Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

TRACK LISTING

SIDE A
1. So What
2. Walkin'
3. Joshua/Go-Go (Theme And Announcement)

SIDE B
1. Four
2. Seven Steps To Heaven
3. There Is No Greater Love/Go-Go (Theme And Announcement)

Star People is a 1983 album by the famous jazz trumpeter and composer Miles Davis. It is the first to feature electric guitarist John Scofield, who was recommended by saxophonist Bill Evans, and the last to be produced by long-standing collaborator Teo Macero. Bassist Marcus Miller plays on five of the tracks. Electric guitarist Mike Stern features on most of the pieces, and drummer Al Foster and percussionist Mino Cinelu round out the rhythm section. Davis played trumpet and Oberheim synthesizer simultaneously (without using overdubs), and on separately recorded interludes for the over-18-minute-long blues composition “Star People”.

TRACK LISTING

Side A
1. Come Get It
2. It Gets Better
3. Speak

Side B
1. Star People
2. U 'n' L
3. Star On Cicely

One of the four classic albums Miles Davis recorded in 1956 to fulfil his contract with Prestige before signing to Columbia, Steamin' features Davis leading his iconic quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Contains new specially prepared liner notes by Penguin Guide to Jazz 's writer Brian Morton.

"This album is a must for anyone seriously interested in jazz." - Down Beat, 4.5 STARS (Don DeMicheal)

TRACK LISTING

Surrey With The Fringe On Top
Salt Peanuts
Something I Dreamed Last Night
Diane
Well You Needn't
When I Fall In Love
Well You Needn't

Decoy is the 1984 album by the famous jazz musician Miles Davis, re- corded in 1983. Robert Irving III on keyboards took over the role that Miles had assumed with a true sense of harmony and only a rudi- mentary mastery of synthetic sounds and movements. Irving shared the responsibilities of directing with the trumpet player’s nephew Vince Wilburn, Jr., but Al Foster continued to lead the tempo. John Scofield drew the funk of bassist Darryl Jones in the direction of chromatic abstraction. The two tracks that he cowrote with Miles are fragments of solos, “That’s What Happened” reprising the beginning of his solo on “Speak” (Star People).

Decoy offered a good balance between the dominant funk that sub- sequently took over and the jazz tradition, reflected by Scofield’s angularities, Marsalis’ freedom of tone, and the breadth of Miles’ playing that had recovered its full power.

TRACK LISTING

Side A
1. Decoy
2. Robot 415
3. Code M.D.
4. Freaky Deaky

Side B
1. What It Is
2. That's Right
3. That's What Happened

The complete 1959 Miles Davis album 'Kind of Blue', one of the most influential Jazz albums of all time, presented here as a 2LP set in its original mono and stereo versions.

TRACK LISTING

1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches
6. So What
7. Freddie Freeloader
8. Blue In Green
9. All Blues
10. Flamenco Sketches

Cookin’ is the first of four albums derived from the Miles Davis Quintet’s fabled extended recording session on Octobre 26, 1956; the concept being that the band would document its vast live-performance catalogue in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band’s live sets – as well as the overwhelming conviction in the quintet’s studio sides – would produce the lion’s share of the Cookin’, Relaxin’, Workin’ and Steamin’ albums.

As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band – consisting of Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums) – to work so efficiently both on the stage and the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. « Blues by Five » reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each others’ thoughts musically.

Cookin’ features the pairing of « Tune Up / When the Lights Are Low » which is, without a doubt, a highlight no only of this mammoth session, but also the entire tenure of Miles Davis mid-‘50’s quintet. All the éléments converge upon this fundamentally swinging medley. Davis’s pure-toned soloes and the conversational banter that occurs with Coltrane, and later Garland during « When the Lights Are Low », resound as some of these musicians’ finest moments.

