# The Different Faces of Miles Davis



## tdc (Jan 17, 2011)

How many different styles of jazz is Miles Davis associated with? The first thing I listened to was _Kind of Blue_, but it didn't really draw me in for some reason. Lately I've tried the later albums _Miles in the Sky_ and _Big Fun_, and I really like them.

Just curious what other TC members consider their favorite Miles Davis albums/periods?


----------



## HenryPenfold (Apr 29, 2018)

I'm very keen on Miles' music.

In general, my preference in jazz seems to fall within the period circa 1962-1968, mainly acoustic.

So it's the _second quintet_ (1964-1968) for me - Miles, Herbie Hancock, Ron Carter, Tony Williams and Wayne Shorter.

I first found my way into Miles Davis with 'Milestones' (1958), then later I purchased Kind Of Blue (1959) on LP, finally settling on his _post-bop/modal_ period.

My _current_ favourite album is 'Miles Smiles' (1967).

But I haven't answered all your questions! :lol:


----------



## Skakner (Oct 8, 2020)

The more electric the worse (for my ears).


----------



## SanAntone (May 10, 2020)

I like the two albums already posted. Miles Davis is generally considered to have these stylistic periods:

1. Early Bebop period -1946-1949
2. Hard Bop on Prestige -1949-1954
3. The 1st Great Quintet (Prestige and Columbia) - 1955-1956
4. Post 1GQ - 1957-1961
5. Transition to 2GQ - 1962-1964
6. The 2GQ - 1965-1968
7. Electric, pre-retirement - 1969-1975
8. Electric, post-retirement - 1981-1991

I like the pre 1GQ albums Walkin' and Modern Jazz Giants.

The 1GQ albums are all great, but the four "apostrophe" records and 'Round About Midnight are a bit better than the other two.

The post 1GQ includes the soundtrack to Escalator to the Scaffold (1958) and of course his masterpiece, Kind of Blue.

The 2GQ was for a long time my favorite period, Nefertiti is my favorite but all the first four are great. Miles in the Sky and Filles de Kilimanjaro sound transitional to me, but are still good recordings.

The first electric period is another of his great periods, In a Silent Way, Bitches Brew, Live-Evil, Jack Johnson, On the Corner are all great.

His post-retirement period is not of interest to me.

Wikipedia has my 8 periods broken down with more granularity:

2.1 1944–1948: New York City and the bebop years
2.2 1948–1950: Miles Davis Nonet and Birth of the Cool
2.3 1949–1955: Signing with Prestige, heroin addiction, and hard bop
2.4 1955–1959: Signing with Columbia, first quintet, and modal jazz
2.5 1957–1963: Collaborations with Gil Evans and Kind of Blue
2.6 1963–1968: Second quintet
2.7 1968–1975: The electric period
2.8 1975–1980: Hiatus
2.9 1980–1985: Comeback
2.10 1986–1991: Final years


----------



## elgar's ghost (Aug 8, 2010)

The only era I'm not keen on is Miles' final one - say, post-_Agharta/Pangaea_. I appreciate Miles' need to keep abreast of contemporary developments but in general I didn't care for the material which I felt was further undermined by the then-prevailing production values and, in certain cases, choice of instrumentation such as drum machines and sequencers - and now of course like much music from that era it all sounds badly dated whereas even the more rambling funk jams from the 70s come over as timeless in comparison. Apart from _Birth of the Cool_ I've heard nothing of his pre-Columbia output, but I imagine sound issues might put me off the earlier stuff. If I had to pick a time zone I would go for 1964-72.


----------



## starthrower (Dec 11, 2010)

I don't believe Miles was solely responsible for all of these developments in jazz. But he was the most famous musician to harness them and get promoted by the record labels. The 60s quintet is great because of the band as a whole. And it was the younger musicians who pushed Mile's to play differently. And of course the band didn't really take off until Wayne Shorter joined and started writing for the quintet.


