Miles Davis The Complete Guide PDF

Miles Davis
The Complete Guide
PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information.
PDF generated at: Sat, 21 May 2011 14:27:25 UTC
Contents
Articles
Overview 1
Miles Davis 1
Miles Davis Quintet 17
Studio albums 19
Blue Period 19
Dig 21
Miles Davis and Horns 23
Blue Haze 25
Walkin' 27
Collectors' Items 29
Bags' Groove 31
Miles Davis and the Modern Jazz Giants 33
Musings of Miles 35
Blue Moods 37
Quintet / Sextet 39
Miles: The New Miles Davis Quintet 40
Cookin' with the Miles Davis Quintet 42
Relaxin' with the Miles Davis Quintet 44
Workin' with the Miles Davis Quintet 46
Steamin' with the Miles Davis Quintet 48
'Round About Midnight 50
Miles Ahead 54
Milestones 57
Porgy and Bess 59
1958 Miles 65
Kind of Blue 72
Sketches of Spain 85
Someday My Prince Will Come 88
Quiet Nights 90
Seven Steps to Heaven 92
E.S.P. 94
Miles Smiles 97
Sorcerer 100
Nefertiti 102
Miles in the Sky 105
Water Babies 107
Filles de Kilimanjaro 109
In a Silent Way 114
Bitches Brew 119
A Tribute to Jack Johnson 125
Live-Evil|Live-Evil 128
On the Corner 134
Big Fun 138
Get Up with It 145
The Man with the Horn 149
Star People 151
Decoy 153
You're Under Arrest 155
Tutu 157
Amandla 159
Aura 161
Doo-Bop 164
Live albums 166

Miles Davis Quintet at Peacock Alley 166
Amsterdam Concert 168
Miles Davis at Newport 1958 169
In Europe 171
My Funny Valentine 173
Four & More 176
Miles in Tokyo 179
Miles in Berlin 182
The Complete Live at the Plugged Nickel 1965 184
Live at the Fillmore East, March 7, 1970: It's About that Time 189
Black Beauty: Live at the Fillmore West 191
Miles Davis at Fillmore: Live at the Fillmore East 194
The Cellar Door Sessions 197
In Concert: Live at Philharmonic Hall 200
Jazz at the Plaza 202
Dark Magus 204
Agharta 207
Pangaea 210
Miles! Miles! Miles! 212
We Want Miles 214
The Complete Miles Davis at Montreux 216
Live Around the World 221
Compilation albums 222

Miles Davis Volume 1 222
Birth of the Cool 227
Circle in the Round 232
Basic Miles 234
Super Hits 236
Box sets 240

The Columbia Years 19551985 240
The Complete Studio Recordings of The Miles Davis Quintet 19651968 243
The Complete Bitches Brew Sessions 244
The Complete Columbia Recordings of Miles Davis with John Coltrane 248
The Complete In a Silent Way Sessions 252
In Person Friday and Saturday Nights at the Blackhawk, Complete 254
The Complete Jack Johnson Sessions 261
Seven Steps: The Complete Columbia Recordings of Miles Davis 19631964 265
The Complete On the Corner Sessions 266
Miles Davis: The Complete Columbia Album Collection 276
Videos and films 279

Miles in Paris 279
Dingo 280
Compositions 282
"Donna Lee" 282
"Solar" 283
"Milestones" 284
"All Blues" 286
"Blue in Green" 287
"Flamenco Sketches" 288
"Freddie Freeloader" 289
"So What" 291
Soundtracks 293
Ascenseur pour l'chafaud 293
Music from Siesta 296
Dingo 298
The Hot Spot 301
As sideman and collaboration recordings 305

"Billie's Bounce" 305
Bird on 52nd St. 307
Cool Bird 309
Conception 311
Somethin' Else 314
Miles & Monk at Newport 316
CK 318
Back on the Block 321
Miles & Quincy Live at Montreux 326
Miles Davis & Gil Evans: The Complete Columbia Studio Recordings 328
Related biographies 333

Cannonball Adderley 333
Kei Akagi 336
Don Alias 337
John Beasley 339
Bob Berg 341
Elwood Buchanan 343
Ron Carter 344
Paul Chambers 350
Jimmy Cobb 357
George Coleman 362
John Coltrane 365
Chick Corea 377
Betty Davis 383
Bill Evans (pianist) 386
Bill Evans (saxophonist) 393
Gil Evans 395
Foley 398
Sonny Fortune 399
Al Foster 401
Red Garland 403
Kenny Garrett 406
Herbie Hancock 410
Jimmy Heath 422
Dave Holland 425
Robert Irving III 431
Keith Jarrett 435
Darryl Jones 443
Philly Joe Jones 445
Wynton Kelly 447
Lee Konitz 453
Azar Lawrence 459
Dave Liebman 461
Teo Macero 473
Al McKibbon 478
John McLaughlin 480
Jackie McLean 488
Bennie Maupin 493
Palle Mikkelborg 495
Marcus Miller 496
Airto Moreira 501
Hermeto Pascoal 505
Sam Rivers 508
Badal Roy 512
John Scofield 517
Wayne Shorter 523
Sonny Stitt 529
Gary Thomas 532
Tony Williams 534
Joe Zawinul 540
Related articles and tributes 546

Directions in Music: Live at Massey Hall 546
5892 Milesdavis 548
Selim Sivad: A Tribute to Miles Davis 549
So Near, So Far (Musings for Miles) 551
A Tribute to Miles 553
Discography and lists 555

Discography 555
References
Article Sources and Contributors 586
Image Sources, Licenses and Contributors 595
Article Licenses
License 599
1
Overview
Miles Davis
Miles Dewey Davis III
Photo of Davis in 1955 taken by Tom Palumbo

Background information
Birth name Miles Dewey Davis III
Born May 26, 1926Alton, Illinois, United States
Died September 28, 1991 (aged65)Santa Monica, California,

United States
Genres [1] [2]

Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk jazz rap
Occupations Bandleader, composer, trumpeter, artist
Instruments Trumpet, flugelhorn, piano, organ, vocals
Years active 19441975, 19801991
Associated acts Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans
Website [3]
www.milesdavis.com
Miles Dewey Davis III (May 26, 1926 September 28, 1991) was an American trumpeter, bandleader, and
composer.
Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical
groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal
jazz, and jazz fusion. Many well-known musicians rose to prominence as members of Davis' ensembles, including
saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave
Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland,
Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, Keith Jarrett and Kei Akagi; guitarists John
McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus
Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham,
Jack DeJohnette, and Al Foster.
On October 7, 2008, his album Kind of Blue, released in 1959, received its fourth platinum certification from the
RIAA, signifying sales of 4 million copies.[4] Miles Davis was inducted into the Rock and Roll Hall of Fame in
2006.[5] Davis was noted as "one of the key figures in the history of jazz".[6]
Miles Davis 2
On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the US House of Representatives to
recognize and commemorate the album Kind of Blue on its 50th anniversary. The measure also affirms jazz as a
national treasure and "encourages the United States government to preserve and advance the art form of jazz
music."[7] It passed, unanimously, with a vote of 4090 on December 15, 2009.[8]
Biography
Early life (192644)

Miles Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr.
Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial
ranch in northern Arkansas, where Davis learned to ride horses as a boy. Davis' mother, Cleota Mae (Henry) Davis,
wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical
studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan.
Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's
sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported
to have slapped Davis' knuckles every time he started using heavy vibrato.[9] Davis would carry his clear signature
tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no
attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I cant
get that sound I cant play anything."[10] Clark Terry was another important early influence.
By age 16, Davis was a member of the music society and playing professionally when not at school. At 17, he spent
a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the
Tiny Bradshaw band, then passing through town, but Davis' mother insisted that he finish his final year of high
school.
In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the
band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson,
was out sick. Even after this experience, once Eckstine's band left town, Davis' parents were still keen for him to
continue formal academic studies.
New York and the bebop years begin (194448)

In the fall of 1944, following graduation from high school, Davis
moved to New York City to study at the Juilliard School of Music.
Upon arriving in New York, he spent most of his first weeks in
town trying to get in contact with Charlie Parker, despite being
advised against doing so by several people he met during his
quest, including saxophonist Coleman Hawkins.[9]
Finally locating his idol, Davis became one of the cadre of
musicians who held nightly jam sessions at two of Harlem's
nightclubs, Minton's Playhouse and Monroe's. The group included
many of the future leaders of the bebop revolution: young players Charlie Parker, Tommy Potter, Miles Davis, Duke
Jordan, Max Roach, August 1947
such as Fats Navarro, Freddie Webster, and J. J. Johnson.
Established musicians including Thelonious Monk and Kenny
Clarke were also regular participants.
Davis dropped out of Juilliard, after asking permission from his father. In his autobiography, Davis criticized the
Juilliard classes for centering too much on the classical European and "white" repertoire. However, he also
acknowledged that Juilliard helped give him a grounding in music theory that would prove valuable in later years.
Miles Davis 3
Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie
"Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group.
This was the first of many recordings to which Davis contributed in this period, mostly as a sideman. He finally got
the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman
and Ann Hathawayone of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker
Quintet, can be heard accompanying singers.[11] In these early years, recording sessions where Davis was the leader
were the exception rather than the rule; his next date as leader would not come until 1947.
Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his
quintet, which also featured Max Roach on drums, Al Haig (replaced later by Sir Charles Thompson and Duke
Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass.
With Parker's quintet, Davis went into the studio several times,
already showing hints of the style for which he would become
known. On an oft-quoted take of Parker's signature song, "Now's
the Time", Davis takes a melodic solo, whose unbop-like quality
anticipates the "cool jazz" period that would follow. The Parker
quintet also toured widely. During a stop in Los Angeles, Parker
had a nervous breakdown that landed him in the Camarillo State
Mental Hospital for several months, and Davis found himself
stranded. He roomed and collaborated for some time with bassist
Charles Mingus, before getting a job on Billy Eckstine's California
tour, which eventually brought him back to New York.[12] In 1948,
Parker returned to New York, and Davis rejoined his group.
Coleman Hawkins and Miles Davis, ca. September

1947
The relationships within the quintet, however, were growing tense.

Parker's erratic behavior (attributable to his well-known drug
addiction) and artistic choices (both Davis and Roach objected to
having Duke Jordan as a pianist[9] and would have preferred Bud
Powell) became sources of friction. In December 1948, disputes
over money (Davis claims he was not being paid) began to strain
their relationship even further. Davis finally left the group
following a confrontation with Parker at the Royal Roost.
For Davis, his departure from Parker's group marked the beginning
of a period in which he worked mainly as a freelancer and as a
sideman in some of the most important combos on the New York
jazz scene.
Miles Davis on piano with Howard McGhee and Brick

Birth of the Cool (194849)
Fleagle, September 1947
In 1948 Davis grew close to the Canadian composer and arranger
Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers
(including Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan) unhappy with the increasingly
virtuoso instrumental techniques that dominated the bebop scene of the time. Evans had been the arranger for the
Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested
Miles Davis 4
the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band"
moniker that was to be associated with the combo).
Davis took an active role in the project,[13] so much so that it soon became "his project". The objective was to
achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed,
melodic approach to the improvisations.
The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing
the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil
Evans, John Lewis and Gerry Mulligan". It was, in fact, so unusual that Davis had to persuade the Roost's manager,
Ralph Watkins, to allow the sign to be worded in this way; he prevailed only with the help of Monte Kay, the club's
artistic director.
The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and
Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who
had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis
alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time),
Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on
bass. Singer Kenny Hagood was added for one track during the recording
The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at
the time, but Davis rebuffed their criticisms.[14]
A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950.
The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the
"cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis'
group.
For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a
job with Duke Ellington's orchestra.[9]
The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at
least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for
Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by
Davis, who claimed the invention of the cool style and resented the success that was later enjoyedin large part
because of the media's attentionby white "cool jazz" musicians (Mulligan and Dave Brubeck in particular).
This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that
would bear important results in the years to follow.
Hard bop and the "Blue Period" (195054)

The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in
Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James
Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African
Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a
relationship with French actress and singer Juliette Grco.
Many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in
France, but Davis decided to return to New York. Back in the States, he began to feel deeply depressed. The
depression was due in part to his separation from Grco, in part to his feeling underappreciated by the critics (who
were hailing Davis' former collaborators as leaders of the cool jazz movement), and in part to the unraveling of his
liaison with a former St. Louis schoolmate who was living with him in New York and with whom he had two
children.
Miles Davis 5
These are the factors to which Davis traces a heroin habit that deeply affected him for the next four years. Though
Davis denies it in his autobiography, it is also likely that the environment in which he was living played a role. Most
of Davis' associates at the time, some of them perhaps in imitation of Charlie Parker, had drug addictions of their
own (among them, sax players Sonny Rollins and Dexter Gordon, trumpeters Fats Navarro and Freddie Webster, and
drummer Art Blakey). For the next four years, Davis supported his habit partly with his music and partly by living
the life of a hustler.[15] By 1953, his drug addiction was beginning to impair his ability to perform. Heroin had killed
some of his friends (Navarro and Freddie Webster). He himself had been arrested for drug possession while on tour
in Los Angeles, and his drug habit had been made public in a devastating interview that Cab Calloway gave to Down
Beat.[16]
Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954
after returning to his father's home in St. Louis for several months and literally locking himself in a room until he
had gone through a painful withdrawal. During this period he avoided New York and played mostly in Detroit and
other midwestern towns, where drugs were then harder to come by. A widely-related story, attributed to Richard
(Prophet) Jennings[17] [18] was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy
Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad
Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and
carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford
Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after
finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this
incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with
him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach
and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.[19]
Despite all the personal turmoil, the 195054 period was actually quite fruitful for Davis artistically. He made quite
a number of recordings and had several collaborations with other important musicians. He got to know the music of
Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively
severed his stylistic ties with bebop.[20]
In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between
1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the
recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins
and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group.
He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time.
In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they
document the evolution of Davis' style and sound. During this time he began using the Harmon mute, held close to
the microphone, in a way that grew to be his signature, and his phrasing, especially in ballads, became spacious,
melodic, and relaxed. This sound was to become so characteristic that the use of the Harmon mute by any jazz
trumpet player since immediately conjures up Miles Davis.
The most important Prestige recordings of this period (Dig, Blue Haze, Bags' Groove, Miles Davis and the Modern
Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis' recovery from his
addiction. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album.
With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard
bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and
standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool
jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form
made popular by rhythm and blues.[21] A few critics[10] go as far as to call Walkin' the album that created hard bop,
but the point is debatable, given the number of musicians who were working along similar lines at the same time
(and of course many of them recorded or played with Davis).
Miles Davis 6
Also in this period Davis gained a reputation for being distant, cold, and withdrawn and for having a quick temper.
Among the several factors that contributed to this reputation were his contempt for the critics and specialized press
and some well-publicized confrontations with the public and with fellow musicians. (One occasion, in which he had
a near fight with Thelonious Monk during the recording of Bags' Groove, received wide exposure in the specialized
press.)[22]
The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice,[23] earned him
the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.[24]
First great quintet and sextet (195558)

Back in New York and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance
(and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of
Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great
quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on
drums.
None of these musicians, with the exception of Davis, had received a great deal of exposure before that time;
Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York scene for
only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and
Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl
Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to
recruit alto saxophonist Julian "Cannonball" Adderley.
The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era,
and some traditional tunes.[25] The prevailing style of the group was a development of the Davis experience in the
previous yearsDavis playing long, legato, and essentially melodic lines, while Coltrane, who during these years
emerged as a leading figure on the musical scene, contrasted by playing high-energy solos.
With the new formation also came a new recording contract. In Newport, Davis had met Columbia Records producer
George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely
well received 'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during
two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums:
Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet,
and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has
the structure and feel of a live performance, with several first takes on each album. The records became almost
instant classics and were instrumental in establishing Davis' quintet as one of the best on the jazz scene.
The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on
the drug addiction of the other musicians.[26] Davis played some gigs at the Cafe Bohemia with a short-lived
formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the
score to Louis Malle's film Ascenseur pour l'chafaud. With the aid of French session musicians Barney Wilen,
Pierre Michelot, and Ren Urtreger, and American drummer Kenny Clarke, he recorded the entire soundtrack with
an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a
general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising.
Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane,
who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with
Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis
recorded Milestones, an album anticipating the new directions he was preparing to give to his music.
Almost immediately after the recording of Milestones, Davis fired Garland and, shortly afterward, Jones, again for
behavioral problems; he replaced them with Bill Evansa young white pianist with a strong classical
backgroundand drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the
Miles Davis 7
sextet performed and toured extensively and produced a record (1958 Miles, also known as 58 Sessions). Evans had a
unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only
eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a
player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.
Recordings with Gil Evans (195763)

In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well
as trumpet. The first, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by
Evans. Songs included Dave Brubeck's "The Duke," as well as Lo Delibes's "The Maids of Cadiz," the first piece of
European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages
that Evans had devised as transitions between the different tracks, which were joined together with the innovative
use of editing in the post-production phase, turning each side of the album into a seamless piece of music.[27]
In 1958, Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George
Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe
Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites.
Sketches of Spain (19591960) featured songs by contemporary Spanish composer Joaquin Rodrigo and also Manuel
de Falla, as well as Gil Evans originals with a Spanish flavor. Miles Davis at Carnegie Hall (1961) includes
Rodrigo's Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans'
direction.
Sessions with Davis and Evans in 1962 resulted in the album Quiet Nights, a short collection of bossa novas that was
released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company;
Davis blamed producer Teo Macero, whom he didn't speak to for more than two years.[28] This was the last time
Evans and Davis made a full album together; despite the professional separation, however, Davis noted later that
"my best friend is Gil Evans."[29]
Kind of Blue (195964)

In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his
magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own
seminal trio, for the album sessions, as the music had been planned around Evans' piano style.[30] Both Davis and
Evans were personally acquainted with the ideas of pianist George Russell regarding modal jazz, Davis from
discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in
1956.[31] Davis, however, had neglected to inform current pianist Kelly of Evans' role in the recordings; Kelly
subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album.[32]
"So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the
other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for
the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has
proven to be both highly popular and enormously influential. According to the RIAA, Kind of Blue is the best-selling
jazz album of all time, having been certified as quadruple platinum (4 million copies sold). In December 2009, the
US House of Representatives voted 4090 to pass a resolution honoring the album as a national treasure.[33]
The trumpet Davis used on the recording is currently displayed in the music building on the campus of the
University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in
1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis
Jazz Studies Program." [34]
In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing
a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive
blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on."[35] Davis
Miles Davis 8
explained that he worked at the nightclub and refused to move.[36] The officer said that he would arrest Davis and
grabbed him as Davis protected himself.[35] Witnesses said that Kilduff punched Davis in the stomach with his
nightstick without provocation.[35] Two nearby detectives held the crowd back as a third detective, Don Rolker,
approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was
charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five
stitches for a wound on his head.[35] Davis attempted to pursue the case in the courts, before eventually dropping the
proceedings in a plea bargain in order to recover his suspended Cabaret Card, enabling him to return to work in New
York clubs.
Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then
departed to form his classic quartet, although he returned for some of the tracks on Davis' 1961 album Someday My
Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank
Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall
and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in
Olympia, Paris (where Davis and Coltrane had played a few months before) and the Live in Stockholm album.
In 1963, Davis' longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting
together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter
and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later,
seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward
Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven.
The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be
traced through the Seven Steps to Heaven album, In Europe (July 1963), My Funny Valentine (February 1964), and
Four and More (also February 1964). The quintet played essentially the same repertoire of bebop tunes and
standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom
and, in the case of the up-tempo material, breakneck speed.
Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony
Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this
configuration can be heard on Miles in Tokyo! (July 1964).
By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the
quintet. Shorter became the group's principal composer, and some of his compositions of this era (including
"Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first
official recording, Miles in Berlin (September 1964). On returning to the United States later that year, ever the
musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting The Byrds signed to
Columbia Records.
Second great quintet (196468)

By the time of E.S.P. (1965), Davis' lineup consisted of Wayne Shorter, Herbie Hancock, Ron Carter (bass), and
Tony Williams (drums). The last of his acoustic bands, this group is often referred to as "the second great quintet."
A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965,
released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards
and bebop tunes. It is reasonable to point out though, that whilst some of the titles remain the same as the tunes
employed by the 1950s quintet, the speed and distance of departure from the framework of the standards bears no
comparison. It could even be said that the listening experience to these standards as live performances is as much of
a radical take on the jazz of the time as the new compositions of the studio albums listed below.
The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, first appearing as a Japan-only
partial issue in the late 1970s, then as a double-LP in the USA and Europe in 1982. It was followed by a series of
studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de
Miles Davis 9
Kilimanjaro (1968). The quintet's approach to improvisation came to be known as "time no changes" or "freebop,"
because they abandoned the more conventional chord-change-based approach of bebop for a modal approach.
Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional
compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune
flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to
perform in this way until his retirement in 1975.
Miles in the Sky and Filles de Kilimanjaro, on which electric bass, electric piano, and electric guitar were tentatively
introduced on some tracks, pointed the way to the subsequent fusion phase of Davis' career. Davis also began
experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de
Kilimanjaro had been recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in
the working band, though both Carter and Hancock would occasionally contribute to future recording sessions. Davis
soon began to take over the compositional duties of his sidemen.
Electric Miles (196875)

Davis' influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi
Hendrix,[5] many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis
married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt
to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in
February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul
was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many
appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album,
Williams left to form his group Lifetime and was replaced by Jack DeJohnette.
Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin,
recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In
a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the
groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as
jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's
repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an
occasional standard.
In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of
new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not
be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally."[37] His recordings
and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and
by Buckmaster, who described it as "a lot of mood changesheavy, dark, intensedefinitely space music."[38] [39]
Both Bitches Brew and In a Silent Way feature "extended" (more than 20 minutes each) compositions that were never
actually "played straight through" by the musicians in the studio. Instead, Davis and producer Teo Macero selected
musical motifs of various lengths from recorded extended improvisations and edited them together into a musical
whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking,
tape loops, and other editing techniques.[40] Both records, especially Bitches Brew, proved to be big sellers. Starting
with Bitches Brew, Davis' albums began to often feature cover art much more in line with psychedelic art or black
power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to
open for rock groups like the Steve Miller Band, the Grateful Dead, Neil Young, and Santana. Several live albums
were recorded during the early 1970s at these performances: Live at the Fillmore East, March 7, 1970: It's About
That Time (March 1970), Black Beauty (April 1970), and Miles Davis at Fillmore: Live at the Fillmore East (June
1970).[5]
Miles Davis 10
By the time of Live-Evil in December 1970, Davis' ensemble had transformed into a much more funk-oriented group.
Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and
Michael Henderson, often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a
Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set The
Cellar Door Sessions, which was recorded over four nights in December 1970. In 1970, Davis contributed
extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack
Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the
fruitless search for a Great White Hope to dethrone him, and Davis' own career, in which he felt the musical
establishment of the time had prevented him from receiving the acclaim and rewards that were due him. The
resulting album, 1971's A Tribute to Jack Johnson, contained two long pieces that featured musicians (some of
whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock
on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of
the Mahavishnu Orchestra in 1971.
As Davis stated in his autobiography, he wanted to make music for the young African-American audience. On the
Corner (1972) blended funk elements with the traditional jazz styles he had played his entire career. The album was
highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his
autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album
was not promoted by the "traditional" jazz radio stations. After recording On the Corner, Davis put together a new
group, with only Michael Henderson, Carlos Garnett, and percussionist Mtume returning from the previous band. It
included guitarist Reggie Lucas, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was
unusual in that none of the sidemen were major jazz instrumentalists; as a result, the music emphasized rhythmic
density and shifting textures instead of individual solos. This group, which recorded in the Philharmonic Hall for the
album In Concert (1972), was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar,
took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster
ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute
with the band; in 1974, he was replaced by Sonny Fortune.
Big Fun (1974) was a double album containing four long improvisations, recorded between 1969 and 1972.
Similarly, Get Up With It (1974) collected recordings from the previous five years. Get Up With It included "He
Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis' most lauded pieces from this era, "Calypso
Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis
albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York concert; the latter two are
recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was
available in the US; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at
least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic
distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis
on electric trumpet and organ. These albums were the last he was to record for five years. Davis was troubled by
osteoarthritis (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression,
bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), and his performances were
routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February
1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it
through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his
trumpet playing "is of the highest and most adventurous order."
After a Newport Jazz Festival performance at Avery Fisher Hall in New York on July 1, 1975, Davis withdrew
almost completely from the public eye for six years. As Gil Evans said, "His organism is tired. And after all the
music he's contributed for 35 years, he needs a rest." In his memoirs, Davis is characteristically candid about his
wayward mental state during this period, describing himself as hermit, his house as a wreck, and detailing his drug
and sex addictions.[9] In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped
Miles Davis 11
practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at
recording during his exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil
Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he
placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and
records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the
fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from
retirement, Davis' musical descendants would be in the realm of New Wave rock, and in particular the styling of
Prince.
Last decade (198191)

By 1979, Davis had rekindled his relationship with actress Cicely
Tyson. With Tyson, Davis would overcome his cocaine addiction and
regain his enthusiasm for music. As he had not played trumpet for the
better part of three years, regaining his famed embouchure proved to
be particularly arduous. While recording The Man with the Horn
(sessions were spread sporadically over 19791981), Davis played
mostly wahwah with a younger, larger band.
The initial large band was eventually abandoned in favor of a smaller

combo featuring saxophonist Bill Evans and bass player Marcus Miles Davis at the Nice Jazz Festival in July 1989
Miller, both of whom would be among Davis' most regular
collaborators throughout the decade. He married Tyson in 1981; they would divorce in 1988. The Man with the Horn
was finally released in 1981 and received a poor critical reception despite selling fairly well. In May, the new band
played two dates as part of the Newport Jazz Festival. The concerts, as well as the live recording We Want Miles
from the ensuing tour, received positive reviews.
By late 1982, Davis' band included French percussionist Mino Cinelu

and guitarist John Scofield, with whom he worked closely on the
album Star People. In mid-1983, while working on the tracks for
Decoy, an album mixing soul music and electronica that was released
in 1984, Davis brought in producer, composer and keyboardist Robert
Irving III, who had earlier collaborated with him on The Man with the
Horn. With a seven-piece band, including Scofield, Evans, keyboardist
and music director Irving, drummer Al Foster and bassist Darryl Jones
(later of The Rolling Stones), Davis played a series of European gigs to
Miles Davis at North Sea Jazz Festival in 1987
positive receptions. While in Europe, he took part in the recording of
Aura, an orchestral tribute to Davis composed by Danish trumpeter
Palle Mikkelborg.
You're Under Arrest, Davis' next album, was released in 1985 and included another brief stylistic detour. Included on
the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and "Human Nature" from Michael
Jackson. Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was
scrapped. Davis noted that many of today's accepted jazz standards were in fact pop songs from Broadway theater,
and that he was simply updating the "standards" repertoire with new material. 1985 also saw Davis guest-star on the
TV show Miami Vice as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" (first aired
November 8, 1985).[41]
Miles Davis 12
You're Under Arrest also proved to be Davis' final album for

Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis' more
recent fusion recordings as not being "'true' jazz", comments Davis
initially shrugged off, calling Marsalis "a nice young man, only
confused". This changed after Marsalis appeared, unannounced,
onstage in the midst of a Davis performance. Marsalis whispered into
Davis' ear that "someone" had told him to do so; Davis responded by
ordering him off the stage.[42]
Davis grew irritated at Columbia's delay releasing Aura. The breaking

point in the label-artist relationship appears to have come when a
Columbia jazz producer requested Davis place a goodwill birthday call
to Marsalis. Davis signed with Warner Brothers shortly thereafter.
Davis collaborated with a number of figures from the British new wave
movement during this period, including Scritti Politti.[43] At the
invitation of producer Bill Laswell, Davis recorded some trumpet parts
during sessions for Public Image Ltd.'s Album, according to Public
Image's John Lydon in the liner notes of their Plastic Box box set. In
Lydon's words, however, "strangely enough, we didn't use (his
contributions)." (Also according to Lydon in the Plastic Box notes, Miles Davis 1984 in Bad Segeberg
Davis favorably compared Lydon's singing voice to his trumpet

sound.)[44]
Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records
and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio
toolsprogrammed synthesizers, samples and drum loopsto create an entirely new setting for Davis' playing.
Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches
of Spain and won a Grammy in 1987.
He followed Tutu with Amandla, another collaboration with Miller and George Duke, plus the soundtracks to four
movies: Street Smart, Siesta, The Hot Spot, and Dingo. He continued to tour with a band of constantly rotating
personnel and a critical stock at a level higher than it had been for 15 years. His last recordings, both released
posthumously, were the hip hop-influenced studio album Doo-Bop and Miles & Quincy Live at Montreux, a
collaboration with Quincy Jones for the 1991 Montreux Jazz Festival in which Davis performed the repertoire from
his 1940s and 1950s recordings for the first time in decades.
In 1988 he had a small part as a street musician in the film Scrooged, starring Bill Murray. He received the Grammy
Lifetime Achievement Award in 1990. In 1989, Miles was interviewed on 60 Minutes by Harry Reasoner.
In early 1991, he appeared in the Rolf de Heer film Dingo as a jazz musician. In the film's opening sequence, Davis
and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned
locals. The performance was one of Davis' last on film.
Miles Davis died on September 28, 1991 from the combined effects of a stroke, pneumonia and respiratory failure in
Santa Monica, California at the age of 65.[5] He is buried in Woodlawn Cemetery in The Bronx.[45]
Miles Davis 13
Legacy and influence

Miles Davis is regarded as one of the most innovative, influential and
respected figures in the history of music. He has been described as one
of the great innovators in jazz.[46] The Rolling Stone Encyclopedia of
Rock & Roll noted "Miles Davis played a crucial and inevitably
controversial role in every major development in jazz since the
mid-'40s, and no other jazz musician has had so profound an effect on
rock. Miles Davis was the most widely recognized jazz musician of his
era, an outspoken social critic and an arbiter of stylein attitude and
fashionas well as music".[47] His album Kind of Blue is the
best-selling album in the history of jazz music and was praised by the
United States House of Representatives to "pass a symbolic resolution
honoring the masterpiece and reaffirming jazz as a national
treasure."[48]
As an innovative bandleader and composer, Miles Davis has

influenced many notable musicians and bands from diverse genres.
Statue in Kielce, Poland
These include Wayne Shorter,[49] Cannonball Adderley,[50] Herbie
Hancock,[51] Cassandra Wilson,[52] Lalo Schifrin,[53] Tangerine
Dream,[54] Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Sugizo, Bill Evans, Bill
Hardman, The Lounge Lizards, Hugh Masekela, John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Duane
Allman, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting,[55] Lonnie Liston Smith, Ji
Stivn, Tim Hagans, Julie Christensen, Jerry Garcia, David Grisman, Vassar Clements, Snooky Young, Prince, and
Christian Scott.
Miles' influence on the people who played with him has been described by music writer and author Christopher
Smith as follows:
Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be
endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary.
[...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight
from individual to individual. His position in that tradition, and his personality, talents, and artistic interests,
impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of
improvised performance.
His approach, owing largely to the African American performance tradition that focused on individual expression,
emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz
musicians.[56]
In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary
contributions to music.[57] Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored
him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame
Awards.
In a 2006 survey of people between 10 and 49 years of age in Japan, Oricon Style found "My Funny Valentine" by
Davis to be the fifth most popular Valentine's Day song in Japan.[58]
Miles Davis 14
Awards
Winner; Down Beat Reader's Poll Best Trumpet Player 1955
Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for Sketches of Spain (1960)
Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for Bitches Brew (1970)
Grammy Award for Best Jazz Instrumental Performance, Soloist for We Want Miles (1982)
Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark)
Doctor of Music, honoris causa (1986; New England Conservatory)
Grammy Award for Best Jazz Instrumental Performance, Soloist for Tutu (1986)
Grammy Award for Best Jazz Instrumental Performance, Soloist for Aura (1989)
Grammy Award for Best Jazz Instrumental Performance, Big Band for Aura (1989)
Grammy Lifetime Achievement Award (1990)
Australian Film Institute Award for Best Original Music Score for Dingo, shared with Michel Legrand (1991)
Knighted into the Legion of Honor (July 16, 1991; Paris)
Grammy Award for Best R&B Instrumental Performance for Doo-Bop (1992)
Grammy Award for Best Large Jazz Ensemble Performance for Miles & Quincy Live at Montreux (1993)
Hollywood Walk of Fame Star (February 19, 1998)
Rock and Roll Hall of Fame Induction (March 13, 2006)
Hollywood's Rockwalk Induction (September 28, 2006)
RIAA Quadruple Platinum for Kind of Blue
St. Louis Walk of Fame
Sidemen
Rhythm section
1950: pianist John Lewis, bassist Al McKibbon, drummer Max Roach
1951: pianist Walter Bishop, Jr., bassist Tommy Potter, drummer Art Blakey
1956: pianist Tommy Flanagan, bassist Paul Chambers, drummer Art Taylor
195558: pianist Red Garland, bassist Paul Chambers, drummer Philly Joe Jones
195963: pianist Wynton Kelly, bassist Paul Chambers, drummer Jimmy Cobb
196368: pianist Herbie Hancock, bassist Ron Carter, drummer Tony Williams
196870: pianist Chick Corea, bassist Dave Holland, drummer Tony Williams
1971: pianist Keith Jarrett, bassist Michael Henderson, drummer Jack DeJohnette, percussionist Airto Moreira
196972: pianists Joe Zawinul, Chick Corea, Keith Jarrett, Herbie Hancock, Larry Young, Harold Williams,
Hermeto Pascoal, Lonnie Liston Smith, Cedric Lawson
1970s: guitarists John McLaughlin, Reggie Lucas, Pete Cosey, David Creamer, Dominique Gaumont, Cornell
Dupree
Miles Davis 15
Notes
[1] Fadoir, Nick, "Jazz and Hip Hop: You Know, for Kids" (http:/ / www. thebiggreen. net/ 2009/ 10/ 15/ jazz-and-hip-hop-you-know-for-kids/ ),
The Big Green, Michigan State University, 15 October 2009.
[2] Considine, J.D., "Jazz And Rap A Jarring Mix" (http:/ / articles. sun-sentinel. com/ 1992-07-06/ features/
9202180225_1_doo-bop-miles-davis-emb), The Baltimore Sun, July 6, 1992
[3] http:/ / www. milesdavis. com/
[4] RIAA database - Gold & Platinum search item Kind of Blue (http:/ / www. riaa. com/ goldandplatinumdata.
php?table=SEARCH_RESULTS). Recording Industry Association of America. Retrieved on October 17, 2008.
[5] "Miles Davis" (http:/ / www. rockhall. com/ inductee/ miles-davis). The Rock and Roll Hall of Fame. The Rock and Roll Hall of Fame and
Museum, Inc.. . Retrieved June 29, 2009.
[6] "Miles Davis". The Rock and Roll Hall of Fame. The Rock and Roll Hall of Fame and Museum, Inc.. http:/ / www. rockhall. com/ inductee/
miles-davis. Retrieved June 29, 2009.
[7] Associated Press article published December 15, 2009 http:/ / www. google. com/ hostednews/ ap/ article/
ALeqM5iUiZ2PQojIOgYW99dtMTcpluXfmwD9CJTRPO0
[8] House Resolution H.RES.894 http:/ / clerk. house. gov/ evs/ 2009/ roll971. xml
[9] Miles Davis and Quincy Troupe, Miles: The Autobiography, Simon and Schuster, 1989, ISBN 0671635042.
[10] Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ books?id=6QArFwi9buUC&
printsec=frontcover), Da Capo Press, 2001.
[11] See the Plosin session database (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=461018).
[12] On this occasion, Mingus bitterly criticized Davis for abandoning his "musical father" (see Autobiography).
[13] "Miles, the bandleader. He took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and
generally cracked the whip." Gerry Mulligan "I hear America singing,"
[14] "So I just told them that if a guy could play as good as Lee Konitz playedthat's who they were mad about most, because there were a lot of
black alto players aroundI would hire him every time, and I wouldn't give a damn if he was green with red breath. I'm hiring a motherfucker
to play, not for what color he is." Miles Davis, Autobiography
[15] In his autobiography Davis recalls exploiting prostitutes and getting money from most of his friends.
[16] In his autobiography, Davis says he never forgave Calloway for that interview. He also says that African Americans were being unfairly
singled out as drug users among the larger community of jazz musicians who used drugs at the time.
[17] Crawford, Mark, "Miles Davis: Evil genius of jazz", Ebony (January 1961) pp.69-74 (http:/ / books. google. com/
books?id=GyvbN5PqVCAC& pg=PA74& dq=Miles+ Davis+ Baker's+ Keyboard+ Lounge& hl=en& ei=UGxITf-0Ooeg9ASw7vTXCA&
sa=X& oi=book_result& ct=result& resnum=5& ved=0CEUQ6AEwBA#v=onepage& q=Miles Davis Baker's Keyboard Lounge& f=false)
[18] Neisenson, Eric, Round About Midnight: A Portrait of Miles Davis Da Capo Press, 1996 ISBN 0306806843, 9780306806841 pp 88-89
(http:/ / books. google. com/ books?id=_-MMx7OGSrQC& pg=PA88& dq=Miles+ Davis+ Baker's+ Keyboard+ Lounge& hl=en&
ei=jWVITc-lDInE8ASAg-ThCA& sa=X& oi=book_result& ct=result& resnum=2& ved=0CDQQ6AEwAQ#v=onepage& q& f=false)
[19] Davis, Miles and Troup, Quincy, Miles, the Autobiography, Simon and Schuster, 1990 ISBN 0671725823, 9780671725822 pp 173-174
(http:/ / books. google. com/ books?id=xgAVXHhuNYgC& pg=PA173& dq=Miles+ Davis+ Baker's+ Keyboard+ Lounge& hl=en&
ei=jWVITc-lDInE8ASAg-ThCA& sa=X& oi=book_result& ct=result& resnum=1& ved=0CC4Q6AEwAA#v=onepage& q& f=false)
[20] "Back in bebop, everybody used to play real fast. But I didn't ever like playing a bunch of scales and shit. I always tried to play the most
important notes in the chord, to break it up. I used to hear all them musicians playing all them scales and notes and never nothing you could
remember." Miles Davis, The Autobiography.
[21] Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to Alan Lomax
(The Land Where the Blues Began. New York: Pantheon, 1993), African American players working in white establishments would avoid
references to the blues altogether.
[22] Davis had asked Monk to "lay off" (stop playing) while he was soloing. In the autobiography, Davis says that Monk "could not play behind
a horn". Charles Mingus reported this, and more, in his "Open Letter to Miles Davis" (http:/ / www. mingusmingusmingus. com/ Mingus/
miles_davis. html).
[23] Acquired by shouting at a record producer while still ailing after a recent operation to the throat Autobiography
[24] Davis began to be referred to as "the Prince of Darkness" in liner notes of the records of this period, and the moniker persists to this day; see,
for instance, his obituary (http:/ / findarticles. com/ p/ articles/ mi_hb1367/ is_199111/ ai_n5603401/ ) on "The Nation", and countless
references in DVD (http:/ / www. amazon. com/ dp/ B000ALZI3I), movies (http:/ / www. pbs. org/ jazz/ biography/ artist_id_davis_miles.
htm) and print articles (http:/ / www. allaboutjazz. com/ php/ article. php?id=29834).
[25] Some inspired by Ahmad Jamal: see, for instance, the performance of "Billy Boy" on Milestones.
[26] Especially Jones and Coltrane, whom Davis both fired. Davis Autobiography.
[27] Cook, op. cit.
[28] Carr, Ian (1999). Miles Davis: the definitive biography (http:/ / books. google. com/ books?id=BmtRIbly1RIC& pg=PA192). Thunder's
Mouth Press. pp.19293. ISBN9781560252412. .
[29] Lees, Gene. You Can't Steal a Gift: Dizzy, Clark, Milt, and Nat. Yale University Press (2001), p. 24
[30] Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.
Miles Davis 16
[31] Ibid., pp. 2930, 74.