TRACK LISTING

Side A
1.My Funny Valentine
2.Blues By Five

Side B
1.Airegin
2.Tune Up
3.When Lights Are Low

Legendary trumpeter Miles Davis was still near the start of his storied career when he cut the three sessions that comprise his Blue Note recordings in 1952, 1953, and 1954. Blue Note later compiled the tracks into two 12” LPs as part of the 1500 series. The music presents all the hallmarks of his early style from blazing bebop to beautiful ballads. This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original masters, and pressed on 180g vinyl at Optimal.

TRACK LISTING

Side A
1. Take Off
2. Weirdo
3. Would'n You
4. I Waited For You
5. Ray's Idea – Alternate Take
6. Donna

Side B
1. Well You Needn't
2. The Leap
3. Lazy Susan
4. Tempus Fugit – Alternate Take
5. It Never Entered My Mind

Sketches of Spain was Miles Davis and Gil Evans' third conceptual album, the first being "Miles Ahead" in 1957, followed by their adaptation of George Gershwin's music for "Porgy and Bess"in 1958. On Sketches of Spain, Miles stated in his autobiography that the whole concept came out of listening to Spanish composer Joaquin Rodrigo's "Concierto de Aranjuez".

TRACK LISTING

Concierto De Aranjuez
Will O' The Wisp
The Pan Piper
Saeta
Solea 
Song Of Our Country

Contradictory accounts of Miles Davis’ creation of the soundtrack to Louis Malle’s film noir Ascenseur pour l'Échafaud have all become part of its legend. Rarely has a soundtrack been so decisive. Nearly seventy years on, beyond the myth, this taut, feverish recording, imbued with extreme dramatic tension, remains one of the Miles’ finest records.

The basic outline remains: Jean-Paul Rappeneau suggested to Malle asking Miles Davis to create the film's soundtrack who agreed to record the music after attending a private screening. Davis was performing at the Club Saint-Germain in Paris in November 1957 and on December 4, he brought his four 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.

Bassist Pierre Michelot recalled in 1988 that “Miles just asked us to play two chords, D minor and C7, 4 bars of each, ad lib.” Typically, Miles planned very little but know exactly what he wanted. François Leterrier, the film’s Second Assistant Director picks up the story: “The session started at around ten o’clock and went on until dawn. The screen in the auditorium was showing the scenes for which Miles had devised some harmonies, and they were edited into a loop. And that’s what makes this music unique: it was entirely improvised in conditions that went back to the days of silent films, while watching frames shot in black and white by cinematographer Henri Decaë: tracking shots of Jeanne Moreau wandering down the Champs-Elysées at night, passing in front of lit window displays or going into bars, while looking for her lover/murderer alias Maurice Ronet …

This beautiful re-issue of the original recording is pressed on 180g vinyl at GZ, and packaged in a deluxe gatefold tip-on jacket with Boris Vian’s original liner notes and Jean-Pierre Leloir’s iconic studio photo of Miles and Jeanne Moreau, and an essay on the circumstances that led to this out-of-the ordinary music by Franck Bergerot.

TRACK LISTING

Generique
L'assassinat De Carala
Sur L'autoroute
Julien Dans L'ascenseur
Florence Sur Les Champs- Elysees
Diner Au Motel
Evasion De Julien
Visite Du Vigile
Au Bar Du Petit Bac
Chez Le Photographe Du Motel

Milestones is Davis's recording in a sextet configuration with John Coltrane, Paul Chambers, Cannonball Adderley, Philly Joe Jones and Red Garland.

This 1958 masterpiece captured Davis's modalism that introduced on this album continues toinfluence the genre globally. It's the last studio session saw the rhythm section of Garland, Chambers and Jones assembled (Jones was both Garland left the line-up shortly after signing up). In this album, Davis start to study (particularly in the song that gives the album its title) the type of modal jazz that eventually adopted and popularized in the album Kind of Blue.

This release is part of the New Ermitage collection available from January 2024: 18 jazz and soul titles reissued on yellow vinyl with new codes and renewed graphics.

