al McKibbon

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Al McKibbon Al McKibbon Al McKibbon, Lucky Thompson and Hilda A. Taylor at the Three Deuces, New York, 1947. Photo: William P. Gottlieb. Background information Born

1919

Died

2005

Genres

Jazz

Instruments

Double Bass

Al McKibbon (January 1, 1919 – July 29, 2005) was an American jazz double bassist, known for his work in bop, hard bop, and Latin jazz. In 1947, after working with Lucky Millinder, Tab Smith, J. C. Heard, and Coleman Hawkins, he replaced Ray Brown in Dizzy Gillespie's band, in which he played until 1950. In the 1950s he recorded with the Miles Davis nonet, Earl Hines, Count Basie, Johnny Hodges, Thelonious Monk, George Shearing, Cal Tjader, Herbie Nichols and Hawkins. McKibbon was credited with interesting Tjader in Latin music while he played in Tjader's group. McKibbon has always been highly regarded (among other signs of this regard, he was the bassist for the Giants of Jazz), and continued to perform until 2004. In 1999, at age 80, he recorded his first album in his own name, Tumbao Para Los Congueros De Mi Vida (Blue Lady Records), which was nominated for a Grammy for Best Latin Jazz Performance. McKibbon's second album, Black Orchid (Nine Yards Music), was released in 2004. He also wrote the Afterword to Raul Fernandez' book, Latin Jazz, part of the Smithsonian Institution's series of exhibitions on jazz.

Discography As Sideman With Nat Adderley • To the Ivy League from Nat (1956) With Lorez Alexandria • Alexandria the Great (1964) With Thelonious Monk • Genius of Modern Music: Volume 2 (1955) With Randy Newman • 12 Songs (1970) With The Night Blooming Jazzmen • The Night Blooming Jazzmen (1971) With Herbie Nichols • The Prophetic Herbie Nichols Vol. 1 (1955) • The Prophetic Herbie Nichols Vol. 2 (1955) • Herbie Nichols Trio (1956)

Al McKibbon With George Shearing • On the Sunny Side of the Strip (1960) • "Latin Escapade" (1956[1] )

References [1] Fernandez, Raúl (2002). Latin Jazz: La combinación perfecta/the perfect combination. San Francisco: Chronicle Books. ISBN 0-8118-36-8-9.

• San Jose Mercury News report of death 30 July 2005 (http://www.mercurynews.com/mld/mercurynews/news/ 12263536.htm) • Googled cache of Bassland article retrieved 18 June 2005 (http://google.com/ search?q=cache:6UAqmcT7YpIJ:www.bassland.net/1bigal.htm+"Al+McKibbon"&hl=en) • Allmusic.com article on Al McKibbon (http://www.allmusic.com/artist/p36811/biography) • http://extratv.warnerbros.com/cmp/presentations/99_grammy/retrieved Aug. 5, 2005 • Frenandez, Raul. Latin Jazz: The Perfect Combination/La Combinacion Perfecta (Chronicle Books, 2002).

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John McLaughlin

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John McLaughlin John McLaughlin

John McLaughlin performing in 2008 Background information Also known as Mahavishnu John McLaughlin Born

4 January 1942 Doncaster, England

Genres

Jazz fusion, jazz, world fusion, post-bop

Occupations

Musician, songwriter

Instruments

Guitar, keyboard

Years active

1963–present

Labels

Abstract Logix Verve Records

Associated acts

Miles Davis, Tony Williams Lifetime, Mahavishnu Orchestra, Shakti, Remember Shakti, Paco de Lucía, Al Di Meola, Carlos Santana, Katia Labèque, Zakir Hussain.

Website

Official website

[1]

[2] Notable instruments Gibson EDS-1275 Gibson L-4 Gibson Hummingbird Fender Mustang Gibson Les Paul Custom Abraham Wechter-built "Shakti guitar" Ovation acoustic

John McLaughlin (born 4 January 1942, Doncaster, South Yorkshire, England), also known as Mahavishnu John McLaughlin, is an English jazz and jazz fusion guitarist and composer. He played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused eclectic jazz and rock with eastern and Indian influences. His guitar playing includes a range of styles and genres, including jazz, Indian classical music, fusion, and Western classical music, and has influenced many other guitarists. He has also incorporated flamenco music in some of his acoustic recordings. The Indian tabla maestro Zakir Hussain has called John McLaughlin "one of the greatest and one of the important musicians of our times". In 2010, Guitarist Jeff Beck called him "the best guitarist alive".[3] In 2003, McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".[4]

John McLaughlin

Biography 1960s From a family of musicians (his mother being a concert violinist), McLaughlin studied violin and piano as a child, but took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stephane Grappelli. McLaughlin moved to London from Yorkshire in order to involve himself in the thriving music scene in the early 1960s, playing with Alexis Korner[5] and the Marzipan Twisters before moving on to Georgie Fame's backing band, the Brian Auger band, and importantly, the Graham Bond Quartet in 1963.[6] During the 1960s he often had to support himself with session work, which he often found unsatisfying,[7] but which radically enhanced his playing and sight-reading skills. Before moving to the U.S., McLaughlin recorded Extrapolation (with Tony Oxley and John Surman) in 1969, in which he showed technical virtuosity, inventiveness and the ability to play in odd meters. He moved to the U.S. in 1969 to join Tony Williams's group Lifetime. He subsequently played with Miles Davis on his landmark albums In A Silent Way, Bitches Brew (which has a track named after him), On The Corner, Big Fun (where he is featured soloist on "Go Ahead John") and A Tribute to Jack Johnson—Davis paid tribute to him in the liner notes to Jack Johnson, calling McLaughlin's playing "far in." McLaughlin returned to the Davis band for one recorded night of a week-long club date, which was released as part of the album Live-Evil and as part of th Cellar Door boxed set. A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix. McLaughlin recollects "we played one night, just a jam session. And we played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use!" His reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, and others.

1970s He recorded Devotion in early 1970 o Douglas Records (run by Alan Douglas), a high-energy, psychedelic fusion album that featured Larry Young on organ (who had been part of Lifetime), Billy Rich on bass, and the R&B drummer Buddy Miles (who had played with Jimi Hendrix). Devotion was the first of two albums he released on Douglas. On the second Douglas album, however, McLaughlin went in a different direction in 1971 when he released My Goal's Beyond in the U.S., a collection of unamplified acoustic works. Side A ("Peace One" and "Peace Two") offers a fusion blend of jazz and Indian classical forms; side B features some of the most melodic acoustic playing McLaughlin ever recorded, including such standards as "Goodbye Pork Pie Hat", by Charles Mingus whom McLaughlin considered an important influence on his own development. Other tracks that expressed some of McLaughlin's other influences include "Something Spiritual" Dave Herman, "Hearts and Flowers" (P.D. Bob Cornford), "Phillip Lane", "Waltz for Bill Evans" (Chick Corea), "Follow Your Heart", "Song for My Mother" and "Blue in Green" (Miles Davis). "Follow Your Heart" had been released earlier on Extrapolation under the title "Arjen's Bag". My Goal's Beyond was inspired by McLaughlin's decision to follow the Indian spiritual leader Sri Chinmoy, to whom he had been introduced in 1970 by Larry Coryell's manager. The album was dedicated to Chinmoy, with one of the guru's poems printed on the liner notes. It was on this album that McLaughlin took the name "Mahavishnu." In 1979, he formed a short-lived funk fusion power trio named the Trio of Doom with Tony Williams on drums and Jaco Pastorius on bass. Their only live performance was on 3 March 1979 at the Havana Jam Festival (2-4 March

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John McLaughlin

482

1979) in Cuba, part of a US State Department sponsored visit to Cuba. Later on 8 March 1979 the group recorded the songs they had written for the festival at Columbia Studios, New York, on 52nd St.[8] Recollections from this performance are captured on Ernesto Juan Castellanos's documentary Havana Jam '79. Mahavishnu Orchestra McLaughlin's 1970s electric band, the Mahavishnu Orchestra,[9] included violinist Jerry Goodman (later replaced in the second iteration of the Orchestra by Jean-Luc Ponty), keyboardist Jan Hammer (later replaced by Gayle Moran and then Stu Goldberg), bassist Rick Laird (later replaced by Ralphe Armstrong), and drummer Billy Cobham (later replaced by Narada Michael Walden). The band performed a technically virtuosic and complex style of music that fused eclectic jazz and rock with Eastern and Indian influences. This band established fusion as a new and growing style within the jazz and rock worlds. McLaughlin's playing at this time was distinguished by fast solos and exotic musical scales. In 1973, McLaughlin collaborated with Carlos Santana, also a disciple of Sri Chinmoy, on an album of devotional songs, Love Devotion Surrender, which included recordings of Coltrane compositions including a movement of A Love Supreme. He has also worked with the jazz composers Carla Bley and Gil Evans.

John McLaughlin, Zirkus Krone, Munich, West Germany 1973 April 13 (photo by Peter Duray-Bito)

The Mahavishnu Orchestra's personality clashes were as explosive as their performances and consequently the first incarnation of the group split in late 1973 after just two years and three albums, one of which was a live recording entitled "Between Nothingness and Eternity". In 2001 the "Lost Trident Sessions" album was released, recorded in 1973 but shelved when the group disbanded. McLaughlin then reformed the group with Narada Michael Walden (drums), Jean-Luc Ponty (violin), Ralphe Armstrong (bass), and Gayle Moran (keyboards and vocals), and a string and horn section (McLaughlin referred to this as "the real Mahavishnu Orchestra"). This incarnation of the group recorded an additional two Mahavishnu albums, Apocalypse with the London Symphony Orchestra and Visions of the Emerald Beyond. A scaled-down quartet was formed with McLaughlin, Walden on drums, Armstrong on bass and Stu Goldberg on keyboards and synthesizer, which generated a third "Mahavishnu 2" recording in 1976 largely due to contractual obligations, Inner Worlds. McLaughlin then became absorbed in his acoustic playing with his Indian classical music based group Shakti (see below). Around this time, McLaughlin also appeared on Stanley Clarke's School Days and numerous other fusion albums.

John McLaughlin

483

Other activities After the first reincarnation of the Mahavishnu Orchestra split, McLaughlin worked with acoustic group Shakti. McLaughlin had already been studying Indian classical music and playing the veena for several years. The group featured Lakshminarayanan L. Shankar (violin), Zakir Hussain (tabla), Thetakudi Harihara Vinayakram (ghatam) and earlier Ramnad Raghavan (mridangam). John was one of the earliest westerners to attain any acclaim performing Indian music for Indian audiences. The group recorded three albums; 'A Handful of Beauty' (1975), 'Shakti' (1976), and 'Natural Elements' (1977). Based on carnatic and Hindustani substrates, along with extended use of konnakol, the band introduced ragas and Indian percussion to many jazz aficionados.[10]

John McLaughlin, Remember Shakti Concert, Munich/Germany (2001)

In this group, McLaughlin played a custom made steel string acoustic guitar made by luthier Abe Wechter and the Gibson guitar company, which featured two tiers of strings over the soundhole: a conventional six string configuration with an additional seven strings strung underneath on a forty-five degree angle - these were independently tunable and were played as "sympathetic strings" much like a sitar or veena. The instrument also featured a scalloped fretboard along the full length of the neck which enabled McLaughlin to play bends far beyond the reach of a conventional fretboard. In 1979, he teamed up with flamenco guitarist Paco de Lucía and jazz guitarist Larry Coryell (replaced by Al Di Meola in the early 1980s) as the Guitar Trio. For the fall tour of 1983, they were joined by Dixie Dregs guitarist Steve Morse, who opened the show as a soloist and participated with The Trio in the closing numbers. The Trio, again featuring McLaughlin along with de Lucía and Di Meola, reunited in 1996 for a second recording session and a world tour. In 1979, McLaughlin recorded the album Johnny McLaughlin: Electric Guitarist, the title on McLaughlin's first business cards as a teenager in Yorkshire. This recording was a return to more mainstream jazz/rock fusion and to the electric instrument after three years of playing acoustic guitars, particularly his Gibson 2-tier custom-made steel string with the Shakti group. McLaughlin was so used to the scalloped fretboard from his Shakti days and so accustomed to the freedom it provided him that he had the fretboard scalloped on his Gibson Byrdland Electric hollowbody. He also formed the short-lived One Truth Band who recorded one studio album, Electric Dreams. The group had L. Shankar on violins, Stu Goldberg on keyboards, Fernando Saunders on electric bass, and Tony Smith on drums. 1979 also saw the formation of the very short-lived Trio of Doom, consisting of McLaughlin with Jaco Pastorius (bass) and Tony Williams (drums). They only played one concert, at the Karl Marx Theater in Havana, Cuba on 3 March 1979,[11] as part of the Havana Jam festival, a US State Department cultural exchange program known by some musicians as 'The Bay of Gigs'. Their performance is clearly captured on Ernesto Juan Castellanos's documentary Havana Jam '79. They later recorded three tracks at CBS Studios in New York, 8 March 1979.

Left to Right: Al Di Meola, John McLaughlin and Paco de Lucía

John McLaughlin

1980s After the dissolution of the One Truth Band, McLaughlin toured in a guitar duo with Christian Escoudé.[12] In the late '80s and early '90s McLaughlin recorded and performed live with a trio including bassist Kai Eckhardt and percussionist Trilok Gurtu. The group recorded two albums: Live at The Royal Festival Hall and Que Alegria, with latter featuring Dominique DiPiazza on bass for all but two tracks; parts of the subsequent tour also included Jeff Berlin on bass. These recordings saw a return to acoustic instruments for McLaughlin, performing on nylon-string guitar. On "Live at the Royal Festival Hall" McLaughlin utilised a unique guitar synth which enabled him to effectively "loop" guitar parts and play over them live. The synth also featured a pedal which provided sustain when pressed. McLaughlin played parts which sound overdubbed and creating lush soundscapes, aided by Gurtu's unique percussive sounds. This approach is used to great effect in the track "Florianapolis", amongst others. With the group Fuse One, he released two albums in 1980 and 1982.[13] In 1986 he appeared with Dexter Gordon in Bertrand Tavernier's film "Round Midnight." He also composed The Mediterranean Concerto, orchestrated by Michael Gibbs. The world premier featured McLaughlin and the Los Angeles Philharmonic. It was recorded in 1988 with Michael Tilson Thomas conducting the London Symphony Orchestra. Unlike what is typical practice in classical music, the concerto includes sections where McLaughlin improvises. Also included on the recording were five duets between McLaughlin and his then-girlfriend Katia Labèque.

1990s In the early 1990s he toured with his trio on the Que Alegria album. The trio comprised John McLaughlin, percussionist Trilok Gurtu and bass player Kai Eckhardt (later replaced by Dominique DiPiazza). Following this period he recorded and toured with The Heart of Things featuring Gary Thomas, Dennis Chambers, Matthew Garrison, Jim Beard and Otmaro Ruíz. In 1993 he released a Bill Evans tribute album entitled "Time Remembered: John McLaughlin Plays Bill Evans" with his acoustic guitar backed by the acoustic guitars of the Aighetta Quartet and the acoustic bass of Yan Maresz. In recent times he has toured with Remember Shakti. In addition to original Shakti member Zakir Hussain, this group has also featured eminent Indian musicians U. Srinivas, V. Selvaganesh, Shankar Mahadevan, Shivkumar Sharma, and Hariprasad Chaurasia. In 1996, John McLaughlin, Paco DeLucia and Al Di Meola (known collectively as "The Guitar Trio") reunited for a world tour and recorded an album by the same name. In that same year he recorded "The Promise". Also notable during the period were his performances with Elvin Jones and Joey DeFrancesco.

2000s In 2003, he recorded a ballet score, Thieves and Poets, along with arrangements for classical guitar ensemble of favorite jazz standards, and a three-DVD instructional video on improvisation entitled "This is the Way I Do It" (which contributed to the development of video lessons[14] ). In June 2006, he released a post-bop/jazz fusion album entitled Industrial Zen, on which McLaughlin experiments with the Godin Glissentar as well as continuing to expand his guitar-synth repertoire. In 2007, he left Universal Records and joined Abstract Logix [1]. Recording sessions for his first album on that label took place in April. That summer, he began touring with a new jazz fusion quartet, the 4th Dimension, consisting of keyboardist/drummer Gary Husband, bassist Hadrian Feraud, and drummer Mark Mondesir. During the 4th Dimension's tour, an "instant CD" entitled Live USA 2007: Official Bootleg was made available comprising soundboard recordings of six pieces from the group's first performance. Following completion of the tour, McLaughlin sorted through recordings from each night to release a second MP3 download-only collection entitled, Official Pirate: Best of the American Tour 2007. During this time, McLaughlin also released another instructional DVD, The Gateway to Rhythm, featuring Indian percussionist and Remember Shakti bandmate Selva Ganesh

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John McLaughlin

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Vinayakram (or V. Selvaganesh), focusing on the Indian rhythmic system of konnakol. McLaughlin also remastered and released a shelved 1980 project called The Trio of Doom, featuring jazz/fusion luminaries Jaco Pastorius and Tony Williams. The project had been aborted due to conflicts between Williams and Pastorius as well as what was at the time a mutual dissatisfaction with the results of their performance. On 28 July 2007, McLaughlin performed at Eric Clapton's Crossroads Guitar Festival in Bridgeview, Illinois. On 28 April 2008, the recording sessions from the previous year surfaced on the album Floating Point, featuring the rhythm section of keyboardist Louis Banks, bassist Hadrien Feraud, percussionist Sivamani and drummer Ranjit Barot bolstered on each track by a different Indian musician. Coinciding with the release of the album was another DVD, Meeting of the Minds, which offered behind the scenes studio footage of the Floating Point sessions as well as interviews with all of the musicians. McLaughlin engaged in a late summer/fall 2008 tour with Chick Corea, Vinnie Colaiuta, Kenny Garrett and Christian McBride under the name Five Peace Band, from which came an eponymous double-CD live album in early 2009. McLaughlin performed with Mahavishnu Orchestra drummer Billy Cobham at the 44th Montreux Jazz Festival, in Montreux, Switzerland, on 2 July 2010, for the first time since the band split up.

McLaughlin, 2007 Crossroads Guitar Festival

In November 2010, a new book was released by Abstract Logix Books entitled Follow Your Heart- John McLaughlin Song by Song. It was authored by Walter Kolosky, who also wrote the book, Power, Passion and Beauty - The Story of the Legendary Mahavishnu Orchestra. The book discussed each song McLaughlin wrote and contained never before seen photographs.

Influence McLaughlin has been cited as a major influence on many 1970s and 1980s fusion guitarists. Examples are prominent players such as Steve Morse, Eric Johnson, Mike Stern, Al Di Meola, Pebber Brown, Shawn Lane, and Scott Henderson. His influence did not stop in the 80's, though; hardcore punk guitarist Greg Ginn of Black Flag cited Birds of Fire by The Mahavishnu Orchestra which inspired him to record more progressive guitar work and even record instrumental songs. Current players still hold him as highly influential, including Omar Rodriguez of The Mars Volta. According to Pat Metheny, McLaughlin has changed the evolution of the guitar during several of his periods of playing. McLaughlin is also considered a major influence on composers in the fusion genre. In an interview with Downbeat, Chick Corea remarked that "...what John McLaughlin did with the electric guitar set the world on its ear. No one ever heard an electric guitar played like that before, and it certainly inspired me. John's band, more than my experience with Miles, led me to want to turn the volume up and write music that was more dramatic and made your hair stand on end". 2010, Jeff Beck called him "the best guitarist alive".[15]

John McLaughlin

Equipment • Gibson EDS-1275 - McLaughlin played the Gibson doubleneck between 1971 and 1973,[16] his first years with the Mahavishnu Orchestra;[17] this is the guitar which, amplified through a 100-watt Marshall amplifier "in meltdown mode," produced the signature McLaughlin sound hailed by Guitar Player as one of the "50 Greatest Tones of All Time."[18] • Double Rainbow doubleneck guitar made by Rex Bogue, which McLaughlin played from 1973 to 1975.[19] [20] • The first Abraham Wechter-built acoustic "Shakti guitar,"[21] a customized Gibson J-200[22] with drone strings transversely across the soundhole.[23] • He currently plays Godin electric/MIDI guitars [24], one of which can be seen on the Eric Clapton's Crossroads Chicago 2007 DVD.

References [1] [2] [3] [4] [5] [6]

http:/ / www. abstractlogix. com http:/ / www. johnmclaughlin. com Uncut magazine, March 2010. "Rolling Stone 100 Greatest Guitarists of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 5937559/ page/ 29). . Jazzreview.com (http:/ / www. jazzreview. com/ articledetails. cfm?ID=159) Mo Foster, '17 Watts? The Birth of British Rock Guitar', Sanctuary Publishing 1997

[7] Guitar Player Magazine, interview August 1978 [8] Trio of Doom [9] Power, Passion and Beauty, The Story Of The Legendary Mahavishnu-Orchestra (http:/ / www. allaboutjazz. com/ php/ article. php?id=22802) [10] Chembur.com (http:/ / www. chembur. com/ anecdotes/ carnatic/ lshankar/ ) [11] Sleeve notes: Trio of Doom, Columbia/Legacy 82796964502 [12] Allaboutjazz.com (http:/ / www. allaboutjazz. com/ php/ musician. php?id=6573) [13] Allmusic Discography (http:/ / www. allmusic. com/ artist/ p10614/ discography) [14] Walter Kolosky "All About Jazz" 2004 http:/ / www. allaboutjazz. com/ php/ article. php?id=14486 [15] Uncut magazine, March 2010. [16] "An EDS-1275 and a Drone-Stringed J-200: The Tale of John McLaughlin’s Two Rare Gibsons" (http:/ / www. gibson. com/ en-us/ Lifestyle/ Features/ An EDS-1275 and a Drone-String/ ). Gibson Guitar Corporation. . Retrieved 4 March 2010. [17] Chapman, Richard (2000). Guitar: music, history, players. Dorling Kindersley. pp. 115. ISBN 9780789459633. [18] Blackett, Matt (October 2004). "The 50 Greatest Tones of All Time". Guitar Player 38 (10): 44–66. [19] Ferris, Leonard (May 1974). "John McLaughlin & Rex Bogue Creating the 'Double Rainbow'" (http:/ / www. cs. cf. ac. uk/ Dave/ mclaughlin/ art/ rainbow. html). Guitar Player. . Retrieved 3 March 2010. [20] Cleveland, Barry. "John McLaughlin's 2007 Touring Rig" (http:/ / www. godinguitars. com/ johnmclaughlin_07. htm). Godin Guitars. . Retrieved 4 March 2010. [21] Milkowski, Bill (1998). Rockers, jazzbos & visionaries (http:/ / books. google. com/ books?id=HeAXAQAAIAAJ& q=abraham+ wechter). Billboard Books. p. 176. ISBN 9780823078332. . [22] Stump, Paul (2000). Go ahead John: the music of John McLaughlin (http:/ / books. google. com/ books?id=TDFqHbV5K7cC& pg=PA97). SAF Publishing. p. 97. ISBN 9780946719242. . [23] Wheeler, Tom (August 1978). "McLaughlin's Revolutionary Drone-String Guitar" (http:/ / www. 7171. org/ electrons/ frap/ article3. html). Guitar Player. . Retrieved 19 Ocotber 2009. [24] http:/ / www. godinguitars. com/ johnmclaughlin_07. htm

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John McLaughlin

External links • John McLaughlin Official Website (http://www.johnmclaughlin.com) • John McLaughlin French Website (http://www.johnmclaughlin.fr) • Mahavishnu John McLaughlin by Otacílio Melgaço (http://johnmclaughlinbyotaciliomelgaco.vilabol.uol.com. br) • Finding the Way: The Music of John McLaughlin (http://www.allaboutjazz.com/php/article.php?id=2158) • JMA - John McLaughlin Archives (http://jmarc.co.nr/) • Complete Discography (http://web.archive.org/web/20091027075711/http://geocities.com/BourbonStreet/ Quarter/7055/McLaughlin/) • John McLaughlin video interview at allaboutjazz.com (http://www.allaboutjazz.com/php/news. php?id=57204) • John McLaughlin and Billy Cobham Montreux Jazz Festival 2010 (http://www.youtube.com/ watch?v=V0RHamiP7tM) • 2010 interview with John McLaughlin on ProgSphere (http://www.prog-sphere.com/2011/01/17/ john-mclaughlin/)

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Jackie McLean

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Jackie McLean For other persons named John McLean, see John McLean.

Jackie McLean Birth name

John Lenwood McLean

Born

May 17, 1931

Died

March 31, 2006 (aged 74)

Genres

Bop Hard bop Modal jazz Progressive jazz Mainstream jazz Post-bop

Occupations Musician, bandleader, composer, educator, community activist Instruments alto saxophone Years active 1951–2004

John Lenwood (Jackie) McLean (May 17, 1931 — March 31, 2006) was an American jazz alto saxophonist, composer, bandleader and educator, born in New York City.[1]

Biography McLean's father, John Sr., played guitar in Tiny Bradshaw's orchestra. After his father's death in 1939, Jackie's musical education was continued by his godfather, his record-store-owning stepfather, and several noted teachers. He also received informal tutoring from neighbors Thelonious Monk, Bud Powell, and Charlie Parker. During high school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy Kirk). Along with Rollins, he played on Miles Davis' Dig album, when he was 19 years old. As a young man McLean also recorded with Gene Ammons, Charles Mingus, George Wallington, and as a member of Art Blakey's Jazz Messengers. McLean joined Blakey after reportedly being punched by the volatile Mingus. Fearing for his life, McLean pulled out a knife and contemplated using it against Mingus in self-defense. He later stated that he was grateful that he did not stab the bassist.[2] His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for a distinctive tone, akin to the tenor saxophone and often described with such adjectives as withering, piercing, or searing); a slightly sharp pitch; and a strong foundation in the blues. McLean was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret card forced him to undertake a large number of recording dates; consequently, he produced an extensive body of recorded work in the 1950s and 1960s. He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for this organization is highly regarded and includes leadership and sideman dates with a wide range of musicians, including Donald Byrd, Sonny Clark, Lee Morgan, Ornette Coleman, Dexter Gordon, Billy Higgins, Freddie Hubbard, Grachan Moncur III, Bobby Hutcherson, Mal Waldron, and many others. In 1962 he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over the years to deal with harmonic problems in jazz, incorporating ideas from the free jazz developments of Ornette Coleman. Emblematic of his stylistic growth is the solo on his piece "Quadrangle" as compared to the version of the

Jackie McLean same tune on BST 4051, Jackie's Bag, recorded in 1959. Let Freedom Ring began a period in which he performed with avant-garde jazz musicians rather than the veteran hard bop performers he had been playing with previously. His adaptation of modal jazz and free jazz innovations to his vision of hard bop made his recordings from 1962 on distinctive. In early 1964, he served six months in prison on drug charges. McLean recorded with dozens of well-known musicians and had a gift for spotting talent. Saxophonist Tina Brooks, trumpeter Charles Tolliver, pianist Larry Willis, trumpeter Bill Hardman, and tubist Ray Draper were among those who benefited from McLean's support in the 1950s and 1960s. Drummers such as Tony Williams, Jack DeJohnette, Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean. In 1967, his recording contract, like those of many other progressive musicians, was terminated by Blue Note's new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of Hartford. He later set up the university's African American Music Department (now the Jackie McLean Institute of Jazz) and its Bachelor of Music degree in Jazz Studies program. In 1970, he and his wife, Dollie McLean, founded the Artists Collective, Inc. of Hartford, an organization dedicated to preserving the art and culture of the African Diaspora. It provides educational programs and instruction in dance, theatre, music and visual arts. The membership of McLean's later bands were drawn from his students in Hartford, including Steve Davis and his son René, who is a jazz saxophonist and flautist as well as a jazz educator. Also, in McLean's Hartford group was Mark Berman, the jazz pianist and broadway conductor of Smokey Joe's Cafe and Rent. In 1979 he reached #53 in the UK Singles Chart with "Doctor Jackyll and Mister Funk".[3] He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001 and numerous other national and international awards. McLean was the only American jazz musician to found a department of studies at a University and a community based organization almost simultaneously. Each has existed for over three decades. After a long illness, McLean died on March 31, 2006, in Hartford, Connecticut.

Discography As leader Prestige • • • •

Lights Out! (1956) 4, 5 and 6 (1956) Alto Madness (1957) McLean's Scene (1957)

Blue Note • • • • • • • • •

New Soil (1959) Swing, Swang, Swingin' (1959) Capuchin Swing (1960) Jackie's Bag (1959–60) Bluesnik (1961) A Fickle Sonance (1961) Let Freedom Ring (1962) Tippin' the Scales (1962) Vertigo (1962–63)

• One Step Beyond (1963) • Destination... Out! (1963)

489

Jackie McLean • • • • • • • • • • • • •

It's Time! (1964) Action Action Action (1964) Right Now! (1965) Jacknife (1965) Consequence (1965) New and Old Gospel (1967) 'Bout Soul (1967) Demon's Dance (1967) One Night with Blue Note Preserved Volume 2 (1985) with Woody Shaw, McCoy Tyner, Cecil McBee and Jack DeJohnette It's About Time (1985) with McCoy Tyner Hat Trick (1996) Fire & Love (1998) Nature Boy (2000)

SteepleChase • Ode to Super (1973) • Dr. Jackle (1979; recorded 1966) • • • • •

Contour (1980) Strange Blues (1990) Makin The Changes (1990) Dynasty (1990) A Long Drink Of The Blues ( 1994)

Others • The Jackie Mac Attack Live (1991) • Rhythm Of The Earth (1992) Dreyfus

As sideman With Gene Ammons • • • •

The Happy Blues (1956) Jammin' with Gene (1956) Funky (1957) Jammin' in Hi Fi (1957)

With Art Blakey • Hard Bop (1956) • Drum Suite (1956) • Ritual (1957) With Kenny Burrell • 2 Guitars with Jimmy Raney (1957) With Donald Byrd • 2 Trumpets with Art Farmer (1956) • Off to the Races (1958) • Fuego (1959) • Byrd in Flight (1960) With Sonny Clark

490

Jackie McLean • Cool Struttin' (1958) With Miles Davis • Dig (1951) • Quintet / Sextet (1955) With Walter Davis Jr. • Davis Cup (1959) With Kenny Dorham • Inta Somethin' (1961) • Matador (1962) With Ray Draper • Tuba Sounds (1957) With Charles Mingus • Pithecanthropus Erectus (1956) • Blues and Roots (1958) With Hank Mobley • Mobley's Message (1956) • Hi Voltage (1967) With Grachan Moncur III • Evolution (1963) With Lee Morgan • • • • • •

Lee-Way (1960) Tom Cat (1964) Cornbread (1965) Infinity (1965) Charisma (1966) The Sixth Sense (1967)

With Freddie Redd • The Connection (1960) • Shades of Redd (1960) • Redd's Blues (1961) With Jimmy Smith • Open House (1960) • Plain Talk (1960) With Art Taylor • Taylors Wailers (1957) With Mal Waldron • Mal 2 (1957) • Like Old Time (1976) • Left Alone '86 (1986) With Jack Wilson • Easterly Winds (1967)

491

Jackie McLean

Filmography • The Connection, as himself (Dir. Shirley Clarke) • Jackie McLean on Mars (1980), as himself (Dir. Ken Levis) • Ken Burns' Jazz (2000), as himself (Dir. Ken Burns)

References [1] Allmusic biography (http:/ / www. allmusic. com/ artist/ p103470) [2] Liner notes to the album Dynasty [3] Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 341. ISBN 1-904994-10-5.

External links • Jackie McLean complete discography from Music City (http://www.music-city.org/Jackie-McLean/ discography/) • Jackie McLean (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=13820409) at Find a Grave • Allmusic (http://www.allmusic.com/cg/x.dll?p=amg&sql=B6185) • MusicWeb (http://www.musicweb.uk.net/encyclopaedia/) • • • • •

NEA Jazz Masters (http://www.iaje.org/bio.asp?ArtistID=2) Official history of the Artists Collective Inc. (http://artistscollective.org/history.htm) History of the Artists Collective Inc. (http://www.connectforkids.org/node/2702) Jackie McLean on the Hard Bop Home Page (http://members.tripod.com/~hardbop/mclean.html) Obituary in The Guardian (London) by John Fordham, April 3, 2006 (http://www.guardian.co.uk/obituaries/ story/0,,1745370,00.html) • "Blues for Jackie," Obituary by Owen McNally in Hartford Courant (Hartford, CT) April 1, 2006 (http://www. hartfordinfo.org/issues/documents/artsandculture/htfd_courant_040106_b.asp) • New England Jazz History Database - Audio Interviews (http://www.jazzhistorydatabase.com/collections-old/ williamson-interviews.html) • Jazz Portraits from the WGBH Archives: Jackie McLean (http://streams.wgbh.org/online/play. php?xml=specials/jzpt/mclean_jackie.xml&template=wgbh_audio) a radio documentary from WGBH Radio Boston (http://www.wgbh.org/jazz)

492

Bennie Maupin

493

Bennie Maupin Bennie Maupin Born

29 August 1940 Detroit Michigan United States

Genres

Post bop, Jazz fusion

Occupations

Musician, Composer

Instruments

Saxophone, Flute, Bass clarinet

Labels

Columbia Records

Associated acts Almanac, Herbie Hancock, Miles Davis, Meat Beat Manifesto, Horace Silver, Roy Haynes Website

Official site

[1]

Bennie Maupin (born 29 August 1940) is a Detroit Michigan jazz multireedist. He performs on various saxophones, flute and bass clarinet.[2] He is probably best known for his participation in Herbie Hancock's Mwandishi sextet and Headhunters band, and for performing on Miles Davis's seminal fusion record, Bitches Brew. Maupin has collaborated with Horace Silver, Roy Haynes and many others. He has also performed on several Meat Beat Manifesto albums. He is noted for having a harmonically-advanced, "out" improvisation style, while having a different sense of melodic direction than other "out" jazz musicians such as Eric Dolphy. As a composer, he has an ability to create brief melodies and song forms that create vast landscapes for improvisation. Maupin was also a member of Almanac, a group with Cecil McBee (bass), Mike Nock (piano) and Eddie Marshall (drums).

Discography As leader • • • • • •

1974: The Jewel in the Lotus 1977: Slow Traffic to the Right 1978: Moonscapes 1998: Driving While Black on Intuition with Patrick Gleeson 2006: Penumbra 2008: Early Reflections

As sideman With Herbie Hancock • • • • • • • •

Mwandishi (1971) Crossings (1972) Sextant (1972) Head Hunters (1973) Thrust (1974) Flood (1975) Man-Child (1975) Secrets (1976)

Bennie Maupin • VSOP (1976) • Dis Is Da Drum (1994) With Miles Davis • • • •

Bitches Brew (1970) A Tribute to Jack Johnson (1971) On The Corner (1972) Big Fun (1974)

With others • • • • • • • • •

John Beasley: Positootly! Lee Morgan: Live at the Lighthouse, Caramba! Eddie Henderson: Inside Out, Equinox, Sunburst (Blue Note, 1975) Jack DeJohnette: Have You Heard? McCoy Tyner: Tender Moments (Blue Note, 1968), Together (Milestone, 1978) Lenny White: Big City Marion Brown: Juba Lee Mike Clark: Actual Proof Horace Silver: Serenade to a Soul Sister (Blue Note, 1968), You Gotta Take a Little Love (Blue Note, 1969)

• Lonnie Smith: Turning Point (Blue Note, 1969) • Darek Oles: Like a Dream

References [1] http:/ / www. benniemaupin. com [2] Allmusic (http:/ / www. allmusic. com/ artist/ p7074)

External links • Official site (http://www.benniemaupin.com) ((Category:American Muslims))

494

Palle Mikkelborg

495

Palle Mikkelborg Palle Mikkelborg (born March 6, 1941), is a Danish jazz trumpeter, composer, arranger and record producer. He started playing professionally in 1960, and has since been a dominant figure on the Danish and international progressive jazz scene. He has released several solo records, and records with various co-founded groups, as well as appearing as sideman or arranger on numerous international records. Among notable international collaborations, one finds appearances with Gil Evans Big Band, George Russell Big Band, Gary Peacock, Jan Garbarek and Miles Davis (for whom he composed and produced the 1985 (released 1989) record Aura). In 2001 he was awarded the Nordic Council Music Prize.

Palle Mikkelborg, mœrs festival 2010

Discography [1]

Cover of "To Whom It May Concern: Greatest". Sony Music A/S, 2005

References [1] http:/ / www. kalleklev. no/ artist_files/ artist_idx. php?id=23

Marcus Miller

496

Marcus Miller Marcus Miller

Miller in Ancienne Belgique, Bruxelles, Belgium, 2007 Background information Birth name

William Henry Marcus Miller Jr.

Born

June 14, 1959 Brooklyn, New York, United States

Genres

Jazz, jazz fusion, R&B, rock, funk

Occupations Musician, Composer, producer Instruments Bass, double bass, guitar, vocals, saxophone, clarinet, keyboards, recorder Years active 1975–present Website

MarcusMiller.com

[1]

Notable instruments Fender Jazz Bass

Marcus Miller (born William Henry Marcus Miller Jr., June 14, 1959, Brooklyn, New York) is an American jazz musician, composer, producer, and multi-instrumentalist. He has made a name for himself, being one of the most well-respected bass players to this day. Miller is best known as a bassist, working with trumpeter Miles Davis, singer Luther Vandross, and saxophonist David Sanborn, as well as maintaining a prolific solo career. Miller is classically trained as a clarinetist and also plays keyboards, saxophone and guitar.

Life and career Early life Miller was born in 1959 and raised in a musical family that includes his father, William Miller (a church organist and choir director) and jazz pianist Wynton Kelly. By 13, Marcus was proficient on clarinet, piano and bass guitar, and already writing songs. Two years later he was working regularly in New York City, eventually playing bass and writing music for jazz flutist Bobbi Humphrey and keyboardist Lonnie Liston Smith. Miller soon became a top call session musician, gracing well over 500 albums, a short list of which includes Michael Jackson, Herbie Hancock, Mariah Carey, Wayne Shorter, McCoy Tyner, Frank Sinatra, Dr. John, Aretha Franklin, Elton John, Grover Washington Jr., Donald Fagen, Bill Withers, Chaka Khan, LL Cool J and Me'shell NdegéOcello and Flavio Sala.

