Davis Berg

Born in 1885, Alban Berg was one of the most significant composers of the Second Viennese School, whose output proved tremendously influential in the development of music in the twentieth century. He was a student of Schoenberg, who found that his juvenile compositions were almost exclusively written for voice; his natural ability to write lyrical melodic lines (even in later life while following the restrictions of twelve-tone serialism) probably remained the most outstanding quality of his style. His Op. 1 Piano Sonata was the fulfilment of a task set by Schoenberg to write non-vocal music. The Passacaglia, written between the sonata and World War I was only completed in short-score, and may have been intended to form part of a larger work. Both pieces are recorded here in skilful orchestrations by Sir Andrew Davis. The Three Orchestral Pieces were composed alongside his first great masterpiece, Wozzeck, and could be seen as a tribute to his musical hero, Mahler.

Born in 1885, Alban Berg was one of the most significant composers of the Second Viennese School, whose output proved tremendously influential in the development of music in the twentieth century. He was a student of Schoenberg, who found that his juvenile compositions were almost exclusively written for voice; his natural ability to write lyrical melodic lines (even in later life while following the restrictions of twelve-tone serialism) probably remained the most outstanding quality of his style. His Op. 1 Piano Sonata was the fulfilment of a task set by Schoenberg to write non-vocal music. The Passacaglia, written between the sonata and World War I was only completed in short-score, and may have been intended to form part of a larger work.

Miles Davis's final Columbia recording (other than Aura which was released several years later) includes his straightforward ballad interpretations of Cyndy Lauper's "Time After Time" and the Michael Jackson-associated "Human Nature," two songs he would play in most of his concerts for the remainder of his life. Other tunes (including "You're Under Arrest," "One Phone Call" and "Ms. Morrisine") were quickly discarded. In addition to Davis (who had regained his earlier chops) tenor-saxophonist Bob Berg, guitarist John Scofield and guest John McLaughlin get in a few decent solos on this competent but not overly memorable effort.

If you are familiar with the fragile, faltering trumpet sound Miles Davis revealed on his return to music in 1982 the first thing that will strike you here is that by 1985 the 'prince of darkness' had his strength and his embouchure back. By '85 Miles is both up to it and up for it. As are his band. Seasoned tenor firebrand Bob Berg and guitarist John Scofield share the frontline; Darryl Jones deploys his industrial strength funk bass to maximum effect and Miles' nephew Vince Wilburn Jr. proves that the drum kit Davis bought him as a Star kid was a sound investment. As always with Miles the set list is drawn from contemporaneous releases: Star People (1983), Decoy (1984) and predominantly You're Under Arrest (1985). Performed on July 28, 1985 at Yomiuri Land, Open Theatre East, Inagi, Japan and broadcast on NHK radio.

Miles Davis - The Complete Miles Davis At Montreux (2002) {20 CD LongBox Warner 0927-41836-2 rec 1973-1991}
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© 1973-91, 2002 Warner Music Switzerland | 0927-41836-2
Jazz / Jazz Rock / Fusion / Experimental Big Band / Trumpet

Produced with loving care by Claude Nobs, founder of the Montreux Jazz Festival, with no edits or overdubs, this document of Miles Davis's Montreux performances shows through never-before-released material how Miles and company transformed his music live, with their fire, invention, and interplay. The list of sidemen on these dates is a who's who of today's superstars, including saxophonist Dave Liebman, guitarists John Scofield and Robben Ford, keyboardists Adam Holzman and Kei Akagi, bassist Michael Henderson, and percussionist Mtume. Most of the music on these discs features versions of Davis's fusion "hits." The funky and R&B-ish ditty "Ife" and the bouncy "Calypso Frelimo" are rendered with more gusto than their studio versions, as are the in-the-pocket, mid-'80s tunes "Star People" and "New Blues." A package this big has more than a few surprises, however. Chaka Khan lends her powerful pipes to Davis's unique cover of the Michael Jackson sleeper, "Human Nature," and "Al Jarreau" is an upbeat (though too short) tribute to the great vocalise master.

Miles Davis - Tutu (1986) {2011 Deluxe Edition} {Warner Jazz 8122797687}
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© 1986, 2011 Warner Jazz | 8122797687
Jazz / Fusion / Trumpet

This package contains the original, studio-concocted Miles Davis set that Miller mostly composed. There's also a previously unreleased gig from that year's Nice Jazz festival, delivered by a powerful octet including the late Bob Berg on tenor sax. As liner-note writer Ashley Kahn points out, I made an about-turn over this music in the 80s, from first doubting it as bland funk to reconsidering it as late-flowering Miles, creativity galvanised by Miller's input. But more importantly, Kahn's fine essay offers insights into Miller's assessment that producing finished studio tracks for Miles to blow on didn't work: you had to leave them as rougher sonic sketches and let his improvising bring them to life.