A well-sequenced set of nine ballads done by various incarnations of Miles Davis groups for Columbia Records between 1956 and 1984, this compilation is a wonderful listen but pieces like "Flamenco Sketches" and "I Loves You, Porgy," for instance, really need to be heard in their original settings to be truly appreciated…
The title says it all – this compilation contains 12 selections from Davis' classic Columbia recordings, all with a hazy, laid-back feel, perfect mood music for when you're feeling a little blue. There are plenty of classic performances here, from both of his classics quintets, plus his lovely interpretation of Cyndi Lauper's "Time After Time." A pleasant sample of Miles Davis ballads spanning nearly 30 years and all manner of combo sizes. It's hard to criticize these excellent-sounding samples of Miles at his mellow best, even if these pieces are best heard in their original contexts. Makes for smooth listening or as an accompaniment to relaxing or romantic moments.
Massive electric Miles from the same Japanese tour that gave the world the Panagaea and Agharta albums – tracks that were recorded ten days before the concert that appeared on those records, with different songs as well! The music is a dark brew of funk, fusion, and some surprisingly spiritual currents – thanks to wonderful work from Sonny Fortune on alto, soprano sax, and flute – working here alongside guitarist Pete Cosey, who provides plenty of the fuzzier, freakier moments of the set – as does keyboardist Reggie Lucas! Al Foster's drumming is wonderful – and Michael Henderson's bass will blow you away if you only know his later smoother soul albums – but as usual, Miles is the star once he opens up his horn and steps into the darkness.
Rare deluxe compilation that sounds and looks in all ways amazing. Some great picks on here in Miles' own Deception, Gerry Mulligan's Jeru or Baden Powell's Budo for starters. Lovely audophile piece in lovely taste.
Miles Davis published more than 40 albums during his lifetime. The classics "Kind Of Blue", "Sketches Of Spain" and "Bitches Brew" should have even less jazz-interested listeners in their collection. "Miles Deep" now approaches the big man's work on sidewalks: through fantastic live versions and less well-known studios.
Of Miles Davis's many bands, none was more influential and popular than the quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Davis's muted ballads and medium-tempo standards endeared him to the public. The horns' searing exposition of classics like "Salt Peanuts" and "Well, You Needn't" captivated musicians. The searching, restless improvisations of Coltrane intrigued listeners who had a taste for adventure. The flawless rhythm section became a model for bands everywhere. Steamin' With The Miles Davis Quintet is, in many respects representative of the total work of the quintet, it affords an excellent opportunity to examine just what this remarkable music was and how it was made. Such chemistry is inexplicable, and so, apparently, is the personality of the man who generated it.
Bitches Brew is a studio double album by American jazz musician Miles Davis, released on March 30, 1970, on Columbia Records. The album continued his experimentation with electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style. Bitches Brew was Davis's first gold record; it sold more than half a million copies. Upon release, it received a mixed response, due to the album's unconventional style and experimental sound. Later, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians. The album won a Grammy Award for Best Large Jazz Ensemble Album in 1971.