Miles Davis Japan Mini lp

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…

Miles Davis - Get Up With It (1974) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1228~29}
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© 1970-74, 2006 Sony Music Japan / Columbia | SICP 1228~9 | DSD | HQD High Quality Disc
Jazz / Jazz Funk / Jazz Rock / Trumpet

Released in 1974, Get Up With It is a follow-up to Big Fun, which appeared in the same year, offering an overview of the recent period and revealing new directions. The funk genre started with “Honky Tonk” from the Jack Johnson sessions, ran through On The Corner with “Rated X” and “Billy Preston,” and ended up in the groovy structures of “Mtume” where, with the help of the wah-wah pedal, the electrified trumpet abandoned phrasing to work exclusively on timbre and rhythm.

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 - My Funny Valentine (1964) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1211}
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© 1964, 2006 Sony Music Japan / Columbia | SICP 1211 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

One of the finest live albums in the history of jazz, My Funny Valentine presents the Miles Davis Quintet live at the Lincoln Centre's Philharmonic Hall in 1964. Surrounded by the vibrant and youthful rhythm section of Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums), Davis was enjoying a strong new surge of creativity, and played with a stunning level of invention and passion throughout. The resonance of the long title track - one of those flawless performances that happens only very occasionally - dominates the record. Front-line partner George Coleman (tenor saxophone) chose a good evening to play some of the most beautiful solos of his life.

Miles Davis - On the Corner (1972) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1227}
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© 1972, 2006 Sony Music Japan / Columbia | SICP 1227 | DSD | HQD High Quality Disc
Jazz / Jazz Funk / Jazz Rock / Trumpet

Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the picture, the story has been broken off somewhere in the middle, with deep street music melding with a secret language held within the band and those who can actually hear this music – certainly not the majority of Miles' fan base built up over the past 25 years. They heard this as a huge "f*ck you." Miles just shrugged and told them it wasn't personal, but they could take it that way if they wanted to, and he blew on his trumpet.

Miles Davis - Miles Davis In Europe (1964) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1210}
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© 1964, 2006 Sony Music Japan / Columbia | SICP 1210 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

Recorded live in France at the Festival Mondial, du Jazz Antibes, Miles Davis in Europe captures trumpeter Miles Davis in late 1963. While Four & More and My Funny Valentine – both taken from the same 1964 New York Philharmonic Hall concert – are most often cited as this lineup's essential live recording, Miles Davis in Europe is a no less exciting listen. The band, including tenor saxophonist George Coleman, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams had recorded Seven Steps to Heaven a few months earlier, which would turn out to be the one studio album Davis would make with the lineup.

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 - Water Babies (1997) {Sony Records Japan Mini LP, SRCS 9307 rec 1967-1968}
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© 1997 Sony Records Japan | SRCS 9307
Jazz / Post Bop / Fusion / Trumpet

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group!

Miles Davis - Bitches Brew (1969) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1220~21}
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© 1969, 2006 Sony Music Japan / Columbia | SICP 1220~21 | DSD | HQD High Quality Disc
Jazz / Fusion / Jazz Rock / Jazz Funk / Trumpet

Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section.

Miles Davis - Miles Smiles (1966) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1216}
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© 1966, 2006 Sony Music Japan / Columbia | SICP 1216 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

Its greatest triumph is that it masks this adventurousness within music that is warm and accessible – it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom.