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MILES DAVIS

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.

Miles Davis

Bitches Brew LIVE

    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.

    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

    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.

    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.


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