Marcus Miller

Professional career Miller spent approximately 15 years performing as a sideman or session musician and observing how great band leaders operated. During that time he also did a lot of arranging and producing. He was a member of the Saturday Night Live band from 1978 through 1979. Miller's contribution to signature tunes is legendary, such as the intro on Aretha Franklin's 'I Wanna Make It Up To You,' just to name one. He has played on over 500 recordings defining the basslines of the music of such greats as Luther Vandross, Grover Washington Jr., Roberta Flack, Carly Simon, McCoy Tyner, Bryan Ferry and Billy Idol. He won the "Most Valuable Player" award, (awarded by NARAS to recognize studio musicians) three years in a row and was subsequently awarded "player emeritus" status and retired from eligibility. In the nineties, Miller began to record his own records, he had to put a band together to take advantage of touring opportunities. Miller's proficiency on his main instrument, the bass guitar, is generally well-regarded. Not only has Miller been involved in the continuing development of the technique known as "slapping", particularly his "thumb" technique, but his fretless bass technique has Miller at the Paradiso in Amsterdam, 2007 also served as an inspiration to many, and has taken the fretless bass into musical contexts and genres previously unexplored on the electric bass. The influences of some of the previous generation of electric bass players, such as Larry Graham, Stanley Clarke, and Jaco Pastorius, are audible in Miller's playing. Early in his career, Miller was accused of being simply imitative of Pastorius, but has since more fully integrated the latter's methodology into his own sound. Miller has an extensive discography, and tours frequently and widely in Europe and Japan. Between 1988 and 1990 he appeared in the first season and again toward the end as both the musical director and also as the house band bass player in The Sunday Night Band during the two seasons of the acclaimed music performance program Sunday Night on NBC late-night television.[2] As a composer, Miller wrote "Tutu" for Miles Davis, a piece that defined Davis's career in the late 1980s, and was the title track of Davis's album Tutu, upon which Miller wrote all the songs with only two exceptions, and one of those was co-written with Davis. He also composed "Chicago Song" for David Sanborn and co-wrote "'Til My Baby Comes Home", "It's Over Now", "For You to Love", and "Power of Love" for Luther Vandross. Miller also wrote "Da Butt", which was featured in Spike Lee's School Daze.

Personal Life Miller has a wife named Brenda. He has four children- two daughters, Hattie and Nicole, and two sons named Julian and Jon. Julian is following his father's footsteps as a member of up-and-coming hip hop group Propaganda Machine, and Nicole attends University of Colorado, Boulder.

Grammy Awards Miller has won numerous Grammy Awards as a producer for Miles Davis, Luther Vandross, David Sanborn, Bob James, Chaka Khan and Wayne Shorter. He won a Grammy Award for Best R&B Song in 1992, for Luther Vandross' "Power of Love" and in 2001 he won for Best Contemporary Jazz Album for his fourth solo instrumental album, M2.

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Marcus Miller Miller currently is bandleader of his own band, which strives to remain faithful to the concepts of improvisation and innovation in jazz-based music that is perhaps more accessible to different audiences. His concerts and recorded works are often regarded as intensely creative and therefore appealing to serious musicians. In 1997 Miller played bass and bass clarinet in a band called Legends, featuring Eric Clapton (guitars and vocals), Joe Sample (piano), David Sanborn (alto sax) and Steve Gadd (drums). It was an 11-date tour of major jazz festivals in Europe. In addition to his recording and performance career, Miller has established a parallel career as a film score composer. He has written numerous scores for films featuring: Eddie Murphy, L.L. Cool J, Chris Rock, Matthew Perry, Samuel L. Jackson and others. Miller composed the musical score for the Chris Rock-created sit-com, Everybody Hates Chris, now in syndication on Nick-At Nite. See also interview on ABC Radio National Music Show with Andrew Ford Nov 2010

Instruments and gear Fender currently produces a Marcus Miller signature Fender Jazz Bass in four (made in Japan)- and five-string (made in U.S) versions.[3] He uses EBS amplifiers as well as some effects pedals.

Discography Solo period (1982–present) • • • • • • • • • • • • •

1983: Suddenly 1984: Marcus Miller 1993: The Sun Don't Lie 1995: Tales 1998: Live & More 2000: Best of '82-'96 2001: M² (2002 Grammy Award for Best Contemporary Jazz Album) 2002: The Ozell Tapes 2005: Silver Rain 2007: Free 2008: Marcus[4] 2008: Thunder (as SMV, with Stanley Clarke and Victor Wooten) 2010: A Night in Monte Carlo - Live 2009

Luther Vandross Period • • • • • • • • • • •

1983: "Busy Body" 1985: "The Night I Fell In Love" 1985: "'Til My Baby Comes Home" 1985: "It's Over Now" 1986: "I Really Didn't Mean It" 1986: "Never Too Much" 1986: "She Won't Talk To Me" 1986: "Give Me the Reason" 1987: "Stop to Love" 1987: "See Me" 1988: "Luther In Love - Megamix"

• 1988: "Any Love" • 1989: "The Best Of Love"

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Marcus Miller • • • • • • • • • • • • • • •

1989: "Come back" 1991: "The Rush" 1991: "Power of Love / Love Power (Uno Clio & Colin and Carl Remix)" 1991: "Power of Love / Love Power" 1991: "Power of Love" 1993: "Never Let Me Go" 1993: "Heaven knows" 1995: "This is Christmas" 1995: "Power of Love / Love Power (The Frankie Knuckles Mixes)" 1996: "Your Secret Love" 1996: "I Can Make It Better" 1998: "I Know" 2001: "Luther Vandross" 2003: "Dance With My Father" 2007: "Love Luther"

Grover Washington jr period • 1984: Inside Moves David Sanborn period (1975–2000) • • • • • • • • • • • • • •

1977: Lovesongs 1980: Hideaway 1981: Voyeur 1981: As We Speak 1982: Backstreet 1984: Straight to the Heart 1987: Change of Heart 1988: Close-Up 1991: Another Hand 1992: Upfront 1994: Hearsay 1995: Pearls 1996: Songs from the Night Before 1999: Inside

Miles Davis period (1980–1990) • • • • • • •

1981: The Man with the Horn 1982: We Want Miles 1983: Star People 1986: Tutu 1987: Music From Siesta 1989: Amandla 2002: The Complete Miles Davis at Montreux

The Jamaica Boys period (1986–1990) • 1987: The Jamaica Boys • 1989: The Jamaica Boys II: J. Boys Film Scores • 1990: "House Party" (featuring Kid & Play)

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Marcus Miller • • • • • • • • • • • • • • • • •

1992: "Boomerang" (featuring Eddie Murphy) 1994: "Above the Rim" (featuring Tupac Shakur) 1994: "A Low Down Dirty Shame" (featuring Keenan Ivory Wayans) 1996: "The Great White Hype" (featuring Samuel L. Jackson) 1997: "The Sixth Man" (featuring Marlon Wayans) 1999: "An American Love Story" 2000: "The Ladies Man" (featuring Tim Meadows) 2001: "The Trumpet of the Swan" (featuring Reese Witherspoon) 2001: "The Brothers" (featuring Morris Chestnut) 2001: "Two Can Play That Game" (featuring Vivaca Fox) 2002: "Serving Sara" (featuring Matthew Perry) 2003: "Deliver Us from Eva" (featuring L.L. Cool J) 2003: "Head of State" (featuring Chris Rock) 2004: "Breakin' All the Rules" (featuring Jamie Foxx) 2005: "King's Ransom" (featuring Anthony Anderson) 2006: "Save the Last Dance 2" (featuring Izabella Miko) 2007: "I Think I Love My Wife" (featuring Chris Rock)

• • • •

2007: "This Christmas" (featuring Idris Elba) 2008: "Thunder" (featuring Stanley Clark and Victor Wooten) 2009: "Good Hair" (featuring Chris Rock as SMV) 2009: "Obsessed" (featuring Beyoncé Knowles)

References [1] [2] [3] [4]

http:/ / www. marcusmiller. com/ Sunday Night episodes #104 (1988), #121 (1989) Fender,com (http:/ / www. fender. com/ products/ search. php?partno=0257802321) Levine, Doug (25 March 2008). "Bassist Marcus Miller Surrounds Himself With New Generation of R&B Stars on 'Marcus'" (http:/ / voanews. com/ english/ archive/ 2008-03/ 2008-03-25-voa63. cfm). VOA News (Voice of America). . Retrieved 3 January 2009.

External links • • • • • • •

Official site (http://www.marcusmiller.com/) HoneySoul Interview (http://www.honeysoul.com/wp/?p=692) Jazzitalia Interview (http://www.jazzitalia.net/articoli/Int_MarcusMiller_eng.asp) Jazz USA Interview (http://jazzusa.com/index.cfm?sector=stories&page=masterofalltrades_DVD.asp) The Dude Pit Interview (http://www.vintagebass.com/thedudepit/archive/index.php?t-14893.html) NPR interview (http://www.npr.org/templates/story/story.php?storyId=4587020) Podcast featuring GRP Records and Marcus Miller (http://emancipation.mypodcast.com)

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Airto Moreira

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Airto Moreira Airto Moreira

Airto Moreira Background information Born

August 5, 1941 Itaiópolis, Brazil

Genres

Jazz

Occupations

Bandleader, composer, sideman

Instruments

Percussion

Years active

1967–present

Associated acts Flora Purim

Airto Moreira (born August 5, 1941)[1] is a Brazilian jazz drummer and percussionist. Airto is married to jazz singer Flora Purim, and their daughter Diana Moreira is also a singer.[1] He currently resides in Los Angeles.

Biography Airto Moreira was born in Itaiópolis, Brazil, into a family of folk healers, and raised in Curitiba and São Paulo. Showing an extraordinary talent for music at a young age, he became a professional musician at age 13, noticed first as a member of the samba jazz pioneers Sambalanço Trio and for his landmark recording was Quarteto Novo with Hermeto Pascoal in 1967.[1] Shortly after, he followed his wife Flora Purim to the United States. After moving to the USA, Airto began playing regularly with jazz musicians in New York, including the bassist Walter Booker. Through Booker, Airto began playing with Joe Zawinul, who in turn introduced him to Miles Davis. At this time Miles was experimenting with electronic instruments and rock and funk rhythms, a form which would soon come to be called Jazz fusion. Airto was to participate in several of the most important projects of this emerging musical form. Airto stayed with Miles for about two years, touring and participating in the creation of the seminal fusion recording Bitches Brew.[2] Shortly after leaving Miles, Airto joined other Miles alumni Joe Zawinul, Wayne Shorter and Miroslav Vitous in their group Weather Report, playing percussion on their first album, Weather Report. He left Weather Report (replaced by Dom Um Romão and Muruga Booker for their Sweetnighter album) to join fellow Miles alumnus Chick Corea's new band Return to Forever. He played drums on Return to Forever's first two albums, their Return to Forever and Light as a Feather. These albums are regarded today as classics of the fusion genre. Airto was a contributor to many of Grateful Dead percussionist Mickey Hart's world music / percussion albums in Rykodisc's The World collection, including The Apocalypse Now Sessions, Dafos, Supralingua, and Planet Drum which won a World Music Grammy in 1991.[1] He can be heard playing congas on Eumir Deodato's 1970s space-funk überhit Also sprach Zarathustra on the Prelude album. Airto has played with many of the greatest names in Jazz including Cannonball Adderley, Lee Morgan, Paul Desmond, Wayne Shorter, Dave Holland, Jack DeJohnette, John McLaughlin, Keith Jarrett, Al Di Meola, Zakir

Airto Moreira Hussain, George Duke and Mickey Hart.[1] He also has played with the Latin/fusion rock band Santana and with symphonic orchestras and as a solo percussionist, and during live performances often includes a samba solo, where he emulates the sound of an entire band using just a single pandeiro. In addition to jazz concerts and recordings, he has composed and contributed music to film and television (including scores for Apocalypse Now and Last Tango in Paris), played at the re-opening of the Library of Alexandria, Egypt [3] (along with fellow professor of ethnomusicology Halim El-Dabh[4] ), and taught at UCLA and the California Brazil Camp. In 1996, Airto and his wife Flora Purim collaborated with P.M. Dawn on the song "Non-Fiction Burning" for the AIDS-Benefit Album Red Hot + Rio produced by the Red Hot Organization.

Awards • Airto was voted the number one percussionist in “Down Beat Magazine's Critics Poll” for the years 1975 through 1982 and most recently in 1993.[5] • In September 2002, Brazil’s President Fernando Henrique Cardoso named Airto Moreira and Flora Purim to the “Order of Rio Branco”, one of Brazil's highest honors.

Discography As leader • 1970: Natural Feelings - One Way Records - Flora Purim, Hermeto Pascoal, Ron Carter and Sivuca. • 1971: Seeds on the Ground One Way - Purim, Pasocal, Carter, Sivuca, Dom Um Romão, and Severino de Oliveira. • 1972: Fingers (CTI Records)- Purim, David Amaro, Hugo Fattoruso, Jorge Fattoruso and Ringo Thielmann • 1972: Free (CTI Records) - featuring Purim, Chick Corea, Keith Jarrett, Stanley Clarke • 1974: Virgin Land (CTI Records) Purim, Amaro, Clarke, Alex Blake, Eddie Daniels, Gabriel DeLorme, George Duke, George Marge, Jane Taylor, Kenny Ascher, and Milcho Leviev • 1975: Identity - Purim, Amaro, Egberto Gismonti, Herbie Hancock, John Heard, John Williams, Luis Johnson, Raúl de Souza, Roberto, Ted Lo and Wayne Shorter • 1976: Promises of the Sun Arista - Purim, de Souza, Hugo Fattoruso, Milton Nascimento, Novelli, and Toninho Horta. • 1977: I'm Fine, How Are You? Warner Music Japan - featuring Fattoruso, de Souza, Ruben Rada • 1979: Touching You… Touching Me Warner Music Japan - Purim, Fatturoso, Al Ciner, Alphonso Johnson, Bayette, George Duke, George Sopuch, Herb Alpert, Joe Farrell, Jose Bertrami, Laudir de Oliveira, Manolo Badrena, Marcos Valle, Michael Boddicker, Nivaldo Ornellas, Peter Bunetta, Richard Feldman and The Sweet Inspirations. • 1984" Misa Espiritual:Airto's Brazilian Mass Harmonia Mundi - Gil Evans, WDR Big Band, WDR Strings, Marcos Silva • 1985: Three-way Mirror w Purim and Joe Farrell (his last recording) • 1986: Latino: Aqui Se Puede Montuno - Purim, Alphonso Johnson, Cachete Maldonado, Donaldo Alias, Frank Colon, Geni da Silva, Giovanni Hidalgo, Jeff Elliot, Farrell, Jorge Dalto, Kei Akagi, Keith Jones, Larry Nass, Laudir de Oliveira, Neves, Rafael Jose, de Souza, Tite Curet Alonso and Tony Moreno. • 1988: Samba De Flora Montuno - Purim, Johnson, Angel Maldonado, Bruce Bigenho, David Tolegian, Dom Camardella, Alias, Colon, Hidalgo, Eliot, Jill Avery, Farrell, Dalto, Akagi, Jones, Nass, de Oliveira, Luiz Munoz, Michael Shapiro, Jose, Randy Tico, de Souza, Roland Bautista, Rolando Gingras and Moreno • 1989: Struck by Lightning Venture Records - Purim, Bob Harrison, Chick Corea, Gary Meek, Herbie Hancock, Jose Neto, Junior Homrich, Marcos Silva, Mark Egan, Mike Shapiro, Randy Tico and Stanley Clarke

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Airto Moreira • • • • • •

1989: Killer Bees B&W - Purim, Corea, Meek, Hancock, Hiram Bullock, Egan and Clarke 1992: The Other Side of This Rykodisc - for Mickey Hart's The World series 1993: Revenge of the Killer Bees (remix of Killer Bees) Electric Melt 1999: Homeless Melt 2000 1999: Code: Brasil Target: Recife Melt 2000 2003: Life After That with daughter Diana, wife Flora plus Oscar Castro Neves and others.

As sideman With Duke Pearson • How Insensitive (1969) With Edu Lobo • Cantiga de Longe (1971) With Return to Forever • Return to Forever (1972) • Light as a Feather (1972) With Weather Report • Weather Report (1971) With Stan Getz • Captain Marvel (1972) With Eumir Deodato • Prelude (1972) With Flora Purim • Butterfly Dreams (1973) With Santana • Borboletta (1974) With Opa • Goldenwings (1976) With Al Di Meola • Soaring Through a Dream (1985) With Fourth World • • • • •

Fourth World Recorded live at Ronnie Scott's (1992) Fourth World (1994) Fourth World [live] (1995) Encounters of the Fourth World (1995) Last Journey (1999)

With Mickey Hart • • • •

The Apocalypse Now Sessions: The Rhythm Devils Play River Music - Rhythm Devils (1980) Dafos (1983) At the Edge (1990) Planet Drum (1991)

• Mickey Hart's Mystery Box (1996) • Supralingua - (1998)

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Airto Moreira With Hermeto Pascoal • Slaves Mass (1976) With Andreas Georgiou • Asate (2003) With Stephen Kent • Stephen Kent Live at Starwood (2005) With Belinda Underwood • Underwood Uncurling (2005) With Jacob Anderskov • Ears to the Ground (2008) With Dizzy Gillespie • Rhythmstick (1990)

Filmography • 2006: Airto & Flora Purim: The Latin Jazz All-Stars[6]

References [1] [2] [3] [4]

allmusic Biography (http:/ / www. allmusic. com/ artist/ p36965/ biography) M.E.L.T. 2000 artist's bio (http:/ / www. melt2000. com/ page. html?chapter=0& id=6) Europe Jazz Network Bio (http:/ / www. ejn. it/ mus/ moreira. htm) Seachrist, Denise A. (2003). The Musical World of Halim El-Dabh. Kent, Ohio, United States: Kent State University Press 296 pp ISBN 0-87338-752-x [5] Downbeat Magazine: check the years mentioned (http:/ / www. downbeat. com/ artists/ artist_main. asp?sect=archives& aid=712& aname=Down+ Beat+ Critics+ Poll) [6] VIEW Listing (http:/ / www. view. com/ airto_and_flora_purim_the_latin_jazz_all-stars_dvd. aspx)


Airto's Official Website (http://www.airto.com) Europe Jazz Network Bio (http://www.ejn.it/mus/moreira.htm) Airto's interview (http://www.clubbity.com/charts_fea_roots.asp?ID=502&tipo=interviews) Airto Moreira interview at Allaboutjazz.com (http://www.allaboutjazz.com/php/news.php?id=52491)

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Hermeto Pascoal

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Hermeto Pascoal Hermeto Pascoal

Photo by Tom Beetz Background information Born

June 22, 1936, Arapiraca, Alagoas, Brazil

Genres

Brazilian traditions, jazz, forró

Instruments keyboards, button accordion, melodica, saxophone, flute, others

Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil.[1] Pascoal is a greatly beloved musical figure in the history of Brazilian music, known for his abilities at orchestration and improvisation, as well as being a record producer and contributor to many other Brazilian and international albums.[2]

Biography Early life and career Pascoal comes from a remote corner of northeastern Brazil, an area that lacked electricity at the time he was born. He learned the accordion from his father and practiced for hours indoors as, being albino, he was incapable of working in the fields with the rest of his family.[2] Hermeto's career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown groups. These now-classic albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano) established widely influential new directions in post-bossa Brazilian jazz. In 1966, he played in the Sambrasa Trio, with Airto Moreira and Humberto Clayber; they released only one album, Em Som Maior. Then he joined Trio Novo (Airto Moreira, Heraldo do Monte, Theo de Barros) and in 1966 the group, renamed Quarteto Novo, released an album that launched the careers of Pascoal and Moreira.[3] Pascoal would then go on to join the multi-faceted group Brazilian Octopus.[4]

Hermeto Pascoal

International fame He initially caught the international public's attention with an appearance on Miles Davis's 1971 album Live-Evil, which featured Pascoal on several pieces (which he also composed).[2] Davis has said that Pascoal was "the most impressive musician in the world". Later collaborations involved fellow Brazilian musicians Airto Moreira and Flora Purim. From the late 1970s onward he mostly led his own groups, playing at many prestigious venues, such as the Montreux Jazz Festival in 1979. Other members of the group have included bassist Itibere Zwarg, pianist Jovino Santos-Neto and percussionists Nene, Pernambuco and Zabele. Known as o Bruxo (the Sorcerer), Hermeto often makes music with unconventional objects such as teapots, children's toys, and animals, as well as keyboards, button accordion, melodica, saxophone, guitar, flute, voice, various brass and folkloric instruments.[2] Perhaps because he grew up in the countryside, he uses nature as a basis for his compositions, as in his Música da Lagoa, in which the musicians burble water and play flutes while immersed in a lagoon: a Brazilian television broadcast from 1999 showed him soloing at one point by singing into a cup with his mouth partially submerged in water. Folk music from rural Brazil is another important influence in his work.[2] Between 1996 and 1997, Hermeto surprised the musical world with a book project, Calendário do Som, which contains a song for every day of the year, including 29 February, so that everyone would have a song for his or her birthday.[2] He and his wife Aline Morena currently live in her hometown, Curitiba, Paraná, Brazil.[2]

Discography As leader or member • • • • • • • • • • • • • • • • • • • • •

1964: Conjunto Som 4 (with Conjunto Som 4) 1966: Em Som Maior (with Sambrasa Trio) 1967: Quarteto Novo (with Quarteto Novo) 1969: Brazilian Octopus (with Brazilian Octopus) 1970: Hermeto Pascoal (solo debut, reissued on CD as Brazilian Adventure) 1973: A música livre de Hermeto Pascoal 1977: Slaves Mass 1979: Zabumbê-bum-á 1979: Ao vivo Montreux Jazz Festival 1979: Nova história da Música Popular Brasileira (compilation) 1980: Cérebro magnético 1982: Hermeto Pascoal & Grupo (reissued by Westwind Germany on CD as The Legendary Improviser. The reissue appears to be a copy from vinyl.) 1984: Lagoa da Canoa, Município de Arapiraca 1986: Brasil Universo 1987: Só não toca quem não quer 1988: Hermeto solo: por diferentes caminhos 1992: Festa dos deuses 1993: Instrumental no CCBB (with Renato Borghetti) 1998: Música!: o melhor da música de Hermeto Pascoal (compilation) 1999: Eu e eles 2004: Mundo verde esperança

• 2006: Chimarrão com rapadura (with Aline Morena) • 2010: Bodas de Latão (with Aline Morena)

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Hermeto Pascoal

As contributor • • • • • • • • • • • • • • • •

1956: Ritmos Alucinantes, by Clovis Pereira 1959: Batucando no Morro, by Pernambuco do Pandeiro e seu regional 1970: Natural Feelings, by Airto Moreira 1970: Electric Byrd, by Donald Byrd 1970: It Could Only Happen with You, by Duke Pearson 1970: Live-Evil, by Miles Davis 1971: Cantiga de Longe, by Edu Lobo 1971: Seeds on the Ground, by Airto Moreira 1975: Di Melo, by Di Melo 1976: Open Your Eyes, You Can Fly, byFlora Purim 1976 Goldenwings, by Opa 1977: Orós, by Raimundo Fagner 1978: Robertinho no passo, by Robertinho de Recife 1979: Sivuca, by Sivuca 1979: Live in Montreux, by Elis Regina 1980: Stone Alliance, by Márcio Montarroyos

• • • • • • • • • • • • •

1983: Cordas vivas, by Heraldo do Monte 1984: Ponto do músicos, by Nenê 1986: Balãozinho, by Eduardo Gudin 1986: Cordas mágicas, by Heraldo do Monte 1986: Pindorama, by Pau Brasil 1987: Flávio Pantoja, by Flavio Pantoja 1987: Dharana, by Dharana 1996: Brasil Musical - Série Música Viva (with Pau Brasil) 1998: Maritmo, by Adriana Calcanhotto (on track "Canção por Acaso") 2000: Oferenda, by Aleuda 2000: Nação Nordestina, by Zé Ramalho (on track "Violando com Hermeto") 2003: The Music of Hermeto Pascoal, by Mike Marshall and Jovino Santos Neto 2006: Roda Carioca, by Jovino Santos Neto

References [1] [2] [3] [4]

"Hermeto Pascoal Discography - Slipcue.com Brazilian Music Guide" (http:/ / www. slipcue. com/ music/ brazil/ pascoal. html). . "allmusic Biography" (http:/ / www. allmusic. com/ artist/ p112663/ biography). . N. Scott Robinson-World Music and Percussion, Frame Drums, Riq, Tambourines (http:/ / www. nscottrobinson. com/ airto. php) All Brazilian Music: The music from Brazil (http:/ / www. allbrazilianmusic. com/ en/ Essentials/ Essentials. asp?Status=MATERIA& Nu_Materia=1188)

External links • The official site (http://www.hermetopascoal.com.br/) • Interview and extensive information and discography (http://www.brazzil.com/musdec96.htm)

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Sam Rivers

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Sam Rivers Sam Rivers

Sam and Joe Daley, 1976 Background information Birth name

Samuel Carthorne Rivers

Born

September 25, 1923

Origin

El Reno, Oklahoma, USA

Genres

Avant-garde jazz Free jazz

Occupations

Musician Bandleader Composer

Instruments

Saxophone Clarinet Flute Harmonica Piano

Years active

1950s–present

Labels

Blue Note, RCA, Impulse, Stunt

Associated acts Quincy Jones Miles Davis Dizzy Gillespie Bobby Hutcherson Andrew Hill Jimmy Lyons Dave Holland Website

Sam Rivers

[1]

Samuel Carthorne Rivers (born September 25, 1923, El Reno, Oklahoma)[2] is an American jazz musician and composer. He performs on soprano and tenor saxophones, bass clarinet, flute, harmonica and piano. Active in jazz since the early 1950s, Rivers earned wider attention during the mid-1960s spread of free jazz. With a thorough command of music theory, orchestration and composition, Rivers has been an influential and prominent artist in jazz music.[2]

Sam Rivers

Early life Rivers's father was a gospel musician who had sung with the Fisk Jubilee Singers and the Silverstone Quartet, exposing Rivers to music from an early age. Rivers moved to Boston, Massachusetts in 1947, where he studied at the Boston Conservatory with Alan Hovhaness.[2] He performed with Quincy Jones, Herb Pomeroy, Tadd Dameron and others.

Blue Note era In 1959 Rivers began performing with 13-year-old drummer Tony Williams, who later went on to have an impressive career. Rivers was briefly a member of the Miles Davis's quintet in 1964, partly at Williams's recommendation. This quintet was recorded on a single album, Miles in Tokyo. Unfortunately, Rivers' playing style was too free to be compatible with Davis's music at this point, and he was soon replaced by Wayne Shorter. Rivers was signed by Blue Note Records, for whom he recorded four albums as leader and made several sideman appearances. Among noted sidemen on his own Blue Note Records were Jaki Byard who appears on Fuchsia Swing Song, Herbie Hancock and Freddie Hubbard. He appeared on Blue Note recordings of Tony Williams, Andrew Hill and Larry Young. Rivers's music is rooted in bebop, but he is an adventurous player, adept at free jazz. The first of his Blue Note albums, Fuchsia Swing Song, is widely regarded as a masterpiece of an approach sometimes called "inside-outside". The performer frequently obliterates the explicit harmonic framework ("going outside") but retains a hidden link so as to be able to return to it in a seamless fashion. Rivers brought the conceptual tools of bebop harmony to a new level in this process, united at all times with the ability to "tell a story" which Lester Young had laid down as a benchmark for the jazz improviser. His powers as a composer were also in evidence in this period: the ballad "Beatrice" from Fuchsia Swing Song has become an important standard, particularly for tenor saxophonists. It is analysed in detail in The Jazz Theory Book by Mark Levine who notes how each of its four four-bar elements has a distinct emotional identity.

Loft era During the 1970s, Rivers and his then wife, Bea, ran a noted jazz performance loft called Studio Rivbea in New York City's NoHo district. He continued to record for a variety of labels, including several albums for Impulse! (Streams, recorded live at Montreux, Hues - both records contain different trio performances later collated on CD as Trio Live - the quartet album Sizzle and his first big-band disc, Crystals); perhaps his best-known work from this period, though, is his appearance on Dave Holland's Conference of the Birds, in the company of Anthony Braxton and Barry Altschul.

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Sam Rivers

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Recently Rivers currently lives near Orlando, Florida. He performs regularly with his Orchestra and Trio (with Doug Matthews and Rion Smith). In 1998 he recorded two big-band albums for RCA Victor with the RivBea All-Star Orchestra, Culmination and Inspiration (the title-track is an elaborate reworking of Dizzy Gillespie's "Tanga": Rivers was in Gillespie's band near the end of the trumpeter's life). Other recent albums of note include Portrait, a solo recording for FMP, and Vista, a trio with drummers Adam Rudolph and Harris Eisenstadt for Meta. 2007

In 2006, he released Aurora, a third CD featuring compositions for his Rivbea Orchestra and the first CD featuring members of his working orchestra in Orlando. Sam Rivers and the RivBea Orchestra are currently recording several new compositions at Sonic Cauldron Studios in Winter Springs, FL.

Discography As leader • 1964: Fuchsia Swing Song (Blue Note Records) • 1965: Contours (Blue Note) • 1966: A New Conception (Blue Note) • 1967: Dimensions & Extensions (Blue Note) • 1973: Streams (Impulse!) • 1971-73: Hues (Impulse!) • 1974: Crystals (Impulse!) • 1976: Sam Rivers/Dave Holland Vols. 1 & 2, (Improvising Artists) • 1976: Sizzle (Impulse!) • 1976: The Tuba Trio Vols 1-3 (Circle Records (Germany)) • 1976: Jazz Of The 70's (Circle) • 1978: Waves, Tomato • 1980: Contrasts, ECM 1162 • 1981: Crosscurrent, Blue Marge 1005 • 1982: Colours (Black Saint) • 1997: Configuration, nato • 1998: Eight Day Journal, nato (with Tony Hymas) • 1999: Winter Garden, nato (with Tony Hymas) • 1999: Inspiration, RCA Victor

Lake Eola, Orlando Fl in 2008

Sam Rivers

As sideman With Steven Bernstein • Diaspora Blues (Tzadik, 2002) With Miles Davis • Miles in Tokyo (Columbia, 1964) With Brian Groder • Torque (2007) With Andrew Hill • Change (Blue Note, 1966) With the Dave Holland Quartet • Conference of the Birds, (ECM, 1973) With Bobby Hutcherson • Dialogue (Blue Note, 1965) With Jason Moran • Black Stars, (Blue Note, 2001) With Music Revelation Ensemble • In the Name of..., (DIW, 1993) With Don Pullen • Capricorn Rising (Black Saint, 1975) with Cecil Taylor • The Great Concert of Cecil Taylor (Prestige, 1969) With Alexander von Schlippenbach • Tangens (FMP, 1998) With Tony Williams • Life Time (Blue Note, 1964) • Spring (Blue Note, 1965) With Larry Young • Into Somethin', (Blue Note, 1964)

References [1] http:/ / www. rivbea. com/ [2] Allmusic Biography (http:/ / www. allmusic. com/ artist/ p7428/ biography)


Sam Rivers Web Site (http://www.rivbea.com/) The Sam Rivers Sessionography and Gigography (http://bb10k.com/RIVERS.disc.html) Jazz at Lincoln Center - Chat With Sam Rivers (http://www.jazzatlincolncenter.org/jalc/chats/rivers2.html) FMP Releases (http://www.fmp-label.de/freemusicproduction/musiker/rivers.html) High Octane Octogenerian (http://www.allaboutjazz.com/php/article.php?id=1867)

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Sam Rivers

Listening • NPR profile (http://www.npr.org/templates/story/story.php?storyId=112554824), September 20, 2009 • Interview at allaboutjazz.com (http://www.allaboutjazz.com/php/news.php?id=44856)

Badal Roy Badal Roy (Bangla: বাদল রায়) (born Amarendra Roy Chowdhury in Comilla, eastern Bengal, India, 1945) is a tabla player, percussionist, and recording artist known for his work in jazz, world music, and experimental music.

Biography Roy was born into a Hindu family in a predominantly Muslim eastern Bengal region of India (which later became East Pakistan, then Bangladesh).[1] He speaks the Bengali, English, Hindi, and Urdu languages.[1] His father was a government official who served in the distinguished position of Joint Secretary. His nickname, Badal (meaning "rain," "cloud," or "thunder" in the Bengali language), was given to him by his grandfather after he began crying in the rain as a baby.[1] An early inspiration for Roy was American popular music, and he particularly enjoyed the music of artists such as Elvis Presley, Pat Boone, and Nat King Cole. His first exposure to jazz came when he saw a concert by Duke Ellington and his 60-member orchestra at the Metropole Hotel in Karachi, West Pakistan in 1959; he and his brother were the only Pakistanis in attendance (the rest of the audience was white). Roy received a master's degree in statistics. He came to New York City in 1968 to work on a Ph.D. With only eight dollars in his pocket, he began working as a busboy and waiter in various Indian restaurants, including Taste of India and Raga. He later settled in East Brunswick Township, New Jersey.[2]

Musical career Roy began playing the tabla at age 10 or 11, studying with his uncle. After coming to New York, he began performing with Steve Gorn at a Manhattan restaurant called Raga, eventually attracting the attention of Miles Davis. Davis invited Roy to join his group, and he recorded on Davis's albums On the Corner (1972), Big Fun (1969–72; released 1974), and Get Up with It (1970–74). Roy subsequently performed and recorded with many leading jazz musicians, including Davis, Dave Liebman, Pharoah Sanders, John McLaughlin, Herbie Hancock, Herbie Mann, Pat Metheny, Lester Bowie, Airto Moreira, Charlie Haden, Purna Das Baul, Yoko Ono, and Ornette Coleman (playing in Coleman's electric band Prime Time). In the 1990s Roy began performing with the Brazilian guitar duo Duofel. He has also collaborated with Ken Wessel and Stomu Takeishi in a fusion trio named Alankar. They currently have one album entitled Daybreak. Roy has appeared and offered workshops at RhythmFest, the Starwood Festival, and at the SpiritDrum Festival,[3] a special tribute to the late Babatunde Olatunji (co-sponsored by ACE and Musart) with Muruga Booker, Jim Donovan of Rusted Root, Halim El-Dabh, Jeff Rosenbaum and Sikiru Adepoju, among others.[4] He often plays with Muruga Booker in the Global Village Ceremonial Band, and with Michael Wolff & Impure Thoughts. In 2004, Roy worked with Richie Havens on the album The Grace of the Sun. In the first half of 2006, Roy traveled to Japan in order to appear in a tribute for David Baker, his recently deceased recording engineer and friend. In addition to tabla, Roy also plays a variety of percussion instruments including shakers, bells, rain stick, and flexatone. His notable students include Geoffrey Gordon. In 2008 the album Miles From India, a tribute to Miles Davis, on which Roy appeared received a Grammy nomination.[5]

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Badal Roy

Musical style Unlike many tabla players, Roy does not come from a family of professional musicians and is essentially self-taught, although he studied with his late maternal uncle Dwijendra Chandra Chakraborty as a child, and also studied briefly with Alla Rakha.[1] Consequently, his playing is freer than that of many other tabla players, who adhere more strictly to the tala system of Indian rhythm. He often plays a set of up to eight tabla (tuned to different pitches) and two baya at a time, which he plays melodically as well as rhythmically.

Discography As leader • • • •

1997 - One in the Pocket (Nomad Records) 1998 - Daybreak - Alankar 2002 - Kolkata Rose (with Geoff Warren) 2002 - Raga Roni (with Perry Robinson & Ed Schuller) Geeta

With Amit Chatterjee • 1997 - Endless Radiance (Art of the Duo) (Tutu)

With Ornette Coleman • 1995 - Tone Dialing - Ornette Coleman

With Miles Davis • • • • • •

1974 - Big Fun (2xLP) Columbia Records, 2xCD Columbia (reissued 2000) 1974 - Get Up With It (2xLP) Columbia Records 1974 (2xCD Coline 1991, 2000) 1988 - Miles Davis: The Columbia Years 1955 - 1985 (Box set, also 4xCD) Columbia 1993 - On The Corner (CD, Album) Columbia Records, (Legacy reissued 2000) 1997 - Miles Davis In Concert: Live At Philharmonic Hall, Legacy 1998 - Panthalassa: The Music of Miles Davis 1969-1974

With Steve Gorn • 1983 - Yantra: Flute and Tabla (reissued 1994)

With Richie Havens • 2004 - Grace of the Sun

With Bill Laswell • 1998 - Sacred System: Nagual Site (CD) BMG • 2000 - Lo. Def Pressure (LP & CD) Sub Rosa

With David Liebman • 1974 - Lookout Farm (LP) ECM Records • 1975 - Passing Dreams (reissued 1998, 2002) • 1975 - Drum Ode (LP) ECM Records • 1975 - Sweet Hands • 1975 - Ashirbad (reissued 2002)

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Badal Roy • 1976 - Father Time

With Herbie Mann • Sun Belt (Atlantic)

With John McLaughlin • 1999 - My Goals Beyond Knit Classics (Ryko)

With Yoko Ono • 1982 - It's Alright (I See Rainbows) • 1992 - Onobox • 1992 - Walking on Thin Ice

With Mike Richmond • 1988 - Basic Tendencies (with Glen Velez) Music of the World • 1994 - Asian Journal (with Nana Vasconcelos & Steve Gorn)

With Perry Robinson • 1978 - Kundalini

With Pharoah Sanders • 1972 - Wisdom Through Music (Impulse! Records) • 1974 - Love In Us All (CD) Universal Music (Japan)

With Lonnie Liston Smith • 1973 - Golden Dreams • 1973 - Astral Traveling - (LP) Flying Dutchman (reissued Bluebird Jazz 2002)

With Leni Stern • 1991 - Ten Songs • 1998 - Recollection

With Steve Turre • 1992 - Sanctified Shells • 2000 - In the Valley of Sacred Sound - Harold E. Smith

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Badal Roy

With Barney McAll & Rufus Cappadocia • 2003 - Vivid Jazzhead

With Michael Wolff & Impure Thoughts • • • •

2000 - Impure Thoughts Indianola Music 2001 - Intoxicate Indianola Music 2004 - Dangerous Vision Artemis Records 2006 - Love & Destruction Rong Records

With other artists • • • • •

1967 - Virgo Vibes - Roy Ayers Atlantic (reissued 2002) 1979 - Earthquake Island - Jon Hassell (Tomato Music) 1984 - Mood Swing - The Nails (LP) RCA 1989 - Dancing With The Lion - Andreas Vollenweider (CD) CBS (reissued with bonus tracks 2005) 1993 - Angel Rodeo - Lisa Sokolov Laughing Horse Records

• 1993 - Prophecy: The Whale & the Elephant Trade Notes on the State of the World - Zusaan Kali Fasteau (Flying Note) • 1994 - Espelho das Águas - Duofel (CD)(Velas) • 1997 - Rising Sun - D. K. Dyson (Ocean Records) • 1998 - Wake Up And Dream - Ekstasis (CD) CyberOctave • 2000 - Musica (with Luiz Bueno) MCD World Music • 2001 - Export Quality - Dum Dum Project (2xLP) X-Squared Records • 2001 - Daughters of the Sun - Nana Simopoulos (Na. Records) • 2001 - Branching Out - William Cepeda (Blue Jackel) • 2001 - The Sea To The North - Garth Hudson Woodstock Records • 2002 - Of Unicorns and Jasmine ...A Lover's Tale - Simirillion (with Cecil Wilson) Canned Air Records • 2002 - Sacred Spaces - Lee Boice • 2003 - Rebirth - Children On The Corner (Sonance Records) • 2003 - Heavy Skies - Roman Kunsman (Downtown Jazz) • 2005 - Free Funk (with Muruga Booker & members of the Global Village Ceremonial Band, Perry Robinson & Belita Woods) Qbico 2005 • 2006 - Vivid (with Barney Mcall & Rufus Cappadocia) Jazzhead Oz • Songs For Sitar and Tabla (with Arooj Lazewai) Cassette (Music of the World) • 2007 - Bonfire Dreams - Various Artists, ACE • 2008 - OrthoFunkOlogy - Free Funk (with Muruga Booker & Perry Robinson) Musart • 2008 - An die Musik - Nobu Stowe & Alan Munshower with Badal Roy (Soul Note) • 2008 - Miles From India - Various Artists (4Q/Times Square Records)

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Badal Roy

References [1] Drum Magazine (http:/ / drummagazine. com/ html/ modules. php?op=modload& name=News& file=article& sid=308) [2] "Play it Again, Badal Roy" (http:/ / www. highbeam. com/ doc/ 1P1-103180517. html), India Abroad, September 10, 2004. Accessed June 26, 2008. "But last week, Roy, an East Brunswick, New Jersey-based tabla player, who has performed with the likes of Miles Davis, Dizzy Gillespie and Yoko Ono, was part of the tournament's opening night act." [3] SpiritDrum Festival Website (http:/ / www. rosencomet. com/ spiritdrum/ index. html) [4] Muruga Booker Website (http:/ / murugabooker. com/ ace. html) [5] Recalling Miles Davis by Crossing Cultures by Nate Chinen - New York Times, May 12, 2008 (http:/ / www. nytimes. com/ 2008/ 05/ 12/ arts/ music/ 12mile. html)

External links • "Badal Roy: Funky Tabla" (http://www.rootsworld.com/rw/motw/profile_badal.html) (Artist Profile from Music of the World site) • "Tale of A Tabla Nonconformist" (http://209.85.165.104/search?q=cache:6F9k-moGBEoJ:drummagazine. com/html/modules.php?op=modload&name=News&file=article&sid=308+") by Iris Brooks (November 1997)

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John Scofield

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John Scofield John Scofield

John Scofield at Moers Festival 2006, Germany Background information Born

December 26, 1951 Dayton, Ohio, United States

Genres

Jazz, jazz fusion

Occupations

Musician, songwriter

Instruments

Guitar

Years active

1970s-Present

Labels

EmArcy Records, Verve, Blue Note, Gramavision, Enja

[1]

Associated acts Miles Davis, Medeski Martin & Wood Website

www.johnscofield.com

[2]

Notable instruments Ibanez Artstar AS200

John Scofield (born December 26, 1951 in Dayton, Ohio),[3] often referred to as "Sco," is an American jazz guitarist and composer, who has played and collaborated with Miles Davis, Dave Liebman, Joe Henderson, Charles Mingus, Joey Defrancesco, Herbie Hancock, Pat Metheny, Bill Frisell, Pat Martino, Mavis Staples, Phil Lesh, Billy Cobham, Medeski Martin & Wood, George Duke, Jaco Pastorius, John Mayer, [4] and many other well known artists. At ease in the bebop idiom, Scofield is also well versed in jazz fusion, funk, blues, soul, and other forms of modern American music.

Biography Early in his life, Scofield's family left Ohio and relocated to the small, then mostly rural location of Wilton, Connecticut; it was here that he discovered his interest in music.[5] Educated at the Berklee College of Music, Scofield eventually left school to record with Chet Baker and Gerry Mulligan. He joined the Billy Cobham/George Duke Band soon after and spent two years playing, recording and touring with them. Scofield recorded with Charles Mingus in 1976, and replaced Pat Metheny in Gary Burton's quartet.[6] In autumn 1976 he signed a contract with Enja Records, and he released his first album, John Scofield, in 1977. Around this time, he toured and recorded with Pianist Hal Galper, first on his own solo album Rough House in 1978, and Galper's album Ivory Forest (1980), where he is heard playing a solo rendition of Thelonious Monk's "Monk's Mood". In 1979 he formed a trio with his mentor Steve Swallow and Adam Nussbaum which, with drummer Bill Stewart replacing Nussbaum, has become the signature group of Scofield's career. In 1982, he joined Miles Davis, with whom he remained for three and a half years. He contributed tunes and guitar work to three Davis recordings, Star People, You're under Arrest and Decoy.

John Scofield While still with Davis, he released the first of his Gramavision recordings Electric Outlet (1984). Still Warm (1985) followed after he left Davis's group. At the end of the Davis tenure, he started what is now referred to as his Blue Matter Band - with Dennis Chambers on drums, Gary Grainger on bass and at times either Robert Aries or Jim Beard on keyboards - releasing Blue Matter, Loud Jazz and Pick Hits Live. At the beginning of the 1990s, he formed his quartet that included Joe Lovano with whom he recorded several important albums for Blue Note Records. Time on My Hands (1990), with Lovano, Charlie Haden and Jack DeJohnette, showcased Scofield's guitar and Mingus-influenced writing. Bill Stewart subsequently became the group's drummer, and played on Meant To Be (1991) and What We Do (1993). In 1992, Scofield released Grace Under Pressure, featuring fellow guitarist Bill Frisell, with Charlie Haden on bass and Joey Baron on drums. Stewart rejoined with Scofield and bassist Steve Swallow for the 1994 collaboration with Pat Metheny, I Can See Your House from Here. Towards the end of his tenure with Blue Note, Scofield returned to a more funk and soul jazz-oriented sound, a direction which has dominated much of his subsequent output. In 1994 and 1995, Scofield formed a core group that included organist/pianist Larry Goldings, bassist Dennis Irwin, and alternately drummers, Bill Stewart and Idris Muhammad. The group toured extensively, and the albums Hand Jive and Groove Elation feature this funk/groove/soul dimension in Scofield's music, bringing in tenor saxophonist Eddie Harris, percussionist Don Alias, trumpeter Randy Brecker, and others. He recorded the acclaimed 1997 album A Go Go with the avant garde jazz trio Medeski Martin & Wood. Also during this period, his relationship began with British composer Mark-Anthony Turnage. First as a soloist on Turnage's Blood on the Floor: Elegy for Andy, the two paired up to create Scorched, Turnage's orchestrations of Scofield compositions largely form the Blue Matter period. Scorched, a recording available on Deutsche Grammophon, debuted in Frankfurt, Germany. He released Überjam in 2002 and Up All Night in 2004, two albums on which he experiments with drum n bass and other modern rhythms. John Scofield has also worked and recorded in Europe with nu-fusionist Bugge Wesseltoft New Conception of Jazz in 2001/2 and 2006. Late 2004 saw the release of EnRoute: John Scofield Trio LIVE, which features the jazz trio of John Scofield, the venerable Steve Swallow on bass and Bill Stewart on drums. It was recorded live at The Blue Note in NYC in December 2003. The next year, he released That's What I Say - JS plays the music of Ray Charles - Scofield with an all-star guest studded collection of Ray Charles material. This led to a series of performances with Mavis Staples, Gary Versace on organ, John Benitez on bass, and Steve Hass on drums. After sitting in for two engagements in December (3rd & 4th) of 2005 with Phil Lesh and Friends, Scofield has since played numerous shows with the band. Most recently, on June 3 at Mountain Jam, which took place in Hunter, NY the first weekend of June 2007. On September 26, 2006 he released Out Louder, his second collaborative effort album with avant garde jazz trio Medeski Martin & Wood. The group, known collectively as MSMW toured extensively worldwide in 2006 and 2007, with sporadic engagements planned in the future. Scofield also performs as a duo with John Medeski - aptly named The Johns and another groove trio with Scofield, Medeski and drummer Adam Deitch. September 18, 2007 saw This Meets That released on EmArcy Records - Universal Music's jazz label, a record featuring his trio with Steve Swallow and Bill Stewart. This time John added a horn section to expand the sound of his trio. Never one to follow an expected path, in recent years Scofield launched a personal search for musical inspiration beyond the standard 12 bar blues and found it in "old time gospel music - the closest relative to and inspiration for the R& B.” His 2009 release Piety Street with bass legend George Porter, Jr. and singer/keyboardist Jon Cleary. The collaboration heard on the 2010 release 54 had its origins back in the 90's when Vince Mendoza asked John Scofield to play on his first album. John has since been featured on two of Vince’s records and his guitar sound and improvisational skills work well within Vince’s concept. When Mendoza assumed directorship of The Metropole Orchestra, he and Scofield decided to collaborate again with a primary focus on Mendoza’s arrangements of Scofield compositions as performed with The Metropole Orchestra.

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John Scofield

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In a return to Scofieldesque "straight ahead" jazz, he went to the studio in January 2011 with pianist/organist Larry Goldings, bassist Scott Colley and drummer Brian Blade, laying the tracks for a ballads album scheduled for a May 2011 release on EmArcy Records. In April 2010, Scofield was named an Officier of the Ordre des Arts et des Lettres by the French Ministry of Culture. Scofield is currently serving as an adjunct faculty member in the Jazz Department at New York University's Steinhardt School of Education. He married Susan Scofield in 1978. They are the parents of music producer Jean Scofield (b. 1981) and writer Evan Scofield (b. 1987).

Equipment Scofield endorses Ibanez guitars. His signature guitar, the JSM100, is based on his longtime stage and recording guitar, a 1981 Ibanez AS200 which he believes to be one of the best semi-acoustics ever built. He gets his tone by running a Pro Co RAT through either a Vox AC-30 or Mesa Boogie amplifier. Some of his effects include an Ibanez CS9 Analog Chorus, a Line 6 FM4 Filter Modeler, and a Line 6 DL4 Delay Modeler. Some of his additional effects include a Digitech XP100 Whammy/Wah, a Boss EQ Pedal, a Boss Loop Station, and a Boomerang phrase sampler pedal. John Scofield uses Dunlop Delrin 2 mm picks.

Discography As leader & co-leader • John Scofield Live (1977) - Enja Records • John Scofield aka East Meets West (1977) - Trio Records/Black-Hawk Records, Bellophon Records • Rough House (1978) - Enja Records • Who's Who? (1979) - Arista/Novus • Bar Talk (1980) - Jive/Novus • Out Like a Light (1981) - Enja Records • Shinola (1981) - Enja Records • Electric Outlet (1984) - Gramavision • Still Warm (1985) - Gramavision • Blue Matter (1986) - Gramavision • Loud Jazz (1987) - Gramavision • Pick Hits Live (1987) - Gramavision • Flat Out (1989) - Gramavision • Time on My Hands (1990) - Blue Note • Meant To Be (1991) - Blue Note • Grace Under Pressure (1992) - Blue Note • What We Do (1993) - Blue Note • I Can See Your House From Here (1994) - w/Pat Metheny - Blue Note • Hand Jive (1994) - Blue Note • Groove Elation (1995) - Blue Note • Quiet (1996) - Verve

John Scofield playing at the International Jazz Festival Enschede, 2007.

John Scofield • • • • • • • • • • • • • •

520

A Go Go with Medeski Martin & Wood(1998) - Verve Bump (2000) - Verve Works For Me (2001) - Verve Überjam (2002) - Verve Oh! (2003) - as ScoLoHoFo - Blue Note Up All Night (2003) - Verve Scorched (2004) - w/Mark-Anthony Turnage - DG Deutsche Grammophon EnRoute: John Scofield Trio LIVE (2004) - Verve That's What I Say: John Scofield Plays the Music of Ray Charles (2005) - Verve Saudades (2006) - as Trio Beyond - ECM Out Louder (2006) - as Medeski Scofield Martin & Wood - Indirecto This Meets That (2007) - Emarcy Records Piety Street (2009) - Emarcy Records 54 (2010) - w/Vince Mendoza & The Metropole Orkestra - Emarcy Records

Compilations • Best of John Scofield (1989) - Blue Note • Slo Sco:The Best of the Ballads (1990) - Gramavision • Liquid Fire: The Best of John Scofield (1994) - Gramavision • Steady Groovin': The Blue Note Groove Sides (2000) - Blue Note

As a sideman With Teodross Avery • My Generation (1996) - Impulse! With Billy Cobham • A Funky Thide of Sings (1975) - Atlantic • Life & Times (1976) - Wounded Bird Records With Joe Beck & Larry Coryell • Tributaries (1978) - Arista Novus With the George Adams-Don Pullen Quartet • Live at Montmartre (Timeless, 1985) With Miles Davis • You're Under Arrest (1985) - Columbia • Decoy (1984) - Sony Music • Star People (1983) - Sony Music With John Ellis: • One Foot In The Swamp (2005) - Hyena With David Friesen • Two for the Show (1994) - ITM Pacific With Jon Gordon

• Possibilities (2000) - Double-Time With Herbie Hancock

Onstage in 2004

John Scofield • The New Standard (1995) - Verve With Jimmy Haslip • A R C (1993) - UMG With Roy Haynes • Love Letters (2003) - Columbia With Joe Henderson • So Near, So Far (Musings for Miles) (1993) - Verve • Porgy & Bess (1997) - Verve With Ron Holloway • Struttin' (1995) - Milestone Records With Marc Johnson • Shades of Jade (2005) - ECM • Second Sight (1987) - ECM • Bass Desires (1986) - ECM With Lee Konitz • Rhapsody II (1993) - Evidence With Manhattan Jazz Quintet • Manhattan Blues (1990) – Sweet Basil With Gary Marks • Gathering (1974) - Arewea Records With Charles Mingus • Three of Four Shades of Blue (1977) - Collectables Records With Gerry Mulligan and Chet Baker • Carnegie Hall Concert (1974) - CTI Records With John Patitucci • Now (1998) - Concord Jazz With Phil Lesh and Friends • Live at the Warfield (2006) - Image With Dizzy Gillespie • Rhythmstick (1990) With Harvie Swartz • In a Different Light (1990) - Blue Moon With Tommy Smith: • Blue Smith (1999) - Linn Records With Gary Thomas • By Any Means Necessary (1989) - JMT With Mark Antony Turnage • Blood On The Floor (album) (1998) - Decca Records With Bugge Wesseltoft • New Conception Of Jazz Live (2003) - Jazzland

521

John Scofield With Lenny White • Present Tense (1995) - Hip Bop With Jack DeJohnette • Music for the Fifth World (1992) - Capitol With Keller Williams • Dream (2007) - SCI Fidelity Records

References [1] [2] [3] [4] [5] [6]

http:/ / www. allmusic. com/ artist/ john-scofield-p7501 http:/ / www. johnscofield. com/ AOL.com artist profile (http:/ / music. aol. com/ artist/ john-scofield/ 7501/ main) http:/ / www. berklee. edu/ bt/ 172/ coverstory. html All About Jazz Bio (http:/ / www. allaboutjazz. com/ artists/ scofield. htm) Yahoo Music artist Bio (http:/ / music. yahoo. com/ ar-262946-bio--John-Scofield)

External links • Official site (http://www.johnscofield.com/) • Verve Records: John Scofield Bio (http://www.vervemusicgroup.com/artist.aspx?aid=2928) • Video Interview (11/2004) (http://mediatheque.cite-musique.fr/masc/?url=/MediaComposite/CMDI/ CMDI000001000/default.htm) • Interview (01/2003) (http://www.allaboutjazz.com/php/article.php?id=87) • Interview (03/2002) (http://www.allaboutjazz.com/iviews/jscofield2002_1.htm) • Interview (05/2000) (http://www.digitalinterviews.com/digitalinterviews/views/scofield.shtml) • John Scofield guitar tab (http://www.jazzguitar.be/john_scofield_licks.html) • Interview from honesttune.com (http://www.honesttune.com/content/view/550/33/)

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Wayne Shorter

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Wayne Shorter Wayne Shorter

Convocation Hall, Toronto, Nov. 27, 1977. Photo courtesy of Jean-Luc Ourlin Background information Born

August 25, 1933 Newark, New Jersey, United States

Genres

Modal jazz, crossover jazz, post-bop, hard bop, jazz fusion

Occupations

Musician, composer

Instruments

Saxophone

Years active

1959–present

Labels

Blue Note, Columbia, Verve

Associated acts

Art Blakey, Miles Davis, Weather Report

Wayne Shorter (born August 25, 1933) is an American jazz saxophonist and composer, commonly regarded as one of the most important American jazz musicians of his generation. He is generally acknowledged to be jazz's greatest living composer.[1] Shorter's output within the field has earned worldwide recognition, critical praise and various commendations, including multiple Grammy Awards.[2] The virtuoso has recorded over 20 albums as a leader, and appeared on dozens more with others including Art Blakey's Jazz Messengers in the late 1950s, Miles Davis's second great quintet in the 1960s and the jazz fusion band Weather Report, which Shorter co-led in the 1970s. Many of his compositions have become standards.

Biography Early life and career Shorter was born in Newark, New Jersey, and attended Newark Arts High School.[3] He loved music, being encouraged by his father to take up the saxophone as a teenager (his brother Alan became a trumpeter). After graduating from New York University in 1956, Shorter spent two years in the U.S. Army, during which time he played briefly with Horace Silver. After his discharge from the army, he played with Maynard Ferguson. It was in his youth that Shorter was given the nickname Mr. Gone, which would later become an album title for Weather Report.[4] In 1959, Shorter joined Art Blakey. He stayed with Blakey for five years, and eventually became musical director for the group.

Wayne Shorter

With Miles Davis (1964-1970) When John Coltrane finally left Miles Davis' band in 1960 to pursue his own group (after previously trying to leave in 1959), Coltrane proposed Wayne Shorter as a replacement but Shorter was unavailable and Davis went with Sonny Stitt on tenor followed by a revolving door of Hank Mobley, George Coleman, and Sam Rivers. In 1964, Miles Davis persuaded Shorter to leave Blakey and join his quintet alongside Herbie Hancock, Ron Carter and Tony Williams. Miles' so-called "second great quintet" (to distinguish it from the quintet with Coltrane) that included Hancock and Shorter has frequently been cited by musicians and critics as one of the most influential groups in the history of jazz, and Shorter's compositions are a primary reason for the group's unique sound. Shorter composed extensively for Miles Davis (e.g. "Prince of Darkness", "E.S.P.", "Footprints", "Sanctuary", "Nefertiti", and many others); on some albums, he provided half of the compositions, typically hard-bop workouts with spaced-out long melody lines above the beat. Herbie Hancock said of Shorter's tenure in the group, "The master writer to me, in that group, was Wayne Shorter. He still is a master. Wayne was one of the few people who brought music to Miles that didn't get changed." Davis said, "Wayne is a real composer. He writes scores, write the parts for everybody just as he wants them to sound... Wayne also brought in a kind of curiosity about working with musical rules. If they didn't work, then he broke them, but with musical sense; he understood that freedom in music was the ability to know the rules in order to bend them to your own satisfaction and taste."[5] Shorter remained in Davis's band after the breakup of the quintet in 1968, playing on early jazz fusion recordings including In a Silent Way and Bitches Brew (both 1969). His last live dates and studio recordings with Davis were in 1970. Until 1968, he played tenor saxophone exclusively. The final album on which he played tenor in the regular sequence of Davis albums was Filles de Kilimanjaro. In 1969, he played the soprano saxophone on the Davis album In a Silent Way and on his own Super Nova (recorded with then-current Davis sidemen Chick Corea and John McLaughlin). When performing live with Miles Davis, recordings from summer 1969 to early spring 1970 he played both soprano and tenor saxophones. By the early 1970s, however, he chiefly played soprano saxophone. Solo Blue Note recordings Simultaneous with his time in the Miles Davis quintet, Shorter recorded several albums for Blue Note Records, featuring almost exclusively his own compositions, with a variety of line-ups, quartets and larger groups including Blue Note favourites such as Freddie Hubbard. His first Blue Note album (of nine in total) was Night Dreamer recorded at Rudy Van Gelder's studio in 1964 with Lee Morgan, McCoy Tyner, Reggie Workman and Elvin Jones. JuJu and Speak No Evil are well known recordings from this era. Shorter's compositions on these albums are notable for their use of: • pentatonic melodies harmonised with pedal points and complex harmonic relationships; • structured solos that reflect the composition's melody as much as its harmony; • long rests as an integral part of the music, in contrast with other, more effusive, players of the time such as John Coltrane. The later album The All Seeing Eye was a free-jazz workout with a larger group, while Adams Apple of 1966 was back to carefully constructed melodies by Shorter leading a quartet. Then a sextet again in the following year for Schizophrenia with his Miles Davis band mates Hancock and Carter plus trombonist Curtis Fuller, alto saxophonist/flautist James Spaulding and strong rhythms by drummer Joe Chambers. These albums have recently been remastered by Rudy Van Gelder. Shorter also recorded occasionally as a sideman (again, mainly for Blue Note) with Donald Byrd, McCoy Tyner, Grachan Moncur III, Freddie Hubbard, Lee Morgan, and bandmates Hancock and Williams.

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Weather Report (1971-1985) Following the release of Odyssey of Iska in 1970, Shorter formed the fusion group Weather Report with Miles Davis veteran keyboardist Joe Zawinul. The other original members were bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. After Vitous' departure in 1973, Shorter and Zawinul co-led the group until the band's break-up in late 1985. A variety of excellent musicians that would make up Weather Report alumni over the years (most notably the revolutionary bassist Jaco Pastorius) helped the band produce many high quality recordings in diverse styles through the years, with funk, bebop, Latin jazz, ethnic music, and futurism being the most prevalent denominators. Solo Shorter also recorded critically acclaimed albums as a bandleader, notably Native Dancer, which featured his Miles Davis band-mate Herbie Hancock and Brazilian composer and vocalist Milton Nascimento. Shorter was to work with both of these musicians again later. On the title track of Steely Dan's 1977 album Aja, he played a solo that moved the critic writing the album's liner notes to the point that he called it "suitable for framing" (meaning 'beautiful' rather than 'wooden').

Shorter with Weather Report in Amsterdam, in 1980

Concurrently, in the late 1970s and the early 1980s, he toured in the V.S.O.P. quintet. This group was a revival of the 1960s Miles Davis quintet, except that Freddie Hubbard filled the trumpet chair instead of Miles. Shorter appeared with the same former Davis bandmates on the Carlos Santana double LP The Swing of Delight, for which he also composed a number of pieces. From 1977 through 2002, he appeared on ten Joni Mitchell studio albums, gaining him a wider audience.

Recent career After leaving Weather Report, Shorter continued to record and lead groups in jazz fusion styles, including touring in 1988 with guitarist Carlos Santana, who appeared on the last Weather Report disc This is This! In 1989, he contributed to a hit on the rock charts, playing the sax solo on Don Henley's song "The End of the Innocence" and also produced the album "Pilar" by the Portuguese singer-songwriter Pilar Homem de Melo. He has also maintained an occasional working relationship with Herbie Shorter performing. Photo by Tom Beetz. Hancock, including a tribute album recorded shortly after Davis's death with Hancock, Carter, Williams and Wallace Roney. He continued to appear on Joni Mitchell's records in the 1990s. Shorter's distinctive sound is also apparent in the soundtrack for the Harrison Ford film The Fugitive released in 1993.

Wayne Shorter In 1995, Shorter released the album High Life, his first solo recording for seven years. It was also Shorter's debut as a leader for Verve Records. Shorter composed all the compositions on the album and co-produced it with the bassist Marcus Miller. High Life received the Grammy Award for best Contemporary Jazz Album in 1997. Shorter would work with Hancock once again in 1997, on the much acclaimed and heralded album 1+1. The song "Aung San Suu Kyi" (named for the Burmese pro-democracy activist) won both Hancock and Shorter a Grammy Award. In 2009, he was announced as one of the headline acts at the Gnaoua World Music Festival in Essaouira, Morocco. Quartet Shorter formed his current band in 2000, the first permanent acoustic group under his leadership, a quartet with young musicians, pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade, playing his own complex compositions, many of them reworkings of tunes from his substantial portfolio going back to the 1960s. Two albums of live recordings featuring this quartet have been released, Footprints Live! (2002) and Beyond the Sound Barrier (2005). The quartet has received great acclaim from fans and critics, especially for the strength of Shorter's tenor saxophone The Wayne Shorter Quartet at the Teatro degli Arcimboldi, Milan, 2010 playing. The Shorter biography Footprints: The Life and Work of Wayne Shorter by journalist Michelle Mercer contains an insight into the working life of these musicians as well as insight into Shorter's life, thoughts and Buddhist beliefs.[6] Beyond the Sound Barrier received the 2006 Grammy Award for Best Instrumental Jazz Album. Shorter's 2003 album Alegría (his first studio album for ten years, since High Life) received the 2004 Grammy Award for Best Instrumental Jazz Album; it features the quartet with a host of other musicians, including pianist Brad Mehldau, drummer Terri Lyne Carrington and former Weather Report percussionist Alex Acuña. Shorter's compositions, some new, some reworked from his Miles Davis period, feature the complex Latin rhythms that Shorter specialised in during his Weather Report days.

Personal life Shorter married Teruka (Irene) Nakagami, in the 1960s; they met in 1961 and later had a child, Miyako.[7] Some of his compositions are copyrighted as "Miyako Music". Shorter dedicated some pieces to his daughter: "Miyako" and "Infant Eyes". The couple separated in 1964.[8] Shorter met Ana Maria in 1964 and they were married in 1970.[8] In 1986, their daughter Iska died of a grand mal seizure at age 14.[9] Ana Maria and the couple's niece Dalila were both killed in 1996 on TWA Flight 800 while en route to see him in Italy.[8] Shorter married Carolina Dos Santos, a close friend of Ana Maria, in 1999. He is a Nichiren Buddhist and a member of Sōka Gakkai.[8]

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Discography Title

Year

Label

Introducing Wayne Shorter

1959

Vee-Jay

Second Genesis

1960

Vee-Jay

Wayning Moments

1962

Vee-Jay

Night Dreamer

1964

Blue Note

JuJu

1964

Blue Note

Speak No Evil

1965

Blue Note

The Soothsayer

1965

Blue Note

Et Cetera

1965

Blue Note

The All Seeing Eye

1965

Blue Note

Adam's Apple

1966

Blue Note

Schizophrenia

1967

Blue Note

Super Nova

1969

Blue Note

Moto Grosso Feio

1970

Blue Note

Odyssey of Iska

1970

Blue Note

Native Dancer with Milton Nascimento

1974

Columbia

Atlantis

1985

Columbia

Phantom Navigator

1986

Columbia

Joy Ryder

1988

Columbia

Carlos Santana and Wayne Shorter - Live at the Montreux Jazz Festival 1988 with Carlos Santana

1988

Image Entertainment

High Life

1995

Verve

1 + 1 with Herbie Hancock

1997

Verve

Footprints Live!

2002

Verve

Alegría

2003

Verve

Beyond the Sound Barrier

2005

Verve

Awards • • • • • • • • • • •

Down Beat Poll Winner New Star Saxophonist (1962) Grammy Award for Best Jazz Fusion Performance for Weather Report's 8:30 (1979) Grammy Award for Best Instrumental Composition for Dexter Gordon's Call Sheet Blues (1987) Grammy Award for Best Jazz Instrumental Performance, Individual or Group for A Tribute to Miles (1994) Grammy Award for Best Contemporary Jazz Album for High Life (1996) Grammy Award for Best Instrumental Composition for Aung San Suu Kyi (1997) NEA Jazz Masters (1998) Honorary Doctorate of Music (1999; Berklee College of Music) Grammy Award for Best Jazz Instrumental Solo for In Walked Wayne (1999) Grammy Award for Best Instrumental Composition for Sacajawea (2003) Grammy Award for Best Jazz Instrumental Performance, Individual or Group for Alegría (2003)

Wayne Shorter • Grammy Award for Best Jazz Instrumental Performance, Individual or Group for Beyond The Sound Barrier (2005) • Jazz Journalists Association Jazz Award Small Ensemble Group of the Year to Wayne Shorter Quartet (2006)

References [1] Ratliff, Ben. The New York Times. http:/ / topics. nytimes. com/ topics/ reference/ timestopics/ people/ s/ wayne_shorter/ index. html. [2] The New York Times: "Times Topics" listing (http:/ / topics. nytimes. com/ topics/ reference/ timestopics/ people/ s/ wayne_shorter/ index. html) [3] A Brief History (http:/ / www. nps. k12. nj. us/ arts/ a_brief_history. htm), Newark Arts High School. Accessed August 10, 2008. [4] The Big Takeover: Weather Report - Forecast: Tomorrow (Columbia Legacy) : (http:/ / www. bigtakeover. com/ recordings/ weather-report-forecast-tomorrow-columbia-legacy) [5] Davis, Miles; Troupe, Quincy (1990). Miles: The Autobiography. Simon and Schuster. p. 274. ISBN 0671725823. [6] "Footprints: The Life and Work of Wayne Shorter" (http:/ / www. allaboutjazz. com/ php/ article. php?id=15937). allaboutjazz.com. . Retrieved 2010-11-19. [7] http:/ / 100greatestjazzalbums. blogspot. com/ 2006/ 07/ speak-no-evil-wayne-shorter-blue-note. html [8] "A Separate Peacee" (http:/ / www. people. com/ people/ archive/ article/ 0,,20122768,00. html). People. . Retrieved 2010-02-21. [9] Ratliff, Ben. The New York Times. http:/ / topics. nytimes. com/ topics/ reference/ timestopics/ people/ s/ wayne_shorter/ index. html.

External links • Essay on Wayne Shorter (http://web.archive.org/web/20080225123458/http://www.orbismusic.com/ old_site/wayne+shorter/shorterpaper.html) (Internet archive copy from February 2008) • "An Interview with Wayne Shorter" (http://www.jazz.com/features-and-interviews/2008/3/21/ in-conversation-with-wayne-shorter) by Bob Blumenthal, ( Jazz.com (http://www.jazz.com)). • The Complete Wayne Shorter (http://home.ica.net/~blooms/wshome.html) • Wayne Shorter's letter read during Joe Zawinul's funeral (http://www.zawinulfans.org/modules/sections/ index.php?op=viewarticle&artid=43) • Wayne Shorter discography (http://www.jazzdisco.org/wayne-shorter/discography/) • Wayne Shorter Quartet with NEC Philharmonia, Boston (http://www.allaboutjazz.com/php/article. php?id=34718) on AllAboutJazz.com

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Sonny Stitt

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Sonny Stitt Sonny Stitt

Sonny Stitt in New York City on July 6, 1976 Background information Birth name

Edward Stitt

Born

February 2, 1924

Origin

Boston, Massachusetts, USA

Died

July 22, 1982 (aged 58)

Genres

Jazz, Bebop, hard bop

Occupations

Saxophonist

Instruments

Tenor saxophone, Alto saxophone

Associated acts Billy Eckstine, Gene Ammons, Eddie Davis, Charlie Parker, Miles Davis

Edward "Sonny" Stitt (b. February 2, 1924, Boston, Massachusetts[1] – d. July 22, 1982, Washington, D.C.)[2] was an American jazz saxophonist of the bebop/hard bop idiom. He was also one of the most well-documented saxophonists of his generation, recording over 100 albums in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz. He is considered the greatest disciple of Charlie Parker.[3] Although his playing was at first heavily inspired by Charlie Parker and Lester Young, Stitt eventually developed his own style, one which influenced John Coltrane. Stitt was especially effective with blues and with ballad pieces such as "Skylark".

Biography Early life Stitt was born in Boston, Massachusetts and grew up in Saginaw, Michigan. Stitt had a musical background; his father was a college music professor, his brother was a classically trained pianist, and his mother was a piano teacher.[1] In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt's emulation. Stitt's improvisations were more melodic/less dissonant than those of Parker. Stitt's earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also experienced playing in some swing bands, though he mainly played in bop bands. Stitt featured in Tiny Bradshaw's big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie's band in 1945.[2]

Sonny Stitt Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker emulator. Later on, he notably played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948–49 for selling narcotics. Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor.[1] He played with other bop musicians Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as "Autumn Leaves." Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson. He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott's in London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey.

Later life In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the album Just The Way It Was - Live At The Left Bank, recorded in 1971 and released in 2000. Stitt, joining the Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk and bassist Al McKibbon) on some albums for the Mercury Records label, and recording sessions for Cobblestone and other labels. His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22.

530

Sonny Stitt


1952: Kaleidoscope, Prestige 1955:Sonny Stitt Plays Arrangements by Quincy Jones, Roost (RST 2204) 1956: Sonny Stitt, Roost (RST 2208) 1956: For Musicians only, Verve (with Gillespie, Stan Getz, John Lewis, Ray Brown, Stan Levey) 1957: Sonny Side Up, Verve (with Gillespie, Sonny Rollins) 1957: Only the Blues, Verve (with Roy Eldridge and Oscar Peterson) 1958: Sonny Stitt, MCA 1959: Sonny Stitt Sits In with the Oscar Peterson Trio, Verve (with Peterson) 1962: Stitt Meets Brother Jack, Prestige (with Jack McDuff) 1962: Boss Tenors in Orbit Verve (with Gene Ammons) 1963: Move on Over (Argo, with Joe Diorio, et al.) 1963: Salt And Pepper, Impulse 1963: Stitt plays Bird, Atlantic, (with Jim Hall, John Lewis, Richard Davis, Connie Kay) 1964: Soul People, Prestige (with Booker Ervin)

• • • • •

1965: The Complete Roost Sonny Stitt Studio Sessions 1965: Live at Ronnie Scott's 1969: Night Letter, Prestige (with Gene Ludwig, Pat Martino, Randy Gelispie) 1971: Turn it On!, Prestige 1971: Just the Way It Was, Hyena, Recorded live at The Famous Ballroom, Baltimore, Maryland, USA, (with Don Patterson - organ; Billy James - drums) 1972: Tune-Up!, Muse (with Barry Harris, Sam Jones, Allan Dawson) 1972: Constellation 1972: Sonny Stitt/12!, Muse 1974: The Champ 1980: Sonny's Back, Muse 1981: Sonny, Sweets and Jaws- Live at Bubbas, Whos Who in Jazz (with Harry "Sweets" Edison, Eddie Lockjaw Davis) 1982: Last Stitt Sessions, Muse

• • • • • • •

As Sideman With Gene Ammons • Boss Tenors, 1961, Verve With Art Blakey • A Jazz Message (1963) Impulse! Records With Milt Jackson • Loose Walk (Palcoscenico Records) With Zimbo Trio • Zimbo Trio invites Sonny Stitt, (1979) Clam/Continental

531

Sonny Stitt

532

References [1] Wilson, John S. (1982). "Sonny Stitt, Saxophonist, Is Dead; Style Likened to Charlie Parker's" (http:/ / proquest. umi. com). The New York Times: pp. 28. . Retrieved 2008-06-25. [2] "SONNY STITT, 58, JAZZ SAXOPHONIST, DISCIPLE OF CHARLIE (BIRD) PARKER" (http:/ / proquest. umi. com). The Boston Globe: pp. 1. 1982-07-25. . Retrieved 2008-06-25. [3] allmusic ((( Sonny Stitt > Biography ))) (http:/ / www. allmusic. com/ artist/ p7618/ biography)

External links • Sonny Stitt at Verve Records (http://www.vervemusicgroup.com/artist.aspx?ob=per&src=prd&aid=2810) • Sonny Stitt at the Hard Bop Homepage (http://members.tripod.com/~hardbop/stitt.html) • BBC - Radio 3 Jazz Profiles - Sonny Stitt (http://www.bbc.co.uk/radio3/jazz/profiles/sonny_stitt.shtml)

Gary Thomas Gary Thomas (born June 10, 1960) is an American jazz saxophonist and flautist from Baltimore, Maryland. He is a member of Jack DeJohnette's Special Edition band and has worked with John McLaughlin, Cassandra Wilson, Wallace Roney, Miles Davis and Steve Coleman. He currently serves as Director of Jazz Studies at the Peabody Institute in Baltimore.

Discography Gary Thomas in Munich (2002)

As leader • • • • • • • • •

The Seventh Quadrant (1987) Code Violations (1988) By Any Means Necessary (1989, with John Scofield, Dennis Chambers) While The Gate Is Open (1990) The Kold Kage (1991) Till We Have Faces (1992, with Pat Metheny, Preis der Deutschen Schallplattenkritik 1993) Exile's Gate (1993) Found On Sordid Streets (1997) Pariah's Pariah (1998)

Gary Thomas

As sideman With Jack DeJohnette • Irresistible Forces (MCA, 1987) With Greg Osby • The Invisible Hand (Blue Note, 1999)

External links • Thomas's page at the Peabody Institute [1] • Article on Thomas in Baltimore newspaper [2]

References [1] http:/ / www. peabody. jhu. edu/ 487 [2] http:/ / www. citypaper. com/ bob/ story. asp?id=1076

533

Tony Williams

534

Tony Williams Tony Williams

Background information Birth name

Anthony Tillmon Williams

Born

December 12, 1945 Chicago, Illinois, U.S.

Origin

Boston, Massachusetts, U.S.

Died

February 23, 1997 (aged 51)

Genres

Jazz, post-bop, jazz fusion

Occupations

Drummer, music producer

Instruments

Drums

Years active

1961–1997

Associated acts Miles Davis, The Tony Williams Lifetime, Sam Rivers, Jackie McLean, Alan Dawson, V.S.O.P.

Anthony Tillmon "Tony" Williams (December 12, 1945 — February 23, 1997) was an American jazz drummer. Widely regarded as one of the most important and influential jazz drummers to come to prominence in the 1960s, Williams first gained fame in the band of trumpeter Miles Davis, and was a pioneer of jazz fusion.[1]

Biography Williams was born in Chicago and grew up in Boston. He began studies with drummer Alan Dawson at an early age, and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's "Second Great Quintet." Williams was a vital element of the group, called by Davis in his autobiography "...the center that the group's sound revolved around."[2] His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures). Williams's first album as a leader, 1964's Life Time, was recorded during his tenure with Davis. In 1969, he formed a trio, The Tony Williams Lifetime, with John McLaughlin on guitar, and Larry Young on organ. Jack Bruce joined on bass later. Lifetime was a pioneering band of the fusion movement, a combination of rock, R&B, and jazz. Their first album, Emergency!, was largely rejected by the jazz community at the time of its release. Today, Emergency! is considered by many to be a fusion classic. After McLaughlin's departure, and several more albums, Lifetime disbanded. In 1975, Williams put together a band he called "The New Tony Williams Lifetime," featuring bassist Tony Newton, pianist Alan Pasqua, and English

Tony Williams guitarist Allan Holdsworth, which recorded two albums for Columbia Records, Believe It and Million Dollar Legs. In mid-1976, Williams was a part of a reunion of sorts with his old Miles Davis band compatriots, pianist/keyboardist Herbie Hancock, bassist Ron Carter, and tenor saxophonist Wayne Shorter. Miles was in the midst of a six-year hiatus and was replaced by Freddie Hubbard. The record was later released as V.S.O.P. ("Very Special OneTime Performance") and was highly instrumental in increasing the popularity of acoustic jazz. The group went on to tour and record for several years, releasing a series of live albums under the name "V.S.O.P." or "The V.S.O.P. Quintet." (The CD reissues of these albums are sold under Herbie Hancock's name - making things a bit confusing since the original V.S.O.P. album, which alone was a Hancock album, is not currently available on CD.) In 1979, Williams, guitarist John McLaughlin and bassist Jaco Pastorius reunited for a one-time performance at the Havana Jazz Festival. This trio came to be known as the Trio of Doom, and a recording of their performance was released in 2007. It opens with a powerful drum improvisation by Williams, followed by Mclaughlin's "Dark Prince" and Jaco's "Continuum," Tony's original composition "Para Oriente" and Mclaughlin's "Are You the One?" With the group Fuse One, he released two albums in 1980 and 1982.[3] In 1985, Williams recorded an album for Blue Note Records entitled Foreign Intrigue, which featured the playing of pianist Mulgrew Miller and trumpeter Wallace Roney. Later that year he formed a quintet with Miller, Roney, saxophonist Bill Pierce, and bassist Charnett Moffett (later Ira Coleman). This band played Williams' compositions almost exclusively (the Lennon/McCartney song "Blackbird," the standard "Poinciana," and the Freddie Hubbard blues "Birdlike" being the exceptions) and toured and recorded throughout the remainder of the 1980s and into the early 1990s. This rhythm section also recorded as a trio. Williams also played drums for the band Public Image Limited, fronted by former Sex Pistols singer John Lydon, on their 1986 release album/cassette/compact disc (the album title varied depending on the format). He played on the songs "FFF," "Rise" (a modest hit), and "Home." Bill Laswell (see below) co-wrote those three songs with Lydon. The other drummer on that album was Ginger Baker, who had played in Cream with Jack Bruce, later the bass player with the Tony Williams Lifetime. Williams lived and taught in the San Francisco Bay Area until his death from a heart attack following routine gall bladder surgery. One of his final recordings was The Last Wave by the trio known as Arcana, a release organized by prolific bass guitarist Bill Laswell.

