Panthalassa: The Music of Miles Davis 1969-74 [Import]

Amazon.com
There are more tributes to Miles Davis's acoustic jazz groups of the 1950s and 1960s than one can easily count. But there are precious few explorations of his outlaw electric jazz period, dating from 1969 to 1974. Himself a studio outlaw of sorts, bassist and producer Bill Laswell goes a good distance rectifying the lack of attention paid to Davis's growling, funky electric period. He remixes and "translates" the dramatic slowness of In a Silent Way and smoothes over the abrasive jump cuts and edits that have made On the Corner a blazing listen for over 25 years. Laswell builds ambient-dub spreads on Davis's electro-fusion architecture, and he makes heavy funk out of the Davis band's mix of low-end bassiness and high-end soprano sax and electric piano. Look out for more paeans to the previously maligned electric period in Miles Davis's career. --Andrew Bartlett

Product Description
Recompiled and Remixed by Bill Laswell, this Release Takes Some of the Most Electrifying Miles Davis Tracks and Makes them Even More Electrifying Laswell Style. This Japanese Release Will Contain Exclusive Bonus Tracks.

Panthalassa: The Music of Miles Davis 1969-74 [Import]

Panthalassa: The Music of Miles Davis 1969-74,Bill Laswell,Sony

Average customer rating: Kind of Blue The Pinnacle of Jazz Music Shades of Blue feeling blue... Classic with a slight engineering problem

Kind of Blue Miles Davis , John Coltrane , Cannonball Adderley , and Bill Evans Manufacturer: Sony ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music $7.99 and Under | Blowout Music | Stores | Music Jazz | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music $7.99 and Under | Prices | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: A Love Supreme Time Out Birth of the Cool Thelonious Monk Quartet with John Coltrane at Carnegie Hall Mingus Ah Um ASIN: B000002ADT Release Date: 1997-03-25

Tracks:

1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches
6. Flamenco Sketches (Alternate Take)

Amazon.com essential recording

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

Customer Reviews:

Kind of Blue.......2007-07-12

This CD is a must for all the JAZZ lovers out there. The mood setting makes for a night of yesterdays (the good days). The sound of the horn from Miles makes you want to cling to every note and have them just lay next to your soul. It will take you into the minds eye where you will see and feel the greatness within you and yours. This is a must share CD. I mean you must share the mood with that person of rare bread of taste. This is ome CD that the five pleasure zones will be thankful.

The Pinnacle of Jazz Music.......2007-07-12

Well this is THE album to have in your music collection. Its been said many times, but if you only have one jazz album then this is the one to get. This is perhaps the most referred to document of jazz in the history of music, and it does live up to expectations.

Miles Davis was a genius, and both he and his collection of musicians were at the top of their game when they recorded this body of modal work.Timeless in appeal, perfect for background and just as interesting for the astute late night listener. 'Moody' doesn't do the album justice, and neither does any review. If you like jazz, then you simply MUST HAVE this album. If you don't like jazz then grab this out of interest, and watch how it subliminally grows on you.

I cannot recommend this album enough, it deserves more stars than I can give it. A am in reverence of this album, and it is one of the albums that I cannot do without. It will be hard pressed for you to find a bad review regarding this album, and I think that says it all.

HIGHLY RECOMMENDED!

Shades of Blue .......2007-07-08

Miles Davis always composed like a painter.....layering shades of color on a canvas, injecting a little light in the center, a bit of darker in the corner. He cops to it with "Kind of Blue", infering that the musical journey may include shades of blue, or other colors that complement. The mood might be kind of blue as well; or maybe not.

The sound waves on "Kind of Blue" play like a rainfall pattern, a rolling brook, a waterfall, many incarnartions of water free-flowing. Perhaps that is where the blue theme came in. "So What", the opener, is probably one of the most recognized jazz standards, re-produced by many artists over the years. It evokes the sight of someone looking like "The Thinker", turning around and asking " I'm deep in thought... so what?" This seamlessly moves into "Freddie Freeloader", a tune that really does depict the lovable mooch of a friend, plying you with smooth talk and subtle requests. "Blue in Green" does seem to speak to a lover, almost a feeling of sadness combined with a little self-righteous jealousy. Truly, these emotions and nuances can be heard in the melodies.

It would require much more space to describe the remaining songs, so I will leave it to the buyer to explore and interpret on their own. Suffice to say, "Kind of Blue" has attained classic status for good reasons. Music is one of the best forms of art, and when a recording achieves the task of being audio and visual, as well as emotional, there is something to touch all sensibilities. "Kind of Blue" delivers.

feeling blue..........2007-06-20

a rainy day...I pop in 'Kind of Blue'...problems with my lover I pop in 'Kind of Blue'...feeling wistful...I pop in 'Kind of Blue'...Miles Davis on trumpet..John Coltrane on tenor sax..Cannonball Adderly on alto sax..Paul Chambers on bass..Bill Evans and Wynton Kelly on piano..drummer Jimmy Cobb..compositions composed by Davis and Evans..in an attempt to move away from bepop which dominated jazz at the time this is the first full jazz album using the modal approach which is basically composing music with a series of scales using improvisation, the results are 'Kind of Blue' one of the most influential jazz albums of all time, also recognized as one of the top albums of all time.

Classic with a slight engineering problem.......2007-06-12

This album never sounded this good before with one exception. Davis's trumpet is in the center channel and ONLY in the center channel. No bleed whatever right and left. Likewise the drums are only right and the piano only left. That is not the way I hear in a live setting. This is obviously a direct conversion from the original three-track master with out-of-phase info added for the surrounds, but the recording obviously acoustically isolated each player. Still, it's minor and shouldn't prevent you from buying. SACD, if you have a good system, is the next step up in CD reproduction.

Average customer rating: Legendary Cool Jazz, One Awesome Debut! birth of the cool school... A must have for your collection Good not Great labor of love

Birth of the Cool Miles Davis Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music Similar Items: Kind of Blue A Love Supreme Sketches of Spain 'Round About Midnight Mingus Ah Um ASIN: B00005614M Release Date: 2001-01-09

Tracks:

1. Move
2. Jeru
3. Moon Dreams
4. Venus De Milo
5. Budo
6. Deception
7. Godchild
8. Boplicity
9. Rocker
10. Israel
11. Rouge
12. Darn That Dream

Amazon.com essential recording

The first important leader date from one of jazz's most seminal figures and farsighted practitioners. Having made his reputation in large measure from playing with bop giant Charlie Parker, Davis confounded expectations when he embraced the "cool" arranging style of Gil Evans, an arranger for Claude Thornhill's band. Evans, who was employing unique voicings by adding French horns and tuba to Thornhill's instrumentations, also emphasized a diminished use of vibrato in both reeds and brass, producing a drier, "cool" sound. Two of Evans's arrangements, "Boplicity" and "Moon Dreams," appear on the album. Also involved are baritone saxophonist Gerry Mulligan, who contributed such outstanding tunes as "Jeru" and "Venus de Milo," and Modern Jazz Quartet pianist John Lewis. The result is a date that has withstood the tests of time, fashion, and Davis's own extraordinary growth as a performer.

An enhanced set, The Complete Birth of the Cool features previously bootlegged live recordings of the nonet at the Royal Roost in New York in 1948. Although the sound quality is far from perfect, the performances are remarkable, and worth the additional expense for the serious fan. --Fred Goodman

Amazon.com

Birth of the Cool is the first important leader date from Miles Davis, one of jazz's most seminal figures and farsighted practitioners. Having made his reputation in large measure from playing with bop giant Charlie Parker, Davis confounded expectations when he embraced the "cool" arranging style of Gil Evans, an arranger for Claude Thornhill's band. Evans, who was employing unique voicings by adding French horns and tuba to Thornhill's instrumentations, also emphasized a diminished use of vibrato in both reeds and brass, producing a drier, "cool" sound. Two of Evans's arrangements, "Boplicity" and "Moon Dreams," appear on the album. Also involved are baritone saxophonist Gerry Mulligan, who contributed such outstanding tunes as "Jeru" and "Venus de Milo," and Modern Jazz Quartet pianist John Lewis. The result is a date that has withstood the tests of time, fashion, and Davis's own extraordinary growth as a performer. An enhanced set, The Complete Birth of the Cool, expands the original issue with previously bootlegged live recordings of Davis's nonet at the Royal Roost in New York in 1948. Although the sound quality is far from perfect, the performances are remarkable, and worth the additional expense for the serious fan. --Fred Goodman

Customer Reviews:

Legendary Cool Jazz, One Awesome Debut!.......2007-06-27

The songs on The Birth of the Cool are like the ninja of old. They do what they need to, fast, and leave. But unlike ninja attacks, these songs (which include classics like "Jeru", "Venus de Milo" and "Boplicity") are not painful in the least. The arrangements are tight and the songs are melodic, slightly Hollywood-esque but quite beautiful and well-performed. The songs themselves are also quite brief, as I implied a few sentence back - nothing over five minutes, in fact. The nonet plays together quite well, complementing each other throughout. They all have the mellow sound down - the album kinda sounds alike, but with great songs like "Rogue", "Rocker" and "Israel" on hand, who can complain? Now the only song I don't really like is "Darn That Dream", which falls in my list of Ten Songs We've All Heard Too Many Times Before. As for the rest? Get it. Not before Kind of Blue, 'Round about Midnight or In a Silent Way, but still get it!

birth of the cool school..........2007-06-20

can't go wrong with this Miles Davis recording in your collection. With arrangements by Gerry Mulligan, Gil Evans and John Lewis this is a compilation of 12 sides recorded by the Miles Davis nonet(nine musicians). This legendary recording is a jazz classic. The music moves away from bepop which tended to smaller groups of musicians and the music from this compilation led to the birth of the cool West Coast Sound of jazz though it originated on the East Coast. Beautiful arrangements and lively tunes. Gil Evans would meet with musicians in his apartment on the top of Chinese laundry and help compose the arrangements. The list of musicians on these recordings includes Miles Davis on trumpet, Gerry Mulligan on baritone sax, Lee Konitz alto sax, Max Roach on drums. A must for any jazz collection and jazz beginner. Gil Evans would later team with Miles on Porgy and Bess, Sketches of Spain.

A must have for your collection.......2007-03-27

These recordings are a must have for an understanding of the shear evolution of jazz, but not the best.

Good not Great.......2007-03-14

There a few good songs on the ablum but it isn't great

labor of love.......2007-02-16

Having only recently jumped on the Jazz scene as a 24 year veteran of the drum, i don't know as if i am qualified to write a review for those into this boat, but i must say that as a neophyte, i am and will be for a long time to come, a Davis fan. And this, the birth of the cool is an album that i will treasure as one of my own. very smooth sounds, breathy on the horns and completely listenable, a must have for any burgeoning collection.

Average customer rating: Classijazz? Jazzical? Spanish love song... From Madrid w/ Love Music to listen to at day's end Gil Evans provides another dimension for the legendary horn player

Sketches of Spain Miles Davis , and Gil Evans Manufacturer: Sony ProductGroup: Music Binding: Audio CD Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Orchestral Jazz | Jazz | Styles | Music Similar Items: Kind of Blue Birth of the Cool 'Round About Midnight A Love Supreme Bitches Brew ASIN: B000002AH7 Release Date: 1997-09-23

Tracks:

1. Concierto De Aranjuez (Adagio)
2. Will O' The Wisp
3. The Pan Piper
4. Saeta
5. Solea
6. Song Of Our Country
7. Concierto De Aranjuez (Part One)
8. Concierto De Aranjuez (Part Two Ending)

Amazon.com essential recording

Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

Customer Reviews:

Classijazz? Jazzical? .......2007-07-02

Hey! This ain't jazz! This is Spanish-tinged classical! With a fanfare that seems fitting to introduce matadors (not a criticism, not a compliment) on "Saeta"! Yeah, that's right. Miles' eclecticism kicks in again, I suppose. It's a bit overrated, and it's controversial even by Miles' standards. I like it though. Other than "Concerto de Aranjeuz". That song, or work, or whatever fails to move me. Now, "Will o' the Wisp", aye, that be a different cup of tea. It really is moving, emotional, haunting, and so forth; so is "The Pan Piper", with an eerie flute melody. "Saeta" starts off like those two, but ends up doing the pompous fanfare thingy, but hey, at least it does it well. And the closing "Solea" is pretty good too! It sounds almost like the Hollywood version of traditional Spanish music, the kind you'd expect to hear when the charming Spanish swordfighter is having a duel in a ballroom, but again, it gets quite intense during its climax around nine minutes in. I like intense. This is easily the best Miles/Evans album. Just to warn you, though, it's quite rigid; as usual, Miles is put on a pedestal above the other guys. I mostly prefer him in a small-group setting. I do, however, recommend Sketches of Spain in spite of that.

Spanish love song..........2007-06-20

Miles Davis working with arranger and composer Gil Evans put together an album that ranked 356 on Rolling Stones Top 500 albums of all time. It is probaly one of his most accessible albums and the tight compositions take you to the Spanish bullfight and quiet burning passion of a long, hot Spanish summer day. Not the the hardblowing, improvisational jazz that everyone associates with Miles but the arrangements and tight composition makes for a very relaxing, enjoyable listen.

From Madrid w/ Love.......2007-05-13

I'm listening to Miles here in Madrid. We've just done the tapas crawl after seeing a bullfight. No kidding. Now, the ipod is playing Sketces....and I've got to tell you that Miles and Gil Evans got it right. In fact, everything they collaborated on was so fantastic. And Miles is Miles. Here, a little more sophisticated than in his "Kind of Blue" phase but, still Miles. The one and only.

Music to listen to at day's end.......2007-02-01

This is a nice disc to listen to after a long day doing just about anything. It is just that soul-reaching and calming. I feel like this CD is a slice of jazz wrapped in a blanket of Mediterranean sunshine. No vocals are needed thanks to the melodic tunes of Miles' horn.

Gil Evans provides another dimension for the legendary horn player.......2006-12-23

While it doesn't have much to do with the music in this review, in 1995 I obtained Tears For Fears' "Raoul and the Kings of Spain" . This was one of the best albums of the 1990s, namely because of the Spanish musical influence that was infused into a mainstream music sound. One of the songs on "Raoul and the Kings of Spain" was an album called "Sketches of Pain". "Sketches of Pain" was an outstanding song because of the use of classical Spanish guitar and percussion. Part of the reason for the title of that Tears For Fears song was a play on the famous Miles Davis album, "Sketches of Spain", which was Davis' album that had music with a Spanish influence. While Miles Davis is basically a household name, I cannot say that I was familiar with a lot of his music. When I realized there was a connection in how Tears For Fears' "Sketches of Pain" related to Davis' Spanish Themed album, I became more curious about checking out this recording. Without doing much research, I assumed this album would be a jazz album with a classical Spanish influence. Instead, I was pleasantly surprised to discover a more classical music sound that would have the Spanish theme infused.