TRACK LISTING

1. Dr. Jekyll
2. Sid's Ahead
3. Two Bass Hit
4. Milestones
5. Billy Boy
6. Straight, No Chaiser

Charlie Parker had just died (March 1955) and Miles Davis was in the process of forming his first classic quintet when he recorded this quartet session with celebrated bassist Oscar Pettiford, pianist Red Garland, and drummer Philly Joe Jones, both of whom would also form part of the quintet with John Coltrane on tenor sax and Paul Chambers on bass.

The program consisted of four standards, a blues, 'Green Haze', and the original tune 'I Didn't', which was Miles' humorous answer to Thelonious Monk's 'Well, You Needn't'. The interpretations are lyrical and melodic, and even 'A Night In Tunisia' sounds mellow.

A version of 'How Deep Is the Ocean?' from Miles' only other studio session with Oscar Pettiford is include here as a bonus track.

TRACK LISTING

1. Will You Still Be Mine?
2. I See Your Face Before Me
3. I Didn't
4. A Gal In Calico
5. A Night In Tunisia
6. Green Haze
7. How Deep Is The Ocean?

More than sixty years old, Walkin' still remains a crucial staging post in the history of jazz. Originally recorded in 1954 and initially issued on a couple of 10 albums, it features a mix of quintet and sextet material, recorded during his spell with Prestige Records and produced by Bob Weinstock. The various tracks were gathered together, along with a previously unreleased track, and issued as a 12 album in 1957. The end result is an important album in the development of bop music, a genre Miles Davis practically owned. 

TRACK LISTING

Side A
1. Walkin'
2. Blue N' Boogie
Side B
1. Solar
2. You Don't Know What Love Is
3. Love Me Or Leave Me 

Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. Quiet Nights is the fourth and last studio album that Davis collaborated on with Gil Evans. The 1963 release took inspiration from the bossa nova genre that rose to popularity during the time.

Quiet Nights is a mix of situations and sources: Brazilian folk (“Prenda Minha”, titled “Song #2” on the album), Spanish classical (“Adelita” by guitar pioneer Francisco Tárrega, here called “Song #1”), and a few ballads, including one that stands out from the rest of the big band album: “Summer Night,” a quintet take featuring Miles playing muted then open trumpet and the start of a new band: tenor saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler.

The album was produced by Teo Macero. Some of the additional performers on this album include Paul Chambers, Bill Barber, Steve Lacy, Jimmy Cobb, Willie Bobo, and George Coleman amongst others.

TRACK LISTING

Side A
1. Song #2
2. Once Upon A Summertime
3. Aos Pes Da Cruz
4. Song #1

Side B
1. Wait Till You See Her
2. Corcovado
3. Summer Night

Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. At the request of Columbia Records executive George Avakian, he formed his first regular quintet in 1955. After all members of the first quintet left Davis a few years later, he hired the core of the second quintet in 1963 and the final member in late 1964. The second quintet would record and play together until the end of the 60s. Sorcerer is the third album by the Second Great Miles Davis Quintet. The quintet consisted of Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. It was recorded in May 1967 and contains a darker sound. The last song on the album, "Nothing Like You", features vocals by Bob Dorough.

TRACK LISTING

Side A
1. Prince Of Darkness
2. Pee Wee
3. Masqualero
4. The Sorcerer

Side B
1. Limbo
2. Vonetta
3. Nothing Like You

Undeniably one of the best smaIl bands in the history of jazz, the Miles Davis Quintet of the mid-1950s featured an all-star line-up of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums).

This new edition of “Workin’” is release as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analog mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket.

