Miles Davis Japan Mini

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 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 - 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 - 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 - 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 - 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 - 1958 Miles (1959) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1204}
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© 1958, 2006 Sony Music Japan / Columbia | SICP 1204 | DSD | HQD High Quality Disc
Jazz / Cool / Bop / Hard Bop / Modal Music / Trumpet

1958 MILES is a Japanese album which gathers together Miles Davis' four non-LP studio recordings from that watershed year ("On Green Dolphin Street," "Fran Dance," "Stella by Starlight" and the phenomenal "Love for Sale"), tosses in a particularly progressive 1955 track by the trumpeter's original quintet ("Little Melonae") and as a result earns a place right alongside MILESTONES and KIND OF BLUE for the superb quality of its music.

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 Davis In Europe (1964) {2006 DSD Japan Mini LP Edition, SICP 1210}
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© 2006 Sony Music Japan / Columbia | SICP 1210
Jazz / Modal Music / Hard Bop / 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.

Miles Davis - Miles In Tokyo (1964) {Columbia Japan, Mini LP, Sony Master Sound SRCS 9112 rel 1997}
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© 1964, 1997 Columbia / Sony Japan | SRCS 9112 | Master Sound | SBM
Jazz / Modal Music / Hard Bop / Trumpet

After George Coleman left the Miles Davis Quintet, tenor-saxophonist Sam Rivers took his place for a short period including a tour of Japan. Davis did not care for Rivers's avant-garde style (they failed to develop any chemistry) and soon replaced him, but this live LP (originally only issued in Japan) survived to document this brief association. The music (five lengthy versions of standards) is actually of high quality with both Davis and Rivers in fine form and the young rhythm section (pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) pushing the trumpeter/leader to open up his style.