"Sketches of Spain" is a collaboration between Miles Davis and Gil Evans. Davis and Evans had begun a partnership in 1957 that saw Davis contribute his trademark horns (Trumpet and Flugelhorn) while Evans focused on the arrangements and conducting of the music. Prior to "Sketches of Spain" there were two efforts. The first was 1957's "Miles Ahead" that saw Davis and Evans engage in a big band/jazz feel. The second was 1958's "Porgy and Bess" which was an arrangement of songs from George Gershwin's opera, "Porgy and Bess". "Porgy and Bess" also saw the combination of Davis ane Evans move toward something that had more of a classical feel to it. I'm sure this provided a lot of the impetus for the duo to do something more in the classical space.

"Sketches of Pain" has its roots around Spanish Classical music. The original 1960 release consisted of five tracks - two are covers of existing Spanish Classical works and the other three were original compositions by Evans. The Spanish works that are covered are Joaquin Rodrigo's 16+ minute masterpiece "Concierto de Aranjuez" and Manuel de Falla's "Will o' the Wisp". Those familiar with Spanish classical music will know the names of Rodrigo and de Falla. This collection was re-released in 2000 and consists of three additional tracks including another original composition by Evans as well as a full alternative take and alternative ending of "Concierto de Aranjuez".

The cover songs, "Concierto de Aranjuez" and "Will o' the Wisp" are going to have less of a reliance on Davis' horns. While Davis' horns can be clearly held throughout the near 20 minutes of music that make up these songs, there is going to be a heavy reliance by the other musicians that contribute to these tracks. When you get into the four original tracks that were composed by Gil Evans, you will hear a big difference. The music is going to focus heavier on the trumpet and flugelhorn of Miles Davis. As you listen to the original tracks, it is amazing how Evans was able to integrate the sound to give the entire "Sketches of Spain" album a very homogenous feel - i.e. the sound of Spanish classical music. In particular the track, "Solea" proves to be as strong as the work by the legendary Rodrigo and de Falla. Listen for the Spanish military-flair in the song that is the result of some terrific percussion work.

Another thing that really stood out was that even though this collection has very much as Spanish Classical music feel. However there are many segments that could have easily been used as soundtrack info for a feel such as a James Bond movie. While it wouldn't be the hard-rocking sound of Paul McCartney's "Live and Let Die", I could see parts of these tracks in James Bond films. A prime example of this comes from the classical "Concierto de Aranjuez" piece itself. You can also hear the "soundtrack" sound from some of Evans' original work such as "Song of Our Country".

One thing that's worth noting is that while this is a Miles Davis album, much of the credit does need to go to Gil Evans. Davis does a superb job at playing the horns, but as mentioned above, it is Evans who finds a way to give this album the homogenous sound. It is also Evans that finds another avenue for Davis to deliver his sound. "Porgy and Bess" opened the doors for something besides his trademark jazz sound. "Sketches of Spain" helped take Davis to another dimension. The music shows outstanding musicianship. My only minor beef with this collection is that it really isn't going to make you "get up and dance". It almost has a calm and somewhat somber quality to it.

This collection includes an outstanding collection of liner notes that will provide additional insight into the band. This includes the original liner notes that appeared on the back of the album cover that were written by Nat Hernoff who was a co-editor of "The Jazz Review". Phil Schaap provides an additional write-up (on the re-release) that discusses "The Making of Sketches of Spain". The liner notes also include production and musician credits. Overall, this is not going to be the place to hear classic Miles Davis jazz, however it is going to be a place to hear some outstanding Spanish-infused classical music. This is going to provide some high quality music and if you have an appreciation for music, this is going to be something worth investing in.

Average customer rating: helpfull Bitches Brew Censors Going Wild... Not sure I like it! jazz classic.

Bitches Brew Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Kind of Blue A Love Supreme Birth of the Cool In a Silent Way Giant Steps ASIN: B00000J7SS Release Date: 1999-06-08

Tracks:

1. Pharaoh's Dance
2. Bitches Brew

Tracks:

1. Spanish Key
2. John McLaughlin
3. Miles Runs The Voodoo Down
4. Sanctuary
5. Feio

Amazon.com essential recording

The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who's not so overwhelmed as to need the four-CD Complete Bitches Brew box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin's roles in the mix have been especially clarified. With a bonus track of "Feio"--a Wayne Shorter composition recorded five months later that serves both as a warm-down for Bitches Brew and a promise of Weather Report to come--this is crucial listening. --John F. Szwed

Customer Reviews:

helpfull.......2007-06-08

When you hear this then you can understand form where the progresive rock at that time( yes, genesis, pink floyd, ELP, etc..)got the influences.

Bitches Brew.......2007-05-30

Miles Davis-Bitches Brew ****


Long held as one of if not the greatest jazz album of all time. This was released in a time of revolution, the civil rights movement was basicaly still in height and change was happening everywhere. Jimi Hendrix redifined guitar and a group of white boys from England named cream were making black music better then some of the blacks were making it at the time. Jazz was changing around the genius that is Miles Davis and had been for a while and he was ignoring it. That was until he sat down and realized how stubborn he was being and caught up. He had long since given up on Coltrane as many did only to later realize his later work was far superior to that of his early material, as did many others in the world.

Some will tell you that this album is outragious and nothing special and even tell you that it is Miles worst album, others will hail this as utter genius and concider this his all time best rivaling the amazing Kind Of Blue, or even Coltranes phenomonal A Love Supreme. Well nither the former or the latter are correct. While this is one of the most important and very best albums in all of jazz and all of music really this is far from Davis' best and far from rivaling the two for-mentiond albums.

What Miles did here was as previously stated give in to his own inhabitions and embrace what he had for so long wrote off as nothing moro then a mere joke. Miles went from classic form jazz right head first into electric and free from like it was nothing. And for someone of his stature it was nothing. In this genre of jazz this album fails in comparison to other albums of its kind, so then why is it so important and revolutionary then? Well it saved Miles career and showed his willingness and flexability to grow as a artist and musician.

The first disc of Bitches Brew containing 'Pharaohs Dance' and the title track 'Bitches Brew' are very simular in song structure, changes, mood, and even in tone. Being as this album was pieced together from several free form jazz jams it is possible that some of these are from the same jam. The first disc fails in direction and in excitment. The jams here are way to long for not having focus and can lose a new listener easily.

The second disc containing 'Spanish Key' 'John McLaughlin' 'Miles Runs The Voodoo Down' 'Sanctuary' and now 'Feio' s much stronger and much more focused. Aside from that disc two is much more interesting and is why this essential for all listeners. It is phenomonal with no other word possible for explaination. It must be heard to be fully appreciated. The playing by Miles and the rest on the album is stronger on this disc and is just all around better.

So is this an essential album for jazz and for Miles Davis, yes, but is this as revolutionary as has been made to seem, certainly not, but that is not to take away from the sheer greatness of this album. You may be wondering why if this album is "sheer greatness" it would only recieve four stars from me well because as great as it is the legend that is Miles Davis could have done much better and did do much better. Essentail!

Censors Going Wild..........2007-04-26

I had heard of this recording for a long time but I obtained it only recently. I rescued my copy from destruction. The local library (under pressure from the politicians) is purging their collection of music that contain what they call the "B" word.

I know that there is currently dispute about the use of "the B word" in song lyrics. But there are ABSOLUTELY NO LYRICS in or on this album so I hardly see how the prohibition has any relevance. I do not see how anyone who is not mentally ill could be offended in any way.

I pointed out that there were still albums on the shelf by white artists that contained the word. They said the problem with B******s Brew was the combination of the word with what they called a "partially nude black woman" on the cover, which was a violation of their new policy. I do see this on the cover, so I must not have the same type of imagination.

There are plenty of albums with partially clad women still on the shelves, so obviously the policy violation happens because of the color of the woman's skin. I offered to redo the cover art in photoshop to lighten the lady's skin, so they could continue to make this interesting music available to the public. They did not think that was even slightly funny.

Word is that the record company is in the process of re-issuing this with additional tracks under the title "Miles' Brew". I suggest they keep the title, and replace the cover with beautiful collie dog, puppies, and a beer.


Finally, what about the music? I think it is very interesting, but far from the best thing that Miles has done. It is an important album in the history of jazz, and I hope it can remain available in it's original form, with the beautiful cover art intact.

Not sure I like it!.......2007-03-08

I read the reviews before buying this and now see why some people were so harsh in thier reviews. Sounds better after a few glasses of wine. Too different for my taste. If you are a jazz purist this may not be to your liking. Davis tries something different and I am not sure it worked.

jazz classic........2007-02-11

okay, all you yayhoos out there; want some great late night listening? something to relax and edify? well, put away all your new age cds, shuck old yanni in the trash bin, and pick up miles davis's bitches brew. no law says laid-back music can't be powerful and soulful. so here it is: just such music. miles trumpet displays a calm, beautiful and mysterious tone throughout this masterpiece. unconventional jazz to be sure, but accessible to anyone's ears. the great john mclaughlin adds fantastic touches of guitar to the recording, and other master musicians on board are: wayne shorter, chick corea, dave holland, and jack dejohnette. after you get this album and find out how much you love it (which you certainly will if there is a modicum of sanity about you), be sure to pick up "in a silent way," too. another classic miles album with a very similar vibe to bitches brew. happy listening.

Average customer rating: Kind of Blue The Pinnacle of Jazz Music Shades of Blue feeling blue... Classic with a slight engineering problem

Kind Of Blue Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: A Love Supreme Time Out Birth of the Cool Thelonious Monk Quartet with John Coltrane at Carnegie Hall Mingus Ah Um ASIN: B00003XAQ5 Release Date: 2001-08-14

Tracks:

1. So What
2. Freddie Freeloader
3. Blue in Green
4. All Blues
5. Flamenco Sketches
6. Flamenco Sketches [Alternate Take][*]

Amazon.com essential recording

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

Customer Reviews:

Kind of Blue.......2007-07-12

This CD is a must for all the JAZZ lovers out there. The mood setting makes for a night of yesterdays (the good days). The sound of the horn from Miles makes you want to cling to every note and have them just lay next to your soul. It will take you into the minds eye where you will see and feel the greatness within you and yours. This is a must share CD. I mean you must share the mood with that person of rare bread of taste. This is ome CD that the five pleasure zones will be thankful.

The Pinnacle of Jazz Music.......2007-07-12

Well this is THE album to have in your music collection. Its been said many times, but if you only have one jazz album then this is the one to get. This is perhaps the most referred to document of jazz in the history of music, and it does live up to expectations.

Miles Davis was a genius, and both he and his collection of musicians were at the top of their game when they recorded this body of modal work.Timeless in appeal, perfect for background and just as interesting for the astute late night listener. 'Moody' doesn't do the album justice, and neither does any review. If you like jazz, then you simply MUST HAVE this album. If you don't like jazz then grab this out of interest, and watch how it subliminally grows on you.

I cannot recommend this album enough, it deserves more stars than I can give it. A am in reverence of this album, and it is one of the albums that I cannot do without. It will be hard pressed for you to find a bad review regarding this album, and I think that says it all.

HIGHLY RECOMMENDED!

Shades of Blue .......2007-07-08

Miles Davis always composed like a painter.....layering shades of color on a canvas, injecting a little light in the center, a bit of darker in the corner. He cops to it with "Kind of Blue", infering that the musical journey may include shades of blue, or other colors that complement. The mood might be kind of blue as well; or maybe not.

The sound waves on "Kind of Blue" play like a rainfall pattern, a rolling brook, a waterfall, many incarnartions of water free-flowing. Perhaps that is where the blue theme came in. "So What", the opener, is probably one of the most recognized jazz standards, re-produced by many artists over the years. It evokes the sight of someone looking like "The Thinker", turning around and asking " I'm deep in thought... so what?" This seamlessly moves into "Freddie Freeloader", a tune that really does depict the lovable mooch of a friend, plying you with smooth talk and subtle requests. "Blue in Green" does seem to speak to a lover, almost a feeling of sadness combined with a little self-righteous jealousy. Truly, these emotions and nuances can be heard in the melodies.

It would require much more space to describe the remaining songs, so I will leave it to the buyer to explore and interpret on their own. Suffice to say, "Kind of Blue" has attained classic status for good reasons. Music is one of the best forms of art, and when a recording achieves the task of being audio and visual, as well as emotional, there is something to touch all sensibilities. "Kind of Blue" delivers.

feeling blue..........2007-06-20

a rainy day...I pop in 'Kind of Blue'...problems with my lover I pop in 'Kind of Blue'...feeling wistful...I pop in 'Kind of Blue'...Miles Davis on trumpet..John Coltrane on tenor sax..Cannonball Adderly on alto sax..Paul Chambers on bass..Bill Evans and Wynton Kelly on piano..drummer Jimmy Cobb..compositions composed by Davis and Evans..in an attempt to move away from bepop which dominated jazz at the time this is the first full jazz album using the modal approach which is basically composing music with a series of scales using improvisation, the results are 'Kind of Blue' one of the most influential jazz albums of all time, also recognized as one of the top albums of all time.

Classic with a slight engineering problem.......2007-06-12

This album never sounded this good before with one exception. Davis's trumpet is in the center channel and ONLY in the center channel. No bleed whatever right and left. Likewise the drums are only right and the piano only left. That is not the way I hear in a live setting. This is obviously a direct conversion from the original three-track master with out-of-phase info added for the surrounds, but the recording obviously acoustically isolated each player. Still, it's minor and shouldn't prevent you from buying. SACD, if you have a good system, is the next step up in CD reproduction.

Average customer rating: Electric, yet eerily quiet The bible of Miles' fusion period Will Always Take You Where You Need to Be Shhh, don't tell anyone but Miles gives me a headache Fusion's Mission Statement

In a Silent Way Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Similar Items: Bitches Brew A Tribute to Jack Johnson Miles Smiles 'Round About Midnight Kind of Blue ASIN: B00006GO9Q Release Date: 2002-08-20

Tracks:

1. Shhh/Peaceful
2. In A Silent Way

Amazon.com

Miles Davis's famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a kind of line in the sand challenging jazz fans during the ascendance of electric, psychedelic rock, In a Silent Way hinted at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook generously of electric piano and bass and rekindled the tonal palette that Davis had explored famously with Kind of Blue. But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos, and they glisten in a burnished blue against his new group's strange admixture of musical moods. --Andrew Bartlett

Customer Reviews:

Electric, yet eerily quiet.......2007-05-22

Released in 1969, this album marks Miles full blown emergence into the realm of jazz rock although there are other influences besides jazz and rock including a bit of minimalism. Musically, this recording is very relaxed and is dominated by eerie organ parts and a monotonic acoustic bass and drum parts. I especially like Miles use of space; even when he is not playing it speaks volumes.

Apart from Miles (trumpet), the list of musicians on this album reads like a who's who of jazz rock: Herbie Hancock (Fender Rhodes electric piano); Chick Corea (Fender Rhodes electric piano); Wayne Shorter (tenor saxophone); Dave Holland (acoustic bass); Joe Zawinul (Fender Rhodes electric piano and organ); the amazing John McLaughlin (electric guitar); and Tony Williams (drums).

In spite of the fact that all of these guys are virtuosos, their performances on In a Silent Way are extraordinarily disciplined and restrained. The most notable example of this is Tony Williams, who simply plays a repeated rhythm on the hi-hat for all of the lengthy Shhh/Peaceful - in fact, it is not until near the end of In a Silent Way that he plays the entire kit, and for only a short time. Even John McLaughlin turns in a very sedate performance with clean tones; a marked change from the wildly savage virtuosity that characterized his playing during this early period. Although three keyboardists of such high caliber playing at the same time might not have worked under different circumstances, it works incredibly well here; the different players weave effortlessly in and around one another.

The album is split into two lengthy tracks with Shhh/Peaceful clocking in at 18'16" and In a Silent Way/It's about that Time running for 19'52". The mood of both pieces is very dreamy and quiet, with soft electric piano parts, and shimmering textures on the electric guitar fading in and out. Miles playing is very spacey and drifting - he comes in very so often and blows a few perfect notes and then stops, letting the other players do their thing. This music is deeply reflective and meditative, which is especially borne out in the hypnotic rhythm section.

All in all, this is a landmark recording that ushered in a new direction in jazz. Very highly recommended along with Bitches Brew (1970) and the much heavier sounding Jack Johnson (1971). Although a bit controversial, On the Corner (1972) is also recommended.

The bible of Miles' fusion period.......2007-04-28

This is, far and away, the best of Miles' fusion albums. Now, I'm generally not a fan of the fusion stuff - I see Bitches Brew as tepid and lackluster with a couple shining moments (title track, Miles Runs the Voodoo Down, John McLaughlin), Jack Johnson as half a masterpiece (Right Off rules) and half a bore (Yesternow... grrgh...), Live-Evil as assorted wankery (though What I Say is great), and On the Corner as a disaster, albeit a gutsy one. Now, In a Silent Way... that's a whole different free type of burger. A bigger, better, MUCH juicier burger.
What sets this apart? For one, the number of musicians. There are eight guys here, and a small army on every other album I mentioned. Eight guys contribute ideas MUCH better than a small army. Especially if Herbie Hancock, John McLaughlin, Tony Williams, Wayne Shorter and Miles himself are five of those eight guys. Hell, sneak in Ron Carter on bass and you've got the Second Great Sextet (first being the Kind of Blue band) on your hands. I know that Miles, Shorter, McLaughlin and Hancock played pivitol rows on Bitches Brew, but in a less crowded setting, they communicate better and their contributions come to the fore. Oh, and Tony Williams is my favorite drummer in the history of ever, and he left after this album, so maybe that relates to the huge drop in quality, I don't know. But even Joe Zawinul (who I'm not a fan of) and Chick Corea (who I have no opinion on) work magic on their keyboards. Basically, the only guy who DOESN'T make an amazing contribution is Dave Holland, who perfectly conforms to the stereotype of the bassist as being "random guy who nobody's heard of and doesn't draw attention to himself in his playing". He's just the bassist.
This is a haunting, restrained, atmospheric affair. The volume and tempo rarely pick up, and if they do it's only briefly (i.e. that quick little blurb in the middle of the title suite). It's an eerie calm this one gives off, like Kind of Blue (which is god) on downers. Moody, reflective Miles has always been some cool stuff, and this is no exception. Shorter's soprano is ethereal and creepy - in good senses of both terms. And John McLaughlin is, well... John McLaughlin. If you've never heard his work, this is a great place to start.
Two beautiful, otherworldly twenty-minute suites... Miles fans should be in heaven. Oh, and the cover would make a cool t-shirt. I'd buy it, at least.

Will Always Take You Where You Need to Be.......2006-07-26

I can think of few records that would fit most any situation as well as this one would. About the only thing I can't imagine this album being good for is to get one's blood pumping before an athletic competition . . . otherwise, Davis & this incredible cast of musicians made one of the most enduring & soul-caressing pieces of music imaginable. The only jazz artists who made anything to rival this for vision and harmonic genius in the '60s are named Mingus and Coltrane.

I shouldn't have to belabor what these songs sound like and why they are great. I think it should be enough to say that this is Miles's best record of the '60s (and therefore pretty much his best ever, with the only possible competition coming from _Kind of Blue_ and _On the Corner_). It settles on slow, soothing grooves and throws almost surreal harmonic and rhythmic softballs where one might least expect it . . . and, like I said, takes the listener exactly where she needs to be. To unadulterated sonic bliss.

Shhh, don't tell anyone but Miles gives me a headache.......2006-06-18

Shhh, don't tell anyone but Miles and his "in your face" trumpet give me a headache.

I like funk and groove so I should have done a bit more homework before trying out the jazz scene. For me this CD is mostly silent except for some irritating trumpet blowing like foxtail into your eardrums.

I was about to give up on the whole jazz scene when I came upon Panthalassa. Track 1 of that CD (In a silent way/Shhh/Peaceful) is nice; smoothing out and grooving out Miles while staying true: say the purists.

If you love it remixed and electrofied (yes sir!) check out DJ Cam's tribute to "In a silent way".

Fusion's Mission Statement.......2006-03-02

Miles Davis historians look at this album and at "Bitches Brew" which followed, and talk of how important these recordings were to Miles' career as a turning point. This album is the first of Miles' "electric period," a highly controversial segment of his career that produced some highly influential, profound music of arguable accessibility. But what makes this album so incredible is not just how it was a beginning for Miles in fusion; it was the equivalent of the Second Continental Congress for the new genre that would dominate the jazz scene in the 1970s. One only has to look at the personnel and think for a bit: in addition to Miles, the group consisted of Wayne Shorter on saxophone, John McLaughlin on guitar, Herbie Hancock, Chick Corea, and Joe Zawinul on keyboards, Dave Holland on bass, and Tony Williams on drums. This is not just a list of the absolute top tier of young musicians of the time; it is literally the core group of EVERYTHING significant that happened in fusion. Every one of these men with the exception of Dave Holland went on to start a fusion group: Shorter and Zawinul began Weather Report, Hancock started Mwandishi and later the Headhunters, Corea led Return to Forever, McLaughlin started the Mahavishnu Orchestra, and Tony Williams led Lifetime. Without exception, these groups were the defining forces of fusion (arguably the only ones that truly succeeded). That's what makes this album so incredible in historical context; anyone who would leave a mark on fusion was here, and anyone who wasn't here...wouldn't. That's what makes this more than an interesting experiment. It was the planting of a seed that altered the course of the careers of each musician here.

As for the music itself, the description has been more or less covered by the myriad of reviews already here. Suffice it to say that it is one of the rare musical documents that can be appreciated on ALL musical levels: there is enough interest in the soloists and group interaction to give it true depth and replay value, it's funky (though not overtly), it's brilliant mood music (as much as I hate that term), and it's even quiet enough to be shoved into the background (though why would you want to?). My favorite moment is when Tony Williams finally ramps up the groove about 13 minutes into the second track and pushes Miles to the next level of intensity.

Get this album to hear the music which sent forth the new wave of true innovators, arguably jazz's last (at least for now).

Average customer rating: awesome quintet...legendary recording.. jazz and why it's hot It's Miles at his best..... A Miles Davis Masterpiece (Review Based On Original Tracks Only) The Beginning and the End

'Round About Midnight Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Similar Items: Birth of the Cool Kind of Blue Milestones Sketches of Spain A Love Supreme ASIN: B00005B58W Release Date: 2001-04-17

Tracks:

1. 'Round Midnight
2. Ah-Leu-Cha
3. All Of You
4. Bye Bye Blackbird
5. Tadd's Delight
6. Dear Old Stockholm
7. Two Bass Hit
8. Little Melonae
9. Budo
10. Sweet Sue, Just You

Amazon.com

In 1955, Miles Davis signed on with jazz powerhouse Columbia Records. With alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Philly Joe Jones, bassist Paul Chambers, and pianist Red Garland, Davis released 'Round About Midnight, which evinces even more clearly what a phenomenal unit Davis was nurturing. Stylistically, Midnight encompasses standards (or soon-to-be standards) such as "Dear Old Stockholm," "Bye-Bye Blackbird," Tadd Dameron's "Tadd's Delight," and Jackie McLean's forward-thinking composition "Little Melonae." Miles and company reprise "Budo" from the historic Birth of the Cool sessions. The standout track is Davis's Harmon-muted reading of Thelonious Monk's ballad, "'Round Midnight, which is still a Miles standard bearer. Three alternate takes round out the session: "Two Bass Hit" and "Sweet Sue" feature adventuresome solos by Coltrane that preview his masterpiece "Giant Steps." And Garland moves away from his Ahmad Jamal pianisms with his introspective ivory ticklings. If you want to hear the origins of post-bop modern jazz, this is it. --Eugene Holley Jr.

Album Description

Part of the 'Master Sound Jazz Series'. Japanese reissue of the classic Columbia album originally released in 1955. DSD mastering. Packaged in a limited edition miniature LP sleeve. 10 tracks. 2000 release.

Album Details

Dsd Digitally Remastered. Includes Four Tracks Not on the Original Recording.

Customer Reviews:

awesome quintet...legendary recording.........2007-06-20

Miles Davis first recording with Columbia Records. Miles, trumpet, John Coltrane, tenor saxophone, Philly Joe Jones, drums, Red Garland, piano, and Paul Chambers, bass. If there was a jazz Hall of Fame(why isn't there one?) they all would be in it. From that first note of 'Round About Midnight(a Thelonius Monk composition) this album just blows you away. Add this to your jazz collection and you'll find yourself listening to it over and over. A masterpiece. If DaVinci played jazz, it would sound something like this. I put this one along with Porgy and Bess and Kind of Blue as the essential Miles.

jazz and why it's hot.......2007-03-10

This 'Round about Midnight, is not as good as some of the jazz I've heard. It sounds like Miles just got out of a treatment center and he simply asked John Coltrane to help him up.I think jazz should be free flowing improvised and jazz man, you know. Example, John Coltrane's: Love Supreme.

It's Miles at his best............2007-01-10

What can I say...It's Miles at his best.A must have for any jazz lover.

A Miles Davis Masterpiece (Review Based On Original Tracks Only).......2006-08-06

There are great Miles Davis records (Milestones, E.S.P, Sketches of Spain), and then there are unforgettable ones. Along with Kind of Blue, 'Round About Midnight falls into the "unforgettable" category. Why? First and foremost, the title track, while very good performed by Monk, is found in its definitive version on this record. Miles' brooding muted trumpet sets the melody. Suddenly, the track explodes in a burst of energy and Trane completely steals the spotlight with ione of those solos that make him the best saxophonist in history. After that, it's back to the unforgettable melody. Ah-Leu-Cha picks the pace up severely, some very interesting chord progressions on that one. A fine reading of one of Bird's best. Things slow down again with the ballad All of You, again Miles plays the melody expressively, and Trane solos furiously during his spots. Standard Bye Bye Blackbird comes next, and I can say without a shred of doubt in my mind it's the best song on the album. If you can't tell it's a classic by the opening piano solo, you're beyond all help I can give you (which, to be fair, isn't much). Tadd's Delight is the closest this album comes to a weak song, and even then it has a nice melody. Dear Old Stockholm closes things out, and though normally I'm not a fan of Stan Getz, I love the group's reading of this tune (particularly that harmony part... it will stay in your head forever!) The CD reissue comes with four bonus tracks (Two Bass Hit, Little Melonae, Budo and Sweet Sue Just You), which range from brilliant (Little Melonae) to average (Sweet Sue).
One last thing I'd like to comment on is the album's remaster. Up until a few days ago, I had only heard this album on a scratchy old vinyl. And while normally I don't really notice sound quality (except if it's painfully obvious), the remastering job for 'Round About Midnight is excellent.

The Beginning and the End.......2006-07-16

Miles' debut album for Columbia Records - and the last LP by his original quintet - is very much in the same vein as the trumpeter's final Prestige sessions, which were in fact recorded almost simultaneously. There's nothing really new here - even the title track had already appeared on a Prestige LP in a nearly identical version - but the Maestro and his sidemen (John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums) play with verve and conviction, stamping their collective personality on the last all-covers program in Davis' catalogue. While subsequent releases such as MILESTONES and KIND OF BLUE are undoubtedly superior on all levels, 'ROUND ABOUT MIDNIGHT still deserves a place on any Miles Davis fan's shelf - even if the only thing distinguishing it from its predecessors is the record label.

Average customer rating: The Master in Transition Classic THE best Jazz Album Milestones Underrated Gem; First Miles w/ Modal Experimentation

Milestones Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: 'Round About Midnight Kind of Blue Miles Ahead Miles Smiles Birth of the Cool ASIN: B00005B58Y Release Date: 2001-04-17

Tracks:

1. Dr. Jackle
2. Sid's Ahead
3. Two Bass Hit
4. Milestones
5. Billy Boy
6. Straight, No Chaser
7. Two Bass Hit (Alternate Take)
8. Milestones (Alternate Take)
9. Straight, No Chaser (Alternate Take)

Amazon.com

This 1958 date finds Davis with his first super group: alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Philly Joe Jones, bassist Paul Chambers, and pianist Red Garland. It looks to the past with the bebop and blues likes of Jackie McLean's "Dr. Jackle," John Lewis and Dizzy Gillespie's "Two Bass Hit," and Thelonious Monk's "Straight No Chaser." The band points solidly to the future with the modal masterpiece "Milestones," which set the stage for the historic Kind of Blue. Davis's own tune, "Sid's Ahead" has a melodic line like Benny Golson's "Killer Joe," and "Billy Boy" features Garland, Chambers, and Jones and is a stylistic shout to Ahmad Jamal. This superbly remastered edition of Milestones contains three alternate takes. "Two Bass Hit" snaps, crackles, and pops with Jones's rope-a-dope rhythms. The title track rings with an even more lyrical statement by Davis, and on "Straight, No Chaser" Coltrane delivers an even more harmonically daring solo, while Adderley takes on Trane's supersonic scalar style, capped by Chambers's grooving solo. A classic recording from a classic group. --Eugene Holley Jr.

Customer Reviews:

The Master in Transition.......2006-07-08

MILESTONES was both the musical and chronological bridge between trumpeter Miles Davis' great mid-fifties quintet (John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums), with its postbop sensibilities and emphasis on fresh interpretations of standard material, and the more personalized and transcendent vision Davis would realize so brilliantly on his next album, KIND OF BLUE. By augmenting the quintet with Cannonball Adderley's matchless alto saxophone chops, Miles added tonal variety to a signature sound which, for all its beauty, had started to grow a bit predictable; and by redirecting his own compositional bent from harmonic to modal centers he literally wrote an entire new chapter in jazz history. All of this is excitingly evident on this crucial 1958 recording.
Taking numbers by Thelonious Monk ("Straight No Chaser"), Jackie McLean ("Dr. Jekyll") and John Lewis ("Two Bass Hit") on rides which even the composers themselves could never have envisioned, Davis and Company here set a new standard for small group improvisation. If anyone still had any doubts, MILESTONES certainly announced that the bebop era was over. Further leavening the proceedings, a hornless workout on "Billy Boy" allows Davis' excellent rhythm section (often obscured by the playing and reputations of this legendary front line) to sing and shine on its own while the leader takes a breather. But it's the two original compositions herein - "Sid's Ahead" and even more so the title track - which really point the way forward. The former is an epic-length jam balancing control and freedom in a manner almost unprecedented, with improvisational statements of consummate logic effectively becoming the structure of the piece over its thirteen minutes and change. "Milestones" itself is a sort of first stab at KIND OF BLUE, and could easily have fit on that album were it a bit lengthier - as it would subsequently become in concert. Miles' lightheartedly reflective melody is now a classic, and the permutations through which he and his band take it proclaim the advent of a powerful new approach to the genre. Great stuff, and a definite must-have for any serious jazz enthusiast!

Classic.......2006-05-17

I love this album. The first Miles Davis I ever heard was Kind of Blue. But I actually heard "Milestones" on a Buddy Rich tribute CD that had been organized by Neil Peart of Rush. Billy Cobham (of John McLaughlin's Mahavishnu Orchestra) played drums with Buddy Rich's band and they'd done a fantastic cover of this song. This inspired me to seek out the album, and am I ever glad I did.

As one other reviewer said here, as brilliant as Kind of Blue is, it can meander somewhat. I think Milestones is more succinct and to the point. While all the songs are great (understatement of the year), and musicianship on the entire album is second to none, I do have some favourites. Obviously, "Milestones" is at the top. As much as I liked Miles' work with a Harmon mute, I loved the tone he got from his straight trumpet. The soloing is great, but the rhythm section is really the glue that holds this song together.

And speaking of the rhythm section, "Billy Boy" has to be my other favourite. Philly Joe's transition from brushes to sticks is smooth as glass, and I love that Paul Chambers plays his bass solo with a bow. Unique. You can definitely see how the foundation was laid for later rhythm sections such as the fantastic Herbie Hancock/Ron Carter/Tony Williams team.

Do yourself a favour and grab this album.

THE best Jazz Album .......2005-11-09

I have been listening to Jazz for 31 years now, and have not discovered a better album than this.

You get Miles in his prime, Trane AND Cannonball, and a rhythm section that was just SICK.

Every track swings. Every note is ON.

Do yourself a favor: GET THIS CD RIGHT NOW!!!

Milestones.......2005-07-25

Milestones should be part of anyone's jazz collection. You'll get some of the best music money can buy here. The title track is my favorite, great catchy melody and Trane's solo. Straight No Chaser is another winner, again with a catchy melody. Two Bass Hit is also good, though I, as a bassist, wish it had two basses. Billy Boy is pretty much a seven-minute piano solo, but by a great pianist. Doctor Jackle is really fast and catchy, and Sid's Ahead is a really long song with a good solo by Miles. The alternate takes are okay, but I listen to the regulars more.
You want Miles at his best? Buy this, Kind of Blue and 'Round About Midnight.

Underrated Gem; First Miles w/ Modal Experimentation.......2005-07-19

This is an amazing Miles record I find myself constantly listening to. It features the same line-up from KIND OF BLUE, and we get to hear the true potential of this sextet.

There are three tracks that really stand out for me on this release. First of all, we hear a clean, crisp recording of Dizzy Gillespie's 'Two Bass Hit' - I enjoy this version a lot more than the bonus track on the ROUND BOUT MIDNIGHT remaster. There's a little reverb on the recording and it features some of the most well constructed soloing I've ever heard from Miles.

This is also a landmark album because of the title track. This is the first time Miles experimented with the modal playing that would turn KIND OF BLUE into the highly acclaimed masterpiece it is today. On the flip side, we can hear a hesitant Coltrane who would not develop that style of soloing until later releases. However, once Coltrane would learn to master modes, it would prove vital in later trane works like GIANT STEPS.

Another favorite track of mine is 'Sid's Ahead', clocking in at over 10 minutes in length and featuring some beautiful solos from Adderly and Coltrane.

If you're looking for more Miles featuring the KIND OF BLUE lineup, look no further than MILESTONES. I actually prefer this to the latter simply because of mood. I find KIND OF BLUE to be stagnant and bland at times, especially when comparing it to this record, which is more energetic and upbeat.

Average customer rating: A Must Have Broad Spectrum Virtuosity Cool Pairing for Meyer/Fleck Fans Bela Fleck + Edgar Meyer = strange mixture Virtuosity Knows No Musical Boundaries

Music for Two (Bonus DVD) Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Eccles, Henry | ( E ) | Featured Composers, A-Z | Classical | Styles | Music Fugues | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Sinfonia | Symphonies | Forms & Genres | Classical | Styles | Music Film Scores | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Jazz | Styles | Music General | New Age | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music Pop Rock | Pop | Styles | Music Bluegrass Jam Bands | Jam Bands | Rock | Styles | Music Jam Bands | Live Albums | Rock | Styles | Music General | Bluegrass | Country | Styles | Music Contemporary | Bluegrass | Country | Styles | Music Bluegrass | Live Albums | Country | Styles | Music Pop | Styles | Blowout Music | Stores | Music Rock | Styles | Blowout Music | Stores | Music Alternative Rock | Styles | Blowout Music | Stores | Music Country | Styles | Blowout Music | Stores | Music Soundtracks | Styles | Blowout Music | Stores | Music Classical | Styles | Blowout Music | Stores | Music Jazz | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Perpetual Motion Uncommon Ritual The Telluride Sessions The Bluegrass Sessions: Tales From The Acoustic Planet, Vol. 2 Bach Unaccompanied Cello Suites: Performed on Double Bass ASIN: B0001XAMS6 Release Date: 2004-04-27

Tracks:

1. Bug Tussle
2. Invention 10, BWV 796
3. Pile Up
4. Prelude No.24, BWV 869
5. Solar
6. Blue Spruce
7. Canon
8. The One I Left Behind
9. V. Menuet I - II, BWV 825
10. Prelude No.2, BWV 847
11. Palmyra
12. The Lake Effect
13. Largo/Allegro Vivace
14. Allegro Vivace
15. Wrong Number
16. Woolly Mammoth
17. Wishful Thinking

Amazon.com

On Music for Two, banjo wizard Béla Fleck and stand-up bass maestro Edgar Meyer effortlessly sail through a challenging program that includes compositions by Bach, a sonata by Henry Eccles, a Miles Davis tune, and a number of self-composed finger twisters. The amazing thing about this varied selection is not its eclecticism--which is only to be expected with these two--but that it all blends together so seamlessly. Fleck's jazz-tinged compositions (like "The Lake Effect") and Meyer's bluegrass-inspired tunes (like "Wishful Thinking") sit so comfortably next to Bach's baroque jewels and Davis's cool jazz that it makes you question the entire of concept of musical classification. (In fact, the Bach preludes, inventions, and partitas translate so well to the banjo/bass arrangements, you have to wonder if old JSB might not have had a bit of bluegrass in his soul.) Music for Two was recorded live at a series of 2001 concerts, where Fleck and Meyer proved conclusively that the banjo and the bass were capable of remarkable subtlety and not just twang and boom. --Michael John Simmons

Customer Reviews:

A Must Have.......2007-04-25

These two really sound good together. If you're not so impressed with the music when you first hear it (I don't know if that's possible), check out the DVD that comes with it. You will gain such an appreciation for the music that's being played. Watch out for the guy making the banjo jokes. This CD is really an incredible work, I can't say it enough. Very relaxing music.

Broad Spectrum Virtuosity.......2007-04-23

This album runs the gamut of styles and genre. It is hard to get bored when a musical turn is but a few notes away. The two musicians integrate their instruments with incredible skill. I hate to give it a four star rating. The music is worth the 5. The loooooong, live applause tracks detract from the album. The asides by the musicians are sometimes hard to hear. Minor aggravations aside,this album plays frequently, very frequently, in our home,car, iPods, etc.

Cool Pairing for Meyer/Fleck Fans.......2007-01-02

I've seen both Edgar Meyer and Bela Fleck live (unfortunately not together) and I really think this album just captures the magic of their live shows: I can almost see them in my living room together! For those not so familiar with the music of one or both the inclusion of classical tunes with those composed by Meyer/Fleck and other contemporary songwriters is a cool drink of water. Music for Two is a good intro to the world of cozy bluegrass.

Bela Fleck + Edgar Meyer = strange mixture .......2006-11-10

Bela Fleck is one of the my jazz favorites... And hi with combination called Edgar Meyer are... great music!!!

Virtuosity Knows No Musical Boundaries.......2006-10-22

Béla Fleck & Edgar Meyer are both extraordinarily accomplished musicians who spend much of their time in very different worlds: Fleck in his newgrass space and Meyer in a more classical mode. But each has travelled in the other's territory before, and on this CD they connect around more genres than you can shake a stick at. In addition to their own compositions they tackle many of their joint favorites. The affection shows in the passion of the playing and the obvious camaraderie. And the accompanying DVD is a treat. Don't miss this one.

Average customer rating: pure composition magic... One of the most startling beautiful and quintessential version of Porgy and Bess Porgy and Bess and Miles/Gil Evans Pull a chair between the speakers and let this one wash over you Edit your own CD

Porgy and Bess Miles Davis , and Gil Evans Manufacturer: Sony ProductGroup: Music Binding: Audio CD Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Orchestral Jazz | Jazz | Styles | Music Similar Items: Sketches of Spain Miles Ahead Porgy & Bess Milestones Kind of Blue ASIN: B000002AH6 Release Date: 1997-03-25

Tracks:

1. Buzzard Song
2. Bess, You Is My Woman Now
3. Gone
4. Gone, Gone, Gone
5. Summertime
6. Oh Bess, Oh Where's My Bess
7. Prayer (Oh Doctor Jesus)
8. Fishermen, Strawberry And Devil Crab
9. My Man's Gone Now
10. It Ain't Necessarily So
11. Here Come De Honey Man
12. I Loves You, Porgy
13. There's A Boat That's Leaving Soon For New York
14. I Loves You, Porgy (Take 1, Second Version)
15. Gone (Take 4)

Amazon.com

Take George Gershwin's Porgy & Bess, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that--despite the fact that the material has been rendered almost overly familiar due to countless interpretations--still sounds remarkably fresh four decades after its initial release. Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark Sketches of Spain), but Porgy & Bess still stands as one of their most successful collaborations. --Dan Epstein

Customer Reviews:

pure composition magic..........2007-06-20

The pinnacle of Gil Evans and Miles Davis working together. This is by far the definitive recording of Porgy and Bess as far as I'm concerned. I've listened to it a thousand times and it still blows me away. I wish I had the words to do this recording justice. Just listen to GONE and how it segues into GONE, GONE, GONE and how that in turn segues into SUMMERTIME. My goodness, the trumpet practically speaks to you, you can feel the pathos, the rage and the desire of the story. SUMMERTIME is the quintessential Miles. moody, full of passion, magical. Enough said. Get it. Listen to it. Enjoy it. over and over and over again.

One of the most startling beautiful and quintessential version of Porgy and Bess.......2007-04-30

While "Porgy and Bess" nas been attempted by many an artist from popular standard artists to jazz giants, for me, this IS the quintessential version. For me, better than Ella and Louis or Ray Charles and Cleo Laine's versions.

It is emotionally direct and startling in it's beauty. Miles was at the height of his powers and he conveys the sentiment of the pieces so directly that I was moved and transfixed.

This, of all the Gil Evans/Miles Davis collaborations is the best. Some might argue in favor of others but this one features arrangement that are essential and never, not once, do they encumber, obscure or step all over the soloist. Gil provides a perfect setting for Miles and Miles makes the most of it, with that unique vibratto-less tone.

Never sappy, nor even conventional. I can only imagine what the reactions were when this recording was released. Mind you, Gil never arranged in the traditional voicings or instrumentations of the traditional big band. No four or five sax/five brass, four trombone, piano, bass and drums for this man. The instrumentation and voicings are unique. Often the horns covney the soft lushness of strings on ballads but without any syrup at all.

This simply one of the best Miles Davis recordings in his career, bar none! He effectively conveys the longing, romance, sadness and joy I presume Gershwin intended.

Upon acquiring a CD player back in the eighties, this was one of the very first recordings I purchased. Never old or dated. It's timeless, it transcends eras.

A must have for me.

Porgy and Bess and Miles/Gil Evans.......2007-01-03

Phenomenal material to begin with. The treatment was exceptional due to an amazing collaboration. I am very pleased to have it in my collection.

Pull a chair between the speakers and let this one wash over you.......2006-10-31

Let me start by saying that I'm a long-time analog music lover. I still spin a lot of vinyl, and have found digital music to be, at times, disappointing.

That being said, this remastering of "Porgy and Bess" is one of the most gorgeous things I've ever heard. The placement of the instruments across the spectrum is almost holographic, and out of this space the subtlety of Gil Evans' work can truly be appreciated. There are long, languid sections of Miles' horn noir, punctuated by bursts from Evans' "brass orchestra." The layers, the barely heard accents, it's just brilliant work, and this amazing remaster truly does it justice.

As to the music, I'll simply paraphrase another reviewer here who said that he knew of no music more beautiful than this. Amen, brother.

Edit your own CD.......2006-03-19

I think I understand why some listeners take exception to the Miles-Evans version of Porgy and Bess and wonder what all the fuss is about and why it's a "classic" if they've never heard the original vinyl release on Columbia. In the digital era, in the attempt to give listeners more content and fill up cd space, record companies sometimes include extra tracks that were never on the original and should have been left off later. For me that track is "I Loves You, Porgy," which comes near the end of the entire album and has a way of spoiling the sonic magic that came before. It's not that it's a terrible track; it's just not that good or necessary when compared to the others, and, again, was never on the original in the first place. Furthermore, the last track was never on the original either, and can be done without as well, imo. Sometimes less is better. After all, a classic album is one where the listener finds it unnecessary to skip tracks, and the later cd release inadvertently violates this principle because of the two reasons I've mentioned. For my own use, I've burned an edited version off my own commercial copy without the last two tracks, and I recommend others do the same if they wish to recapture the spirit of the original and the marvelous effects this music can create, as Miles' tone was never more luscious, dark and brooding...just gorgeous. And I think Gil Evans was right when he said that Miles Davis reinvented the sound of the trumpet and flugelhorn, especially on Sketches of Spain and Porgy and Bess.

International Music:

1. Paradise and Other Places and Pleasures
2. Pequeno Salvaje [Import]
3. Pochette Surprise [Import]
4. Puana Hou Me Ke Aloha
5. Reset [Import]
6. Ruins of Victory [Import]
7. Salute
8. Scottish Ceilidh Music Volume One
9. Sharki - Love Songs of Istanbul [Import]
10. Simple As A Sunrise

International Music

International Music