Discography As leader • • • • • • • • • • • •

1964: Life Time (Blue Note) 1965: Spring (Blue Note) 1969: Emergency! (Polydor) 1970: Turn It Over (Verve) 1971: Ego (Polydor) 1972: The Old Bum's Rush (Polydor) 1975: Believe It (Columbia) 1975, 1976 The Collection (Columbia) 1976: Million Dollar Legs (Columbia) 1979: The Joy of Flying (Columbia) 1980: Play Or Die (P.S. Productions) – with Tom Grant and Patrick O'Hearn [4] 1982: Third Plane (Carrere) – with Ron Carter and Herbie Hancock

• 1985: Foreign Intrigue (Blue Note) • 1986: Civilization (Blue Note) • 1986, 1988: Angel Street (Blue Note)

535

Tony Williams • • • • • •

1989: Native Heart (Blue Note) 1991: The Story of Neptune (Blue Note) 1992: Tokyo Live (Blue Note) 1993: Unmasked (Atlantic) 1996: Wilderness (Ark 21) 1996: Young at Heart (Columbia)

As sideman With Geri Allen • Twenty One (1994) With Arcana • The Last Wave (1995) • Arc of the Testimony (1997) With Chet Baker • You Can't Go Home Again (1972) • The Best Thing for You (1977) • Chet Baker / Wolfgang Lackerschmid (1979) With George Cables • Phantom of the City (1985) With Ron Carter • Third Plane (1978) • Etudes (1982) With Stanley Clarke • Stanley Clarke (1974) With Miles Davis • • • • • • • • • • • • • • • • •

Seven Steps to Heaven (1963) Miles Davis in Europe (1963) Four & More (1964) My Funny Valentine (1964) Miles in Tokyo (1964) Miles in Berlin (1964) E.S.P. (1965) The Complete Live at the Plugged Nickel (1965) Miles Smiles (1966) Directions (1967, 1968) Sorcerer (1967) Nefertiti (1967) Water Babies (1967, 1968) Circle in the Round (1967, 1968) Miles in the Sky (1968) The Complete Miles Davis–Gil Evans Studio Recordings – four takes of 'Falling Water' (1968) Filles de Kilimanjaro (1968)

• In a Silent Way (1969) With Eric Dolphy

536

Tony Williams • Out to Lunch (1964) With Kenny Dorham • Una Mas (1963) With Gil Evans • The Gil Evans Orchestra Plays the Music of Jimi Hendrix – track 8, 'Little Wing' (1975) With Tommy Flanagan • The Trio (1983) With Hal Galper • Now Hear This (1977) With Stan Getz • Captain Marvel (1972) With Dexter Gordon • Round Midnight (1986) With Herbie Hancock • My Point of View (1963) • • • • • • • • • • • • •

Maiden Voyage (1964) Empyrean Isles (1964) V.S.O.P. (1976) V.S.O.P.: The Quintet (1977) V.S.O.P.: Tempest in the Colosseum (1977) Herbie Hancock Trio (1977) Sunlight (1978) V.S.O.P.: Live Under the Sky (1979) Herbie Hancock Trio (1981) Mr. Hands (1982) Quartet (1982) Town Hall Concert (1985) Future2Future

With Herbie Hancock, Wayne Shorter, Ron Carter and Wallace Roney • A Tribute to Miles (1992) With Jonas Hellborg and the Soldier String Quartet • The Word (1991) With Joe Henderson • Relaxin' at Camarillo (1979) With Andrew Hill • Point of Departure (1964) With Terumasa Hino • May Dance (1977) With Allan Holdsworth • Atavachron – track 5 (1986) With Michael Mantler • Movies (1977)

537

Tony Williams With Ray Manzarek • The Golden Scarab (1973) With Branford Marsalis • Renaissance (1987) With Wynton Marsalis • Wynton Marsalis (1981) With John McLaughlin • Johnny McLaughlin: Electric Guitarist (1978) With Jackie McLean • Vertigo (1962–3) • One Step Beyond (1963) • New Wine In Old Bottles (1978) With Marcus Miller • The Sun Don't Lie (1990–92) With Mulgrew Miller • The Countdown (1988) With Grachan Moncur III • Evolution (Blue Note, 1963) • Some Other Stuff (Blue Note, 1964) With Jaco Pastorius and John McLaughlin • Trio of Doom (1979) With Michel Petrucciani • Marvellous (1994) With Public Image Limited • Album (1985) With Don Pullen • New Beginnings (Blue Note, 1988) With Sam Rivers • Fuchsia Swing Song (Blue Note, 1964) With Sonny Rollins • Easy Living (1977) • Don't Stop the Carnival (1978) • No Problem (1981) With Wallace Roney • Verses (1987) With Travis Shook • Travis Shook (1993) With Wayne Shorter • The Soothsayer (1965) With McCoy Tyner

538

Tony Williams • Supertrios (1977) • Counterpoints (1978) With Sadao Watanabe • I'm Old Fashioned (1976) With Weather Report • Mr. Gone (1978)

References [1] [2] [3] [4]

Allmusic website (http:/ / www. allmusic. com/ artist/ p7832) Miles The Autobiography, Miles Davis with Quincy Troupe, Picador 1989, p.254 Allmusic Fuse One Discography (http:/ / www. allmusic. com/ artist/ p10614) (http:/ / www. discogs. com/ Tony-Williams-Play-Or-Die/ release/ 1381514)

539

Joe Zawinul

540

Joe Zawinul Joe Zawinul

Joe Zawinul live with "The Zawinul Syndicate" (Freiburg/Germany, 2007) Background information Birth name

Josef Erich Zawinul

Born

July 7, 1932 Vienna, Austria

Died

September 11, 2007 (aged 75) Vienna, Austria

Genres

Jazz, jazz fusion, romantic music, art music, world music

Occupations

Keyboardist, composer

Instruments

Keyboards: synthesizer, piano, accordion, EWI

Years active

1949–2007

Associated acts Zawinul Syndicate Weather Report Miles Davis Cannonball Adderley Website

www.zawinulmusic.com

[1]

Josef Erich Zawinul (July 7, 1932 – September 11, 2007)[2] was an Austrian-American jazz keyboardist and composer. First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles Davis, and to become one of the creators of jazz fusion, an innovative musical genre that combined jazz with elements of rock and world music. Later, Zawinul co-founded the groups Weather Report and the world fusion music-oriented Zawinul Syndicate. Additionally, he made pioneering use of electric piano and synthesizers. Zawinul was named "Best Electric Keyboardist" 28 times by the readers of Down Beat magazine.[3] Several artists have honored Zawinul with songs, notably Brian Eno's instrumental "Zawinul/Lava", John McLaughlin's instrumental "Jozy", Warren Cuccurullo's "Hey Zawinul", Bob Baldwin's "Joe Zawinul", Chucho Valdes's Zawinul's Mambo, and Biréli Lagrène's instrumental "Josef". Zawinul's playing style is often dominated by quirky melodic improvisations —both bebop, ethnic and pop sounding— combined with sparse but rhythmic playing of big-band sounding chords or bass lines. In Weather Report, he often employed a vocoder as well as pre-recorded sounds played (i.e. filtered and transposed) through a synthesizer, creating a very distinctive synthesis of jazz harmonics and "noise" ("using all the sounds the world generates").

Joe Zawinul

Biography Early life and career Zawinul was born and grew up in Landstraße, as a son of the worker Josef Zawinul, in Vienna, Austria, where he went to school with the late former Austrian Federal President Thomas Klestil. His grandmother was a Hungarian Sinti ("Gypsy"), and his grandfather was from southern Moravia. Classically trained at the Konservatorium Wien, Zawinul played in various broadcasting and studio bands before emigrating to the U.S. in 1959 on a music scholarship at Berklee College of Music in Boston. He went on to play with trumpeter Maynard Ferguson, where he first met Wayne Shorter after having had an influence in hiring him. Shorter left soon thereafter to play in Art Blakey's group and Josef was apparently dismissed from the Ferguson band for wanting to have too much control over personnel decisions. Zawinul then toured and recorded with singer Dinah Washington for two years.

With Cannonball Adderley In 1961, Zawinul joined the Quintet led by saxophonist Cannonball Adderley.[2] During his nine-year stint with Adderley, he wrote the hit song "Mercy, Mercy, Mercy." He also composed "Walk Tall" and "Country Preacher," the latter a tribute to U.S. Civil Rights Movement leader Jesse Jackson, from the 1969 album of the same name.

With Miles Davis In the late 1960s, Zawinul recorded with Miles Davis's studio band and helped create the sound of jazz fusion. He played on the album In a Silent Way, the title track of which he composed, and the landmark album Bitches Brew, for which he contributed the twenty-minute track, "Pharaoh's Dance", which occupied the whole of side one.[2] Zawinul is known to have played live with Davis only once, on July 10, 1991, in Paris, along with Wayne Shorter, shortly before Davis' death.[2] Zawinul, along with other Davis sidemen Chick Corea and Herbie Hancock, was one of the first to use electric pianos and early synthesizers like the ARP 2600 in 1973's Sweetnighter. He was among the first to use an electric piano, the Wurlitzer. He used the Fender-Rhodes thereafter, adding a wah-wah pedal and later the Mutron effect unit for a complex phased timbre. His creativity and attention to detail resulted in a very contemporary and modern sound. He also has played the kalimba on Weather Report's Mysterious Traveller and Mr. Gone.

With Weather Report In 1970, Zawinul co-founded Weather Report with saxophonist and Davis alumnus Wayne Shorter. Their first two years emphasized a relatively open, group improvisation format not dissimilar to what Miles Davis was doing in a more rock oriented format. However, Josef started making changes with their third album, Sweetnighter, citing he was "tired of waiting for something to happen". Funk elements such as electric bass, wah-wah pedal, etc. started to be introduced in the band's sound. Music critics generally agree that their 4th album, Mysterious Traveller, was their true breakthrough album, capturing the classic Weather Report "sound" for the first time. The musical forms were now through-composed similar to classical music, and the combination of jazz harmonies with 70's groove elements launched the band into its most successful period.

541

Joe Zawinul

Zawinul with Weather Report in Toronto, 1977 Photo: Jean-Luc Ourlin

542 Their biggest commercial success came from his composition "Birdland", a 6-minute opus featured on Weather Report's 1977 album Heavy Weather, which peaked at number 30 on the Billboard pop albums chart. "Birdland" is one of the most recognizable jazz pieces of the 1970s, covered by many prominent artists from The Manhattan Transfer and Quincy Jones to Maynard Ferguson, the Buddy Rich Big Band, and Jefferson Starship. Even Weather Report's version received significant mainstream radio airplay — unusual for them — and served to convert many new fans to music which they may never have heard otherwise. The song won him three Grammys.

Weather Report was active until the mid 80s, with Zawinul and Shorter remaining the sole constant members through multiple personnel shifts. The group was notable for bringing to prominence pioneering fretless bass guitarist Jaco Pastorius, but also other musicians, such as Alphonso Johnson and Peter Erskine. Shorter and Zawinul had already gone separate ways, after the recording of their "final" Sportin' Life, when it was discovered that they had to do one more album in order to fulfill the CBS contract. This Is This! therefore became their final album. Shorter participated despite being busy leading his own group, and Peter Erskine was also brought in again for this record, ending up playing on most compositions.

Later career Zawinul also wrote a symphony, called Stories of the Danube, which was commissioned by the Brucknerhaus, Linz. It was first performed as part of the Linzer Klangwolke (a large-scale open-air broadcast event), for the opening of the 1993 Bruckner Festival in Linz. In its seven movements, the symphony traces the course of the Danube from Donaueschingen through various countries ending at the Black Sea. It was recorded in 1995 by the Czech State Philharmonic Orchestra, Brno, conducted by Caspar Richter.[2] Zawinul was hospitalized in his native Vienna on August 7, 2007,[4] after concluding a five-week European tour. He died from a rare form of skin cancer (Merkel cell carcinoma) on September 11, 2007.[5] [6] He is buried in the Zentralfriedhof Cemetery in Vienna.

Discography As leader • • • • • • • • • •

To You with Love (Strand, 1959) Money In The Pocket (Atlantic, 1966) The Rise and Fall of the Third Stream (Vortex, 1968) Zawinul (Atlantic, 1971) Di•a•lects (Columbia, 1986) The Immigrants (Columbia, 1988) Black Water (Columbia, 1989) Lost Tribes (Columbia, 1992) My People (ESC-Records, 1996) Stories of the Danube (Polygram, 1996)

• World Tour (ESC, 1997) • Mauthausen - Vom großen Sterben hören (ESC-Records, 2000) [3] • Faces & Places (ESC-Records, 2002)

Joe Zawinul • Joe Zawinul & The Zawinul Syndicate – Vienna Nights – Live at Joe Zawinul's Birdland (BirdJAM 2005) • Brown Street (2006) • Music for Two Pianos with Friedrich Gulda: Brahms' Variations on a Theme by Haydn—WDR Big Band Köln (Capriccio, 2006) • 75 (BirdJAM, 2008)

With: Ben Webster • Soulmates (Riverside, 1963)

As sideman With Dinah Washington • What a Diff'rence a Day Makes! (Mercury, 1960) • Dinah Washington & Brook Benton – Two of Us (Mercury, 1960) With Cannonball Adderley • Nancy Wilson/Cannonball Adderley (Capitol, 1961) • • • • • • • • • • • • • • • • • • • • •

The Cannonball Adderley Sextet in New York (Riverside, 1962) Cannonball in Europe! (Riverside, 1962) Jazz Workshop Revisited (Riverside, 1963) Autumn Leaves (Riverside [Japan], 1963) Nippon Soul (Riverside, 1963) Cannonball Adderley Live! (Capitol, 1964) Live Session! (Capitol, 1964) Cannonball Adderley's Fiddler on the Roof (Capitol, 1964) Domination (Capitol, 1965) Money in the Pocket (Capitol, 1966) Great Love Themes (Capitol, 1966) Mercy, Mercy, Mercy! Live at 'The Club' (Capitol, 1966) Cannonball in Japan (Capitol, 1966) Radio Nights (Night, 1967-8) 74 Miles Away (Capitol, 1967) Why Am I Treated So Bad! (Capitol, 1967) Accent on Africa (Capitol, 1968) Country Preacher (Capitol, 1969) In Person (Capitol, 1970) The Cannonball Adderley Quintet & Orchestra (Capitol, 1970) The Price You Got to Pay to Be Free (Capitol, 1970)

With Nat Adderley • • • • •

Naturally! (Jazzland, 1961) Autobiography (Atlantic, 1964) Live at Memory Lane (Atlantic, 1966) The Scavenger (Milestone, 1968) You, Baby (CTI, 1968)

• Calling Out Loud (CTI, 1968) With Miles Davis

543

Joe Zawinul • • • • •

In a Silent Way (Columbia, 1969) Big Fun (Columbia, 1969) Bitches Brew (Columbia, 1970) Live-Evil (Columbia, 1971) Circle in the Round (Columbia, 1979)

With Weather Report • • • • • • • • • • •

Weather Report (Columbia, 1971) I Sing the Body Electric (Columbia, 1972) Live in Tokyo (Columbia, 1972) Sweetnighter (Columbia, 1973) Mysterious Traveller (1974) Tale Spinnin' (1975) Black Market (1976) Heavy Weather (1977) Mr. Gone (1978) 8:30 (1979) Night Passage (1980)

• • • • • • •

Weather Report (1982) Procession (1983) Domino Theory (1984) Sportin' Life (1985) This Is This! (1986) Live and Unreleased (2002) Forecast: Tomorrow (2006)

As contributor • Amen by Salif Keita (Mango, 1991) • Crazy Saints by Trilok Gurtu (1993)

References [1] [2] [3] [4]

http:/ / www. zawinulmusic. com/ allmusic Biography (http:/ / www. allmusic. com/ artist/ p53219/ biography) Joe Zawinul Biography (http:/ / www. zawinulmusic. com/ biography) Zawinul Online » Blog Archive » Joe Zawinul Hospitalized in Vienna (http:/ / www. zawinulonline. org/ 2007/ 08/ 07/ joe-zawinul-hospitalized-in-vienna/ ) [5] McDonald, Ray (12 September 2007). "Keyboardist Joe Zawinul Dies" (http:/ / voanews. com/ english/ archive/ 2007-09/ 2007-09-12-voa18. cfm). VOA News (Voice of America). . Retrieved 2 January 2009. [6] Schudel, Matt (September 12, 2007). "Joe Zawinul, 75; Keyboardist Was a Pioneer of Jazz Fusion" (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2007/ 09/ 11/ AR2007091102289. html). The Washington Post. . Retrieved May 6, 2010.

544

Joe Zawinul

Biographies • Glasser, Brian (2001). In a Silent Way: A Portrait of Joe Zawinul. London: Sanctuary. ISBN 1860743269. OCLC 45900631. • Baumann, Gunther (2002) (in German). Zawinul: Ein Leben aus Jazz [Zawinul: A Life of Jazz]. Salzburg; Wien: Frankfurt am Main; Residenz. ISBN 3701712913. OCLC 469270497. • Yamashita, Kunihiko (2006). Joe Zawinul: On the Creative Process. Tokyo: Rittor Music. ISBN 4845613379. OCLC 169983180.


Official website (http://www.joe-zawinul.at) Zawinul Online (http://www.zawinulonline.org) Italian fans website (http://www.zawinulfans.org) Obituary from The Times (http://www.timesonline.co.uk/tol/comment/obituaries/article2434266.ece) Profile (http://www.unknownpublic.com/writing/zawinul2.html) of Joe Zawinul by Guardian writer and Unknown Public editor John L. Walters • Rolling Stone's Joe Zawinul Page (http://www.rollingstone.com/artists/joezawinul) • BBC's Profile of Joe Zawinul (http://www.bbc.co.uk/radio3/jazz/profiles/joe_zawinul.shtml) • Joe Zawinul website (http://www.zawinulsite.com) • Jazz Police's review of "Brown Street", Joe Zawinul's latest release (http://www.jazzpolice.com/content/view/ 6684/2/) • Joe Zawinul backstage at his club "Birdland" in Vienna, Austria, by Johann Marcus Streitner (http://www. shylingo.com/Current/People/Zawinul/) • See Zawinul Story for what happened during the Malibu Fire with the Weather Report Concert Recordings Tapes (http://www.icwiring.com/history.html) • Joe Zawinul Died at age 75 (http://www.neorunner.com/archive/2007/09/11/ Jazz_Great_Joe_Zawinul_Dead_at_75.php) • Public Tribute and Obituary (http://www.lastingtribute.co.uk/famousperson/zawinul/2637339) • In-Depth Interview with Anil Prasad of Innerviews (http://www.innerviews.org/inner/zawinul.html) • Allmusic profile (http://www.allmusic.com/artist/p53219/biography)

545

546

Related articles and tributes Directions in Music: Live at Massey Hall Directions in Music: Live at Massey Hall

Live album by Herbie Hancock, Roy Hargrove & Michael Brecker Released

2002

Recorded

October 25, 2001

Genre

Jazz

Label

Verve Herbie Hancock chronology

Future2Future (2001)

Directions in Music: Live at Massey Hall (2002)

Possibilities (2005)

Directions in Music: Live at Massey Hall is a live recording by Herbie Hancock, Roy Hargrove and Michael Brecker. It was recorded on October 25, 2001 in Toronto, and was subtitled, Celebrating Miles Davis & John Coltrane. It was Hancock's forty-fourth album. It won the Best Jazz Instrumental Album, Individual or Group in 2003.

Directions in Music: Live at Massey Hall

Track listing 1. 2. 3. 4. 5. 6. 7. 8.

"The Sorcerer" (Herbie Hancock) – 8:53 "The Poet" (Roy Hargrove) – 6:35 "So What"/"Impressions" (Miles Davis)/(John Coltrane) – 12:51 "Misstery" (Michael Brecker, Hancock, Hargrove) – 8:16 "Naima" (Coltrane) – 7:29 "Transition" (Coltrane) – 10:26 "My Ship" (Ira Gershwin, Kurt Weill) – 8:40 "D Trane" (Brecker) – 15:09


Herbie Hancock — piano Michael Brecker — tenor saxophone Roy Hargrove — trumpet, flugelhorn John Patitucci — double bass Brian Blade — drums

External links • Hancock-Brecker-Hargrove at Verve Records [1]

References [1] http:/ / www. vervemusicgroup. com/ artist/ releases/ default. aspx?pid=10689& aid=2846

547

5892 Milesdavis

548

5892 Milesdavis Milesdavis Designations MPC designation

5892

Named after

Miles Davis

Alternate name(s)

1981 YS1

Orbital characteristics Epoch May 14, 2008 Ap

3.1062707

Peri

1.6610239

Eccentricity

0.3031587

Orbital period

1344.1923665

Mean anomaly

65.18346

Inclination

4.58469

Longitude of ascending node 153.81149 Argument of peri

290.90407

Physical characteristics Absolute magnitude (H)

13.6

5892 Milesdavis (1981 YS1) is a Mars-crossing asteroid.

External links • JPL Small-Body Database Browser on 5892 Milesdavis (http://ssd.jpl.nasa.gov/sbdb.cgi?sstr=5892+ Milesdavis)


549

Selim Sivad: A Tribute to Miles Davis Selim Sivad: a Tribute to Miles Davis

Studio album by World Saxophone Quartet Released

1998

Recorded

March 2–3, 1998

Genre

Jazz

Length

52:42

Label

Justin Time Professional reviews

•


[1]

at Allmusic

World Saxophone Quartet chronology

Takin' It 2 the Next Level (1996)

Selim Sivad: The Music of Miles Davis (1998)

M'Bizo (1999)

Selim Sivad: The Music of Miles Davis is the fifteenth album by the jazz group the World Saxophone Quartet and their third on the Canadian Justin Time label. The album features performances by Hamiet Bluiett, John Purcell, Oliver Lake and David Murray, with guests Jack DeJohnette, Chief Bey, Okyerema Asante, and Titos Sompa and is dedicated to Miles Davis.


Track listing 1. 2. 3. 4. 5. 6. 7.

"Seven Steps To Heaven" (Miles Davis, Feldman) - 6:12 "Selim" - 7:30 "Freddie Freeloader" -6:48 "The Road To Nefertiti" (Bluiett, Lake, Murray, Purcell) - 9:59 "Tutu" (Miller) 6:52 "Blue in Green" - 5:31 "All Blues" 9:50 All compositions by Miles Davis except as indicated.


Hamiet Bluiett — baritone saxophone, contra-alto clarinet John Purcell — saxello, alto flute Oliver Lake — alto saxophone, flute David Murray — tenor saxophone, bass clarinet Jack DeJohnette — drums, piano

• Chief Bey: — Ashiko African Drums • Okyerema Asante — African Drums, percussion, kalimba • Titos Sompa — African drums, percussion, kalimba, voice


550


551

So Near, So Far (Musings for Miles) So Near, So Far (Musings for Miles)

Studio album by Joe Henderson Released

1993

Genre

Jazz

Label

Verve

Producer

Richard Seidel, Don Sickler Professional reviews

•

Allmusic

link

[1]

Joe Henderson chronology

Lush Life: The Music of Billy Strayhorn (1992)

So Near, So Far (Musings for Miles) (1993)

Double Rainbow: The Music of Antonio Carlos Jobim (1995)

So Near, So Far (Musings for Miles) is a 1993 album by jazz saxophonist Joe Henderson, the second of the five albums he recorded with Verve Records during the end of his career. It is a tribute to Miles Davis.

Tracklisting 1. 2. 3. 4. 5. 6. 7. 8. 9.

"Miles Ahead" "Joshua" "Pfrancing (No Blues)" "Flamenco Sketches" "Milestones" "Teo" "Swing Spring" "Circle" "Side Car"

10. "So Near, So Far" • Digitally recorded at Power Station, NYC, October 12-14, 1992.



Saxophone - Joe Henderson Bass - Dave Holland Drums - Al Foster Guitar - John Scofield Producer - Don Sickler, Richard Seidel Co-producer - Joe Henderson


552

A Tribute to Miles

553

A Tribute to Miles A Tribute to Miles

Studio album by Herbie Hancock, Wayne Shorter, Tony Williams, Ron Carter and Wallace Roney Released

1994

Recorded

1994

Genre

Jazz

Label

Qwest Herbie Hancock chronology

Perfect Machine (1988)

A Tribute to Miles (1994)

Dis Is Da Drum (1994)

A Tribute to Miles is a tribute album by Herbie Hancock, Wayne Shorter, Tony Williams, Ron Carter and Wallace Roney. This was the tribute album to pay homage to the then recently departed mentor of the above men, Miles Davis who died in September 1991. Playing the part of Davis was young trumpet player Wallace Roney. This album won all five men a Grammy award for Best Jazz Instrumental Performance, Individual Or Group. This marked Hancock's third overall Grammy award. Two of the songs were recorded live, on their national tour honoring their fallen mentor.

Track listing 1. 2. 3. 4. 5. 6. 7.

"So What (Live)" "RJ" "Little One" "Pinocchio" "Elegy" "Eighty One" "All Blues (Live)"

A Tribute to Miles


Herbie Hancock - piano, calliope (music) Wayne Shorter - tenor saxophone, soprano saxophone Wallace Roney - trumpet Ron Carter - bass Tony Williams - drums

554

555

Discography and lists Discography Miles Davis discography

Miles Davis, photo taken by Tom Palumbo in New York City Releases ↙Studio albums

67

↙Live albums

51

↙Compilation albums

61

↙Soundtracks

3

↙Box sets

15

↙Collaborations

72

↙Videos

34

↙Tunes

48

Miles Davis was an American trumpeter, flugelhornist, bandleader and composer. His major discography consists of 67 studio albums, 51 live albums, 61 compilation albums, 15 box sets, 3 soundtrack albums and 48 vinyl records. Davis' initial appearances on record were mainly as a member of bebop saxophonist Charlie Parker's quintet 1944–1947.[1] While Davis had begun recording as a bandleader earlier, Prestige Records released his major debut album Blue Period in 1951. He recorded studio albums under this record label from 1951 through 1961, with the exception of Blue Moods, issued by Debut Records in 1955. The earliest Davis music so far released was recorded from April 4, 1945 through August 14, 1947, and released on July 12, 1990 by Savoy Records under the title First Miles. The delay was typical for recordings made before the first 78 rpm long-playing records were introduced in 1948 by Columbia Records.[2] From 1949 through 1950, Davis recorded twelve tunes with a nonet consisting of himself and other noted jazz musicians Gerry Mulligan, Lee Konitz, John Lewis, Max Roach and Kenny Clarke. These recordings eventually appeared on the album Birth of the Cool in 1957 by Capitol Records. He later signed to Columbia and released 'Round About Midnight on March 18, 1957. His acclaimed 1959 album Kind of Blue is generally stated to be the best-selling jazz album of all time,[3] although the data is not conclusive. The follow-up album in 1960, Sketches of Spain, went gold.

Discography

556

He formed his second great quintet in 1964, that band becoming a template in the post-fusion era. With the release of Miles in the Sky, Davis permanently abandoned hard bop, instead adopting jazz fusion and avant-garde jazz.[4] In this era he released the studio album Bitches Brew, which went platinum, culminating in the long electric jams from the mid-1970s released as Pangaea, Agharta, and Dark Magus. After a brief retirement, in the period between 1981 and 1991 Davis released albums under the Columbia and Warner Bros. labels. These recordings combined jazz with popular music genres as he turned more toward the mainstream.[5] He finished his music career with Doo-Bop, in which he experimentally combined jazz with hip-hop, although his 1972 album On the Corner contained beats that would later be sampled for hip-hop.[6]

Albums Studio albums Prestige/Debut, 1945–1961 Year 1951

Album details Blue Period • • • •

Released: 1951 Recorded: January 17, 1951 – October 5, 1951 Label: Prestige Format: LP

Dig • • • • 1954

Released: October 5, 1951 Recorded: October 5, 1951 Label: Prestige Format: LP

Blue Haze • • • •

Released: 1954 Recorded: May 19, 1953 – April 3, 1954 Label: Prestige Format: LP

Walkin' • • • •

Released: April 3, 1954 Recorded: April 3, 1954 Label: Prestige Format: LP

Miles Davis and the Modern Jazz Giants • • • •

Released: December 24, 1954 Recorded: December 24, 1954 Label: Prestige Format: LP

Discography

557 1955

Miles Davis and Horns • • • •

Released: 1955 Recorded: January 17, 1951 – February 19, 1953 Label: Prestige Format: LP

Musings of Miles • • • •

Released: June 7, 1955 Recorded: June 7, 1955 Label: Prestige Format: LP

Blue Moods • • • •

Released: July 9, 1955 Recorded: July 9, 1955 Label: Debut Format: LP

Quintet / Sextet • • • 1956

Miles: The New Miles Davis Quintet • • • •

1957

Released: August 5, 1955 Label: Prestige Format: LP

Released: April 1956 Recorded: November 16, 1955 Label: Prestige Format: LP

Bags' Groove • • • •

Released: 1957 Recorded: June 29, 1954 – December 24, 1954 Label: Prestige Format: LP

Cookin' • • • •

Released: 1957 Recorded: October 26, 1956 Label: Prestige Format: LP

Relaxin' • • • • 1959

Workin' • • • •

1961

Released: 1958 Recorded: May 11, 1956 – October 26, 1956 Label: Prestige Format: LP


Steamin' • • • •


Discography

558 1966

Collectors' Items • • • •

Released: 1966 Recorded: October 5, 1951 – March 16, 1956 Label: Prestige Format: LP

Columbia, 1955–1975 Year

Album details

1957 'Round About Midnight • • • •

• •

• •

• •

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BEL (fla.) [8]

FRA NLD NZL NOR SWE SWI [9] [10] [11] [12] [13] [14]

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Released: 1958 Recorded: May 26, 1958 Label: Columbia Format: LP

1959 Kind of Blue • •

Cont. Jazz Albums [7]

Released: 1958 Recorded: July 22, 1958 – August 18, 1958 Label: Columbia Format: LP

1958 Miles • • • •

Jazz Albums [7]

Released: 1958 Recorded: April 2, 1958 – April 3, 1958 Label: Columbia Format: LP

Porgy and Bess • •

US [7]

Released: 1957 Recorded: May 6, 1957 – August 22, 1957 Label: Columbia Format: LP

1958 Milestones • •

Certifications

Released: March 18, 1957 Recorded: October 27, 1955 – June 5, 1956 Label: Columbia Format: LP

1957 Miles Ahead • •

Peak chart positions

Released: August 17, 1959 Recorded: March 2, 1959 – April 22, 1959 Label: Columbia Format: LP, Reel Tape

US: 4× [15] Platinum [16] UK: Gold

Discography

559

1960 Sketches of Spain • • • •

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Released: January 1967 Recorded: October 24, 1966 – October 25, 1966 Label: Columbia Format: LP, Reel Tape

Sorcerer • •

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Released: November 1965 Recorded: January 20, 1965 – January 22, 1965 Label: Columbia Format: LP

1967 Miles Smiles • •

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Released: 1963 Recorded: April 16, 1963 – May 14, 1963 Label: Columbia Format: LP, Reel Tape

1965 E.S.P. • •

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Released: December 1963 Recorded: July 27, 1962 – April 17, 1963 Label: Columbia Format: LP, Reel Tape

Seven Steps to Heaven • •

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Released: December 11, 1961 Recorded: March 7, 1961 – March 21, 1961 Label: Columbia Format: LP

1963 Quiet Nights(with Gil Evans) • •

13[B]

Released: July 18, 1960 Recorded: November 15, 1959 – November 20, 1959 Label: Columbia Format: LP, Reel Tape

1961 Someday My Prince Will Come • •

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Released: 1967 Recorded: August 21, 1962 – May 24, 1967 Label: Columbia Format: LP

[15]

US: Gold

Discography

560

1968 Nefertiti • • • •

Miles in the Sky • • • •

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125

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156

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Released: November 17, 1971 Recorded: February 6, 1970 – December 19, 1970 Label: Columbia Format: LP, CD

1972 On the Corner • •

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Released: February 24, 1971 Recorded: February 18 – April 7, 1970 Label: Columbia Format: LP, CD, CS

Live-Evil • •

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Released: April 1970 Recorded: August 19, 1969 – January 28, 1970 Label: Columbia Format: LP, Reel Tape

1971 A Tribute to Jack Johnson • •

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Released: July 30, 1969 Recorded: February 18, 1969 Label: Columbia Format: LP

1970 Bitches Brew • •

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Released: January 29, 1969 Recorded: June 19, 1968 – September 24, 1968 Label: Columbia Format: LP, Reel Tape

In a Silent Way • • • •

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Released: 1968 Recorded: January 16, 1968 – May 17, 1968 Label: Columbia Format: LP

1969 Filles de Kilimanjaro • •

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Released: 1968 Recorded: June 7, 1967 – July 19, 1967 Label: Columbia Format: LP

Released: October 11, 1972 Recorded: June 1, 1972 – June 6, 1972 Label: Columbia Format: LP, CD

[15]

US: Platinum

Discography

561

1974 Big Fun • • • •

Get Up with It • • • •

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190

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Released: November 22, 1974 Recorded: May 19, 1970 – October 7, 1974 Label: Columbia Format: CD

1976 Water Babies • •

179

Released: April 19, 1974 Recorded: November 19, 1969 – June 12, 1972 Label: Columbia Format: LP, CD

Released: November 2, 1976 Recorded: June 1967 – November 1968 Label: Columbia Format: CD "—" denotes releases that did not chart or was not released.

• A the September 30, 2008 released album Kind of Blue – 50th Anniversary Collection was also charted on 2009 at number 92 in the Belgian albums chart. • B 1987 reissue Columbia/Warner Bros., 1981–1991 Year

Album details

1981 The Man With The Horn • • • •

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• •

Jazz Albums [7]


BEL (fla.) [8]


53

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35

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Released: 1983 Recorded: September 1, 1982 – January 5, 1983 Label: Columbia Format: CD

1984 Decoy • •

US [7]

Released: July 1981 Recorded: June 1, 1980 – May 6, 1981 Label: Columbia Format: CD

1983 Star People • •


Released: June 1984 Recorded: June 30, 1983 – September 11, 1983 Label: Columbia Format: CD

Certifications (sales thresholds)

Discography

562

1985 You're Under Arrest • • • •

1986 Tutu • • • •

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26

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186

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5

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190

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7

Released: May 18, 1989 Recorded: January 31, 1985 – February 4, 1985 Label: Columbia Format: CD, CS

1992 Doo-Bop • •

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Released: May 18, 1989 Recorded: December 1988 – early 1989 Label: Warner Bros. Format: CD, CS

Aura • •

3

Released: December 1986 Recorded: January 6, 1986 – March 25, 1986 Label: Warner Bros. Format: CD, CS

1989 Amandla • •

111

Released: September 9, 1985 Recorded: January 26, 1984 – January 1985 Label: Columbia Format: CD

Released: June 30, 1992 Recorded: January 19, 1991 – February 1991 Label: Warner Bros. Format: LP, CD, CS "—" denotes releases that did not chart or was not released.

