Miles Davis Sketches of Spain

Miles Davis' recordings of 1951-1954 tend to be overlooked because of his erratic lifestyle of the period and because they predated his first classic quintet. Although he rarely recorded during this era, what he did document was often quite classic. The two sessions included on this CD (which includes three alternate takes) are among the earliest hard bop recordings and would indirectly influence the modern mainstream music of the 1960s. The first session features Davis in a sextet with trombonist J.J. Johnson, altoist Jackie McLean, pianist Gil Coggins, bassist Oscar Pettiford, and drummer Kenny Clarke; highlights include "Dear Old Stockholm," "Woody 'n You," and interpretations of "Yesterdays" and "How Deep Is the Ocean"…

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both…

This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for.

In a Silent Way is a studio album by American jazz musician Miles Davis, released 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 B 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.

None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes…

Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis - saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume - was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here. The music on Agharta, a total of three tunes spread over two CDs and four LP sides, contains the "Prelude," which clocks in at over a half-hour…

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session - featuring Thelonious Monk - which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed…

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session - featuring Thelonious Monk - which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed…

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session – featuring Thelonious Monk – which is documented on the two takes of the title track…