[32] Ibid., p. 95.
[33] "US House of Reps honours Miles Davis album - ABC News (Australian Broadcasting Corporation)" (http:/ / www. abc. net. au/ news/
stories/ 2009/ 12/ 16/ 2773218. htm). Abc.net.au. 2009-12-16. . Retrieved 2011-01-06.
[34] "Taking care of Buddy : News-Record.com : Greensboro & the Triad's most trusted source for local news and analysis" (http:/ / www.
news-record. com/ content/ 2009/ 10/ 17/ article/ taking_care_of_buddy). News-Record.com. . Retrieved 2011-01-06.
[35] "Was Miles Davis beaten over blonde?" (http:/ / news. google. com/ newspapers?id=5JslAAAAIBAJ& sjid=SfUFAAAAIBAJ& dq=was
miles davis beaten over blonde& pg=3151,5145962). Baltimore Afro-American. September 1, 1959. . Retrieved 27 August 2010.
[36] "Jazz Trumpeter Miles Davis In Joust With Cops" (http:/ / news. google. com/ newspapers?id=3PQeAAAAIBAJ& sjid=4ooEAAAAIBAJ&
pg=2499,2153156& dq=miles-davis+ arrested& hl=en). Sarasota Journal. August 26, 1959. . Retrieved 27 August 2010.
[37] Chambers, J. K. (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp.246.. ISBN0306808498.
[38] Carr, Ian (1998). Miles Davis: The Definitive Biography. Thunder's Mouth Press. pp.284, 303, 304, 306. ISBN1560252413.
[39] Tingen, Paul (Thursday, April 17, 2008 5:02:21 PM). "Miles Beyond: The Making of Bitches Brew" (http:/ / www. miles-beyond. com/
bitchesbrew. htm). . Retrieved June 29, 2009.
[40] Freeman, Philip (November 1, 2005). Running the Voodoo Down: The Electric Music of Miles Davis. San Francisco, CA: Backbeat Books.
pp.8384. ISBN978-0879308285.
[41] "Miami Vice" Junk Love (1985) (http:/ / www. imdb. com/ title/ tt0647083/ ) at the Internet Movie Database
[42] Miles: The Autobiography, Picador, page 364.
[43] Intro.de article (in German) (http:/ / www. intro. de/ magazin/ musik/ 23035596?current_page=1).
[44] "Fodderstompf" (http:/ / www. fodderstompf. com/ DISCOGRAPHY/ LP/ 3albumLP. html). Fodderstompf. 2009-03-10. . Retrieved
2011-01-06.
[45] Latest activity 5 hours ago. "Dark Magus: The Jekyll and Hyde Life of Miles Davis (9780879308759): Gregory Davis, Les Sussman, Clark
Terry: Books" (http:/ / www. amazon. com/ dp/ 0879308753). Amazon.com. . Retrieved 2011-01-06.
[46] The Complete Jack Johnson Sessions Review (http:/ / www. bbc. co. uk/ music/ reviews/ 6zdp). BBC
[47] Miles David Biography (http:/ / www. rollingstone. com/ artists/ milesdavis/ biography). Rolling Stone Magazine
[48] US politicians honour Miles Davis album (http:/ / www. rnw. nl/ english/ article/ us-politicians-honour-miles-davis-album). Radio
Netherlands Worldwide
[49] Wayne Shorter: Artist Profile (http:/ / www. rollingstone. com/ artists/ wayneshorter). Rolling Stone
[50] Cannonball Adderley: Artist Profile (http:/ / www. rollingstone. com/ artists/ cannonballadderley). Rolling Stone
[51] Herbie Hancock: Artist Profile (http:/ / www. rollingstone. com/ artists/ herbiehancock). Rolling Stone
[52] Traveling Miles (http:/ / jazztimes. com/ articles/ 7534-traveling-miles-cassandra-wilson). Jazz Times
[53] Lalo Schifrin Biography (http:/ / www. allmusic. com/ artist/ p1383). Allmusic
[54] Tangerine Dream Biography (http:/ / www. allmusic. com/ artist/ p2807). Allmusic
[55] Sting Biography (http:/ / www. allmusic. com/ artist/ p5536). Allmusic
[56] Cristopher Smith: A Sense of the Possible. Miles Davis and the Semiotics of Improvised Performance. TDR, Vol. 39, No. 3 (Autumn, 1995),
pp. 41-55.
[57] NEC Honorary Doctor of Music Degree (http:/ / necmusic. edu/ about-nec/ awards-honors/ nec-honorary-doctor-music-degree). New
England Conservatory
[58] " [The Great Exhibition! When speaking of a "Valentine song", this is the song!]"
(http:/ / www. webcitation. org/ 5oIA3Hpll) (in Japanese). Oricon Style. February 3, 2006. Archived from the original (http:/ / www. oricon.
co. jp/ news/ ranking/ 11073/ ) on March 17, 2010. . Retrieved March 17, 2010.
References
Carr, Ian. Miles Davis. ISBN 0-00-653026-5.
Chambers, Jack. Milestones: The Music and Times of Miles Davis. ISBN 0-306-80849-8.
Cole, George. The Last Miles: The Music of Miles Davis 19801991. ISBN 1-904768-18-0.
Cook, Richard (2007). "It's About That Time: Miles Davis On and Off Record". Oxford University Press. ISBN
978-0195322668
Cook, Richard, and Brian Morton. Entry "Miles Davis" in Penguin Guide to Jazz, Penguin, ISBN 0-14-017949-6.
Davis, Miles & Troupe, Quincy. Miles: The Autobiography. ISBN 0-671-63504-2.
Davis, Gregory. Dark Magus: The Jekyll & Hyde Life of Miles Davis. ISBN 978-0-87930-875-9.
Early, Gerald. Miles Davis and American Culture. ISBN 1-883982-37-5 cloth, ISBN 1-883982-38-3, paper.
Szwed, John. So What: The Life of Miles Davis. ISBN 0-434-00759-5.
Tingen, Paul. Miles Beyond: The Electric Explorations of Miles Davis, 19671991. ISBN 0-8230-8360-8. (http://
www.miles-beyond.com)
Miles Davis 17
Mandel, Howard (2007). "Miles, Ornette, Cecil: Jazz Beyond Jazz". Routledge. ISBN 0415967147.
External links
Web sites dedicated to Miles Davis:
Miles Davis (http://www.milesdavis.com) official website.
Miles Davis (http://www.miles-davis.com) official Sony Music website.
Miles Davis (http://www.allmusic.com/artist/p6377) at Allmusic
Miles Davis (http://topics.nytimes.com/top/reference/timestopics/people/d/miles_davis/) collected news
and commentary at The New York Times
Miles Davis (http://www.guardian.co.uk/music/miles-davis) collected news and commentary at The
Guardian
Works by or about Miles Davis (http://worldcat.org/identities/lccn-n50-35608) in libraries (WorldCat catalog)
Miles From India review (http://www.finndian.com/review-miles-from-india)
Interview with Bill Boggs (http://http://www.billboggs.com/miles_vid.htm)
Miles Davis Quintet

The Miles Davis Quintet was an American cool jazz quintet formed in 1955 by trumpet player Miles Davis. The
quintet featured John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on double-bass, Philly Joe
Jones on drums and Miles Davis on the trumpet. Although all members of the group are considered very important
contributors to the jazz idiom today, at the time of its formation the members of Miles' Quintet were virtually
unknown.
The Miles Davis Quintet is often referred to as Miles Davis' 'First Great Quintet' to distinguish between Davis' other
notable quintet aptly titled the 'Second Great Quintet' (1964-1968), which consisted of Herbie Hancock on piano,
Ron Carter on double bass, Tony Williams on drums, and Wayne Shorter on tenor saxophone.
History
Miles Davis had already kicked his heroin addiction in early 1954 when he performed such a strong version of
Thelonious Monk's "'Round Midnight" at the Newport Jazz Festival in 1955, that Columbia Records signed Davis to
a recording contract. This allowed him to assemble a working band.[1] The first recording of the newly formed group
was Miles: The New Miles Davis Quintet from 1955.
However, Davis had to fulfill the obligations of his contract with Prestige Records for four more albums during this
time. These four albums (Cookin' with the Miles Davis Quintet, Relaxin' with the Miles Davis Quintet, Workin' with
the Miles Davis Quintet, and Steamin' with the Miles Davis Quintet) were recorded within two days during May in
1956 by Rudy Van Gelder. The legendary 1950s quintet recorded one last album for Columbia, 'Round About
Midnight.
The group was never stable, especially since several of the members were addicted to heroin, and Davis disbanded
the group in early 1957. Coltrane and Chambers would continue to record with Davis in the following years,
recording the album Kind of Blue (1959) with the addition of Cannonball Adderley on alto sax, which is widely
considered Davis' greatest album and one of the greatest jazz albums ever made.
Second quintet
Davis switched between a number of musicians during the time after the breakup of his first quintet, and finally
landed four musicians that would make up his Second Quintet. This group of musicians started working together
during the 1964 release of Miles in Berlin and continued recording together until the autumn of 1968, recording a
great deal of landmark albums for Columbia Records. The performance style of the group was often referred to by
Davis as "time, no changes," suggesting an approach founded on time (or rhythm) and freer tonality. The younger
members of the group (Ron Carter, Tony Williams, and Herbie Hancock) would incorporate aspects of free jazz
while keeping the more modal approach unveiled by Davis on Kind of Blue.
When Davis began moving away from the more "straight ahead" sound of his earlier works to a new style that
incorporated rock and pop music aspects in the late 1960s, Carter departed in 1968. The remaining trio of Wayne
Shorter, Hancock, and Williams would continue to play with Davis during his jazz fusion period, but each member
would leave by the end of the 1960's. Those three would be key players in the further development of fusion during
the 1970s, Williams forming his band The Tony Williams Lifetime, Hancock with The Headhunters, and Shorter
with Weather Report.
References
[1] Allmusic Biography of Miles Davis (http:/ / www. allmusic. com/ artist/ p6377)
19
Studio albums
Blue Period
Blue Period
Studio album by Miles Davis
Released 1951
Recorded January 17 and October 5, 1951 at Apex Studio, New York
Genre Jazz
Length 18:53
Label Prestige
Producer Bob Weinstock
Professional reviews
[1]
Allmusic link
Miles Davis chronology
Conception Blue Dig

(1951) Period (1951)
(1951)
Blue Period is a 1951 album by Miles Davis. Recorded over the course of two 1951 recording sessions at New
York's Apex Studio, it was his first release for Prestige Records, and his major-label debut album. "Bluing" and "Out
of the Blue", two Davis compositions, were recorded on October 5, 1951. "Blue Room", composed by Rodgers and
Hart, was recorded earlier that year, at a January 17 session. Blue Period has never been reissued on compact disc,
but its music is featured on the currently available Miles Davis albums Dig (Tracks 1 and 3) and Miles Davis and
Horns (Track 2).
Blue Period 20
Track listing
1. "Bluing" (Miles Davis) - 9:55
2. "Blue Room" (Rodgers and Hart) - 6:15
3. "Out of the Blue" (Davis) - 2:48
Personnel
Miles Davis - trumpet
Jackie McLean - alto saxophone
Sonny Rollins - tenor saxophone
Walter Bishop, Jr. - piano
Tommy Potter - double bass
Art Blakey - drums
On "Blue Room"
Bennie Green - trombone
John Lewis - piano
Percy Heath - double bass
Roy Haynes - drums
External Links
Miles Davis entry at JazzDisco.org [2]
References
[1] http:/ / www. allmusic. com/ album/ r153674
[2] http:/ / www. jazzdisco. org/ miles-davis/ discography/
Dig 21
Dig
Dig
Released 1951 (12 inch: 1956)
Recorded October 5, 1951 at Apex Studio, New York
Genre Jazz
Length 34:45 (Original 10" Format)

44:00 (12" Reissue)
Label Prestige
[1]
Allmusic link
Blue Dig Miles Davis with

Period (1951) Horns
(1951) (1956)
Dig is an album by Miles Davis on Prestige Records, catalogue number 7012. Initially released in the ten-inch
format in 1951, at a time when the twelve-inch LP format was reserved for classical music, Dig was later reissued as
a twelve-inch LP with additional tracks. Subsequent compact disc reissues duplicate the twelve-inch track listing.
After inaugurating the school of cool jazz with the Birth of the Cool recording sessions in 1949 and 1950, Davis
almost immediately turned away from that sound in the early 1950s, to which this recording attests. Dig was also the
recording debut of saxophonist Jackie McLean.
Dig 22
Track listing
All tracks written by Miles Davis except "Paper Moon" by Harold Arlen, Yip Harburg, and Billy Rose, "My Old
Flame" by Sam Coslow and Arthur Johnston, and "Conception" by George Shearing.
10" LP
Side one
1. "Dig" (7:33)
2. "It's Only A Paper Moon" (5:23)
3. "Denial" (5:39)
Side two
1. "Bluing" (9:55)
2. "Out of the Blue" (6:15)
12" LP/CD reissue
Side one
1. "Dig" (7:33)
2. "It's Only A Paper Moon" (5:23)
3. "Denial" (5:39)
Side two
1. "Bluing" (9:55)
2. "Out of the Blue" (6:15)
3. "My Old Flame" (4:01)
4. "Conception" (6:34)
Personnel
Jackie McLean - alto saxophone (on Davis originals only)
Sonny Rollins - tenor saxophone
Walter Bishop, Jr. - piano
Tommy Potter - double bass or
Charles Mingus - double bass (on "Conception" only)
Art Blakey - drums
References
Miles Davis and Horns

Miles Davis and Horns
Released 1956
Recorded January 17, 1951 at Apex Studio, New York,

February 19, 1953 at Beltone Studio, New York
Genre Jazz
Length 33:12
Label Prestige
Dig Miles Davis and Miles Davis Volume

(1951) Horns 1
(1956) (1955)
Miles Davis and Horns is an album by jazz trumpeter Miles Davis, released in 1956. It was recorded on January 17,
1951 (Tracks 1-4, 9) and February 19, 1953 (Tracks 5-8).
Track listing
1. "Morpheus" (John Lewis) (2:21)
2. "Down" (Miles Davis) (2:51)
3. "Blue Room" (Take 2) (Rodgers & Hart) (3:00)
4. "Whispering" (M. Schonberger, R. Coburn, V. Rose) (3:03)
5. "Tasty Pudding" (Al Cohn) (3:20)
6. "Willie The Wailer" (Cohn) (4:26)
7. "Floppy" (Cohn) (6:00)
8. "For Adults Only" (Cohn) (5:33)
9. "Blue Room" (Take 1) (Rodgers & Hart)
Personnel
Miles Davis - Trumpet
John Lewis - Piano
Bennie Green - Trombone (Tracks 1-4; 9)
Sonny Rollins - Tenor Saxophone (Tracks 1-4; 9)
Percy Heath - Bass (Tracks 1-4; 9)
Roy Haynes - Drums (Tracks 1-4; 9
Zoot Sims - Tenor Saxophone (Tracks 5-8)
Leonard Gaskin - Bass (Tracks 5-8)
Kenny Clarke - Drums (Tracks 5-8)
Sonny Truitt - Trombone (Tracks 5-8)
Al Cohn - Tenor Saxophone (Tracks 5-8)
Blue Haze 25
Blue Haze
Blue Haze
Released 1954
Recorded May 19, 1953 at WOR Studio, New York;

March 15, 1954 at Beltone Studio, New York &
April 3, 1954 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 30:05
Label Prestige
[1]
Allmusic link
Miles Davis Volume Blue Walkin'

2 Haze (1954)
(1955) (1954)
Blue Haze is an album recorded in 1953 and 1954 by Miles Davis, for Prestige Records. The first track on the album
is from the 3 April 1954 session which resulted in half of the album Walkin' (and was originally included on the 10"
vinyl version of that album). The remainder is the result of two sessions on 19 May 1953 and 15 March 1954, the
first being a quintet with John Lewis, Charles Mingus (on piano, not bass), Percy Heath and Max Roach, and the
second a quartet with Horace Silver, Heath, and Art Blakey. Tracks 2 and 7 are wrongly credited as Davis
compositions - they are both in fact by Eddie Vinson (see also Donna Lee for possible explanation of this). However,
Vinson supposedly wrote these tunes for Davis, and this is probably how the confusion has occurred.
Blue Haze 26
Track listing
Track Song Title Written by Time

1. I'll Remember April D. Raye, G. DePaul and P. Johnston 7:52
2. Four M. Davis and E. Vinson 4:00
3. Old Devil Moon B. Lane and E.Y. Harburg 3:22
4. Smooch M. Davis and C. Mingus 3:04
5. Blue Haze M. Davis 6:08
6. When Lights are Low B. Carter and C. Williams 3:25
7. Tune Up M. Davis and E. Vinson 3:52
8. Miles Ahead M. Davis and G. Evans 4:28
Performers
"Smooch", "When Lights are Low", "Tune Up", "Miles Ahead" (19 May 1953):
John Lewis - Piano (not on "Smooch")
Charles Mingus - Piano ("Smooch" only)
Percy Heath - Bass
Max Roach - drums
"Four", "Old Devil Moon", "Blue Haze" (15 March 1954):
Horace Silver - Piano
Percy Heath - Bass
Art Blakey - drums
"I'll Remember April" (3 April 1954):
David Schildkraut - Alto saxophone
Percy Heath - Bass
Kenny Clarke - drums
References
Walkin' 27
Walkin'
Walkin'
Released 1954 (10"); 1957 (12")
Recorded April 3 & April 29, 1954 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 37:40
Label Prestige
[1]
Allmusic link
Blue Walkin' Collectors'

Haze (1954) Items
(1954) (1956)
Walkin' is an album recorded on 3 April and 29 April 1954 by a group led by Miles Davis, for Prestige Records.
Credited to the "Miles Davis All-Stars", the first session was a quintet with David Schildkraut on alto saxophone.
Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. The second session
was a sextet with J. J. Johnson on trombone and Lucky Thompson on tenor saxophone, the rhythm section was the
same for both sessions. The original 10" vinyl release included "I'll Remember April", recorded at the quintet
session. When reissued on the 12" format, "Love Me or Leave Me" was substituted, and "I'll Remember April" can
now be found on the album Blue Haze. The album's title track, a staple of Davis's live set for many years, was also
covered by Bobby McFerrin on his 1987 album Spontaneous Inventions.
Walkin' 28
Track listing
No. Title Writer(s) Length
1. "Walkin'" R. Carpenter 13:24
2. "Blue 'n' Boogie" Dizzy Gillespie, Frank Paparelli 8:15
3. "Solar" Miles Davis 4:41
4. "You Don't Know What Love Is" Gene de Paul 4:20

(Don Raye wrote the lyrics, but this version is instrumental.)
5. "Love Me or Leave Me" Walter Donaldson 6:54

(Gus Kahn wrote the lyrics, but this version is instrumental.)
Performers
Lucky Thompson - Tenor saxophone (tracks 1, 2)
J. J. Johnson - Trombone (tracks 1, 2)
David Schildkraut - Alto saxophone (tracks 3-5)
Percy Heath - Bass
References / Notes
[1] http:/ / www. allmusic. com/ album/ r106178/ credits
Collectors' Items
Collectors' Items
Released 1956
Recorded January 30, 1953 and March 16, 1956 in New York City, NY
Genre Jazz
Length 43:47
Label Prestige
[1]
Allmusic link
Walkin' Collectors' Bags'

(1954) Items Groove
(1956) (1957)
Collectors' Items is a 19531956 studio album by Miles Davis. There are two sessions collected on the album with,
apart from Davis, largely different musicians. The first 1953 session is "Compulsion", "The Serpent's Tooth" (two
takes) and "'Round About Midnight". The second 1956 session is "In Your Own Sweet Way", "Vierd Blues" and
"No Line". The personnel for the first session were Davis, Sonny Rollins and Charlie Parker (credited under the nom
de plume "Charlie Chan" due to his contractual obligations to a rival label) on tenor saxes, Walter Bishop on piano,
Percy Heath on bass and Philly Joe Jones on drums. For the second session, the tenor sax was Rollins alone, the
piano was Tommy Flanagan, the bass Paul Chambers and Art Taylor on drums.
According to the sleeve notes by Ira Gitler, the 1953 session was only the second time Parker had recorded on a
tenor sax. According to the CD edition's liner notes, that session was the only time Parker and Rollins recorded
together.
Parker was also billed as "Charlie Chan" on the 1953 album Jazz at Massey Hall.
Track listing
1. "Serpent's Tooth [Take 1]"
2. "Serpent's Tooth [Take 2]"
3. "'Round Midnight"
4. "Compulsion"
5. "No Line"
6. "Vierd Blues"
7. "In Your Own Sweet Way"
Additional tracks not included on the original Prestige vinyl LP:
1. "Conception"
2. "Nature Boy"
3. "There's No You"
4. "Easy Living"
5. "Alone Together"
"Conception" recorded 5 October 1952 (first released on Prestige 7013), with Miles Davis (trumpet), Sonny Rollins
(tenor sax), Walter Bishop (piano), Tommy Potter (bass), Art Blakey (drums); the remainder recorded in 1955 for
Debut Records (originally released as the album Blue Moods), with Miles Davis (trumpet), Britt Woodman
(trombone), Charles Mingus (bass), Teddy Charles (vibes), Elvin Jines (drums)
Personnel
January 30, 1953 session

Sonny Rollins - Tenor Saxophone
Charlie Parker ("Charlie Chan") - Tenor Saxophone
Walter Bishop - Piano
Percy Heath - Bass
Philly Joe Jones - Drums
March 16, 1956 session

Sonny Rollins - Tenor Saxophone
Tommy Flanagan - Piano
Paul Chambers - Bass
Art Taylor - Drums
References
Bags' Groove 31
Bags' Groove
Bags' Groove
Released 1957
Recorded June 29 & December 24, 1954 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 45:53
Label Prestige
[1]
Allmusic link
Collectors' Bags' Miles Davis and the Modern Jazz

Items Groove Giants
(1956) (1957) (1958)
Bags' Groove is a jazz album recorded by Miles Davis in 1954 for Prestige Records. Both takes of the title track
come from a session on December 24, 1954 ("Bags" was vibraphonist Milt Jackson's nickname). The rest of the
album was recorded earlier in the year, on 29 June. (The other tracks from the December session are found on the
album Miles Davis and the Modern Jazz Giants. All of the tracks from the December session are on Disc 3 of the
Thelonious Monk Complete Prestige Recordings CD box set.)
The title composition and the three compositions on the album by the young Sonny Rollins all went on to become
jazz standards.
The track "Oleo" was the first time that Davis used the Harmon mute on a studio recording. It would become an
important part of his trumpet sound for the rest of his career.
Bags' Groove 32
Track listing
1. "Bags' Groove" (Milt Jackson) [take 1] 11:12
2. "Bags' Groove" [take 2] 9:20
3. "Airegin" (Sonny Rollins) 4:57
4. "Oleo" (Rollins) 5:10
5. "But Not for Me" (George Gershwin) [take 2] 4:34
6. "Doxy" (Rollins) 4:51
7. "But Not for Me" [take 1] 5:42
Performers
Sonny Rollins - Tenor saxophone
Percy Heath - Bass
On "Bags' Groove":
Milt Jackson - Vibraphone
Thelonious Monk - Piano
Percy Heath - Bass
References
Miles Davis and the Modern Jazz Giants

Released 1958
Recorded 24 December 1954, 26 October 1956 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 41:58
Label Prestige
[1]
All About Jazz (favorable) link
[2]
Allmusic link
Bags' Miles Davis and the Modern Jazz Musings of

Groove Giants Miles
(1957) (1958) (1955)
Miles Davis and the Modern Jazz Giants is an album recorded by Miles Davis, for Prestige Records. Most of the
album comes from a session on 24 December 1954, but "'Round Midnight" is from the sessions by Davis's new
quintet in 1956 which resulted in Steamin' with the Miles Davis Quintet and three other albums to fulfill Davis's
contract with Prestige.
The 1954 session is notable as the only time Thelonious Monk made a studio recording with Davis - the two men did
not get on well, as Davis felt Monk ought to be "laying out" (refraining from playing) during the trumpeter's solos.
Ira Gitler, who was present at the session and wrote the sleevenotes for the album, dispels the myth that the two men
confronted each other physically, but there was argument throughout the session. The first take of "The Man I Love"
has a false start caused by Monk asking when he should start playing, and an exasperated Davis telling engineer
Rudy Van Gelder, "Hey Rudy, put this on the record, man - all of it!". In his autobiography, Davis recalls "When I
heard stories later saying that me and him was almost about to fight after I had him lay out while I was playing on
'Bags' Groove,' I was shocked, because Monk and I were, first, very close, and second, he was too big and strong for
me to even be thinking about fighting [...] All I did was tell him to lay out when I was playing. My asking him to lay
out had something to do with music, not friendship. He used to tell cats to lay out himself."[3]
"Bags' Groove", also recorded at the 1954 session, can be found on the album Bags' Groove.
Track listing
Track Song Title Originally By Time

1. The Man I Love G. Gershwin and I. Gershwin 7:57
2. Swing Spring M. Davis 10:44
3. 'Round Midnight B. Hanighen, C. Williams, T. Monk 5:20
4. Bemsha Swing T. Monk and D. Best 9:30
5. The Man I Love G. Gershwin and I. Gershwin 8:29
Performers
Thelonious Monk - Piano
Percy Heath - Bass
On "'Round Midnight":
John Coltrane - Tenor saxophone
Philly Joe Jones - drums
Red Garland - Piano
References
[1] http:/ / www. allaboutjazz. com/ php/ article. php?id=4480
[2] http:/ / www. allmusic. com/ album/ r137472/ review
[3] Davis, Miles; Troupe, Quincy (1990). Miles, the Autobiography (http:/ / books. google. com/ books?id=xgAVXHhuNYgC& lpg=PP1&
pg=PA80#v=onepage& q& f=false). New York: Simon & Schuster. p.80. ISBN9780671725822. . Retrieved 2011-02-04.
Musings of Miles 35
Musings of Miles
The Musings of Miles
Released 1955
Recorded June 7, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 35:47
Label Prestige
Miles Davis and the Modern Jazz The Musings of Blue

Giants Miles Moods
(1958) (1955) (1955)
The Musings of Miles is an album recorded by Miles Davis for Prestige Records in 1955. The rhythm section of this
quartet is the nucleus of the group that later became known as Miles' First Great Quintet. The First Great Quintet
would record in the same year.
"A Night in Tunisia" features Philly Joe Jones playing with special drum sticks which had bells riveted to the shaft.
Track listing
Musings of Miles 36

1. "Will You Still Be Mine?" M. Dennis and T. Adair 6:23
2. "I See Your Face Before Me" A. Schwartz and H. Dietz 4:46
3. "I Didn't" M. Davis 6:06
4. "A Gal In Calico" A. Schwartz and L. Robin 5:18
5. "A Night in Tunisia" D. Gillespie and F. Paparelli 7:24
6. "Green Haze" M. Davis 5:50
Performers
Red Garland - Piano
Oscar Pettiford - Bass
Blue Moods 37
Blue Moods
Blue Moods
Released 1955
Recorded July 9, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 26:50
Label Debut
America Records (France)
Musings of Blue Quintet /

Miles Moods Sextet
(1955) (1955) (1955)
Blue Moods is 1955 album by Miles Davis. It brings together Miles Davis with Charles Mingus, accompanied by
Elvin Jones on drums. The arrangement of "Alone Together" was by Charles Mingus, while the other tracks were
arranged by Teddy Charles.
It was released on Mingus's own Debut Records label. According to the original sleeve notes, the relatively short
playing time of the album was because "the recording was cut at 160 lines per inch (instead of the usual 210 to 260
lines per square inch) making the grooves wider and deeper and allowing for more area between the grooves for bass
frequencies [] and was deemed necessary to reproduce the extended bass range and give the listener more quality
to that of high fidelity tape recording."
Track listing
Blue Moods 38

1. "Nature Boy" ahbez 6:14
2. "Alone Together" Dietz and Schwartz 7:17
3. "There's No You" Adair and Hopper 8:06
4. "Easy Living" Rainger and Robin 5:03
5. "Smooch (*Bonus)" 3:06
Performers
Britt Woodman - Trombone
Charles Mingus - Double Bass
Teddy Charles - Vibes
Elvin Jones - drums
External links
Blue Moods liner notes [1]
References
[1] http:/ / www. plosin. com/ milesAhead/ prlp/ deb120. html
Quintet / Sextet 39
Quintet / Sextet
Quintet / Sextet
Released 1955
Recorded August 5, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 30:38
Label Prestige
Blue Quintet / Miles: The New Miles Davis

Moods Sextet Quintet
(1955) (1955) (1956)
Quintet / Sextet is an album which compiles recordings made for Prestige Records on 5 August 1955 by Miles
Davis. Credited to "Miles Davis and Milt Jackson", this was an "all-star" session, and did not feature any of the
members of Davis's working group of the time (Sonny Rollins, Red Garland, Paul Chambers, and Philly Joe Jones).
Jackie McLean only plays on his own compositions.
Track listing
1. "Dr. Jackle" (J. McLean) - 8:52
2. "Bitty Ditty" (T. Jones) - 6:34
3. "Minor March" (J. McLean) - 8:14
4. "Changes" (R. Bryant) - 7:10
Performers
Jackie McLean - Alto saxophone
Ray Bryant - Piano
Quintet / Sextet 40
Percy Heath - Bass

Arthur Taylor - drums
Miles: The New Miles Davis Quintet

Miles: The New Miles Davis Quintet
Released April 1956
Recorded November 16, 1955 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 33:26
Label Prestige
[1]
Allmusic link
Quintet / Miles: The New Miles Davis Cookin'

Sextet Quintet' (1957)
(1955) (1956)
Miles: The New Miles Davis Quintet is an album recorded on 15 November 1955 by Miles Davis, for Prestige
Records. As the name suggests, it was the first to feature his now-famous "first great quintet" (though in fact they
had recorded a session for Columbia Records three weeks earlier, eventually released on the album 'Round About
Midnight). The album is often known as Miles, since that is the only word on the cover. As with the other albums
recorded for Prestige the following year, the quintet was playing familiar material in a fairly straightforward manner.
Coltrane does not play on "There is No Greater Love".
Miles: The New Miles Davis Quintet 41
Track listing

1. "Just Squeeze Me" Duke Ellington and Lee Gaines 7:25
2. "There Is No Greater Love" Marty Symes and Isham Jones 5:16
3. "How Am I to Know?" Dorothy Parker and Jack King 4:37
4. "S'posin'" Paul Denniker and Andy Razaf 5:12
5. "Miles' Theme" Miles Davis 5:47
6. "Stablemates" Benny Golson 5:19
Performers
Red Garland - Piano
References
Cookin' with the Miles Davis Quintet

Cookin' with the Miles Davis Quintet
Released 1957
Recorded October 26, 1956 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 33:15
Label Prestige
[1]
Allmusic link
[2]
Music Box link
Miles Cookin Relaxin'

(1956) (1957) (1958)
Cookin' with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on the 11th of
May 1956 and the 26th of October in the same year resulted in four albumsthis one, Relaxin' with the Miles Davis
Quintet, Steamin' with the Miles Davis Quintet and Workin' with the Miles Davis Quintet. This was the first of the
four to be released.
In response to the album title, Davis said, "After all, that's what we didcame in and cooked".[3]
Track listing
1. "My Funny Valentine" (Richard Rodgers) 6:03
2. "Blues by Five" (Miles Davis) 9:59
3. "Airegin" (Sonny Rollins) 4:27
4. "Tune Up"/"When Lights Are Low" (Miles Davis)/(Benny Carter, Spencer Williams) 13:09
All tracks are from the October session.
Performers
Miles Davis trumpet, band leader
Paul Chambers double bass
John Coltrane tenor saxophone
Red Garland piano
Philly Joe Jones drums
References
[2] http:/ / www. musicbox-online. com/ reviews-2007/ miles-davis-cookin. html
[3] PRESTIGE LP 7094: Cookin' with The Miles Davis Quintet (http:/ / www. plosin. com/ milesAhead/ prlp/ prlp7094. html). Retrieved 20 July
2008.
Relaxin' with the Miles Davis Quintet

Relaxin' with The Miles Davis Quintet
Released 1958
Recorded May 11 and October 26, 1956 at Rudy Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 36:13
Label Prestige
[1]
Allmusic link
Cookin' Relaxin' Steamin'

(1957) (1958) (1961)
Relaxin' with The Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on 11 May 1956
and 26 October in the same year resulted in four albumsthis one, Steamin' with the Miles Davis Quintet, Workin'
with the Miles Davis Quintet and Cookin' with the Miles Davis Quintet. These four albums are considered to be one
of the best performances for the whole hard bop subgenre. The album was remastered by Rudy Van Gelder in 2005
for Prestige Records. This album includes dialogue snippets taken from the original master reel. It also emphasizes
the Miles Davis' concentrated ballad-style playing with his medium-register trumpet.
Track listing
1. "If I Were a Bell" (Frank Loesser) 8:15
2. "You're My Everything" (Harry Warren) 5:18
3. "I Could Write a Book" (Richard Rodgers) 5:09
4. "Oleo" (Sonny Rollins) 6:18
5. "It Could Happen to You" (Jimmy van Heusen) 6:37
6. "Woody 'n' You" (Dizzy Gillespie) 5:02
The first four tracks are from the October session, the other two from May.
Performers
Red Garland - Piano
References
Workin' with the Miles Davis Quintet

Workin'
Released September 1959
Genre Jazz
Length 41:59
Label Prestige
[1]
Allmusic link
Steamin' Workin' 'Round about

(1961) (1959) Midnight
(1957)
Workin' with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on the 11th of
May 1956 and the 26th of October in the same year resulted in four albumsthis one, Relaxin' with the Miles Davis
Quintet, Steamin' with the Miles Davis Quintet and Cookin' with the Miles Davis Quintet. Track 2 is a composition
written for Davis by Eddie Vinson (see Blue Haze for more details). "Trane's Blues" (also known as "Vierd Blues", a
tongue-in-cheek reference to Blue Note founder Francis Wolff's heavily-accented verdict on it), also credited to
Davis, is in fact a John Coltrane composition (originally titled "John Paul Jones", and from an earlier session led by
bassist Paul Chambers. Before the closing statement of theme, Coltrane and Davis play a bit of Charlie Parker's "The
Hymn".)
On "Half Nelson", Paul Chambers plays the bassline on a cello.
Track listing
1. "It Never Entered My Mind" (Richard Rodgers) 5:26
2. "Four" (Miles Davis) 7:15
3. "In Your Own Sweet Way" (Dave Brubeck) 5:45
4. "The Theme" [take 1] (Davis) 2:01
5. "Trane's Blues" (a.k.a "Vierd Blues") (John Coltrane) 8:35
6. "Ahmad's Blues" (Ahmad Jamal) 7:26
7. "Half Nelson" (Davis) 4:48
8. "The Theme" [take 2] (Davis) 1:03
All tracks are from the May session, apart from "Half Nelson", from October.
Performers
Miles Davis Trumpet
John Coltrane Tenor saxophone
Red Garland Piano
Paul Chambers Bass, Cello
References
Steamin' with the Miles Davis Quintet

Steamin'
Released May 1961
Genre Jazz
Length 39:55
Label Prestige
[1]
Allmusic link
Relaxin' Steamin' Workin'

(1957) (1961) (1959)
Steamin' with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on May 11, 1956
and October 26 in the same year resulted in four albumsthis one, Relaxin' with the Miles Davis Quintet, Workin'
with the Miles Davis Quintet and Cookin' with the Miles Davis Quintet. This album centers around the
improvisations of the quintet as well as the interactions between the members of the quintet.
Track listing
1. "Surrey with the Fringe on Top" (Richard Rodgers) 9:07
2. "Salt Peanuts" (Dizzy Gillespie, Kenny Clarke) 6:09
3. "Something I Dreamed Last Night" (Sammy Fain) 6:17
4. "Diane" (Lew Pollack, Ern Rape) 7:52
5. "Well, You Needn't" (Thelonious Monk) 6:22
6. "When I Fall in Love" (Victor Young) 4:25
7. "Old Devil Moon" (E. Y. "Yip" Hardburg-Burton Lane) 3:22*
All tracks are from the May session, apart from Well, You Needn't, from October.
Bonus Track (B4): Miles Davis (tp), Horace Silver (p), Percy Heath (b) Art Blakey (d). New York March 15 1954
Performers
Miles Davis Trumpet
John Coltrane Tenor saxophone
Red Garland Piano
Paul Chambers Bass
References
'Round About Midnight

'Round About Midnight
Released March 18, 1957
Recorded October 26, 1955; June 5 and September 10,

1956
30th Street Studios
(New York, New York)
Genre Jazz
Length 38:47 (Original LP)

58:18 (Reissue)
Label Columbia
CL-949
Producer George Avakian
Workin' with The Miles Davis 'Round About Miles

Quintet Midnight Ahead
(1957) (1957) (1957)
'Round About Midnight is an album by jazz musician Miles Davis. It was his debut on Columbia Records, and was
originally released in March 1957 (CL 949). The album took its name from the Thelonious Monk song "'Round
Midnight".
Recording sessions took place at Columbia Studio D on October 26 1955, and at Columbia's 30th Street Studio on
June 5 and September 10 1956. 'Round About Midnight is widely recognized by jazz critics as a landmark album in
hard bop and one of the greatest jazz albums of all time. On April 17 2001, Sony reissued the album for compact
disc on its Columbia/Legacy label, which featured 24-bit remastering and included bonus tracks and master takes
from the initial sessions. A further two-disc reissue on June 14, 2005, was released, as part of Sony's Legacy Edition
series, which featured the 2001 reissue and a second disc containing Davis' celebrated Newport Jazz Festival of 1955
performance of "'Round Midnight", along with a recording of the quintet's set from the 1956 Pacific Jazz Festival.
Conception
At the Newport Jazz Festival in 1955, Davis performed the song "'Round Midnight" as part of an all-star jam session,
with the song's composer Thelonious Monk, along with Connie Kay and Percy Heath of the Modern Jazz Quartet,
Zoot Sims, and Gerry Mulligan. Davis's solo received an extremely positive reception from many jazz fans, and
critics.[1] It was viewed as a significant comeback[1] and indication of a healthy, drug-free Miles (he had in fact been
free from heroin addiction for well over a year).[2] Miles's response to this performance was typically laconic: "What
are they talking about? I just played the way I always play."[3] George Avakian of Columbia Records was in the
audience, and his brother Aram persuaded him that he ought to sign Davis to the label.[4] Davis was eventually
signed to Columbia Records, and was able to form his famous "first great quintet" with John Coltrane on saxophone.
'Round About Midnight was to be his first album for his new label.
Davis was still under contract to Prestige Records, but had an agreement that he could record material for Columbia
to release after the expiry of his Prestige contract. The recording dates for the album were at Columbia Records
studios; the first session was on October 27 1955 at Studio D, during which the tracks "Tadd's Delight", "Dear Old
Stockholm" and the soon-to-be standard "Bye Bye Blackbird" were recorded. This is the first studio recording of the
quintet. The remainder of the album was recorded during sessions on June 5 and September 10 1956 at Columbia's
30th Street Studio.
During the same period, the Miles Davis Quintet was also recording albums to fulfill its contract with Prestige. It is
however worth noting that the earliest sessions for 'Round About Midnight (that produced "Ah-Leu-Cha", "Two Bass
Hit", "Little Melonae" and "Budo") was the first recording to ever be done by this formation of the Miles Davis
Quintet.
Reception and influence

On release, 'Round About Midnight received an average reception. Ralph Berton of The Record Changer described it
as "orthodox, middle-of-the-road conservative progressive jazz." The Penguin Guide to Jazz Recordings states that
the recording "sounds like a footnote" to the Prestige contractual obligation sessions (eventually released as the
albums Miles, Relaxin', Workin', Steamin', and Cookin'), and that "the material is fine but somehow fails to cast quite
the consistent spell which the Prestige recordings do."[5] Throughout the years following its initial reception, 'Round
About Midnight's standing among critics has improved significantly. Music writer Eugene Holley, Jr. later praised
the album in a review, writing:
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... If you want to hear the origins of post-bop modern jazz, this is it.[6]
Considered by most to be one of the pinnacles of the hard bop era, the song selection on Midnight represents a
summation of the earlier bebop era, with the performances tempered by Davis' inherent lyricism but rooted in the
new style as promoted by hard bop pioneers Art Blakey and Horace Silver with the Jazz Messengers, and the Max
Roach / Clifford Brown quintet, in 1956 featuring ex-Davis foil Sonny Rollins. Coltrane had yet to become an iconic
figure in jazz history, his presence in the Davis Quintet a let-down to many in lieu of the aforementioned Rollins. His
style, while embryonically frenetic and searching, was not quite the sheets of sound approach celebrated later in the
decade. In April 1957, Coltrane's heroin use would lead to his leaving Davis and working with Monk, and under
Monk's tutelage the saxophonist's playing style solidified considerably.
Track listing
Side one
1. "'Round Midnight" (Monk, Williams) 6:00
2. "Ah-Leu-Cha" (Parker) 5:55
3. "All of You" (Porter) 7:05
Side two
1. "Bye Bye Blackbird" (Henderson) 7:59
2. "Tadd's Delight" (Dameron) 4:33
3. "Dear Old Stockholm" (Traditional, arranged by Getz) 7:55
Legacy edition
Disc one
Bonus cuts from the 2001 reissue. All songs from October 1955 session, except where noted.
1. "Two Bass Hit" (Gillespie, Lewis) 3:47
2. "Little Melonae" (McLean) 7:24
3. "Budo" (Miles Davis, Powell) 4:17
4. "Sweet Sue, Just You" (Harris, Young) 3:39 (September 1956 session)
Disc two
All tracks from the Pacific Jazz Festival of February, 1956 except where noted
1. "'Round Midnight" 6:00 (live from the Newport Jazz Festival 1955)
2. Introduction by Gene Norman 1:35
3. "Chance It (Max Making Wax)" (Pettiford) 4:33
4. "Walkin'" (Carpenter) 10:02
5. Dialogue by Gene Norman and Miles Davis 0:27
6. "It Never Entered My Mind" (Rodgers, Hart) 5:17
7. "Woody 'n' You" (Gillespie) 5:45
8. "Salt Peanuts" (Gillespie, Clarke) 4:33
9. "Closing Theme" (Davis) 0:27
Personnel
Musicians
John Coltrane - tenor saxophone
Red Garland - piano
Paul Chambers - bass
Newport Jazz All-Star Personnel
Zoot Sims - tenor saxophone
Gerry Mulligan - baritone saxophone
Thelonious Monk - piano
Percy Heath - bass
Connie Kay - drums
Additional Personnel
George Avakian - Producer, Liner Notes
Frank Laico - Engineer
Teo Macero - Mastering
Don Hunstein - Photography
Aram Avakian - Photography
Dennis Stock - Photography
Seth Rothstein - Reissue Project Director
Michael Cuscuna - Reissue Producer
Bob Belden - Reissue Producer
Randall Martin - Reissue Design
Ray Moore - Reissue Engineer
Mark Wilder - Reissue Engineering and Mastering
Howard Fritzson - Reissue Art Director
Bob Blumentha Reissue Liner Notes
Notes
[1] Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp.205206. ISBN0-306-80849-8.
[2] Davis, Miles (1989). Miles: The Autobiography. Simon & Schuster. pp.167170. ISBN0-671-72582-3.
[3] Morgenstern, Dan (2004). Living with Jazz. Random House. ISBN0-375-42072-X.
[4] Carr, Ian (1999). Miles Davis: The Definitive Biography. Thunder's Mouth Press. p.88. ISBN1-56025-241-3.
[5] Cook, Richard; Brian Morton (2006) [1992]. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.). New York:
Penguin. p.321. ISBN0-14-102327-9.
[6] Amazon.com: Editorial Reviews - 'Round About Midnight (http:/ / www. amazon. com/ Round-About-Midnight-Miles-Davis/ dp/
B00005B58W)
References
Nisenson, E. 'Round About Midnight - A Portrait Of Miles Davis. Da Capo Press, 2nd ed., 1996.
Allmusic - "Round About Midnight (Bonus Tracks)>Credits" (http://www.allmusic.com/album/r630505/
credits).
Jurek, T. - "Round About Midnight (Bound Tracks)>Review" (http://www.allmusic.com/album/r630505/
review).
Miles Ahead 54
Miles Ahead
Miles Ahead
Released 1957
Recorded May 6, May 10, May 23, May 27 and August 22, 1957 at Columbia 30th Street Studio, New York City
Genre Cool jazz

51:57 (CD reissue)
Label Columbia (CL 1041)
Producer George Avakian, Cal Lampley
[1]
Allmusic link
[2]
Down Beat link
[3]
Entertainment Weekly (A) link
[4]
The Independent (favorable) link
[5]
Penguin Guide to Jazz link
[6]
Warr.org link
'Round About Miles Milestones

Midnight Ahead (1958)
(1957) (1957)
Alternate cover
Miles Ahead 55
LP cover used for reissues
Miles Ahead is a jazz album by Miles Davis that was released in 1957 under Columbia label as CL 1041. This was
the first album following Birth of the Cool that Davis recorded with Gil Evans, with whom he would go on to release
albums such as Porgy and Bess and Sketches of Spain. Gil Evans combined the ten pieces that make up the album in
a kind of suite, each following the preceding one without interruption; the only exception to this rule was on the title
track since it was placed last on side A. Davis is the only soloist on Miles Ahead, which also features a prominent
horn section of 16 players. Art Taylor played drums on the sessions and current Miles Davis Quintet member Paul
Chambers was the bassist.
A fifth recording date involved Davis alone (re-)recording material to cover or patch mistakes or omissions in his
solos using overdubbing. The fact that this album originally was produced in mono makes these inserted
over-dubbings rather obvious in the new stereo setting.
Reception
The Penguin Guide to Jazz gave Miles Ahead a four-star rating out of a possible four stars, and called the album "a
quiet masterpiece... with a guaranteed place in the top flight of Miles albums."[7] Of Davis' flugelhorn, Kevin
Whitehead of Cadence wrote that it "seemed to suit [Davis] better than trumpet: more full-bodied, less shrill, it
glosses over his technical deficiencies."[8] The Penguin Guide, on the other hand, opined that "the flugelhorn's sound
isn't so very different from his trumpet soloing, though palpably softer-edged.... [S]ome of the burnish seems to be
lost."[7]
Album cover
Miles reportedly was unhappy about the album's original cover, which featured a photograph of a young white
woman and child aboard a sailboat. He made his displeasure known to Columbia executive George Avakian, asking,
"Why'd you put that white bitch on there?"[9] Avakian later stated that the question was made in jest. For later
releases of the record, however, the original cover-photo has been substituted by a photograph of Miles Davis.
Track listing
1. "Springsville" (John Carisi) 3:27
2. "The Maids of Cadiz" (Lo Delibes) 3:53
3. "The Duke" (Dave Brubeck) 3:35
4. "My Ship" (Kurt Weill) 4:28
Ira Gershwin wrote lyrics for this song, but this recording is instrumental.
Miles Ahead 56
5. "Miles Ahead" (Davis, Evans) 3:29

6. "Blues for Pablo" (Evans) 5:18
7. "New Rhumba" (Ahmad Jamal) 4:37
8. Medley Pt. 1: "The Meaning of the Blues" (Bobby Troup, Leah Worth) 2:48
9. Medley Pt. 2: "Lament" (J. J. Johnson) 2:14
10. "I Don't Wanna Be Kissed (By Anyone But You)" (Jack Elliot/Harold Spina) 3:05
A current CD reissue contains alternate takes of "Springsville", "Miles Ahead" (incorrectly labeled as being one of
"Blues for Pablo"), a complete rehearsal take of "The Meaning of the Blues," and "Lament" (recorded as a
continuous track by Avakian as a contingency plan) and "I Don't Wanna Be Kissed (By Anyone But You)".
Personnel
Miles Davis flugelhorn
Bernie Glow Lead trumpet
Ernie Royal Trumpets
Louis Mucci Trumpets
Taft Jordan Trumpets
John Carisi Trumpets
Frank Rehak Trombones
Jimmy Cleveland Trombones
Joe Bennett Trombones
Tom Mitchell Bass trombone
Willie Ruff Horns
Tony Miranda Horns
Bill Barber Tuba
Lee Konitz Alto sax
Danny Bank Bass clarinet
Romeo Penque Flute and clarinet
Sid Cooper Flute and clarinet
Paul Chambers Bass
Art Taylor Drums
References
[2] http:/ / www. tower. com/ miles-ahead-davis-cd/ wapi/ 106692997
[3] http:/ / www. ew. com/ ew/ article/ 0,,315776_3,00. html
[4] http:/ / findarticles. com/ p/ articles/ mi_qn4158/ is_19981209/ ai_n14204648
[5] http:/ / www. acclaimedmusic. net/ Current/ A1817. htm
[6] http:/ / www. warr. org/ miles. html#MilesAhead
[7] Cook, Richard; Brian Morton (2006) [1992]. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed.). New York:
Penguin. pp.321. ISBN0-141-02327-9.
[8] Whitehead, Kevin (1994). Ron Wynn. ed. All Music Guide to Jazz. San Francisco: Miller Freeman. p.196. ISBN0879303085
[9] Miles Davis and Quincy Troupe, Miles: The Autobiography, Simon and Schuster, 1989, ISBN 0671635042.
Milestones 57
Milestones
Milestones
Released September 2, 1958
Recorded February 4 and March 4, 1958 at Columbia 30th Street Studio, New York City
Genre Jazz
Length 47:36 (LP), 69:00 (CD)
Label Columbia
CL 1193
[1]
[2]
Allmusic link
[3]
PopMatters (favorable) link
Miles Milestones Porgy and

Ahead (1958) Bess
(1957) (1958)
Milestones is an album recorded in February and March 1958 by Miles Davis. It is renowned for including Miles'
first forays into the developing modal jazz experiments, as noticed on the piece "Milestones" (not to be confused
with "Miles" - recorded, by Davis, in 1948), which would be followed to its logical conclusion on Kind of Blue.
Furthermore, the playing of his sextet, which featured Cannonball Adderley and John Coltrane contributing on such
tracks as "Straight No Chaser", have induced it to be highly regarded by jazz musicians, fans and critics alike. It was
also the last time the rhythm section of Jones, Garland and Chambers would ever play with Miles on record.
Coltrane returned to Daviss group in 1958, contributing to the modal phase albums Milestones (1958) and Kind of
Blue (1959), both considered essential examples of 1950s modern jazz. Davis at this point was experimenting with
modesi.e., scale patterns other than major and minor.[4]
Reception
The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "one of the very
great modern-jazz albums."[5]
Track listing
Side one
1. "Dr. Jackle" - 5:47 (Jackie McLean)
2. "Sid's Ahead" - 12:59 (Miles Davis)
3. "Two Bass Hit" - 5:13 (John Lewis - Dizzy Gillespie)
Milestones 58
Side two
1. "Milestones" - 5:45 (Davis)[6]
2. "Billy Boy" - 7:14 (traditional, arr. Ahmad Jamal)
3. "Straight, No Chaser" - 10:41 (Thelonious Monk)
CD track listing
1. "Dr. Jackle" - 5:47
2. "Sid's Ahead" - 12:59
3. "Two Bass Hit" - 5:13
4. "Milestones" - 5:42
5. "Billy Boy" - 7:10
6. "Straight, No Chaser" - 10:35
7. "Two Bass Hit" (Alternate Take) - 4:30
8. "Milestones" (Alternate Take) - 6:00
9. "Straight, No Chaser" (Alternate Take) - 10:30
Tracks 3-8 recorded on February 4, 1958; tracks 1 and 2 recorded on March 4, 1958.
Performers
Miles Davis - Trumpet, Piano (on "Sid's Ahead")
Cannonball Adderley - Alto saxophone
Red Garland - Piano
Paul Chambers - Double bass
Notes
[3] http:/ / www. popmatters. com/ music/ reviews/ d/ davismiles-milestones. shtml
[4] http:/ / www. britannica. com/ EBchecked/ topic/ 1286546/ Milestones Encyclopedia - Britannica Online EncyclopediaProvides complete text
of Encyclopaedia Britannica with search capabilities, related...
[5] Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th. ed.).
New York: Penguin. pp.3212. ISBN0-14-102327-9.
[6] Referred to as "Milestones" on Davis' later recordings, and is not to be confused with the earlier "Milestones", a bebop melody written by
John Lewis, credited to Davis, first recorded in 1947.
Porgy and Bess 59
Porgy and Bess

Porgy and Bess
Released 1958
Recorded July 22August 18, 1958

30th Street Studio
Genre Jazz, third stream, cool jazz
Length 50:53
Label Columbia
CL-1274
Producer Teo Macero, Cal Lampley
Milestones Porgy and 1958

(1958) Bess Miles
(1958) (1958)
Alternative cover
Porgy and Bess 60
UK 45 rpm release
Porgy and Bess is a studio album by jazz musician Miles Davis, released in 1958 on Columbia Records. The album
features arrangements by Davis and collaborator Gil Evans from George Gershwin's opera Porgy and Bess. The
album was recorded in four sessions on July 22, July 29, August 4, and August 18, 1958 at Columbia's 30th Street
Studio in New York City. It is the second collaboration between Davis and Evans and has garnered much critical
acclaim since its release, being acknowledged by music critics as the best of their collaborations.[1] Jazz critics have
regarded the album as historic.[2] [3]
Background
Conception
In 1958, Miles Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly
complex chord changes as hindering creativity.[4] Five years earlier, in 1953, pianist George Russell published his
Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation
based on chords.[5] Abandoning the traditional major and minor key relationships of classical music, Russell
developed a new formulation using scales or a series of scales for improvisations.[5] His approach to improvisation
came to be known as modal in jazz.[5] Davis saw Russell's methods of composition as a means of getting away from
the dense chord-laden compositions of his time, which Davis had labeled "thick".[6] Modal composition, with its
reliance on scales and modes, represented, as Davis put it,[4] "a return to melody".[7] In a 1958 interview with Nat
Hentoff of The Jazz Review, Davis remarked on the modal approach:
When Gil wrote the arrangement of "I Loves You, Porgy," he only wrote a scale for me. No chords... gives
you a lot more freedom and space to hear things... there will be fewer chords but infinite possibilities as to
what to do with them. Classical composers have been writing this way for years, but jazz musicians seldom
have.[8]
Miles Davis
In early 1958, Miles Davis began using with this approach and his sextet.[9] Influenced by Russell's ideas, Davis
implemented his first modal composition with the title track of his 1958 album Milestones, which was based on two
modes, recorded in April of that year.[9] Instead of soloing in the straight, conventional, melodic way, Daviss new
style of improvisation featured rapid mode and scale changes played against sparse chord changes.[10] [5] Davis'
second collaboration with Gil Evans on Porgy and Bess gave him more room for experimentation with Russell's
concept and with third stream playing, as Evans' compositions for Davis featured this modal approach.[4]
Porgy and Bess 61
Adaptation
The musical, commercial and critical success of 1957's Miles Ahead helped make future Miles Davis and Gil Evans
ventures possible, as it impressed Columbia Records enough for them to bestow further artistic control upon Davis
and Evans. At that period, the Samuel Goldwyn film adaptation of the George Gershwin/DuBose Heyward/Ira
Gershwin opera Porgy and Bess was in production, set for release in June 1959. The advance publicity for the film
was considerable, and with the late-'50s vogue for recorded "jazz versions of...", a number of Porgy and Bess jazz
interpretations were released. These ranged from an all-star big band version arranged and conducted by Bill Potts to
one by Bob Crosby and the Bobcats. Most were not as memorable as the Miles Davis/Gil Evans version. Following
the first collaboration with Evans, Davis followed up on these efforts with much interest in symphonic readings,
which, at the time, jazzmen were not known for, and neither were some classically trained musicians known for
interpreting jazz scores. However, Miles enlisted members of his sextet, anyway, including Cannonball Adderley
and Paul Chambers.

The second in a series of Davis/Evans collaborations, Porgy and Bess was well-received upon its release by music
critics and publications, including The New York Times and Los Angeles Times.[16] [20] Music writer Bill Kirchner
wrote "In this century's American music, three partnerships have been most influential: Duke Ellington/Billy
Strayhorn, Frank Sinatra/Nelson Riddle, and Miles Davis/Gil Evans."[21] As one of Miles Davis' best-selling albums,
Porgy and Bess has earned recognition as a landmark album in orchestral jazz. Davis biographer Jack Chambers
described the album as "a new score, with its own integrity, order and action." [22] The album's appeal was more
widespread among critics following its reissue in 1997. Robert Gilbert of All About Jazz praised Porgy and Bess,
stating "one of many great albums that Miles Davis recorded over his lifetime. It reaches a higher plateau than most,
though, in its way that it can reach the listener on both a musical and emotional level. That the album is still able to
do this after almost forty-five years is a testament to the rare magic that occurred in a New York studio over four
days in the summer of 1958."[12] In an August 1997 issue, JazzTimes magazine called Porgy and Bess "possibly the
best of the collaborations between Miles and Gil Evans... Evans is justly regarded as the master of modern
orchestration and Porgy and Bess shows him at his best."[15] The album was included in Elvis Costellos "500
Albums You Need" (Vanity Fair, Issue No. 483 11/00)[23] and was also ranked #785 on the Virgin "All-Time Top
1000 Album" list.[24]
Track listing
All compositions written by George Gershwin, except otherwise noted; Ira Gershwin and DuBose Heyward wrote
lyrics to the opera Porgy and Bess, but these recordings are instrumental.
Side one
Porgy and Bess 62
Track Recorded Song Title Writer(s) Time

1. 8/4/58 The Buzzard Song G. Gershwin 4:07
2. 7/29/58 Bess, You Is My Woman Now G. Gershwin 5:10
3. 7/22/58 Gone Gil Evans 3:37
4. 7/22/58 Gone, Gone, Gone G. Gershwin 2:03
5. 8/4/58 Summertime G. Gershwin 3:17
6. 8/4/58 Oh Bess, Oh Where's My Bess? G. Gershwin 4:18
Side two
Track Recorded Song Title Writer Time

1. 8/4/58 Prayer (Oh Doctor Jesus) G. Gershwin 4:39
2. 7/29/58 Fisherman, Strawberry and Devil Crab G. Gershwin 4:06
3. 7/22/58 My Man's Gone Now G. Gershwin 6:14
4. 7/29/58 It Ain't Necessarily So G. Gershwin 4:23
5. 7/29/58 Here Come De Honey Man G. Gershwin 1:18
6. 8/18/58 I Wants to Stay Here (a.k.a. I Loves You, Porgy) G. Gershwin 3:39
7. 8/4/58 There's a Boat That's Leaving Soon for New York G. Gershwin 3:23
Bonus tracks
Bonus cuts featured on the 1997 compact disc reissue.
Track Recorded Song Title Writer Time

1. 8/18/58 I Loves You, Porgy (take 1, second version) G. Gershwin 4:14
2. 7/22/58 Gone (take 4) Gil Evans 3:40
Personnel
Musicians
Miles Davis - trumpet, flugelhorn
Ernie Royal, Bernie Glow, Johnny Coles and Louis Mucci - trumpet
Dick Hixon, Frank Rehak, Jimmy Cleveland and Joe Bennett - trombone
Willie Ruff, Julius Watkins and Gunther Schuller - horn
Bill Barber - tuba
Phil Bodner, Jerome Richardson and Romeo Penque - flute, alto flute & clarinet
Cannonball Adderley - alto saxophone
Danny Bank - alto flute & bass clarinet
Paul Chambers - bass
Jimmy Cobb - drums (except tracks 3,4, 9, & 15)
Philly Joe Jones - drums (tracks 3, 4, 9, & 15)
Gil Evans - arranger & conductor
Porgy and Bess 63
Production
Cal Lampley - producer
Frank Laico - recording engineer
Roy DeCarava - cover photo
Notes
[1] Album/Product notes and reviews (http:/ / 72. 14. 205. 104/ search?q=cache:f6GHBikMJsAJ:cd. ciao. co. uk/
Porgy_And_Bess_Remastered_Miles_Davis__5969765+ JazzTimes+ (8/ 97,+ p. 106)+ -+ ". . . PORGY+ AND+ BESS& hl=en& ct=clnk&
cd=2& gl=us)
[2] Porgy and Bess Presentation Zankel Hall, NYC (http:/ / www. allaboutjazz. com/ php/ news. php?id=17228)
[3] Larkin, Colin. " Review: Porgy and Bess (http:/ / www. acclaimedmusic. net/ Current/ A1841. htm)". Virgin Encyclopedia of Popular Music:
March 1, 2002.
[4] Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http:/ / books. google. com/ ?id=6QArFwi9buUC&
pg=PA67& vq="Modal+ jazz,"& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by
Jimmy Cobb. Da Capo Press, USA. pp.s. 6768. ISBN0-306-81067-0. .
[5] "George Russell - About George" (http:/ / www. georgerussell. com/ gr. html). Concept Publishing. . Retrieved 2008-07-27.
[6] Kahn (2001), p16.
[7] Palmer, Robert (1997). "Liner Notes to 1997 Reissue" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master. html).
Kind of Blue (CD). New York, NY: Sony Music Entertainment, Inc./Columbia Records.
[8] Nat Hentoff, "An Afternoon with Miles Davis", The Jazz Review, December 1958.
[9] "allmusic {{{Milestones > Overview}}}" (http:/ / www. allmusic. com/ album/ r106105). All Media Guide, LLC.. . Retrieved 2008-07-27.
[10] "Miles Davis: Jazz at the Plaza < Music - PopMatters" (http:/ / www. popmatters. com/ pm/ review/ 16671/ davismiles-jazzattheplaza).
PopMatters.com. . Retrieved 2008-07-27.
[11] Planer, Lindsay. Review: Porgy and Bess (http:/ / www. allmusic. com/ album/ r106094). Allmusic. Retrieved on 2009-07-21.
[12] Gilbert, Robert. Review: Porgy and Bess (http:/ / www. allaboutjazz. com/ php/ article. php?id=11204). All About Jazz. Retrieved on
2008-12-21.
[13] Sandow, Greg. Review: Porgy and Bess (http:/ / www. ew. com/ ew/ article/ 0,,315776_3,00. html). Entertainment Weekly. Retrieved on
2009-07-20.
[14] Emmons, Steve. Review: Porgy and Bess (http:/ / articles. latimes. com/ 1992-12-03/ news/ ol-2119_1_miles-davis). Los Angeles Times:
December 3, 1992.
[15] Columnist. " Review: Porgy and Bess (http:/ / www. tower. com/ porgy-bess-miles-davis-cd/ wapi/ 106693134)". JazzTimes: 106. August
1997.
[16] Wilson, John S. " Review: Porgy and Bess (http:/ / select. nytimes. com/ gst/ abstract.
html?res=F70D13FC3F59127A93C5AB1782D85F4D8585F9)". The New York Times: X13. September 27, 1959.
[17] Cook, Richard. "Review: Porgy and Bess". Penguin Guide to Jazz: 376. September 2002.
[18] Hoard, Christian. " Review: Porgy and Bess (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone:
214217. November 2, 2004.
[19] Morris, Chris. Review: Porgy and Bess (http:/ / www. webcitation. org/ 5tEuWgxQ0). Yahoo! Music. Retrieved on 2009-07-20.
[20] George, Wally. " Review: Porgy and Bess (http:/ / pqasb. pqarchiver. com/ latimes/ access/ 485176932. html?dids=485176932:485176932&
FMT=CITE& FMTS=CITE:AI& type=historic& date=Jun+ 07,+ 1959& author=& pub=Los+ Angeles+ Times& desc=Court+ of+ Records&
pqatl=google)". Los Angeles Times: J61. June 7, 1959.
[21] Kirchner, Bill. Bill Kirchner's liner notes from the 6-CD box set Miles Davis & Gil Evans: The Complete Studio Recordings. Sony Music
Entertainment Inc..
[22] Chambers, Jack. Porgy and Bess album liner notes. Sony Music Entertainment Inc..
[23] Elvis Costellos 500 Albums You Need at rocklist.net (http:/ / www. rocklistmusic. co. uk/ elvis_costello. htm)
[24] top 1000 album list (http:/ / www. rocklistmusic. co. uk/ virgin_1000. htm)
Porgy and Bess 64
References
"The Golden Anniversary of Miles Davis's 'Porgy & Bess'" (http://www.jazz.com/dozens/
the-dozens-the-golden-anniversary-of-porgy-and-bess) by Alan Kurtz et al., ( Jazz.com (http://www.jazz.com))
Nathan Brackett, Christian Hoard (2004). The New Rolling Stone Album Guide. Completely Revised and Updated
4th Edition. Simon and Schuster. ISBN0-74320-169-8.
Richard Cook, Brian Morton (2002). The Penguin Guide to Jazz on CD. Edition 6. Penguin. ISBN0140515216.
Porgy and Bess liner notes by Charles Edward Smith & Bill Kirchner. Sony Music Entertainment Inc..
Colin Larkin (2002). Virgin Encyclopedia of Popular Music. Edition 4. Virgin Books. ISBN1852279230.
External links
Porgy and Bess (http://www.discogs.com/Miles-Davis-Porgy-And-Bess/master/65105) at Discogs
Accolades: Porgy and Bess (http://www.acclaimedmusic.net/Current/A1841.htm) at Acclaimed Music
1958 Miles 65
1958 Miles
1958 Miles
Released 1958
(see release history)
Recorded September 9 and May 26,

1958
30th Street Studio, Plaza
Hotel
Genre Jazz, hard bop, modal jazz
Length 63:50
Label Columbia
SL-1268
Producer Teo Macero
Porgy and 1958 Kind of

Bess Miles Blue
(1958) (1958) (1959)
Reissue cover
1958 Miles 66
Davis' sextet performing at the Plaza Hotel
1958 Miles is an album by American jazz musician Miles Davis, released in 1958 on Columbia Records.[1] [2]
Recording sessions for the album took place on May 26, 1958 at Columbia's 30th Street Studio and September 9,
1958 at the Plaza Hotel in New York City. 1958 Miles consists of three songs featured on the A-side of the LP album
Jazz Track, which was released earlier in 1958, and three recordings from Davis' live performance at the Plaza Hotel
with his ensemble sextet.[2] [3] The recording date at 30th Street Studio served as the first documented session to
feature pianist Bill Evans performing in Davis' group.
The sessions for the album in mid-1958, along with the Milestones sessions from earlier that year, were seen by
many music writers as elemental in Miles Davis' transition from bebop to the modal style of jazz and were viewed as
precursors to his most well-known work, Kind of Blue.[2] [4] Following audio engineering and digital restoration by
engineer Larry Keyes at Sony Music New York Studio, the album was reissued on compact disc in 1991 as part of
Columbia's Jazz Masterpieces Series.[5] For later reissues, the album was retitled as '58 Sessions Featuring Stella by
Starlight or '58 Miles Featuring Stella by Starlight.[5] [6] The complete 1958 sessions for Columbia were issued on
the box set The Complete Columbia Recordings of Miles Davis with John Coltrane, and Jazz at the Plaza was
reissued in 2001.[7]
Background
Conception
"No chords... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have
to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically inventive you
can be... fewer chords but infinite possibilities as to what to do with them.
[8]
Miles Davis, on using musical modes rather than chord progression as a harmonic framework, October 1958, The Jazz Review
In 1958, Miles Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly
complex chord changes as hindering musical creativity.[8] Five years earlier, jazz pianist, composer and theorist
George Russell published his Lydian Chromatic Concept of Tonal Organization (1953), which offered an alternative
to the practice of musical improvisation based on chords.[9] Abandoning the traditional major and minor key
relationships of classical music, Russell developed a new formulation using musical scales, or a series of scales, for
improvisations.[9] Russell's approach to improvisation came to be known as modal in jazz.[9] Davis viewed Russell's
methods of composition as a means of getting away from the dense chord-laden compositions of his time, which
Davis had labeled as "thick."[10]
In contrast to the conventional method of composing during the time, modal compositions were to be written as a
series of sketches in which each performer is given a set of scales that defines the parameters of their
1958 Miles 67
improvisation.[11] Modal composition, with its reliance on musical scales and modes, represented, as Davis called
it,[8] "a return to melody."[11] According to Davis, "Classical composersome of themhave been writing this way
for years, but jazz musicians seldom have".[8] In early 1958, Davis began using this approach with his sextet, a jazz
ensemble made up of alto sax player Julian "Cannonball" Adderley, tenor saxophonist John Coltrane, pianist Red
Garland, bassist Paul Chambers, and drummer Philly Joe Jones.[12] Influenced by Russell's ideas, Davis implemented
his first modal composition with the title track of Milestones (1958), which was based on two modes, recorded in
April of that year.[12] Instead of soloing in the straight, conventional, melodic way, Daviss new style of
improvisation featured rapid mode and scale changes played against sparse chord changes.[13] [9] Davis' acclaimed
collaboration with Gil Evans on Porgy and Bess gave him an opportunity to experiment with Russell's concept, as
Evans' third stream compositions for Davis contained only a musical scale and no chords, the basis for modality.[8]
The Sextet
Following the historic Milestones sessions, Davis made some significant personnel changes. By the time John
Coltrane had returned from Thelonious Monk's quartet to Davis's sextet, pianist Red Garland and drummer Philly
Joe Jones were replaced by Bill Evans and Jimmy Cobb.[2] Problems with money, tardiness, attitude and heroin
preceding the Milestones sessions troubled Garland and Jones.[14] During one of these sessions, an incident occurred
between Davis and Garland when he was playing piano on the song "Sid's Ahead". Apparently, Davis leaned over
his pianist's shoulder, commenting on his piano playing. What was said by Davis is still unknown, but it was enough
to make Garland leave the studio, leaving Davis to play piano on the track and straining the friendship between the
two musicians.[14] Afterwards, Bill Evans was hired by Davis for his rich precision and ability to understate the
piano's solo voice.[15] While Davis was fascinated and taken with the new sound Evans brought and the challenges it
inspired, the remainder of the band, including Julian "Cannonball" Adderley, preferred Garland's harder, more
rhythmic sound.[15] In a 1960 column for Down Beat magazine, Adderley elaborated on his initial reaction to the
change, stating "Especially when he started to use Bill Evans, Miles changed his style from very hard to a softer
approach. Bill was brilliant in other areas, but he couldn't make the real things come off."[15] Despite his preference
for a harder piano style, Adderley opened up to the new sound. He later used Bill Evans on a July 1958 session for
his Portrait of Cannonball LP.[15] Evans' unique piano sound and Davis' experiments with modal jazz would
culminate on the '58 Sessions. Documented in a studio session from May 1958 at Columbia's 30th Street Studio and
a live gig at the Plaza Hotel's Persian Room in September of that same year, these sessions marked the advent of
Davis' new sextet, during what had already become a pivotal year for Davis.[2]
Music
Studio session
The entire session has an informal feel that is unusual for a studio date. Upon hearing it again I immediately knew why I was so
taken with it those many years ago.
[2]
Ira Gitler, on the recording session, June 1979
Featured as the first side of 1958 Miles, the May 26 session took place at Columbia's 30th Street Studio in New York
City.[16] The songs recorded were previously issued on the second side of Jazz Track, an LP that consisted mostly of
songs composed by Davis for the soundtrack to the 1958 French film Ascenseur pour l'chafaud.[3] In contrast to the
mood pieces composed for the film, the May session featured Davis' growing curiosity in modal jazz and the
relationship of fewer chords and variations with melody. This was the first studio session to feature Bill Evans and
Jimmy Cobb in the new sextet, recording on Davis' thirty-second birthday.[17]
A different aesthetic was in place during the session, as Bill Evans' first rhapsodic, impressionistic chords on "On
Green Dolphin Street" highlighted the mid-tempo track, while Jimmy Cobb's brush technique grooved behind Davis'
trumpet solo. John Coltrane and "Cannonball" Adderley doubled and tripled-up their syncopations over Paul
1958 Miles 68
Chambers' transparent counterpoint, as Cobb and Evans pealed away on their instruments, sharing solos with Davis,
Addeley and Coltrane.[7] The contrast between hot melodic variations and cool, laid back swing gave the whimsical
"Fran Dance" (according to Ira Gitler's liner notes, the song was named after Davis' wife Francis),[2] the romantic
"Stella by Starlight", and the jumping "Love for Sale" their elemental tension. This contrast represented Davis'
transitional stage between bebop and modality; standard chords and musical variety.[8] The sessions were also
notable for featuring Coltrane's unique improvisational style, known as the sheets of sound. Coltrane employed
extreme and dense improvisational, yet patterned, lines that consisted of high speed arpeggios and scale patterns
played in rapid succession; hundreds of notes running from the lowest to highest registers.[18] "Stella by Starlight"
featured Evans' delicate and sparse introduction, which made Coltrane's early solo seem startling. Evans' lush and
laconic solo suggested the bittersweet spell he would cast over the Kind of Blue sessions the following year.[17]
Live performance
The live portion of the album was recorded in the Persian Room of New York's Plaza Hotel at a September jazz
party given by Columbia Records to celebrate "the healthy state of jazz" at the label.[2] Later issued in full as Jazz at
the Plaza in 1973,[2] the live set featured three staples of Davis' and Coltrane's concert repertoire during their
collaborating years.[7] The sextet opened up with the standard "Straight, No Chaser", originally composed by
Thelonious Monk. The musicians took the number at a brisk tempo, and though Jimmy Cobb lacked former
drummer Philly Joe's technocratic flair, he and Paul Chambers remained consistent, as the horns carried into whirling
solos.[13] Evans used Adderley's solo and the song's tempo to improvise, as he scattered Bud Powell-like clusters.
Journalist Lindsey Planer later called the performance "slippery and triple-jointed", and went on to state "The band
plays as if Monk might have been in the room that night. This is Davis at his most muted magnificence."[7]
The Sonny Rollins-penned "Oleo" followed along at a wild Paul Chambers bass tempo, as Evans' fluid orchestral
piano technique suggested multiple key centers and modal impressions.[13] In contrast to the high tempos and
improvisation of the other live tunes, "My Funny Valentine" was stately and serene, as Coltrane and Adderley sit
out, giving Evans and Davis a more meditative backdrop for sensitive soloing. Evans displayed his soft and sensitive
piano style. His unique and challenging sound was one of the reasons Miles Davis had hired him following Philly
Joe's departure.[15] The late-night languor of "My Funny Valentine", along with Bill Evans' presence and the more
consistent and improving sextet, would hint at the music later featured on Davis' next album, the 1959 jazz
masterpiece Kind of Blue.[13]

As parts of Jazz Track and Jazz at the Plaza, respectively, the '58 Sessions chronicled the transition from the brawny
agitation of Milestones, to the cerebral tranquility of Kind of Blue.[2] The recording sessions also became known as a
stepping stone in Davis' move from bebop to modal jazz. The live side in particular was seen by critics as a glimpse
at the sextet that would record Kind of Blue.[13] The complimentary and seemingly spontaneous style of performance
ethic and the relationship between Davis and his musicians was fundamental for his work during these sessions and
improved onto the Kind of Blue sessions.
Jazz historian and journalist Ira Gitler has considered 1958 Miles to be one of Davis' best works, while also noting
that he was "very taken with the performances", alluding to the album's recordings after Gitler had listened to them.
In the 1979 LP reissue liner notes, Gitler wrote "These prime cuts of the Miles Davis Sextet, representative of what
this most influential leader and his trendsetting band of that time, were doing in that particular portion of 1958, are a
most welcome addition to the collectors library."[2] The live portion of the album recorded at The Plaza Hotel was
noted by critics as an early stage of the new sextet. Music writer Nicholas Taylor later wrote of the Plaza set:
An interesting and puzzling period piece, documenting the sextet exploring a sound that would soon morph
into the rich tapestry of their 1959 masterpiece... It is the snapshotalbeit a blurred oneof a group of
musicians on the verge of greatness, beginning to feel each others tics and idiosyncrasies, forming the bonds
1958 Miles 69
of a sextet that would soon alter the history of jazz forever.[13]

Nicholas Taylor
Prior to the live session, Miles Davis had already established a reputation as one of the jazz era's top live performers,
following well-received performances at such venues as Birdland, also known as "The Jazz Corner of the World", in
New York and the Newport Jazz Festival in Rhode Island during the mid-1950s.[23] The set at the Plaza Hotel further
expanded Davis' repertoire in concert venues and increased his popularity among jazz fans and writers. Even though
Milestones was Davis' first use of modes and Cannonball Adderley's presence helped make the band became a more
powerful sextet, these sessions helped introduce Bill Evans to the music of Miles Davis.[12] [23] The May 26 session,
in particular, exposed Evans to Davis' spontaneous ability in the studio to simplify complicated musical structures. In
a 1979 interview for the jazz radio station WKCR, Evans remarked on his recording experience with Davis, stating
"Miles occasionally might say, 'Right here, I want this sound', and it turn out be a very key thing that changes the
whole character of the [song]. For instance, on 'On Green Dolphin Street', the original changes of the chorus aren't
the way [we recorded it]: the vamp changes being a major seventh up a minor third, down a half tone. That was [one
when] he leaned over and said, 'I want this here.'"[17] Evans' influence would be apparent on the Kind of Blue
sessions as it was during the initial 1958 sessions.[4] All recorded studio work by Davis from 1958 for Columbia was
later reissued on the box set compilation The Complete Columbia Recordings of Miles Davis with John Coltrane.[24]
Following the implementation of his first modal compositions with the title track of Milestones and his first sessions
with Bill Evans, the 1958 Sessions, Davis became satisfied with the results. This led to his preparation of an entire
album based on modality, his 1959 masterwork, Kind of Blue.[25]
Track listing
Original LP
Side one
Recorded at Columbia's 30th Street Studio, New York, New York on May 26, 1958.[16]
1. "On Green Dolphin Street" (Kaper, Washington) 9:48
2. "Fran Dance" (Davis) 5:48
3. "Stella by Starlight" (Young, Washington) 4:41
4. "Love for Sale" (Porter) 11:43
Side two
Recorded live at The Plaza Hotel, New York, New York on September 9, 1958.[7]
1. "Straight, No Chaser" (Monk) 10:57
2. "My Funny Valentine" (Rodgers, Hart) 10:05
1958 Miles 70
Bonus track
2006 Sony Japan release featured only side one and a bonus cut.[26]
1. "Little Melonae" (McLean) 7:22
Personnel
Musicians
Miles Davis trumpet, leader
Julian "Cannonball" Adderley alto saxophone
Bill Evans piano
Paul Chambers bass
Jimmy Cobb drums
Production
Teo Macero producer
Larry Keyes engineer, remastering
Ira Gitler liner notes
Mike Berniker reissue, digital producer
Release history
Since its original release in 1958 on Columbia Records, 1958 Miles has had a long and complicated release history.
The album has experienced many reissues under different titles and records labels, along with a variety of release
date listings.
Issued title Year Label Format Catalog
1958 Miles 1958 Columbia Records stereo vinyl LP [27]

SL-1268
1958 Miles 1979 CBS Records remastered LP [1]

CBS 1401
'58 Sessions Featuring Stella by Starlight 1991 Columbia CD reissue [7]

CK-47835
'58 Sessions Featuring Stella by Starlight 1991 Columbia cassette [7]

CT-47835
'58 Miles 1991 CBS re-released CD [27]

CBS 467918-2
'58 Miles 1991 CBS, Sony Records re-released cassette SRCS-9102[27]
'58 Sessions Featuring Stella by Starlight 1994 Jazz Records CD [7]

JR-4679182
1958 Miles 1997 Sony CD [1]

SRCD-65344

SRCD-98004

SRCD-1204
1958 Miles 2006 Sony Japan CD, bonus track [26]

SRCS-966
1958 Miles 71
Notes
[1] Planer, Lindsay. Review: 58 Sessions (http:/ / www. allmusic. com/ album/ r137403). Allmusic. Retrieved on 2009-07-21.
[2] "1958 Miles Davis Session - Liner notes by Ira Gitler" (http:/ / www. cannonball-adderley. com/ miles/ miles03. htm). Sitemeter. . Retrieved
2008-07-27.
[3] "Discogs.com - Miles Davis - Jazz Track" (http:/ / www. discogs. com/ release/ 511939). Discogs. . Retrieved 2008-07-27.
[4] "1958 Miles Davis - Kind Of Blue Period (19551961)" (http:/ / web. archive. org/ web/ 20080223193434/ http:/ / www. miles-davis. com/
kindofblue. html). Sony BMG Music Entertainment. Archived from the original (http:/ / www. miles-davis. com/ kindofblue. html) on
2008-02-23. . Retrieved 2008-07-27.
[5] "Discogs.com - '58 Sessions Featuring Stella by Starlight" (http:/ / www. discogs. com/ release/ 495913). Discogs.com. . Retrieved
2008-07-27.
[6] "Amazon.com: '58 Miles Featuring Stella by Starlight: Miles Davis: Music" (http:/ / www. amazon. com/ dp/ B0000027R5). Amazon.com,
Inc.. . Retrieved 2008-08-03.
[7] "allmusic '58 Sessions Featuring Stella by Starlight - Overview" (http:/ / www. allmusic. com/ album/ r137403). All Media Guide, LLC.. .
Retrieved 2008-07-27.
Jimmy Cobb. Da Capo Press, USA. pp.6768. ISBN0-306-81067-0. .
[9] "George Russell - About George" (http:/ / www. georgerussell. com/ gr. html). Concept Publishing. . Retrieved 2008-07-27.
[10] Kahn (2001), p16.
[11] Palmer, Robert (1997). "Kind of Blue (CD)" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master. html). New
York, NY: Sony Music Entertainment, Inc./Columbia Records. .
[12] "allmusic Milestones - Overview" (http:/ / www. allmusic. com/ album/ r106105). All Media Guide, LLC.. . Retrieved 2008-07-27.
[13] "Miles Davis: Jazz at the Plaza < Music - PopMatters" (http:/ / www. popmatters. com/ pm/ review/ 16671/ davismiles-jazzattheplaza).
PopMatters.com. . Retrieved 2008-07-27.
pg=PA76& vq=Garland+ and+ Jones& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword
by Jimmy Cobb. Da Capo Press, USA. pp.7677. ISBN0-306-81067-0. .
pg=PA83& vq=Evans+ was+ caught+ in+ a+ dilemma+ from+ the+ outset& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+
His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. pp.83. ISBN0-306-81067-0. .
[16] "Bill Evans Webpages- The Catalog" (http:/ / www. billevanswebpages. com/ catalog5460. html). Group TGS.. . Retrieved 2008-07-27.
pg=PA82& vq=stella& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+ His+ Masterpiece+ bebop). foreword by Jimmy Cobb.
Da Capo Press, USA. pp.8283. ISBN0-306-81067-0. .
[18] Porter 1999, p. 111.
[19] Columnist. " Review: 58 Sessions (http:/ / www. tower. com/ 58-sessions-miles-davis-cd/ wapi/ 106689140)". Down Beat: 51. October
1991. Accessed 2009-07-22. Archived (http:/ / www. webcitation. org/ 5iUtmeus9) 2009-07-23.
[20] Cook, Richard. "Review: 58 Sessions". Penguin Guide to Jazz: 375376. September 2002.
[21] Hoard, Christian. " Review: 58 Sessions (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone:
214217. November 2, 2004.
[22] Larkin, Colin. "Review: 58 Sessions". Virgin Encyclopedia of Popular Music: March 1, 2002.
[23] Gitler (1991), p. 25.
[24] "AllAboutJazz.com - The Complete Columbia Recordings of Miles Davis With John Coltrane" (http:/ / www. allaboutjazz. com/ php/
article. php?id=6242). All About Jazz. . Retrieved 2008-07-27.
[25] "Liner note reprint: Miles Davis - Kind of Blue (FLAC - Master Sound - Super Bit Mapping) -" (http:/ / stupidd. blogspot. com/ 2008/ 02/
miles-davis-kind-of-blue-flac-master. html). Stupid and Contagious. . Retrieved 2008-07-27.
[26] "allmusic {{{1958 Miles (Bonus Tracks) > Overview}}}" (http:/ / www. allmusic. com/ album/ r931936). All Media Guide, LLC.. .
[27] "CannonballJazz.com - 58-0728-1958 Discography" (http:/ / www. docstewart. com/ Cannonball/ 1958/ 58-0728/ 58-0728_index. htm).
Chris "Doc" Stewart & Cannonball Jazz. . Retrieved 2008-07-27.
1958 Miles 72
References
Ira Gitler (1991). '58 Sessions Featuring Stella By Starlight album liner notes. Sony Music Entertainment Inc..
Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece (http://books.google.com/
?id=6QArFwi9buUC&pg=PA82&vq=stella&dq=The+Making+of+Kind+of+Blue:+Miles+Davis+and+
His+Masterpiece+bebop). foreword by Jimmy Cobb. Da Capo Press, USA. ISBN0-306-81067-0.
OCLC48527365.
Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. ISBN0-472-08643-X.
OCLC42309304.
Richard Cook, Brian Morton (2002). The Penguin Guide to Jazz on CD. Edition 6. Penguin.
ISBN0-14-051521-6.
Colin Larkin (2002). Virgin Encyclopedia of Popular Music. Edition 4. Virgin Books. ISBN1-85227-923-0.
External links
ModalJazz.com (http://www.modaljazz.com)
1958 Miles (http://www.discogs.com/Miles-Davis-1958-Miles/release/2123862), '58 Sessions Featuring
Stella by Starlight (http://www.discogs.com/Miles-Davis-58-Sessions-Featuring-Stella-By-Starlight/release/
495913) at Discogs
Kind of Blue
Kind of Blue
Released August 17, 1959

(see release history)
Recorded March 2 and April 22, 1959

30th Street Studio
Genre Jazz
Length 45:44
Kind of Blue 73
Label Columbia
CL-1355
Producer Teo Macero, Irving Townsend
1958 Kind of Sketches of

Miles Blue Spain
(1958) (1959) (1960)
Kind of Blue is a studio album by American jazz musician Miles Davis, released August 17, 1959, on Columbia
Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New
York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianists
Bill Evans and Wynton Kelly, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and
Julian "Cannonball" Adderley. After the inclusion of Bill Evans into his sextet, Davis followed up on the modal
experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast
to his earlier work with the hard bop style of jazz.
Though precise figures have been disputed, Kind of Blue has been cited by many music writers not only as Davis's
best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple
platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as
the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock,
and classical music, has led music writers to acknowledge it as one of the most influential albums of all time. In
2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National
Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest
albums of all time.
Background
By late 1958, Davis employed one of the best and
most profitable working bands pursuing the hard
bop style. His personnel had become stable: alto
saxophonist Cannonball Adderley, tenor
saxophonist John Coltrane, pianist Bill Evans,
long-serving bassist Paul Chambers, and drummer
Jimmy Cobb. His band played a mixture of pop
standards and bebop originals by Charlie Parker,
Thelonious Monk, Dizzy Gillespie, and Tadd
Dameron. As with all bebop-based jazz, Davis's
groups improvised on the chord changes of a given
song.[1] Davis was one of many jazz musicians
growing dissatisfied with bebop, and saw its Left to right: John Coltrane, Cannonball Adderley, Miles Davis and Bill
increasingly complex chord changes as hindering Evans in studio, 1959
creativity.[2]
In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization,[3] which offered
an alternative to the practice of improvisation based on chords and chord changes. Abandoning the traditional major
and minor key relationships of classical music, Russell developed a new formulation using scales, or a series of
Kind of Blue 74
scales, for improvisations: This approach led the way to "modal" in jazz.[4] Influenced by Russell's ideas, Davis
implemented his first modal composition with the title track of his studio album Milestones (1958), and his first
sessions with Bill Evans, 1958 Miles. Satisfied with the results, Davis prepared an entire album based on modality.[5]
Pianist Bill Evans, who had studied with Russell but recently departed from Davis's sextet to pursue his own career,
was drafted back into the new recording project, the sessions that would become Kind of Blue.[6]
Recording
"It must have been made in heaven."
[2]
Jimmy Cobb
Kind of Blue was recorded in two sessions at Columbia Records' 30th Street Studio in New York City, on March 2
for the tracks "So What", "Freddie Freeloader", and "Blue in Green", composing side one of the original LP, and
April 22 for the tracks "All Blues", and "Flamenco Sketches", making up side two. Production was handled by Teo
Macero, who had produced Davis's previous two LPs, and Irving Townsend.[7]
As was Miles Davis's penchant, he called for almost no rehearsal and the musicians had little idea what they were to
record. As described in the original liner notes by pianist Bill Evans, Davis had only given the band sketches of
scales and melody lines on which to improvise. Once the musicians were assembled, Davis gave brief instructions
for each piece and then set to taping the sextet in studio. While the results were impressive with so little preparation,
the persistent legend that the entire album was recorded in one pass is untrue. Only "Flamenco Sketches" yielded a
complete take on the first try. That take, not the master, was issued in 1997 as a bonus alternate track. The five
master takes issued, however, were the only other complete takes; an insert for the ending to "Freddie Freeloader"
was recorded, but was not used for release or on the issues of Kind of Blue prior to the 1997 reissue.[8] Pianist
Wynton Kelly may not have been happy to see the man he replaced, Bill Evans, back in his old seat. Perhaps to
assuage the pianist's feelings, and also to take advantage of Kelly's superior skills as both bluesman and accompanist,
Davis had Kelly play instead of Evans on the album's most blues-oriented number, "Freddie Freeloader".[8] The live
album Miles Davis at Newport documents this band. However, the Newport Jazz Festival recording on July 3, 1958
reflects the band in its hard bop conception, the presence of a Bill Evans only six weeks into his brief tenure in the
Davis band notwithstanding, rather than the modal approach of Kind of Blue.[9]
Music
Composition
Kind of Blue is based entirely on modality in contrast to Davis's earlier work with the hard bop style of jazz and its
complex chord progression and improvisation.[5] The entire album was composed as a series of modal sketches, in
which each performer was given a set of scales that defined the parameters of their improvisation and style.[10] This
style was in contrast to more typical means of composing, such as providing musicians with a complete score or, as
was more common for improvisational jazz, providing the musicians with a chord progression or series of
harmonies.[2]
Modal jazz of this type was not unique to this album. Davis himself had previously used the same method on his
1958 Milestones album, the '58 Sessions, and Porgy and Bess (1958), on which Davis used modal influences for
collaborator Gil Evans's third stream compositions.[2] Also, the original concept and method had been developed in
1953 by pianist and writer George Russell. Davis saw Russell's methods of composition as a means of getting away
from the dense chord-laden compositions of his time, which Davis had labeled "thick". Modal composition, with its
reliance on scales and modes, represented, as Davis called it,[2] "a return to melody."[10] In a 1958 interview with Nat
Hentoff of The Jazz Review, Davis elaborated on this form of composition in contrast to the simple chord
progression predominant in bebop, stating "No chords ... gives you a lot more freedom and space to hear things.
When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the
Kind of Blue 75
[melody] line. It becomes a challenge to see how melodically innovative you can be. When you're based on chords,
you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just
donewith variations. I think a movement in jazz is beginning away from the conventional string of chords... there
will be fewer chords but infinite possibilities as to what to do with them."[2]
Content
As noted by Bill Evans in the LP liner notes, "Miles conceived these settings only hours before the recording
dates."[7] Evans continues with an introduction concerning the modes used in each composition on the album. "So
What" consists of a mode based on two scales: sixteen measures of the first, followed by eight measures of the
second, and then eight again of the first.[7] "Freddie Freeloader" is a standard twelve bar blues form. "Blue in Green"
consists of a ten-measure cycle following a short four-measure introduction.[7] "All Blues" is a twelve bar blues form
in 6/8 time. "Flamenco Sketches" consists of five scales, which are each played "as long as the soloist wishes until he
has completed the series".[7]
Liner notes list Davis as writer of all compositions, but many scholars and fans believe that Bill Evans wrote part or
the whole of "Blue in Green" and "Flamenco Sketches".[11] Bill Evans assumed co-credit with Davis for "Blue in
Green" when recording it on his Portrait in Jazz album. The Davis estate acknowledged Evans' authorship in
2002.[12] The practice of a band leader's appropriating authorship of a song written by a sideman occurred frequently
in the jazz world, as legendary saxophonist Charlie Parker did so to Davis when Parker took a songwriting credit for
the tune "Donna Lee", written by Davis while employed as a sideman in Charlie Parker's quintet in the late 1940s.[13]
The composition later became a popular jazz standard. Another example is the introduction to "So What", attributed
to Gil Evans, which is closely based on the opening measures of French composer Claude Debussy's Voiles (1910),
the second prelude from his first collection of preludes.[14]
Jazz scene
Kind of Blue was released August 17, 1959, on Columbia Records in the United States, in both mono and stereo
format.[25] Since, Kind of Blue has often been regarded as Davis's greatest work; it is his most acclaimed album, and
has been cited as the best-selling jazz record released,[26] [27] despite later claims attributing the achievement to
Davis's first official gold record Bitches Brew (1969).[28] [29] [30] Music writer Chris Morris cited Kind of Blue as
"the distillation of Davis's art."[24] Kind of Blue has also been recognized as one of the most influential albums in the
history of jazz. One reviewer has called it a "defining moment of twentieth century music."[31] Several of the songs
from the album have become jazz standards. Kind of Blue is consistently ranked among the greatest albums of all
time.[32] In a review of the album, Allmusic-senior editor Stephen Thomas Erlewine stated:
Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a
record generally considered as the definitive jazz album, a universally acknowledged standard of excellence.
Why does Kind of Blue posses [sic] such a mystique? Perhaps because this music never flaunts its genius... It's
the pinnacle of modal jazz tonality and solos build from the overall key, not chord changes, giving the
music a subtly shifting quality... It may be a stretch to say that if you don't like Kind of Blue, you don't like
jazz but it's hard to imagine it as anything other than a cornerstone of any jazz collection.[15]
Stephen T. Erlewine
In 1958, however, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club,
consolidated by the release of his The Shape of Jazz to Come LP the same year, muted the initial impact of Kind of
Blue, a happenstance that irritated Davis greatly.[33] Though Davis and Coleman both offered alternatives to the rigid
rules of bebop, Davis would never reconcile himself to Coleman's free jazz innovations, although he would
incorporate musicians amenable to Coleman's ideas with his great quintet of the mid-1960s, and offer his own
Kind of Blue 76
version of "free" playing with his jazz fusion outfits in the 1970s.[34] The influence of the album did build, and all of
the sidemen from the album would achieve success on their own. Evans formed his influential jazz trio with bassist
Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley would front his popular bands with his brother Nat;
Kelly, Chambers, and Cobb would continue as a touring unit, recording under Kelly's name as well as in support of
Coltrane and Wes Montgomery, among others; Coltrane would go on to become one of the most revered and
innovative jazz musicians in history. Even more than Davis, Coltrane took the modal approach and ran with it during
his career as a leader in the 1960s, leavening his music with Coleman's ideas as the decade progressed.[35]
Impact on music
The album's influence has reached beyond jazz, as musicians of such genres as rock and classical have been
influenced by it, while critics have acknowledged it as one of the most influential albums of all time.[36] [37] Many
improvisatory rock musicians of the 1960s referred to Kind of Blue for inspiration, along with other Davis albums, as
well as Coltrane's modal records My Favorite Things (1961) and A Love Supreme (1965). Guitarist Duane Allman of
the Allman Brothers Band said his soloing on songs such as "In Memory of Elizabeth Reed" "comes from Miles and
Coltrane, and particularly Kind of Blue. I've listened to that album so many times that for the past couple of years, I
haven't hardly listened to anything else."[38] Pink Floyd keyboardist Richard Wright has said that the chord
progressions on the album influenced the structure of the introductory chords to the song "Breathe" on their
landmark opus The Dark Side of the Moon (1973).[39] In his book Kind of Blue: The Making of a Miles Davis
Masterpiece, writer Ashley Kahn wrote "still acknowledged as the height of hip, four decades after it was recorded,
Kind of Blue is the premier album of its era, jazz or otherwise. Its vapory piano introduction is universally
recognized".[40] Producer Quincy Jones, one of Davis' longtime friends, wrote: "That [Kind of Blue] will always be
my music, man. I play Kind of Blue every dayit's my orange juice. It still sounds like it was made yesterday".[40]
Pianist Chick Corea, one of Miles' acolytes, was also struck by its majesty, later stating "It's one thing to just play a
tune, or play a program of music, but it's another thing to practically create a new language of music, which is what
Kind of Blue did."[41]
One significant aspect of Kind of Blue is that the entire record, not just one track, was revolutionary. Gary Burton
noted this occurrence, stating "It wasnt just one tune that was a breakthrough, it was the whole record. When new
jazz styles come along, the first few attempts to do it are usually kind of shaky. Early Charlie Parker records were
like this. But with Kind of Blue [the sextet] all sound like theyre fully into it."[42] Along with The Dave Brubeck
Quartet's Time Out (1959) and Coltrane's Giant Steps (1960), Kind of Blue has often been recommended by music
writers as an introductory jazz album, for similar reasons: the music on both records is very melodic, and the relaxed
quality of the songs makes the improvisation easy for listeners to follow, without sacrificing artistry or
experimentation.[43] Upon the release of the 50th anniversary collector's edition of the album, a columnist for All
About Jazz stated "Kind of Blue heralded the arrival of a revolutionary new American music, a post-bebop modal
jazz structured around simple scales and melodic improvisation. Trumpeter/band leader/composer Miles Davis
assembled a sextet of legendary players to create a sublime atmospheric masterpiece. Fifty years after its release,
Kind of Blue continues to transport listeners to a realm all its own while inspiring musicians to create to new
soundsfrom acoustic jazz to post-modern ambientin every genre imaginable."[44] Later in an interview,
renowned hip hop artist and rapper Q-Tip reaffirmed the album's reputation and influence when discussing the
significance of Kind of Blue, stating "It's like the Bibleyou just have one in your house."[45]
Kind of Blue 77
Accolades
Kind of Blue has been cited by writers and music critics as the greatest jazz album of all time and has been ranked at
or near the top of numerous "best album" lists in disparate genres.[46] [47] [48] [49] In 2002, Kind of Blue was one of 50
recordings chosen that year by the Library of Congress to be added to the National Recording Registry.[50] In
selecting the album as number 12 on its list of the 500 greatest albums of all time, Rolling Stone magazine stated
"This painterly masterpiece is one of the most important, influential and popular albums in jazz".[51] On December
16, 2009, the United States House of Representatives passed a resolution honoring the fiftieth anniversary of Kind of
Blue and "reaffirming jazz as a national treasure".[52]
Track listing
All songs composed by Miles Davis (see content section for more information). Only six complete takes of the five
tunes on the album exist, indicated by the song numbers.
1. "So What" 9:22
2. "Freddie Freeloader" 9:46
3. "Blue in Green" 5:37
4. "All Blues" 11:33
5. "Flamenco Sketches" 9:26
Reissue bonus track
"Flamenco Sketches" (Alternate take) 9:32
Tracks 1, 2 and 3 (side one on the original vinyl release) recorded March 2, 1959; tracks 4 and 5 (side two) recorded
April 22, 1959. All tracks recorded at Columbia 30th Street Studio, New York City.
Collector's edition
Kind of Blue: 50th Anniversary Collector's

Edition
Box set by Miles Davis
Recorded May 26, 1958 April 9, 1960
Label Columbia/Legacy
Producer Michael Cuscuna, Cal Lampley
Miles Davis compilations chronology

Kind of Blue 78
The Complete On the Corner Kind of Blue: 50th

Sessions Anniversary
(2007) (2008)
Kind of Blue: 50th Anniversary Collector's Edition is a two-disc box set reissue of Miles Davis's studio album Kind
of Blue, released September 30, 2008 on Columbia Records and distributed through Legacy Records.[63] Contrary to
the edition's title, the release precedes the album's fiftieth anniversary of either recording date or original issue date.
The collector's edition features the original Kind of Blue album in its entirety with the "Flamenco Sketches" alternate
take, the rare "Freddie Freeloader" false start, and a selection of in-the-studio dialog from the Kind of Blue sessions
on the first disc. The second disc features rare musical material from the classic sextet's recording sessions, including
the May 26, 1958 session, which was previously available on The Complete Columbia Recordings: 1955-1961 and
1958 Miles. Also included on the second disc is the first authorized release of an extended live performance of "So
What" from the 1960 Den Haag Concert.
The third disc, a DVD, features a documentary on the conception and recording of Kind of Blue. In addition, the
DVD features the "Robert Herridge Theater: The Sound of Miles Davis" television program, which originally aired
on April 2, 1959 and starred Miles Davis and John Coltrane. In the box-set packaging, a vinyl LP copy of Kind of
Blue, a poster, and an LP-sized 60-page hardbound book are also included.[44]
Disc one
1. "So What" 9:25
2. "Freddie Freeloader" 9:49
3. "Blue in Green" 5:37
4. "All Blues" 11:35
5. "Flamenco Sketches" 9:26
6. "Flamenco Sketches" (alternate take) 9:33
7. "Freddie Freeloader" (studio sequence) 0:53
8. "Freddie Freeloader" (false start) 1:27
9. "Freddie Freeloader" (studio sequence 2) 1:30
10. "So What" (studio sequence) 1:55
11. "So What" (studio sequence 2) 0:13
12. "Blue in Green" (studio sequence) 1:58
13. "Flamenco Sketches" (studio sketches) 0:45
14. "Flamenco Sketches" (studio sketches 2) 1:12
15. "All Blues" (studio sketches) 0:18
Disc two
1. "On Green Dolphin Street" (Bronislaw Kaper, Ned Washington) 9:50
2. "Fran-Dance" (Davis) 5:49
3. "Stella by Starlight" (Victor Young, Washington) 4:46
4. "Love for Sale" (Cole Porter) 11:49
5. "Fran-Dance" (alternate take) 5:53
6. "So What" (live) 17:29
Kind of Blue 79
Personnel
Musicians
Julian "Cannonball" Adderley alto saxophone, except on "Blue in Green"
Jimmy Cobb drums
Bill Evans piano (except "Freddie Freeloader") liner notes
Wynton Kelly piano on "Freddie Freeloader"
Production
Michael Cuscuna reissue production
Don Hunstein photography
Teo Macero production
Jay Maisel cover photo
Fred Plaut recording engineering
Irving Townsend production
Mark Wilder remix engineer
Chart history
Chart positions
Billboard Music Charts (North America)
Sales and certifications
1977: Jazz Albums #37
Country Certification Sales
1987: Top Jazz Albums #10
2001: Top Internet Albums #14 Australia [64] 70,000+
Platinum
United Kingdom Gold [65] 100,000+
United States [66] 4,000,000+

4 Platinum
Kind of Blue 80
Release history
Kind of Blue was originally released as a 12-inch vinyl record, in
both stereo and mono. There have been several reissues of Kind of
Blue, including additional printings throughout the vinyl era. On
some editions, the label switched the order for the two tracks on
side two, "All Blues" and "Flamenco Sketches". The record has
been remastered many times during the compact disc era,
including the 1986 Columbia Jazz Masterpieces reissue and,[67]
most notably, the 1992 remastering that corrected the speed for
side one, which had been issued slightly off-pitch originally,[68]
and the 1997 issue that added the alternate take of "Flamenco
Sketches". All releases after the 1997 include the alternate take
and are speed-corrected. In 2005, a DualDisc release included the
original album, a digital remastering in 5.1 Surround Sound and
1986 Columbia Jazz Masterpieces compact disc reissue
LPCM Stereo, and a 25-minute documentary Made in Heaven cover
about the making and influence of Kind of Blue. "Kind Of Blue"
has also been re-released on a rare 24 carat gold CD collectors version.
August 17, 1959Columbia CS 8163, original stereo vinyl LP

August 17, 1959Columbia CL 1355, original mono vinyl LP
1974Columbia PC 8163, stereo vinyl LP reissue
1984Columbia CK 8163, original compact disc issue
1986Columbia Jazz Masterpiece CK 40579, compact disc, digitally remastered from original master tapes and
stereo vinyl LP (CJ 40579)
December 8, 1992Columbia CK 64403, Mastersound Gold CD, super-bit mapping, corrected speed. Liner notes:
First time original master used for side 1 of a CD issue Original had been misplaced since before 1984 (CK
8163).
1997 - Double LP Gatefold edition from Classic Records included two side ones at original and corrected speed
and a 45 rpm alternate take of Flamenco Sketches
March 25, 1997Columbia CK 64935, compact disc, 20-bit remastering, adds alternate track, corrected speed
August 21, 2001Columbia CS 64935, SACD, corrected speed
December 2001Classic Records CS8163QP, Quiex SV-P 200gram vinyl, corrected speed, original tracks
February 8, 2005Columbia CN 90887, DualDisc, 20-bit remastered standard compact disc side, 5.1 AC3
Surround Sound, LPCM Stereo side, corrected speed
September 30, 2008Columbia/Legacy CL 8869733552, box set, original album, previously unreleased material,
bonus tracks, vinyl LP, DVD
January 20, 2009-Sony Legacy, two CDs from the 50th anniversary set (without DVD or vinyl).
The album was also released on many other formats many of which are only to be found second hand.
Two-track open reel tape (US only), Columbia GCB 60, by which Freddie Freeloader and Flamenco Sketches are
omitted to keep cost down. This release was on the market less than a year and was discontinued some time after
July 1961, after Sketches of Spain had been released as 4-Track only. Sonically most often better than the 4-Track
counterpart that replaced it. The reports that the Two-Track version was the only one to be issued at correct speed
for the tracks off the first album side are false. None issued at the correct speed.[69]
Four-Track open reel tape (US only), Columbia CQ 379, as the complete 5 track album. This release replaced the
Two-Track release and remained in the Columbia catalog for a few years. Some tracks are available on other reel
tapes issued current at the time of or following the original release of the album, as by Various Artists. None
issued at the correct speed. All Blues in included on the Greatest Hits album.
Kind of Blue 81
Armed Forces Radio & Television Service 16 transcription discs. Note these are monophonic and the side
marked Flamenco Sketches actually holds All Blues.
Philips Compact Cassette. Both as the original album prior to the Jazz Masterpiece remaster, and as the 1987 Jazz
Masterpiece remaster. Neither are at the correct speed.
MiniDisc, Columbia CM 40579 (US). Only as the master prior to 1997, but not as the Jazz Masterpiece remaster.
This was unavailable by the end of the 1990s when production of prerecorded MiniDiscs had ceased. None issued
at the correct speed.
"Making of" albums

Several unofficial CD releases are known to contain the complete sessions with false starts and studio chatter, and all
tracks (including the bonus track) in the order these were recorded during the two recording sessions.
An unofficial album entitled "The Making of Kind of Blue" features 73 minutes of the album's recording
sessions.[70]
Another unofficial album is entitled "Another Kind of Blue" features the same sessions.
A third, two-CD set, contains the complete sessions with false starts, studio chatter and all tracks as they were
recorded at a total length of 78:40 minutes, released as:
"Miles Davis The Making of Kind of Blue - 50th Anniversary Definitive Edition. It's Complete!".
The most recent release of this "Making of KoB" CDs is from February 2009, but holds only 73:51 minutes, so it's
not that complete as the previous Japanese CD. However this one has to be mentioned too:
"Miles Davis Legendary Collection Series Miles Davis-The Sessions of Blue."
The special box set with CD, DVD, LP, book, poster, etc. has only a selection of the studio chatter and false starts,
and is released separately from the music, so there is no connection at all between the music and the studio chatter.
To analyze what was going on in the studio during the two recording sessions one of these Japanese releases is
essential. These CDs also have "All Blues" without any fade out in its original length. On all other releases "All
Blues" has a fade out, and according to the release this fade out is different in length.
Notes
[1] Kahn, pp. 8687.
Jimmy Cobb. Da Capo Press, USA. pp.6768. ISBN0-306-81067-0. .
[3] Russell, George. Lydian Chromatic Concept of Tonal Organization. New York: Russ-Hix Music Pub. Co.
Library of Congress Catalog Record available at lccn.loc.gov/unk84111092 (http:/ / lccn. loc. gov/ unk84111092).
Lydian Chromatic Concept of Tonal Organization website located at www.lydianchromaticconcept.com (http:/ / www.
lydianchromaticconcept. com/ ).
Author George Russells website located at www.georgerussell.com (http:/ / www. georgerussell. com/ )
[4] "George Russell About George" (http:/ / www. georgerussell. com/ gr. html). Concept Publishing. . Retrieved July 27, 2008.
[5] "Liner note reprint: Miles Davis Kind of Blue (FLAC Master Sound Super Bit Mapping)" (http:/ / stupidd. blogspot. com/ 2008/ 02/
miles-davis-kind-of-blue-flac-master. html). Stupid and Contagious. . Retrieved July 27, 2008.
pg=PA83& vq=Evans+ was+ caught+ in+ a+ dilemma+ from+ the+ outset& dq=The+ Making+ of+ Kind+ of+ Blue:+ Miles+ Davis+ and+
His+ Masterpiece+ bebop). foreword by Jimmy Cobb. Da Capo Press, USA. p.83. ISBN0-306-81067-0. .
[7] Palmer (1997), pp. 47
[8] Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; p. 111.
[9] Blumenthal, Bob. Liner Notes, Miles Davis at Newport 1958; Columbia/Legacy CK85202, 2001, p. 4.
[10] Palmer, Robert (1997). "Liner Notes to 1997 Reissue" (http:/ / stupidd. blogspot. com/ 2008/ 02/ miles-davis-kind-of-blue-flac-master.
html). Kind of Blue (CD). New York, NY: Sony Music Entertainment, Inc./Columbia Records.
[11] Kahn, p. 299a.
[12] Kahn, p. 299b.
[13] Miles Davis with Quincy Troupe, "Miles: The Autobiography," Simon and Schuster, 2001, pp. 103104.
Kind of Blue 82
[14] Kahn, p. 178.

[15] Erlewine, Stephen Thomas. Review: Kind of Blue (http:/ / www. allmusic. com/ album/ r104440). Allmusic. Retrieved on 2009-07-21.
[16] Columnist. " Review: Kind of Blue (http:/ / books. google. com/ books?id=NgoEAAAAMBAJ& pg=PA28)". Billboard: 28. August 31,
1959.
[17] Sandow, Greg. Review: Kind of Blue (http:/ / www. ew. com/ ew/ article/ 0,,315776_3,00. html). Entertainment Weekly. Retrieved on
2009-07-20.
[18] Cook, Richard. "Review: Kind of Blue". Penguin Guide to Jazz: 376. September 2002.
[19] Schreiber, Ryan. Review: Kind of Blue (http:/ / web. archive. org/ web/ 20021005181357/ www. pitchforkmedia. com/ record-reviews/ d/
davis_miles/ kind-of-blue. shtml). Pitchfork Media. Retrieved on 2009-07-21.
[20] Friedman, Lou. Review: Kind of Blue (http:/ / www. popmatters. com/ music/ reviews/ d/ davismiles-kindofbluedd. shtml). PopMatters.
Retrieved on 2009-07-20.
[21] Columnist. " Review: Kind of Blue (http:/ / www. tower. com/ details/ details. cfm?wapi=106692819)". Q: 116. March 1995.
[22] Hoard, Christian. " Review: Kind of Blue (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone:
214217. November 2, 2004.
[23] Fisher, Tyler. Review: Kind of Blue (http:/ / www. sputnikmusic. com/ album. php?reviewid=8031). Sputnikmusic. Retrieved on
2009-07-20.
[24] Morris, Chris. Review: Kind of Blue (http:/ / www. webcitation. org/ 5q9T2hGyM). Yahoo! Music. Retrieved on 2009-07-20.
[25] Discogs - Kind of Blue search (http:/ / www. discogs. com/ search?type=all& q=Miles+ Davis+ -+ Kind+ Of+ Blue+ Vinyl+ LP+ US+
1959& btn=Search). Discogs. Retrieved on September 27, 2008.
[26] The All-TIME 100 Albums - Kind of Blue (http:/ / www. time. com/ time/ 2006/ 100albums/ 0,27693,Kind_of_Blue,00. html). Time Inc.
Retrieved on August 30, 2008.
[27] The Dozens - Jazz.com (http:/ / www. jazz. com/ dozens/ the-dozens-the-golden-anniversary-of-porgy-and-bess). jazz.com. Retrieved on
August 30, 2008.
[28] MILES BEYOND The Making of the Bitches Brew boxed set (http:/ / www. miles-beyond. com/ bitchesbrew. htm). Paul Tingen. Retrieved
on August 30, 2008.
[29] Miles Electric: A Different Kind of Blue (DVD) - PopMatters (http:/ / www. popmatters. com/ pm/ review/ 16181/
davismiles-mileselectricdvd). PopMatters. Retrieved on August 30, 2008.
[30] Miles Davis' Bitches Brew - ColumbiaJazz (http:/ / www. columbiajazz. com/ newsletter2/ brew. html). Columbia. Retrieved on August 30,
2008.
[31] Philip B. Pape. "All About Jazz: Kind of Blue Review" (http:/ / www. allaboutjazz. com/ php/ article. php?id=3786). All About Jazz. .
Retrieved September 19, 2008.
[32] Acclaimed Music - Kind of Blue (Rankings, rating, etc. (http:/ / www. acclaimedmusic. net/ Current/ A1860. htm).
www.acclaimedmusic.net. Retrieved on August 11, 2008.
[33] Kahn, p. 183.
[34] Jazz Extra - the biography of Miles Davis (http:/ / www. jazzextra. com/ biographies/ miles-davis. php). Jazz Extra. Retrieved on August 11,
2008.
[35] Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. pp.281283. ISBN047208643X.
[36] Miles Davis: Kind of Blue - NPR (http:/ / www. npr. org/ templates/ story/ story. php?storyId=10862796). NPR. Retrieved on August 19,
2008.
[37] NPR's Jazz Profiles: Miles Davis Kind of Blue (http:/ / www. npr. org/ programs/ jazzprofiles/ archive/ miles_kob. html). NPR. Retrieved on
August 19, 2008.
[38] Poe, Randy (2006). Skydog: the Duane Allman story. San Francisco: Backbeat Books. ISBN0-879-30891-5. pp. 182183.
[39] Andy Mabbett (1995). The Complete Guide to the Music of Pink Floyd. Omnibus Press, 14/15 Berners Street, London. pp.178179.
ISBN0-7119-4301-X.
[40] Kahn, p. 19
[41] Kahn, p. 16.
[42] Kahn, p. 179.
[43] 1959: A Great Year in Jazz (http:/ / www. allaboutjazz. com/ php/ article. php?id=15310). All About Jazz. Retrieved on August 11, 2008.
[44] Jazz News: Miles Davis - Kind of Blue: 50th Anniversary Collectors Edition Coming in September (http:/ / www. allaboutjazz. com/ php/
news. php?id=21627). All About Jazz. Retrieved on September 20, 2008.
[45] Pitchfork: Kind of Blue 50th Anniversary Edition (http:/ / www. pitchforkmedia. com/ node/ 146120). Pitchfork Media. Retrieved on
November 23, 2008.
[46] The All-TIME 100 Albums (http:/ / www. time. com/ time/ 2006/ 100albums/ ). Time.com. Retrieved on August 19, 2008.
[47] The RS 500 Greatest Albums of All Time (http:/ / www. rollingstone. com/ news/ story/ 5938174/
the_rs_500_greatest_albums_of_all_time). Rolling Stone. Retrieved on August 19, 2008.
[48] Rateyourmusic's 'Top Albums of All-Time' (http:/ / rateyourmusic. com/ charts/ top/ album/ all-time). Rate Your Music. Retrieved on
August 19, 2008.
[49] Tower.com - Kind of Blue review notes (http:/ / www. tower. com/ kind-blue-miles-davis-cd/ wapi/ 106692819). Tower.com. Retrieved on
August 19, 2008.
Kind of Blue 83
[50] Library of Congress - Kind of Blue (http:/ / www. loc. gov/ rr/ record/ nrpb/ nrpb-2002reg. html). The Library of Congress. Retrieved on
August 19, 2008.
[51] The RS 500 Greatest Albums of All Time: 12) Kind of Blue (http:/ / www. rollingstone. com/ music/ lists/
500-greatest-albums-of-all-time-19691231/ kind-of-blue-miles-davis-19691231). Rolling Stone. Retrieved on August 11, 2008.
[52] Jarenwattananon, Patrick. The U.S. Congress and the 'Kind of Blue' Blues (http:/ / www. npr. org/ blogs/ ablogsupreme/ 2009/ 12/
congress_kind_of_blue_blues. html). NPR. Retrieved on December 22, 2009.
[53] Stockton, Jeff. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. allaboutjazz. com/ php/ article. php?id=31837).
All About Jazz. Retrieved on 2010-02-07.
[54] Chinen, Nate. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. blender. com/ guide/ reissue/ 55398/
kind-blue-50th-anniversary-collector146s-edition. html). Blender. Retrieved on 2010-02-07.
[55] Fordham, John. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. guardian. co. uk/ music/ 2008/ nov/ 21/
miles-davis-anniversary). The Guardian. Retrieved on 2010-02-07.
[56] Gill, Andy. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. independent. co. uk/ arts-entertainment/ music/
reviews/ album-miles-davis-deluxe-kind-of-blue-reissue-columbia-971248. html). The Independent. Retrieved on 2010-02-07.
[57] Johnson, Martin. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. pastemagazine. com/ articles/ 2008/ 10/
miles-davis-kind-of-blue-50th-anniversary-collecto. html). Paste. Retrieved on 2010-02-07.
[58] Garelick, Jon. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / thephoenix. com/ Boston/ Music/
73379-MILES-DAVIS-KIND-OF-BLUE/ ). The Phoenix. Retrieved on 2010-02-07.
[59] Battaglia, Andy. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. pitchforkmedia. com/ node/ 146120). Pitchfork
Media. Retrieved on 2010-02-07.
[60] Rigby, Paul. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. recordcollectormag. com/ reviews/ review-detail/
3017). Record Collector. Retrieved on 2010-02-07.
[61] Kemp, Mark. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. rollingstone. com/ reviews/ album/ 23659089/
review/ 23637765/ kind_of_blue_50th_anniversary_collectors_edition_box_set). Rolling Stone. Retrieved on 2010-02-07.
[62] Spencer, Neil. Review: Kind of Blue: 50th Anniversary Collector's Edition (http:/ / www. uncut. co. uk/ music/ miles_davis/ reviews/
12442). Uncut. Retrieved on 2010-02-07.
[63] allmusic: Kind of Blue 50th Anniversary Collector's Edition (http:/ / www. allmusic. com/ album/ r1424187). All Media Guide, LLC.
Retrieved on November 23, 2008.
[64] "ARIA Charts Accreditations - 2003 Albums" (http:/ / www. aria. com. au/ pages/ aria-charts-accreditations-albums-2003. htm).
Aria.com.au. . Retrieved September 19, 2008.
[65] "The Bpi" (http:/ / www. bpi. co. uk). Bpi.co.uk. . Retrieved September 19, 2008.
[66] RIAA database - Gold & Platinum search item Kind of Blue (http:/ / www. riaa. com/ goldandplatinumdata.
php?table=SEARCH_RESULTS). Recording Industry Association of America. Retrieved on October 17, 2008.
[67] Discogs.com - Search: Miles Davis - Kind Of Blue (http:/ / www. discogs. com/ search?type=all& q=Miles+ Davis+ -+ Kind+ Of+ Blue&
btn=Search). Discogs. Retrieved on August 11, 2008.
[68] The Fifth Element #34 (http:/ / www. stereophile. com/ thefifthelement/ 206fifth/ ), Stereophile, February 2006, , retrieved 2010-09-01
[69] From Columbia tape catalogs at the time
[70] "Miles Ahead: Discography" (http:/ / www. plosin. com/ milesAhead/ Disco. aspx?id=MakingKB). Plosin.com. . Retrieved September 19,
2008.
References
Palmer, Robert (1997). "Liner Notes to 1997 Reissue". Kind of Blue (CD). New York, NY: Sony Music
Entertainment, Inc./Columbia Records
Kahn, Ashley (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. foreword by Cobb, Jimmy, Da
Capo Press, USA. ISBN0-306-81067-0
Blumenthal, Bob (2001). Liner Notes, Miles Davis at Newport 1958. Columbia/Legacy CK85202
Richard Cook, Brian Morton (2002). The Penguin Guide to Jazz on CD. Edition 6. Penguin. ISBN0140515216.
Kind of Blue 84
External links
ModalJazz.com (http://www.modaljazz.com)
Miles Davis: 'Kind of Blue' program (http://www.npr.org/templates/story/story.php?storyId=10862796) in
National Public Radio's Jazz Profiles series
'Kind of Blue' at MILESTONES:A Miles Davis Collector's Site (http://www.oakton.edu/user/~larry/miles/
main/covers/columbia/kindofblue.html)
Sketches of Spain
Sketches of Spain
Released July 18, 1960
Recorded November 20, 1959; March 10, 1960 at Columbia 30th Street Studio, New York
Genre Jazz
Length 41:19
Label Columbia
Producer Teo Macero & Irving Townsend
[1]
Allmusic link
[2]
Down Beat
[3]
Penguin Guide to Jazz
[4]
Pitchfork Media (10.0/10) link
[5]
Q
[6]
Rolling Stone
Kind of Sketches of Someday My Prince Will

Blue Spain Come
(1959) (1960) (1961)
Sketches of Spain is an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia
30th Street Studio in New York City.
The album pairs Davis with arranger and composer Gil Evans, with whom he had collaborated on several other
projects, on a program of compositions largely derived from the Spanish folk tradition. (An extended version of the
second movement of Joaquin Rodrigo's Concierto de Aranjuez is also included, as well as a song called "Will o' the
Wisp", from the ballet El amor brujo by Manuel de Falla.)
Reception
Sketches of Spain is considered to be one of the most accessible albums of Davis's career: the most recent edition of
the Penguin Guide to Jazz on CD describes it as "elevated light music". Less improvisational than much other jazz,
contemporaries suggested that Sketches of Spain was something other than jazz. Davis replied (according to Rolling
Stone magazine), "It's music, and I like it".[7]
In 2003, the album was ranked number 356 on Rolling Stone's list of the 500 greatest albums of all time.[7]
Track listing
Side one
1. "Concierto de Aranjuez" (Adagio) (Joaqun Rodrigo) 16:19
2. "Will o' the Wisp" (Manuel de Falla) 3:47
Side two
"The Pan Piper" (Gil Evans) 3:52

2. "Saeta" (Evans) 5:06
3. "Solea" (Evans) 12:15
1997 reissue bonus tracks
"Song of Our Country" (Evans) 3:23

2. "Concierto de Aranjuez" (alternative take; part 1) (Rodrigo) 12:04
3. "Concierto de Aranjuez" (alternative take; part 2 ending) (Rodrigo) 3:33
Personnel
In alphabetical order (Note: this list actually encompasses the total musicians used on several sessions in late 1959
and early 1960. The actual number of players on the piece was 19.)
Danny Bank bass clarinet Dick Hixon trombone

Bill Barber tuba Elvin Jones percussion
John Barrows French horn Taft Jordan trumpet
Albert Block flute Jack Knitzer bassoon
James Buffington French horn Jose Mangual percussion
Eddie Caine flute, flugelhorn Jimmy McAllister tuba
Paul Chambers bass Tony Miranda French horn
Earl Chapin French horn Louis Mucci trumpet
Jimmy Cobb drums Romeo Penque oboe
Johnny Coles trumpet Janet Putnam harp
Miles Davis trumpet, flugelhorn Frank Rehak trombone
Gil Evans arranger, conductor Ernie Royal trumpet
Harold Feldman clarinet, flute, oboe Joe Singer French horn
Bernie Glow trumpet
Trivia
Buckethead's 2002 album, Electric Tears, contains a song entitled "Sketches of Spain (For Miles)".
A sample from "Concierto de Aranjuez" was used in the Chroma Key song "Before You Started".
In the Clint Eastwood film The Gauntlet (1977) the Jerry Fielding soundtrack music for the climactic gauntlet
sequence is an almost identical copy of the "Solea" track.
Two Almodvar films have featured songs from this album: Tacones lejanos (High Heels), where "Solea" is
heard over the opening credits; and La flor de mi secreto (The flower of my secret), where "Saeta" is heard in a
ballet scene.
The band Tears for Fears has a song called "Sketches of Pain" on the album Raoul and the Kings of Spain.
Dutch band The Nits released a song in 1983 on their album Kilo called "Sketches Of Spain". The title was
directly inspired by the Miles Davis album, even though the song's music and lyrics (about the Spanish Civil War)
have no references to it. The song has become one of the band's best known tunes.
In Haruki Murakami's novel, The Wind-Up Bird Chronicle, the main character owns a signed copy of Sketches of
Spain.
In the movie The Salton Sea, Val Kilmer's character plays an excerpt from the song Saeta on his trumpet. It is also
a prevailing song throughout the movie.
New York screamo band Saetia takes their name from a misspelling of the track "Saeta."
Hip-Hop Producer DJ Premier sampled "Will O' the Wisp" for the tracks "Invasion" and "Wrath of the Math" for
the Jeru The Damaja 1996 album Wrath of the Math.
'Song of Our Country', a bonus track on CD reissues is credited on the sleeve to Gil Evans. Although Evans was
responsible for the arrangement the original piece was the second movement of Bachianas Brasileiras No. 2, O
Canto da Nossa Terra in Portuguese composed by Brazilian composer Heitor Villa-Lobos.
Mad Men season one episode The Hobo Code features the "Concierto de Aranjuez" during Midges pot party.
In 2010, a cover of the album was recorded featuring Lew Soloff, Solo Trumpet, with Steve Richman conducting
the Harmonie Ensemble/New York.
In concert, the Grateful Dead occasionally played a jam inspired by "Solea" that was dubbed by fans as "Spanish
Jam". Examples of this jam can be heard on various concert recordings, including Dick's Picks Volume 6.[8]
Bruce Conner used "Concierto de Aranjuez" as the soundtrack to his 1967 film "The White Rose", documenting
the 1965 removal of fellow artist Jay DeFeo's magnum opus from her San Francisco apartment.
References
[2] Tower Records listing (http:/ / www. tower. com/ sketches-spain-miles-davis-cd/ wapi/ 106693154)
[3] Sketches of Spain rankings and ratings at AcclaimedMusic.net (http:/ / www. acclaimedmusic. net/ Current/ A1877. htm)
[4] http:/ / web. archive. org/ web/ 20030206163503/ www. pitchforkmedia. com/ record-reviews/ d/ davis_miles/ sketches-of-spain. shtml
[5] Sketches of Spain details at CDuniverse.com (http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088638/ a/ Sketches+ Of+ Spain. htm)
[6] Hoard, Christian. " Review: Sketches of Spain (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA214& dq=)". Rolling Stone:
214217. November 2, 2004.
[7] "The 500 Greatest Albums of All Time" (http:/ / www. rollingstone. com/ music/ lists/ 500-greatest-albums-of-all-time-19691231/
sketches-of-spain-miles-davis-19691231). Rolling Stone. 2003-11-18. . Retrieved 2011-02-09.
[8] http:/ / www. dead. net/ song/ spanish-jam
Someday My Prince Will Come

Someday My Prince Will Come/
Kodak Song
The woman on the cover of the album was Davis' wife, Frances.
Released December 11, 1961
Recorded March 7-21, 1961

30th Street Studio, New York, New York
Genre Jazz
Length 41:45
Label Columbia
CS-8456
Producer Teo Macero
[1]
[2]
Allmusic link
[3]
[4]
Warr.org link
Sketches of Someday My Prince Will Quiet

Spain Come Nights
(1960) (1961) (1963)
Someday My Prince Will Come is a studio album by Miles Davis, recorded in March 1961 in New York City.
The album garnered significant critical acclaim, with reviewers praising Davis' precision playing and expansive
lyricism.[5] While the liner notes credit the Miles Davis Sextet, only the title track featured six players, with John
Coltrane joining the Miles Davis Quintet, which is featured on the bulk of the record. It marked the last time Davis
would record with Coltrane and drummer Philly Joe Jones and was the only Davis Quintet studio session to feature
saxophonist Hank Mobley.
Track listing
All tracks written by Miles Davis unless otherwise noted.
Side one
1. "Someday My Prince Will Come" (Frank Churchill) 9:04
Larry Morey wrote lyrics for this song, but this recording is instrumental.
2. "Old Folks" (Willard Robison) 5:14

Dedette Lee Hill wrote lyrics for this song, but this recording is instrumental.
3. "Pfrancing" 8:31
Side two
"Drad-Dog" 4:29
2. "Teo" 9:34 (in reference to Teo Macero)
3. "I Thought About You" (Jimmy Van Heusen) 4:53
Johnny Mercer wrote lyrics for this song, but this recording is instrumental.
CD reissues include "Blues No. 2" and an alternate take of "Someday My Prince Will Come".
Performers
Hank Mobley - Tenor saxophone (on all tracks except #5 and #6, (first solo on #1))
John Coltrane - Tenor saxophone (only on tracks 1 (second solo) & 5)
Wynton Kelly - Piano
Paul Chambers - double bass
Philly Joe Jones - drums (only on "Blues No.2")
Jimmy Cobb - drums (on all others)
References
[3] http:/ / www. acclaimedmusic. net/ Current/ A1895. htm Someday My Prince Will Come ratings at AcclaimedMusic.net
[4] http:/ / www. warr. org/ miles. html#Someday
[5] AMG review (http:/ / www. allmusic. com/ album/ r573782)
Quiet Nights 90
Quiet Nights
Quiet Nights
Studio album by Miles Davis/Gil Evans
Released December 1963
Recorded July 27, 1962 - April 17, 1963 at Columbia 30th Street Studio, New York and Columbia Studio, Hollywood, CA
Genre Jazz
Bossa Nova
Length 26:57 (original)

39:45 (reissue)
Label Columbia
Producer Teo Macero
[1]
Allmusic link
Miles Davis/Gil Evans chronology
Someday My Prince Will Quiet Seven Steps to

Come Nights Heaven
(1961) (1963) (1963)
Quiet Nights is an album recorded in 1962 and 1963 by Miles Davis and Gil Evans at the Columbia 30th Street
Studios in New York City. The first six tunes were recorded in 1962 with an orchestra conducted by Evans, and
"Summer Night" was recorded in 1963 by Davis with a short-lived quintet (George Coleman, Victor Feldman, Ron
Carter and Frank Butler), during the sessions for the album Seven Steps to Heaven, although Coleman lays out on
this number. Davis regarded the 27-minute album of bossa-nova songs as an unfinished project, and its release
against Davis's wishes caused a lengthy breach with producer Teo Macero.
Quiet Nights 91
Track listing
Side one
1. "Song No. 2" (aka Prenda Minha, RS folklore/Brazil) - 1:35
2. "Once upon a Summertime" (Johnny Mercer, Michel Legrand, Eddie Marnay, Eddie Barclay) - 3:25
3. "Aos ps da cruz" (Marino Pinto, Z da Zilda, Joo Gilberto) - 4:14
4. "Song No. 1" (Evans, Davis) - 4:32
Side two
1. "Wait Till You See Her" (Richard Rodgers, Lorenz Hart) - 4:02
2. "Corcovado" (Antonio Carlos Jobim) - 2:41
3. "Summer Night" (Al Dubin, Harry Warren) - 6:03
CD reissue includes "The Time of the Barracudas", music recorded in 1963 to accompany a play of the same name
by Peter Barnes. This features another orchestra conducted by Evans, and the rhythm section of the Davis 60's
quintet (Herbie Hancock, Ron Carter and Tony Williams).
References
Seven Steps to Heaven

Released 1963
Recorded April 16, 1963 at Columbia Studio, Hollywood and

May 14, 1963 at Columbia 30th Street Studio, New York
Genre Jazz
Length 46:19
Label Columbia Records
Producer Teo Macero
[1]
Allmusic link
[2]
[4]
Warr.org (favorable) link
Quiet Seven Steps to E.S.P.

Nights Heaven (1965)
(1963) (1963)
Seven Steps to Heaven is an album recorded in 1963 by Miles Davis. On the 16th and 17th of April, at Columbia's
Los Angeles studios, a quintet comprising Davis, George Coleman, Victor Feldman, Ron Carter and Frank Butler
recorded all six tunes plus "Summer Night", for an album to be titled So Near, So Far. A month later, in New York
City, Davis re-recorded three of the tunes (tracks 2, 4 & 6) with a new quintet, replacing Feldman with Herbie
Hancock and Butler with Tony Williams. The new rhythm section of Hancock, Carter and Williams would form the
nucleus of Davis's working band for the next five years. This is the last of Davis's studio albums which relies
substantially on standard tunes - once Wayne Shorter joined the quintet in 1964, tunes on studio recordings were
almost always composed by members of the group.
Track listing
1. "Basin Street Blues" (Spencer Williams) - 10:30
2. "Seven Steps to Heaven" (Victor Feldman, Miles Davis) - 6:26
3. "I Fall in Love Too Easily" (Jules Styne) - 6:46
4. "So Near, So Far" (Tony Crombie, Benny Green) - 6:59
5. "Baby, Won't You Please Come Home?" (Charles Warfield, Clarence Williams) - 8:28
6. "Joshua" (Victor Feldman) - 7:00
Tracks 1, 3 & 5 are tracks produced from the April session with Feldman, Butler, Carter and feature Davis in a quartet setting without Coleman.
CD reissue includes an alternate take of "So Near, So Far" (from the April session) and "Summer Night", recorded
by the Feldman/Butler quintet during the same sessions, but originally released on Quiet Nights.
The alternate take of "So Near, So Far" produces a rare phenomenon - an alternate take with a different rhythm
section. This would be no great deal were it not for the fact that Feldman and Butler were of such a startlingly
different style from Hancock and Williams, almost of a different age.
Personnel
George Coleman - Tenor Saxophone
Victor Feldman - Piano (April session)
Herbie Hancock - Piano (May session)
Ron Carter - Double bass
Frank Butler - drums (April session)
Tony Williams - drums (May session)
References
[1] http:/ / www. allmusic. com/ album/ seven-steps-to-heaven-r736053
E.S.P. 94
E.S.P.
E.S.P.
Released November 1965
Recorded January 2022, 1965 at Columbia Studios, Hollywood, LA, CA
Genre Jazz
Post-bop
Modal jazz
Length 48:05

CL9150(Mono), CS9150(Stereo)
Producer Irving Townsend
[1]
Allmusic link
[2]
Ink Blot (favorable) link
[3]
Warr.org link
Seven Steps to E.S.P. Miles

Heaven (1965) Smiles
(1963) (1967)
Recorded in January 1965, E.S.P. is the first album by what is often referred to as Miles Davis second great quintet.
The quintet comprising Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams would be the most
long-lived of all Davis's groups, and this was their first studio recording together.
Unlike the majority of previous Davis albums, E.S.P. consisted entirely of new compositions written by members of
the group. Despite the profusion of new material, only one tune ("Agitation") is known to have appeared in the
group's live performances. Two versions of this tune appear on the Plugged Nickel recordings from December 1965;
it was played live as late as the fall of 1969.
"Little One" might be best known for being revisited on Hancock's landmark album, Maiden Voyage, recorded a few
weeks later. This version is somewhat more embryonic; Carter's bass is halting, and Davis and Shorter state the
E.S.P. 95
theme with winding, interlocking contrapuntal lines that evoke Davis and Coltrane's version of "Round Midnight".
Hancock's solo on Carter's composition, "Eighty-One", also presages his work on that LP - particularly its title track.
This is reflected in the liner notes of the 1999 reissue.
Shortly thereafter, Shorter's compositions would begin to dominate the Quintet's recordings, though here he
contributes only two of the seven songs. The title track is reminiscent of Jackie McLean's "Little Melonae", which
Davis had recorded with John Coltrane in 1956. "Iris", by contrast, is another Coltrane-like ballad, not too dissimilar
to "Infant Eyes" on Shorter's Speak No Evil album.
At over forty-eight minutes, E.S.P. is one of the longest jazz albums of its period. Subsequent Davis recordings
would be even longer.
Track listing
Original LP tracklist
Side 1
1. "E.S.P." (Wayne Shorter) 5:27
2. "Eighty-One" (Ron Carter, Miles Davis) 6:11
3. "Little One" (Herbie Hancock) 7:21
4. "R.J." (Ron Carter) 3:56
Side 2
1. "Agitation" (Miles Davis) 7:46
2. "Iris" (Wayne Shorter) 8:29
3. "Mood" (Ron Carter, Miles Davis) 8:50
Reissue CD (Legacy Recordings, 1999) tracklist

1. "E.S.P." (Wayne Shorter) 5:27
2. "Eighty-One" (Ron Carter, Miles Davis) 6:11
3. "Little One" (Herbie Hancock) 7:21
4. "R.J." (Ron Carter) 3:56
5. "Agitation" (Miles Davis) 7:46
6. "Iris" (Wayne Shorter) 8:29
7. "Mood" (Ron Carter, Miles Davis) 8:50
Personnel
Wayne Shorter - Tenor Saxophone
Herbie Hancock - Piano
Ron Carter - Double Bass
Tony Williams - Drums
E.S.P. 96
Production
Record producer - Irving Townsend
Cover Photography - Bob Cato
References
[2] http:/ / www. inkblotmagazine. com/ rev-archive/ Miles_Davis_ESP. htm
[3] http:/ / www. warr. org/ miles. html#ESP
Miles Smiles 97
Miles Smiles
Miles Smiles
Released January 1967
Recorded October 24October 25,

1966
Columbia 30th Street Studio
Genre Jazz, post-bop
Length 41:44
Label Columbia
CS9401
Producer Teo Macero
E.S.P. Miles Sorcerer

(1965) Smiles (1967)
(1967)
Miles Smiles is an album by jazz musician Miles Davis, released in January 1967 on Columbia Records. It was
recorded by Davis and his second quintet at Columbia 30th Street Studio in New York City on October 24 and
October 25, 1966.[1] It is the second of five albums recorded by Davis's second quintet, which featured saxophonist
Wayne Shorter, pianist Herbie Hancock bassist Ron Carter, and drummer Tony Williams.[1]
Music
On three tracks from this album ("Orbits", "Dolores", "Gingerbread Boy"), pianist Herbie Hancock takes the unusual
step of dispensing with left-hand chords and playing only right-hand lines.
Somewhat unusually for this group, the album includes two compositions not written by members of the group. Both
are treated far more freely and loosely than the original versions. In addition, an earlier and more conservative
recording of Wayne Shorter's "Footprints" appears on his album Adam's Apple. The contribution from drummer
Tony Williams on this album feels especially free, both rhythmically and improvisationally. On "Footprints", we
hear his trademark polyrhythmic approach: the piece begins with Ron Carter's repeated bass line played in 6/4 time.
Tony Williams initially plays within the 6/4 feel; however, during Miles's first solo, Tony shifts to a 4/4 jazz ride
pattern while Ron Carter continues the 6/4 bass line.
Three of the album's compositions are known to have made it to Davis's live "book". "Dolores" is known from a
single recording in the spring of 1967. "Gingerbread Boy" and "Footprints" were played much more frequently.
"Gingerbread Boy" was played as late as the summer of 1969; "Footprints" appears on unofficial live recordings
from the Fillmore West in April 1970. Early live versions of "Gingerbread Boy" (from the spring and summer of
1966) retained the melody of Heath's original version. The melody on the studio version is somewhat different
(presumably changed by Davis), and ensuing versions often retain this change.
Miles Smiles 98
Reception
Initial reaction
Miles Smiles received general acclaim from jazz critics upon its release, receiving praise for its original
compositions, the quintet's chemistry and playing, and Davis's phrasing.[3] [9] [6] [7] CODA editor John Norris praised
the quintet's "mastery of sensitive interaction" and wrote that they "must be one of the most beautifully integrated
groups ever to play jazz".[3] Norris noted that "Every man is listening intently at all times, responding sensitively to
mutual hints and directions", and stated "The empathy between Carter, Williams and Hancock, the way they
anticipate each other, push each other, support each other, and phrase together - all this without a sign of strain - is
really amazing".[3] He cited the Davis-penned "Circle" as the album's highlight and wrote that the composition
"defines the excellence of the group... a masterpiece".[3] Nat Hentoff of Stereo Review called Tony Williams and
Ron Carter "prodigious technicians and restless", while noting "Though tenor saxophonist Wayne Shorter does not
quite reach the incandescent performance level attained by his colleagues, he is inspired by them to deliver some of
his most inventive playing on records so far".[7] Hentoff cited the quintet as Davis's "most stimulating rhythm team
so far" and concluded with a discource on its potential significance, writing that:
[Miles Smiles] is certain to remain an important part of the Davis discography, both for the trumpeter's
persistent brilliance and for the lesson by Williams and Carter in how the functions and the dynamic range
of the jazz rhythm section are being explored and changed.[7]
Nat Hentoff
Martin Williams, writing for the Saturday Review, called it "an exceptional recital, Davis's best album in some time,
and clear evidence of his continuing dedication as an improvising musician", while stating that it is "directly in the
tradition of the 'experimental' Davis recordings, the tradition established by Kind of Blue in 1959an album whose
implications jazz musicians are still exploringand continued by ESP of 1965an album which seemed to me
much less successful".[6] Williams viewed each player as in their best form, particularly Williams and Carter, noting
"their superb contributions are beyond the words I could muster for so brief an account as this one".[6] Time similarly
complimented both musicians and stated "Williams expertly helps build the mood and [Carter] has a sure feel for the
note that under lines the swirl of chords".[8]
Retrospect
Upon its 1992 CD reissue, Q magazine gave the album four out of five stars and called it "essential...one of the
quintet's best albums" and cited "Footprints" and "Dolores" as "all-time great jazz compositions".[1] Musician cited
Miles Smiles as one of "the great quintet albums" and wrote that it "has lost none of its cutting edge [...] Has any
band ever grooved harder than Miles and company do on `Orbits,' `Dolores' or `Gingerbread Boy'and has Miles
ever penned a more touching ballad than `Circle'?".[1] Allmusic editor Stephen Thomas Erlewine gave the album five
out of five stars and praised the quintet's compositions as "memorable, yet open-ended and nervy, setting (and
creating) standards for modern bop that were emulated well into the new century".[2] Erlewine viewed that the
quintet "really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature
sound. [...] all their strengths are in full bloom", and elaborated on the music's accessibility, stating:
[I]t's not just the fast, manic material that has an edge slower, quieter numbers are mercurial, not just in
how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove.
This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that
it masks this adventurousness within music that is warm and accessible it just never acts that way. No
matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the
audience. They're playing for each other, pushing and prodding each other in an effort to discover new
territory. As such, this crackles with vitality, sounding fresh decades after its release.[2]
Stephen Thomas Erlewine
Miles Smiles 99
Giving it four-and-a-half out of five stars, Down Beat complimented its "simpler, drier, more austere sound" and
stated "the unrehearsed, rough Miles Smiles holds up so well simply because it was more of a jazz record [...] Davis'
exquisite waltz, `Circle,' showcases his lyrical, muted-trumpet playing".[1]
Track listing
Side one
1. "Orbits" (Wayne Shorter) - 4:37
2. "Circle" (Miles Davis) - 5:52
3. "Footprints" (Wayne Shorter) - 9:46
Side two
1. "Dolores" (Wayne Shorter) - 6:20
2. "Freedom Jazz Dance" (Eddie Harris) - 7:13
3. "Gingerbread Boy" (Jimmy Heath) - 7:43
Personnel
Musicians
Miles Davis Trumpet
Wayne Shorter Tenor saxophone
Herbie Hancock Piano
Ron Carter Double bass
Tony Williams Drums
Production
Producer - Teo Macero
Recording engineer - Frank Laico
Cover Photography - Vernon Smith
References
[1] Product Page: Miles Smiles (http:/ / www. webcitation. org/ 5tyfN523V). Muze. Retrieved on 2010-11-03.
[2] Erlewine, Stephen Thomas (November 1, 2001). Review: Miles Smiles (http:/ / www. allmusic. com/ album/ miles-smiles-r106159/ review).
Allmusic. Retrieved on 2010-11-03.
[3] Norris, John (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=ri8MAQAAIAAJ& q=)". CODA: volume 8. 1617.
[4] Cook, Richard. " Review: Miles Smiles (http:/ / www. acclaimedmusic. net/ Current/ A1967. htm)". The Penguin Guide to Jazz: 376.
September 2002.
[5] Hoard, Christian (November 1, 2004). " Review: Miles Smiles (http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA214&
dq=#v=onepage& q& f=false)". Rolling Stone: 214, 217.
[6] Williams, Martin (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=BzzoAAAAMAAJ& q=)". Saturday Review: volume
50. 187.
[7] Hentoff, Nat (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=A09UAAAAMAAJ& q=)". Stereo Review: volume 18.
6162.
[8] Columnist (April 21, 1967). Review: Miles Smiles (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,843570-2,00. html). Time.
[9] Baraka, Imamu Amiri (1967). " Review: Miles Smiles (http:/ / books. google. com/ books?id=asUJAQAAMAAJ& pg=)". Down Beat: volume
34. 61.
Sorcerer 100
Sorcerer
Sorcerer
Released 1967
Recorded May 16 - May 24, 1967 at Columbia Studios B and 30th Street Studio, New York; "Nothing Like You": August 21, 1962 at
Columbia Studio A, New York
Genre Jazz
Post-bop
Modal jazz
Length 40:17 (LP)

52:56 (reissue)
Label Columbia
Producer Teo Macero
[1]
Allmusic link
Miles Sorcerer Nefertiti

Smiles (1967) (1968)
(1967)
Sorcerer is an album recorded in May 1967 by the Miles Davis quintet. It is the third of five albums that this quintet
recorded. It also includes one track from a 1962 session with vocalist Bob Dorough, which was the first time Wayne
Shorter recorded with Davis. The album's cover is a photo of actress Cicely Tyson, who at the time was Davis's
girlfriend (and many years later his wife), in profile.
Sorcerer 101
Track listing
1. "Prince of Darkness" (W. Shorter)
2. "Pee Wee" (T. Williams)
3. "Masqualero" (W. Shorter)
4. "The Sorcerer" (H. Hancock)
5. "Limbo" (W. Shorter)
6. "Vonetta" (W. Shorter)
7. "Nothing Like You" (Bob Dorough) (1962)
CD reissue includes alternate takes of "Masqualero" and "Limbo". The alternate version of "Limbo" was actually
recorded in Los Angeles on May 9, several days before the final take went down in New York City. This take also
replaces Ron Carter with bassist Buster Williams. Both versions of "Masqualero" was recorded on the same date and
with the same personell however.
The only tune from the album known to have appeared in Davis's live performances is "Masqualero". Davis's groups
performed it as late as April 1970; the last known version appears on the live album Black Beauty.
Performers
Wayne Shorter - Tenor saxophone
Herbie Hancock - Piano
Ron Carter - Double bass
Tony Williams - drums
The lineup differs greatly on the track "Nothing Like You" since it was recorded several years prior:
Bob Dorough - vocals
Gil Evans - Arrangements
Frank Rehak - Trombone
Jimmy Cobb - drums
Willie Bobo (William Correa) - bongos
References
Nefertiti 102
Nefertiti
Nefertiti
Released 1968
Recorded June 7, June 22 and July 19,

1967
30th Street Studio
Genre Jazz
Post-bop
Modal jazz

62:34 (CD Reissue)
Label Columbia
CS-9594
Producer Teo Macero (A1, A3, B1)

Howard Roberts (A2, B2, B3)
[1]
Allmusic link
[2]
[3]
Q link
[4]
Warr.org link
Sorcerer Nefertiti Miles in the

(1967) (1968) Sky
(1968)
Nefertiti is a studio album by jazz musician Miles Davis, released in 1968 on Columbia Records.[5] Recorded on
June 7, June 22 and July 19, 1967 at Columbia's 30th Street Studio, the album was Davis' last fully acoustic album.
Davis himself did not contribute anything in the way of compositions, which are mostly written by Herbie Hancock
and Wayne Shorter.[6] The album reached #8 on the Billboard Top Jazz Albums charts in 1968.[7] Nefertiti was
Nefertiti 103
reissued, CK-65681, in 1998 by Columbia and Legacy Records.[8]
Music
The fourth album by Miles Davis' second classic quintet, Nefertiti is best known for the unusual title track, on which
the horn section repeats the melody numerous times without individual solos while the rhythm section improvises
underneath, reversing the traditional role of a rhythm section.[6] Also featured are the lilting ballad "Fall", Williams's
"Hand Jive", a more boppish composition, and the other pieces showcase the group's unique post-bop approach. Both
"Nefertiti" and "Riot" entered the Davis quintet's live set. Featuring mostly acoustic arrangements, the music of
Nefertiti, while mostly low-key mood music, is rooted in hard bop.[6] While remaining acoustic, the album signaled
Miles Davis' transition from bop and modal to jazz fusion.[6]
As a transition for Davis, the impressionistic chords of the songs hint at the conception of his next albums, Miles in
the Sky, Filles de Kilimanjaro, and the critically acclaimed In a Silent Way, his first three fusion albums.[6]
Following Nefertiti's release, Davis would begin to experiment with electric instruments, marking the beginning of
his electric period.[9]
Track listing
All songs written by Wayne Shorter, except where noted.[6]
Side one
1. "Nefertiti" 7:52
2. "Fall" 6:39
3. "Hand Jive" (Williams) 8:54
Side two
1. "Madness" (Hancock) 7:31
2. "Riot" (Hancock) 3:04
3. "Pinocchio" 5:08
CD reissue includes alternate takes of "Hand Jive" (two takes), "Madness" and "Pinocchio".
Chart history
Billboard Music Charts (North America) Nefertiti[7]
1968: Top Jazz Albums #8
Personnel
Musicians
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - double bass
Nefertiti 104
Additional personnel
Teo Macero producer
Howard Roberts producer
Fred Plaut, Ray Moore engineer
Rob Schwarz mastering
References
[3] http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088982/ a/ Nefertiti. htm
[4] http:/ / www. warr. org/ miles. html#Nefertiti
[5] "Miles Davis Quintet 1965-'68: The Complete Columbia Studio Recordings of the Miles Davis Quintet - Notes" (http:/ / www. discogs. com/
release/ 1410360). Discogs. . Retrieved 2008-07-31.
[6] "allmusic {{{Nefertiti > Overview}}}" (http:/ / www. allmusic. com/ album/ r106161). All Media Guide, LLC.. . Retrieved 2008-07-31.
[7] "allmusic {{{Nefertiti > Charts & Awards > Billboard Albums}}}" (http:/ / www. allmusic. com/ album/ r106161/ charts-awards). All Media
Guide, LLC.. . Retrieved 2008-07-31.
[8] "Discogs.com - Miles Davis - Nefertiti" (http:/ / www. discogs. com/ release/ 219046). Discogs. . Retrieved 2008-07-31.
[9] "Jazz Democracy - By Adam Shatz - Slate Magazine" (http:/ / www. slate. com/ id/ 3160/ ). Washington Post.Newsweek Interactive Co.
LLC. . Retrieved 2008-07-31.
Miles in the Sky

Miles in the Sky
Released 1968
Recorded January 16 and May 15 to 17,

1968
Columbia Studio B
Genre Fusion, Post-Bop
Length 50:51
70:48 (Re-issue)
Producer Teo Macero
[1]
Allmusic link
[2]
Down Beat link
[3]
Rolling Stone link
Nefertiti Miles in the Filles de

(1968) Sky Kilimanjaro
(1968) (1969)
Miles in the Sky is an album recorded in January and two dates in May 1968. It is the fifth and final album fully
made by the Miles Davis second great quintet, for Filles de Kilimanjaro the quintet was beginning to dissolve with
Ron Carter and Herbie Hancock being replaced on two of the five songs. Miles in the Sky is notable for the first use
of electric piano, electric bass and electric guitar on an issued recording by Davis, a foreshadowing of his move into
fusion music over the next few years.
Although the album was released shortly after recording the last two songs, the tracks come from different sessions
which show different stages of Miles Davis's evolution from acoustic jazz to electric "fusion" music. "Paraphernalia"
(recorded January 16, 1968) features George Benson's electric guitar, although it is more conservative in style than
the earlier "Circle in the Round" (which however was not released until the late seventies). "Black Comedy" and
"Country Son" (May 15 and May 16, 1968 respectively) are Davis's last return to the acoustic quintet format in the
studio. "Stuff" (recorded May 17, 1968), with its electric bass, Fender Rhodes piano and binary rhythm, is in yet
another idiom, that of the forthcoming Filles de Kilimanjaro. "Paraphernalia" was the only composition from this
album to enter Davis's live book.
Track listing
Side one
1. "Stuff" Miles Davis 16:58
2. "Paraphernalia" Wayne Shorter 12:36
Side two
1. "Black Comedy" Tony Williams 7:25
2. "Country Son" Davis 13:49
1998 reissue bonus tracks
1. "Black Comedy (alternate take)" Williams 6:26
2. "Country Son (alternate take)" Davis 14:38
Personnel
Miles Davis trumpet
Wayne Shorter tenor saxophone
Herbie Hancock piano, electric piano on "Stuff"
George Benson electric guitar on "Paraphernalia"
Ron Carter bass, electric bass on "Stuff"
Tony Williams drums
References
[2] http:/ / www. webcitation. org/ 5uOjhs6Er
[3] http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA215#v=onepage& q& f=false
Water Babies 107
Water Babies
Water Babies
Released November 2, 1976
Recorded June 7, 13, 23, 1967 at Columbia 30th Street Studio, New
York;
November 1112, 1968 at Columbia Studio B, New York
Genre Fusion, Post-Bop
Length 53:05 (original)

63:10 (2002 reissue)
Producer Teo Macero
[1]
Allmusic link
Get Up with Water Circle in the

It Babies Round
(1974) (1976) (1979)
Water Babies is a studio album by Miles Davis. Released during Miles Davis's retirement in the second half of the
seventies, it is a collection of stylistically diverse "leftovers" spanning eighteen months, from the Nefertiti sessions
with the Miles Davis Quintet (1967) to the experimental, transitional period between Filles de Kilimanjaro and In a
Silent Way (late 1968).
Due to these recordings being released years after they were recorded, the three Wayne Shorter compositions
recorded during the 1967 session would make their first appearance in 1969 on Shorter's album Super Nova in a
much more free jazz, avant-garde style.
Side A features the second great quintet of Davis, Shorter, Hancock, Williams and Carter. On side B, Ron Carter is
replaced by Dave Holland and Chick Corea doubles with Hancock on electric piano; this line-up is very similar to
that who recorded In A Silent Way (in fact tracks 4 to 6 was recorded during those sessions).
Water Babies 108
Track listing on 1976 original LP version
Side one
1. "Water Babies" (Wayne Shorter) 5:06
2. "Capricorn" (Wayne Shorter) 8:26
3. "Sweet Pea" (Wayne Shorter) 7:59
Side two
1. "Two Faced" (Wayne Shorter) 18:00
2. "Dual Mr. Tillmon Anthony" (Miles Davis, Tony Williams) 13:20
Track listing on 2002 CD resissue

1. "Water Babies" (Wayne Shorter) 5:06
2. "Capricorn" (Wayne Shorter) 8:26
3. "Sweet Pea" (Wayne Shorter) 7:59
4. "Two Faced" (Wayne Shorter) 18:00
5. "Dual Mr. Anthony Tillmon Williams Process" (Miles Davis, Tony Williams) 13:20
6. "Splash" (Miles Davis) 10:05
Performers On Tracks 1-3

Miles Davis trumpet
Wayne Shorter tenor saxophone, soprano saxophone
Herbie Hancock piano
Ron Carter bass
Tony Williams drums
Performers On Tracks 4-6

Miles Davis trumpet
Wayne Shorter tenor saxophone, soprano saxophone
Chick Corea & Herbie Hancock electric piano
Dave Holland bass
Tony Williams drums
References
Filles de Kilimanjaro
Released 1968
Recorded June 19-21 & September 24, 1968 at Columbia 30th Street Studio, New York
Genre Jazz, fusion, post-bop
Length 56:30
Producer Teo Macero
Miles in the Filles de In a Silent

Sky Kilimanjaro Way
(1968) (1969) (1969)
Filles de Kilimanjaro (French for "Girls/Daughters of Kilimanjaro") is a studio album by American jazz recording
artist Miles Davis. It was recorded in June and September 1968. The album was first released in the United Kingdom
by Columbia Records in 1968,[1] and subsequently in the United States in 1969.
The album is a transitional work for Davis, who shifted stylistically from acoustic recordings with his second "great"
quintet to his subsequent "electric" period. Filles de Kilimanjaro was well-received by contemporary music critics,
who viewed it as a significant release in modern jazz.
Background
The June sessions featured Wayne Shorter on saxophone, Herbie Hancock on the electric Rhodes piano, Ron Carter
on electric bass, and Tony Williams on drums. The September sessions replaced Hancock with Chick Corea, and
Carter with Dave Holland. During the September sessions, Holland played acoustic bass and Corea played an RMI
Electra-piano in addition to acoustic piano.[2] :52 These are Holland and Corea's first known recordings with Davis.
The album was produced by Teo Macero and engineered by Frank Laico and Arthur Kendy.
The album title refers in part to Kilimanjaro African Coffee, a company in which Davis had made a financial
investment.[3] :272 Davis decided to list all the song titles in French to give the album an exotic touch.[3] :272
Davis married Betty O. Mabry Davis in September 1968, and named "Mademoiselle Mabry (Miss Mabry)" for
her.[2] :52 The song itself was recorded during the same month as Davis' wedding.[2] :52 Betty Davis appears on the
album cover.[3] :269
Music
The album can be seen as a transitional work between Davis's mainly acoustic recordings with the Second Quintet
and his later electric period (for example, Bitches Brew). It is suffused in the heady abstraction of the 1960s, but
attentive to blues tonalities, electronic textures, and dancing rhythms of later jazz fusion.[4] Davis apparently saw it
as a transitional work for him, as the album was the first in what would become a series of his releases to bear the
subtitle "Directions in music by Miles Davis." However, author Paul Tingen points out that while Carter and
Hancock played electric instruments at the first recording session, the later session was a bit of a throwback, in
which Holland played only acoustic bass and Corea played both acoustic and electric piano.[2] :52 Stanley Crouch, a
staunch critic of Davis' use of electric instruments, has described the album as "the trumpeter's last important jazz
record."[2] :40,46 Noted linguist and Miles Davis-biographer Jack Chambers later wrote that the band sought to
expand beyond their usual minimal structure and find a common mood, wanting listeners to "discover the unity of
the pieces instead of just locating it, as viewers must discover the unity in a painting with several simultaneous
perspectives".[5]
The melodic complexity of "Petits Machins (Little Stuff)" highlights Davis's interest in departing from post-bop
structure towards the sounds and textures of his subsequent fusion work.[] Music writer Marcus Singletary
commented on its complexity, "True to the general concept of Filles de Kilimanjaro, a mosaic of controlled chaos
becomes the defining sound of 'Little Stuff'".[6] On the recording, the quintet expresses an 11/4 meter with a
repeating riff and chromatically ascending dominant harmonies in the recording first section.[] Section two moves to
a contrasting 10-bar section in 4/4 meter, with the opening six bars relying on an F pedal point in the bass, above
which occur shifting harmonies each measure.[] The static F pedal section yields to a syncopated progression with
meters seven to eight and a change of bass in meters nine to 10, as the quintet makes an alteration to section two
during the improvisations. Music theorist Keith Waters cites this as an example of "Davis'sby nowwell-worn
practice of metric deletion", in which throughout the trumpet solo, the quintet maintains a repeated nine-bar cycle,
rather than the 10 bars of section two heard during the first section.[] The quintet omits meter 10 of section two
during the solos and maintains the harmonic progression of meters one through nine. As in the first section, the
syncopated progression occurs in meter seven, but Carter does not participate in playing the syncopation of meters
seven to eight during the improvisations, while Hancock interprets this progression more freely.[] Singletary said of
its musical significance:
[T]he fact that these musicians mostly follow each other instinctively into such undefined territory is jolting.
Absent of any form of actual standardization, these rare glimpses into the thought processes of geniuses
validates their singular language as impossible to replicate in any way that would do this original recording
justice. Though relatively brief, this track is the highlight of the album, and its significance to jazz remains
tantamount. Through it, an apex of creativity in Miles's career was reached, and the track also shows why each
musician here is considered an A-list innovator.[6]
Marcus Singletary
As with the album's title track, the quintet does not return to the first section and the recording concludes with a
second Davis improvisation.[] Gil Evans, with whom Davis had previously collaborated, helped compose, arrange,
and produce the album, though he is not mentioned in the credits.[3] :273 Evans co-composed "Petits Machins", which
he later recorded as "Eleven" with himself and Davis listed as co-composers.[3] :273 The song "Mademoiselle Mabry
(Miss Mabry)," while credited to Davis, is actually Gil Evans' reworking of "The Wind Cries Mary" by Jimi Hendrix
(Davis and Evans had met with Hendrix several times to exchange ideas).[3] :271 At the same time, some portions of
the song resemble Lieber and Stoller's "On Broadway".[2] :52
Reception
Rolling Stone gave the album a positive review upon its release, stating "No amount of track-by-track description
here can begin to convey the beauty and intensity. There are five songs, but really they fit together as five
expressions of the same basic piece, one sustained work".[4] In a retrospective review of the album, Uncut gave the
album five out of five stars and called it "a masterpiece of tropical exoticism".[4] Sputnikmusic staff writer Tyler
Fisher commented that the rhythm section-players "sound entirely innovative and fresh" and "The whole band, in
both quintets, has an extreme awareness about each other and knows exactly where each soloist is going".[12] Fisher
viewed that the album has "a more avant-garde feel" due to a "lack of form and the constant outlook of many
measures ahead", while calling it "a full out enjoyable listen, showcasing enough variety and virtuosity to not make
the 70-minute album a tiring listen".[12] Allmusic editor Stephen Thomas Erlewine called its music "unpretentiously
adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful
flourishes from the band [...] Where Miles in the Sky meandered a bit, this is considerably more focused", dubbing it
as "the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with".[7]
Erlewine also cited the album as "the beginning of a new phase for Miles, the place that he begins to dive headfirst
into jazz-rock fusion", and commented on its significance in Davis's catalogue, stating:
[W]hat makes this album so fascinating is that it's possible to hear the breaking point though his quintet all
followed him into fusion (three of his supporting players were on In a Silent Way), it's possible to hear them all
break with the conventional notions of what constituted even adventurous jazz, turning into something new
[...] [C]ertainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and
despite the rock-blues-n-funk touches here, the music doesn't fly and search the way that Nefertiti did. But
that's not a bad thing this middle ground between the adventurous bop of the mid-'60s and the fusion of the
late '60s is rewarding in its own right, since it's possible to hear great musicians find the foundation of a new
form.[7]
Stephen Thomas Erlewine
Down Beat critic John Ephland called it "the stylistic precursor to the ever-popular In a Silent Way of 1969", writing
that "Filles is performed (and edited) like a suite, with a sense of flow unlike anything Davis had recorded up to that
point. That flow is enhanced by a music played all in one key (F), with only five 'tunes,' and with a mood and
rhythms that change gradually from start to finish".[5] Ephland concluded in his review, "In passing, Filles de
Kilimanjaro is a turning-point album unlike any other for Davis: For the first time, his bebop roots were essentially
severed, rockier rhythms, electricity and ostinato-driven bass lines now holding sway".[5] Jim Santella of All About
Jazz wrote that the album's music "flows with a lyricism that remains highly regarded in todays format", concluding
in his review that "Filles De Kilimanjaro remains one of the classic albums from their collaboration, and represents a
high point in modern jazz".[8]
Track listing
All songs were credited to Miles Davis.
Side one
1. "Frelon Brun (Brown Hornet)" 5:39
2. "Tout de Suite (Right Away)" 14:07
3. "Petits Machins (Little Stuff)" 8:07
Side two
1. "Filles de Kilimanjaro (Girls of Kilimanjaro)" 12:03
2. "Mademoiselle Mabry (Miss Mabry)" 16:32
The first and last tracks were recorded in September 1968, the others in June. The CD reissue includes a sixth
track, an alternate take of "Tout de Suite".
Personnel
Musicians
Herbie Hancock - Fender Rhodes electric piano on tracks 1,2,4 & 6
Chick Corea - RMI Electra-piano on tracks 3 & 5
Ron Carter - Electric bass on tracks 1,2,4 & 6
Dave Holland - Double bass on tracks 3 & 5
Tony Williams - Drums
Production
Teo Macero - Production (original recording)
Frank Laico, Arthur Kendy - Engineering
Hiro - Cover art
Notes
[1] (1968) Album notes for Filles de Kilimanjaro by Miles Davis [Vinyl LP]. United Kingdom: CBS.
[2] Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991 (first printing ed.). New York: Billboard Books.
ISBN0-8230-8346-2.
[3] Szwed, John (2002). So What: The Life of Miles Davis (first ed. ed.). New York: Simon & Schuster. ISBN0-684-85982-3.
[4] Miles Davis - Filles De Kilimanjaro CD Album (http:/ / www. webcitation. org/ 5uAu8uxdL). Muze. Retrieved on 2011-04-03.
[5] Ephland (2007), p. 315.
[6] Singletary, Marcus (November 9, 2008). Miles Davis: Petits Machins (Little Stuff) Jazz.com | Jazz Music Jazz Artists Jazz News (http:/
/ www. jazz. com/ music/ 2008/ 11/ 9/ miles-davis-petits-machins-little-stuff). Jazz.com. Retrieved on 2011-04-03.
[7] Erlewine, Stephen Thomas (November 1, 2001). Filles de Kilimanjaro - Miles Davis | AllMusic: Review (http:/ / www. allmusic. com/
album/ filles-de-kilimanjaro-r588820/ review). Allmusic. Retrieved on 2011-04-03.
[8] Santella, Jim (August 1, 2002). Miles Davis | Filles De Kilimanjaro (http:/ / www. allaboutjazz. com/ php/ article. php?id=10269). All About
Jazz. Retrieved on 2011-04-03.
[9] Ephland (2007), p. 306.
[10] Cook, Richard; Brian Morton (2008) [1992]. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (9th ed.). New York:
Penguin. p.346. ISBN978-0-141-03401-0.
[11] Hoard, Christian (November 2, 2004). " Miles Davis: Album Guide | Rolling Stone Music (http:/ / books. google. com/
books?id=t9eocwUfoSoC& pg=PA215#v=onepage& q& f=false)". Rolling Stone: 214220. Retrieved on 2011-04-03.
[12] Fisher, Tyler (August 20, 2006). Miles Davis - Filles de Kilimanjaro (staff review) | Sputnikmusic (http:/ / www. sputnikmusic. com/
review/ 8803/ Miles-Davis-Filles-de-Kilimanjaro/ ). Sputnikmusic. Retrieved on 2011-04-03.
References
Alkyer, Frank; John Ephland, Howard Mandel (2007). The Miles Davis Reader. Hal Leonard Corporation.
ISBN9781423430766.
Waters, Keith (2011). The Studio Recordings of the Miles Davis Quintet, 1965-68. Oxford University Press.
ISBN9780195393835.
External links
Filles de Kilimanjaro (http://www.discogs.com/Miles-Davis-Filles-De-Kilimanjaro/master/62368) at Discogs
In a Silent Way 114
In a Silent Way
In a Silent Way
Recorded February 18, 1969

CBS 30th Street Studio B
Genre Jazz, fusion, electronic, avant-garde jazz
Length 38:10
Label Columbia
CS 9875
Producer Teo Macero
Filles de In a Silent Bitches

Kilimanjaro Way Brew
(1969) (1969) (1970)
In a Silent Way is a studio album by American jazz musician Miles Davis, released July 30, 1969 on Columbia
Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969 at CBS 30th
Street Studio B in New York City. Incorporating elements of classical sonata form, Macero edited and arranged
Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent
Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre
in his previous records and live performances.
Upon its release, the album was met by controversy among music critics, particularly those of jazz and rock music,
who were divided in their reaction to its experimental musical structure and Davis's electronic approach. Since its
initial reception, it has been regarded by fans and critics as one of Davis's greatest and most influential works. In
2001, Columbia Legacy and Sony Music released the three-disc box set The Complete In a Silent Way Sessions,
which includes the original album, additional tracks, and the unedited recordings used to produce In a Silent Way.[1]
In a Silent Way 115
Background
Although Davis's live performances and previous records such as Miles in the Sky (1968) and Filles de Kilimanjaro
(1969) had indicated his stylistic shift to fusion, In a Silent Way featured a full-blown electric approach by Davis.[2]
[3]
It has been regarded by music writers as the first of Davis's fusion recordings, while marking the beginning of his
"electric" period.[4] [3] [5] It is also the first recording by Davis that was largely constructed by the editing and
arrangement of producer Teo Macero.[4] Macero's editing techniques have incorporated elements of classical sonata
form in Davis' recordings for In a Silent Way.[6] Both of the extended tracks on the album consist of three distinct
parts that could be thought of as an exposition, development and recapitulation. The last six minutes of the first track
are actually the first six minutes of the same track repeated in exactly the same form. With this "trick" the track takes
on a more understandable structure.
The album featured virtuoso guitarist and newcomer John McLaughlin, who had one month prior to the February
18th In a Silent Way session recorded his classic debut album Extrapolation. At the request of Tony Williams,
McLaughlin moved in early February from England to the US to play with The Tony Williams Lifetime. Williams
brought McLaughlin to Davis' house the night before the scheduled session for In a Silent Way. Davis had not heard
the guitarist before, but was so impressed that he told him to show up at the studio the next day. McLaughlin would
go on to great fame in the 1970s as leader of the Mahavishnu Orchestra.
According to producer Bob Belden, organist Larry Young, whom Williams had also recently hired for his Lifetime
trio, was also intended to play on In a Silent Way. However, out of fear that he would lose his entire band to Davis,
Williams sent Young home as soon as he arrived. Instead Joe Zawinul, who had come to the session only as the
composer of the song "In a Silent Way," ended up playing organ on the album.
Reception
Initial reaction
Peaking at number 134 on the U.S. Billboard Top LPs chart, In a Silent Way became Davis's first album in four
years, since My Funny Valentine (1965), to reach the chart.[14] While it performed better commercially than most of
Davis's previous work,[15] the album's critics were divided in their reaction upon its release. Its incorporation of
electronic instrumentation and experimental structure have been sources of extreme controversy among jazz
critics.[16] According to the 2004 edition of The New Rolling Stone Album Guide, Davis's recording process and
producer Teo Macero's studio editing of individual recordings into separate tracks for the album "seemed near
heretical by jazz standards".[2] In his book Running the Voodoo Down: The Electric Music of Miles Davis, Phil
Freedom writes that rock and jazz critics at the time of the album's release were biased in their respective genres,
writing "Rock critics thought In a Silent Way sounded like rock, or at least thought Miles was nodding in their
direction, and practically wet themselves with joy. Jazz critics, especially ones who didn't listen to much rock,
thought it sounded like rock too, and they reacted less favorably".[15] Freeman continues by expressing that both
reactions were "rooted, at least partly, in the critic's paranoia about his place in the world", writing that rock criticism
was in its early stage of existence and such critics found "reassurance" in viewing the album as having psychedelic
rock elements, while jazz critics felt "betrayed" amid the genre's decreasing popularity at the time.[15] However,
Freeman wrote that In a Silent Way was distinct from both jazz and rock styles at the time, stating:
It didn't swing, the solos weren't even a little bit heroic, and it had electric guitars... But though In a Silent
Way wasn't exactly jazz, it certainly wasn't rock. It was the sound of Miles Davis and Teo Macero feeling their
way down an unlit hall at three in the morning. It was the soundtrack to all the whispered conversations every
creative artist has, all the time, with that doubting, taunting voice that lives in the back of your head, the one
asking all the unanswerable questions.[15]
Phil Freeman
In a Silent Way 116
In a rave review of the album upon its release, Rolling Stone writer Lester Bangs described In a Silent Way as "the
kind of album that gives you faith in the future of music. It is not rock and roll, but it's nothing stereotyped as jazz
either. All at once, it owes almost as much to the techniques developed by rock improvisors in the last four years as
to Davis' jazz background. It is part of a transcendental new music which flushes categories away and, while using
musical devices from all styles and cultures, is defined mainly by its deep emotion and unaffected originality".[11]
Davis' next fusion album, Bitches Brew, showed him moving even further into the area that lay between the genres of
rock and jazz. The dark, fractured dissonance of Bitches Brew ultimately proved to be instrumental in its success; it
far outsold In a Silent Way.[15]
Retrospect
Since its initial reception, In a Silent Way has been regarded by fans and critics as one of Davis's best works.[12] In a
retrospective review, Blender writer K. Leander Williams called it "a proto-ambient masterpiece".[17] Citing it as
"one of Daviss greatest achievements", Chip O'Brien of PopMatters viewed that producer Teo Macero's studio
editing on the album helped Davis "embrace the marriage of music and technology".[4] In regards to its musical
significance, O'Brien wrote that In a Silent Way "transcends labels",[4] writing "It is neither jazz nor rock. It isnt
what will eventually become known as fusion, either. It is something altogether different, something universal. There
is a beautiful resignation in the sounds of this album, as if Davis is willingly letting go of what has come before, of
his early years with Charlie Parker, with John Coltrane and Cannonball Adderley, of his early 60s work, and is
embracing the future, not only of jazz, but of music itself".[4] Stylus Magazine writer Nick Southall called the album
"timeless" and wrote of its influence on music, stating "The fresh modes of constructing music that it presented
revolutionised the jazz community, and the shifting, ethereal beauty of the actual music contained within has
remained beautiful and wonderful, its echoes heard through the last 30 years, touching dance music, electronica,
rock, pop, all music".[3] The Penguin Guide to Jazz has included In a Silent Way in its suggested "Core
Collection".[18]
Track listing
Side one
1. "Shhh/Peaceful" (Miles Davis) 18:16
1. "Shhh" 6:14
2. "Peaceful" 5:42
3. "Shhh" 6:20
Side two
1. "In a Silent Way/It's About That Time" (Joe Zawinul, Miles Davis) 19:52
1. "In a Silent Way" (Joe Zawinul) 4:11
2. "It's About That Time" (Joe Zawinul & Miles Davis) 11:27
3. "In a Silent Way" (Joe Zawinul) 4:14
Chart history
In a Silent Way 117
Chart (1969) Peak

[19]
position
U.S. Billboard Top LPs 134
U.S. Billboard Best-Selling Jazz LPs 3
U.S. Billboard Best-Selling Soul LPs 40
Personnel
Musicians
Miles Davis trumpet
Production
Wayne Shorter soprano saxophone Producer Teo Macero
John McLaughlin electric guitar Engineer (remix and editing) Russ Payne
Chick Corea electric piano Original recording Engineer Stan Tonkel
Herbie Hancock electric piano Cover Photography Lee Friedlander
Joe Zawinul organ [20]
Back Cover Photography John G. Walter
Dave Holland double bass Back Cover Notes Frank Glenn
Tony Williams drums
Notes
[1] Kenyon, John. Review: The Complete in a Silent Way Sessions (http:/ / www. popmatters. com/ pm/ review/ davismiles-silentway/ ).
PopMatters. Retrieved on 2010-04-01.
[2] Hoard, Christian. " Review: In a Silent Way (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA215#v=onepage& q=&
f=false)". Rolling Stone: 215218. November 2, 2004.
[3] Southall, Nick. Review: In a Silent Way (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-in-a-silent-way. htm).
Stylus Magazine. Retrieved on 2010-04-01.
[4] O'Brien, Chip. Review: In a Silent Way (http:/ / www. popmatters. com/ pm/ review/ davismiles-water). PopMatters. Retrieved on
2010-04-01.
[5] Tate, Greg. " Voodoo Ray Gun (http:/ / books. google. com/ books?id=Xi0EAAAAMBAJ& pg=PA90& dq=)". Vibe: 90. September 1997.
[6] Tingen, Paul, in Miles Beyond (http:/ / www. miles-beyond. com)
[7] Jurek, Thom. Review: In a Silent Way (http:/ / www. allmusic. com/ album/ r106165). Allmusic. Retrieved on 2010-04-01.
[8] MacLaren, Trevor. Review: In a Silent Way (http:/ / www. allaboutjazz. com/ php/ article. php?id=15060). All About Jazz. Retrieved on
2010-04-01.
[9] Cook, Richard. " Review: In a Silent Way (http:/ / www. acclaimedmusic. net/ Current/ A1989. htm)". The Penguin Guide to Jazz: 2000.
[10] Leone, Dominique. Review: In a Silent Way (http:/ / pitchfork. com/ reviews/ albums/ 2199-the-complete-in-a-silent-way-sessions/ ).
Pitchfork Media. Retrieved on 2010-09-19.
[11] Bangs, Lester. Review: In a Silent Way (http:/ / www. webcitation. org/ 5rB2dZu7D). Rolling Stone. Retrieved on 2010-04-01.
[12] Hartwig, Andrew. Review: In a Silent Way (http:/ / www. sputnikmusic. com/ album. php?albumid=3237). Sputnikmusic. Retrieved on
2010-04-01.
[13] Larkin, Colin. " Review: In a Silent Way (http:/ / www. acclaimedmusic. net/ Current/ A1989. htm)". Virgin Encyclopedia of Popular Music:
March 1, 2002.
[14] Ruhlmann, William. Biography: Miles Davis (http:/ / www. allmusic. com/ artist/ p6377/ biography). Allmusic. Retrieved on 2010-04-01.
[15] Freeman, Phil. " Running the voodoo down: the electric music of Miles Davis (http:/ / books. google. com/ books?id=0xT1CYPMf4cC&
pg=PA26& dq=)". Hal Leonard Corporation: 2627. 2005.
[16] Taruskin, Richard. " Music in the Late Twentieth Century: Fusion (http:/ / books. google. com/ books?id=CafvvoPxvzcC& pg=PA335)".
Oxford University Press: 335. vol. 5. 2009.
[17] Williams, K. Leander. Review: Filles de Kilimanjaro/In a Silent Way/Water Babies (http:/ / www. blender. com/ guide/ reissue/ 51192/
filles-de-kilimanjaroin-silent-waywater-babies. html). Blender. Retrieved on 2010-04-01.
[18] Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis" (in English). The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz
(8th ed. ed.). New York: Penguin. pp.326327. ISBN0-14-102327-9.
[19] Billboard Albums: In a Silent Way (http:/ / www. allmusic. com/ album/ r106165/ charts-awards). Allmusic. Retrieved on 2010-04-01.
[20] Smith, Cliff (September 11, 1969). "Rochester After Dark". Rochester Times-Union (Rochester, NY: Gannett Company, Inc.): p.1D.
In a Silent Way 118
References
Carr, Ian. Miles Davis: The Definitive Biography. Thunder's Mouth Press, New York, 1998.
Tingen, Paul. Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991. Billboard Books, New York,
2001. Miles Beyond (http://www.miles-beyond.com)
Article about the making of In A Silent Way and Bitches Brew (http://www.miles-beyond.com/
iaswbitchesbrew.htm)
External links
Official website (http://http://www.milesdavis.com/us/music/silent-way)
In a Silent Way (http://www.discogs.com/Miles-Davis-In-A-Silent-Way/master/8408) at Discogs
Electric Miles: A Look at the In a Silent Way and On the Corner Sessions (http://books.google.com/
books?id=lKsu7XejoPkC&pg=PA91) By Victor Svorinich
Bitches Brew 119
Bitches Brew
Bitches Brew
Released April 1970
Recorded August 1921, 1969

January 28, 1970 (Bonus
track)
30th Street Studio
Genre Jazz, fusion, avant-garde jazz

106:01 (CD reissue)
GP-26
Producer Teo Macero
In a Silent Bitches A Tribute to Jack

Way Brew Johnson
(1969) (1970) (1971)
Bitches Brew is a studio double album by jazz musician Miles Davis, released in April 1970 on Columbia Records.
The album continued his experimentation with electric instruments previously featured on his critically acclaimed In
a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected
traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.
Bitches Brew was Davis's first gold record,[1] selling more than half a million copies.[2] Upon release, it received a
mixed response, due to the album's unconventional style and revolutionary sound. Later, Bitches Brew gained
recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on
rock and funk musicians.[3] In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc
box set that included the original album as well as the studio sessions through February 1970.
Bitches Brew 120
Recording sessions
Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August 1969. Davis
called the musicians to the recording studio on very short notice. A few pieces on Bitches Brew were rehearsed
before the recording sessions, but at other times the musicians had little or no idea what they were to record. Once in
the recording studio, the players were typically given only a few instructions: a tempo count, a few chords or a hint
of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay
close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. On
the quieter moments of "Bitches Brew", for example, Davis's voice is audible, giving instructions to the musicians:
snapping his fingers to indicate tempo, or, in his distinctive whisper, saying, "Keep it tight" or telling individuals
when to solo.
Davis composed most of the music on the album. The two important exceptions were the complex "Pharaoh's
Dance" (composed by Joe Zawinul) and the ballad "Sanctuary" (composed by Wayne Shorter). The latter had been
recorded as a fairly straightforward ballad early in 1968, but was given a radically different interpretation on Bitches
Brew. It begins with Davis and Chick Corea improvising on the standard "I Fall in Love too Easily" before Davis
plays the "Sanctuary" theme. Then, not unlike Davis's recording of Shorter's "Nefertiti" two years earlier, the horns
repeat the melody over and over while the rhythm section builds up the intensity. The issued "Sanctuary" is actually
two consecutive takes of the piece.
Despite his reputation as a "cool",
melodic improviser, much of Davis's
playing on this album is aggressive and
explosive, often playing fast runs and
venturing into the upper register of the
trumpet. His closing solo on "Miles
Runs the Voodoo Down" is
particularly noteworthy in this regard.
Davis did not perform on the short
piece "John McLaughlin".
Mati Klarwein created this artwork for Bitches Brew's gatefold cover.
Post-production
There was significant editing done to the recorded music. Short sections were spliced together to create longer
pieces, and various effects were applied to the recordings. Enrico Merlin reports:
Bitches Brew also pioneered the application of the studio as a musical instrument, featuring stacks of
edits and studio effects that were an integral part of the music. Miles and his producer, Teo Macero,
used the recording studio in radical new ways, especially in the title track and the opening track,
"Pharaoh's Dance". There were many special effects, like tape loops, tape delays, reverb chambers and
echo effects. Through intensive tape editing, Macero concocted many totally new musical structures that
were later imitated by the band in live concerts. Macero, who has a classical education and was most
likely inspired by the 1930s and 1940s musique concrte experiments, used tape editing as a form of
arranging and composition.
"Pharaoh's Dance" contains 19 edits its famous stop-start opening is entirely constructed in the studio,
using repeat loops of certain sections. Later on in the track there are several micro-edits: for example, a
one-second-long fragment that first appears at 8:39 is repeated five times between 8:54 and 8:59. The
title track contains 15 edits, again with several short tape loops of, in this case, five seconds (at 3:01,
3:07 and 3:12). Therefore, Bitches Brew not only became a controversial classic of musical innovation,
it also became renowned for its pioneering use of studio technology.[4]
Bitches Brew 121
Innovations
Though Bitches Brew was in many ways revolutionary, perhaps its most important innovation was rhythmic. The
rhythm section for this recording consists of two bassists (one playing bass guitar, the other double bass), two to
three drummers, two to three electric piano players, and a percussionist, all playing at the same time.[5] As Paul
Tanner, Maurice Gerow, and David Megill explain, "like rock groups, Davis gives the rhythm section a central role
in the ensemble's activities. His use of such a large rhythm section offers the soloists wide but active expanses for
their solos."[5]
Tanner, Gerow and Megill further explain that
"the harmonies used in this recording move very slowly and function modally rather than in a more tonal
fashion typical of mainstream jazz.... The static harmonies and rhythm section's collective
embellishment create a very open arena for improvisation. The musical result flows from basic rock
patterns to hard bop textures, and at times, even passages that are more characteristic of free jazz."[5]
The solo voices heard most prominently on this album are the trumpet and the soprano saxophone, respectively of
Miles and Wayne Shorter. Notable also is Bennie Maupin's ghostly bass clarinet, which was perhaps the first use of
the instrument in jazz not heavily indebted to pioneer Eric Dolphy.
The technology of recording, analog tape, disc mastering and inherent recording time constraints (i.e., bandwidth)
had, by the late sixties, expanded beyond previous limitations and sonic range for the stereo, vinyl album: Bitches
Brew reflects this. In it are found long-form performances which encompass entire improvised suites with rubato
sections, tempo changes or the long, slow crescendo more common to a symphonic orchestral piece or Indian raga
form than the three-minute rock song. Starting in 1969, Davis' concerts included some of the material that would
become Bitches Brew.[6]
Reception
Bitches Brew was a turning point in modern jazz. Davis had already spearheaded two major jazz movements cool
and modal jazz and was about to initiate another major change (like Davis' album Filles de Kilimanjaro, the
album's cover also sports the phrase "Directions In Music By Miles Davis" above the title.) Some critics at the time
characterized this music as simply obscure and "outside", which recalls Duke Ellington's description of Davis as "the
Picasso of jazz." Some jazz fans and musicians felt the album was crossing the limits, or was not jazz at all. One
critic writes that "Davis drew a line in the sand that some jazz fans have never crossed, or even forgiven Davis for
drawing."[9] Bob Rusch recalls, "this to me was not great Black music, but I cynically saw it as part and parcel of the
commercial crap that was beginning to choke and bastardize the catalogs of such dependable companies as Blue
Note and Prestige.... I hear it 'better' today because there is now so much music that is worse."[10]
On the other hand, many fans, critics, and musicians see the records as an important, vital release. In a 1997
interview, drummer Bobby Previte sums up his feelings about Bitches Brew: "Well, it was groundbreaking, for one.
How much groundbreaking music do you hear now? It was music that you had that feeling you never heard quite
before. It came from another place. How much music do you hear now like that?"[11] The Penguin Guide to Jazz
gave Bitches Brew a four-star rating (out of four stars), describing the recording as "one of the most remarkable
creative statements of the last half-century, in any artistic form. It is also profoundly flawed, a gigantic torso of
burstingly noisy music that absolutely refuses to resolve itself under any recognized guise."[7] In 2003, the album
was ranked number 94 on Rolling Stone magazine's list of the 500 greatest albums of all time.[12] Along with this
accolade, the album has been ranked at or near the top of several other magazines' "best albums" lists in disparate
genres.[8]
Bitches Brew 122
Track listing
All pieces were written by Miles Davis, except where noted.
Side one
1. "Pharaoh's Dance" (Joe Zawinul) 20:00
Side two
"Bitches Brew" 26:59
Side three
"Spanish Key" 17:29

2. "John McLaughlin" 4:26
Side four
"Miles Runs the Voodoo Down" 14:04

2. "Sanctuary" (Shorter) 10:52
Reissue bonus track
1999 CD release featured a bonus cut recorded in early 1970.
"Feio" (Shorter) 11:51
Personnel
Musicians
"Bitches Brew" "Spanish Key"

"John McLaughlin" "Pharaoh's Dance" (Joe Zawinul)
"Sanctuary" (Shorter) Recorded Columbia Studio B, New York City August 21, 1969
Recorded Columbia Studio B, New York City August 19, 1969 Miles Davis - trumpet
Miles Davis - trumpet Wayne Shorter - soprano saxophone
Wayne Shorter - soprano saxophone Bennie Maupin - bass clarinet
Bennie Maupin - bass clarinet Joe Zawinul - electric piano - Left
Joe Zawinul - electric piano - Left Larry Young - electric piano - Center
Chick Corea - electric piano - Right Chick Corea - electric piano - Right
John McLaughlin - electric guitar John McLaughlin - electric guitar
Dave Holland - bass Dave Holland - bass
Harvey Brooks - electric bass Harvey Brooks - electric bass
Lenny White - drum set - Left Lenny White - drum set - Left
Jack DeJohnette - drum set - Right Jack DeJohnette - drum set - Right
Don Alias - congas Don Alias - Congas
Juma Santos (credited as "Jim Riley") - shaker, congas Juma Santos (credited as "Jim Riley") - Shaker
On "John McLaughlin" omit Brooks, Shorter and Davis "Feio" (Shorter)

On "Sanctuary" omit Maupin, Brooks and White Recorded Columbia Studio B, New York City January 28, 1970
"Miles Runs the Voodoo Down"
Recorded Columbia Studio B, New York City August 20, 1969
Bitches Brew 123
Miles Davis - trumpet Miles Davis - trumpet

Wayne Shorter - soprano saxophone Wayne Shorter - soprano saxophone
Bennie Maupin - bass clarinet Bennie Maupin - bass clarinet
Joe Zawinul - electric piano - Left Joe Zawinul - electric piano - Left
Chick Corea - electric piano - Right Chick Corea - electric piano - Right
John McLaughlin - electric guitar John McLaughlin - electric guitar
Dave Holland - electric bass Dave Holland - electric bass
Harvey Brooks - electric bass Billy Cobham - drum set - Left
Don Alias - drum set - Left Jack DeJohnette - drum set - Right
Jack DeJohnette - drum set - Right Airto Moreira - percussion and cuica
Juma Santos (credited as "Jim Riley") - congas
Production
Teo Macero producer
Frank Laico engineer (August 19, 1969 session)
Stan Tonkel engineer (All other sessions)
Mark Wilder mastering
Mati Klarwein cover painting
Bob Belden, Michael Cuscuna reissue producer
References
[1] Bitches Brew: Miles Davis' Shot Heard 'Round the Jazz World - ColumbiaJazz (http:/ / www. columbiajazz. com/ newsletter2/ brew. html).
Columbia. Retrieved on 2008-08-30.
[2] Miles Electric: A Different Kind of Blue (DVD) - PopMatters (http:/ / www. popmatters. com/ pm/ review/ 16181/
davismiles-mileselectricdvd). PopMatters. Retrieved on 2008-08-30.
[3] Jurek, Thom. Review: Bitches Brew (http:/ / www. allmusic. com/ album/ r106167). Allmusic. Retrieved on 2010-10-08.
[4] Merlin, Enrico (1999). "Slow Brew" (http:/ / web. archive. org/ web/ 20051001114409/ http:/ / www. audiomedia. com/ archive/ features/
uk-0599/ uk-0599-brew/ uk-0599-brew. htm). Audiomedia. AM Publishing Ltd.. Archived from the original (http:/ / www. audiomedia. com/
archive/ features/ uk-0599/ uk-0599-brew/ uk-0599-brew. htm) on 2005-10-01. . Retrieved 2007-08-07.
[5] Tanner, Paul O. W.; Maurice Gerow, David W. Megill (1988) [1964]. "Crossover Fusion". Jazz (6th ed.). Dubuque, IA: William C.
Brown, College Division. pp.135136. ISBN0-697-03663-4.
[6] Losin, Peter. "Session Details" (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=691026). Miles Ahead. . Retrieved 2007-08-04.
"October 26, 1969... 'Bitches Brew'... 'Miles Runs the Voodoo Down'... 'Spanish Key'"
[7] Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.).
New York: Penguin. pp.327. ISBN0-141-02327-9.
[8] "Bitches Brew" (http:/ / www. acclaimedmusic. net/ Current/ A1995. htm). AcclaimedMusic.net. . Retrieved 2008-08-30.
[9] Meyer, Bill. "Miles Davis: The Complete Bitches Brew Sessions (August 1969-February 1970)" (http:/ / web. archive. org/ web/
20070630164719/ http:/ / www. inkblotmagazine. com/ rev-archive/ Miles_Davis_Bitches_Complete. htm). Ink Blot Magazine. Archived
from the original (http:/ / www. inkblotmagazine. com/ rev-archive/ Miles_Davis_Bitches_Complete. htm) on 2007-06-30. . Retrieved
2007-08-04.
[10] Rusch, Bob (1994). Ron Wynn. ed. All Music Guide to Jazz. Allmusic. M. Erlewine, V. Bogdanov (1st ed.). San Francisco: Miller Freeman
Books. p.197. ISBN0-87930-308-5.
[11] Snyder, Matt (December 1997). "An Interview with Bobby Previte" (http:/ / web. archive. org/ web/ 20060112205326/ http:/ / users.
bestweb. net/ ~msnyder/ writings/ previte. htm). 5/4 Magazine. Archived from the original (http:/ / users. bestweb. net/ ~msnyder/ writings/
previte. htm) on 2006-01-12. . Retrieved 2007-08-04.
[12] Staff (November 2003). RS500: 94) Bitches Brew (http:/ / www. rollingstone. com/ music/ lists/ 6862/ 35223/ 35696). Rolling Stone.
Bitches Brew 124
External links
Salon Entertainment: a Master at dangerous play (http://www.salon.com/ent/music/feature/1998/12/
cov_16featurea.html)
A history of jazz fusion (http://liraproductions.com/jazzrock/htdocs/histhome.htm)
Miles Davis - The Electric Period (http://www.miles-davis.com/electric.html)
Article by Paul Tingen: Complete Bitches Brew Sessions boxed set at the Miles Beyond site (http://www.
miles-beyond.com/bitchesbrew.htm)
Article by Paul Tingen: In A Silent Way and Bitches Brew (http://www.miles-beyond.com/iaswbitchesbrew.
htm)
A Tribute to Jack Johnson

A Tribute to Jack Johnson
Released February 24, 1971
Recorded February 18 and April 7,

1970
30th Street Studio
Genre Fusion, jazz-funk
Length 52:26
Producer Teo Macero
Bitches A Tribute to Jack Live-Evil

Brew Johnson (1971)
(1970) (1971)
A Tribute to Jack Johnson[11] is a studio album by American jazz musician Miles Davis, released February 24,
1971 on Columbia Records.[2] It also serves as the soundtrack for a documentary by Bill Cayton about the
heavyweight world champion boxer Jack Johnson.
Music
The first major recording session for the album, which took place on April 7, 1970, was almost accidental: John
McLaughlin, awaiting Miles's arrival, began improvising riffs on his guitar, and was shortly joined by Michael
Henderson and Billy Cobham. Meanwhile, the producers brought in Herbie Hancock, who had been passing through
the building on unrelated business, to play the Farfisa organ. Miles arrived at last and began his solo at about 2:19 on
the first track.
The album's two long tracks were assembled in the editing room by producer Teo Macero. "Right Off" is constructed
from several takes and a solo by Davis recorded in November 1969. It contains a riff from Sly and the Family
Stone's "Sing a Simple Song". Much of the track "Yesternow" is built around a slightly modified version of the
bassline from the James Brown song "Say It Loud - I'm Black and I'm Proud"; this may be a deliberate allusion to
the song's Black Power theme as it relates to the film's subject. "Yesternow" also incorporates a brief excerpt of
"Shhh/Peaceful" from Davis's 1969 album In a Silent Way and a 10-minute section comprising several takes of the
tune "Willie Nelson" from a session on 18 February 1970.
Reception and legacy

Jack Johnson was less commercially successful than Davis's previous electric album, Bitches Brew, reaching only
#159 on the Billboard 200 where Bitches Brew had risen as high as #35. Some fans and critics, however, consider
Jack Johnson to be the musically superior album. In his consumer guide for The Village Voice, critic Robert
Christgau gave the album an A+ rating,[5] indicating "an organically conceived masterpiece that repays prolonged
listening with new excitement and insight".[12] Christgau dubbed it "a great one" and commented that "all the flash
of Bitches Brew coalesces into one brilliant illumination".[5] Down Beat critic John Ephland gave the album
four-and-a-half out of five stars and described it as a "heavily edited mlange of musical forms".[6] In a review of the
album followings its reissue, John Fordham of The Guardian noted Davis's "whispering electric sound to some of the
most trenchantly responsive straight-horn improvising he ever put on disc" and commented on its legacy, stating:
Considering that it began as a jam between three bored Miles Davis sidemen, and that the eventual 1971
release was stitched together from a variety of takes, it's a miracle that this album turned out to be one of the
most remarkable jazz-rock discs of the era. Columbia didn't even realise what it had with these sessions, and
the mid-decade Miles albums that followed - angled toward the pop audience - were far more aggressively
marketed than the Jack Johnson set [...] Of course, it's a much starker, less subtly textured setting than Bitches
Brew, but in the early jazz-rock hall of fame, it's up there on the top pedestal.[7]
John Fordham
Both The Penguin Guide to Jazz and Rolling Stone Album Guide gave A Tribute to Jack Johnson their maximum
star-ratings.[8] [10] The Lexington Herald-Leader gave the album four out of four stars and commented that "The
preceding In a Silent Way and Bitches Brew were more groundbreaking in that they heralded fusion's arrival. But
Davis' playing on Jack Johnson surpasses both recordings".[13] In a retrospective review of the album, Allmusic
editor Thom Jurek complimented its "funky, dirty rock & roll jazz" and "chilling, overall high-energy rockist
stance", stating "Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and
freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges
between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero".[1]
Track listing
Side one
1. "Right Off" 26:53
Side two
1. "Yesternow" 25:34
Personnel
The first track and about half of the second track were recorded on 7 April 1970 by this sextet:
Steve Grossman - Soprano saxophone
John McLaughlin - Electric guitar
Herbie Hancock - Organ
Michael Henderson - Electric bass
Billy Cobham - drums

The "Willie Nelson" section of the second track (starting at about 13:55) was recorded on 18 February 1970 by a
different and uncredited lineup:
Bennie Maupin - Bass clarinet
Sonny Sharrock - Electric guitar
Chick Corea - Electric piano
Dave Holland - Electric bass
Jack DeJohnette - drums
At the end of the "Yesternow" there is a sound clip recorded by actor Brock Peters saying: "I'm Jack Johnson --
heavyweight champion of the world! I'm black! They never let me forget it. I'm black all right; I'll never let them
forget it."
References
[1] Jurek, Thom (November 1, 2001). Review: A Tribute to Jack Johnson (http:/ / www. allmusic. com/ album/
a-tribute-to-jack-johnson-r137455/ review). Allmusic. Retrieved on 2010-01-13.
[2] Olson, Paul (February 7, 2005). Review: A Tribute to Jack Johnson (http:/ / www. allaboutjazz. com/ php/ article. php?id=16087). All About
Jazz. Retrieved on 2010-01-13.
[3] Pareles, Jon (January 5, 2005). Review: A Tribute to Jack Johnson (http:/ / www. blender. com/ guide/ reviews. aspx?id=3203). Blender.
[4] K.R.C. (January 23, 2005). " Review: A Tribute to Jack Johnson (http:/ / pqasb. pqarchiver. com/ bostonherald/ access/ 788225521.
html?dids=788225521:788225521& FMT=ABS& FMTS=ABS:FT& type=current& date=Jan+ 23,+ 2005& author=& pub=Boston+ Herald&
desc=MUSIC;+ Discs;+ Rap's+ new+ player+ proves+ he's+ ready+ for+ big+ Game& pqatl=google)". Boston Herald: E.06.
[5] Christgau, Robert (1971). Consumer Guide: A Tribute to Jack Johnson (http:/ / www. robertchristgau. com/ get_album. php?id=2403). The
Village Voice. Retrieved on 2011-02-01.
[6] Alkyer, Frank; John Ephland (2007). The Miles Davis Reader. Hal Leonard Corporation. p.315316. ISBN9781423430766.
[7] Fordham, John (April 1, 2005). Review: A Tribute to Jack Johnson (http:/ / www. guardian. co. uk/ music/ 2005/ apr/ 01/ jazz. shopping). The
Guardian. Retrieved on 2010-01-13.
[8] Cook, Richard (2004). "Review: A Tribute to Jack Johnson". The Penguin Guide to Jazz: 410.
[9] Calder, Robert R. (February 24, 2005). Review: A Tribute Jack Johnson (http:/ / www. popmatters. com/ pm/ review/
davismiles-tributejackjohnson/ ). PopMatters. Retrieved on 2010-01-13.
[10] Hoard, Christian (November 2, 2004). " Review: A Tribute to Jack Johnson (http:/ / books. google. com/ books?id=lRgtYCC6OUwC&
pg=PA215& dq=)". Rolling Stone: 215218.
[11] The original LP, like the film, was called simply 'Jack Johnson'.
[12] Christgau, Robert (1969-89). Consumer Guide: The Grades (http:/ / www. robertchristgau. com/ xg/ bk-cg70/ grades. php). Robert
Christgau. Retrieved on 2011-02-01.
[13] Columnist (January 21, 2005). " Review: A Tribute to Jack Johnson (http:/ / nl. newsbank. com/ nl-search/ we/ Archives?p_product=LH&
s_site=kentucky& p_multi=LH& p_theme=realcities& p_action=search& p_maxdocs=200& p_topdoc=1&
p_text_direct-0=107C83230025E7D4& p_field_direct-0=document_id& p_perpage=10& p_sort=YMD_date:D& s_trackval=GooglePM)".
Lexington Herald-Leader: 6. (Transcription of original review at talk page)
External links
A Tribute to Jack Johnson (http://www.discogs.com/Miles-Davis-A-Tribute-To-Jack-Johnson/master/8364)
at Discogs
The Making of Jack Johnson (http://www.miles-beyond.com/jackjohnson.htm) at Miles Beyond
Sound, Mediation, and Meaning in Miles Davis's A Tribute to Jack Johnson (http://hdl.handle.net/10161/894)
By Jeremy A. Smith (PhD Diss: Duke University, 2008)
Live-Evil|Live-Evil
Live-Evil
Studio album / Live album by Miles Davis
Recorded February 6, June 34, 1970 at Columbia Studio B, New York

and
December 19, 1970 at the Cellar Door Club, Washington
Length 1:41:39
Producer Teo Macero
A Tribute to Jack Live On the

Johnson Evil Corner
(1971) (1971) (1972)
Live-Evil
Back cover.
Live-Evil is an album by Miles Davis, much of which was recorded live at The Cellar Door on December 19, 1970,
and part of which was recorded in Columbia's Studio B, with different personnel, on February 6, and June 3, 4, 1970.
Though all compositions were originally credited to Miles Davis, the studio recordings "Little Church" ("Igrejinha"),
"Nem Um Talvez" ("Not Even a Maybe") and "Selim" are by Brazilian composer and multi-instrumentalist Hermeto
Pascoal, who also played with the Davis band on these tracks. One of the key musicians on the album, John
McLaughlin, was not a regular member of Miles Davis's band during the time of recording. McLaughlin joined the
band for one of the four nights at the Cellar Door, rather like a session player; this is not the case for other Davis
albums that he worked on.
Davis had originally intended the album to be a spiritual successor to Bitches Brew, but this idea was abandoned
when it became obvious that Live-Evil was "something completely different".[11]
Musician lineup on Cellar Door segments

Miles Davis: electric trumpet with wah-wah
Gary Bartz: soprano sax, alto sax
John McLaughlin: electric guitar
Keith Jarrett: Fender Rhodes electric piano, Fender electric organ
Michael Henderson: electric bass
Jack DeJohnette: drums
Airto Moreira: percussion
Cellar Door Segments, December 19, 1970: "Sivad" (a blend of "Directions," a studio fragment of "Honky Tonk,"
and a live recording of "Honky Tonk"), "What I Say," "Funky Tonk" and "Inamorata and Narration by Conrad
Roberts."
Cover artwork
The album cover was illustrated by artist Mati Klarwein. Klarwein had painted the front cover independently of
Davis, but the back cover was painted with a suggestion from Davis:
"I was doing the picture of the pregnant woman for the cover and the day I finished, Miles called me up
and said, 'I want a picture of life on one side and evil on the other.' And all he mentioned was a toad.
Then next to me was a copy of Time Magazine which had J. Edgar Hoover on the cover, and he just
looked like a toad. I told Miles I found the toad."[12]
Reception
Initial reaction
Billboard stated that the album "captures the live performance of Davis effectively", citing "Sivad", "Selim", and
"What I Say" as highlights.[13] Bob Palmer of Rolling Stone commented that "this sounds like what Miles had in
mind when he first got into electric music and freer structures and rock rhythms", and praised each band members'
soloing on the album's "extended, 'blowing' tracks", stating "Everybody is just playing away, there aren't any weak
links, and there isn't any congestion to speak of. Miles reacts to this happy situation by playing his ass off, too".[7]
Palmer wrote of "Little Church", "Nem Um Talvez", and "Selim" as "what used to be called 'ballads'. They feature
larger groups but there aren't any solos. Just stunning, bittersweet lines [...] Each of these tracks is under four
minutes, and they are all things of great beauty".[7] Black World's Red Scott stated "All the tracks fuse into a perfect
complement of musicians passing moods to each other".[14] In his consumer guide for The Village Voice, critic
Robert Christgau gave the album an A- rating and called its "long pieces [...] usually fascinating and often
exciting".[2] He cited "Funky Tonk" as "Miles's most compelling rhythmic exploration to date" and commented that
"the four short pieces are more like impressionistic experiments".[2]
Retrospect
In a retrospective review of the album, Allmusic editor Thom Jurek called its tracks "fine and deeply lyrically
grooved-out" and described it as "the sound of transition and complexity, and somehow it still grooves wonderfully",
noting "the live material [...] wonderfully immediate and fiery".[1] Edwin C. Faust of Stylus Magazine dubbed
Live-Evil "one of the funkiest albums ever recorded" and commented that its "somber" short pieces "are haunting
examples of musical purityMiles enriching our ears with evocative melodies (his work on Sketches of Spain comes
to mind) while the bass creeps cautiously, an organ hums tensly, and human whistles/vocals float about forebodingly
like wistful phantoms".[10] Tom Sinclair of Entertainment Weekly gave the album an A- rating and stated "With
[Davis'] inimitable trumpeting by turns melancholy, pungent, and lyrical at the music's center, his electrified
cohorts stretch the limits of jazz, rock, and funk".[4] Pitchfork Media's Ryan Schreiber called the album "easily the
most accessible of Miles Davis' late-'70s electric releases" and described its music as "at once both sexually steamy
and unsettling", writing that "The 15+ minute live jams [...] run the gamut from barroom brawl action-funk to
sensual bedroom jazz magic, creating two hours of charged eccentricity you'll never forget".[6]
Track listing
Side one
1. "Sivad"- 15:13
2. "Little Church"- 3:14
3. "Medley: Gemini/Double Image"- 5:53
Side two
1. "What I Say"- 21:09
2. "Nem Um Talvez"- 4:03
Side three
1. "Selim"- 2:12
2. "Funky Tonk"- 23:26
Side four
1. "Inamorata and Narration by Conrad Roberts"- 26:29
Recording details
Side One (25:20) 1. "Sivad" (15:13) Recorded December 19, 1970 at The Cellar Door, Washington, DC & May 19,
1970 at Columbia Studio C, New York, NY
Timing Source
00:00-00:01 "Directions" (2nd set) 0:00-0:01 (drum roll)
00:02-03:24 "Directions" (2nd set) 11:30-14:44 + "Honky Tonk" 00:00-00:08
03:25-04:14 "Honky Tonk" (studio, May 19, 1970) 00:00-00:49
04:15-09:11 "Honky Tonk" (2nd set) 05:23-10:20
09:12-15:12 "Honky Tonk" (2nd set) 15:13-21:14
Miles Davis: electric trumpet with Wah Wah

Gary Bartz: soprano saxophone, flute
Keith Jarrett: electric piano, organ
2. "Little Church" (3:14) Recorded June 4, 1970 at Columbia Studio B, New York, NY
Miles Davis: trumpet
Steve Grossman: soprano sax
Chick Corea: electric piano
Herbie Hancock: electric piano
Keith Jarrett: organ
Dave Holland: electric bass, acoustic bass
Hermeto Pascoal: drums, whistling, voice, electric piano
3. "Medley: Gemini/Double Image" (5:53) Recorded February 6, 1970 at Columbia Studio B, New York, NY
Wayne Shorter: soprano sax
Joe Zawinul: electric piano
Dave Holland: acoustic bass
Khalil Balakrishna: electric sitar
Billy Cobham: drums
Side Two (25:12) 1. "What I Say" (21:09) Recorded December 19, 1970 at The Cellar Door, Washington, DC
Timing Source
00:00-20:50 "What I Say" (2nd set) 00:00-20:50
20:51-21:09 "Sanctuary" (2nd set) 00:00-00:18

2. "Nem Um Talvez" (4:03) Recorded June 3, 1970 at Columbia Studio B, New York, NY
Ron Carter: acoustic bass
Hermeto Pascoal: drums, vocals
Side Three (25:38) 1. "Selim" (2:12) Recorded June 3, 1970 at Columbia Studio B, New York, NY
Ron Carter: acoustic bass
Hermeto Pascoal: drums, vocals
2. "Funky Tonk" (23:26) Recorded December 19, 1970 at The Cellar Door, Washington, DC
Timing Source
00:00-02:54 "Directions" (3rd set) 00:47-03:41 (theme excised)
16:15-16:50 "Directions" (3rd set) 18:03-18:39
16:51-20:12 "Funky Tonk" (3rd set) 00:00-03:21
20:13-20:18 "Funky Tonk" (3rd set) 03:59-04:04
20:19-23:23 "Funky Tonk" (3rd set) 04:15-07:20


Side Four (26:29)
1. "Inamorata and Narration by Conrad Roberts" (26:29) Recorded December 19, 1970 at The Cellar Door,
Washington, DC
Timing Source
00:00-16:34 "Funky Tonk" (3rd set) 07:21-23:55
16:35-16:47 "Sanctuary" (3rd set) 01:50-02:02
16:47-23:08 "It's About That Time" (3rd set) 00:00-06:21
23:09-26:08 "It's About That Time" 0:00-2:59* Narration by Conrad Roberts first 0:43
26:08-26:28 "Sanctuary" 0:00-0:20*
(*) The final two sections are not from The Cellar Door.