----------



## SanAntone (May 10, 2020)

starthrower said:


> *I don't believe Miles was solely responsible for all of these developments in jazz.* But he was the most famous musician to harness them and get promoted by the record labels. The 60s quintet is great because of the band as a whole. And it was the younger musicians who pushed Mile's to play differently. And of course the band didn't really take off until Wayne Shorter joined and started writing for the quintet.


If you are implying I made that claim in my post, you are wrong. I never said Miles Davis created these styles only that his bands at various times exhibited these stylistic forms. Now, I do believe that Miles was a crucial innovator and was responsible for leading the way for many other jazz musicians. He also chose musicians specifically for their abilities and let them play freely.

All of the younger sidemen especially Herbie Hancock and others have credited Miles with leadership and mentorship. His own trumpet playing did not change dramatically, he just placed it within different stylistic contexts.

The primarily motivating force for Miles going electric was his desire to reach a larger Black audience (which had abandoned Jazz), play larger venues, and of course to make more money. He watched James Brown, Sly Stone and Jimi Hendrix accomplish this and wanted to access the same path.


----------



## starthrower (Dec 11, 2010)

I am not implying anything from your post. I wasn't responding to anyone here in particular. But in general jazz music writers credit Miles for inventing all of these developments. Or maybe it's younger fans imagining this in hindsight? But it's true that Miles could pick the musicians who could instinctively play what he wanted to hear.


----------



## SanAntone (May 10, 2020)

These are my favorite of the complete sessions boxes:

*Complete On the Corner Sessions *

View attachment 152714


*The Complete Columbia Studio Recordings Of The Miles Davis Quintet January 1965 To June 1968 *

View attachment 152715


----------



## Barbebleu (May 17, 2015)

SanAntone said:


> I like the two albums already posted. Miles Davis is generally considered to have these stylistic periods:
> 
> 1. Early Bebop period -1946-1949
> 2. Hard Bop on Prestige -1949-1954
> ...


I like your breakdown of the periods SA. I can listen to Miles from any period but my favourites would be 3 through 7 in particular 6 & 7. I still remember the thrill of hearing In a Silent Way, Bitches Brew and Jack Johnson for the first time. I came to love the second great quintet a couple of years later.


----------



## starthrower (Dec 11, 2010)

I actually forfeited my one opportunity to go see Miles because it was five years in to the post retirement phase and I didn't want to listen to Michael Jackson and Cyndi Lauper covers.


----------



## SanAntone (May 10, 2020)

starthrower said:


> I actually forfeited my one opportunity to go see Miles because it was five years in to the post retirement phase and I didn't want to listen to Michael Jackson and Cyndi Lauper covers.


When I first got to NYC and made contact with the musicians I knew, one of the first I hooked up with was a group of North Texas alums who were sharing a loft on 28th street and 7th. One of them was sax player Bill Evans. We were walking to the Village one evening and he told me he just got the gig with Miles and I said, "yeah, sure. ha ha." I guess he showed me.


----------



## starthrower (Dec 11, 2010)

Bill Evans has been here a couple of times with his Soul Grass band. I met after one of the gigs. A very personable guy.


----------



## tdc (Jan 17, 2011)

Thanks for the responses so far, so these are the jazz approaches I can decipher that Davis was associated with:

Bebop
Hardbop
Modal
Electric

Am I missing anything? It is probably hard to categorize some of his music.


----------



## SanAntone (May 10, 2020)

tdc said:


> Thanks for the responses so far, so these are the jazz approaches I can decipher that Davis was associated with:
> 
> Bebop
> Hardbop
> ...


The quintet during 65-68 played a style of post-bop that has been described "form, no changes." What that means is that they generally held to the form, the structure, of the tune but played freely, i.e. not following the original chord progression of the head.


----------



## starthrower (Dec 11, 2010)

Bebop was the spark that ignited the young Davis's imagination as a teenager in the midwest. He describes the feeling of listening to the Billy Eckstine band in the beginning of his autobiography.


----------



## tdc (Jan 17, 2011)

On further review I would say Davis was associated with the following jazz movements:

Bebop
Hard bop
Post bop
Modal
Cool Jazz
Electric
Jazz Fusion


----------



## tdc (Jan 17, 2011)

What are all the genres of jazz? 