TRACK LISTING

Side A
1. It Never Entered My Mind
2. Four
3. In Your Own Sweet Way
4. The Theme (Take 1)
Side B
1. Trane’s Blues (a.k.a. Vierd Blues)
2. Ahmad’s Blues
3. Half Nelson
4. The Theme (Take 2)

3CD description:
That’s What Happened 1982-1985: Bootleg Volume 7 is the next installment in the celebrated, award-winning archival series that began in 2011, shining an in-depth light onto different eras of the legendary career of Miles Davis. In the 1980s, popular music had moved to a smoother, electronic-based sound that traded the steam of previous years for subdued arrangements meant to elicit peace and deep reflection. Miles Davis embraced this era, pulling inspiration from FM radio and an upstart music video channel called MTV. He was searching for the next frontier, letting his creativity roam. This music on The Bootleg Series Vol. 7 captures that exploration, and finds Miles beginning to re-emerge in a creative landscape far different than the one he left in 1975. He’s touched every inch of pop culture while keeping true to his iconoclastic vision of jazz as amorphous art that’s supposed to bend and flow and mutate to something else. On That’s What Happened, we get to play in the rubble of what would become yet another period of unprecedented innovation. Beauty resides in evolution. The set collects nearly 4 hours of unreleased music including 2 CDs of studio material from 1982 to 1985 plus another CD containing a complete, blistering show of one of Miles’ last amazing bands captured live at the Festival International De Jazz De Montreal in July 1983. Side men include a multi-generational who’s who of jazz talent from JJ Johnson, John McLaughlin, Al Foster and John Scofield to Mike Stern, Marcus Miller, Daryl Jones and Vince Wilburn.

2xLP Highlights description:
That’s What Happened 1982-1985: Bootleg Volume 7 is the next installment in the celebrated, award-winning archival series that began in 2011, shining an in-depth light onto different eras of the legendary career of Miles Davis. In the 1980s, popular music had moved to a smoother, electronic-based sound that traded the steam of previous years for subdued arrangements meant to elicit peace and deep reflection. Miles Davis embraced this era, pulling inspiration from FM radio and an upstart music video channel called MTV. He was searching for the next frontier, letting his creativity roam. This music on The Bootleg Series Vol. 7 captures that exploration, and finds Miles beginning to re-emerge in a creative landscape far different than the one he left in 1975. He’s touched every inch of pop culture while keeping true to his iconoclastic vision of jazz as amorphous art that’s supposed to bend and flow and mutate to something else. On The Bootleg Series Vol. 7, we get to play in the rubble of what would become yet another period of unprecedented innovation. Beauty resides in evolution. This double LP collects highlights of Bootleg Volume 7 with over 80 minutes of unreleased studio material from 1982 to 1985 on white vinyl. Side men include a multi-generational who’s who of jazz talent from JJ Johnson, Al Foster and John Scofield to Mike Stern, Marcus Miller and Daryl Jones.

TRACK LISTING

3CD Tracklist:
CD1
1. Santana (13:06)
2. Minor Ninths, Part 1 (3:13)
3. Minor Ninths, Part 2 (4:13)
4. Celestial Blues, Part 1 (8:05)
5. Celestial Blues, Part 2 (4:04)
6. Celestial Blues, Part 3 (6:57)
7. Remake Of OBX Ballad (5:00)
8. Remake Of OBX Ballad Sessions (7:17)
9. Freaky Deaky, Part 1 (9:50)
10. Freaky Deaky, Part 2 (5:25)
CD2
1. Time After Time (alternate) (5:53)
2. Time After Time (full Session) (8:58)
3. Theme From Jack Johnson (Right Off) / Intro (8:30)
4. Never Loved Like This (studio Session Demo) (5:00)
5. Hopscotch (slow) (5:39)
6. Hopscotch (fast) (6:59)
7. What’s Love Got To Do With It (4:25)
8. Human Nature (alternate) (5:59)
9. Katia (full Session) (10:24)
CD3 (Live In Montreal, July 7, 1983)
1. Speak (That’s What Happened) (12:27)
2. Star People (9:21)
3. What It Is (6:58)
4. It Gets Better (12:25)
5. Hopscotch (7:51)
6. Star On Cicely (9:12)
7. Jean-Pierre (7:34)
8. Code 3 (6:36)
9. Creepin’ In (10:36)

