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MILES DAVIS

Presented in Europe in 1956 under the title of Davis’ Cup were Miles Davis’ earliest recordings for Columbia. Most of the tracks had been previously released on the album ‘Round About Midnight (CL949), which marked the trumpeter’s first LP for that label. Miles Davis’ quintet was formed in 1955 and is widely regarded as one of the greatest combos in jazz history. The band’s considerable number of recordings is due mainly to contractual agreements. Miles had been recording for the small jazz label Prestige, which didn’t have a wide distribution. However, after his success at the 1955 Newport Jazz Festival, he received a substantial offer from the recording giant Columbia. Prior to leaving for Columbia, Miles fulfilled his Prestige contract with a couple of marathon sessions that yielded the celebrated Cookin’, Steamin’, Workin’ and Relaxin’ LPs. Davis’ first Columbia sessions, recorded while Miles was still under contract for Prestige, produced the album ‘Round About Midnight, which was titled after the Thelonious Monk tune that had earned him such great success at Newport.

FORMAT INFORMATION

Ltd LP Info: Limited edition 180g vinyl. Collectors edition with alternative cover and deluxe inner sleeve. One pressing only.

Considered one of the best small group jazz sessions ever, on the classic album Somethin’ Else (Blue Note BST-1595) Cannonball Adderley - by then a member of the Miles Davis Sextet - was joined by his boss, Hank Jones, Sam Jones and the great Art Blakey.

All musicians shine all throughout on this single-session set, which includes perhaps the best instrumental jazz version of “Autumn Leaves” ever recorded. To the five tunes on the original LP, this edition adds the sixth tune recorded that day, “Allison’s Uncle” (also known as “Bangoon”), and a rarely heard alternative take of the aforementioned “Autumn Leaves.”

FORMAT INFORMATION

LP Info: Limited edition 180gram premium vinyl pressing.

Miles Davis Quintet Featuring John Coltrane

Cookin'

Miles Davis’ quintet was formed in 1955 and is widely regarded as one of the greatest combos in jazz history. Each of its members was an individual creative force that could have easily been a leader.

'Philly Joe Jones and Red Garland were the same age', explained Miles in his autobiography, 'about three years older than I was. John Coltrane and I were born in the same year, with me being a little older. Paul Chambers was the baby in the group, being only twenty, but he was playing like he had been around forever. And so was Red; he was giving me that Ahmad Jamal light touch, and a little bit of Erroll Garner, along with his own shit up in all of that. So, everything was happening'.

This quintet - like many other great bands composed of important figures - didn’t last long despite Miles’ best attempts to keep it together. Like its followers "Steamin’", "Workin’" and "Relaxin’", "Cookin’" is the product of two massively productive recording sessions during May and October of 1956. Miles’ 1953 quartet versions of both "Tune Up" and "When Lights Are Low" have been added here as a bonus.


FORMAT INFORMATION

LP Info: Limited edition 180gram premium vinyl pressing.

Miles Davis shocked the music world in 1985 when he left Columbia Records after 30 years to join Warner Bros. Records. In October of that year, he began recording the album Rubberband in Los Angeles at Ameraycan Studios with producers Randy Hall and Zane Giles. The musical direction Davis was taking during the sessions marked a radical departure, with the inclusion of funk and soul grooves; with plans to feature guest vocalists Al Jarreau and Chaka Khan. Eventually, the album was shelved and Davis went on to record Tutu, leaving the Rubberband songs unheard and untouched for over 30 years.

Davis’ fans finally got a taste of the iconic trumpeter’s long-lost album last year with the release of a four-song Rubberband EP for Record Store Day. Now the entire 11-song Rubberband album makes its debut for all the heads. It was finished by the original producers Hall and Giles; with Davis’ nephew, Vince Wilburn, Jr., who played drums on the original sessions for the album in 1985-86. The cover art for the album is a Davis original painting from the time.

“Uncle Miles would be proud. Randy, Zane and I, and everyone involved, put our heart and soul into ‘The Rubberband Of Life,’” says Wilburn, Jr.

In 2017 – 32 years after Davis started recording Rubberband– Hall, Giles, and – and Davis’ nephew, Wilburn, Jr., began work to finish the album. The final version includes several guest artists including singers Ledisi (a 12-time Grammy nominee) and Lalah Hathaway (daughter of soul legend Donny Hathaway).

Davis – who plays both trumpet and keyboards on the album – was joined in the studio by keyboardists Adam Holzman, Neil Larsen and Wayne Linsey; percussionist Steve Reid; saxophonist Glen Burris; and Wilburn, Jr. on drums. The sessions were engineered by Grammy®-winner Reggie Dozier, whose brother Lamont Dozier was part of the legendary Motown song writing team Holland-Dozier-Holland.


STAFF COMMENTS

Patrick says: Miles' controversial and uber funky fusion LP "Rubberband" finally sees the light of day after 30-odd years, finished by original producers Randy Hall and Zane Giles as well as Davis' nephew Vince Wilburn Jr., who played drums on the original sessions. Davis' trumpet and wild keyboard are out of this world as per, but it's the Prince styled e-funk grooves which are gonna make you cut up the living room.

FORMAT INFORMATION

2xLtd LP Info: 180 gram vinyl.

The live performance which would be the focus of Miles Davis' 1965 album, My Funny Valentine, was the second of two live sets recorded at the recently built Philharmonic Hall in New York. The concert, consisting primarily of slow and mid-tempo numbers, presented a tense and awkward atmosphere to Davis and the latest iteration of his quintet; they were embarking on their highest prestige gig at the time, right on the cusp of the assassination of president John F. Kennedy.

Tensions were so high that by the end of the concert they believed that they had botched their performance, and bombed the entire show. Fortunately Davis and his quintet were wrong. Far from bombing, the recordings on My Funny Valentine were critically applauded, with Davis biographer Ian Carr going on to call the album "...one of the very greatest recordings of a live concert." My Funny Valentine features inspired performances by Davis and his crew, who brought solemn depth to compositions by Cole Porter, Richard Rodgers, Victor Young, Jimmy Van Heusen, and a live take on "All Blues", the lone Davis piece on the record. My Funny Valentine would not only rank as one of his finest live recordings, but it would be his last collaboration with saxophonist George Coleman, ushering in the arrival of his "Second Great Quintet" period

Miles Davis

Black Beauty - Miles Davis At Fillmore West

"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.


FORMAT INFORMATION

2xLP Info: 180g audiophile vinyl.

Robert Glasper & Miles Davis

Everything's Beautiful - The Recordings Of Miles Davis

A stunning new record of reimagined interpretations of Miles Davis' music produced by Grammy Award winner Robert Glasper (who also served as coproducer of the Miles Ahead soundtrack) with musical guest artists including Bilal, Illa J, Erykah Badu, Phonte, Hiatus Kaiyote, Laura Mvula, KING, Georgia Ann Muldrow, John Scofield and Ledisi, and Stevie Wonder. A visionary exploration of the music of Miles Davis, 'Everything's Beautiful' incorporates Davis' original recordings into new collaborative soundscapes.

"I didn't want to do just a remix record," Glasper noted when discussing the 11-song set. "My idea was to show how Miles inspired people to make new art." Realizing that "Miles didn't have one audience," Glasper recruited a legion of diverse guest artists to add to the magic of the project. "I am living in the spirit of Miles when I am doing what I'm doing because I am documenting my time period. I'm documenting what's around me. I'm documenting who I am now, where music is now," says Glasper. "That's what this project is about. I wanted to do something where we can take some of Miles' ideas, shake them up, and try to show the influence of Miles and make new things. And that's the beauty of this whole album. The whole project is based on Miles, but it is based on Miles' vision, it's based on Miles' trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on Miles' influence, it's based on Miles' swag."

Miles Davis

Live Evil - 180g Vinyl Edition

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.




FORMAT INFORMATION

2xLP Info: 180 gram audiophile vinyl pressing in gatefold sleeve.

Miles Davis

Kind Of Blue - 180g Double Vinyl Edition

So much has been said and written about Miles Davis' "Kind Of Blue", it's virtually impossible to summarise all the necessary info to the length of this page. We could try to explain why it's the best jazz album ever made (and the best selling), but the music itself will do that for you. As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised. The end results were fragile and wondrous. Recorded during two sessions in 1959, "Kind of Blue" worked on many different levels and will do so for many years to come.

Music On Vinyl bring us a very special version of the most influential (jazz) album ever. The orginal album in remastered form plus an extra LP containing two tracks that weren't available on vinyl before (an alternate take of "Flamenco Sketches" and a version of "On Green Dolphin Street" recorded prior to the "Kind Of Blue" sessions, with the legendary line-up of Bill Evans, John Coltrane, Paul Chambers and Jimmy Cobb.)

STAFF COMMENTS

David says: The first time I put this on at home, Lou, my wife, frowned at me and said, 'it sounds like they're making it up as they go along!' Don't worry about that though, if, like me, you've previously been wary of jazz, this is the place to start, absolutely beautiful, despite what Lou says...

FORMAT INFORMATION

2xLP Info: 180g audiophile vinyl. Remastered Audio. First-time ever 2xLP edition including 2 bonus tracks. Gatefold Sleeve including additional liner notes.

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.

Miles Davis

Sketches Of Spain - Mono Edition

''Sketches of Spain'' is part of Miles' late 50s / early 60s 'blue' era. This is one of the four albums Miles and Gil Evans (arranger and conductor) made together with a small orchestra of horns and percussion, and it was fueled by Spanish melodies - "El Concierto de Arajuez" by Joaquí­n Rodrigo and "El Amor Brujo" by Manuel de Falla - that fascinated Davis to the point he needed to get into them and go beyond. Imagine "Kind Of Blue" but with a Spanish influence and you'd not be far wrong. Davis and Evans put something together that every single music lover should possess, a sketch of some place he'd never been to. As Miles said, 'It's music, and I like it'.

FORMAT INFORMATION

Ltd LP Info: Limited 180g audiophile pressing.


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