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Thread: Miles Davis' Legacy

  1. #26
    I *understand* the thing about the second Quintet, John - but for me, it's the first Quintet that does it - especially the recordings of the European tour in April 1960 — if I had to reduce my desert island discs from 8 to 1, the recording of the radio broadcast of the Stockholm show would be the one I'd take.

  2. #27
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    Quote Originally Posted by jkelman View Post
    I'd agree with you 100%...except I'd make that 1965-1975, as his second great quintet with Herbie Hancock, Wayne Shorter, Ron Carter & Tony Williams is still my overall favourite lineup. Those albums beginning with E.S.P. and Miles Smiles right through Agharta and Pangaea are almost uniformly strong.
    This is exactly where I'm at. The 1965-1968 Quintet boxed set is one of the greatest things to have ever been released, with "Circle In The Round" being the centerpiece. I could listen to Tony Williams coming through my speakers endlessly...

    In A Silent Way, Bitches Brew, Jack Johnson, On The Corner, Big Fun, Get Up With It... treasures, IMO.
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  4. #29
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    Quote Originally Posted by Spiral View Post
    Any of you Agharta/Pangaea fans heard this?

    http://www.waysidemusic.com/Music-Pr...spc-012CD.aspx
    No! But I'm adding it to my want list... good price.
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  5. #30
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    http://plosin.com/milesAhead/mdNews.aspx

    Miles Davis Bootleg Series RIP (October 2019)
    It appears that the Sony/Columbia Legacy Miles Davis Bootleg Series has been terminated.

    Also,

    Miles Davis for Record Store Day (October 12, 2019)
    Two Miles Davis records will be released on November 29, 2019, Record Store Day, a.k.a. Black Friday. Miles in Tokyo, recorded in 1964 and released in Japan by CBS/Sony in 1969, is being issued by the Get On Down label in a limited edition of 2200 copies [details]. Columbia Legacy is issuing Early Minor: Rare Miles from the Complete In a Silent Way Sessions, three tunes from late 1968 and early 1969. Limited to 3500 copies [details].

    This is apparently 3 tracks totaling about 40 minutes from the Silent Way box and disc 6 of the Seven Steps box as far as I can tell, but on vinyl.

  6. #31
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    Quote Originally Posted by mx20 View Post
    Has anyone that recent movie about Miles? Any good? I wonder that film will color his legacy more than his fans might expect? With the general populace, anyway.
    Yes; very disappointing and just... stupid. Pure fiction about a real person. Was Miles really in a car chase/gunfight? I doubt it. Don Cheadle is a great actor, but that's about the only positive thing I can say about it.

    Quote Originally Posted by jkelman View Post
    I'd agree with you 100%...except I'd make that 1965-1975, as his second great quintet with Herbie Hancock, Wayne Shorter, Ron Carter & Tony Williams is still my overall favourite lineup. Those albums beginning with E.S.P. and Miles Smiles right through Agharta and Pangaea are almost uniformly strong.
    I love both of the "great quintets," but I'm partial to the first one, maybe because my tastes in jazz have become more conservative as I've gotten older. Brilliant musicians in both cases, but I like to hear folks playing over chord changes.

    One of the great things about Miles is that like Frank Zappa, he was a tremendous talent scout. I'm too lazy to make a list of all the great musicians who's careers started with playing with either of those two, but suffice to say, it'd be a long one.

  7. #32
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    Quote Originally Posted by No Pride View Post
    Yes; very disappointing and just... stupid. Pure fiction about a real person. Was Miles really in a car chase/gunfight? I doubt it. Don Cheadle is a great actor, but that's about the only positive thing I can say about it.