Conrad Roberts: vocal narration, poem
Note: The Cellar Door Sessions 1970 box set uses the titles "Improvisation #4" (for Keith Jarrett's keyboard intro)
and "Inamorata" instead of "Funky Tonk". In the Source column of the tables above, the title "Funky Tonk" is used.
References
[1] Jurek, Thom (November 1, 2002). Review: Live-Evil (http:/ / www. allmusic. com/ album/ r137461/ review). Allmusic. Retrieved on
2011-01-08.
[2] Christgau, Robert (1972). Consumer Guide: Live-Evil (http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis). The Village
Voice. Retrieved on 2011-01-08.
[3] Product Notes Live-Evil (http:/ / www. webcitation. org/ 5vbJReQwi). Muze. Retrieved on 2011-01-08.
[4] Sinclair, Tom (August 1, 1997). Review: Miles Davis live albums (http:/ / www. ew. com/ ew/ article/ 0,,288884,00. html). Entertainment
Weekly. Retrieved on 2011-02-26.
[5] Cook, Richard (September 2002). " Review: Live-Evil (http:/ / www. acclaimedmusic. net/ Current/ A1998. htm)". The Penguin Guide to
Jazz: 377.
[6] Schreiber, Ryan (1997). Review: Live-Evil (http:/ / www. webcitation. org/ 5vbJoOcEP). Pitchfork Media. Archived from the original (http:/ /
web. archive. org/ web/ 20021021010024/ www. pitchforkmedia. com/ record-reviews/ d/ davis_miles/ live-evil. shtml) on 2011-01-08.
[7] Palmer, Bob (January 20, 1972). Review: Live-Evil (http:/ / www. rollingstone. com/ music/ albumreviews/ live-evil-19720120). Rolling
Stone. Retrieved on 2011-01-08.
[8] Hoard, Christian (November 1, 2004). " Review: Live-Evil (http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA215#v=onepage&
q& f=false)". Rolling Stone: 215, 218.
[9] Davis, Erik (April 1997). " Freakin' the Funk Revisiting Miles Davis's '70s Visions (http:/ / books. google. com/
books?id=_uWz-QtMkI4C& pg=PA117#v=onepage& q& f=false)". Spin: 117.
[10] Faust, Edwin C. (September 1, 2003). Review: Live-Evil (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/
miles-davis-live-evil. htm). Stylus Magazine. Retrieved on 2011-01-08.
[11] Davis, Miles. Miles: The Autobiography. ISBN 0634006827
[12] Szwed, John. So What: the Life of Miles Davis, p. 319
[13] Columnist (December 18, 1971). " Review: Live-Evil (http:/ / books. google. com/ books?id=Ng8EAAAAMBAJ& pg=PA25#v=onepage&
q& f=false)". Billboard: 25.
[14] Scott, Red (September 1972). " Review: Live-Evil (http:/ / books. google. com/ books?id=XrIDAAAAMBAJ& pg=PA19#v=onepage& q&
f=false)". Black World: 19, 86.
On the Corner
On the Corner
Released October 11, 1972
Recorded June 16 and July 7, 1972 at Columbia Studio E, 49 E. 52nd Street, New York
Genre Jazz-funk, jazz fusion
Length 54:39
Producer Teo Macero
[1]
Allmusic link
[2]
Alternative Press link
[3]
Robert Christgau (B+) link
[4]
JazzTimes (favorable)
[5]
[6]
Rolling Stone (favorable) link
[7]
Stylus Magazine (favorable) link
[8]
Spin
[9]
Yahoo! Music (favorable) link
Live-Evil On the Big

(1971) Corner Fun
(1972) (1974)
On the Corner 135
On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released later
that year on Columbia Records. It was scorned by critics at the time of its release and was one of Davis's
worst-selling recordings. Its critical standing has improved dramatically with the passage of time, as it is now seen as
a strong forerunner of the musical techniques of post punk, hip hop, drum and bass, and electronic music.[4] [10]
Joining previous multi-disc Davis reissues of In a Silent Way, A Tribute to Jack Johnson, and Bitches Brew, On the
Corner was reissued on the 6-disc boxed set The Complete On the Corner Sessions, released in September 2007.
Music
Davis claimed that On the Corner was an attempt at reconnecting with the young black audience which had largely
forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments
employed, from a musical standpoint the album was a culmination of sorts of the musique concrte approach that
Davis and producer Teo Macero (who had studied with Otto Luening at Columbia University's Computer Music
Center) had begun to explore in the late 1960s. Both sides of the record were based around drum and bass grooves,
with the melodic parts snipped from hours of jams. These techniques, refined via the use of computers and digital
audio equipment, are now standard amongst producers of electronically-based music. Also cited as musical
influences on the album by Davis were the contemporary composer Karlheinz Stockhausen,[11] [12] who later
recorded with the trumpeter in 1980,[13] and Paul Buckmaster (who played electric cello on the album and
contributed some arrangements).
Buckmaster and Davis also recorded the song "Ife" in a session during the same period. The song failed to make On
The Corner but instead appeared on Big Fun in 1974, it is possible that it wasn't included on the previous because of
time restraint.
Track listing
All songs written by Miles Davis.
Side one
1. "On the Corner / New York Girl / Thinkin' One Thing and Doin' Another / Vote for Miles" (19:55)
2. "Black Satin" (5:16)
Side two
1. "One and One" (6:09)
2. "Helen Butte / Mr. Freedom X" (23:18)
The 1993 CD reissue of On the Corner (which has the "Columbia Jazz Masterpieces" logo stamped on the front
cover) separates each "composition" into a distinct track so that the album has 8 tracks rather than 4. Later reissues
returned the songs to their original, conflated status.
On the Corner 136
Personnel
Miles Davis electric trumpet with Wah Wah
Dave Liebman soprano saxophone (A2)
Carlos Garnett soprano and tenor saxophone (B1, B2)
Chick Corea electric piano (A1)
Herbie Hancock electric piano, synthesizer
Harold I. Williams organ, synthesizer
Lonnie Liston Smith organ (B2)
John McLaughlin electric guitar (A1)
David Creamer electric guitar (A2, B1, B2)
Michael Henderson electric bass with Wah Wah
Khalil Balakrishna - electric sitar (A2)
Bennie Maupin bass clarinet (B1)
Collin Walcott electric sitar (A1, B1, B2)
Badal Roy tabla
Jack DeJohnette drums
Al Foster - drums
Jabali Billy Hart drums, bongos
Don Alias percussion
James "Mtume" Foreman percussion
Paul Buckmaster cello, arrangements
References
[2] http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088339/ a/ On+ The+ Corner. htm
[3] http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis
[4] Chinen, Nate (October 2007). Review: The Complete On the Corner Sessions (http:/ / web. archive. org/ web/ 20071011155945/ http:/ /
www. jazztimes. com/ reviews/ cd_reviews/ detail. cfm?article_id=18402& section=CD+ Reviews& issue=200710). JazzTimes. Retrieved on
2011-02-12.
[6] http:/ / www. rollingstone. com/ music/ albumreviews/ on-the-corner-19721207
[7] http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-on-the-corner. htm
[8] Hermes, Will (November 2007). " Review: The Complete On the Corner Sessions (http:/ / books. google. com/ books?id=Db0ytsazMqUC&
pg=PA124#v=onepage& q& f=false)". Spin: 124.
[9] http:/ / music. yahoo. com/ read/ review/ 12035525
[10] Tingen, Paul (October 26, 2007). The most hated album in jazz (http:/ / www. guardian. co. uk/ music/ 2007/ oct/ 26/ jazz. shopping). The
Guardian. Retrieved on 2011-02-12.
[11] "Miles Davis first heard Stockhausen's music in 1972, and its impact can be felt in Davis's 1972 recording On the Corner, in which
cross-cultural elements are mixed with found elements." Barry Bergstein "Miles Davis and Karlheinz Stockhausen: A Reciprocal
Relationship." The Musical Quarterly 76, no. 4. (Winter): p. 503.
[12] In Davis' autobiography he states that "I had always written in a circular way and through Stockhausen I could see that I didn't want to ever
play again from eight bars to eight bars, because I never end songs: they just keep going on. Through Stockhausen I understood music as a
process of elimination and addition" (Miles, New York: Simon & Schuster, 1989, p. 329)
[13] "In June of 1980, Miles Davis was joined by the German composer Karlheinz Stockhausen in the studios of Columbia Records; the
recording of this collaboration is still unissued." Barry Bergstein "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship" The
Musical Quarterly Vol. 76, No. 4 (Winter, 1992), p. 502
On the Corner 137
External links
On the Corner track sheets at the Miles Beyond web site (http://www.miles-beyond.com/otc.htm)
The Most Hated Album in Jazz (http://www.guardian.co.uk/music/2007/oct/26/jazz.shopping) at The
Guardian
List of top album rankings for On the Corner at AcclaimedMusic.net (http://www.acclaimedmusic.net/
Current/A2005.htm)
Big Fun 138
Big Fun
Big Fun
Released May 4, 1974
Recorded November 19, 28, 1969; February 6, 1970; March 3, 1970, and June 12,
1972
Columbia Studios B and E
(New York, NY)
Genre Fusion, jazz-funk, avant-garde jazz
Length 98:45
Label Columbia
Producer Teo Macero
On the Big Get Up with

Corner Fun It
(1972) (1974) (1974)
Big Fun is a double album by American jazz recording artist Miles Davis, released May 4, 1974, on Columbia
Records. It contains tracks recorded between 1969 and 1972 by Davis. Largely ignored on its original release, it was
reissued on August 1, 2000 by Columbia and Legacy Records with additional material, which led to a belated critical
reevaluation.
Music
Big Fun reflects three different phases from Miles Davis's early-seventies "electric" period.
Sides one and four ("Great Expectations/Orange Lady" and "Lonely Fire") were recorded three months after the
Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. They also mark the first
time since the beginning of Miles Davis's electric period that he played his trumpet with the Harmon mute which had
been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean
sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed
more emphasis on the medium and low registers.
Big Fun 139
"Ife" was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. It
has a drum and electric bass groove (which in fact at one point breaks down due to mistiming) and a plethora of
musicians improvising individually and in combinations over variations on the hypnotic bassline.
"Go Ahead John"

Recorded on March 7, 1970,[1] "Go Ahead John" is an outtake from Davis's Jack Johnson sessions.[2] The recording
is a riff and groove-based, with a relatively sparser line-up of Steve Grossman on soprano saxophone, Dave Holland
on bass, Jack DeJohnette on drums, and John McLaughlin on guitar with wah-wah pedal.[2] [3] It was one of the rare
occasion in which Davis recorded without a musical keyboard.[1] It was recorded in five sections, ranging from three
to 13 minutes, which producer Teo Macero subsequently assembled in post-production four years later for Big
Fun.[1] DeJohnette provides a funky, complex groove, Holland plays bass with one constant note repeated, and
McLaughlin plays in a staccato style with blues and funk elements.[1] According to one music writer, the track's bass
parts has "a trancelike drone that maintains" the predominantly Eastern vibe of the album.[4] Davis's trumpet and
McLaughlin's guitar parts were heavily overdubbed for the recording.[5] The overdubbing effect was created by
superimposing part of Davis's trumpet solo onto other parts of it, through something Teo Macero calls a "recording
loop". Macero later said of this production technique, "You hear the two parts and it's only two parts, but the two
parts become four and they become eight parts. This was done over in the editing room and it just adds something to
the music [...] I called [Davis] in and I said, 'Come in, I think we've got something you'll like. We'll try it on and if
you like it you've got it.' He came in and flipped out. He said it was one of the greatest things he ever heard".[6]
DeJohnette's drums were also manipulated by Macero, who used an automatic switcher to have them rattle back and
forth between the left and right speakers on the recording.[1] In his book Running the Voodoo Down: The Electric
Music of Miles Davis, Davis-biographer Phil Freedom describes this technique as "100 percent Macero" and writes
of its significance to the track as a whole, stating:
This doesn't create the effect of two drummers. It's just disorienting, throwing the ear off balance in a way that
forces the listener to pay close attention. The drums cease to perform their traditional function. Jack
DeJohnette's beats, funky and propulsive on the session tapes, are so chopped up that their timekeeping utility
is virtually nil. Macero has diced the rhythm so adroitly that we are not even permitted to hear an entire drum
hit or hi-hat crash. All that remains are clicks and whooshes, barely identifiable as drums and, again,
practically useless as rhythmic indicators. Thus, the pace is maintained by Dave Holland's one-note throb and
the occasional descending blues progression he plays. The feeling one gets from "Go Ahead John" becomes
one of floating in space.[7]
Phil Freeman
Titled as an exhortation by Davis to McLaughlin,[] "Go Ahead John" features a basic, blues motif, centered around E
and B flat, as well as modulations introduced by Davis into the D flat scale.[2] The recording begins with
McLaughlin's funky wah-wah lines, backing Grossman's sharp, restrained playing, with Davis's first trumpet solo
entering at four minutes with scattered ideas.[1] [3] In his book Milestones: The Music and Times of Miles Davis, Jack
Chambers writes that the recording's first 11 minutes and its closing four-and-a-half minutes "resemble Willie
Nelson [from Jack Johnson] as a head arrangement built on a riff, with the riff sustained this time by McLaughlin's
steady wah-wah in the background.[6] Approximately six minutes into it, McLaughlin's guitar solo succeeds Davis's
first solo, as the band vamps.[1] Music journalist Todd S. Jenkins writes of this passage in the recording, "Thanks to
the then-new wonders of noise gate technology, Jack DeJohnettes drums and cymbals flit back and forth rapidly
from left to right in the mix. With each switch, the guitars volume blasts in and out, over and over again, during
McLaughlins relentlessly acidic solo".[3] Following the passage, an unrelated theme opens with two minutes of a
slow blues segment by Davis that is spliced into the recording, accompanied solely by occasional notes from
Holland; According to Jack Chambers, Davis's blues solo "becomes a duet with himself by overdubbing, and then
builds into a quintet performance lasting ten more minutes".[6] Phil Freeman wrote of this "doubling effect", stating
Big Fun 140
"Miles's two solos fit together perfectly, creating a feel similar to that of New Orleans jazz, with two trumpets
weaving intricate, complementary lines around each other".[7]
In Milestones: The Music and Times of Miles Davis, Chambers writes of Davis's segment and the complex
production of "Go Ahead John", "In spite of the gimmickry, the blues segment manages to state some old verities in
a new context, and state them powerfully. Most jazz listeners can hope that someday Go Ahead John will be
unscrambled and re-presented to them as, among other things, an unhurried blues by Davis accompanied only by
Holland".[6] Down Beat critic John Ephland interprets the recording to be "Miles' most obvious allusion to the
Godfather of Soul, James Brown", adding that "Conjuring up images of Brown's 'I Can't Stand Myself' and 'I Got the
Feelin',' from '67 and '68, respectively, 'Go Ahead John' shuffles, swirls, gets down and runs rampant, with some
very creative editing, courtesy of producer Teo Macero".[8] Allmusic editor Thom Jurek writes of the recording,
"There is no piano. What's most interesting about this date is how it prefigures what would become 'Right Off' from
Jack Johnson. It doesn't have the same fire, nor does it manage to sustain itself for the duration, but there are some
truly wonderful sections in the piece".[2] In Running the Voodoo Down: The Electric Music of Miles Davis, Phil
Freedom calls the recording "one of the best things Miles and Macero created during the 1970s", writing that "It's a
singular achievement in production, one that presents Miles in a different light than anything else in his catalog".[1]
Reception
Initial reaction
Released on May 4, 1974, by Columbia Records,[10] Big Fun debuted at number 193 on the U.S. Billboard Top LPs
chart and sold 50,000 copies in its first week.[14] [15] It ultimately reached number 179 on the chart and number six
on Billboard's Top Jazz LPs chart.[16] According to Todd S. Jenkins of All About Jazz, "The long, ever-droning,
darkly exotic electric music, and in fact the very idea of just four songs taking up four full sides of an album, was not
too appealing to critics or the general market at a time when short, sharp disco tunes were beginning to chart like
wildfire. So Big Fun received generally weak reviews".[3]
In a positive review of the album, Billboard stated "Much of the existentialism in musical forms that has
characterized Miles Davis' recent offerings are embodied in this new album, but Davis has the creativity of mind and
expertise of profession to break away from the conventional and still remain an exciting, interesting, innovative and
acceptable artist. This album is in that genre".[10] Bob Palmer of Rolling Stone wrote that "essentially Big Fun is the
most consistently appealing, varied and adventurous Miles Davis album since Live/Evil, commands attention as such,
and will doubtless give Davis's many imitators something to think about".[5] In his consumer guide for The Village
Voice, critic Robert Christgau gave Big Fun an A- rating,[11] indicating "a very good record. If one of its sides
doesn't provide intense and consistent satisfaction, then both include several cuts that do".[17] Christgau noted three
of its "side-long 'pieces' [...] wind down prematurely", but ultimately commented that "for the most part this is
uncommonly beautiful stuff, and it gets better".[11] He singled out "Lonely Fire" as a highlight, writing that "after
meandering at the beginning [it] develops into lyrical mood music reminiscent in spirit and fundamental intent of
Sketches of Spain".[11]
Retrospect
In a retrospective review, Allmusic editor Thomas Jurek complimented "some outstanding playing and composing
here", but criticized "the numerous lineups and uneven flow of the tracks", writing that "Despite the presence of
classic tracks like Joe Zawinul's 'Great Expectations', Big Fun feels like the compendium of sources it is".[2] The
Rolling Stone Album Guide gave it three out of five stars and stated, the album "defies easy categorization, although
its dark, moody tracks boast a strong undercurrent of Indian classical rhythms in addition to the expected swathes of
rock and funk".[13] However, Alternative Press called the album "essential....colorful and exotic" and wrote that it
represents "the high water mark of his experiments in the fusion of rock, funk, electronica and jazz".[9] The Penguin
Big Fun 141
Guide to Jazz gave the album three out of four stars and described it as "an entertaining simulation of a top-drawer
R&B band, just about pushed into the jazz zone", with the key elements of Davis's "electronic" sound.[12] Stylus
Magazine's Edwin C. Faust commented that "a world without this music would be a considerably emptier place" and
cited it as Davis's "greatest achievement" with regard to an album's "overall effect".[4] Faust viewed that critics were
"privy to the knowledge of recording dates and band line-ups" in their criticism of the album as "scattered" and
"unfocussed", and elaborated on its musical significance to Davis's catalogue, stating:
Despite critics labeling it scattered and unfocused, Big Fun has a very consistent vibe throughout. In
contrast to its title, the album is moody and hauntingly lyricalnot entirely unlike In a Silent Way. Imagine
the foreboding nature of Bitches Brew, with the primitive and funky undercurrent of On the Corner, but also
with the majestic melodies of In a Silent Way cresting the surface. Plus, Big Fun is tied together by a stronger
Eastern vibe than any of Daviss other albums [...] Big Fun is the work of a true musical craftsman and an even
truer artist.[4]
Edwin C. Faust
Down Beat critic John Ephland commented that "there is indeed a sense of adventure, of taking chances with so
much talent, and with such skeletal designs", adding that "Big Fun reinforces the notion that Miles' primary
contributions to music have come via orchestrating, organizing, enabling. How this music was put together proves to
be as interesting as any solo or ensemble work [...] Incidently, the digital sound quality is consistently high
throughout".[8]
Track listing
1974 double LP release

Side one
1. "Great Expectations" (Davis, Zawinul) - 27:23
"Great Expectations" (Davis, Zawinul) - 13:34
"Orange Lady" (Zawinul) - 13:49
Side two
1. "Ife" (Davis) - 21:34
Side three
1. "Go Ahead John" (Davis) - 28:27
Side four
1. "Lonely Fire" (Davis) - 21:21
2000 double CD reissue

Disc one
1. "Great Expectations/Orange Lady" - 27:23
2. "Ife" - 21:34
3. "Recollections" (Zawinul) - 18:55
4. "Trevere" (Davis) - 5:55
Disc two
1. "Go Ahead John" - 28:27
2. "Lonely Fire" - 21:21
3. "The Little Blue Frog" (Davis) - 9:10
4. "Yaphet" (Davis) - 9:39
Big Fun 142
Note: "Great Expectations/Orange Lady" is often shortened to "Great Expectations".
Personnel
Musicians
"Great Expectations/Orange Lady" (1 November 1969 - Columbia Studio E) "Go Ahead John" (3 March 1970 - Columbia Studio E)
Miles Davis - trumpet Miles Davis - trumpet
Steve Grossman - soprano saxophone Steve Grossman - soprano saxophone
Bennie Maupin - bass clarinet John McLaughlin - electric guitar
John McLaughlin - electric guitar Dave Holland - electric bass guitar
Khalil Balakrishna - electric sitar Jack DeJohnette - drums
Bihari Sharima - tabla, tamboura "Lonely Fire" (28 November 1969 - Columbia Studio E)
Herbie Hancock - electric piano
Chick Corea - electric piano
Wayne Shorter - tenor saxophone
Ron Carter - double bass
Bennie Maupin - bass clarinet
Harvey Brooks - Fender bass guitar
Khalil Balakrishna - sitar, Indian instruments
Chick Corea - electric piano
Airto Moreira - percussion
Joe Zawinul - electric piano, Farfisa organ
"Ife" (12 June 1972 - Columbia Studio E) Dave Holland - double bass
Miles Davis - electric trumpet with Wah Wah Harvey Brooks - Fender bass guitar
Sonny Fortune - soprano saxophone, flute Jack DeJohnette - drums
Bennie Maupin - clarinet, flute Billy Cobham - drums
Carlos Garnett - soprano saxophone Airto Moreira - Indian instruments, percussion
Lonnie Liston Smith - piano + "The Little Blue Frog" (28 November 1969 - Columbia Studio E)
Harold I. Williams, Jr. - piano
Michael Henderson - electric bass
Al Foster - drums
Billy Hart - drums
Badal Roy - tabla
James Mtume - African percussion
Big Fun 143
+ "Recollections" (6 February 1970 - Columbia Studio B) Miles Davis - trumpet

Miles Davis - trumpet Steve Grossman - soprano saxophone
Wayne Shorter - soprano saxophone Bennie Maupin - bass clarinet
Bennie Maupin - bass clarinet John McLaughlin - guitar
John McLaughlin - guitar Chick Corea - electric piano
Joe Zawinul - electric piano (left) Larry Young - organ, celeste
Chick Corea - electric piano (right) Khalil Balakrishna - electric sitar
Dave Holland - electric bass guitar Bihari Sharima - tamboura
Billy Cobham - triangle Harvey Brooks - electric bass guitar
Jack DeJohnette - drums Dave Holland - double bass
Airto Moreira - cuca, percussion Jack DeJohnette - drums
+ "Trevere" (28 November 1969 - Columbia Studio E)
Airto Moreira - cuca, berimbau
+ "Yaphet" (19 November 1969 - Columbia Studio E)
Steve Grossman - soprano saxophone
Bennie Maupin - bass clarinet Miles Davis - trumpet
Chick Corea - electric piano Steve Grossman - soprano saxophone
Larry Young - organ, celeste Bennie Maupin - bass clarinet
Khalil Balakrishna - electric sitar John McLaughlin - guitar
Bihari Sharima - tamboura Herbie Hancock - electric piano (left)
Harvey Brooks - electric bass guitar Chick Corea - electric piano (right)
Dave Holland - double bass Khalil Balakrishna - electric sitar
Jack DeJohnette - drums Bihari Sharima - tamboura, tabla
Billy Cobham - drums Harvey Brooks - electric bass guitar
Airto Moreira - cuca, berimbau Ron Carter - double bass
Billy Cobham - drums, triangle
Airto Moreira - cuca, berimbau
Additional personnel
2-LP original
Teo Macero - original record producer
Seth Rothstein - project director
Frank Laico, Stan Tonkel - original audio engineer
Russ Payne, Stan Weiss, John Guerriere - original mix engineer
Steve Berkowitz - A&R for Legacy
Patti Matheny, Darren Salmieri - A&R coordination
Corky McCoy - original cover art
2-CD reissue
Bob Belden - reissue producer
Seth Foster - reissue digital remastering at Sony Music Studios, NYC
Bennie Maupin - reissue main liner notes
Swing Journal Co., Ltd. Japan - reissue backcover photography
Uve Kuusik - reissue liner notes photography
Howard Fritzson - reissue art direction
Randall Martin - reissue design
Rachel Dicono - packaging manager
John Jackson - production assistance
Big Fun 144
Sample use
"Lonely Fire"
"Suicidal Thoughts" by the Notorious B.I.G., from the album Ready to Die
"Party Over" by Mobb Deep, from the album The Infamous.
Notes
[1] Freeman (2005), p. 92.
[2] Jurek, Thom (November 1, 2002). Review: Big Fun (http:/ / www. allmusic. com/ album/ big-fun-r106180/ review). Allmusic. Retrieved on
2011-02-02.
[3] Jenkins, Todd S. (June 1, 2001). Review: Big Fun (http:/ / www. allaboutjazz. com/ php/ article. php?id=7910). All About Jazz. Retrieved on
2011-02-02.
[4] Faust, Edwin C. (September 1, 2003). Review: Big Fun (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/
miles-davis-big-fun. htm). Stylus Magazine. Retrieved on 2011-02-02.
[5] Palmer, Bob (June 20, 1974). Review: Big Fun (http:/ / www. rollingstone. com/ music/ albumreviews/ big-fun-19740620). Rolling Stone.
[6] Chambers (1998), p. 199.
[7] Freeman (2005), p. 93.
[8] Ephland (2007), p. 302303.
[9] Product Notes Big Fun (http:/ / www. webcitation. org/ 5wDEtCGY6). Muze. Retrieved on 2011-02-02.
[10] Columnist (May 4, 1974). " Review: Big Fun (http:/ / books. google. com/ books?id=cgkEAAAAMBAJ& pg=RA1-PA62#v=onepage& q&
f=false)". Billboard: 62.
[11] Christgau, Robert (1974). " Consumer Guide: Big Fun (http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+ Davis)". The
Village Voice. Retrieved on 2011-02-02.
[12] Cook, Richard (2004). "Review: Big Fun". The Penguin Guide to Jazz: 424.
[13] Hoard, Christian (November 2, 2004). " Review: Big Fun (http:/ / books. google. com/ books?id=lRgtYCC6OUwC&
pg=PA215#v=onepage& q=& f=false)". Rolling Stone: 215, 218.
[14] Top LP's & Tape For Week Ending June 8, 1974 (108-200) (http:/ / books. google. com/ books?id=ZgkEAAAAMBAJ& pg=PT53&
dq=#v=onepage& q& f=false). Billboard. Retrieved on 2011-02-02.
[15] Tiegal, Eliot (June 1, 1974). " Jazzmen Fusing Rock Into Music for Wider Appeal (http:/ / books. google. com/
books?id=aQkEAAAAMBAJ& pg=PA10& dq=#v=onepage& q& f=false)". Billboard: 1, 10.
[16] Charts & Awards: Big Fun (http:/ / www. allmusic. com/ album/ big-fun-r106180/ charts-awards). Allmusic. Retrieved on 2011-02-02.
[17] Christgau, Robert (1969-89). Consumer Guide: The Grades (http:/ / www. robertchristgau. com/ xg/ bk-cg70/ grades. php). Robert
Christgau. Retrieved on 2011-02-02.
References
Alkyer, Frank; John Ephland (2007). The Miles Davis Reader. Hal Leonard Corporation. ISBN9781423430766.
Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. ISBN0-306-80849-8.
Freeman, Phil (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation.
ISBN0879308281.
External links
Big Fun (http://www.discogs.com/Miles-Davis-Big-Fun/master/62306) at Discogs
Get Up with It 145
Get Up with It
Get Up With It
Recorded May 1970 - October 1974 at Columbia Studios B and E (NYC)
Length 123:52
Producer Teo Macero
[1]
Allmusic link
[2]
[3]
Alternative Press link
[4]
Robert Christgau (A-)
[5]
[6]
Rolling Stone (favorable) 1975
[3]
Rolling Stone 2004
[7]
Stylus Magazine (mixed) link
Big Get Up with Water

Fun It Babies
(1974) (1974) (1976)
Get Up with It is an album collecting tracks recorded between 1970 and 1974 by Miles Davis. Released on
November 22, 1974 as a double LP, it was Davis' last studio album before five years of retirement from music.
"He Loved Him Madly" is a track recorded in tribute to Duke Ellington, who had died one month before; Brian Eno
cited it as a lasting influence on his own work.[8]
Get Up with It 146
Track listing
Original 2xLP release
Side A
1. "He Loved Him Madly" (1974) 32:20
Side B
1. "Maiysha" (1974) 14:56
2. "Honky Tonk" (1970) 5:57
3. "Rated X" (1972) 6:53
Side C
1. "Calypso Frelimo" (1973) 32:10
Side D
1. "Red China Blues" (1972) 4:10
2. "Mtume" (1974) 15:12
3. "Billy Preston" (1972) 12:35
(Note: The CD re-release merges sides A and B into CD1 and sides C and D into CD2)
(All compositions by Miles Davis.)
Tracks and personnel

"He Loved Him Madly"
Recorded Columbia Studio E, New York City June 19 OR 20, 1974
Miles Davis electric trumpet with Wah Wah, organ
Dave Liebman Alto flute
Pete Cosey electric guitar
Reggie Lucas electric guitar
Dominique Gaumont electric guitar
Michael Henderson bass guitar
Al Foster drums
James Mtume percussion
"Maiysha"
Recorded Columbia Studio E, New York City October 7, 1974
Sonny Fortune flute
Al Foster drums
"Honky Tonk"
Recorded Columbia Studio E, New York City May 19, 1970
Get Up with It 147
Miles Davis trumpet

Steve Grossman soprano saxophone
John McLaughlin electric guitar
Keith Jarrett electric piano
Herbie Hancock clavinet
Billy Cobham drums
Airto Moreira percussion
"Rated X"
Recorded Columbia Studio E, New York City September 6, 1972
Miles Davis organ
Cedric Lawson electric piano
Khalil Balakrishna electric sitar
Al Foster drums
Badal Roy tabla
"Calypso Frelimo"
Recorded Columbia Studio E, New York City September 17, 1973
Miles Davis electric trumpet with Wah Wah, electric piano, organ
Dave Liebman flute
John Stubblefield soprano saxophone
Al Foster drums
"Red China Blues"
Recorded Columbia Studio E, New York City March 9, 1972
Miles Davis Electric trumpet with Wah Wah
Lester Chambers Harmonica
Cornell Dupree electric guitar
Al Foster drums
Bernard Purdie drums
Wade Marcus brass arrangement
Billy Jackson rhythm arrangement
"Mtume"
Recorded Columbia Studio E, New York City October 7, 1974
Get Up with It 148
Al Foster drums
Sonny Fortune flute
"Billy Preston"
Recorded Columbia Studio E, New York City December 8, 1972
Miles Davis electric trumpet with Wah Wah
Carlos Garnett soprano saxophone
Cedric Lawson fender rhodes electric piano
Al Foster drums
Badal Roy tabla
References
[1] http:/ / www. allmusic. com/ album/ get-up-with-it-r106182/ review
[3] http:/ / www. webcitation. org/ 5uk3AT3yJ
[4] Christgau, Robert (April 7, 1975). Robert Christgau: Consumer Guide: Apr. 7, 1975 (http:/ / www. robertchristgau. com/ xg/ cg/ cgv4-75.
php). The Village Voice. Robert Christgau. Retrieved on 2011-04-02.
[6] http:/ / www. webcitation. org/ 5uk33QxlN
[7] http:/ / www. stylusmagazine. com/ articles/ on_second_thought/ miles-davis-get-up-with-it. htm
[8] (1986) Release notes (http:/ / music. hyperreal. org/ artists/ brian_eno/ onland-txt. html) for Ambient 4: On Land by Brian Eno (CD liner).
E.G. Records (EGED 20).
The Man with the Horn

The Man with the Horn
Released July 1981
Recorded June 1, 1980May 6, 1981 at Columbia Studio, New York
Genre Jazz, post-bop, fusion
Length 52:37 (LP) (CD)
Label Columbia
Producer Teo Macero
[1]
Allmusic link
Directions (Miles Davis The Man with the Star

album) Horn People
(1981) (1981) (1983)
The Man with the Horn is an album released by Miles Davis in 1981, featuring drums Al Foster, saxophonist Bill
Evans, guitarists Mike Stern and Barry Finnerty, and others. It was Davis' first new release since 1975, when he'd
gone into a reclusive retirement for six years.
Rock-oriented in nature, the music fuses 80's pop with improvisational funk and fusion styles. The album marked
Davis' return to his more traditional trumpet playing, although the title song "The Man with the Horn" features
wah-wah improvisation along with vocals.
Track listing
All tracks composed by Miles Davis; except where indicated
1. "Fat Time" - 9:56
2. "Back Seat Betty" - 11:16
3. "Shout" (Glenn Burris, Randy Hall, Robert Irving III) - 5:51
4. "Ada" - 8:12
5. "The Man With The Horn" (Hall, Irving) - 6:35
6. "Ursula" - 10:46
Personnel
Miles Davis - trumpet, arrangements
Robert Irving III - synthesizer, piano, arranger
Mike Stern - guitar
Bill Evans - soprano saxophone
Felton Crews - bass
Sammy Figueroa - percussion
Barry Finnerty - guitar
Al Foster - drums
Randy Hall - synthesizer, guitar, arranger, celeste, Moog synthesizer, lead vocals on title track, The Man With
The Horn
Marcus Miller - bass
References
Star People 151
Star People
Star People
Released 1983
Recorded August 11, 1982 - February 3, 1983
Genre Jazz Fusion
Length 58:54 (CD) (LP)
Label Columbia
Producer Teo Macero, Bob Belden
[1]
Allmusic link
The Man With The Star Decoy

Horn People (1984)
(1981) (1983)
Star People is a 1983 album recorded by Miles Davis and issued by Columbia Records. To date, Columbia has not
issued Star People on CD in North America, although it is available in North America as part of the box set Miles
Davis: The Complete Columbia Album Collection; CBS/Sony have issued the album on CD in Japan.
Star People 152
Track listing
All tracks composed by Miles Davis
1. "Come Get It" - 11:01
2. "It Gets Better" - 10:07
3. "Speak" - 8:28
4. "Star People" - 18:46
5. "U'N'I" - 5:55
6. "Star On Cicely" - 4:26
Personnel
Miles Davis - trumpet, keyboards, concept
John Scofield - electric guitar
Mike Stern - electric guitar
Bill Evans - tenor & soprano saxophone
Tom Barney - electric bass
Mino Cinelu - percussion
Al Foster - drums
Marcus Miller - electric bass
Gil Evans - arranger
Executive producer: Dr George Butler
References
Decoy 153
Decoy
Decoy
Released October 25, 1990 (US) (CD) June 1984 (US) (LP)
Recorded June 30, 1983 at A&R Studio, NY; July 7, 1983 at Thtre St. Denis, Montreal; and September 5, 10 and 11, 1983 and Record Plant
Studio, NY
Genre Jazz Fusion
Length 39:36 (CD) (LP)
Label Columbia
Producer Miles Davis
[1]
Allmusic link
Star Decoy You're Under

People (1984) Arrest
(1983) (1985)
Decoy is a 1984 album by jazz musician Miles Davis, recorded in 1983.
Track listing
1. "Decoy" (Davis, Robert Irving III) 8:33
2. "Robot 415" (Davis, Robert Irving III) 1:09
3. "Code M.D." (Robert Irving III) 5:58
4. "Freaky Deaky" (Davis) 4:34
5. "What It Is" (Davis, John Scofield) recorded live 4:31
6. "That's Right" (Davis, John Scofield) 11:12
7. "That's What Happened" (Davis, John Scofield) recorded live 3:30
Decoy 154
Personnel
Miles Davis - trumpet, synthesizer, arrangements
Bill Evans - soprano saxophone
Branford Marsalis - soprano saxophone
Robert Irving III - synthesizer, synthesizer bass & drum programming
John Scofield - guitar
Darryl "The Munch" Jones - bass
Al Foster - drums
Mino Cinelu - percussion
Production
Producer: Miles Davis
Co-producer: Robert Irving III
Associate Co-producer: Vincent Wilburn, Jr.
Executive Producer: Dr. George Butler
Engineer, Remix: Ronald F. Lorman
Assistant Engineer, Edited: Tom Swift
Mastered by Bob Ludwig at Masterdisk
Package Design: John Berg
Cover Photography: Gilles Larrain
References
You're Under Arrest

You're Under Arrest
Recorded January 26, 1984January 10, 1985 at Record Plant Studio, New York
Length 43:02
Label Columbia
Producer Miles Davis and Robert Irving III
[1]
Allmusic link
[2]
Rolling Stone (mixed) link
Decoy You're Under Tutu

(1984) Arrest (1986)
(1985)
You're Under Arrest is a 1985 album recorded by Miles Davis that saw Miles mix pop tunes with political
statements about racism, pollution and war. Among other tracks, the album featured Davis' interpretations of two
contemporary pop songs: Cyndi Lauper's "Time After Time" and Michael Jackson's "Human Nature".
During the recording sessions, Darryl Jones introduced Sting to his longtime idol Miles Davis. Sting was startled
when Davis asked him if he could speak French, and since he did, to translate the Miranda warning into French and
yell it into the microphone against a backing track.[3]
Track listing
1. "One Phone Call"/"Street Scenes" (Davis) 4:34
2. "Human Nature" (John Bettis, Steve Porcaro) 4:30
3. "Intro: MD 1"/"Something's On Your Mind"/"MD 2" (Davis, Hubert Eaves III, James "D-Train" Williams) 7:17
4. "Ms. Morrisine" (Davis, Morrisine Tynes Irving, Robert Irving III) 4:57
5. "Katia Prelude" (Davis, Irving III) 0:40
6. "Katia" (Davis, Irving III) 7:37
7. "Time After Time" (Cyndi Lauper, Rob Hyman) 3:37
8. "You're Under Arrest" (John Scofield) 6:14
9. "Medley: Jean Pierre"/"You're Under Arrest"/"Then There Were None" (Davis, Irving III, Scofield) 3:23
Personnel
Miles Davis: Trumpet, "Police Voices, Davis Voices" on track 1, Synthesizer on track 5,6
John McLaughlin: Guitar on track 4,5,6
John Scofield: Guitar on track 1,2,3,7,9
Bob Berg: Soprano Saxophone on track 1, Tenor Saxophone on track 8,9
Al Foster: Drums on track 1,7,8,9
Vince Wilburn, Jr.: Drums on track 2,3,4,5,6
Robert Irving III: Synthesizers, Celesta, Organ, Clavinet
Darryl Jones, A/K/A "The Munch:" Bass
Steve Thorton: Percussion, Spanish voice on track 1
Sting (under his real name Gordon Sumner): French policeman's voice on track 1
Marek Olko: Polish voice on track 1
James Prindiville, a.k.a. "J.R.:" Handcuffs on track 1
Production
Produced by Miles Davis and Robert Irving III.
Co-produced by Vince Wilburn, Jr.
Producer: Dr. George Butler
Engineer: Ronald F. Lorman
Mixing Engineer: Tom Swift
Mastering Engineer: Bob Ludwig at Masterdisk, New York City
Production Coordination: Jim Rose
Art Direction: Lane/Donald
Illustration: Miles Davis
Photography: Anthony Barboza
References
[2] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 177991/ review/ 6067406/ youre_under_arrest
[3] Sting (2003). Broken Music. Simon & Schuster. ISBN0-7434-5081-7.
Tutu
Tutu
Recorded February 6-March 25, 1986 in New York City and Los Angeles
Genre Funk, Jazz Fusion
Length 42:05
Label Warner Bros.
Producer Marcus Miller, Tommy LiPuma
[1]
Allmusic link
Q Magazine
You're Under Tutu Music from

Arrest (1986) Siesta
(1985) (1987)
Tutu is an album released in 1986 by trumpeter Miles Davis on Warner Bros. Records.
Originally planned as a collaboration with pop singer/songwriter Prince, Davis ultimately worked with
bassist/multi-instrumentalist Marcus Miller. Miller wrote and arranged all the songs, except "Tomaas" (co-written by
Davis), "Backyard Ritual" (by keyboardist George Duke), and "Perfect Way" (by pop group Scritti Politti). The
music is heavily inspired by mid-1980s R&B and funk, with heavy use of synthesizers, sequencers and drum
machines.
Tutu 158
Tutu was produced by Tommy LiPuma and Marcus Miller, with the exception of "Backyard Ritual," which was
co-produced by Duke and LiPuma.
The album is named in tribute to Archbishop Desmond Tutu, the first black Anglican Archbishop of Cape Town,
South Africa. The track "Full Nelson" refers to South African politician Nelson Mandela.
The cover of this album can be seen in the film The Talented Mr. Ripley, despite being set in the 1950s.
Track listing
All tracks composed by Marcus Miller except where indicated:
1. "Tutu" 5:15
2. "Tomaas" 5:38 (Davis, Marcus Miller)
3. "Portia" 6:18
4. "Splatch" 4:46
5. "Backyard Ritual" 4:49 (George Duke)
6. "Perfect Way" 4:35 (David Gamson, Green Gartside)
7. "Don't Lose Your Mind" 5:49
8. "Full Nelson" 5:06
Performers
Marcus Miller - Bass guitars, guitar, synthesizers, drum machine programming, bass clarinet, soprano sax, other
instruments.
Jason Miles - Synthesizer programming
Paulinho da Costa - Percussion on "Tutu", "Portia", "Splatch", Backyard Ritual"
[Adam Holzman - Synthesizer solo on "Splatch"
Steve Reid - Additional percussion on "Splatch"
George Duke - All except percussion, bass guitar, and trumpet on "Backyard Ritual"
Omar Hakim - Drums and percussion on "Tomaas"
Bernard Wright - Additional synthesizers on "Tomaas" and "Don't Lose Your Mind"
Micha Urbaniak - Electric violin on "Don't Lose Your Mind"
Jabali Billy Hart - drums, bongos
References
Amandla 159
Amandla
Amandla
Recorded December 1988 - early 1989
Genre Jazz Fusion
Length 43:27
Label Warner Bros.
Producer Tommy LiPuma, Marcus Miller, George Duke
[1]
Allmusic
Music from Amandla Aura

