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Miles Davis - Miles Davis at Fillmore (1970) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1223~24}
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© 1970, 2006 Sony Music Japan / Columbia | SICP 1223~24 | DSD | HQD High Quality Disc
Jazz / Jazz Rock / Jazz Fusion / Trumpet

Four sides of long improvised grooves from Miles Davis – a set that's quite similar to the classic studio album Bitches Brew, but which captures the sound in more open live setting! The work is more inside than some of the Davis Japanese sessions of the time, but no less revolutionary – really opening up in some wonderful ways – with lots of spacious modal riffing over some heavy vamps. Groovy and quite free at the same time, but not nearly as out as the later electric recordings!

Miles Davis - 'Four' & More, Recorded Live In Concert (1964) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1212}
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© 1964, 2006 Sony Music Japan / Columbia | SICP 1212 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

Breakneck live work from Miles Davis – and proof that his famous 60s quintet wasn't only just about mellow and spacious sounds! The set was recorded at the same concert as the album My Funny Valentine – and while that one's mostly ballads, this one's mostly high tempo numbers that skip along with incredible ease – crackling with modern touches on the rhythm from Herbie Hancock, Ron Carter, and Tony Williams – and featuring some really excellent work by George Coleman on tenor sax!

Miles Davis - Miles In Berlin (1964) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1214}
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© 1964, 2006 Sony Music Japan / Columbia | SICP 1214 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

A really great bit of live work from Miles Davis – and the first-ever recorded appearance of the quintet with Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams – even though the album was never issued in the US at the time! The set follows very strongly in the mode of the group's work at the Plugged Nickel – with a pace that's faster than usual, and bristling with freely exploratory energy. Titles include "Milestones", "So What", "Walkin", and a nicely stepped-up version of "Autumn Leaves". Shorter's solos are worth the price of the record alone, but Williams' work on the kit never ceases to amaze!

Miles Davis - Live-Evil (1971) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1225~26}
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© 1971, 2006 Sony Music Japan / Columbia | SICP 1225~26 | DSD | HQD High Quality Disc
Jazz / Jazz Funk / Jazz Rock / Trumpet

A beautiful live representation of the energy of the Bitches Brew years – one that has Miles Davis and the group really letting loose with free-flowing, modally-inspired lines – cooking up an incredible blend of acoustic and electric sounds at once! There's a bit of funk here, but not much – and although guitar is sometimes used strongly, it's often not as noisy as in later live sides. Instead, the whole group gels together beautifully – an unlikely assortment of players that includes Gary Bartz and Steve Grossman on reeds, John McLaughlin on guitar, Herbie Hancock on keyboards, Hermeto Pascoal on percussion, Dave Holland on bass, and Jack DeJohnette on drums – all given new focus, direction, and inspiration by Miles!

Miles Davis - Miles Ahead (1957) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1202}
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© 1957, 2006 Sony Music Japan / Columbia | SICP 1202 | DSD | HQD High Quality Disc
Jazz / Cool / Experimental Big Band / Modern Creative / Trumpet

This album is perhaps most significant for the process it set in motion – the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two of Davis' best albums. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn't worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future (because of Davis' contractual obligations with Prestige).

Miles Davis - E.S.P. (1965) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1215}
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© 1965, 2006 Sony Music Japan / Columbia | SICP 1215 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams – gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde.

Miles Davis - Someday My Prince Will Come (1961) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1208}
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© 1961, 2006 Sony Music Japan / Columbia | SICP 1208 | DSD | HQD High Quality Disc
Jazz / Cool / Hard Bop / Trumpet

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb.

Miles Davis - Milestones (1958) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1203}
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© 1958, 2006 Sony Music Japan / Columbia | SICP 1203 | DSD | HQD High Quality Disc
Jazz / Cool / Bop / Hard Bop / Modal Music / Trumpet

What is immedately noticeable upon listening to Miles Davis' classic first – and only – album with his original sextet is how deep the blues presence is on it. Though it's true that the album's title cut is rightfully credited with introducing modalism into jazz, and defining Davis' music for years to come, it is the sole selection of its kind on the record. The rest is all blues in any flavor you wish you call your own. For starters, there's the steaming bebop blues of "Dr. Jackle," recorded in 1955 for a Prestige session with Jackie McLean.

Miles Davis - 'Round About Midnight (1956) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1201}
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© 1956, 2006 Sony Music Japan / Columbia | SICP 1201 | DSD | HQD High Quality Disc
Jazz / Cool / Hard Bop / Trumpet

The combination of attitude and intellect was irresistible. Beginning with ROUND ABOUT MIDNIGHT and proceeding through a remarkable succession of famous recordings over the next 30 years, Miles Davis became one of the greatest soloists, arrangers and talent scouts in the history of American music. People who didn't own a single jazz record came to know his name–Miles was a jazz icon.