    One of the great things about Miles is that like Frank Zappa, he was a tremendous talent scout. I'm too lazy to make a list of all the great musicians who's careers started with playing with either of those two, but suffice to say, it'd be a long one.
    Completely agreed on both points! I was thoroughly disappointed in the film. I can't understand why they went with a fictional story.
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  8. #33
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    Quote Originally Posted by Dave View Post
    Stern's guitar solo on Fat Time from "Man With The Horn" is killer. One of my all time favorites on that instrument.
    Quote Originally Posted by rcarlberg View Post
    It was kinda atonal and formless. What did you like about it?
    Had to revisit; it's been a while. I don't think it's formless and it's certainly not atonal. He was doing what many "modern" jazz players do; playing inside and outside of the tonality. "Atonal" implies that it's not related to any sort of traditional tonality; that kind of playing is about juxtaposing tonalities (sorry if that's too "muso"). And as far as form, well, he started out with blues/rock riffs and gradually got busier and more tonally adventurous. Maybe not the most well formed solo ever, but I don't consider it to be "formless."

    Miles' music introduced me to Stern. I think he's a great player (and composer), though his albums can get a bit "samey" after you've digested a few of them.

  9. #34
    There are a lot of Mile's shows recently on Trader's Den. You would have thought Miles just died or something.
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  10. #35
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    Quote Originally Posted by Dave (in MA) View Post
    http://plosin.com/milesAhead/mdNews.aspx

    Miles Davis Bootleg Series RIP (October 2019)
    It appears that the Sony/Columbia Legacy Miles Davis Bootleg Series has been terminated.
    Hold the phone: http://www.plosin.com/milesAhead/mdNews.aspx

    Miles Davis Bootleg Series (October 2019)
    Contrary to what I posted here several weeks ago, the Sony/Columbia Legacy Miles Davis Bootleg Series is still alive, although the production schedule has been slowed down. Beginning in 2011 and continuing until 2018, Sony USA released six volumes of live and studio recordings:

    Live in Europe 1967: The Bootleg Series, Vol. 1 (released 9/20/2011) [details] [booklet (PDF)]
    Live in Europe 1969: The Bootleg Series, Vol. 2 (1/29/2013) [details] [booklet (PDF)]
    Miles at the Fillmore: The Bootleg Series, Vol. 3 (3/25/2014) [details] [booklet (PDF)]
    Miles Davis at Newport 1955-1975: The Bootleg Series, Vol. 4 (7/17/2015) [details] [booklet (PDF)]
    Freedom Jazz Dance: The Bootleg Series, Vol. 5 (10/21/2016) [details] [booklet (PDF)]
    The Final Tour: The Bootleg Series, Vol. 6 (3/23/2018) [details] [booklet (PDF)]
    A seventh volume is in the works. Its release date has not been determined.

  11. #36
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    Quote Originally Posted by yesstiles View Post
    Miles died 25 years ago and he's still making converts, even zealots. I got my first Miles album in 2012 and I'm hooked. I now have over 50 cd's from him. His period 1968-1975 still shines amazingly. I just can't get enough.
    I saw him live and he was awesome. That stretch from 69(IASW)-77(Dark Magus) was stellar
    Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?

  12. #37
    Quote Originally Posted by MYSTERIOUS TRAVELLER View Post
    I saw him live and he was awesome.
    I saw him live in '88. Can't honestly say it was great (although some of the sidemen, mainly Kenny Garrett and Joey DeFrancesco, made good contributions) but I'm glad I did.

  13. #38
    On The Corner is one of my most played albums ever. I can't say I've ever played it all the way through it it's entirety however!

    In small doses Miles funk period hits the spot like no other.

    Here is a killer outtake - why on earth was this left off the final album???

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  14. #39
    _________________________ Dave (in MA)'s Avatar
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    I like the non-On The Corner stuff from the On The Corner box better than the actual On The Corner material.