Live albums Album details


Year

1957 The Complete Amsterdam Concert • • •

Jazz Albums [7]


BEL (fla.) [8]


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Released: December 8, 1957 Label: Celluloid Format: CD, LP

1958 At Newport 1958 • • •

US [7]

Released: 1958 Label: Columbia Format: CD, LP


Discography

563

1960 Copenhagen 1960 • • •

Live in Zurich 1960 • • •

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116

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Released: 1964 Label: Sony Format: CD, LP

Miles in Tokyo • • •

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Released: July 25, 1963 Label: The Golden Age of Jazz Format: LP

1964 Live in Europe • • •

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Released: May 19, 1961 Label: CBS Format: CD, LP

1963 Live In St. Louis And Paris 1963 • • •

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Released: May 19, 1961 Label: TriStar Format: CD, LP

Live Miles: More Music from the Legendary Carnegie Hall Concert • • •

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Released: April 22, 1961 Label: Sony Format: CD, LP

At Carnegie Hall • • •

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Released: April 21, 1961 Label: Sony Records Format: CD, LP

In Person Saturday Night at the Blackhawk, Vol. 2 • • •

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Released: September 27, 1960 Label: Magnetic Format: CD, LP

1961 In Person Friday Night at the Blackhawk, Vol. 1 • • •

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Released: September 27, 1960 Label: Magnetic Format: CD, LP

Free Trade Hall, Vol. 2 • • •

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Released: April 8, 1960 Label: Jazz Unlimited Format: CD, LP

Free Trade Hall, Vol. 1 • • •

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Released: March 24, 1960 Label: Royal Jazz Format: CD, LP

Released: September 25, 1964 Label: CBS/Sony Format: CD, LP

Discography

564

1965 Miles in Berlin • • •

My Funny Valentine • • •

138

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Released: 1975 Label: Columbia Format: CD, CS, LP

New York Bottom Line 1975 • • •

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Released: September 28, 1973 Label: Columbia Format: CD, LP

1975 Pangaea • • •

—

Released: 1973 Label: Columbia/Legacy Format: CD, LP

Jazz at the Plaza • • •

—

Released: November 6, 1971 Label: Lunch for your Ears Format: LP

1973 In Concert: Live at Philharmonic Hall • • •

—

Released: December 1970 Label: Columbia/Legacy Format: CD, LP

1971 Berlin and Beyond • • •

—

Released: October 8, 1967 Label: Jazzman Format: LP

1970 Miles Davis at Fillmore: Live at the Fillmore East • • •

—

Released: May 21, 1966 Label: Stone Format: LP

1967 His Greatest Concert Ever • • •

—

Released: January 17, 1966 Label: Columbia Format: LP

Gingerbread Boy, At Portland State College • • •

—

Released: 1965 Label: CBS Format: LP

1966 Four & More • • •

—

Released: May 1965 Label: Columbia Format: LP

Live at the Plugged Nickel • • •

—

Released: February 1, 1965 Label: CBS Format: LP

Released: June 11, 1975 Label: Jazz Masters Format: CD, LP

Discography

565

1976 Agharta • • •

1977 Dark Magus • • •

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Released: July 19, 1994 Label: TriStar Music Format: CD

1996 Live Around the World • • •

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Released: August 29, 1993 Label: Sony Format: CD

1994 Live at Newport 1958 & 1963 • • •

—

Released: 1993 Label: Gambit Format: CD

1969 Miles Festiva De Juan Pins • • •

—

Released: 1993 Label: Sony Format: LP, CD

Live in Zurich • • •

—

Released: 1993 Label: Warner Bros. Format: CD, CS

Miles! Miles! Miles! • • •

—

Released: October 27, 1987 Label: Jazz Masters Format: CD

1993 Miles & Quincy Live at Montreux • • •

—

Released: 1982 Label: CBS Format: CD

1987 Greek Theatre '88 • • •

—

Released: 1977 Label: The Jazz Factory Format: CD

1982 We Want Miles • • •

—

Released: 1977 Label: Columbia/Legacy Format: CD

In Paris Festival International de Jazz • • •

—

Released: 1977 Label: Columbia/Legacy Format: CD, LP

Black Beauty: Live at the Fillmore West • • •

—

Released: 1976 Label: Columbia Format: CD, CS, LP

Released: May 14, 1996 Label: Warner Bros. Format: LP, CD, CS

Discography

566

1998 Miles Davis at Carnegie Hall: Complete • • •

2000 Chasin' the Bird • • •

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Released: July 31, 2007 Label: Format: CD

Isle of Wight Concert • • •

—

Released: October 23, 2006 Label: Gambit Format: CD

2007 Live at the 1963 Monterey Jazz Festival • • •

—

Released: April 26, 2005 Label: Lone Hill Jazz Format: CD

2006 Winter in Europe 1967 • • •

—

Released: November 29, 2005 Label: IMC Records Format: CD

Amsterdam Concert • • •

—

Released: January 27, 2004 Label: Sony Format: CD

2005 Munich Concert • • •

—

Released: June 3, 2003 Label: Sony Format: CD

2004 Birdland 1951 • • •

—

Released: October 1, 2002 Label: Columbia Format: CD

2003 In Person: Friday and Saturday Nights at the Blackhawk, Complete • • •

—

Released: July 17, 2001 Label: Sony Format: CD

2002 The Complete Miles Davis at Montreux • • •

—

Released: October 17, 2000 Label: Definitive Format: CD

2001 Live at the Fillmore East, March 7, 1970: It's About That Time • • •

—

Released: August 15, 2000 Label: Arpeggio Blues Format: CD

Complete Birdland Recordings • • •

—

Released: 1998 Label: Columbia/Legacy Format: CD

Released: December 7, 2007 Label: Vinyl Passion Format: LP

Discography

567

2008 Live in Poland 1983 • • •

2011 Bitches Brew Live • • •

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Released: October 20, 2008 Label: Gambit Format: CD

Released: February 8, 2011 Label: Sony/Legacy Format: CD "—" denotes releases that did not chart or was not released.

Compilations Album details


Year

1951 Conception • • •

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68

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Released: April 21, 1961 Label: Columbia Format: LP

1966 Miles Davis for Lovers • • •

—

Released: June 30, 1958 Label: Jazz Music Yesterday Format: LP, CD

1961 Miles Davis in Person, Vol. 1 • • •

—

Released: May 26, 1958 Label: Jazzbeat Format: LP

Four Play • • •


Released: 1957 Label: Capitol Format: LP

1958 Jazz Track • • •

BEL (fla.) [8]

Released: 1955 Label: Blue Note Format: LP

1957 Birth of the Cool • • •


Released: April 20, 1953 Label: Blue Note Format: LP

1955 Miles Davis Volume 1 • • •

Jazz Albums [7]

Released: October 5, 1951 Label: OJC Format: LP

1953 Miles Davis Volume 2 • • •

US [7]

Released: 1966 Label: Prestige Format: LP


Discography

568

1969 Miles Davis' Greatest Hits • • •

1973 Basic Miles: The Classic Performances of Miles Davis • • •

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189

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Released: June 8, 1992 Label: Natasha Records Format: LP, CD

Plays Classic Ballads • • •

—

Released: February 25, 1992 Label: Blue Note Format: LP, CD

Tune Up • • •

—

Released: July 12, 1990 Label: Savoy Jazz Format: LP, CD

1992 The Best of Miles Davis: The Capitol/Blue Note Years • • •

—

Released: March 1988 Label: Black Lion Format: LP, CD

1990 First Miles • • •

—

Released: 1981 Label: Columbia Format: LP

1988 Bopping the Blues • • •

—

Released: 1981 Label: Columbia/Legacy Format: LP

The Miles Davis Collection, Vol. 1: 12 Sides of Miles • • •

—


1981 Directions • • •

—

Released: 1973 Label: Columbia Format: LP

1979 Circle in the Round • • •

—


Released: July 7, 1992 Label: Sony Format: LP, CD

Discography

569

1995 The Ballad Artistry Of Miles Davis • • •

Highlights from the Plugged Nickel • • •

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Released: May 5, 1997 Label: Sony Format: LP, CD

Miles Davis & Freddie Hubbard • • •

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Released: March 25, 1997 Label: Sony Format: LP, CD

This Is Jazz, Vol. 22: Miles Davis Plays Ballads • • •

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Released: December 3, 1996 Label: Prestige Format: LP, CD

1997 The Best of Miles Davis & Gil Evans • • •

—

Released: May 19, 1996 Label: Absord Records Format: LP, CD

Bluing: Miles Davis Plays the Blues • • •

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Released: April 30, 1996 Label: Sony Format: LP, CD

So What! • • •

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Released: March 19, 1996 Label: Blue Note Format: LP, CD

This Is Jazz, Vol. 8: Miles Davis Acoustic • • •

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Released: November 21, 1995 Label: Sony Format: LP, CD

1996 Ballads and Blues • • •

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Released: November 1, 1995 Label: EMI Format: LP, CD

Released: July 28, 1997 Label: Master Ton Format: LP, CD

Discography

570

1998 Panthalassa: The Music of Miles Davis 1969-1974 • • •

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Released: April 4, 2000 Label: Prism Platinum Format: LP, CD

Ken Burns Jazz • • •

—


2000 Miles to Go • • •

—

Released: April 27, 1999 Label: Hallmark Format: LP, CD

Panthalassa: The Remixes • • •

—

Released: February 2, 1999 Label: Sony Format: LP, CD

Out of the Blue • • •

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Released: June 9, 1998 Label: Golden Sounds Format: LP, CD

1999 Love Songs • • •

—

Released: May 19, 1998 Label: Golden Sounds Format: LP, CD

Jazz Showcase • • •

—

Released: April 28, 1998 Label: Sony Format: LP, CD

Selection of Miles Davis • • •

—


This Is Jazz, Vol. 38: Electric • • •

4


Mellow Miles • • •

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Released: November 7, 2000 Label: Columbia/Legacy Format: LP, CD

Discography

571

2001 Ballads • • •

Super Hits • • •

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Released: October 10, 2005 Label: Music Club Records Format: LP, CD

Prestige Profiles, Vol. 1 • • •

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Released: August 31, 2004 Label: Prestige Format: LP, CD

2005 In a Soulful Mood • • •

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Released: June 15, 2004 Label: Columbia/Legacy Format: LP, CD

The Best of Miles Davis • • •

—

Released: May 13, 2004 Label: Frémeaux & Associés Format: LP, CD

Jazz Moods: Cool • • •

—

Released: October 27, 2002 Label: Newsound 2000 Format: LP, CD

2004 Quintessence: 1945-1951 • • •

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Released: July 9, 2002 Label: ZYX Format: LP, CD

Autumn Leaves • • •

—

Released: May 7, 2002 Label: Columbia/Legacy Format: LP, CD

Bird of Paradise • • •

—

Released: January 1, 2002 Label: Recall Records Format: LP, CD

Blue Moods: Music for You • • •

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2002 Boplicity • • •

—

Released: April 17, 2001 Label: Legacy Format: LP, CD

The Essential Miles Davis • • •

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Released: March 27, 2001 Label: Columbia Format: LP, CD

Released: October 25, 2005 Label: Prestige Format: LP, CD

Discography

572

2006 Cool & Collected • • •

2007 The Peacocks • • •

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Released: October 18, 2010 Label: Warner Bros. Format: LP, CD

2011 Jazz Legend • • •

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Released: September 29, 2009 Label: Sony Format: LP, CD

2010 Perfect Way: The Miles Davis Anthology: The Warner Bros. Years • • •

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Released: June 10, 2008 Label: Prestige Format: LP, CD

2009 Mile's Groove • • •

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Released: April 29, 2008 Label: Playlist Format: LP, CD

Muted Miles • • •

17

Released: January 15, 2008 Label: Legacy Format: LP, CD

Playlist • • •

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Released: January 14, 2008 Label: Deluxe Format: LP, CD

Beautiful Ballads & Love Songs • • •

89

Released: November 26, 2007 Label: MCR Format: LP, CD

2008 Mile's Groove • • •

—

Released: September 18, 2007 Label: Madacy Special Markets Format: LP, CD

Cool: The Best of Miles Davis • • •

—

Released: August 21, 2007 Label: Sony Format: LP, CD

Forever Miles Davis • • •

8

Released: May 7, 2007 Label: Jazz Cats Records Format: LP, CD

Evolution of the Groove • • •

—

Released: September 5, 2006 Label: Columbia/Legacy Format: LP, CD

Released: 2011 Label: AAO Music Format: LP, CD "—" denotes releases that did not chart or was not released.

Discography

573

Soundtracks Year

Album details

1958

Ascenseur pour l'Échafaud • • •

1987

1991

US [7]

Jazz Albums [7]


BEL (fla.) [8]


—

—

—

—

—

—

—

—

—

—

—

—

12

—

—

—

—

—

—

—

—

5

—

—

—

—

—

—

—

—

Released: November 1987 Label: Warner Bros./WEA Format: LP, CD

Dingo • • •


Released: 1958 Label: Fontana Format: LP

Music from Siesta • • •


Released: November 5, 1991 Label: Warner Bros. Format: LP, CD "—" denotes releases that did not chart or was not released.

Box sets Compilation box sets Album details


Year

1988 The Columbia Years 1955–1985 • • •

US [7]

Jazz Albums [7]


BEL (fla.) [8]

—

9

—

—

—

—

—

—

—

—

—

3

—

—

—

—

—

—

—

—

Released: 1988 Label: Columbia Format: LP, CD

1996 Miles Davis & Gil Evans: The Complete Columbia Studio Recordings • • •

Certifications (sales FRA NLD NZL NOR SWE SWI thresholds) [9] [10] [11] [12] [13] [14]

Released: 1996 Label: Columbia/Legacy Format: LP, CD

Discography

574

1998 The Complete Studio Recordings of The Miles Davis Quintet 1965–1968 • • •

—

—

—

6

—

—

104

—

—

—

—

—

—

4

—

—

—

—

—

—

—

—

—

6

—

—

—

—

—

—

—

—

—

4

—

—

—

—

—

—

—

—

—

15

—

—

—

—

—

—

—

—

—

—

—

—

—

—

—

—

—

—

—

15

—

—

—

—

—

—

—

—

—

12

—

—

—

—

—

—

—

—

Released: May 23, 2006 Label: Prestige Format: LP, CD

2007 The Complete On the Corner Sessions • • •

—

Released: April 4, 2006 Label: Blue Note Format: LP, CD

2006 The Legendary Prestige Quintet Sessions • • •

—

Released: 2004 Label: Columbia/Legacy Format: LP, CD

2006 Great Sessions • • •

—

Released: September 30, 2003 Label: Columbia Format: LP, CD

2004 Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964 • • •

—


2003 The Complete Jack Johnson Sessions • • •

—


2001 The Complete In a Silent Way Sessions • • •

—

Released: November 24, 1998 Label: Columbia/Legacy/Sony Format: LP, CD

2000 The Complete Columbia Recordings of Miles Davis with John Coltrane • • •

—

Released: March 24, 1998 Label: Columbia Format: LP, CD

The Complete Bitches Brew Sessions • • •

—

Released: October 2, 2007 Label: Columbia Format: LP, CD "—" denotes releases that did not chart or was not released.

Limited edition box set

Discography

Year

575

Album details


2009 Miles Davis: The Complete Columbia Album Collection • • •

US [7]

Jazz Albums [7]


BEL (fla.) [8]

—

—

—

—


—

—

—

—

—


—

Released: November 24, 2009 Label: Columbia Format: LP, CD "—" denotes releases that did not chart or was not released.

Live box sets Album details


Year

1995 The Complete Live at the Plugged Nickel 1965 • • •


BEL (fla.) [8]


—

10

—

—

—

—

—

—

—

—

—

9

—

—

—

—

—

—

—

—

—

16

—

—

187

—

—

—

—

—

Released: June 3, 2003 Label: Sony Format: LP, CD

2005 The Cellar Door Sessions • • •

Jazz Albums [7]

Released: July 8, 1995 Label: Legacy Format: LP, CD

2003 In Person Friday and Saturday Nights at the Blackhawk, Complete • • •

US [7]

Released: December 27, 2005 Label: Columbia/Legacy Format: LP, CD "—" denotes releases that did not chart or was not released.

Vinyl records


Discography

576

Year

Catalog number

Label

A-side

B-side

Footnotes

1946

MG 12001

Savoy

Now's The Time

Bring It On Home

1947

934

Savoy

Milestones

Sippin' at Bell's

[17]

1947

951

Savoy

Goin' to Mintons

Half Nelson

[17]

1948

4507

Savoy

Little Willie Leaps

Half Nelson

[18]

1949

57-60005

Capitol

Jeru

Godchild

[18]

1949

15404

Capitol

Move

Budo

[18]

1949

60011

Capitol

Boplicity

Israel

[18]

1950

1221

Capitol

Venus Demilo

Darn That Dream

[18]

1951

734

Prestige

Morpheus

Blue Room

[18]

1951

742

Prestige

Down

Whispering

[18]

1951

45-321

Prestige

Dig

It's Only A Paper Moon

[18]

1951

868

Prestige

Conception

Bluing

[18]

1951

876

Prestige

Out Of The Blue, Part 1

Out Of The Blue, Part 2

[18]

1951

846

Prestige

Bluing, Part 1

Bluing, Part 2

[18]

1951

777

Prestige

Dig, Part 1

Dig, Part 2

[18]

1951

766

Prestige

My Old Flame, Part 1

My Old Flame, Part 2

[18]

1951

817

Prestige

It's Only A Paper Moon, Part 1

It's Only A Paper Moon, Part 2

[18]

1952

45-1633

Blue Note Well, You Needn't

Donna

[18]

1952

1595

Blue Note Woody'n You

Dear Old Stockholm

[18]

1952

1596

Blue Note Yesterdays

Chance It

[18]

1952

1597

Blue Note The Squirrel

Donna

[18]

1953

45-1649

Blue Note Tempus Fugit

Lazy Susan

[18]

1953

1620

Blue Note Kelo

C.T.A.

[18]

1953

1618


Enigma

[18]

1953

1619

Blue Note Ray's Idea

I Waited For You

[18]

1953

884

Blue Note Tasty Pudding, Part 1

Tasty Pudding, Part 2

[18]

1953

45-1649


Lazy Susan

[18]

1953

1620

Blue Note Kelo

C.T.A.

[18]

1953

45-353

Prestige

My Funny Valentine

Smooch

[18]

1953

902

Prestige

When Lights Are Low

Miles Ahead

[18]

1954

45-1649


Lazy Susan

[18]

Discography

577 1954

45-1650

Blue Note The Leap

Weirdo

[18]

1954

45-1633

Blue Note Well, You Needn't

Donna

[18]

1954

45-376

Prestige

You Don't Know What Love Is

That Old Devil Moon

[18]

1954

898

Prestige

Four

That Old Devil Called Love

[18]

1954

893

Prestige

Blue Haze, Part 1

Blue Haze, Part 2

[18]

1954

45-157

Prestige

Walkin', Part 1

Walkin', Part 1

[18]

1954

915

Prestige

But Not For Me

(unknown)

[18]

1955

45-103

Prestige

Green Haze, Part 1

Green Haze, Part 2

[18]

1955

45-114

Prestige

A Night In Tunisia, Part 1

A Night In Tunisia, Part 2

[18]

1955

DEP 27

Debut

Blue Moods, Vol. 1

—

[18]

1955

DEP 28

Debut

Blue Moods, Vol. 2

—

[18]

1955

45-268

Prestige

S'posin'

Just Squeeze Me

[18]

1956

45-123

Prestige

If I Were A Bell, Part 1

If I Were A Bell, Part 2

[18]

1956

45-413

Prestige

Airegin

'Round Midnight

[18]

1956

45-395

Prestige

Tune Up

Oleo

[18]

1956

45-248

Prestige

The Surrey With The Fringe On Top Diane

[18]

1956

45-165

Prestige

It Never Entered My Mind, Part 1

It Never Entered My Mind, Part 2

[18]

1956

45-195

Prestige

When I Fall In Love, Part 1

When I Fall In Love, Part 2

[18]

Albums recorded as sideman Year

*

Title

Dr. Jekyll

1945 Bird's Eyes, Vol. 13

Artist(s)

Footnotes

Cannonball Adderley

[19]

Charlie Parker

[20]

Bird's Eyes, Vol. 14

[21]


[22]

The Love Songs of Mr. B

Billy Eckstine

[23]

The Charlie Parker Story

Charlie Parker

[24]

Yardbird in Lotus Land

Charlie Parker

[25]

Discography

1946 The Young Rebel Charlie Parker on Dial, Vol. 1

578 Charles Mingus

[26]

Charlie Parker

[27]

1947 Encores

[28]

1948 The Band That Never Was

[29]

1950 Sarah Vaughan in Hi-Fi

Sarah Vaughan

[30]

1951 Swedish Schnapps

Charlie Parker

[31]

1953 Sonny Rollins with the Modern Jazz Quartet

Sonny Rollins

[32]

1955 Charlie Parker Memorial, Vol. 1

Charlie Parker

[33]

Charlie Parker Memorial, Vol. 2

[34]

I Surrender, Dear

Billie Eckstine

[35]

The Genius of Charlie Parker

Charlie Parker

[36]

1956 What is Jazz

Leonard Bernstein

[37]

1957 En Concerts

Rene Urtreger

[38]

Brass Ensemble of the Jazz and Classical Music

[39]

Charlie Parker

[40]

Somethin' Else

Cannonball Adderley

[41]

Legrand Jazz

Michel Legrand

[42]

1960 En Concert Avec Europe 1

John Coltrane

[43]

1962 The Bird Returns

Charlie Parker

[44]

Coleman Hawkins, Howard McGhee and Lester Young

[45]

Charlie Parker

[46]

1975 Nasty Gal

Betty Davis

[47]

1986 Fahrenheit

Toto

[48]

Scritti Politti

[49]

Marcus Miller

[50]

1988 Bopping the Blues

Earl Coleman, Ann Baker

[51]

Machismo

Cameo

[52]

Provision

Scritti Politti

[53]

CK

Chaka Khan

[54]

(various artists)

[55]

Music For Brass: The 1957 Columbia Third Stream Recordings, vol. 1 1958 Bird on 52nd Street

A Date with Greatness

1971 Bird in Paris

1987 Oh, Patti Siesta

Scrooged – Original Soundtrack

Discography

579

1989 Back on the Block

Quincy Jones

[56]

Rara Avis

Charlie Parker

[57]

Stars of Modern Jazz at Carnegie Hall, Christmas 1949

(various artists)

[58]

Coleman Hawkins

[59]

Kenny Garrett

[60]

(various artists)

[61]

Benny Carter And His Orchestra

Benny Carter

[62]

Bird: The Complete Charlie Parker on Verve

Charlie Parker

[63]

Shirley Horn

[64]

Charlie Parker

[65]

Illinois Jacquet

[66]

Serge Chaloff

[67]

Paolo Rustichelli

[68]

1993 The Sun Don't Lie

Marcus Miller

[69]

1994 Mister B. And The Band

Billy Eckstine

[70]

Charlie Parker

[71]

Hollywood Stampede Prisoner of Love 1990 The Hot Spot

1991 You Won't Forget Me Bird's Eyes, Vol. 7 1992 Flying Home We the People Bop Capri

Bird's Eyes, Vol. 12 1995 Bird's Eyes, Vol. 19

[72]


[73]

Blue Bird

[74]

The Complete RCA Victor Recordings The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron Complete Bird At Birdland, Vol. 1

Dizzy Gillespie

[75]

Fats Navarro and Tadd Dameron

[76]

Charlie Parker

[77]

1996 In a Soulful Mood Music Forever and Beyond: The Selected Works of Chick Corea Mystic Man 1999 Birth of Bop

[78] Chick Corea

[79]

Paolo Rustichelli

[80]

Charlie Parker

[81]

2000 Cool Bird

[82]

2001 Complete 1945 - 1949 West Coast Recordings

Charles Mingus

[83]

2002 Boss Bird

Charlie Parker

[84]

Louis Armstrong

[85]

Louis Armstrong and His Friends

Discography

580

2003 The Complete Verve Master Takes

Charlie Parker

[86]

Complete Onyx Recordings

[87]

The Immortal Charlie Parker

[88]

2004 The Complete Savoy and Dial Sessions

[89]

Complete Dial Sessions

[90]

2010 Cinematik

Paolo Rustichelli

[91]

"*" denotes the unknown release dates.

Videos Year

Director

Footnotes

1969 Berlin Concert

—

[92]

1967

Stockholm, 1967

—

[93]

1969

Rome, 1969

—

[94]

Copenhagen, 1969

—

[95]

Berlin, 1969

—

[96]

*

Video

[97]

1970

Miles in Tanglewood

Jack DeJohnette

1971

Miles in Berlin, 1971

Ndugu Leon Chancler

1973

Tokyo, 1973

Al Foster

Stockholm, 1973

Al Foster

Berlin, 1973

Al Foster

Vienna, 1973

Al Foster

[97] [98]

[99] [100] [101] [102]

[98] [99] [100] [101] [102]

1974

Prince of Darkness

—

[103]

1985

Live in Montreal

—

[104]

1986

Miles Ahead: The Music of Miles Davis

—

[105]

1987

Live at Estival Jazz Lugano

—

[106]

1988

Live in Munich

—

[107]

1988

At La Villette

—

[108]

1991

The Miles Davis Story

—

[109]

In Paris

—

[110]

1993

Live at Montreux

—

[111]

1995

Miles Ahead: Music of Miles Davis

—

[112]

1998

Miles Davis & John Coltrane

—

[113]

Discography

581 2000

Live from the Montreal Jazz Festival

—

[114]

2001

Live in Paris

—

[115]

2004

Miles Electric: A Different Kind of Blue

—

[116]

The Cool Jazz Sound

—

[117]

Miles Davis: A Different Kind of Blue

[118]

Murray Lerner

[119]

Live in Germany 1988

—

[120]

European Tour 1967

—

[121]

2007

Milan 1964

—

[122]

2008

Miles Davis: Live in Montreal

2006

2009

Tom O'Neill

[123]

[124]

Live in Poland 1983

—

[125]

At Hammersmith Odeon, London

—

[126]

That's What Happened: Live in Germany, 1987

—

[127]

"*" denotes the unknown release date. "—" denotes, that no directors collaborated, or that no directors were found due to lack of sources.

References [1] "Miles Davis -> Biography" (http:/ / www. allmusic. com/ artist/ miles-davis-p6377/ biography). Allmusic. Rovi Corporation. . Retrieved 2011-01-13. [2] Marmorstein, Gary (2007-02-06). The Label: The Story of Columbia Records. Thunder's Mouth Press. p. 165. ASIN B0016BSWZW. ISBN 1560257075. [3] "History of Jazz Time Line: 1959" (http:/ / www. allaboutjazz. com/ jazz1959. htm). All About Jazz. . Retrieved 2011-03-02. [4] Erlewine, Stephen Thomas. "Miles in the Sky—Allmusic" (http:/ / www. allmusic. com/ album/ miles-in-the-sky-bonus-tracks-r137480). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [5] "Miles Davis" (http:/ / www. britannica. com/ EBchecked/ topic/ 152808/ Miles-Davis). Encyclopaedia Britannica. . Retrieved 2011-04-05. "Although critics dismissed much of the music Davis released after Bitches Brew, his excursions helped keep jazz popular with mainstream audiences." [6] "Doo-Bop—Allmusic" (http:/ / www. allmusic. com/ album/ doo-bop-r137440). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [7] "Allmusic -> Miles Davis -> Charts & Awards" (http:/ / allmusic. com/ artist/ miles-davis-p6377/ charts-awards). Allmusic. Rovi Corporation. . Retrieved 2010-12-31. [8] "Extended Search: Miles Davis" (http:/ / www. ultratop. be/ en/ search. asp?cat=a& lang=nl& search=Miles+ Davis). ultratop.be. ULTRATOP & Hung Medien / hitparade.ch. . Retrieved 2010-12-31. [9] "Extended Search: Miles Davis" (http:/ / lescharts. com/ search. asp?cat=a& lang=nl& search=Miles+ Davis). lescharts.com. Hung Medien. . Retrieved 2010-12-31. [10] "Extended Search: Miles Davis" (http:/ / dutchcharts. nl/ search. asp?cat=a& lang=nl& search=Miles+ Davis). dutchcharts.nl. Hung Medien / hitparade.ch. . Retrieved 2010-12-31. [11] "Extended Search: Miles Davis" (http:/ / charts. org. nz/ search. asp?cat=a& lang=nl& search=Miles+ Davis). charts.org.nz. Hung Medien. . Retrieved 2010-12-31. [12] "Extended Search: Miles Davis" (http:/ / norwegiancharts. com/ search. asp?cat=a& lang=nl& search=Miles+ Davis). norwegiancharts.com. Hung Medien. . Retrieved 2010-12-31. [13] "Extended Search: Miles Davis" (http:/ / swedishcharts. com/ search. asp?cat=a& lang=nl& search=Miles+ Davis). swedishcharts.com. Hung Medien. . Retrieved 2010-12-31. [14] "Extended Search: Miles Davis" (http:/ / hitparade. ch/ search. asp?cat=a& lang=nl& search=Miles+ Davis). hitparade.ch. Hung Medien. . Retrieved 2010-12-31. [15] "Gold & Platinum Database: "Miles Davis"" (http:/ / riaa. com/ goldandplatinumdata. php?resultpage=1& table=SEARCH_RESULTS& action=& title=& artist=Miles Davis& format=& debutLP=& category=& sex=& releaseDate=& requestNo=& type=& level=& label=& company=& certificationDate=& awardDescription=& catalogNo=& aSex=& rec_id=& charField=& gold=& platinum=& multiPlat=& level2=& certDate=& album=& id=& after=& before=& startMonth=1& endMonth=1& startYear=1958& endYear=2010& sort=Artist&

Discography perPage=25). Recording Industry Association of America. . Retrieved 2010-10-18. [16] "Certified Awards Search: "Miles Davis"" (http:/ / www. bpi. co. uk/ certifiedawards/ search. aspx). British Phonographic Industry. . Retrieved 2010-11-14. [17] "Savoy 500 - 1000 series Numerical Listing" (http:/ / www. 78discography. com/ Sav500. htm). 78discography. . Retrieved 2011-04-04. [18] "Miles Davis Discography" (http:/ / www. jazzdisco. org/ miles-davis/ discography/ ). jazzdisco.org. Jazz Discography Project. . Retrieved 2011-03-26. [19] "Meets Miles Davis—Allmusic.com" (http:/ / www. allmusic. com/ album/ meets-miles-davis-r384723/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-26. [20] "Bird's Eyes, Vol. 13—Allmusic.com" (http:/ / www. allmusic. com/ album/ birds-eyes-vol-13-r625992/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-14. [21] "Charlie Parker: Bird's Eyes, Volume 14" (http:/ / www. kind-of-blue. de/ seiten/ disco/ birds_eyes_vol_14. htm). kind-of-blue.de. . Retrieved 2011-01-14. [22] "Charlie Parker: Bird's Eyes, Volume 18" (http:/ / www. kind-of-blue. de/ seiten/ disco/ birds_eyes_vol_18. htm). kind-of-blue.de. . Retrieved 2011-01-14. [23] "Billy Eckstine - The Love Songs Of Mr. "B" (EmArcy MG 36030)" (http:/ / www. jazzdisco. org/ gene-ammons/ catalog/ #emarcy-mg-36030). Jazz Discography Project. . Retrieved 2011-01-31. [24] "The Charlie Parker Story—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-charlie-parker-story-savoy-jazz-r167055/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [25] "Yardbird in Lotus Land—Allmusic.com" (http:/ / www. allmusic. com/ album/ cool-bird-r460683/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [26] "Charles Mingus - The Young Rebel (Swingtime (E) ST 1010)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #swingtime-st-1010). Jazz Discography Project. . Retrieved 2011-01-31. [27] "Charlie Parker On Dial, Vol. 1 (Spotlite (E) SPJ 101)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #spotlite-spj-101). Jazz Discography Project. . Retrieved 2011-01-31. [28] "Charlie Parker - Encores (Savoy SJL 1107)" (http:/ / jazzdisco. org/ miles-davis/ catalog/ #savoy-sjl-1107). Jazz Discography Project. . Retrieved 2011-02-01. [29] "The Band That Never Was" (http:/ / www. kind-of-blue. de/ seiten/ disco/ the_band_that_never_was. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-14. [30] "Sarah Vaughan in Hi-Fi—Allmusic.com" (http:/ / www. allmusic. com/ album/ sarah-vaughan-in-hi-fi-r149395/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [31] "Swedish Schnapps—Allmusic.com" (http:/ / www. allmusic. com/ album/ swedish-schnapps-r238741/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [32] "Sonny Rollins with the Modern Jazz Quartet—Allmusic.com" (http:/ / www. allmusic. com/ album/ sonny-rollins-with-the-modern-jazz-quartet-r146594/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [33] "Charlie Parker Memorial, Vol. 1—Allmusic.com" (http:/ / www. allmusic. com/ album/ ccharlie-parker-memorial-vol-1-r155769/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-02-01. [34] "Charlie Parker Memorial, Vol. 2—Allmusic.com" (http:/ / www. allmusic. com/ album/ charlie-parker-memorial-vol-2-r155770/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [35] "Billy Eckstine - I Surrender, Dear (EmArcy MG 36010)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #emarcy-mg-36010). Jazz Discography Project. . Retrieved 2011-01-31. [36] "The Genius of Charlie Parker—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-genius-of-charlie-parker-savoy-jazz-r167056/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-02-01. [37] "Leonard Bernstein - What Is Jazz (Columbia CL 919)" (http:/ / jazzdisco. org/ miles-davis/ catalog/ #columbia-cl-919). Jazz Discography Project. . Retrieved 2011-02-01. [38] "Rene Urtreger En Concerts (Carlyne Music (F) CAR 006)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #carlyne-music-car-006). Jazz Discography Project. . Retrieved 2011-02-22. [39] "The Brass Ensembles Of The Jazz And Classical Music Society - Music For Brass (Columbia CL941)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #columbia-cl-941). Jazz Discography Project. . Retrieved 2011-03-06. [40] "Bird on 52nd Street—Allmusic.com" (http:/ / www. allmusic. com/ album/ bird-on-52nd-st-r145071/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [41] "Somethin' Else—Allmusic.com" (http:/ / www. allmusic. com/ album/ somethin-else-r134300/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [42] "Legrand Jazz—Allmusic.com" (http:/ / www. allmusic. com/ album/ legrand-jazz-r142665/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [43] "Miles Davis En Concert Avec Europe 1 (Trema (F) TR 710455)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #trema-tr-710455). Jazz Discography Project. . Retrieved 2011-02-22. [44] "The Bird Returns—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-bird-returns-r169295/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15.

582

Discography [45] "Coleman Hawkins/Howard McGhee/Lester Young - A Date With Greatness (Imperial LP 9188-A)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #imperial-lp-9188-a). Jazz Discography Project. . Retrieved 2011-01-31. [46] "Charlie Parker - Bird In Paris (Bird In Paris CP 3)" (http:/ / jazzdisco. org/ miles-davis/ catalog/ #bird-in-paris-cp-3). Jazz Discography Project. . Retrieved 2011-02-01. [47] "Nasty Gal—Allmusic.com" (http:/ / www. allmusic. com/ album/ nasty-gal-r34772/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [48] "Toto—Allmusic.com" (http:/ / www. allmusic. com/ album/ fahrenheit-r20314/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [49] "Scritti Politti - Oh, Patti (Virgin VST 1006)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #virgin-vst-1006). Jazz Discography Project. . Retrieved 2011-02-27. [50] "Miles Davis/Marcus Miller - Siesta (Warner Bros. 25655)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #warner-bros-25655). Jazz Discography Project. . Retrieved 2011-03-01. [51] "Bopping the Blues—Allmusic.com" (http:/ / www. allmusic. com/ album/ bopping-the-blues-r106119/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [52] "Machismo—Allmusic.com" (http:/ / www. allmusic. com/ album/ machismo-r3196/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [53] "Provision—Allmusic.com" (http:/ / www. allmusic. com/ album/ provision-r17595/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [54] "Chaka Khan: C. K." (http:/ / www. kind-of-blue. de/ seiten/ disco/ chaka_khan. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-14. [55] "Scrooged—Allmusic.com" (http:/ / www. allmusic. com/ album/ scrooged-r128418/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-02-27. [56] "Back on the Block—Allmusic.com" (http:/ / www. allmusic. com/ album/ back-on-the-block-r10576/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [57] "Rara Avis—Allmusic.com" (http:/ / www. allmusic. com/ album/ rara-avis-r145126/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [58] "Charlie Parker: Stars of Modern Jazz at Carnegie Hall, Christmas 1949" (http:/ / www. kind-of-blue. de/ seiten/ disco/ xmas49. htm) (in German). kind-of-blue.de. . Retrieved 2010-01-15. [59] "Hollywood Stampede—Allmusic.com" (http:/ / www. allmusic. com/ album/ hollywood-stampede-r104744/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [60] "Kenny Garrett: Prisoner Of Love" (http:/ / www. kind-of-blue. de/ seiten/ disco/ kenny_garrett. htm). kind-of-blue.de. . Retrieved 2010-01-16. [61] "The Hot Spot—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-hot-spot-original-soundtrack-r84384/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [62] "Benny Carter And His Orchestra" (http:/ / www. kind-of-blue. de/ seiten/ disco/ benny_carter_and_his_orchestra. htm) (in German). kind-of-blue.de. . Retrieved 2010-01-14. [63] "Bird: The Complete Charlie Parker on Verve—Allmusic.com" (http:/ / www. allmusic. com/ album/ bird-the-complete-charlie-parker-on-verve-r145076/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [64] "You Won't Forget Me—Allmusic.com" (http:/ / www. allmusic. com/ album/ you-wont-forget-me-r141065/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [65] "Charlie Parker: Bird's Eyes, Volume 7" (http:/ / www. kind-of-blue. de/ seiten/ disco/ birds_eyes_vol_7. htm). kind-of-blue.de. . Retrieved 2010-01-16. [66] "Flying Home—Allmusic.com" (http:/ / www. allmusic. com/ album/ flying-home-r141361/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [67] "Serge Chaloff: We The People Bop" (http:/ / www. kind-of-blue. de/ seiten/ disco/ serge_chaloff. htm). kind-of-blue.de. . Retrieved 2010-01-16. [68] "Capri—Allmusic.com" (http:/ / www. allmusic. com/ album/ capri-r158085/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [69] "The Sun Don't Lie—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-sun-dont-lie-r198912/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [70] "Billy Eckstine: Mister B. And The Band" (http:/ / www. kind-of-blue. de/ seiten/ disco/ eckstine. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-14. [71] "Bird's Eyes, Vol. 12—Allmusic.com" (http:/ / www. allmusic. com/ album/ bird-eyes-vol-12-r298612/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-14. [72] "Bird's Eyes, Vol. 19—Allmusic.com" (http:/ / www. allmusic. com/ album/ bird-eyes-vol-19-r298616/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-14. [73] "Bird's Eyes, Vol. 20—Allmusic.com" (http:/ / www. allmusic. com/ album/ bird-eyes-vol-20-r298617/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-14. [74] "Blue Bird" (http:/ / www. kind-of-blue. de/ seiten/ disco/ blue_bird. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-15. [75] "The Complete RCA Victor Recordings—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-complete-rca-victor-recordings-r209885/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16.

583

Discography [76] "The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-complete-blue-note-and-capitol-recordings-of-fats-navarro-and-tadd-dameron-r229400). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [77] "Complete Bird At Birdland 1950 - 1951 Volume One" (http:/ / www. kind-of-blue. de/ seiten/ boxen/ complete_bird_at_birdland_vol1. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-16. [78] "In a Soulful Mood—Allmusic.com" (http:/ / www. allmusic. com/ album/ in-a-soulful-mood-single-disc-r246001/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [79] "Music Forever and Beyond: The Selected Works of Chick Corea—Allmusic.com" (http:/ / www. allmusic. com/ album/ music-forever-and-beyond-the-selected-works-of-chick-corea-r233052/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [80] "Mystic Man—Allmusic.com" (http:/ / www. allmusic. com/ album/ mystic-man-r271988/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [81] "Birth of Bop—Allmusic.com" (http:/ / www. allmusic. com/ album/ birth-of-bop-r445628/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [82] "Cool Bird—Allmusic.com" (http:/ / www. allmusic. com/ album/ cool-bird-r460683/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12. [83] "Charles Mingus: Complete 1945 - 1949 West Coast Recordings" (http:/ / www. kind-of-blue. de/ seiten/ disco/ mingus_west_coast. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-14. [84] "Boss Bird—Allmusic.com" (http:/ / www. allmusic. com/ album/ boss-bird-r599186/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [85] "Louis Armstrong and His Friends—Allmusic.com" (http:/ / www. allmusic. com/ album/ louis-armstrong-and-his-friends-rcabluebird-r598321/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [86] "The Complete Verve Master Takes—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-complete-verve-master-takes-r661945/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16. [87] "Complete Onyx Recordings—Allmusic.com" (http:/ / www. allmusic. com/ album/ complete-onyx-recordings-r650980/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [88] "The Immortal Charlie Parker—Allmusic.com" (http:/ / www. allmusic. com/ album/ the-immortal-charlie-parker-r181478/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [89] "The Complete Savoy and Dial Studio Sessions" (http:/ / www. kind-of-blue. de/ seiten/ boxen/ parker_complete_savoy_studio_box. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-14. [90] "Complete Dial Sessions—Allmusic.com" (http:/ / www. allmusic. com/ album/ complete-dial-sessions-r182902/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-15. [91] "Paolo Rustichelli: Cinematik" (http:/ / www. kind-of-blue. de/ seiten/ disco/ rustichelli_cinematik. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-16. [92] "1969 Berlin Concert—Allmusic.com" (http:/ / www. allmusic. com/ album/ r1726351). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [93] "The Stockholm, 1967—rateyourmusic" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ stockholm__1967/ ). rateyourmusic. . Retrieved 2011-05-04. [94] "Rome, 1969—rateyourmusic" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ rome__1969/ ). rateyourmusic. . Retrieved 2011-05-04. [95] "Copenhagen, 1969—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ copenhagen__1969/ ). rateyourmusic. . Retrieved 2011-05-04. [96] "Berlin, 1969—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ copenhagen__1969/ ). rateyourmusic. . Retrieved 2011-05-04. [97] "Miles in Tanglewood—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ miles_in_tanglewood/ ). rateyourmusic. . Retrieved 2011-05-04. [98] "Miles in Berlin, 1971—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ miles_in_berlin__1971/ ). rateyourmusic. . Retrieved 2011-05-04. [99] "Tokyo, 1973—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ tokyo__1973/ ). rateyourmusic. . Retrieved 2011-05-04. [100] "Stockholm, 1973—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ stockholm__1973/ ). rateyourmusic. . Retrieved 2011-05-04. [101] "Berlin, 1973—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ berlin__1973/ ). rateyourmusic. . Retrieved 2011-05-04. [102] "Vienna, 1973—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ vienna__1973/ ). rateyourmusic. . Retrieved 2011-05-04. [103] "Prince of Darkness—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ prince_of_darkness/ ). rateyourmusic. . Retrieved 2011-05-04. [104] "Live in Montreal—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ live_in_montreal/ ). rateyourmusic. . Retrieved 2011-05-04.