2xLP White Vinyl Tracklist:
LP 1 Side A
Santana (13:06)
Duet (Part 2) (4:32)
Celestial Blues (Part 2) 4:03
LP 1 Side B
Remake Of OBX Ballad (4:59)
Time After Time (alternate) (5:53)
What’s Love Got To Do With It (4:25)
Human Nature (alternate) (5:59)
LP 2 Side C
Freaky Deaky (vinyl Edit) 7:48
Never Loved Like This (studio Session Demo) 5:16
Hopscotch (fast) (6:59)
LP 2 Side D
Intro (8:30)
Katia (full Session) 10:24

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

This double LP release includes one of Miles Davis' final great bands including John Scofield on guitar, Bill 'The Other Bill Evans' Evans on saxophones, flute and electric piano, Darryl Jones on bass, Al Foster on drums and percussionist Mino Cinelu. Miles was back in amazing form (ìincandescent and iridescent as ever as Greg Tate noted), when he mounted the stage at the Theatre St-Denis during theFestival International De Jazz De Montreal in July 1983 and this release is the first time this revelatory performance will be released. It has been lovingly mixed and mastered and will be included on CD and digitally in the next edition of the Miles Davis Bootleg series that focuses on the 1981-1985 period, coming later in the year, but the Record Store Day release would be it's exclusive release on vinyl.What It Is includes tracks from that year's release Star People, the Marcus Miller tune Hopscotch and the song Jean-Pierre that appeared on 1982's We Want Miles. The recordings of What It Is and That's What Happened were so well thought of by Miles that he utilized them for his 1984 release Decoy, but in heavily edited form and this release would include the first release of them in complete form. Packaged in beautiful gatefold packaging, the album features liner notes penned by the incomparable music journalist Greg Tate and represent some of his final writing.

Kind of Blue is a studio album by American jazz trumpeter Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans. Kind of Blue has been regarded by many critics as the greatest jazz record, Davis's masterpiece, and one of the best albums of all time. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded. 

TRACK LISTING

So What 
Freddie Freeloader 
Blue In Green 
Flamenco Sketches 
All Blues

Kind of Blue is a studio album by American jazz trumpeter Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans. Kind of Blue has been regarded by many critics as the greatest jazz record, Davis's masterpiece, and one of the best albums of all time. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded. 

TRACK LISTING

So What 
Freddie Freeloader 
Blue In Green 
Flamenco Sketches 
All Blues

In a Silent Way is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis, released on 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 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. 

"Black Beauty, Miles Davis At Fillmore West", was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles’ classic album Bitches Brew. The album was released in 1973, originally in Japan only. "Black Beauty", a true jazz-rock album, captured one of Davis’ first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.
The songs in the band’s set list were as followed: “Directions”, “Miles Runs the Voodoo Down”, “Willie Nelson”, “I Fall In Love Too Easily”, “Sanctuary”, “It’s About That Time”, “Bitches Brew”, “Masqualero”, “Spanish Key”, and “The Theme”. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.

The original Japanese booklet is included in this vinyl package.

TRACK LISTING

Directions
Miles Runs The Voodoo Down
Willie Nelson
I Fall In Love Too Easily
Sanctuary
It's About That Time
Bitches Brew
Masqualero
Spanish Key/The Theme

180 gram audiophile vinyl
Contains 3 previously unreleased live tracks
Includes 12-page booklet
Etched D-Side

It has been said that jazz stopped evolving when Davis wasn't there to push it forward. Even if that isn't true, Miles Davis certainly was one of the greatest music innovators of the 20th century, pioneering cool jazz (with the 1949 recording of 'Birth Of The Cool'), modal jazz (with 1959's 'Kind Of Blue') and Fusion with 1970's 'Bitches Brew'.