Ragtime
Dixieland
Gypsy Jazz
Big Band
Swing
Bebop
Hard bop
Post bop 
Modal
West Coast Jazz
Cool Jazz
Free Jazz
Electric 
Jazz Fusion

I wonder if this is essentially all of them...


----------



## HenryPenfold (Apr 29, 2018)

Jazz Funk


Jazz Funk is less than 15 characters ................


----------



## tdc (Jan 17, 2011)

^^ Right I just remembered Latin Jazz as well, and bossa nova.


----------



## starthrower (Dec 11, 2010)

Afro Cuban
Chamber jazz a la Chico Hamilton Quintet and Modern Jazz Quartet
Third Stream combining jazz with modern classical.

I wouldn't say Electric is a genre. There is a whole world of Euro jazz that encompasses different styles and esthetics.


----------



## tdc (Jan 17, 2011)

^ I think you're right about electric, its a pretty vague descriptor.


----------



## tdc (Jan 17, 2011)

Miles Davis according to Herbie Hancock:


----------



## tdc (Jan 17, 2011)

Ok electric isn't a thing, so what is this style called? I like the droning effect here a lot, and Dave Liebman sounds tight!

Miles Davis Live in Vienna 1973 Stadthalle ganzes Konzert (music starts at about 5:35)


----------



## starthrower (Dec 11, 2010)

Most people refer to post 1969 as Electric Miles which is fusion for lack of a better term.


----------



## elgar's ghost (Aug 8, 2010)

Big Sunglasses Miles???


----------



## norman bates (Aug 18, 2010)

my favorite period is definitely the second quintet (E.S.P, Miles Smiles, Nefertiti, Sorcerer and the live stuff), altough if I have to choose my very favorite album would be Filles de Kilimanjaro. It's often considered a transitional album, and it is, but I have the impression that many says that as "not something mature", when to me it's just an incredible one. I especially like the fact that it has a more serene atmosphere and more emphasis on composition than later electric stuff. Tout de suite, Mademoiselle Mabry in particular are just amazing.
Some other big favorites are Bitches brew (Sanctuary is a masterpiece), Sketches of Spain, Circle in the round (especially for the title track). His rendition of My funny Valentine from the namesake album is a an absolute gem.
I like the electric period in general, altough I miss the stronger compositions of the earlier period. The music of the so called "lost quintet" of the period between the second quintet and the albums of the electric period is great too.

Short answer: you can't go wrong with Miles Davis from late fifties to early seventies.


----------



## HenryPenfold (Apr 29, 2018)

norman bates said:


> " ........if I have to choose my very favorite album would be Filles de Kilimanjaro. It's often considered a transitional album


I find this idea of a 'transitional' album quite interesting. It is often put forward as a detraction from the album in question. I take the view that an album by an artist is a snapshot in time, that captures where the artist was at that moment and it doesn't really matter went before, or what's coming next.


----------



## SanAntone (May 10, 2020)

HenryPenfold said:


> I find this idea of a 'transitional' album quite interesting. It is often put forward as a detraction from the album in question. I take the view that an album by an artist is a snapshot in time, that captures where the artist was at that moment and it doesn't really matter went before, or what's coming next.


I think the transitional aspect is related to the makeup of the bands. Before Miles arrived at the steady personnel of a seminal band several incarnations might occur. It took a few years for the 2GQ personnel to fall into place, and there were several records which document the journey before the lineup of Wayne Shorter, Herbie Hancock, Tony Williams and Ron Carter were all in place.

_Filles de Kilimanjaro_ is an album that falls at the end of the 2GQ and before the electric bands of the '70s.

But this doesn't mean that the music is in any way inferior to the music from before or after. It is often the case that some of Miles's best stuff is found on these "transitional" records.


----------



## Jay (Jul 21, 2014)

SanAntone said:


> "form, no changes."


Actually, it's "_time_, no changes."