584

Discography [105] "Miles Ahead: The Music of Miles Davis—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ miles_ahead__the_music_of_miles_davis/ ). rateyourmusic. . Retrieved 2011-05-04. [106] "Live at Estival Jazz Lugano—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ live_at_estival_jazz_lugano/ ). rateyourmusic. . Retrieved 2011-05-04. [107] "Live in Munich—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ live_in_munich/ ). rateyourmusic. . Retrieved 2011-05-04. [108] "At La Villette—rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ at_la_villette/ ). rateyourmusic. . Retrieved 2011-05-04. [109] "The Miles Davis Story—Allmusic.com" (http:/ / www. allmusic. com/ album/ r618439). Allmusic. Rovi Corporation. . Retrieved 2011-01-29. [110] "In Paris—Allmusic.com" (http:/ / www. allmusic. com/ album/ r85857). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [111] "Live at Montreux—Allmusic.com" (http:/ / www. allmusic. com/ album/ r397276). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [112] "Miles Ahead: Music of Miles Davis—Allmusic.com" (http:/ / www. allmusic. com/ album/ r419700). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [113] "Miles Davis & John Coltrane—Allmusic.com" (http:/ / www. allmusic. com/ album/ r449809). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [114] "Live from the Montreal Jazz Festival—Allmusic.com" (http:/ / www. allmusic. com/ album/ r491450). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [115] "Live in Paris—Allmusic.com" (http:/ / www. allmusic. com/ album/ r542178). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [116] "Miles Electric: A Different Kind of Blue—Allmusic.com" (http:/ / www. allmusic. com/ album/ r718849). Allmusic. Rovi Corporation. . Retrieved 2011-01-26. [117] "The Cool Jazz Sound—Allmusic.com" (http:/ / www. allmusic. com/ album/ r718780). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [118] "Miles Electric - A Different Kind of Blue" (http:/ / www. amazon. com/ Miles-Electric-Different-Kind-Blue/ dp/ B00069FKN2/ ref=sr_1_1?ie=UTF8& s=dvd& qid=1296479517& sr=8-1). Amazon.com. . Retrieved 2011-01-31. [119] "Miles Davis: A Different Kind of Blue—Allmusic.com" (http:/ / www. allmusic. com/ album/ r718849). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [120] "Prince of Darness—Allmusic.com" (http:/ / www. allmusic. com/ album/ r827185). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [121] "European Tour 1967—Allmusic.com" (http:/ / www. allmusic. com/ album/ r2062110). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [122] "Milan 1964—Allmusic.com" (http:/ / www. allmusic. com/ album/ r1079778). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [123] "Miles Davis: Live in Montreal" (http:/ / www. amazon. com/ Miles-Davis-Montreal-John-Scofield/ dp/ B001953OE4/ ref=sr_1_1?ie=UTF8& s=dvd& qid=1296479649& sr=1-1). Amazon.com. . Retrieved 2011-01-31. [124] "Live in Montreal—Allmusic.com" (http:/ / www. allmusic. com/ album/ r1429274). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [125] "Live in Poland 1983—Allmusic.com" (http:/ / www. allmusic. com/ album/ r1810082). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [126] "At Hammersmith Odeon, London—Allmusic.com" (http:/ / www. allmusic. com/ album/ r1429429). Allmusic. Rovi Corporation. . Retrieved 2011-01-31. [127] "That's What Happened: Live in Germany, 1987—Allmusic.com" (http:/ / www. allmusic. com/ album/ r1541796). Allmusic. Rovi Corporation. . Retrieved 2011-01-31.

External links • • • • • •

Miles Davis (http://www.allmusic.com/artist/p6377) at Allmusic Official website (http://http://www.milesdavis.com/uk) Miles Davis collector site (http://www.kind-of-blue.de/index.htm) (German) "Miles Davis Collector's Guides & Discographies" (http://www.jazzdisco.org/miles-davis/) Miles Davis at Music Box (http://www.musicbox-online.com/davis.html) 78rpm vinyl records collection (http://www.78discography.com)

585

Article Sources and Contributors

Article Sources and Contributors Miles Davis Source: http://en.wikipedia.org/w/index.php?oldid=429880557 Contributors: (jarbarf), -Midorihana-, 195.241.245.xxx, 2T, 3finger, 75pickup, 777sms, A Train, ABF, ACSE, Abu-Fool Danyal ibn Amir al-Makhiri, Adashiel, Addyfe, Aenar, After Midnight, Aitias, Ajor, Aktiver Arbeiter, Alansohn, Alcuin, Ali K, Alien life form, Alkivar, Allstarecho, AllyD, Almita, AlvaroMR, Alvestrand, Amnesta, Amorelli, Anas Salloum, AndersL, Andonic, Andrew Levine, Andrew Norman, Andrzejbanas, Angela, Anger22, Angr, Angrysockhop, Anthony22, AntiuserX, Apeloverage, Arcadian, ArchonMagnus, Arctic hobo, ArielGold, Arnach, Asdf123zxc, Ask123, Astronaut, Astuishin, Atavi, Atif.t2, Augeralf, Auntof6, Aussie Ausborn, Autiger, Avillia, Ayla, BNutzer, BabuBhatt, Badbilltucker, Ballchin, BaronLarf, BarretBonden, Barrettmagic, Bartash, Basawala, Bbsrock, Beckettwatt, Ben Ram, Ben-Zin, Bencherlite, Benjiboi, Benjimon, Benny the wayfarer, Bergljot94, Bess1030, Bestperson, Betacommand, Binksternet, Bjmullan, Blah28948, Blanchardb, BlindManEditing, Bluerasberry, Bobblewik, Bobianite, Bobo192, Boing! said Zebedee, Bongwarrior, Booglegodit13, Brandon97, Brettblock, Brighterorange, BrothaTimothy, Budgy, Bunnyhop11, Butros, Byrial, CIreland, CZmarlin, Calliopejen1, Camembert, Can't sleep, clown will eat me, Canal Moins, CanisRufus, Canyouhearmenow, Card, CatherineMunro, CdaMVvWgS, Cdg1072, Chairman S., Chasingsol, Cheese101, Cherry blossom tree, Cheshirecat575, Chickyraptor, Chillllls, Chuunen Baka, CircleAdrian, Cj120, Cjmarsicano, Clam0p, ClamDip, Clerks, Cluth, Cntras, Coasterlover1994, Coby1bs, Colchester121891, Colonies Chris, Cometstyles, Comicsubversion, CommonsDelinker, Conversion script, Corti, Cosprings, CrazyTalk, Cribcage, Crispmuncher, CryptoDerk, Cubs Fan, Cureden, CurtisJohnson, D6, DARTH SIDIOUS 2, DVD R W, Dan56, Daniel Case, DanielDeibler, Danmiles, Danny, Danreitz, Danthemankhan, Darwinek, Dasondas, Dave souza, David Gerard, David Sneek, Dawn Bard, Dbfirs, Dbtfz, Deb, Debresser, Debuskjt, Delirium, Deltabeignet, Der Golem, DerHexer, Derek R Bullamore, Derek Ross, Derekmcgovern, Devario, Dffgd, Diannaa, Dimadick, Discordanian, Discospinster, Dissolve, Djharrity, Djus, Dmchuck4, Docroxalot, Doctorhawkes, Dogru144, DoomsDay349, Dr. Shaggeman, Dralwik, Dreadstar, Drmies, Drumsac, Ds13, Dunks58, Dutzi, E-Kartoffel, E2eamon, ESkog, Eastfrisian, Eddhurt, Edelmand, Edward Tambling, Eelalien, El C, Electromagnolia, Elfred, Eman, Emerson7, Enkrates, EoGuy, Epbr123, Eric-Wester, Ericamandy, Ericamick, Erik9, Erinaries, Evenfiel, Everyking, Evolauxia, F u buddy, Faithlessthewonderboy, Falcon8765, Faradayplank, Fborstad, Ferdinand Pienaar, Ffirehorse, Fieldday-sunday, Firstmilast, Fish and karate, FjghdK, Fladrif, Flammerstoolight, Flatterworld, Floaterfluss, FotoPhest, Frank, FranksValli, Franois-do, Fredrik, Freederick, Freimut Bahlo, Frenchtoasty17, FreplySpang, Funeral, Funkydory, FuriousFreddy, Fuscob, G.AC, Gareth E Kegg, Gareth Owen, Gary King, Garyth123, Gbondmg42, Gekedo, Gentgeen, Gephart, Ghtx, Gingerburn, GirasoleDE, Gm7b52001, GoDuckies!, Gobonobo, Gogo Dodo, GoingBatty, Gonzonoir, Goo Paine, Good Olfactory, GorillaWarfare, Gpia7r, Graham87, Grahamdubya, Grammarmonger, Gramscis cousin, GreatOrangePumpkin, GregAsche, GripTheHusk, Groovinhigh, Gub, Gurch, Gyrofrog, Hadal, Hailey C. Shannon, Hajatvrc, Halaqah, Haldraper, Hall Monitor, Hamtechperson, Haquim, Harabanar, Hardys, Hawkestone, Hegel shmegel, Hektor, HisSpaceResearch, Hooverbag, Hotstuff29, Hsbrent, Hu12, Hut 6.5, Hyacinth, IL7Soulhunter, Icairns, Igbo, Ignatiuswiki, Igorrr, Ijon, Ikeeledmytoychicken, Illinois2011, Ilse@, Iluv2eatbiscuits, Ilyushka88, Ina Moore, Infrogmation, InnocuousPseudonym, Interloop2610, Ionescuac, Iridescent, Irishguy, Isidore, Isnow, Issovia, Ivan Bajlo, Ixfd64, J.delanoy, J.smith, JForget, JHunterJ, JNW, JackMullins, JackofOz, Jackol, Jacques Delson, Jakealator, James086, Jamieli, Japo, Jaranda, Jauerback, Javier8888, JayHenry, JayJasper, Jazzeur, Jeff G., Jeffrey Mall, Jerjazmus6, Jerry teps, Jessiejames, Jfurr1981, Jimbonator, Jimelutz, Jimmer, Jimthing, Jiy, Jkiang, Jleon, Jmeltzer, Jmlk17, JoanneB, Joe5150, Joelr31, Jogers, John, John Baez, John FitzGerald, John Reid, Johnpacklambert, Johnthepcson, Johnwrw, Jordan 1972, Joshronsen, Jossi, Jrousso, Jschnur, Jszack, Jubella, Jusdafax, JustAGal, Jwhite518, JzG, K1Bond007, Ka Faraq Gatri, Kablammo, Kaiba, Kbdank71, Kenyon, Kevin McE, Kewp, Kingturtle, Kisch, KittenKlub, Klausness, Kneberle, Knucmo2, Koavf, Koyaanis Qatsi, Kubigula, Kukini, L Kensington, LWGillan, Lacky, Lairor, Larry333, Last5, Laureano-M-B, Ldecoursey, LeaveSleaves, LeoNomis, Lightmouse, Linnell, Literaturegeek, Little Mountain 5, Llewis27, LodeRunner, Lolocass, Lord Voldemort, LouI, Luigilos, Lupin, Lupo, Lypheklub, MJ94, MK2, Ma'ame Michu, Magioladitis, Magister Mathematicae, Malber, Mamawrites, Mani1, Mantee, Mapletip, Marek69, Mark, MarkSweep, Marked1234, Martpol, Maser Fletcher, Matanya (renamed), Mav, Maxbps, Maximillion Pegasus, Mayumashu, McSly, McTrixie, Mcmillin24, Merbabu, Merphant, Mezigue, Miagw, Michaelpb, MickWest, Migospia, Mikasa, MilesAndMiles, MilesTrane21, Milesb23, Mind meal, Minimac, MisterAngryBear, Mjgw, Mjpieters, Mjspe1, MoRsE, Modemac, Moeron, Motorizer, Moxy, MrGater, MrRadioGuy, Msja101, Muijz, Mvgorski, MwNNrules, Mysloop, Mütze, N5iln, NAHID, NJlo, NTmatter, Nabokov, Naddy, Nakon, Nanotone, NawlinWiki, Ndorward, Ndugu, Nefe375, NeilN, NellieBly, Nem1yan, Netrat, Neurolysis, Nevilley, Newport 63, Newyorkcatwhite, Nick Watts, Nigazblood, Nihonjoe, Nimmolo, NoVomit, Norwikian, NoslO wehttaM, Nuge, OBNOXIUs, ONEder Boy, Occuli, Oded.yunger, Oden, Odysseus1138, Ohconfucius, Ohnoitsjamie, Oliver Lineham, Oneiros, Orange Suede Sofa, Ortolan88, PAWiki, PEJL, PJtP, PMDrive1061, Pabanks46, Pablo X, Paranomia, Parkwells, Parsifal, Paul210, Penguinzzz, Peruvianllama, Peter Delmonte, Peter Fleet, Peter.C, Pgeffen, Pheter360, Philip Cross, Philip Trueman, Phoenix2, Piccadilly, Pigsonthewing, Piriczki, Pjoef, Pmyatt, Pohick2, Pointillist, Politepunk, Portillo, Pr7iDeS, PrincessofLlyr, Puchiko, PullUpYourSocks, Pumpkinjuice3000, Punctured Bicycle, Pwt898, Quadell, QuasyBoy, Queixa, Quelcrime, QzDaddy, RFGS, Rabbi4455, Racingstripes, Radiant chains, Rahin, Rainwarrior, Rancourrancour, RaseaC, Raul654, Raven4x4x, RayAYang, RazerCrane, Razorflame, Razorhead, RedActor61, RedRose333, RedSox2008, RedWolf, Redlentil, Reedy, Retiono Virginian, RexNL, ReyBrujo, Rich Farmbrough, Richbell00, Riotrocket8676, Rjwilmsi, Rmrfstar, RobertG, Rock8888, RodC, Rogerd, Rollerkoster09, Roottap, Rorybob, Ross Uber, Rothorpe, Roundhouse0, Royboycrashfan, Rt66lt, Runt, RussellBlatcher, Russian69, Sam Francis, Saminferno, Sango123, Sannse, Schroeder74, SchuminWeb, Scieberking, Scoo, Scorpion0422, Sdfgfshfh 131, Sdornan, SeanO, Sefsf, Sgcook, Shadowhillway, She Who Must Be Obeyed, Shearonink, ShelfSkewed, Shimgray, Shoejar, ShutUpEccles, Silence, Silver Edge, Silverxxx, Simonfieldhouse, Sincy55, Siraj555, Sjking92, Sketchee, Skol fir, Slo, Sluzzelin, Slysplace, Smegpt86, SmokeyTheCat, Smorrison01, Sneakums, Snoop God, Snoyes, Snozzwanger, Soetermans, Soundgarden, Sparklism, Special-T, Spellcast, Splash, SpuriousQ, Squalk25, Squandermania, StaticGull, StaticShock, Stephenb, Stephensuleeman, SteveHFish, Sthow, StillTrill, StuHarris, Sublimefan97, Sugar Bear, Sunray, Susvolans, Sven Manguard, SwiftWings, Switcher, T. Anthony, TFBCT1, THEN WHO WAS PHONE?, TJRC, TJSwoboda, TOO, TUF-KAT, Taestell, Tapir Terrific, Tassedethe, TeNagaZaru, Teardrop onthefire, Technopat, Ted Wilkes, Tedickey, Tedzsee, Tempodivalse, Terry1944, Terry2isback, Tetraedycal, Tforrrest, That Asian Guy, The Deviant, The Mighty Larch, The Thing That Should Not Be, The wub, TheCVL, TheGrappler, TheRetroGuy, TheSkyHadABaby, Thebogusman, Thedarkestclear, Thehelpfulone, Thenewdeal87, Theo10011, Thingg, Thirdeyeopen33, Tide rolls, Tifaaeris, Tinton5, Tlogmer, Tofilmfan, TomKing1980, Tommy2010, Tomte, Tony1, Tothebarricades.tk, Tp243, TreasuryTag, TreveX, Trevor MacInnis, Treybien, Tricadia, Tromboris, Trontonian, Tvccs, Tweetsabird, Twiceasinferior, Ulric1313, Ultra megatron, VMS Mosaic, Valentinejoesmith, Varlaam, VasilievVV, Vegaswikian, Verbist, Versus22, Vytal, Warpozio, Wayne Miller, Wenospeak, Wether B, Wiki libs, WikiLaurent, Wikiklrsc, Wikipelli, Winndm31, Witchwooder, Woohookitty, Wutschwlllm, Xavcam, Xricci, Yamaguchi先生, Yamamoto Ichiro, Yekrats, Yggdrasil, Zabadinho, Zazaban, Zhou Yu, Zidonuke, Zoicon5, Zorba215, Zsasnow, Zujine, Zvika, 1763 anonymous edits Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=408954276 Contributors: BassHistory, Carlos28, Cosprings, Derek R Bullamore, Ignatiuswiki, Mind meal, Ndorward, PJtP, Philip Cross, Slysplace, Tassedethe, Twas Now, Xiaphias, ‫ה'צנינ‬, 17 anonymous edits Blue Period Source: http://en.wikipedia.org/w/index.php?oldid=429066449 Contributors: Ary29, Entoaggie09, ExplorerPlus, Explosius, Gareth E Kegg, GreatOrangePumpkin, Grk1011, Hu12, Koavf, Rjwilmsi, Slysplace, Tassedethe, Waacstats, 5 anonymous edits Dig Source: http://en.wikipedia.org/w/index.php?oldid=429068634 Contributors: Airproofing, AndrewHowse, Ary29, Dan56, ExplorerPlus, Explosius, Grk1011, Gyrofrog, Hu12, Jim62sch, Koavf, Mattisse, PJtP, RaymanNL, Ricadus, Rjwilmsi, Slysplace, Tassedethe, TheoryOfPractice, Waacstats, 11 anonymous edits Miles Davis and Horns Source: http://en.wikipedia.org/w/index.php?oldid=429068926 Contributors: AndrewHowse, Ary29, DISEman, Herwwiyal, Koavf, Sluzzelin, Stanlekub, Tassedethe, 11 anonymous edits Blue Haze Source: http://en.wikipedia.org/w/index.php?oldid=429067373 Contributors: Airproofing, Alcuin, Andrew Norman, BRG, Bobo192, Crystallina, Dan56, Edward Tambling, Fritz Saalfeld, I42, Jasonhorn13, Jogers, Jubella, KConWiki, Moe Epsilon, Pietaster, Rich Farmbrough, Slysplace, TrafficBenBoy, Waacstats, 13 anonymous edits Walkin' Source: http://en.wikipedia.org/w/index.php?oldid=429069013 Contributors: Airproofing, Alcuin, Andrew Norman, Ary29, Californian Treehugger, Crystallina, Dissolve, Edward Tambling, Engelbaet, Fred Bradstadt, Gareth E Kegg, Gyrofrog, JIMRH4, KConWiki, Koavf, Ludde23, Moe Epsilon, Pugetbill, Ricadus, Rich Farmbrough, ShelfSkewed, Slysplace, Technopat, Twas Now, Waacstats, XxTimberlakexx, 14 anonymous edits Collectors' Items Source: http://en.wikipedia.org/w/index.php?oldid=429068713 Contributors: ERK, Horselover Frost, Mild Bill Hiccup, OBNOXIUs, Ricadus, Rjwilmsi, SmokeyTheCat, Tassedethe, Tkrepel, 8 anonymous edits Bags' Groove Source: http://en.wikipedia.org/w/index.php?oldid=429069093 Contributors: Airproofing, Alien life form, Andrew Norman, Crystallina, Engelbaet, Gareth E Kegg, InnocuousPseudonym, Jafeluv, Jogers, KConWiki, Moe Epsilon, Ricadus, Rich Farmbrough, Rjwilmsi, RodC, SJW1646, Slysplace, Squandermania, Stanlekub, Sugar Bear, Tcncv, Technopat, Twas Now, Waacstats, 9 anonymous edits Miles Davis and the Modern Jazz Giants Source: http://en.wikipedia.org/w/index.php?oldid=429069182 Contributors: Airproofing, Andrew Norman, Dan56, Edward Tambling, Engelbaet, Grm wnr, Gyrofrog, Koavf, Moe Epsilon, Ricadus, Rich Farmbrough, Rjwilmsi, Slysplace, Tassedethe, Tp243, Waacstats, 8 anonymous edits Musings of Miles Source: http://en.wikipedia.org/w/index.php?oldid=429068805 Contributors: Airproofing, Ary29, Edward Tambling, Fisherjs, KConWiki, Moe Epsilon, Pugetbill, Rich Farmbrough, Rjwilmsi, Slysplace, Waacstats, 11 anonymous edits Blue Moods Source: http://en.wikipedia.org/w/index.php?oldid=429068533 Contributors: Airproofing, Backtable, Cosprings, Edward Tambling, GreatOrangePumpkin, Hu12, Jafeluv, Jogers, KConWiki, Moe Epsilon, Ricadus, Rich Farmbrough, Rjwilmsi, Sampm, Slysplace, Turunturun, Waacstats, 13 anonymous edits Quintet / Sextet Source: http://en.wikipedia.org/w/index.php?oldid=429068593 Contributors: Airproofing, Andrew Norman, Crystallina, Edward Tambling, KConWiki, Koavf, Mattisse, Moe Epsilon, Papa November, Playingviolin1, Rich Farmbrough, Rjwilmsi, Skier Dude, Slysplace, Tassedethe, Waacstats, 6 anonymous edits

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Article Sources and Contributors Miles: The New Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429068477 Contributors: Airproofing, Andrew Norman, BassHistory, Dan56, Editor437, Edward Tambling, Grm wnr, Jafeluv, KConWiki, Moe Epsilon, PJtP, Personman 4, Rich Farmbrough, Rjwilmsi, Slysplace, Vytal, Waacstats, 9 anonymous edits Cookin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429265621 Contributors: Airproofing, Andrew Norman, Bubba hotep, Burzmali, Crystallina, Dan56, Daniel Olsen, Editor437, Ferdinand Pienaar, Fuhghettaboutit, Gareth E Kegg, Hurricane111, Jogers, KConWiki, Kisch, Koavf, Lectonar, Lonk, Mahanga, Mahlered, Moe Epsilon, Paul Richter, Paulgjackson, Rich Farmbrough, Rjwilmsi, Signalhead, Skapur, Slysplace, Someoneinmyheadbutit'snotme, Sweetalkinguy, TheVito, Twas Now, Vytal, Xezbeth, 33 anonymous edits Relaxin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429228845 Contributors: Airproofing, Andrew Norman, Crystallina, Dan56, Daniel Olsen, Editor437, Edward Tambling, Gareth E Kegg, GreatOrangePumpkin, Hankendi, Hurricane111, Jac16888, KConWiki, Kisch, Knucmo2, Koavf, Mahlered, Marcok, Personman 4, Rich Farmbrough, Rjwilmsi, Rrmiracle, Slysplace, Sugar Bear, Sweetalkinguy, Tassedethe, Twas Now, Vytal, Waacstats, Xezbeth, 15 anonymous edits Workin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429228106 Contributors: Airproofing, Allstarecho, Andrew Norman, Crystallina, Dan56, Editor437, Edward Tambling, Ferdinand Pienaar, Gareth E Kegg, Hottratts, Hurricane111, KConWiki, Koavf, Personman 4, Pietaster, Ricadus, Rich Farmbrough, Rjwilmsi, Slysplace, Sweetalkinguy, Tony1, Twas Now, Vytal, Waacstats, Xezbeth, 30 anonymous edits Steamin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429504827 Contributors: Airproofing, Andrew Norman, Crystallina, Dan56, Daniel Olsen, Editor437, Edsuit, Edward Tambling, Ferdinand Pienaar, Hankendi, Hottratts, Hurricane111, KConWiki, Kisch, Koavf, Personman 4, Pinoy Pride, Rich Farmbrough, Rjwilmsi, Slickshooter001, Slysplace, Sweetalkinguy, Tony1, Twas Now, Vytal, Waacstats, Wolfer68, Xezbeth, 16 anonymous edits 'Round About Midnight Source: http://en.wikipedia.org/w/index.php?oldid=429688629 Contributors: Andrew Norman, Anthony Appleyard, Ary29, Atavi, C1k3, Caulde, Cholmes75, Cmdrjameson, Colonies Chris, Dan56, Dan8700, Daniel Olsen, Editor437, Edward Tambling, Erik9, Ettrig, Ferdinand Pienaar, Freekee, Fritz Saalfeld, Gamaliel, Gyrofrog, Hadal, J Milburn, Jafeluv, Jobe6, Jogers, Joshk, Joth, Jubella, Julien Tuerlinckx, Jwy, Jyavner, Knucmo2, Koavf, Lightmouse, Lonk, Misteror, Mitchoyoshitaka, Night, PET, PJtP, Papa November, Phil Bordelon, Quercus basaseachicensis, Rich Farmbrough, Rjwilmsi, Sannse, Seb35, Sholom, Slysplace, Squandermania, Swanrizla, Tassedethe, The silentist, Tp243, Trivialist, Twas Now, Viriditas, Wikiklrsc, Will Beback, Woohookitty, Xezbeth, 43 anonymous edits Miles Ahead Source: http://en.wikipedia.org/w/index.php?oldid=429228709 Contributors: 83d40m, Alien life form, Araucaria, ChrisCork, Colonies Chris, Cosprings, Dan56, Dan8700, Daniel Olsen, Design, Edward Tambling, Engineer Bob, Fritz Saalfeld, Gavia immer, Guido Dimicelli, Gyrofrog, Jobe6, Jodeffes, Jogers, Jubella, Justlettersandnumbers, Kenagy, Koavf, KrakatoaKatie, Mboverload, Mervyn, NIRVANA2764, Plasticup, Pugetbill, Qaddosh, RL0919, Rich Farmbrough, Sugar Bear, Tassedethe, Thismightbezach, Trivialist, Twas Now, Vytal, Whorepresents?, Xezbeth, Zidane tribal, 32 anonymous edits Milestones Source: http://en.wikipedia.org/w/index.php?oldid=429230314 Contributors: Alcuin, Alien life form, Andrew Norman, Ashadeofgrey, Brequinda, Brownlow6, Californian Treehugger, DISEman, Dan56, Dan8700, Daniel Olsen, DerBorg, Editor437, Edward Tambling, Engelbaet, Ferdinand Pienaar, Fisherjs, Freakofnurture, Gareth E Kegg, Geniac, Grm wnr, Gub, Hobophobe, Jafeluv, Jubella, Knucmo2, Koavf, Little Mountain 5, Mdeloia, MrFizyx, ShelfSkewed, Slysplace, SvNH, Swanrizla, Tassedethe, Thehebrewhammer, Tomlikesjazz, Traicye, Twas Now, Varlaam, Wahoofive, Whorepresents?, WilliamDenton, Wolfehhgg, Xezbeth, 53 anonymous edits Porgy and Bess Source: http://en.wikipedia.org/w/index.php?oldid=429230185 Contributors: Akriasas, Anger22, ArtPhotoLover, Ary29, Ave Caesar, BRG, BaronLarf, Bdiscoe, Dan56, Daniel Olsen, DantheCowMan, DutchmanInDisguise, Edward Tambling, Fair Deal, FlorianB, Fritz Saalfeld, Gamaliel, Gareth E Kegg, Grm wnr, Gusmahler, Kenagy, Koavf, Lairor, Mind meal, Missmarple, Peter Fleet, Rich Farmbrough, Rjwilmsi, Sugar Bear, Swanrizla, Tassedethe, Technopat, Theadorerex, Tp243, Trivialist, Tscarney, Twas Now, Ulric1313, Wikiklrsc, 62 anonymous edits 1958 Miles Source: http://en.wikipedia.org/w/index.php?oldid=429368571 Contributors: Alansohn, Anger22, Arcfrk, Ave Caesar, Bdiscoe, Bluemask, Calliopejen1, CharlotteWebb, Dan56, Drbreznjev, Efe, Fair Deal, Funeral, Gareth E Kegg, Jafeluv, Jeff G., Jgm, Juhachi, Justlettersandnumbers, Koavf, Mattisse, Moonriddengirl, Peter Fleet, Redirect fixer, Rjwilmsi, Rockk3r, Swanrizla, Tassedethe, Theadorerex, Tony1, Twas Now, Ulric1313, Welsh, Wikiklrsc, Woohookitty, Yukida-R, Δ, 41 anonymous edits Kind of Blue Source: http://en.wikipedia.org/w/index.php?oldid=429578244 Contributors: ANW, Airproofing, Alcuin, Ali K, Alien life form, AllyD, Andrew Duffell, Andrew Norman, Angular, Ashadeofgrey, Ave Caesar, Azgolfer, BD2412, Bad Wolf, Bdiscoe, Beetstra, Beyond My Ken, Bigfoot hunter, Bjosan, Can't sleep, clown will eat me, Chalktwo, Cholmes75, Clement-Fiontain, Colin zr, CommonsDelinker, D bovair1988, D.M.N., DCEdwards1966, DISEman, Dan56, Dan8700, Daniel Olsen, DantheCowMan, DaveGorman, Deltabeignet, Derr84, Dogru144, Doucetjazz, Dsicore, DutchmanInDisguise, Editor437, Edward Tambling, Emhoo, EoGuy, Ericd, Everyking, Ferdinand Pienaar, Firstmilast, Flamurai, FlorianB, Flowerparty, Four One Five, Fredrik, Gamaliel, Gareth E Kegg, Gertie, Glassbreaker5791, Gotham30, Grstain, Hadal, Haquim, Hede2000, Improv, Isidore, J.delanoy, JForget, Jafeluv, Jamieli, Jayron32, Jeff peil, Jgm, Jimthing, Joshk, Jpbowen, Jubella, Juesch, Julien Tuerlinckx, KConWiki, Kavise, Kisch, Koavf, Kuru, Kvng, Lairor, Larry333, LeaveSleaves, Ledcraft, Legoktm, Ling.Nut, Mako098765, Malleus Fatuorum, Martpol, Mattbr, Mattisse, Mel Etitis, Melodia, Merphant, Michael Devore, Mindspillage, Moulinette, MrFunkster, Ncsaint, Nick123, Nigazblood, Nihiltres, NoVomit, Notreallydavid, O Graeme Burns, Ohconfucius, Omdfg, PEJL, PJtP, Pagea, Papa November, Parmenione, Patches9713, Paul Magnussen, Paul Richter, Paulus 2, Pearce.duncan, Peter Fleet, Peter Karlsen, PhilipR, Portillo, Q8-falcon, R Lowry, Rajneeshhegde, RalfiParpa, Recumbent DNA, Reisio, Rjwilmsi, RodC, ST47, ScudLee, Shortcipher, Skomorokh, Slrevare, Sluzzelin, Soundgarden, Spalding, Sparklism, SparqMan, Spellcast, SpikeToronto, Spook`, Sstteevvee, Stevage, Steveholtje, Sugar Bear, Swanrizla, T-rex, TUF-KAT, Tassedethe, TenPoundHammer, The Fwanksta, The Moving Finger Writes, The silentist, TheBME, Theadorerex, Thirdeyeopen33, Thom, Tide rolls, Tomtefarbror, Tony1, Tournesol, Tp243, Trivialist, Varlaam, Ventura, Viames, Viriditas, VoluntarySlave, Vytal, Wasted Time R, WereSpielChequers, Whotookthatguy, Wikiklrsc, Williamnilly, Willy Skillets, Zabadinho, Zaslav, Zone46, 221 anonymous edits Sketches of Spain Source: http://en.wikipedia.org/w/index.php?oldid=429230809 Contributors: AKGhetto, Aaronbrick, Across.The.Synapse, Alcuin, Andrew Norman, Angeliowa, Arcadian, Ashadeofgrey, BD2412, C1k3, Chanchicto, Cholmes75, Dan56, Daniel Olsen, DantheCowMan, Design, Edward Tambling, Ferdinand Pienaar, Flowerparty, FordPrefect42, Gamaliel, Gareth E Kegg, Geniac, Gidiav, Gregor zurowski, Guy Hatton, Ihateadvertising, Jaime Urquijo, Jubella, KConWiki, Koavf, Lairor, MER-C, Mairi, Martin-wiki, Mel Etitis, Missmarple, Olivier, Pachon, Peruvianllama, Pie.er, Purslane, RLloydJohns, Red dwarf, Rjwilmsi, ST47, Salamurai, Settler14, Spydrfish, Squandermania, Sshdoc, Sugar Bear, Swanrizla, Technopat, Theladfromtheeast, Twas Now, UniverSoul, W guice, Wellesradio, Wikiklrsc, Williamborg, Woohookitty, Xezbeth, Yosephus, 59 anonymous edits Someday My Prince Will Come Source: http://en.wikipedia.org/w/index.php?oldid=429526451 Contributors: Acornembryo, Algabal, Andrew Norman, Anetode, Ary29, Brequinda, Commodore64, Crystallina, DISEman, Dan56, Daniel Olsen, Editor437, Edward Tambling, Engelbaet, Erik9, Glassbreaker5791, Jafeluv, Kisch, Koavf, Ricadus, Rl, Seb35, Slysplace, Swanrizla, Technopat, Twas Now, Vandermude, Varlaam, Waacstats, Whorepresents?, Wikiklrsc, Xezbeth, Zellin, 31 anonymous edits Quiet Nights Source: http://en.wikipedia.org/w/index.php?oldid=429230728 Contributors: After Midnight, Airproofing, Andrew Norman, BRG, Black Condor, Bubba hotep, Crystallina, Daniel Olsen, Edward Tambling, Gareth E Kegg, Geniac, Hankendi, Jafeluv, KConWiki, Koavf, Liffey, Mix321, Netrat, PSE teh 1nf0, Ricadus, Rjwilmsi, Seb35, Skomorokh, Swanrizla, Tassedethe, Waacstats, Whorepresents?, Wikiklrsc, 16 anonymous edits Seven Steps to Heaven Source: http://en.wikipedia.org/w/index.php?oldid=429230756 Contributors: Alan W, Amizzoni, Andrew Norman, Ary29, Ber06122, Boing! said Zebedee, Brequinda, Bubba hotep, Dan56, Daniel Olsen, Edward Tambling, Ferdinand Pienaar, Jafeluv, Koavf, Majorly, Mind meal, Mütze, Pcg13, R'n'B, Ricadus, Slysplace, Sverigekillen, Swanrizla, Tassedethe, Tp243, Twas Now, Utcursch, Whorepresents?, Wikiklrsc, Xezbeth, Yshrkwhr, 37 anonymous edits E.S.P. Source: http://en.wikipedia.org/w/index.php?oldid=429231417 Contributors: Andrew Norman, Billyjanitsch, Bostart, Brequinda, Crystallina, Dan56, Daniel Olsen, David Be, ESkog, Edward Tambling, Engelbaet, Ferdinand Pienaar, Geniac, Jafeluv, Jimakin, Jubella, Koavf, Lightmouse, LilHelpa, Mahanga, Nfvs, Rich Farmbrough, Rjwilmsi, Shii, SlubGlub, Slysplace, Squandermania, Tp243, Whorepresents?, Xezbeth, Yshrkwhr, Zidane tribal, 24 anonymous edits Miles Smiles Source: http://en.wikipedia.org/w/index.php?oldid=429819722 Contributors: Alcuin, Andrew Norman, Ashadeofgrey, Brequinda, Dan56, Daniel Olsen, Dissolve, Edward Tambling, Ferdinand Pienaar, Grm wnr, Gyrofrog, Jubella, KConWiki, Karppinen, Kisch, Ludde23, Mardhil, Martpol, Rjwilmsi, Royboycrashfan, Senori, Slysplace, Sugar Bear, Taestell, Tatoleon, Themisterbungle, Waacstats, Whatabout this, Xezbeth, Xic667, Yshrkwhr, 25 anonymous edits Sorcerer Source: http://en.wikipedia.org/w/index.php?oldid=429232657 Contributors: Airproofing, Andrew Norman, Ary29, Brequinda, Cnwb, Crystallina, Dan56, Daniel Olsen, Edward Tambling, Ferdinand Pienaar, Freakytim, Geniac, Geologik, Jolomo, Jubella, KConWiki, Koavf, Ludde23, Maestrosync, Owen, Rich Farmbrough, Sluzzelin, Slysplace, Taestell, Tassedethe, Texas rsw, The Moving Finger Writes, Twas Now, Waacstats, Wikiklrsc, Xezbeth, 32 anonymous edits Nefertiti Source: http://en.wikipedia.org/w/index.php?oldid=429232580 Contributors: Andrew Norman, Ary29, Backtable, Bobdc, Brequinda, Closedmouth, Cmdrjameson, Crystallina, Dan56, Daniel Olsen, Econrad, Edward Tambling, Ferdinand Pienaar, Gyrofrog, Jafeluv, Jubella, Karppinen, Knucmo2, Koavf, Mahanga, Margach, MrFizyx, Rich Farmbrough, Slysplace, SvNH, Taestell, Tassedethe, Waacstats, Wikiklrsc, Xezbeth, Zidane tribal, 26 anonymous edits Miles in the Sky Source: http://en.wikipedia.org/w/index.php?oldid=429232574 Contributors: 842U, Andrew Norman, Brequinda, Bubba hotep, Dan56, Dirkbb, Edward Tambling, Ferdinand Pienaar, Geniac, Grm wnr, Gyrofrog, Henry Flower, KConWiki, Koavf, Lightmouse, Owen, PJtP, Ricadus, S.Camus, Skier Dude, Slysplace, Sparklism, Tassedethe, TheAstonishingBadger, Tiptoety, Waacstats, Whorepresents?, Xezbeth, Xic667, 31 anonymous edits