'Bitches Brew Live' contains recordings from two performances: the first three songs were recorded at his Newport Jazz performance in July 1969 - a couple of weeks before the Bitches Brew sessions in August of that year - and have remained unissued till this day.

Miles performs with Chick Corea on electric piano, Dave Holland on acoustic bass and Jack DeJohnette on drums; musicians who all went on to become leaders of the Fusion movement. (Wayne Shorter unfortunately missed this date because he was stuck in traffic.)

The A1 track "Miles Runs The Voodoo Down" is the first professionally live recorded version of this song. The other six songs were recorded at the Isle Of Wight festival in 1970,and contain "Directions" and "It's About That Time" from the In A Silent Way sessions.

Included in this exclusive release is a 12 page booklet with a liner note essay by renowned music journalist Michael Azerrad, and a special etch on the D side. Music On Vinyl is proud to bring you this -never before- released double vinyl edition.

TRACK LISTING

Side A
1. Miles Runs The Voodoo Down *
2. Sanctuary *
3. It's About That Time/The Theme *

Side B
1. Directions
2. Bitches Brew

Side C
1. It's About That Time
2. Sanctuary
3. Spanish Key
4. The Theme

Side D
Etch

*Previously Unissued

The first in a continuing series of double-LP extravaganzas released only in Japan in the early '70s, 'Live Evil' mixes four studio tracks from 1970 with four live ones taken from a Washington, DC performance in December of that year. Amidst heavy competition, the live tracks - including "What I Say," "Sivad" and "Gemini Double Image" - are the highlights, featuring some of Miles' best playing of the decade, plus aggressive work on extended solo spots by John McLaughlin on guitar, Keith Jarrett on keyboards, and Jack DeJohnette on drums.

TRACK LISTING

Side A
1. Sivad
2. Little Church
3. Medley
Gemini
Double Image

Side B
1. What I Say
2. Nem Um Talvez

Side C
1. Selim
2. Funky Tonk

Side D
1. Inamorata And Narration By Conrad Roberts

30 years ago, in May and June 1985, Miles Davis signed with Warner Bros Records, shocking the music world by leaving Columbia. He immediately started working on an album to be called 'Perfect Way', named after a tune by Scritti Politti, but later renamed 'Tutu' by producer Tommy LiPuma. When 'Tutu' (a tribute to Desmond Tutu) was released in 1986, it re-ignited Miles Davis’ career, winning him two Grammy Awards. The record reflected the 80s, just as Herbie’s 'Rockit' did. That meant keyboards, sequencing, dub effects, drum machines and tonalities that often had the brightness and sharpness of the Fairlight era. This album was a key factor in raising Davis’ status to an international superstar.

This deluxe double LP edition includes:
• The remastered original album
• An extra LP of live performances by the Miles Davis Octet of the Nice Jazz Festival of 1986 only available on the CD version of 'Tutu Deluxe'.
• The packaging is a replica of the original vinyl album, including stickers, LP labels, Irving Penn’s beautiful and iconic photographs
• All this on 180g double vinyl!

Miles marries Betty, gets the funk and this is the end result: Along with "Kind Of Blue", but coming from a completely different angle, "Bitches Brew" is probably Davis' most celebrated work. Recorded in three days in August of 1969 and often heralded as the first shot fired in the fusion movement, "Bitches Brew" melds jazz with rock, and as an essential part of any psyche-prog head's record collection as jazz fans. Davis had already spearheaded two major jazz movements (cool and modal jazz) and was about to initiate another major change (the album's cover also sports the phrase "Directions In Music By Miles Davis" above the title). Most of the musicians (Wayne Shorter, Joe Zawinul, Jack DeJohnette, Chick Corea ) who played on the album went on to become giants of the 1970s fusion movement, with "Bitches Brew" being the jump-of point. Artists as disparate as Carlos Santana, Joni Mitchell and Radiohead cite this epic long player as an influence.