  15. #40
    Quote Originally Posted by Dave (in MA) View Post
    I like the non-On The Corner stuff from the On The Corner box better than the actual On The Corner material.
    I agree. Maybe Miles was really just trying to piss EVERYONE off!
    Album press release:
    "Hey Cats... We've recorded days worth of angry, discordant, trippy freak-out shit.... and here's the worst of it!"
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  16. #41
    Quote Originally Posted by per anporth View Post
    I *understand* the thing about the second Quintet, John - but for me, it's the first Quintet that does it - especially the recordings of the European tour in April 1960 — if I had to reduce my desert island discs from 8 to 1, the recording of the radio broadcast of the Stockholm show would be the one I'd take.
    Don’t get me wrong; I LOVE the first quintet also (I’ve pretty much every commercial Miles Davis release there is). I just tend to favour the second when I’m thinking of popping on some Miles without anything specific in mind. If I’m looking for more closely mainstream, then that first quintet/sextet definitely does the trick.

    If I want something more electrified, it’s something from 1969-75, specific albums depending on how easy (In a Silent Way, Bitches Brew, Jack Johnson) or difficult (the many ‘70s live albums, On the Corner, Big Fun, Get Up With It) I want it to be.

    But if I just want to hear Miles with no particular thing in mind, ‘65-‘68, with heavy emphasis on Nefertiti, Waterbabies and E.S.P.
    John Kelman
    Senior Contributor, All About Jazz since 2004
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  17. #42
    Quote Originally Posted by Spiral View Post
    Any of you Agharta/Pangaea fans heard this?

    http://www.waysidemusic.com/Music-Pr...spc-012CD.aspx
    Woah! Just ordered that (and three other blowout price titles)!
    John Kelman
    Senior Contributor, All About Jazz since 2004
    Freelance writer/photographer

  18. #43
    Quote Originally Posted by jkelman View Post
    Dont get me wrong; I LOVE the first quintet also (Ive pretty much every commercial Miles Davis release there is). I just tend to favour the second when Im thinking of popping on some Miles without anything specific in mind. If Im looking for more closely mainstream, then that first quintet/sextet definitely does the trick.

    If I want something more electrified, its something from 1969-75, specific albums depending on how easy (In a Silent Way, Bitches Brew, Jack Johnson) or difficult (the many 70s live albums, On the Corner, Big Fun, Get Up With It) I want it to be.

    But if I just want to hear Miles with no particular thing in mind, 65-68, with heavy emphasis on Nefertiti, Waterbabies and E.S.P.
    For me, John, this second Quintet has recently been the window through which I have begun to glimpse the worlds of Wayne Shorter's groups in the early 60s, & the eight records he made for Blue Note; & in parallel, the recordings of Art Blakey's Jazz Messengers with Shorter.

    I can barely comprehend the creative wave that Shorter was riding throughout the ten or so years of these three bands - both his playing, but also, & especially, his compositional development.

    Although the bands are quite different, I'm aiming to come back to the second Quintet after really immersing myself in the earlier bands - just to see how that later music sounds from the explicit perspective of coming after - & maybe growing out of - the earlier music...

  19. #44
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    Quote Originally Posted by per anporth View Post
    For me, John, this second Quintet has recently been the window through which I have begun to glimpse the worlds of Wayne Shorter's groups in the early 60s, & the eight records he made for Blue Note; & in parallel, the recordings of Art Blakey's Jazz Messengers with Shorter.

    I can barely comprehend the creative wave that Shorter was riding throughout the ten or so years of these three bands - both his playing, but also, & especially, his compositional development.

    Although the bands are quite different, I'm aiming to come back to the second Quintet after really immersing myself in the earlier bands - just to see how that later music sounds from the explicit perspective of coming after - & maybe growing out of - the earlier music...
    Yeah, Shorter was on an amazing roll during that time! Interestingly, both his and Herbie Hancock's albums at that time were pretty different from the "freebop" thing they were doing with Miles. They were modern and forward thinking, but they were playing over chord changes. Well, except for Wayne's "The All Seeing Eye," which was pretty free.

    My favorite '60s Wayne album is "Juju." Great tunes and solos! But his output then was all really good!

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