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Article Sources and Contributors Water Babies Source: http://en.wikipedia.org/w/index.php?oldid=429233897 Contributors: Cassandraleo, Dabomb87, Deysian, Dougofborg, EoGuy, Ferdinand Pienaar, Koavf, S.Camus, Sparklism, Sublimefan97, Tassedethe, Webb Traverse, Wiki libs, Wikiklrsc, 41 anonymous edits Filles de Kilimanjaro Source: http://en.wikipedia.org/w/index.php?oldid=427611321 Contributors: Andrew Norman, Bellhalla, BenMech, Bob h, C1k3, Charles Matthews, Cheery21, Cholmes75, Dan56, Daniel Olsen, DantheCowMan, Edward Tambling, Efe, EvanSeeds, Ferdinand Pienaar, Fisherjs, Gavia immer, Geniac, Grotepeter, Gyrofrog, Jubella, KConWiki, Koavf, Leftfoot69, Mahanga, Mütze, Pigsonthewing, Rich Farmbrough, Sluzzelin, Slysplace, SteinbDJ, The silentist, Tractorkingsfan, Wikiklrsc, Woohookitty, Xezbeth, 42 anonymous edits In a Silent Way Source: http://en.wikipedia.org/w/index.php?oldid=429430308 Contributors: 6, Aaron Schulz, Alex 101, Andrew Norman, Brequinda, Cholmes75, Crystallina, Dan56, Dan8700, Daniel Olsen, DantheCowMan, Deltabeignet, Design, EoGuy, Ferdinand Pienaar, Flowerparty, Fritz Saalfeld, Gavia immer, Goody30, GreatOrangePumpkin, Gyrofrog, Havardj, Hottscubbard, Igorrr, InnocuousPseudonym, Jlpspinto, Jogers, Jubella, KConWiki, Koavf, Mako098765, Martpol, MrFunkster, Nick, Nikai, Ottre, Pcg13, Picaroon, Rdsmith4, Rich Farmbrough, Rift, Rjwilmsi, Sdornan, Squandermania, Stevepfau, Thebogusman, Trivialist, Twsx, Ulric1313, Usernodunno, Winkyland, WinterRabbit, Xezbeth, Yourmotherisanastronaut, Yunchie, 50 anonymous edits Bitches Brew Source: http://en.wikipedia.org/w/index.php?oldid=416067703 Contributors: 6, Abenwoha, Akriasas, Alex Ex, Ammosh11, Andrzejbanas, Arcadian, Ashley Pomeroy, Austin Hair, BabuBhatt, Bad Wolf, Beetstra, Bobo192, Brownstone999, Bwmodular, CanisRufus, Colchester121891, Commander Keane, DCEdwards1966, Dan56, Daniel Olsen, DantheCowMan, Dogru144, ENeville, Elkman, Eloquence, Everyking, Ferdinand Pienaar, FlorianB, Frecklefoot, Fredrik, Freshacconci, Fritz Saalfeld, FuriousFreddy, Gareth Owen, Gavia immer, Glassbreaker5791, Globe199, GregKeyes, GregorB, Gwalla, Gwyon, Gyrofrog, HisSpaceResearch, Igorrr, JYolkowski, Jahsonic, Jared Hunt, Jkiang, JoeSmack, Jogers, John, Jolb, Jonesey95, Joshk, JoshuaZ, Jubella, Julien Tuerlinckx, KConWiki, Koavf, Kosebamse, Koyaanis Qatsi, LeoDV, Lexor, Lightmouse, Lypheklub, MMBKG, Martinlc, Martpol, Matharvest, Matilda, McCart42, Meelar, Melaen, Mike Rosoft, MisfitToys, Misteror, MistyMorn, Moonriddengirl, NMarkRoberts, Nick Sandwiches, Nick123, Notradical, OnBeyondZebrax, Ozgod, PEJL, Paul210, Phil Boswell, Phildev, Philip Trueman, Pigman, Plasticup, Poccil, Quale, RalfiParpa, RandySavageFTW, Rdsmith4, Ric Metal Heart, Rich Farmbrough, RickK, Rockpiano, Rosencomet, Rossami, Rothorpe, Russell E, Sam Hocevar, Sam Korn, Shirimasen, Sirtrebuchet, Sjorford, Skomorokh, SlubGlub, Sluzzelin, Sugar Bear, TUF-KAT, Technopat, Thatguyflint, The Guilty Undertaker, The Phoenix, TheScotch, Thebanjohype, Tregoweth, Twas Now, Ultra megatron, Usernodunno, Varlaam, Wahoofive, Welsh, Wikiklrsc, Witchwooder, Woohookitty, Zetawoof, 229 anonymous edits A Tribute to Jack Johnson Source: http://en.wikipedia.org/w/index.php?oldid=429233668 Contributors: Andrew Norman, Bartum72, Cholmes75, Cnwb, DISEman, Dan56, Daniel Olsen, DantheCowMan, Edgarde, Ferdinand Pienaar, Gamaliel, Igorrr, Infamous30, InnocuousPseudonym, Jogers, Jubella, KConWiki, Koavf, Matharvest, Mdeloia, MrFunkster, Nikai, Otnorot, PJtP, Pr7iDeS, PsychoticBump, Rdsmith4, Rich Farmbrough, Rothorpe, Sluzzelin, Slysplace, Thebogusman, Trombipulation!, WaldiR, Witchwooder, Xezbeth, 44 anonymous edits Live-Evil|Live-Evil Source: http://en.wikipedia.org/w/index.php?oldid=429234003 Contributors: Airproofing, Alvestrand, C1k3, Colchester121891, DISEman, Dan56, Daniel Olsen, Dogru144, Fisherjs, Hankendi, Harabanar, Jubella, JustAGal, Kernitou, Koavf, Lairor, LilHelpa, Maarten de Haan, Mdeloia, Mendali, Pcg13, Peace-nick, Rdsmith4, Rich Farmbrough, RodC, Rothorpe, ShelfSkewed, Soundgarden, Sugar Bear, Sumscaler, Swanrizla, Szarka, Tabletop, Twas Now, WaldiR, Whorepresents?, 55 anonymous edits On the Corner Source: http://en.wikipedia.org/w/index.php?oldid=429234221 Contributors: Adrianiu, Andrew Norman, Beckettwatt, BlackMath77, CanisRufus, Colchester121891, Crystallina, Dan56, Danaimband, Daniel Olsen, DantheCowMan, Epigrammed, Ferdinand Pienaar, Flowerparty, Freshacconci, FuriousFreddy, Gyrofrog, Ian Rose, Igorrr, InnocuousPseudonym, Jubella, KConWiki, Koavf, Kridian, Lebessis63, Mahanga, Matharvest, Mendali, Mikeblas, Moskvax, Nikai, Palomorado, Pcg13, Rich Farmbrough, Rjwilmsi, RodC, Scarian, ShelfSkewed, Sugar Bear, That Guy, From That Show!, Wikiklrsc, 48 anonymous edits Big Fun Source: http://en.wikipedia.org/w/index.php?oldid=429234530 Contributors: Andrew Norman, Andrwsc, Ary29, Blastmaster11, C1k3, Colchester121891, Crystallina, DISEman, Dan56, Daniel Olsen, Dogru144, Freshacconci, Gazzaaa, Jubella, KConWiki, Koavf, MrFunkster, Nothingofwater, Pcg13, Ricadus, Rich Farmbrough, S.Camus, ShelfSkewed, Squandermania, Sstteevvee, The Little Blue Frog, Twsx, Viktor Nilsson, Whorepresents?, 39 anonymous edits Get Up with It Source: http://en.wikipedia.org/w/index.php?oldid=429234960 Contributors: Airproofing, Andrew Norman, C1k3, Charles Matthews, Colchester121891, Crystallina, Dan56, Daniel Olsen, Dingy, Dylan Chambers, Editor437, Ferdinand Pienaar, Flowerparty, Freshacconci, Geniac, GreatOrangePumpkin, Gyrofrog, IHassel, IbLeo, KConWiki, Koavf, Lfh, M-le-mot-dit, Maxxo, Mel Etitis, MrFunkster, Nick Sandwiches, Nikai, Pcg13, Peter, ShelfSkewed, Shotgunjoe, Sublimefan97, Sugar Bear, TJRC, Tassedethe, Waacstats, Whorepresents?, Wiki libs, 34 anonymous edits The Man with the Horn Source: http://en.wikipedia.org/w/index.php?oldid=429428380 Contributors: Alcuin, Andrew Norman, Apocryphe, CarpetCrawler, Crystallina, Dan56, Daniel Olsen, Daria Montella, Deltabeignet, Dissolve, Doctorfluffy, Dogru144, Flowerparty, GoingBatty, GreatOrangePumpkin, Harabanar, Jlpspinto, Jubella, Juliancolton Alternative, Jusdafax, Koavf, Korny O'Near, Pearle, Rjwilmsi, Sjvarengo, Stuartjv, Sublimefan97, Sugar Bear, Swanrizla, TheAstonishingBadger, Waacstats, Wiki libs, Wolfer68, 21 anonymous edits Star People Source: http://en.wikipedia.org/w/index.php?oldid=429428327 Contributors: Chairman S., CorbinSimpson, Crystallina, Dan56, Eep², GreatOrangePumpkin, Heightwatcher, Henry Flower, KConWiki, KazakhPol, Papa November, Rpgman456, Sugar Bear, Theworld88, Waacstats, Woohookitty, 16 anonymous edits Decoy Source: http://en.wikipedia.org/w/index.php?oldid=429429799 Contributors: Airproofing, Ary29, Crystallina, Dan56, Emeraude, Jubella, KConWiki, Koavf, Quelcrime, Rjwilmsi, Rpgman456, Serein (renamed because of SUL), ShelfSkewed, Slysplace, Spacestoned, Sugar Bear, Waacstats, Yshrkwhr, 16 anonymous edits You're Under Arrest Source: http://en.wikipedia.org/w/index.php?oldid=429429992 Contributors: Airproofing, Anthony Appleyard, Ary29, Blewit, Chris the speller, Colchester121891, Colonies Chris, CorbinSimpson, Cosprings, Crystallina, Dan56, Danaimband, Daniel Olsen, David Koller, Deltabeignet, Dissolve, KConWiki, Keith Edkins, Koavf, Lairor, LarsMarius, Mamok, Mick gold, Ominae, Papa November, Pcg13, Quelcrime, Rich Farmbrough, Rjwilmsi, Rothorpe, Rpgman456, Sluzzelin, Squandermania, Station1, Sublimefan97, Sugar Bear, Thomas279, Wiki libs, Woohookitty, Yshrkwhr, 24 anonymous edits Tutu Source: http://en.wikipedia.org/w/index.php?oldid=429429900 Contributors: Airproofing, Ashley Pomeroy, Cassan, Cmdrjameson, Colchester121891, Colonies Chris, Dan56, Danaimband, Ferdinand Pienaar, Fisherjs, Geniac, George Burgess, Jubella, Koavf, Kthomsen, Leahtwosaints, Mahanga, Marcel flaubert, Matharvest, Olive10081980, Ottawa4ever, Pr7iDeS, Quelcrime, RatMonkeyHybrid, Rich Farmbrough, Rjwilmsi, ScudLee, Slysplace, Sublimefan97, Taestell, Trivialist, Warpozio, Wiki libs, 35 anonymous edits Amandla Source: http://en.wikipedia.org/w/index.php?oldid=429430387 Contributors: Appiani, Ashley Pomeroy, Bubba hotep, Cloudz679, Colonies Chris, Conscious, Design, Dissolve, Fisherjs, Hurkummer, Jubella, Koavf, Nfvs, Rich Farmbrough, Rothorpe, Stanlekub, Sugar Bear, Super Rad!, UlrichAAB, Waacstats, 14 anonymous edits Aura Source: http://en.wikipedia.org/w/index.php?oldid=429970701 Contributors: After Midnight, Airproofing, Bird4, Dan56, Grm wnr, HJensen, Hyacinth, Koavf, LuoShengli, MegX, Mind meal, Mutt Lunker, Ramblersen, Rjwilmsi, ST47, Sluzzelin, Spacestoned, Stanlekub, Sugar Bear, UlrichAAB, Yshrkwhr, Zidane tribal, 20 anonymous edits Doo-Bop Source: http://en.wikipedia.org/w/index.php?oldid=429971276 Contributors: Airproofing, Alansohn, Backtable, Brian Crawford, Colchester121891, Crystallina, Dan56, JFrankel8, Jubella, Lradrama, MMBKG, MuzikJunky, Netrat, Pcg13, Rich Farmbrough, Rothorpe, Stanlekub, Sugar Bear, Tabletop, Taestell, Waacstats, Warpozio, Xihix, 28 anonymous edits Miles Davis Quintet at Peacock Alley Source: http://en.wikipedia.org/w/index.php?oldid=429971635 Contributors: Aquatazman, Editor437, Fisherjs, Koavf, OBNOXIUs, Rjwilmsi, Tassedethe, 1 anonymous edits Amsterdam Concert Source: http://en.wikipedia.org/w/index.php?oldid=429972064 Contributors: CultureDrone, Fisherjs, Jafeluv, Jbattersby, Koavf, Metropolitan90, Mike Selinker, OBNOXIUs, Tabletop, Tassedethe, Technopat, Tlgibbs, Waacstats, Wolfehhgg, 1 anonymous edits Miles Davis at Newport 1958 Source: http://en.wikipedia.org/w/index.php?oldid=405476667 Contributors: AndrewHowse, Chinaski86, Gareth E Kegg, GreatOrangePumpkin, Koavf, Mookiebomber, Rjwilmsi, 4 anonymous edits In Europe Source: http://en.wikipedia.org/w/index.php?oldid=430128646 Contributors: Jafeluv, Koavf, R'n'B, Ricadus, SmokeyTheCat, Wolfehhgg, Wolfer68, 2 anonymous edits My Funny Valentine Source: http://en.wikipedia.org/w/index.php?oldid=427459816 Contributors: Alansohn, Engelbaet, Jafeluv, Koavf, LilHelpa, RAlafriz, Rjwilmsi, Squids and Chips, Swanrizla, Tassedethe, Thomjakobsen, Twas Now, Vytal, Wolfehhgg, Yshrkwhr, 9 anonymous edits Four & More Source: http://en.wikipedia.org/w/index.php?oldid=428066414 Contributors: Alansohn, Cosprings, Jafeluv, Koavf, LilHelpa, OBNOXIUs, Ricadus, Rjwilmsi, Yshrkwhr, 1 anonymous edits Miles in Tokyo Source: http://en.wikipedia.org/w/index.php?oldid=418630343 Contributors: Koavf, LilHelpa, Ricadus, Yshrkwhr, 3 anonymous edits Miles in Berlin Source: http://en.wikipedia.org/w/index.php?oldid=418630289 Contributors: Edward Tambling, Fireplace, Jubella, Koavf, LilHelpa, Owen, Rich Farmbrough, Schleif, Slysplace, Tassedethe, Waacstats, Yshrkwhr, 2 anonymous edits

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Article Sources and Contributors The Complete Live at the Plugged Nickel 1965 Source: http://en.wikipedia.org/w/index.php?oldid=428289884 Contributors: Andrew Norman, Bgfay, Brequinda, Bubba hotep, Crystallina, Engelbaet, Gamaliel, Garion96, GreatOrangePumpkin, Jafeluv, Justlettersandnumbers, Koavf, Mdeloia, OverDriv3, PJtP, Rich Farmbrough, Sirshane13, Slysplace, Tassedethe, Tony1, Waacstats, 14 anonymous edits Live at the Fillmore East, March 7, 1970: It's About that Time Source: http://en.wikipedia.org/w/index.php?oldid=421153039 Contributors: Ary29, Dan56, Daria Montella, Dogru144, Guy Hatton, Gyrofrog, KConWiki, Koavf, Lairor, Rothorpe, Strausszek, Terwilliger, Thomas279, Wolfcm, Yshrkwhr, 19 anonymous edits Black Beauty: Live at the Fillmore West Source: http://en.wikipedia.org/w/index.php?oldid=421912913 Contributors: Airplaneman, Arevco, DISEman, Dabomb87, Dan56, Dogru144, Fabrictramp, Fisherjs, Koavf, Obcrip, Rich Farmbrough, Rjwilmsi, Royalguard11, Tassedethe, Waacstats, Yshrkwhr, 41 anonymous edits Miles Davis at Fillmore: Live at the Fillmore East Source: http://en.wikipedia.org/w/index.php?oldid=427668783 Contributors: Alcuin, Ary29, BNutzer, Dan56, Daria Montella, GreatOrangePumpkin, KConWiki, Koavf, Mdeloia, Rich Farmbrough, Swanrizla, Thomas279, Twas Now, Waacstats, Walls bridges, Yshrkwhr, 30 anonymous edits The Cellar Door Sessions Source: http://en.wikipedia.org/w/index.php?oldid=420313206 Contributors: Alvestrand, Cholmes75, Dan56, Deadcatmuseum, Doceddi, Dogru144, Dohaeng, DrTchock, Gareth E Kegg, GreatOrangePumpkin, Grutness, Gyrofrog, Harabanar, Keith D, Koavf, Lairor, Mdeloia, Normanmy, Pcg13, Rich Farmbrough, Robdurbar 81, Salad Days, SomeGuy11112, Swanrizla, Taestell, Xihix, Xymmax, 17 anonymous edits In Concert: Live at Philharmonic Hall Source: http://en.wikipedia.org/w/index.php?oldid=416687384 Contributors: Alcuin, Chickyraptor, D6, Dan56, Dogru144, Fisherjs, Koavf, Pcg13, Prizzle888, Rjwilmsi, Rothorpe, Slysplace, Swanrizla, Tassedethe, Waacstats, 23 anonymous edits Jazz at the Plaza Source: http://en.wikipedia.org/w/index.php?oldid=429037032 Contributors: Airproofing, Doomsdayer520, J'onn J'onzz, Koavf, Rothorpe, Skier Dude, SmokeyTheCat, Wolfer68, 11 anonymous edits Dark Magus Source: http://en.wikipedia.org/w/index.php?oldid=416111733 Contributors: Cosprings, Dan56, Dissolve, Dj nix, Dogru144, Koavf, Lairor, PJtP, ShelfSkewed, Slysplace, Swanrizla, Tassedethe, Waacstats, Wwagner, 33 anonymous edits Agharta Source: http://en.wikipedia.org/w/index.php?oldid=429964522 Contributors: Ary29, C1k3, Chris the speller, CurlewCry, Dan56, Dj nix, Ferdinand Pienaar, Gyrofrog, J Milburn, JaGa, Jubella, KConWiki, Koavf, Rich Farmbrough, Squalk25, Sugar Bear, Ultra megatron, Waacstats, War machine09, Xiawi, Yshrkwhr, 32 anonymous edits Pangaea Source: http://en.wikipedia.org/w/index.php?oldid=421654045 Contributors: Bondegezou, Daria Montella, Gyrofrog, JaGa, KConWiki, Koavf, Ultra megatron, Waacstats, War machine09, Xiawi, Yshrkwhr, 25 anonymous edits Miles! Miles! Miles! Source: http://en.wikipedia.org/w/index.php?oldid=412505323 Contributors: DISEman, Dogru144, Koavf, Skomorokh, Waacstats, 12 anonymous edits We Want Miles Source: http://en.wikipedia.org/w/index.php?oldid=417386826 Contributors: Drmies, Fisherjs, HJensen, KConWiki, Koavf, Pcg13, SethTisue, Tcncv, Waacstats, Yshrkwhr, 16 anonymous edits The Complete Miles Davis at Montreux Source: http://en.wikipedia.org/w/index.php?oldid=427179018 Contributors: Blewit, Chickyraptor, Gareth E Kegg, Koavf, Sugar Bear, Tassedethe, 7 anonymous edits Live Around the World Source: http://en.wikipedia.org/w/index.php?oldid=375486540 Contributors: Gidiav, Koavf, Skier Dude, 3 anonymous edits Miles Davis Volume 1 Source: http://en.wikipedia.org/w/index.php?oldid=429067398 Contributors: Alcuin, Andrew Norman, DISEman, Dan56, Gyrofrog, Jafeluv, Jbattersby, Jubella, KConWiki, Koavf, Moe Epsilon, Pietaster, Rich Farmbrough, ShelfSkewed, Slysplace, Tassedethe, 7 anonymous edits Miles Davis Volume 2 Source: http://en.wikipedia.org/w/index.php?oldid=429139920 Contributors: Alcuin, Andrew Norman, DISEman, Dan56, Dickdock, Gyrofrog, Jbattersby, Jubella, KConWiki, Koavf, Mahanga, Moe Epsilon, Pietaster, Pugetbill, Rich Farmbrough, Rjwilmsi, Slysplace, Tassedethe, Vitor Mazuco, 6 anonymous edits Birth of the Cool Source: http://en.wikipedia.org/w/index.php?oldid=419362161 Contributors: (jarbarf), Alcuin, Andrew Norman, AndrewHollywood23, Ashadeofgrey, BRG, Backtable, CJCurrie, Cprompt, Dan56, David Couch, Design, Dzwell, Editor437, Electrobird, Engelbaet, FlorianB, GreatOrangePumpkin, Grenavitar, Grm wnr, Gyrofrog, Ilse@, Infrogmation, JayJasper, Jaysscholar, Jobe6, Jonathan.s.kt, JukeJohn, KConWiki, Kcordina, Kenyon, Koavf, Ksmalls8610, Lil-unique1, Mel Etitis, Mqduck, Organ scholar, PEJL, Philip Cross, Pigsonthewing, Portillo, Raverdrew, Reisio, RepublicanJacobite, Rettetast, Rich Farmbrough, Rossj81, Rothorpe, Saltywood, Samwisep86, Slysplace, Sugar Bear, Szarka, Technopat, Tekmatic38, Tregoweth, Twas Now, UniverSoul, Versus22, VillageGreen1215, Wikiklrsc, Wolfcm, 88 anonymous edits Circle in the Round Source: http://en.wikipedia.org/w/index.php?oldid=428084573 Contributors: Dogru144, Drowswell, ENeville, Editor437, Fisherjs, Karppinen, Koavf, Personman 4, Pjoef, Rothorpe, S.Camus, SethTisue, ShelfSkewed, Stanlekub, Sublimefan97, Zidane tribal, 20 anonymous edits Basic Miles Source: http://en.wikipedia.org/w/index.php?oldid=402476708 Contributors: Editor437, Fisherjs, Gareth E Kegg, Huntster, InnocuousPseudonym, Jasbrian, Karppinen, Koavf, Pjoef, Rich Farmbrough, Robina Fox, Waacstats, Woohookitty, Zidane tribal, 8 anonymous edits Super Hits Source: http://en.wikipedia.org/w/index.php?oldid=415219757 Contributors: ArcAngel, Eric444, Imperatore, Jclemens, Koavf, Sluzzelin, TenPoundHammer, 2 anonymous edits The Columbia Years 1955–1985 Source: http://en.wikipedia.org/w/index.php?oldid=410325136 Contributors: Andyman1125, Apocryphe, Jafeluv, Jogers, Karppinen, Koavf, Nightkey, Pichpich, ZeroAsALimit, 5 anonymous edits The Complete Studio Recordings of The Miles Davis Quintet 1965–1968 Source: http://en.wikipedia.org/w/index.php?oldid=414556747 Contributors: Bearcat, Cosprings, J04n, JaGa, Koavf, Paulrkcz, Starcheerspeaksnewslostwars, Tassedethe, 8 anonymous edits The Complete Bitches Brew Sessions Source: http://en.wikipedia.org/w/index.php?oldid=429437266 Contributors: Abenwoha, DISEman, Dan56, DantheCowMan, EoGuy, Fisherjs, Fritz Saalfeld, Globe199, GreatOrangePumpkin, Gyrofrog, KConWiki, Koavf, Neier, Rich Farmbrough, ShelfSkewed, Sugar Bear, Swanrizla, Wikimart, Witchwooder, Xic667, 16 anonymous edits The Complete Columbia Recordings of Miles Davis with John Coltrane Source: http://en.wikipedia.org/w/index.php?oldid=410325150 Contributors: Aztek888, Cpdilkus, Dan56, Dmforcier, Editor437, Fisherjs, Koavf, Mdeloia, Spellcast, Tassedethe, Wolfer68, Zhinz, 8 anonymous edits The Complete In a Silent Way Sessions Source: http://en.wikipedia.org/w/index.php?oldid=415876041 Contributors: Dohaeng, GreatOrangePumpkin, Koavf, Lairor, Langston JDCH, Mike Selinker, MrFunkster, Skier Dude, Sugar Bear, Waacstats, 10 anonymous edits In Person Friday and Saturday Nights at the Blackhawk, Complete Source: http://en.wikipedia.org/w/index.php?oldid=429972726 Contributors: Alansohn, Auntof6, D6, Dan56, J04n, Jafeluv, Koavf, Mohrflies, Moonriddengirl, Philip Cross, Ricadus, Stananson, Tassedethe, Tleong, Vytal, 9 anonymous edits The Complete Jack Johnson Sessions Source: http://en.wikipedia.org/w/index.php?oldid=417717365 Contributors: DISEman, Dan56, Dogru144, Dohaeng, Gareth E Kegg, GreatOrangePumpkin, KConWiki, Koavf, Lairor, Mdeloia, Rich Farmbrough, Skier Dude, Waacstats, Witchwooder, 8 anonymous edits Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964 Source: http://en.wikipedia.org/w/index.php?oldid=415673907 Contributors: Bearcat, Cosprings, Dan56, Diannaa, Doomsdayer520, GreatOrangePumpkin, Koavf, 1 anonymous edits The Complete On the Corner Sessions Source: http://en.wikipedia.org/w/index.php?oldid=420990060 Contributors: Altzinn, Colonies Chris, Dan56, Daria Montella, Dogru144, EmanWilm, Gyrofrog, J'onn J'onzz, Koavf, Lairor, Rothorpe, SethTisue, ShelfSkewed, Skier Dude, Sluzzelin, Slysplace, Swanrizla, Technopat, The JPS, Wikiklrsc, 19 anonymous edits Miles Davis: The Complete Columbia Album Collection Source: http://en.wikipedia.org/w/index.php?oldid=423008560 Contributors: Airproofing, Dan56, Francesco Malipiero, Koavf, R'n'B, RL0919, ShelfSkewed, Tassedethe, Yshrkwhr, Zepelin, 12 anonymous edits Miles in Paris Source: http://en.wikipedia.org/w/index.php?oldid=392874680 Contributors: AndrewHowse, Bearcat, Elchavoseba, Koavf, Malcolma, Raven1977, Slysplace, Stepheng3, Warpozio, 4 anonymous edits Dingo Source: http://en.wikipedia.org/w/index.php?oldid=424051747 Contributors: Amxitsa, Aussiepete, Cooksey, Dl2000, Hoverfish, Jmlk17, Kwah-LeBaire, Longhair, Lugnuts, Matilda, Orderinchaos, Sreejithk2000, Sugar Bear, The Wild West guy, Thedarkestclear, UpdArch, Verne Equinox, 2 anonymous edits

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Van Meter, Jafeluv, Jamieli, Josm, Katalaveno, Keithh, Kjell Knudde, Koavf, Kukini, Lemmie, Lph, Luigi30, Mike R, Mjgw, Moreschi, Ndorward, Nick Mahon, Patspam, Pugetbill, Remuel, Squandermania, SummerWithMorons, Tastemyhouse, The FD, Theviper, Threeafterthree, 28 anonymous edits "Solar" Source: http://en.wikipedia.org/w/index.php?oldid=427663666 Contributors: Bongwarrior, Cosprings, Dextrose, Dndn1011, Ehendricksisme, GlenPeterson, Jafeluv, Kisch, Kwamikagami, MisterAngryBear, Pugetbill, Rich Farmbrough, SwisterTwister, Twas Now, Wolfer68, 11 anonymous edits "Milestones" Source: http://en.wikipedia.org/w/index.php?oldid=416780132 Contributors: Alex Batt, Bearcat, BirdAndDizzy, Blahm, Bruce1ee, Chris Capoccia, Crystallina, Fratrep, GreatOrangePumpkin, Heidilaura, Jafeluv, Mabahj, Mick gold, Tassedethe, TheKid, Umfolosi, 17 anonymous edits "All Blues" Source: http://en.wikipedia.org/w/index.php?oldid=429401913 Contributors: Ale jrb, Alex Batt, AllyD, Angr, Cosprings, Drumex, Edward Tambling, Glassbreaker5791, Hyacinth, Jafeluv, Kisch, Leftfoot69, Paul Richter, Pegship, Silly dude11, Wolfer68, 14 anonymous edits "Blue in Green" Source: http://en.wikipedia.org/w/index.php?oldid=429465244 Contributors: C1k3, Cari-Su, Cosprings, D77, DISEman, Design, Diloretojazz, Freshacconci, Fvasconcellos, Gareth E Kegg, Jafeluv, Jazzeur, JoaquinMiralles, John Link, Killerdank, Kisch, Koavf, Lawrencekhoo, Leftfoot69, Mturi, O Graeme Burns, Raph79, Rich257, Skomorokh, SwisterTwister, Viriditas, Wolfer68, Zone46, 16 anonymous edits "Flamenco Sketches" Source: http://en.wikipedia.org/w/index.php?oldid=417951068 Contributors: Airproofing, Ary29, C1k3, Cosprings, DISEman, Diloretojazz, Ditc, Ezekielvictor, Feydey, Jafeluv, JoJan, Leftfoot69, MisterOh, Nigazblood, R Lowry, Rich Farmbrough, Starbass, Viriditas, Wolfer68, 26 anonymous edits "Freddie Freeloader" Source: http://en.wikipedia.org/w/index.php?oldid=423975473 Contributors: Brettalan, Cbangs, Cosprings, Crystallina, Edward Tambling, Fearlless leader, Gorpik, Gyrofrog, Jafeluv, JeepdaySock, KConWiki, Khatru2, Leftfoot69, Mbrstooge, RedWolf, TJSwoboda, Technopat, Vsb, Wildthing61476, Wolfer68, Zone46, 24 anonymous edits "So What" Source: http://en.wikipedia.org/w/index.php?oldid=412164112 Contributors: -=PhotoN=-, 1pezguy, Alien life form, Allstarecho, AllyD, Ary29, Bess1030, Blahm, Bridgecross, Chris Capoccia, Cielomobile, CommonsDelinker, Cosprings, Cst17, Dan56, Deltabeignet, Edward Tambling, GregorB, Hyacinth, InnocuousPseudonym, Jafeluv, Khatru2, Kisch, Leftfoot69, Mbrstooge, Melesse, Notreallydavid, PhilipR, Pugetbill, Rainwarrior, Shoejar, SwisterTwister, Tungstentoaster, Wolfer68, Zaslav, 21 anonymous edits Ascenseur pour l'échafaud Source: http://en.wikipedia.org/w/index.php?oldid=429228875 Contributors: Belovedfreak, Dan56, Dpcohen1968, Ending Credits, Engelbaet, FjghdK, GreatOrangePumpkin, Grunge6910, Igorrr, Kbdank71, Koavf, LeoNomis, Oda Mari, P. S. Burton, Philip Cross, Rich Farmbrough, Rothorpe, Sluzzelin, T-rex, Thismightbezach, Thomjakobsen, Waacstats, Woodgnome, 15 anonymous edits Music from Siesta Source: http://en.wikipedia.org/w/index.php?oldid=429430346 Contributors: Airproofing, Dan56, Design, Dissolve, Emayall, JHunterJ, Koavf, Rjwilmsi, Sugar Bear, Waacstats, Warpozio, Woohookitty, 21 anonymous edits Dingo Source: http://en.wikipedia.org/w/index.php?oldid=429971244 Contributors: -Nmd77950, Airproofing, Backtable, Bubba hotep, Crystallina, Dan56, Design, Jubella, Kingboyk, Koavf, Sugar Bear, Super Rad!, Syrthiss, Technopat, Thedarkestclear, Xihix, 12 anonymous edits The Hot Spot Source: http://en.wikipedia.org/w/index.php?oldid=428723963 Contributors: AN(Ger), Alex West, Altenmann, Bobet, Brainscar, CanisRufus, Chaoborus, CharlotteWebb, Cliff1911, Colonies Chris, D6, DCGeist, David Gerard, Dinty121, Donmike10, Drhaggis, Ed Fitzgerald, Elf, Erianna, FMAFan1990, Flowerpotman, Frecklefoot, GentlemanJohnny, J.D., Jkelly, Koavf, MJBurrage, Mikeblas, MisfitToys, Niteshift36, Noirish, NorthernThunder, Nv8200p, PHIFOU62, Pegship, Phoenixrising, Plasticspork, Rossami, SD6-Agent, Sannse, Sreejithk2000, Stoshmaster, Template namespace initialisation script, The JPS, TheMovieBuff, Treybien, Wool Mintons, Xezbeth, 34 anonymous edits "Billie's Bounce" Source: http://en.wikipedia.org/w/index.php?oldid=426074032 Contributors: Abrasivenut, Bts.smith, Chmurray, Colonies Chris, Jafeluv, Kjell Knudde, MomioBlues, Trivialist, Wardog158, Welsh, Zidane tribal, 9 anonymous edits Bird on 52nd St. Source: http://en.wikipedia.org/w/index.php?oldid=415263904 Contributors: Dan8700, JohnInDC, Koavf, Tassedethe Cool Bird Source: http://en.wikipedia.org/w/index.php?oldid=430182099 Contributors: Cander0000, Editor437, Kenyon, Koavf, Philip Cross, Pjoef, RockfangSemi, Sting au, Tabletop, Technopat, Zidane tribal, 4 anonymous edits Conception Source: http://en.wikipedia.org/w/index.php?oldid=428657888 Contributors: Ary29, Dan8700, Explosius, GreatOrangePumpkin, Grk1011, Hu12, Koavf, Master-nate, Pangui, Pjoef, Ricadus, Seb35, Tassedethe, Waacstats, Wiki libs, 12 anonymous edits Somethin' Else Source: http://en.wikipedia.org/w/index.php?oldid=416388227 Contributors: "D", Airproofing, Ary29, B.Boylan, BRG, Crystallina, DISEman, Dan8700, Demian12358, Depayens, E-Kartoffel, Edward Tambling, Ericd, FlorianB, Fritz Saalfeld, Gareth E Kegg, Gautam3, Gyrofrog, Jafeluv, Jogers, KConWiki, Kbdank71, Leftfoot69, Lkesteloot, MarkSweep, Mattg82, Mind meal, Mindspillage, MrFizyx, Mütze, Papa November, Plasticup, Rich Farmbrough, ShelfSkewed, Sluzzelin, Susvolans, Swanrizla, T-rex, T. Anthony, Technopat, Twas Now, Wasted Time R, 24 anonymous edits Miles & Monk at Newport Source: http://en.wikipedia.org/w/index.php?oldid=430128624 Contributors: Airproofing, AndrewHowse, C1k3, Cosprings, Dogru144, Editor437, Gareth E Kegg, Jafeluv, KConWiki, Koavf, Mike99999979, Mind meal, Muhandes, Pekaje, Philip Cross, Slysplace, Tassedethe, Technopat, Viriditas, Waacstats, Waltesmith, 13 anonymous edits CK Source: http://en.wikipedia.org/w/index.php?oldid=412815804 Contributors: Dreamer.se, GoingBatty, JASPERLAW, Ketiltrout, Nelson58, Rich Farmbrough, Richhoncho, Slysplace, Tassedethe, 9 anonymous edits Back on the Block Source: http://en.wikipedia.org/w/index.php?oldid=429330078 Contributors: "D", 28bytes, Absolon, Airproofing, BigT2006, Bovineboy2008, Cmdrjameson, Cosprings, Dan56, Dctite, Deehell, Dweller, EchetusXe, FlyHigh, GETONERD84, Gareth E Kegg, Jafeluv, Jagarin, Jerome Charles Potts, Jogers, Journalist, JustAGal, Kenshin, King ll, LilHelpa, Matharvest, Mister Alcohol, Paul210, R&BFAN, Rich Farmbrough, Rodrigogomespaixao, Rothorpe, Satanface, SlubGlub, SmokeyTheCat, Smokiewight, Sugar Bear, Swanrizla, SyncopatorSyncopator, Thingg, TonyTheTiger, VL2345, Vibem, Wantnot, Wolfer68, 37 anonymous edits Miles & Quincy Live at Montreux Source: http://en.wikipedia.org/w/index.php?oldid=409549298 Contributors: Cmoons, Conradlingpinkinson, Design, Flyingidiot, Gareth E Kegg, InnocuousPseudonym, JBellis, Koavf, Mabahj, Mike Selinker, Mister Alcohol, Rothorpe, Scapler, Technopat, UlrichAAB, Waacstats, Wolfer68, Woohookitty, Xihix, 15 anonymous edits Miles Davis & Gil Evans: The Complete Columbia Studio Recordings Source: http://en.wikipedia.org/w/index.php?oldid=415182935 Contributors: Cosprings, Dmforcier, Erechtheus, Koavf, Pcg13, Tassedethe, Thomas279, 6 anonymous edits Cannonball Adderley Source: http://en.wikipedia.org/w/index.php?oldid=425729855 Contributors: "D", 2T, 79spirit, Alan W, Alansohn, Andrew Levine, Arnavs, Aspects, Athaenara, Aviper2k7, BD2412, Bukaj, Cbustapeck, Ccson, Cgray4, CommonsDelinker, Cosprings, D6, DISEman, DeFaultRyan, Delicious carbuncle, Deltabeignet, Dimadick, Dogru144, Dr. Shaggeman, E-Kartoffel, Eastfrisian, Edward Tambling, Ehburrus, Flamurai, Flubbit, Folajimi, Fratrep, Gareth E Kegg, Garion96, Gautam3, Gigbrown, Gmarsden, Graham87, Guy Hatton, Hede2000, HornColumbia, IcedNut, Infrogmation, Jazzeur, Jcarkeys, Jobe6, John, Joshk, Jppigott, Jrousso, Jusdafax, Justi521, Justin Eiler, Karaboom, Kelson, Kether83, Kevyn, Klondek, KnightRider, Knucmo2, Lanceistheman, MacGyverMagic, Mailer diablo, Mani1, Marchije, Mario Duff, Martin.1573, Mayumashu, McNoddy, Meco, Metropolitan90, Mhking, Mike R, Mind meal, Moonriddengirl, Muriel Gottrop, Mütze, Noles1984, Obradovic Goran, Philip Cross, RandysRodeodotcom, Raumka, RepublicanJacobite, Rethunk, Rettetast, ReyBrujo, Rlschles, RodC, RogDel, Rothorpe, Rwilliams, SHIMONSHA, SaxTeacher, Saxman7, SchuminWeb, Sir Nicholas de Mimsy-Porpington, Sluzzelin, Spalding, Squash, Sriharip, Stephen, Storkk, Strawberryfire, StrifeXo6, T. Anthony, Tassedethe, Technopat, Ted Wilkes, Terariser6, Topbanana, Tournesol, TronTonian, Trontonian, Viriditas, Wizardman, Xtifr, Yabbadab, Zone46, Zytsef, 145 anonymous edits Kei Akagi Source: http://en.wikipedia.org/w/index.php?oldid=420524152 Contributors: Cosprings, DAJF, EEMIV, EricValley, Fisherjs, Myasuda, Pgilman, SMasters, Spankypoo, Sweet kate, T. Anthony, Trick9999, Waacstats, Yas, 11 anonymous edits Don Alias Source: http://en.wikipedia.org/w/index.php?oldid=429998022 Contributors: Badagnani, Cap.fwiffo, Cosprings, D6, DISEman, David A. Victor, Drumsac, Ephraim33, Hi878, J. Van Meter, Kate, Kelson, Kenneth Shabby, Lairor, Leahtwosaints, Light current, Marchije, Mindspillage, Moshi809, Munci, Nadworks, Opus88888, Pjoef, Uryah, Waacstats, Wahoofive, Weirdo12, Williamb, Æthelwold, 23 anonymous edits John Beasley Source: http://en.wikipedia.org/w/index.php?oldid=417084162 Contributors: Artistryinjazzpiano, BNutzer, Beas, Beasleymusic, BlueAzure, Bobblehead, Chris the speller, Colonies Chris, David Gerard, Dissolve, Eurodog, Falcon8765, Fisherjs, Maarten de Haan, Master&Expert, Mobleybob, Pinkadelica, Pohick2, Slysplace, Timeineurope, 7 anonymous edits Bob Berg Source: http://en.wikipedia.org/w/index.php?oldid=424553443 Contributors: Carlos28, CheekyMonkey, Chris the speller, Cosprings, DISEman, Diplo.sor, Dissolve, Drumsac, Egrabczewski, Fosterfreed275, Gurch, Iceberg68, J. Van Meter, Jumplong, Mind meal, Nono64, Pegship, Phe, Quelcrime, Robina Fox, Rothorpe, SaxTeacher, Tassedethe, Technopat, Vulturell,