----------



## Jay (Jul 21, 2014)

Narrowed down:

Ascenseur pour l'échafaud 
Cookin'
Milestones
Kind of Blue
... in Stockholm
... at Carnegie Hall
Miles Smiles
... at Plugged Nickel
Filles de Kilimanjaro
...in Europe, 1967
In A Silent Way
Jack Johnson
Lost Quintet
Pangaea


----------



## SanAntone (May 10, 2020)

Jay said:


> Actually, it's "_time_, no changes."


I stand corrected. 

Listening this morning to this:

View attachment 152816


----------



## starthrower (Dec 11, 2010)

I have the re-issued box of the 60s quintet. Cheap packaging with the CDs all pressed against each other with no sleeves. But I got it from Grooves, inc. for 20 bucks. The only Miles box I have other than the Official Bootleg stuff. Most of the electric material after 1970 doesn't do much for me. I like Live/Evil, and Big Fun. And Jack Johnson once in a great while. My favorite track by far is one of the first tunes with electric keyboards called Stuff from Miles In The Sky. Such a cool tune! It reminds me of Miles sparing in the boxing ring and throwing out his jabs.


----------



## SanAntone (May 10, 2020)

starthrower said:


> I have the re-issued box of the 60s quintet. Cheap packaging with the CDs all pressed against each other with no sleeves. But I got it from Grooves, inc. for 20 bucks. The only Miles box I have other than the Official Bootleg stuff. Most of the electric material after 1970 doesn't do much for me. I like Live/Evil, and Big Fun. And Jack Johnson once in a great while. My favorite track by far is one of the first tunes with electric keyboards called Stuff from Miles In The Sky. Such a cool tune! It reminds me of Miles sparing in the boxing ring and throwing out his jabs.


I have all of the complete sessions boxes and the original recordings in original CDs and LPs. I was at North Texas with Bob Belden who had all these cassette tapes of Miles bootlegs (this was the 70s) and in general knew everything about Miles's bands, etc. He later went on to co-produce and curate the metal boxes.


----------



## Barbebleu (May 17, 2015)

Have you seen the extraordinary price they are asking on Amazon.uk for the On the Corner metal box. Crazy money. I’m almost tempted to sell mine but it’s so nice!!


----------



## starthrower (Dec 11, 2010)

Too bad about Belden dying at such a fairly young age. He and British trumpeter Ian Carr were both Miles Davis musicologists.


----------



## SanAntone (May 10, 2020)

starthrower said:


> Too bad about Belden dying at such a fairly young age. He and British trumpeter Ian Carr were both Miles Davis musicologists.


Yes. He was also a really good arranger and sax player.


----------



## SanAntone (May 10, 2020)

Today I made a huge playlist, 555 tracks, of all of the "Complete Sessions" boxes (they're all on Spotify). These collections traverse Miles Davis's entire career.

Listening on random play mode has been enjoyable.


----------



## Barbebleu (May 17, 2015)

If I had the patience I would do the same on my iPod. Actually as I was typing this I realised I already have a Miles playlist on my iPod so I can just set it to shuffle and I’m sorted.


----------



## tdc (Jan 17, 2011)

Listening to _In A Silent Way _right now, most of this album the bass player is hanging around the same note, I wonder if this is related to the 'time no changes' concept? The parts of the album that aren't droning as much sound very unique, reminds me a little of some of the music I've heard by Bill Frisell.


----------



## tdc (Jan 17, 2011)

Now onto _Sketches of Spain_, this album wows me immediately. The arrangements and harmonies sound outstanding.


----------



## tdc (Jan 17, 2011)

In case you can't tell most of Miles Davis albums I haven't listened to yet. Lucky me, I have a lot of excellent music to discover. Next up in my listening queue the 1955 album _Blue Moods_.


----------



## tdc (Jan 17, 2011)

I really enjoy the timbre of vibraphone, sounded great on _Blue Moods_. Then I listened to _Relaxin'_ also good, although kind of interesting that the album has Coltrane, and none of the compositions are by Miles Davis, yet it is still referred to as a Miles Davis record...

Now I'm listening to the 1972 album _On the Corner_ and recognizing a similar vibe from the Vienna concert I posted earlier this thread.

Next in the queue is the iconic _Bitches Brew_.


----------



## norman bates (Aug 18, 2010)

tdc said:


> I really enjoy the timbre of vibraphone, sounded great on _Blue Moods_. Then I listened to _Relaxin'_ also good, although kind of interesting that the album has Coltrane, and none of the compositions are by Miles Davis, yet it is still referred to as a Miles Davis record...


as brilliant as he was (and he was a phenomenal musician), one of the things that makes his discography so great and varied it's exactly the fact that he used so many different musicians with different styles... and their compositions and arrangements. That's one thing that many persons omit (especially when it's time for the "he changed the course of jazz many times" argument), but the merits of "his" albums are much more collective than with other jazz greats who wrote and arranged their tunes. My idea is that the fact that he was good looking and he had a air of badassery that made him the cool guy, the poster child of the genre, and that (and the consequent financial success) helped him to attract the musicians he wanted to work with. He was in a very privileged position for the genre, where he saw someone who had certain things that he liked, he snapped his fingers and that musician were happy to be on his album. I mean, look at the story with Wayne Shorter, who was already in a very successful band with Art Blakey. Miles realized that he was a great composer and he literally stole him.
He obviously put a direction on his albums and he had amazing taste, but yes, with his work is not like with a Monk/Mingus/Coltrane or similar guys that used their own material, their own concepts, their arrangements (they of course, they played also their good amount of standards and covers like almost everybody)


----------



## starthrower (Dec 11, 2010)

To be fair, Coltrane, Monk, and Mingus all hired the best of the best. But Miles was in to more different kinds of jazz music. And he cracked the whip and made things happen right from the start with Birth Of The Cool.


----------



## SanAntone (May 10, 2020)

Most of the sidemen who made their names with Miles Davis went on to become major leaders in their own right. I don't think this is an accident nor coincidental. But there seems to be a need by some to diminish the importance of Miles Davis's leadership.


----------



## Barbebleu (May 17, 2015)

Miles, besides being a great artist himself, had an unerring eye in spotting great talent that would enhance his own vision of what his music should and could be. You buy quality, you get quality. He also knew when to let these guys go and do their own thing.


----------



## starthrower (Dec 11, 2010)

Miles said people used to tell him to fire Coltrane. And of course he told them to shut the f#ck up!


----------



## tdc (Jan 17, 2011)

Listened to _Bitches Brew_ and _Live Evil_, the former is now among my fav Davis albums and the latter is pretty excellent as well, rhythmically and from a drumming perspective it is one of the most impressive albums I've listened to.

Next in the queue _Cookin'_.


----------



## juliante (Jun 7, 2013)

HenryPenfold said:


> I'm very keen on Miles' music.
> 
> In general, my preference in jazz seems to fall within the period circa 1962-1968, mainly acoustic.
> 
> ...


Same as me. Are you able to recommend any other albums by any artists based on a liking of this album?


----------



## starthrower (Dec 11, 2010)

If you like Miles Smiles, you probably should explore the solo albums of Wayne Shorter, and Herbie Hancock from that same time period.

Shorter - Speak No Evil, Juju, Night Dreamer
Hancock - Maiden Voyage, Speak Like A Child

Some other you may enjoy are Jackie McLean - Destination Out, One Step Beyond
Grachan Moncur - Some Other Stuff 
Andrew Hill - Dance With Death, Black Fire
All the Bobby Hutcherson stuff from the 60s is great.
Freddie Hubbard - Hub Tones
Tony Williams Lifetime on Blue Note
McCoy Tyner - The Real McCoy


----------



## HenryPenfold (Apr 29, 2018)

juliante said:


> Same as me. Are you able to recommend any other albums by any artists based on a liking of this album?


Wow! Where to start???

Well, if it's the period around '62/'68 I'd suggest the first port of call should be:

1) *Tony Williams*' 1964 Blue Note album '*Lifetime*' with Herbie Hancock, Sam Rivers, Bobby Hutcherson, Ron Carter, Richard Davis & Gary Peacock. An absolutely superb album, one of the best Jazz albums out there.

2) *Eric Dolphy*'s *'Out To Lunch*' Album, also from 1964 on Blue Note. An incredible musician who died too young to deliver fully on his huge talent - this album is an absolute 'must hear'

After that, from that era, I'd check out albums by Andrew Hill, Jackie McLean, Wayne Shorter, Bobby Hutcherson, McCoy Tyner, Grachan Moncur III & Dexter Gordon (all my *personal* favourites).

The foregoing is all based on my personal view and I take no responsibility for any unsatisfactory experiences therefrom!!!


----------



## HenryPenfold (Apr 29, 2018)

Just seen Starthrower's post #51, and our lists virtually overlap!! 

I would definitely agree with Starthrower's suggested Herbie Hancock albums.


----------



## Barbebleu (May 17, 2015)

Thank you Henry and Starthrower for saving me the trouble of making the same suggestions!:lol:


----------



## Barbebleu (May 17, 2015)

tdc said:


> Listened to _Bitches Brew_ and _Live Evil_, the former is now among my fav Davis albums and the latter is pretty excellent as well, rhythmically and from a drumming perspective it is one of the most impressive albums I've listened to.
> 
> Next in the queue _Cookin'_.


You might find that Cookin' is a different horse than BB or LE. You're taking a fair leap back in time and substance. Still good stuff but........!


----------



## vincula (Jun 23, 2020)

Agree of course on the above-mentioned suggestions. I would add Sam Rivers to your listening list:

























And some Lee Morgan too:









Just a few of the many marvels out there!

Regards,

Vincula


----------



## starthrower (Dec 11, 2010)

The Donald Byrd album with Wayne Shorter is another one I like. I forget the title. The one with the birds on the cover. It's a Blue Note album.


----------



## vincula (Jun 23, 2020)

starthrower said:


> The Donald Byrd album with Wayne Shorter is another one I like. I forget the title. The one with the birds on the cover. It's a Blue Note album.


Absolutely! *Free Form* 

View attachment 153035


Regards,

Vincula


----------



## vincula (Jun 23, 2020)

I treasure these Miles box with the complete concerts at the Plugged Nickel '65. So great to hear the same songs played over and over again in different fashion with all musicians stretching freely. Must have been unforgettable nights for some!

View attachment 153036


Regards,

Vincula


----------



## tdc (Jan 17, 2011)

Listened to _Cookin'_ and also re-listened to the album _Kind of Blue_. The former is very nice, as far as _Kind of Blue_, something about this album doesn't fully click with me. Maybe modal jazz is not as much to my tastes...there is also a lot of sax on this record, and they seem kind of loud in the mix. The piano is relatively quiet and often minimalistic. I like to hear more piano. Maybe also is the feeling that I'm supposed to really love this album so the fact I'm more ambivalent is kind of frustrating. Anyway as far as '50's albums I've listened to I prefer _Blue Moods_, _Relaxin'_, and _Cookin'_.

Next up is _Miles Smiles_.


----------



## norman bates (Aug 18, 2010)

tdc said:


> Listened to _Cookin'_ and also re-listened to the album _Kind of Blue_. The former is very nice, as far as _Kind of Blue_, something about this album doesn't fully click with me. Maybe modal jazz is not as much to my tastes...there is also a lot of sax on this record, and they seem kind of loud in the mix. *The piano is relatively quiet and often minimalistic. I like to hear more piano. *


that was intentional. Davis was an admirer of Ahmad Jamal (who played like this: 



) and that influenced him to look for more space in his music, going basically on the opposite direction of bebop. That's one of the reason that Kind of blue has almost the feel of previously composed music and that makes it memorable and easily approachable for a lot of people. While many works after were much more dense (especially in the electric period where the music was heavily layered but even in the second quintet) even on albums like "Miles Smiles" Davis asked to Hancock to play with just one hand if I remember correctly.
If you're into very busy piano I would look in different directions (if you haven't yet), like Art Tatum, Oscar Peterson, Phineas Newborn, Bernard Peiffer, Umberto Cesari (or guys like Cecil Taylor or Legendary Hasaan for something in a more modern/avantgarde vein)


----------



## starthrower (Dec 11, 2010)

I rarely listen to Kind Of Blue anymore but I still feel like So What, and Blue In Green are masterpieces to be treasured by listeners for ages. Maybe you would enjoy the Bill Evans trio albums a bit more. No horns taking up the musical spaces. Personally I'm not one for busy piano playing so Evans, Ellington, and Hank Jones, Hancock, and Monk are fine for my listening needs.


----------



## tdc (Jan 17, 2011)

No, I think you guys are going too far with my comment, I don't need 'really busy piano' I was just saying I thought the piano was kind of quiet in the mix, and sometimes a little repetitive. I love Ellington's piano work, and what I'm hearing so far on _Miles Smiles_ by Hancock is also great.


----------



## starthrower (Dec 11, 2010)

Herbie did play some great stuff on that album. His solo on Circle is a whole world within itself. A composition within a composition.


----------



## tdc (Jan 17, 2011)

starthrower said:


> Herbie did play some great stuff on that album. His solo on Circle is a whole world within itself. A composition within a composition.


Yes, and now on the b side of the record the piano is often sparse, quiet and at times repetitive, but I still like it! The musical mood here is different than on _Kind of Blue_ and the piano approach is working for me. Each style dictates its own logic, I guess.

That said I agree with Norman Bates that the piano sound on _Kind of Blue_ was intentional, and obviously its a very successful record, so I respect it, and I wouldn't change it. Its just for whatever reason the over all feel isn't what I'm particularly attracted to at the moment.


----------



## tdc (Jan 17, 2011)

I've now listened to the following Miles Davis albums:

Miles in the Sky
In a Silent Way
Jack Johnson
Blue Moods
Relaxin'
On the Corner
Live Evil
Bitches Brew
Big Fun
Cookin'
Kind of Blue
Sketches of Spain
Miles Smiles

I think I am going to take a hiatus on this listening project for now, and come back to it in a while. 

All of those 13 albums have some great and inspired music, but I think the following four stand out as clear favorites for me:

Big Fun
Sketches of Spain
Bitches Brew
Miles Smiles


----------



## starthrower (Dec 11, 2010)

Don't miss out on the other 60s quintet albums. ESP, and Nefertiti are classics.


----------



## Jay (Jul 21, 2014)

tdc said:


> I think I am going to take a hiatus on this listening project for now, and come back to it in a while.


Check out _Filles de Kilimanjaro_ before you go.


----------



## norman bates (Aug 18, 2010)

I completely agree with both Starthrower and Jay, and I would add also a couple of other gems from the sixties:


----------



## starthrower (Dec 11, 2010)

The 4 CD Miles In Stockholm 1960 is being reissued in April at a discounted price. About 20 dollars cheaper than it's been for the past 25 years. https://www.importcds.com/in-stockholm/7391953002283


----------



## SONNET CLV (May 31, 2014)

I'll speak up for _Kind of Blue_ as a seminal Miles Davis and jazz genre album. Quite simply, it's one of the greatest recordings of music to day, a statement which is, of course, my opinion, but one formed from hearing much music in many genres, and of having a substantial collection of Miles Davis Discs.

Some years back I filled in a lot of gaps by adding the Miles Davis box set _The Complete Columbia Album Collection_, 52 albums on 70 CDs:









That's one way to hear some Miles. The music goes on for miles.

Of course, I had at least two dozen of the albums prior, on vinyl. I still like my Miles on vinyl.

_Kind of Blue_ I've collected in about two dozen different pressings so far, from an early 1959 Mono pressing to early releases dating through the 60's, 70's and 80's. I have Mono copies and Stereo copies, U.S. and European and Japanese pressings. Vinyl and CD. The best sounding of these discs remain (in CD format) SME Records ‎- SRGS-4501, an SACD release from Japan, May 1999. (A close second on CD is Sony Music ‎- 88843026042, a Remastered HDCD released in 2014.) But the absolute best sound, at least from any _Kind of Blue_ in my collection, is from the Mobile Fidelity Sound Lab ‎- MFSL 2-45011, Original Master Recording Gain 2™ Ultra Analog 45RPM 180g Series: 2 12" 180 Gram Vinyl 45 RPM discs, Remastered, Stereo, in a Limited Edition, Numbered, Special Edition box set. Released: Sept. 2015. The downside to these splendid discs is that three of the sides have only one track, side B or 2 has two tracks, which means a lot of getting up and flipping and switching records to hear the music. The upside is there is nothing quite like the sound of these discs, of having Miles and his bandmates in the room with you for a private concert. You won't even remember ever getting up to flip or switch a disc.

The one album in _The Complete Columbia Album Collection_ disc collection that I don't much favor is the 52nd album, _Aura_, on which Miles blows trumpet but none of the music is his own. It's a suite composed by Palle Mikkelborg. I've tried several times to like the music, but it always defeats my intentions. Oh well ...

Still, this Miles box set (and the similarly packed 43 disc set of Columbia/Legacy recordings, _The Genius Of Miles Davis_, commonly called "the Trumpet Box" because of the packaging, a set also in my collection) don't cover even half the range of Davis. Though the musician is most associated with the Columbia label, you have to go to Warner Bros. to get _Tutu_, one of my favorite Miles Davis albums, with music in arrangements largely by bassist Marcus Miller who wrote the title tune.









Warner Bros. Records also produced and released (posthumously, I believe) the album _Doo-Bop_, which ranks for me with _Aura_ as music I'd rather not think of associating with Miles Davis.









Of course, if you're a die-hard Miles Davis fan, as I am, you'll want to hear both _Doo-Bop_ and _Aura_. My suggestion is that you do. Only wait till you've heard the hundreds of other albums before you take on those two releases, just in case you lose your hearing or, God forbid, die before completing your Miles mission.

There's so much to explore with Miles. And he keeps things interesting, surprising at every turn.

I find great delight in early Miles, much of it from radio recordings which are now available to the general public by way of disc or downloads. The box sets _Live Recordings 1948-1957_ on United Archives ‎- NUA 08, and _Waiting For Trane_ on Le Chant Du Monde ‎- 574 1651.59, add a total of 22 CDs to the Miles legacy.

















Whether it ballads or hard bop, Miles delivers. My favorite tune from the early days of Miles trumpet is the ballad "It Never Entered My Mind", which shows up on many a Miles Davis compilation. It makes any of those compilations worth its price.

Too, you won't want to miss Miles and Thelonious Monk. _Bags Groove_ on Prestige ‎P-7109 remains an essential document for fans of Miles.


----------



## SONNET CLV (May 31, 2014)

View attachment 153486


When Miles plays with the best he himself improves from his stellar self to a super steller self. Don't miss _Bags Groove_.


----------



## elgar's ghost (Aug 8, 2010)

If I haven't got _The Complete In a Silent Way_, _Bitches Brew_ and _Jack Johnson_ _sessions_ but have the standard studio albums am I right in thinking that it's still worth getting _Circle in the Round_ and _Directions_ compilations despite some duplication with bonus tracks on earlier albums?


----------



## norman bates (Aug 18, 2010)

elgars ghost said:


> If I haven't got _The Complete In a Silent Way_, _Bitches Brew_ and _Jack Johnson_ _sessions_ but have the standard studio albums am I right in thinking that it's still worth getting _Circle in the Round_ and _Directions_ compilations despite some duplication with bonus tracks on earlier albums?


For Circle in the Round absolutely. That sort of shamanic rite that is the title track alone is absolutely essential MIles Davis in my opinion*, and there are other great things like Guinnevere and Sanctuary. Yes Sanctuary appears also on Bitches brew but it's a very different version of what is in any case an amazing composition.
I can't say about Directions because I haven't listened to it yet.

*for whatever reason it seems that Miles wasn't very satisfied with it, which is quite baffling to me.


----------