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Article Sources and Contributors Whatsawikidiki, Yid613, Zdv, Zenzee, 23 anonymous edits Elwood Buchanan Source: http://en.wikipedia.org/w/index.php?oldid=362692703 Contributors: (aeropagitica), AllyD, Balcer, Bender235, Highnotes4ever, Mel Etitis, Mind meal, Muchness, Naja Haje, Perodicticus, Rewster, T. Anthony, 2 anonymous edits Ron Carter Source: http://en.wikipedia.org/w/index.php?oldid=428755773 Contributors: 217.162.96.xxx, 2T, Airproofing, Alansohn, Andersjallen, Andrew Norman, Andy M. Wang, Archanamiya, Aspects, Badagnani, BaronLarf, Beau1957, Bib, Brookingsbook, Bvoppen, C1k3, Can't sleep, clown will eat me, CapitalLetterBeginning, Carbuncle, Clicketyclack, Conversion script, CookipediaChef, Cosprings, Cribcage, Crimsun, D6, DISEman, David Gerard, Devilkha, Dissolve, Dogru144, Drumsac, DutchDevil, Echidnae, Emperorbma, Ethan Iverson, Everyking, Ferdinand Pienaar, Fjurden, Genisock2, Greekimpala, Gyrofrog, J. Van Meter, J25barn, JFA2009, Jafeluv, James Epstein, Jean-Pol HIERNAUX, Jeffropica, Jlawrencenewyork, Joetheintern, Juost, Karaboom, Koavf, Kram676, Leahtwosaints, Leithp, Llywrch, Magioladitis, Mardhil, Maximus Rex, Maxxam84, Mayumashu, McKinley211, McYaballow, Mind meal, MisterAngryBear, Morefun, Mosca, MovieMadness, MrFunkster, Mudwater, Musicmatt41, Nivix, Nostalgic34, Nubiatech, Nubio.revoredo, PTSE, Paul A, Philip Cross, ProfesserWheatleyOBE, ProperFraction, ProveIt, RL0919, RandySavageFTW, Raul Amador, RegGoodwin, Roachgod, Rothorpe, Rozth, Rudall80, Samjoneslover1960, Shinobi sniper, Snottily, Super Rad!, TAnthony, Tassedethe, Technopat, TheGrappler, TheParanoidOne, Tinton5, Tp243, Treerex, Trombipulation!, TronTonian, Ulric1313, Uwaine, Vina, Wikiklrsc, YigitDemirbas, 104 anonymous edits Paul Chambers Source: http://en.wikipedia.org/w/index.php?oldid=429806564 Contributors: 2T, Airproofing, BassHistory, Bassist Benny, Big Bird, Biji san, Bill (who is cool!), Biscuitking, Carlosguitar, Ch10023, Conical Johnson, Cosprings, D6, DISEman, Dan8700, Derek R Bullamore, Dickdock, Diloretojazz, Dissolve, Drumsac, Edward Tambling, Everyking, Funandtrvl, Gabbe, Gareth E Kegg, Gareth Owen, Gimmetrow, Greg58, HornColumbia, IceCreamAntisocial, Jazzzguy, JoeKearney, Knucmo2, Koavf, Ldavis2, Leahtwosaints, MONGO, Mako098765, Mary Read, Mel Etitis, Mild Bill Hiccup, Mind meal, NSH001, Non-sequitur, NuclearWarfare, OddMNilsen, OnBeyondZebrax, PJtP, Paul A, Pepperjack, Philip Cross, Powelldinho, ProperFraction, ProveIt, Pugetbill, R'n'B, Rift, Rjwilmsi, Robina Fox, Rowenkariya, Seaaron, ShelfSkewed, Slamdunk23, Sluzzelin, Steve Abrahall, Stinnettmusic, Tassedethe, Technopat, Terrierguy, TheRealAntonius, TheoryOfPractice, TronTonian, Viriditas, Vystrix Nexoth, Vytal, Wimt, Zone46, 117 anonymous edits Jimmy Cobb Source: http://en.wikipedia.org/w/index.php?oldid=427108953 Contributors: Adam Bishop, Alai, AndrewHowse, Auntof6, Balloonguy, Bender235, Bostonian22, Bunchofgrapes, Caerwine, D6, DISEman, Disavian, Drumsac, Drumsoloartist, Eastfrisian, Edward Tambling, Grm wnr, Guaca, Hstoffels, Japanesejazz, Jni, KConWiki, Kakofonous, KingTT, Koavf, Korg, Michael Devore, Mind meal, Peces, Sander99, Skarebo, Sluzzelin, Slysplace, Taestell, Technopat, The.rosh.man, Tnxman307, Ulric1313, Uwe Gille, Vaterpercussion, WilliamThweatt, Yanksox, Zone46, Zpb52, 48 anonymous edits George Coleman Source: http://en.wikipedia.org/w/index.php?oldid=415241918 Contributors: Abzs2k, Alvestrand, Andrew Norman, BD2412, Bearian, Boleyn, Carlos28, Cosprings, D6, DISEman, Drumsac, Ebruchez, Edward Tambling, Garion96, Garould, Gene Nygaard, J. Van Meter, Jafeluv, Meegs, Mind meal, Rjwilmsi, Tassedethe, Technopat, TheParanoidOne, Timeineurope, Vytal, Whitejay251, Wysinger, 32 anonymous edits John Coltrane Source: http://en.wikipedia.org/w/index.php?oldid=430061648 Contributors: 1exec1, 1nic, 2T, 72Dino, Aaronbrick, Abie the Fish Peddler, Acather96, Afterwriting, Aheard07, Alan W, Alansohn, Alex Batt, Alex contributing, Alex.gosselin, Alex63, Alexshmalex, Allansutherland, AllyD, Almita, Alpha 4615, Amog, Amphytrite, Andrew Norman, Anger22, Angular, Antandrus, Anthony, Anthonylombardi, Aomarks, Aspensequence, AxelBoldt, BKlafehn, Bad Wolf, Badagnani, Barte, BartholomewBud, Basel15, Basilicofresco, Bassthought, Bbsrock, Bebopx, BeefCake, Belovedfreak, Ben-Zin, Berasategui, Betacommand, Bigjimr, BillFlis, Billlyons, Birdyboops, Bobcat7, Bobo192, Bochum, BodachMor, Boothy443, BostonMA, Brian.Gersch, Brtom1, Bruno Ishiai, Bubuka, Bwoodacre, Byrial, CIreland, CJCurrie, Calabraxthis, CambridgeBayWeather, CanadianLinuxUser, 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Article Sources and Contributors anonymous edits Wynton Kelly Source: http://en.wikipedia.org/w/index.php?oldid=426120696 Contributors: 2T, Airproofing, Alien life form, Andrew Norman, Cosprings, Csharif27, DISEman, [email protected], Derek R Bullamore, Donfbreed, Drumsac, Duffdaddy, Edward Tambling, Fjk98, Friday2day, Godwallop, Hailey C. Shannon, J. Van Meter, Jafeluv, Jazz+, Jazzzie, Jet500, Kellywfan, KikiPost, Mind meal, OS2Warp, PDD, PJtP, Paradise coyote, Philip Cross, Piccadilly, Ppntori, Rdgambola, Sluzzelin, Spyroninja, T. Anthony, Tassedethe, The Rogue Penguin, TheActuary, Treybien, Vytal, Wimmer, Zariane, Zokian, Zone46, Zzuuzz, 37 anonymous edits Lee Konitz Source: http://en.wikipedia.org/w/index.php?oldid=424289425 Contributors: Airproofing, All Hallow's Wraith, AnonUser, Aspects, Bmaiani, Bunnyhop11, Carlos28, Cosprings, D6, DISEman, Dan8700, Dfl0ajh, Drud, Drumsac, Ethan Iverson, Favonian, Ferdinand Pienaar, FotoPhest, Fred Bradstadt, GRoe, Guitardevil87, InnocuousPseudonym, Jbening, Jetman, John, John FitzGerald, Joncaire, Kku, Klakadak, Leuliett, Lexo, Loupizzuti, LuoShengli, Maximus Rex, Me2NiK, Mind meal, MovieMadness, PBP, Philipblack, Philopedia, Porterhse, Purgatory Fubar, Redthoreau, Rjwilmsi, RodC, Spalding, Spindrifterwiki, Spongevob, T. Anthony, Technopat, TheGrappler, Vardion, Vulturell, Yid613, 65 anonymous edits Azar Lawrence Source: http://en.wikipedia.org/w/index.php?oldid=427714443 Contributors: Cosprings, DISEman, Eric Cornejo, Eugene-elgato, Fmjazz, Mlaffs, Pigboywiki, Pjoef, Rdcjaz, TreasuryTag, 5 anonymous edits Dave Liebman Source: http://en.wikipedia.org/w/index.php?oldid=426884153 Contributors: AgentPeppermint, Alai, Andrew Norman, ArnoldMichele, Bencherlite, Bender235, Caerwine, Colonies Chris, Cosprings, Coyets, Cribcage, D6, DISEman, Drumsac, Gyrofrog, Harro, Hullaballoo Wolfowitz, JustAGal, La Parka Your Car, Leahtwosaints, Lentes, Mind meal, NEAPublicAffairs, Plastikspork, Rothorpe, Seaphoto, Smalagodi, Squandermania, T. 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Anthony, Tapedave, Technopat, Tejas81, Thaddeus Slamp, The Fwanksta, Thegn, Thomas279, Tom Duff, Tothebarricades.tk, Totoperu, Truejustice, Twsx, Ulric1313, Underyourskindvd, Verklempt, Viriditas, Wenospeak, Whotookthatguy, Wiki libs, Winkyland, Woohookitty, Wurdnurd, Yerauy, 261 anonymous edits Jackie McLean Source: http://en.wikipedia.org/w/index.php?oldid=427187808 Contributors: 2T, AbsolutDan, Alias Flood, Andrew Norman, Anthony22, Arun237, Aspects, Atsirk20, Banazir, Bbsrock, Bpolhemus, Byrial, Classicalexis, Cosprings, D6, DISEman, Dc 160, Derek R Bullamore, Dissolve, Dogru144, Drumsac, DynamoDegsy, Elipongo, Everyking, Gareth Owen, HOT L Baltimore, Iridescent, J Milburn, J04n, JIP, Jazzeur, Jfitzg, Jivecat, John FitzGerald, Knucmo2, Kumioko, Lightmouse, Listeriea, Lugnuts, Mandarax, Margach, Mathiaskh, Mcn10912, Mike R, Mikemoto, Mind meal, Nabokov, Ndorward, Notheruser, PJtP, Philip Cross, Polly, RedRose333, Rjwilmsi, Rplone, Singingdaisies, Spalding, T. 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Van Meter, Japanese Searobin, Jazzstage, Johnpacklambert, Joy, Kakofonous, Kbdank71, Knucmo2, Leahtwosaints, Mohrflies, PoisonedPigeon, RFGS, Rsholmes, Runawaydog, ShelfSkewed, SnapSnap, Stan Shebs, Stevekeiretsu, Tassedethe, The Winter Wolf, 38 anonymous edits Palle Mikkelborg Source: http://en.wikipedia.org/w/index.php?oldid=408122261 Contributors: Deb, HJensen, Michl, Mind meal, Pegship, Philip Cross, Ramblersen, Ulric1313, Waacstats, Yonkie, 3 anonymous edits Marcus Miller Source: http://en.wikipedia.org/w/index.php?oldid=429820562 Contributors: Acakewouldbenice, Accotink, Adiospantalones, Aegis Maelstrom, Aeternus, All Hallow's Wraith, Andrija.b, Andros 1337, Anom8trw8, Architeuthis, Aspects, Awesomebasser, BD2412, BNutzer, Badagnani, BassistofNC, Bencherlite (AWB), Bibig007, Bobdc, Bovineboy2008, Caldorwards4, Calvin Limuel, Carmaker1, Cassan, ClementSeveillac, CraftyDeano87, CyberSkull, D6, Dajjâl, Derek R Bullamore, Dissolve, Doctorteddynewman, Drmies, EdGl, Ejlarsonstratford, El C, Englcmsc, EspenSkoglund, Fabrictramp, Falsehopesgg, Fisherjs, Fru1tbat, Gabbe, Gadfium, Gaius Cornelius, Gareth Owen, GentlemanGhost, GoingBatty, Gtrmp, Halaqah, Hede2000, Ilse@, J.gagan, Jackalka, Jessiejames, Jetman, JimmyTheSaint, JoanneB, Justinbassist, Jyleichman, Kakofonous, Kbdank71, Koavf, Kosebamse, Leahtwosaints, LiniShu, MK8, Mattbr, Mattgirling, Michael Devore, Mike Garcia, Mild Bill Hiccup, Mjgw, My5stringwillkillyou, Nfvs, Nostalgic34, Nyikita, Odysseus1138, Ohconfucius, Onemarathon, PMDrive1061, Paul A, Piano non troppo, Prashanthns, Qxz, Raul Amador, Retaggio, Richhoncho, Rockfan231, RossPatterson, Rrburke, Ryulong, Sam Ferry, Sbrouse, ShelfSkewed, Sluzzelin, Socapex, Someoneinmyheadbutit'snotme, Spitfire, Steven Russell, Stratovarious, Tassedethe, Teklund, Tghe-retford, Thaurisil, TheGrappler, Thedukeofno, Timc, TronTonian, Tunedguitar, Victor Wooten, Vunzmstr, Wiki libs, Witchwooder, Wmahan, Y.Demirbas, Æthelwold, 171 anonymous edits Airto Moreira Source: http://en.wikipedia.org/w/index.php?oldid=426671119 Contributors: Aspects, Audiori, BirgitteSB, Cdl obelix, Cosprings, D6, DISEman, David Gerard, Drumsac, Emcrawford, Escaper7, Ferdinand Pienaar, Fisherjs, GBYork, Istanbuljohnm, JazzTokyo2005, Jlawrencenewyork, Jmlk17, Johanna-Hypatia, Loatharofthehillpeople, LorrSG, Mattisse, Maxmaz, Mike R, Mind meal, Mlaffs, Mudwater, Munci, Neelix, Nostalgic34, Opus88888, Paul A, Pearle, Peter G Werner, Petronas, Pharos, Pigman, Pjoef, Rich Farmbrough, Rjwilmsi, Roman Spinner, Rosencomet, Rothorpe, Rtdrury, Salat-for-allah, Sgcook, SimonP, T. 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Harmonik, Ohms law, Pmyatt, Porcher, Ralphscheider42, Rjwilmsi, RobyWayne, RodC, Rothorpe, SMcCandlish, Scoutey, Squids and Chips, SteinbDJ, Studiotan, Uwaine, Victor Lopes, Victor Silveira, 54 anonymous edits Sam Rivers Source: http://en.wikipedia.org/w/index.php?oldid=427533743 Contributors: 2T, Ahoerstemeier, Aiko, Applegigs, Aspects, Badagnani, Bradanywhere, Cosprings, Cribcage, D6, DISEman, Daikaili, Dogru144, Drumsac, Engelbaet, FAURA, Ferdinand Pienaar, Filterking, Genisock2, Gwalla, Gyrofrog, JazzAlbums, Jeansnow, Jetman, JoaquinMiralles, JustAGal, Karl Naylor, Knucmo2, MarkSweep, Mear, Michael Hardy, Mind meal, Monegasque, Ndorward, Nightkey, Nrswanson, Omnipaedista, Paradise coyote, Philip Cross, RatMonkeyHybrid, Rdgambola, Ricadus, Rjwilmsi, RobertAuclair, SethTisue, Squandermania, Stan Shebs, TheGrappler, Theresa knott, Ulric1313, Wlrube, Wrightjack, Wysinger, 42 anonymous edits Badal Roy Source: http://en.wikipedia.org/w/index.php?oldid=416747107 Contributors: 999, A Ramachandran, Al-minar, Alansohn, Badagnani, Bakasuprman, BostonMA, Caerwine, Carabinieri, Carnildo, Cosprings, D6, ENeville, Ekajati, Esurnir, Ferdinand Pienaar, Gapinto, Hanuman Das, HexaChord, Mattisse, Pandelver, Quadell, Ragib, Rich Farmbrough, Rjwilmsi, Rosencomet, ShelfSkewed, Shmitra, Tassedethe, Timmy12, 23 anonymous edits John Scofield Source: http://en.wikipedia.org/w/index.php?oldid=429683882 Contributors: Airumel, Alexius08, Andros 1337, Anger22, Aspects, BRG, Blahm, BrOnXbOmBr21, Brendantsui, Chanlyn, Cosprings, D6, DISEman, Danny, Deb, Deville, Dougher, Drewheasman, Drummer070, Drumsac, Edwardito, Esprit15d, Ferdinand Pienaar, Fred Bradstadt, FredHoffman, Garion96, GorgeCustersSabre, Grm wnr, Gyrofrog, Henry W. 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Article Sources and Contributors Wayne Shorter Source: http://en.wikipedia.org/w/index.php?oldid=427838195 Contributors: 2T, Aeigner, Afterwriting, Alansohn, Alfio, Andrew Norman, Andropod, Anetode, Arag0rn, Ben Tibbetts, Betacommand, Bunnyhop11, Butsushin, CambridgeBayWeather, Canterbury Tail, Capricorn42, CatherineMunro, Cgilbert76, Chickyraptor, ClockworkLunch, Conrad Toivo, Cosprings, D6, DISEman, Dan8700, Danaimband, Daniel Case, Danny, David Gerard, David Shay, Derek R Bullamore, Deysian, Dgolson999, Dhartung, Diloretojazz, Dissolve, Dixie normus212, Dogru144, Dr. Shaggeman, Drumsac, Edward Tambling, Eyeball kid, Fero Paškevič, Fusion is the future, Gaius Cornelius, Gareth Owen, Gyrofrog, HenkeB, Henry Flower, Infrogmation, InnocuousPseudonym, Istanbuljohnm, Jakz34, Japanese Searobin, Jason Quinn, Jazzeur, Jessiejames, Jetman, John, Jonathan.s.kt, Jun Nijo, Kevin, KittenKlub, Knucmo2, LWGillan, Leahtwosaints, Magioladitis, Malcolmxl5, Maltese otter, Manfo, Mattia Luigi Nappi, Mayumashu, MegX, Mel Etitis, Merovingian, Mike R, MikeCapone, Mind meal, Modernjazz1, Mswarren, Munci, Nabokov, Nostalgic34, Ohconfucius, Paul210, Petesmiles, Pjoef, Polly, Qirex, Rande M Sefowt, Rdudle, Rjwilmsi, RodC, Rothorpe, Saocarlos, Shadowhillway, Sir Dagon, Siryendor, Skawave, Sluzzelin, Some jerk on the Internet, Special-T, Squandermania, Taariq hassan, Taestell, Tassedethe, The Master of Mayhem, Theda, Tide rolls, Tp243, Trontonian, Txomin, UlrichAAB, Vunzmstr, Vytal, Wiki libs, Xricci, 128 anonymous edits Sonny Stitt Source: http://en.wikipedia.org/w/index.php?oldid=426113870 Contributors: Alansohn, Cdg1072, Chendrickson, Coffee, Cosprings, CrazyElk, D6, Dissolve, Drumsac, Echidnae, Edward Tambling, Ejkelleher3, Ferdinand Pienaar, Fvasconcellos, Gareth E Kegg, Haldraper, Heiko, Jamoche, John FitzGerald, Josh Parris, Knucmo2, Littenberg, Lonely Jones, Michael cuscuna, Mike R, Mind meal, Moulinette, Oedipalwreck, Philip Cross, R'n'B, Reidjazz, Rich Farmbrough, RodC, Ronsax, SaxTeacher, Spalding, Squandermania, Tassedethe, Technopat, TheCVL, Thirdeyeopen33, Thuresson, Ulric1313, Wrightjack, ‫ה'צנינ‬, 37 anonymous edits Gary Thomas Source: http://en.wikipedia.org/w/index.php?oldid=416977271 Contributors: CLW, Cosprings, DISEman, Diannaa, Engelbaet, Gyrofrog, JustAGal, KittenKlub, Martarius, Mellery, Mind meal, NekoDaemon, Pigman, Rdgambola, RobertG, Royblumy, Rpgman456, TUF-KAT, 32 anonymous edits Tony Williams Source: http://en.wikipedia.org/w/index.php?oldid=428853751 Contributors: 2T, A good brew, AllyD, Andrew Norman, BNutzer, Badagnani, Basstastic, Bobglickman, Bovineboy2008, Chickyraptor, Chris the speller, Chris93, Cosprings, Courcelles, D6, DD Dub, DISEman, DLM, DanMS, Danaimband, Deanchristesen, Deeceevoice, Derek R Bullamore, Dismas, Dogru144, Downwards, Drumsac, DutchDevil, Elkman, Emeraude, FayssalF, Ferdinand Pienaar, Fisherjs, Francs2000, Gareth E Kegg, Godwallop, Griot, Gzornenplatz, Herbiefoster, HexaChord, InnocuousPseudonym, Jafeluv, Jazzeur, Jkiang, Jmn100, Jpgordon, JuergenL, Kakofonous, Karaboom, Lugnuts, Lupin, Mav, Michael David, Mind meal, Miranda, MisfitToys, Motherday, Nem1yan, Nostalgic34, OBNOXIUs, Philip Cross, Punk jazzer, Pylonman, Qirex, Radavenport, RedRose333, Rich Farmbrough, Rjwilmsi, Room429, Rothorpe, Sannse, Savio mit electronics, Shadowhillway, Sluzzelin, Sperr, Stick5aman, Stoogeyp, SucklingBill, T. Anthony, Taestell, Tassedethe, TheGrappler, Timrem, Tinton5, ToddBishop, Tricadia, TronTonian, Ulric1313, Vytal, Wikielwikingo, Wikiwa, Wtmitchell, Yonkie, Zhou Yu, Zzzuppermen, Æthelwold, ‫ה'צנינ‬, 121 anonymous edits Joe Zawinul Source: http://en.wikipedia.org/w/index.php?oldid=420290731 Contributors: "D", "alyosha", Airproofing, Ak47mustang, Alex Ex, Alexemanuel, Angela, Another Believer, Aspects, Atavi, Atty1chgo, Backtable, Badagnani, Bender235, Bluemoose, Blutfink, Bobo192, Byrial, CPMcE, CambridgeBayWeather, Canadian Paul, Chanlyn, Cherchez le femme, Chochopk, Christian Plattner, Cosprings, Cyan22, Cyril Zhang, D6, DISEman, Dan56, Danaimband, DarthVader, David Martland, Dedmaan, Deeceevoice, Deineka, Deltabeignet, Djmckee1, DogTwo, Dogru144, Dr. Shaggeman, El C, Ferdinand Pienaar, Fpittui, Fratrep, Gargaj, Gidiav, Good Olfactory, Grubber, Guy Peters, HJensen, HenkeB, HenkvD, HisSpaceResearch, Idoodit2, Impy4ever, IrisKawling, J Milburn, JCSantos, Jafeluv, Japanese Searobin, Jkiang, Jlittlet, John L Walters, Jotamide, Jugglars, KF, Keraunoscopia, Lambmeat, Lasix, Leahtwosaints, Lee M, Lilac Soul, LuoShengli, Lypheklub, Malber, Metropolitan90, Michael Bednarek, Mind meal, Mitchan, MusicTree3, Mütze, Nabokov, Neorunner, NickPenguin, Nv8200p, Oneiros, Ornaldo, Otisjimmy1, Oxymoron83, Paul Richter, Paul210, Pjoef, Rje, Rjwilmsi, Rl, Robsavoie, Rothorpe, SUPedia, SaltyPig, ShelfSkewed, Sheynhertz-Unbayg, Sir Paul, Sluzzelin, Someoneinmyheadbutit'snotme, Srnec, Tabletop, Technopat, TheGrappler, Tobyc75, TronTonian, Tvccs, Twitchingwalrus, Twsx, Veritémaster, Viames, Vlad, Vytal, Weissmann, Wenospeak, Woohookitty, 169 anonymous edits Directions in Music: Live at Massey Hall Source: http://en.wikipedia.org/w/index.php?oldid=395833338 Contributors: Asparagus, Cosprings, Cribcage, Danaimband, Gareth E Kegg, Koavf, LuciferMorgan, Slysplace, Tassedethe, Zidane tribal, 3 anonymous edits 5892 Milesdavis Source: http://en.wikipedia.org/w/index.php?oldid=424058719 Contributors: Anypodetos, KConWiki, Mandarax, Merovingian, Ospalh, Rich Farmbrough, Waacstats Selim Sivad: A Tribute to Miles Davis Source: http://en.wikipedia.org/w/index.php?oldid=400548265 Contributors: Cosprings, DISEman, Gyrofrog, Koavf So Near, So Far (Musings for Miles) Source: http://en.wikipedia.org/w/index.php?oldid=405899990 Contributors: Cosprings, Koavf, Nostalgic34, Technopat, Tjarrett, 5 anonymous edits A Tribute to Miles Source: http://en.wikipedia.org/w/index.php?oldid=353761312 Contributors: AndrewHowse, Danaimband, Koavf, Lightlowemon, Moonriddengirl, Skier Dude, Slysplace, SnapSnap, Taestell, Technopat, UlrichAAB, Waacstats, 10 anonymous edits Discography Source: http://en.wikipedia.org/w/index.php?oldid=430020597 Contributors: "D", A930913, Andrew Norman, AndrewKepert, Badagnani, BaronLarf, Bobnorwal, Brewing b*tch, ClamDip, Cosprings, D bovair1988, DISEman, Dan56, DantheCowMan, Daria Montella, Deltabeignet, Dickdock, Dmforcier, Dogru144, Doomsdayer520, Duyntje3, E-Kartoffel, E2v, Editor437, Edward Tambling, ExplorerPlus, Filterking, Fisherjs, FlorianB, Francesco Malipiero, Gaius Cornelius, Gareth E Kegg, Globe199, GreatOrangePumpkin, HJensen, Harabanar, Harro, Horseman16, Hottratts, Igorrr, JIMRH4, Jazzzie, JeremyAR, JoaquinMiralles, Johmbolaya, John of Reading, Ketiltrout, Kingpin13, Klapauzius, Koavf, LaForge, Larry333, LeRoytheKing, Lebessis63, Lfstevens, Mahanga, Marcus Brute, MartinAchard, Moonriddengirl, Nb71, Oneiros, Outsidethewall, PJtP, Papa November, Patches9713, Pr7iDeS, Quelcrime, Rdsmith4, RepublicanJacobite, Rettetast, Rich Farmbrough, Ritchiem4812, Robert Sharp, Rothorpe, Sarz, Sceptre, Shadow007, ShelfSkewed, Sugar Bear, Taestell, Tassedethe, Technopat, Terry1944, Thomas279, Thomjakobsen, Timo Metzemakers, Webb Traverse, Wikiklrsc, Wolfer68, Woohookitty, Yshrkwhr, Zazaban, ZeroAsALimit, 160 anonymous edits

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Image Sources, Licenses and Contributors

Image Sources, Licenses and Contributors File:Miles Davis by Palumbo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_by_Palumbo.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Tom Palumbo from New York City, USA File:Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach (Gottlieb 06851).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Charlie_Parker,_Tommy_Potter,_Miles_Davis,_Duke_Jordan,_Max_Roach_(Gottlieb_06851).jpg License: unknown Contributors: Cherubino, Ras67 File:Coleman Hawkins, Miles Davis (Gottlieb 04001).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Coleman_Hawkins,_Miles_Davis_(Gottlieb_04001).jpg License: unknown Contributors: Cherubino, Ras67 File:Howard McGhee, Brick Fleagle and Miles Davis, ca September 1947 (Gottlieb).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Howard_McGhee,_Brick_Fleagle_and_Miles_Davis,_ca_September_1947_(Gottlieb).jpg License: unknown Contributors: Cherubino, Freimut Bahlo, Ras67 File:Miles Davis 24.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_24.jpg License: Creative Commons Attribution 2.0 Contributors: Oliver Nurock @ ohjaygee Johannesburg/ Cape Town, South Africa File:Miles Davis 22.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_22.jpg License: Creative Commons Attribution 2.0 Contributors: Peter Buitelaar File:Miles Davis 1984.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_1984.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Kai Kowalewski Original uploader was Kowa at de.wikipedia Later version(s) were uploaded by EvaK at de.wikipedia. File:Pomnik Milesa Davisa Kielce 01 ssj 20060304.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Pomnik_Milesa_Davisa_Kielce_01_ssj_20060304.jpg License: GNU Free Documentation License Contributors: User:Staszek_Szybki_Jest File:Blue period.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Blue_period.jpg License: unknown Contributors: Entoaggie09 File:Star full.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_full.svg License: Public Domain Contributors: User:Conti, User:RedHotHeat File:Star empty.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_empty.svg License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Conti, User:RedHotHeat File:Dig_MilesDavis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Dig_MilesDavis.jpg License: unknown Contributors: Ricadus File:Miles Davis with horns Cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_with_horns_Cover.jpg License: unknown Contributors: Herwwiyal, Ricadus, Skier Dude, 3 anonymous edits File:Blue_haze.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Blue_haze.JPG License: unknown Contributors: Ricadus, Skier Dude, TrafficBenBoy File:Walkin_Miles_Davis_AllStars.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Walkin_Miles_Davis_AllStars.jpg License: unknown Contributors: Pugetbill, Ricadus File:Star half.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_half.svg License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Conti File:CollectorsItems_MilesDavis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:CollectorsItems_MilesDavis.jpg License: unknown Contributors: Ricadus File:Image-bagsgroove.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Image-bagsgroove.jpg License: unknown Contributors: Ricadus File:MilesDavisAndTheModernJazzGiants.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisAndTheModernJazzGiants.jpg License: unknown Contributors: Ricadus File:TheMusingsOfMiles_Davis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:TheMusingsOfMiles_Davis.jpg License: unknown Contributors: Pugetbill, Ricadus File:Blue Moods (Miles Davis album).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Blue_Moods_(Miles_Davis_album).jpg License: unknown Contributors: Ricadus, Sampm File:Quintet Sextet.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Quintet_Sextet.jpg License: unknown Contributors: Ricadus, Skier Dude File:Miles_Davis_New_Miles_Davis_Quintet.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_New_Miles_Davis_Quintet.png License: unknown Contributors: Andrew Norman, Ricadus, Spellcast File:Miles Davis - Cookin' with the Miles Davis Quintet.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Cookin'_with_the_Miles_Davis_Quintet.jpg License: unknown Contributors: Bubba hotep, Jogers, Ricadus, Spellcast File:Miles_Davis_relaxin.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_relaxin.png License: unknown Contributors: Andrew Norman, Ricadus, Spellcast File:MilesDavis Workin.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_Workin.jpg License: unknown Contributors: Ricadus File:Miles_Davis_steamin.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_steamin.png License: unknown Contributors: Andrew Norman, Spellcast File:RoundAboutMidnightMilesDavis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:RoundAboutMidnightMilesDavis.jpg License: unknown Contributors: Dan56, Jafeluv, Ricadus File:MilesAhead original.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesAhead_original.jpg License: unknown Contributors: Dan56, Ricadus file:Miles Ahead.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Ahead.jpg License: unknown Contributors: Dan56, Ricadus File:Porgy and Bess (Miles Davis).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Porgy_and_Bess_(Miles_Davis).jpg License: unknown Contributors: BaronLarf, Ricadus, Skier Dude file:Porgy&bess UKrelease.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Porgy&bess_UKrelease.jpg License: unknown Contributors: Dan56 File:Miles Davis - 1958 Miles album cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_1958_Miles_album_cover.jpg License: unknown Contributors: Admrboltz, Amalthea, Dan56, Marco Perticarini file:Miles Davis - 1958 Miles reissue cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_1958_Miles_reissue_cover.jpg License: unknown Contributors: AWeenieMan, CWii, Dan56, Koavf, MBisanz, Marco Perticarini File:MilesDavisKindofBlue.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisKindofBlue.jpg License: unknown Contributors: User:Kaiba File:Coltrane, Adderley, Davis and Evans.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Coltrane,_Adderley,_Davis_and_Evans.jpg License: unknown Contributors: User:Dan56 File:Kind of Blue 50.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kind_of_Blue_50.jpg License: unknown Contributors: Dan56 File:KindofBlue JM.jpg Source: http://en.wikipedia.org/w/index.php?title=File:KindofBlue_JM.jpg License: unknown Contributors: Dan56, TenPoundHammer File:Sketches of Spain - Miles_Davis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sketches_of_Spain_-_Miles_Davis.jpg License: unknown Contributors: Mel Etitis, Ricadus, Spellcast File:MileDavis_QuietNights.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MileDavis_QuietNights.jpg License: unknown Contributors: Ricadus, Tassedethe File:Seven Steps to Heaven cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Seven_Steps_to_Heaven_cover.jpg License: unknown Contributors: Tp243 File:E.S.P. cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:E.S.P._cover.jpg License: unknown Contributors: Ricadus, Tp243 File:Miles Davis Sorcerer.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Sorcerer.jpg License: unknown Contributors: Cnwb, Ricadus, Skier Dude File:Miles Davis - Nefertiti.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Nefertiti.jpg License: unknown Contributors: Karppinen, Ricadus, Tassedethe File:MilesDavis_MilesInTheSky.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_MilesInTheSky.jpg License: unknown Contributors: Melesse, Ricadus File:water_babies_for_teo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Water_babies_for_teo.jpg License: unknown Contributors: Rm w a vu, Webb Traverse File:Miles Davis-Filles de Kilimanjaro (album cover).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis-Filles_de_Kilimanjaro_(album_cover).jpg License: unknown Contributors: User:Gyrofrog File:Miles-davis-in-a-silent-way.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles-davis-in-a-silent-way.jpg License: unknown Contributors: AKeen, Dan56, Ricadus, Rift, Skier Dude File:bitches_brew.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bitches_brew.jpg License: unknown Contributors: Anetode, Skier Dude Image:BitchesBrewGatefold.jpg Source: http://en.wikipedia.org/w/index.php?title=File:BitchesBrewGatefold.jpg License: unknown Contributors: Anetode, Gyrofrog File:Tribute To Jack Johnson.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Tribute_To_Jack_Johnson.jpg License: unknown Contributors: Cnwb, Dan56, Jaysscholar, Skier Dude File:Miles Davis Live-Evil.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Live-Evil.jpg License: unknown Contributors: Dan56, Rdsmith4, Skier Dude

595

Image Sources, Licenses and Contributors file:Miles Davis Live-Evil Back.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Live-Evil_Back.jpg License: unknown Contributors: Kernitou File:Miles Davis On The Corner.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_On_The_Corner.jpg License: unknown Contributors: Sugar Bear File:Big Fun.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Big_Fun.jpg License: unknown Contributors: Dan56 File:Miles_Davis_get_up_with_it.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_get_up_with_it.png License: unknown Contributors: Andrew Norman, Gyrofrog File:Miles Davis The Man With The Horn.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_The_Man_With_The_Horn.jpg License: unknown Contributors: Sugar Bear File:Miles Davis Star People.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Star_People.jpg License: unknown Contributors: Sugar Bear File:Decoy_Miles_Davis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Decoy_Miles_Davis.jpg License: unknown Contributors: Chrislk02, Rpgman456 File:Miles Davis You're Under Arrest front.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_You're_Under_Arrest_front.jpg License: unknown Contributors: Melesse, Quelcrime, Skier Dude, Sugar Bear File:Miles Davis-Tutu (album cover).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis-Tutu_(album_cover).jpg License: unknown Contributors: John, Mahanga, Sugar Bear, Tony fusi File:Amandla (album).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Amandla_(album).jpg License: unknown Contributors: Cloudz679, Skier Dude File:MilesDavisAura.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisAura.jpg License: unknown Contributors: HJensen, Skier Dude, Sugar Bear File:Doo-Bop front.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Doo-Bop_front.jpg License: unknown Contributors: Riana, Sugar Bear File:Miles Davis at Newport 1958.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_at_Newport_1958.jpg License: unknown Contributors: GreatOrangePumpkin File:MilesDavisInEurope.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisInEurope.jpg License: unknown Contributors: Ricadus File:MilesDavisMyFunnyValentine.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisMyFunnyValentine.jpg License: unknown Contributors: Ricadus, Thomjakobsen File:MilesDavis_FourAndMore.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_FourAndMore.jpg License: unknown Contributors: Ricadus File:MilesDavis_MilesInTokyo1960s.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_MilesInTokyo1960s.jpg License: unknown Contributors: Ricadus file:MilesInTokyo1970s.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesInTokyo1970s.jpg License: unknown Contributors: Ricadus File:Miles_in_berlin.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_in_berlin.jpg License: unknown Contributors: Schleif, Skier Dude File:Miles Davis The Complete Live at the Plugged Nickel 1965.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_The_Complete_Live_at_the_Plugged_Nickel_1965.jpg License: unknown Contributors: GreatOrangePumpkin File:Milesdavis aboutthattime cd.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Milesdavis_aboutthattime_cd.jpg License: unknown Contributors: Gyrofrog File:Black star.svg Source: http://en.wikipedia.org/w/index.php?title=File:Black_star.svg License: Public Domain Contributors: User:Estoy Aquí File:Black Beauty Miles Davis at Fillmore West.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Black_Beauty_Miles_Davis_at_Fillmore_West.jpg License: unknown Contributors: DISEman File:Miles Davis-At Fillmore-cbs.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis-At_Fillmore-cbs.jpg License: unknown Contributors: BNutzer, Skier Dude File:thecellardoorsessions.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Thecellardoorsessions.jpg License: unknown Contributors: Gareth E Kegg, Skier Dude File:Miles_Davis_Plaza.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Plaza.jpg License: unknown Contributors: Doomsdayer520 File:MilesDavis_DarkMagus.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_DarkMagus.jpg License: unknown Contributors: Dj nix File:Miles Davis - 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Miles Davis the Complete Guide

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