Siesta (1989) (1989)
(1987)
Amandla is an album by jazz musician Miles Davis, released in 1989. It is the third collaboration between Miles
Davis and producer/bassist Marcus Miller, after Tutu (1986) and Music From Siesta (1987), and their final album
together. The album mixes elements of the genres go-go, zouk, funk and swing jazz, combining electronic
instruments with live musicians. The composition Mr. Pastorius, featuring drummer Al Foster, is a tribute to late
jazz bassist Jaco Pastorius.
Amandla 160
Track listing
All tracks were composed by Marcus Miller, except where indicated.
1. "Catmbe" 5:35
2. "Cobra" (George Duke) 5:15
3. "Big Time" 5:40
4. "Hannibal" 5:49
5. "Jo-Jo" 4:51
6. "Amandla" 5:20
7. "Jilli" (John Bigham) 5:05
8. "Mr. Pastorius" 5:41
Personnel
Miles Davis trumpet, cover art
George Duke keyboards, synclavier, arranger
Omar Hakim drums
Steve Khan guitar
Joe Sample piano
Jean-Paul Bourelly guitar, percussion
Don Alias percussion
Foley guitar soloist
Bashiri Johnson percussion
John Bigham guitar, keyboards, drum programming, arranger
Mino Cinelu percussion
Paulinho Da Costa percussion
Joey DeFrancesco keyboards, photography
Al Foster drums
Kenny Garrett soprano & alto saxophone
Michael Landau guitar
Rick Margitza tenor saxophone
Jason Miles synthesizer, synthesizer programming
Marcus Miller bass, bass clarinet, guitar, arranger
Billy Patterson wah wah guitar
References
[1] Yanow, Scott. "Review: Amandla" (http:/ / www. allmusic. com/ album/ r104615). Allmusic. . Retrieved 16 November 2009.
Cole, George (March 16, 2005) The Last Miles: The Music of Miles Davis, 19801991. University of Michigan
Press. ISBN 0-472-11501-4
Aura 161
Aura
Aura
Released 1989
Recorded January 31February 4, 1985 at Easy Sound Studio, Copenhagen, Denmark
Genre Jazz fusion
Length 66:59
Label Columbia
Producer Palle Mikkelborg
[1]
Allmusic link
Amandla Aura Dingo

(1989) (1989) (1991)
Aura is a concept album by Miles Davis, produced by Palle Mikkelborg, released in 1989. All compositions and
arrangements are by Danish composer/trumpeter Palle Mikkelborg, who created the suite in tribute to Miles Davis
when Davis received the Lonie Sonning Music Prize in December 1984, the year Decoy was released.[2] [3] [4]
Aura 162
Background
The main theme consists of 10 notes, yielded by the letters "M-I-L-E-S-D-A-V-I-S" (see BACH motif, and
Schoenberg hexachord "EsCHBEG", and the chart at Musical notes#Accidentals). It is introduced at the beginning
over a sustained chord of these same notes. The following 9 movements of the suite represent the colours
Mikkelborg sees in Miles's aura.
The music is scored for an extended jazz big band, and the core of the band is formed by the Danish Radio's Big
Band, featuring Niels-Henning rsted Pedersen, Thomas Clausen and Marilyn Mazur[5] . Notable international
guests such as John McLaughlin and Davis' nephew Vince Wilburn are featured during the recordings.[6] They took
place in Copenhagen in 1985 at Davis' own initiative, as he had been very honored and satisfied with the suite. It was
the first time Miles Davis recorded with a big band for over 20 years. Aura, however, is not a conventional big band
jazz album. The music is perhaps best categorized as fusion jazz with a strong flavor of modern classical music, as
many of the orchestral passages reveal Mikkelborg's inspiration from composers like Olivier Messiaen and Charles
Ives.[7]
Although the album was recorded at Easy Sound Studios in Copenhagen in 1985, contractual issues delayed its
release until 1989. The album won a Grammy Award in 1990 for Best Jazz Instrumental Performance.
Track listing
All tracks composed and arranged by Palle Mikkelborg
1. "Intro" 4:48
2. "White" 6:07
3. "Yellow" 6:55
4. "Orange" 8:41
5. "Red" 6:05
6. "Green" 8:13
7. "Blue" 6:36
8. "Electric Red" 4:19
9. "Indigo" 6:06
10. "Violet" 9:04
Personnel
Trumpet: Miles Davis
Trumpets and flugelhorns: Benny Rosenfeld, Idrees Sulieman, Jens Winther, Palle Bolvig, Perry Knudsen
Trombones: Jens Engel, Ture Larsen, Vincent Nilsson
Bass trombones: Ole Kurt Jensen, Axel Windfel
Tuba: Axel Windfel
Reeds, flute: Jesper Thilo, Per Carsten, Uffe Karskov, Bent Jdig, Flemming Madsen
Saxophones and woodwinds: Bent Jdig, Flemming Madsen, Jesper Thilo, Per Carsten, Uffe Karskov
Keyboards: Kenneth Knudsen, Ole Kock Hansen, Thomas Clausen
Guitars: Bjarne Roup, John McLaughlin
Bass: Niels-Henning rsted Pedersen
Fender bass and fretless bass: Bo Stief
Drums: Vincent Wilburn jr., Lennart Gruvstedt
Electronic drums: Vince Wilburn
Percussion: Ethan Weisgaard, Marilyn Mazur
Harp: Lillian Thornquist
Aura 163
Oboe and English horn: Niels Eje

Vocals: Eva Hess-Thaysen
Additional trumpet and flugelhorn: Palle Mikkelborg
Production
Producer: Palle Mikkelborg
Engineers: Henrik Lund, Niels Erik Land
Art Direction: Stacy Drummond
Photography: Gilles Larrain
Notes
[2] A prestigious award, mostly given to classical composers and musicians; see official website (http:/ / www. sonningmusik. dk/ cms/ view/
index. asp?ipageid=221). Miles Davis was the first non-classical musician to receive the prize, and was particularly happy to receive the prize
when he learned that Igor Stravinsky was one of the earlier recipients.
[3] Prior to the concert, Miles Davis was announced to only play for the last ten minutes of the suite. He eventually played for over 40 minutes,
also playing Cyndi Lauper and Rob Hyman's "Time after Time" and his own "Jean Pierre."
[4] According to http:/ / www. allmusic. com/ album/ r106102 Decoy was released in 1983.
[5] It was during the Aura sessions that Davis became fascinated with Mazur's wide range of percussion talents, and he subsequently hired her for
his touring band.
[6] At the December 1984 concert, guitarist John Scofield then member of Davis' touring band was featured as guest.
[7] The 10-note opening theme is played freely against a dissonant background chord in a manner reminiscent of Ives' "The Unanswered
Question".
External links
thechem (25 Aug 2007, 09:17:00). "Aura - Miles Davis (http://avaxhome.ws/music/jazz/aurachem.html)" in
AvaxHome.ws.
? (2011). "Miles Davis: Aura (http://www.milesdavis.com/pt/music/aura)", MilesDavis.com.
Doo-Bop 164
Doo-Bop
Doo-Bop
Released June 30, 1992
Recorded January 19, 1991 February, 1991 at Unique Recording
Genre Jazz rap

Hip-hop
Jazz-funk
acid jazz
Length 40:02
Label Warner Bros.

26938
Producer Easy Mo Bee
[1]
Allmusic link
Dingo Doo-Bop
(1991) (1992)
Doo-Bop was jazz innovator Miles Davis' final studio album, which would have marked the beginning of the artist's
turn to hip-hop-oriented tracks. However, Davis died on September 28, 1991, before the album was completed. Only
six tunes for the album had been completed. To finish off the album, producer Easy Mo Bee was asked to take some
of the unreleased trumpet performances (stemming from what Davis called the RubberBand Session), and build
tracks that Miles 'would have loved' around the recordings. The album's posthumous songs (as stated in the liner
notes) are "High Speed Chase" and "Fantasy." A reprise of the song "Mystery" rounded out the album's nine-track
length.
The project stemmed from Davis sitting in his New York apartment in the summer with the windows open, listening
to the sound of the streets. He wanted to record an album of music that captured these sounds. In early 1991, Davis
called up his friend Russell Simmons and asked him to find some young producers who could help create this kind
of music, leading to Davis' collaboration with Easy Mo Bee. The result of this collaboration, Doo-Bop, was released
Doo-Bop 165
by Warner Bros. Records on June 30, 1992, and received mixed reviews. The album won the 1993 Grammy Award
for Best R&B Instrumental Performance
Track listing
All tracks composed by Miles Davis and Easy Mo Bee; except where indicated
Side one
1. "Mystery"
2. "The Doo Bop Song"
contains samples from "Summer Madness" by Kool and the Gang and "La Di Da Di" by Doug E. Fresh and
Slick Rick
3. "Chocolate Chip" (Davis, Easy Mo Bee, Donald Hepburn)
contains samples from "Thanks For Everything" by Pleasure and "Bumpin' on Young Street" by Young-Holt
Unlimited
4. "High Speed Chase" (Davis, Easy Mo Bee, Larry Mizell)
contains samples from "Street Lady" by Donald Byrd
Side two
1. "Blow"
contains samples from "Give It Up Or Turnit A Loose" by James Brown and "Runnin' Away" by Chocolate
Milk
2. "Sonya"
3. "Fantasy"
contains samples from "UFO" by ESG and "Love Pains" by Major Lance
4. "Duke Booty"
contains samples from "Jungle Strut" by Gene Ammons and "I'm Your Boogie Man" by KC & The Sunshine
Band
5. "Mystery (Reprise)"
References
166
Live albums
Miles Davis Quintet at Peacock Alley

Miles Davis at Peacock
Alley
Live album by Miles Davis
Released 2006
Recorded July 14 and July 21, 1956
Genre Jazz
Label Jazz Factory
Miles Davis at Peacock Alley is a 1956 album by jazz musician Miles Davis. It was recorded on July 14 and July 21,
1956 at Peacock Alley in St. Louis.
Track listing
Original CD release Miles Davis at Peacock Alley
Disc 1 (recorded July 14, 1956):
1. "Intro" (0:41)
2. "Ah-Leu-Cha" 5:53
3. "A Foggy Day" 5:19
4. "All of You" 6:35
5. "Woody n You" 5:13
6. "Walkin" 7:27
Disc 2 (recorded July 21, 1956):
1. "Two Bass Hit" 5:16
2. "Well You Neednt" 7:39
3. "Billy Boy" 4:23
4. "All of You" 11:03
5. "Airegin" 6:07
6. "Newk #2/Theme" 7:01
7. "The Theme" 1:17
Miles Davis Quintet at Peacock Alley 167
Personnel
Miles Davis trumpet
Red Garland piano
Paul Chambers bass
Amsterdam Concert 168
Amsterdam Concert
Amsterdam Concert
Live album by Miles Davis Quintet
Released 2005
Recorded 1957
Genre Jazz
Length 58:53
Label Lone Hill Jazz (2005)
Amsterdam Concert is a rare live Miles Davis recording from 1957.

This album, one of the most least-known recordings of Miles Davis, was recorded at the Concertgebouw in
Amsterdam on December 8, 1957, a couple of days after the recording of the movie soundtrack Ascenseur pour
l'chafaud. On this concert, Miles didn't play with his regular quintet, but with the same line-up he used for the
recording of Ascenseur pour l'chafaud. It features Barney Wilen on tenor saxophone, Ren Urtreger on piano,
Pierre Michelot on bass and Kenny Clarke on drums.
Track listing
1. "Woody 'n' You" (Dizzy Gillespie) - 5:07
2. "Bags' Groove" (Milt Jackson) - 7:17
3. "What's New" (Bob Haggart) - 3:41
4. "But Not for Me" (George Gershwin) - 6:52
5. "A Night in Tunisia" (Gillespie)- 7:30
6. "Four" (Miles Davis)- 4:33
7. "Walkin'" (R. Carpenter)- 6:48
8. "Well You Needn't" (Thelonious Monk)- 5:36
9. "'Round About Midnight" (Monk)- 5:37
10. "Lady Bird" (Tadd Dameron)- 5:50
Personnel
Barney Wilen - Tenor Saxophone
Ren Urtreger - Piano
Pierre Michelot - Bass
Kenny Clarke - Drums
Miles Davis at Newport 1958

Miles Davis at Newport 1958
Released 1964
Recorded Newport Jazz Festival, Newport, Rhode Island, July 3, 1958
Genre Jazz
Length 40:20
Label Columbia
Producer Teo Macero, Bob Elden and Michael Cuscuna
[1]
Allmusic link
At Newport 1958 is a 1964 live album by jazz musician Miles Davis.
Track listing
1. Introduction By Willis Conover - 2:16
2. "Ah-leu-cha" (Charlie Parker) - 5:53
3. "Straight, No Chaser" (Thelonious Monk) - 8:48
4. "Fran-Dance" (Miles Davis) - 7:14
5. "Two Bass Hit" (John Lewis, Dizzy Gillespie) - 4:11
6. "Bye Bye Blackbird" (Mort Dixon, Ray Henderson) - 9:11
7. "The Theme" (Davis) - 2:49
tracks 2-5 originally issued on Miles and Monk at Newport. tracks 6 and 7 originally issued on Newport Jazz Festival
Live. John Coltrane appeared courtesy of Prestige Records.
Personnel
Miles Davis trumpet
Cannonball Adderley alto saxophone
Bill Evans piano
Paul Chambers bass
Jimmy Cobb drums
References
In Europe 171
In Europe
In Europe
Released 1964
Recorded July 27, 1963 at Festival Mondial, du Jazz Antibes, France
Genre Jazz
Label Sony BMG

R 106147
[1]
Allmusic link
Miles & Monk at In Live at the 1963 Monterey Jazz

Newport Europe Festival
(1963) (1964) (1964)
In Europe is an album by Miles Davis, released in 1964.
Track listing
1. "Autumn Leaves"
2. "Milestones"
3. "I Thought About You" (Bonus track on the CD not on the original vinyl LP.)
4. "Joshua"
5. "All of You"
6. "Walking"
A spoken introduction by Andre Francis precedes these.
In Europe 172
Musicians
Miles Davis trumpet
George Coleman tenor sax
Tony Williams drums
Ron Carter bass.
References
My Funny Valentine
My Funny Valentine
Released May 1965
Recorded February 12, 1964 at The Philharmonic Hall of Lincoln Center, New York City, NY
Genre [1]
Jazz
Length 62:33
Label Columbia
CL 2306(mono LP)
CS 2306(stereo LP)
Producer Teo Macero
[2]
Allmusic link
Miles in My Funny Four &

Europe Valentine More
(1964) (1964) (1964)
My Funny Valentine: Miles Davis in Concert is a 1965 live album by Miles Davis. It was recorded at a concert at
the Philharmonic Hall of Lincoln Center, New York City, NY, on February 12, 1964.
The concert was part of a series of benefits staged at the recently-built Philharmonic Hall (now known as the Avery
Fisher Hall), co-sponsored by the NAACP, the Congress of Racial Equality and the Student Nonviolent Coordinating
Committee. Davis's set that night was ostensibly in support of voter registration in Mississippi and Louisiana, but he
also mentioned in a Melody Maker interview that one of the concerts was in memory of John F. Kennedy, who had
been assassinated the previous year. Kennedy's death had struck at the hopes of many in the Civil Rights movement,
a cause dear to Miles, who had expressed his admiration for the President in 1962: "I like the Kennedy brothers;
they're swinging people."[3]
Two albums were assembled from the concert recording. The up-tempo pieces were issued as Four & More, while
My Funny Valentine consists of the slow and medium-tempo numbers. Davis biographer Ian Carr notes that the
former were "taken too fast and played scrappily", whilst the Funny Valentine pieces "were played with more depth
and brilliance than Miles had achieved before."[3] He goes on to laud the album as "one of the very greatest
recordings of a live concert The playing throughout the album is inspired, and Miles in particular reaches
tremendous heights. Anyone who wanted to get a vivid idea of the trumpeter's development over the previous eight
years or so should compare [earlier recordings of "My Funny Valentine" and "Stella by Starlight"] with the versions
on this 1964 live recording."[4]
The hurried nature of the faster pieces that night has been partially attributed to the sheer importance of the event
weighing on Davis's young rhythm section, who were playing their biggest date yet. Tensions were only worsened
by their anger on finding out they would not be paid for the performance. Pianist Herbie Hancock, twenty-three
years old at the time, later described the psychological pressure on the quintet:
"That was my first time playing at the Philharmonic Hall and that was, like, a big deal, because the new
Carnegie Hall was the Philharmonic Hall. Just from the prestige standpoint I really wanted to play good
the whole band really wanted to play good because that was the whole band's first time playing there
although Miles had played at Carnegie Hall before but it was really a special concert. Only the
New York Philharmonic plays there and I tell you something it was really funny when we
walked away from that concert, we were all dejected and disappointed. We thought we had really
bombed but then we listened to the record - it sounded fantastic!"[5]
Track listing
1. "My Funny Valentine" (Richard Rodgers, Lorenz Hart) 15:03
2. "All of You" (Cole Porter) 14:57
3. "Stella by Starlight" (Ned Washington, Victor Young) 13:01
4. "All Blues" (Miles Davis) 8:57
5. "I Thought About You" (Johnny Mercer, Jimmy Van Heusen) 11:14
Personnel
Miles Davis Trumpet
George Coleman Tenor Saxophone
Ron Carter Double Bass
Tony Williams Drums
Production
Original LP
Producer Teo Macero
Recording Engineer Fred Plaut
Cover Photography Giorgio Molinari
Liner Notes Nat Hentoff
Reissue CD(COL 519503 2, 2005)

Reissue Producer Michael Cuscuna and Bob Belden
Remixed and Mastered Mark Wilder at Sony Music Studios, New York, NY.
Project Director Seth Rothstein
Legacy A&R Steve Berkowitz
A&R Coordination Stacey Boyle

Reissue Art Direction Howard Fritzson
Reissue Design Randall Martin
Photography Giorgio Molinari, Francis Wolff, Chuck Stewart, Vernon Smith
Packaging Manager John Conroy
Liner Note Ron Carter
Sources
Carr, Ian (1998). Miles Davis: The Definitive Biography (Revised edition ed.). HarperCollins.
ISBN0-00-6530265.
References
[1] "Allmusic - Four & More" (http:/ / www. allmusic. com/ album/ r106156). Allmusic. . Retrieved 2009-01-11.
[3] Carr, Miles Davis, pp 194
Four & More 176
Four & More

Four & More
Released January 17, 1966
Recorded February 12, 1964 at The Philharmonic Hall of Lincoln Center, New York City, NY
Genre [1]
Jazz
Length 53:59
Label Columbia
CL 2453(mono LP)
CS 2453(stereo LP)
Producer Teo Macero
[2]
Allmusic link
My Funny Four & Miles in

Valentine More Tokyo
(1964) (1964) (1964)
Four & More Recorded live In Concert is a 1964 live album by Miles Davis. It was recorded at a concert at the
Philharmonic Hall of Lincoln Center, New York City, NY, on February 12, 1964. Two albums were assembled from
the concert recording. The up-tempo pieces were issued on this album, while My Funny Valentine consists of the
slow and medium-tempo numbers.
Four & More 177
Track listing
Original LP Track listing
Side 1
1. "So What" (Miles Davis) - 9:10
2. "Walkin'" (Richard Henry Carpenter) - 8:06
3. "Joshua/Go-Go (Theme and Announcement)" (Victor Feldman) - 11:14
Side 2
1. "Four" (Miles Davis) - 6:18
2. "Seven Steps To Heaven" (Victor Feldman, Miles Davis) - 7:51
3. "There Is No Greater Love / Go-Go (Theme and Announcement)" (Isham Jones, Marty Symes) - 11:23

1. "So What" (Miles Davis) - 9:10
2. "Walkin'" (Richard Henry Carpenter) - 8:07
3. "Joshua" (Victor Feldman) - 9:32
4. "Go-Go (Theme and Announcement)" (Miles Davis) - 1:38
5. "Four" (Miles Davis) - 6:19
6. "Seven Steps To Heaven" (Victor Feldman, Miles Davis) - 7:44
7. "There Is No Greater Love" (Isham Jones, Marty Symes) - 10:02
8. "Go-Go (Theme and Announcement)" (Miles Davis) - 1:21
Personnel
Miles Davis Trumpet
George Coleman Tenor Saxophone
Tony Williams Drums
Production
Original LP
Producer Teo Macero
Recording Engineer Fred Plaut
Cover Photography Jim Marshall
Liner Notes Billy Taylor, Mort Fega

Reissue Producer Michael Cuscuna and Bob Belden
Remixed and Mastered Mark Wilder at Sony Music Studios, New York, NY.
Project Director Seth Rothstein
Legacy A&R Steve Berkowitz
A&R Coordination Stacey Boyle
Reissue Art Direction Howard Fritzson
Four & More 178
Reissue Design Randall Martin

Photography Jim Marshall, Jan Perrson, Francis Wolff, Chuck Stewart, Vernon Smith
Packaging Manager John Conroy
Liner Note John Ephland
References
[1] "Allmusic - Four & More" (http:/ / www. allmusic. com/ album/ r106156). Allmusic. . Retrieved 2009-01-11.
Miles in Tokyo 179
Miles in Tokyo
Miles in Tokyo
Released June 6, 1969 in Japan
Recorded July 14, 1964 at Kohseinenkin Hall, Shinjuku, Tokyo, Japan
Genre [1]
Jazz
Length 51:14(LP) 53:59(CD)
Label CBS/Sony
SONX 60064-R
Producer Kiyoshi Itoh
[2]
Allmusic link
Four & Miles in Miles in

More Tokyo Berlin
(1964) (1964) (1964)
Alternative Cover
Miles in Tokyo 180
1970s Reissue
Miles in Tokyo is a live album recorded on July 14, 1964[3] by the Miles Davis Quintet at the Kohseinenkin Hall,
Shinjuku, Tokyo, Japan. It was released in the United States on Compact Disc in 2005 and the first recorded in Japan
of Miles Davis.
Track listing
Original LP track List
Side A (23:03)
1. "Introduction by Teruo Isono"
Side B (28:11)
1. "So What" (Miles Davis) 7:50
2. "Walkin'" (Richard H. Carpenter) 9:11
4. "Theme and Announcement"
Reissue CD(COL 519507 2, 2005) track List[4]

1. "Introduction by Teruo Isono" - 1:10
7. "Go-Go [Theme] + closing announcement" (Miles Davis) - (1:19)
Miles in Tokyo 181
Personnel
Miles Davis Trumpet
Sam Rivers Tenor saxophone
Tony Williams Drums
Production
Original LP
Recording Producer - Kiyoshi Itoh
Recording Engineer - Kenichi Handa, Nippon Broadcasting System, Inc.
Cover Photography - Akiyoshi Miyashita
Album Desigin - Mituru Yamada, Kiyoshi Itoh

Reissue Producer - Michael Cuscuna and Bob Belden
Remastered - Mark Wilder at Sony Music Studios, New York, NY.
Project Director - Seth Rothstein
Legacy A&R - Steve Berkowitz
A&R Coordination - Stacey Boyle
Reissue Art Direction - Howard Fritzson
Reissue Design - Randall Martin
Photography - Akiyoshi Miyashita
Packaging Manager - Norm Elrod
Liner Note - Takao Ogawa
References
[1] "Allmusic - Miles in Tokyo" (http:/ / www. allmusic. com/ album/ r534859). Allmusic. . Retrieved 2009-01-10.
[3] Losin, Peter. "Miles Ahead Session Details" (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=640714). Miles Ahead. Peter Losin. .
[4] "Discogs.com - Miles in Tokyo" (http:/ / www. discogs. com/ Miles-Davis-Miles-In-Tokyo/ release/ 1912457). Discogs.com. .
Miles in Berlin 182
Miles in Berlin
Miles in Berlin
Released February 1, 1965 in Germany
Recorded September 25, 1964 at Philharmonie Hall, Berlin, Germany
Genre Jazz
Length 57:23
Label CBS Records

SBPG 62976(Nono LP)/S 62967 (Stereo LP)
Producer Rudy Wolpert
[1]
Allmusic link
Miles in Miles in E.S.P.

Tokyo Berlin (1965)
(1964) (1964)
Miles in Berlin is an album recorded on September 25, 1964 by the Miles Davis Quintet at the Philharmonie Hall,
Berlin, Germany. It was released in the United States on Compact Disc in 2005 and marks the first recorded work of
what is commonly known as Miles Davis' Second Great Quintet.
Miles in Berlin 183
Track listing
Original LP track List
Side 1
1. "Milestones" (Miles Davis) 7:56
2. "Autumn Leaves" (Joseph Kosma, Jacques Prvert, Johnny Mercer) 12:46
Side 2
3. "Theme" (Miles Davis) 1:48
Reissue CD(COL 519507 2, 2005) track List

1. "Milestones" (Miles Davis) 8:57
2. "Autumn Leaves" (Joseph Kosma, Jacques Prvert, Johnny Mercer) 12:37
4. "Stella by Starlight" (Victor Young, Ned Washington) - 12:53
6. "Go-Go [Theme] and Announcement" (Miles Davis) 1:44
Personnel
Miles Davis Trumpet
Wayne Shorter Tenor saxophone
Tony Williams Drums
Production
Original Producer - Rudy Wolpert
Recording Produced - SFB RACIO, Berlin
Cover Photography - Rudy Wolpert
Reissue Producer - Michael Cuscuna and Bob Belden
Remastered - Mark Wilder at Sony Music Studios, New York, NY.
References
The Complete Live at the Plugged Nickel 1965

The Complete Live at the Plugged Nickel 1965
Recorded December 2223, 1965
Genre Jazz
Length 7:32:03
Highlights disc 73:23
Label Legacy
Producer Michael Cuscuna
[1]
Allmusic link
Doo-Bop The Complete Live at The Plugged Nickel Highlights from The Plugged Nickel
The Complete Live at the Plugged Nickel 1965 is a compact disc box set of the Miles Davis Quintet, recorded on
December 22 and 23, 1965, and released on Legacy Records in July of 1995, catalogue CK 66955. It comprises
recordings of seven performance sets over the two nights by the second great Davis quintet at the now-defunct
Plugged Nickel nightclub in Chicago. A single-disc sampler, Highlights from the Plugged Nickel, catalogue CK
67377, was released by Legacy on November 14, 1995, and was reissued on February 1, 2008. The box set,
however, is currently out of print. The original recordings were produced by Teo Macero.
Background
Although the quintet of had already issued the E.S.P. album consisting of original compositions by members of the
band, the repertoire at the club included none of those tunes except Davis' "Agitation." Instead the band relied upon
standards or items that had been in Davis's live repertoire for several years. Research for a Wayne Shorter biography
revealed that drummer Tony Williams, during the plane ride to Chicago, challenged the rest of the band to play
anti-jazz, in essence sabotaging the gig by playing whatever one wished rather than the standard versions.[2] The
band kept to the challenge, and the tunes were then radically altered for the Plugged Nickel performances.
Content
Each disc of the box set of eight discs presents one complete set, with the exception of the second set on the first
night of December 22, which is split onto two discs, with the discs in a slimline case and internally numbered
accordingly as 2a and 2b. The reasoning for this on the part of Sony is unclear, since the total timing of the music on
discs 2a and 2b is under the 80-minute single disc limit. The box set has been awarded a rare crown by the Penguin
Guide to Jazz.
Some tracks were available on Miles Davis compilations, but the full recordings were not released until the
appearance of this box set. A two-disc edition, At Plugged Nickel, Chicago, is no. 25 (discs 30 and 31) in the box set
Miles Davis: The Complete Columbia Album Collection[3] . The ten tracks are the same as those that together made
up the earlier At Plugged Nickel, Chicago, Vol. 1 and At Plugged Nickel, Chicago, Vol. 2 releases, but some
durations are longer. For full details of this and all other releases see the Miles Ahead [4] discography.
Track listing
An asterisk (*) indicates previously unissued in complete form.
Disc one
First Set December 22, 1965 (67:51)
1. "If I Were A Bell" Frank Loesser 16:42
2. "Stella by Starlight" Ned Washington, Victor Young 12:49
3. "Walkin'" Richard Carpenter* 15:51
4. "I Fall In Love Too Easily" Jule Styne, Sammy Cahn 11:43
5. "The Theme" Miles Davis 10:19
Disc two-a
Second Set December 22, 1965 (42:41)
1. "My Funny Valentine" Richard Rodgers, Lorenz Hart 16:33
2. "Four" Miles Davis* 15:05
3. "When I Fall in Love" Edward Heyman, Victor Young 10:44
Disc two-b
1. "Agitation" Miles Davis 13:13
2. "'Round Midnight" Bernie Hanighen, Cootie Williams, Thelonious Monk 8:42
3. "Milestones" Miles Davis* 14:04
Disc three
Third Set December 22, 1965 (69:19)
1. "All of You" Cole Porter 14:38
2. "Oleo" Sonny Rollins 6:05
3. "I Fall in Love Too Easily" Jule Styne, Sammy Cahn 11:53
4. "No Blues" Miles Davis* 17:35
5. "I Thought About You" Johnny Mercer, Jimmy Van Heusen 11:03
Disc four
First Set December 23, 1965 (52:51)
1. "If I Were A Bell" Frank Loesser 13:29
3. "Walkin'" Richard Carpenter 11:01
4. "I Fall in Love Too Easily" Jule Styne, Sammy Cahn* 12:07
Disc five
1. "All of You" Cole Porter 10:39
2. "Agitation" Miles Davis 10:48
3. "My Funny Valentine" Richard Rodgers, Lorenz Hart 13:52
4. "On Green Dolphin Street" Ned Washington, Bronisaw Kaper* 12:48
5. "So What" Miles Davis 13:36

Disc six
Third Set December 23, 1965 (69:44)
1. "When I Fall in Love" Edward Heyman, Victor Young 13:39
2. "Milestones" Miles Davis* 11:49
3. "Autumn Leaves" Jacques Prevert, Johnny Mercer, Joseph Kosma 11:56
4. "I Fall in Love Too Easily" Jule Styne, Sammy Cahn 11:43
5. "No Blues" Miles Davis 20:06
Disc seven
Fourth Set December 23, 1965 (46:55)
2. "All Blues" Miles Davis 12:18
3. "Yesterdays" Jerome Kern, Otto Harbach* 15:00
Highlights single disc track listing
No. Title Writer(s) Date & Set Length
1. "Milestones" Miles Davis 12/23 Third 11:49
2. "Yesterdays" Kern, Harbach 12/23 Fourth 15:00
3. "So What" Miles Davis 12/23 Second 13:36
4. "Stella by Starlight" Washington, Young 12/23 First 13:09
5. "Walkin'" Richard Carpenter 12/23 First 11:01
6. "'Round Midnight" Hanighen, Williams, Monk 12/22 Second 8:42
Personnel
Miles Davis trumpet
Ron Carter bass
Tony Williams drums
References
[2] NPR All Things Considered retrieved 17 April 2011 (http:/ / www. npr. org/ player/ v2/ mediaPlayer. html?action=1& t=1& islist=false&
id=1579820& m=1579821)
[3] The Complete Columbia Album Collection retrieved December 2010 (http:/ / www. plosin. com/ milesahead/ Disco. aspx?id=CCAC)
[4] http:/ / www. plosin. com/ milesahead/ Disco. aspx
Live at the Fillmore East, March 7, 1970: It's

About that Time
Live at the Fillmore East, March 7, 1970: It's
About That Time
Recorded Fillmore East, New York City, March 7, 1970
Genre [1]
Jazz-rock, jazz-funk
Length 90:13
Producer Teo Macero
[2]
Allmusic link
[3]
Robert Christgau link
Down Beat July 2001
Penguin Guide to Jazz ( )8th Ed.
[3]
Live at the Fillmore East March 7, 1970: It's About that Time is a live double album by Miles Davis. Sony Music
Entertainment released the album in 2001, although the concert had previously circulated as a bootleg recording.[4]
The March 7, 1970 concert consisted of two sets, each of which is presented on one compact disc.
Live at the Fillmore East records the final concert with saxophonist Wayne Shorter in Davis' band.[5] [6] At the same
time, it is one of the first recordings (along with the 1969 Miles Festiva De Juan Pins) to document Davis' use of
electric instruments in a concert setting.[6] Davis performed on the nights of March 6 and 7 at Fillmore East;
Columbia Records recorded both nights' concerts, but as of 2008 has only released the March 7 show.[5] A number of
the compositions performed during the concert appear on Bitches Brew, which had not yet been released at the time
of this concert.[7]
These performances were as support to Neil Young and Crazy Horse. Young's performance has also been released as
a live album.
Track listing
All compositions by Miles Davis unless otherwise indicated.
CD 1 (first set)
1. "Directions" (Joe Zawinul) 8:44
2. "Spanish Key" 11:16
3. "Masqualero" (Wayne Shorter) 9:57
4. "It's About That Time/The Theme" 14:03
CD 2 (second set)
2. "Miles Runs the Voodoo Down" 7:40
3. "Bitches Brew" 8:02
4. "Spanish Key" 8:33
5. "It's About That Time/Willie Nelson" 11:42
Personnel
Miles Davis: Trumpet
Wayne Shorter: Soprano and Tenor saxophone
Chick Corea: Fender Rhodes Electric Piano
Dave Holland: Acoustic and Electric Bass
Jack DeJohnette: Drums
Airto Moreira: Percussion, Cuica
Production
Original Recordings Produced by Teo Macero
Concert Produced by Bill Graham
Produced for Release by Bob Belden
Recorded by Stan Tonkel
Mixed by Richard King
Mastered by Mark Wilder, Seth Foster
Art Direction: Howard Fritzson
Design: Alice Butts
Cover Photo: Amalie R. Rothschild
References
[1] Allmusic - Live at the Fillmore East, March 7, 1970: It's About That Time (http:/ / www. allmusic. com/ album/ r534859)
[3] http:/ / www. pitchforkmedia. com/ article/ record_review/ 16893-live-at-the-fillmore-east-march-7-1970-its-about-that-time
[4] Cook, Richard; Brian Morton (2006) [1992]. "Miles Davis". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8th ed. ed.).
New York: Penguin. p.328. ISBN0-141-02327-9.
[5] Losin, Peter. "Miles Ahead Session Details" (http:/ / www. plosin. com/ milesAhead/ Sessions. aspx?s=700307). Miles Ahead. Peter Losin. .
[6] Isaacs, James (2001). "A Series of Firsts and a Very Final Last". Album notes for Live at the Fillmore East March 7, 1970: It's About that
Time by Miles Davis. New York: Columbia Records/Sony Music Entertainment.
[7] Discogs.com - Bitches Brew (http:/ / www. discogs. com/ release/ 37006) Discogs. Retrieved on 2008-08-30
Black Beauty: Live at the Fillmore West

Black Beauty: Miles Davis at Fillmore West
Released 1973
Recorded April 10, 1970 at the Fillmore West, San Francisco
Genre [1] [2]

Jazz fusion, jazz-funk
Length 79:20
Label CBS/Sony
Columbia/Legacy (reissue)
Producer Teo Macero
[2]
Allmusic
[3]
Robert Christgau (A-)
[4]
Down Beat
[5]
Entertainment Weekly (A-)
[6]
[4]
Musician (favorable)
[7]
Spin (favorable)
[8]
The Village Voice (favorable)
In Concert: Live at Philharmonic Black Beauty: Live at the Fillmore Pangaea

Hall West (1975)
(1972) (1973)
Black Beauty: Miles Davis at Fillmore West is a live album by American jazz recording artist Miles Davis, recorded
on April 10, 1970 at the Fillmore West in San Francisco. It was first released in 1973 on vinyl LP in Japan,[9] and
reissued in 1997 on a double-CD format in the United States.
Track listing
Vinyl LP
Record one
1. "Black Beauty - Part I [medley]" 23:46
2. "Black Beauty - Part II [medley]" 18:22
Record two
1. "Black Beauty - Part III [medley]" 17:15
2. "Black Beauty - Part IV [medley]" 21:28
1997 CD Reissue
Disc one
1. "Directions" (Joe Zawinul) - 10:46
2. "Miles Runs the Voodoo Down" (Miles Davis) - 12:22
3. "Willie Nelson" (Miles Davis) - 6:23
4. "I Fall in Love Too Easily" (Sammy Cahn, Jule Styne) - 1:35
5. "Sanctuary" (Wayne Shorter) - 4:01
6. "It's About That Time" (Miles Davis) - 9:59
Disc two
1. "Bitches Brew" (Miles Davis) - 12:53
2. "Masqualero" (Wayne Shorter) - 9:07
3. "Spanish Key/The Theme" (Miles Davis) - 12:14
Personnel
Musicians
Steve Grossman: Tenor saxophone, Soprano Sax
Chick Corea: Fender Rhodes electric piano
Dave Holland: Electric Bass
Production
Producer: Teo Macero
Recording Engineer: Stan Tonkel
Original Cover Design: Shuichi Yoshida , Teruhisa Tajima
Cover Photography: Tadayuki Naitoh
Produced for Reissue by Bob Belden
Digitally Mastered by Tom Ruff, Sony Music Studios, NYC.
References
[1] Frank Alkyer, Ed Enright, Jason Koransky (2007). The Miles Davis Reader. Hal Leonard Corporation. p.339. ISBN9781423430766.
[2] Jurek, Thom (November 1, 2002). Review: Black Beauty: Live at the Fillmore West (http:/ / www. allmusic. com/ album/
black-beauty-miles-davis-at-fillmore-west-r106181/ review). Allmusic. Retrieved on 2011-02-05.
[3] Christgau, Robert (October 1997). " Consumer Guide: Black Beauty: Live at the Fillmore West (http:/ / www. robertchristgau. com/ get_artist.
php?name=Miles+ Davis)". The Village Voice. Retrieved on 2011-02-05.
[4] Product Notes Black Beauty: Miles Davis at Fillmore West (http:/ / www. webcitation. org/ 5wHa4yOXQ). Muze. Retrieved on
2011-02-05.
[6] Terrell, Tom (October 1997). Review: Black Beauty: Live at the Fillmore West (http:/ / jazztimes. com/ articles/
9767-black-beauty-miles-davis-at-fillmore-west-miles-davis). JazzTimes. Retrieved on 2011-02-05.
[7] Davis, Erik (August 1997). " Freakin' the Funk Revisiting Miles Davis's '70s Visions (http:/ / books. google. com/
[8] Christgau, Robert (October 14, 1997). " Miles Davis's '70s: The Excitement! The Terror! (http:/ / www. robertchristgau. com/ xg/ rock/
davis-97. php)". The Village Voice. Retrieved on 2011-02-05.
[9] (1973) Album notes for Black Beauty - Miles Davis At Fillmore West by Miles Davis [Gatefold sleeve]. Japan: CBS/Sony.
External links
Black Beauty: Live at the Fillmore West (http://www.discogs.com/
Miles-Davis-Black-Beauty-Miles-Davis-At-Fillmore-West/master/62310) at Discogs
Miles Ahead: Discography (http://www.plosin.com/milesAhead/Disco.aspx?id=Beauty-CK)
Miles Davis at Fillmore: Live at the Fillmore East

At Fillmore
Recorded June 17 June 20, 1970

at the Fillmore East, New York
Genre Jazz fusion
Length 101:26
Producer Teo Macero
[1]
Allmusic link
[2]
Entertainment Weekly (B-)
1969 Miles Festiva De Juan Miles Davis at Fillmore: Live at the Fillmore Jazz at the
Pins East Plaza
(1969) (1970) (1973)
At Fillmore, nowadays, for disambiguation purposes, also known as Miles Davis at Fillmore: Live at the Fillmore
East is a 1970 live album by jazz trumpeter Miles Davis and band, recorded at the Fillmore East, New York City on
four consecutive days, June 17 through June 20, 1970, originally released as a double vinyl LP.
The live performances were heavily edited by producer Teo Macero, and the results were named after the day of the
week the band performed. The album is particularly noteworthy for the extraordinarily precocious soprano sax work
of the then 19 year old Steve Grossman. For the 1997 Columbia CD reissue, the compositions and composers were
correctly identified and indexed. However, the songs remain the heavily-edited versions of the original LP release,
not the complete unedited performances.
The original LP release had liner notes written by Morgan Ames, Popular Music Editor of Hi Fidelity magazine, and
Mort Goode. The 1997 Columbia reissue featured additional liner notes by Miles Davis Septet drummer Jack
DeJohnette.
Track listing
Vinyl Release
Record 1
1. "Wednesday Miles" (17 June 1970) 24:14
2. "Thursday Miles" (18 June 1970) 26:55
Record 2
1. "Friday Miles" (19 June 1970) 27:57
2. "Saturday Miles" (20 June 1970) 22:20
1997 CD Reissue
Disc One (50:53)
Wednesday Miles (17 June 1970)
1. "Directions" (Joe Zawinul) (2:29)
2. "Bitches Brew" (0:53)
3. "The Mask" (1:35)
4. "It's About That Time" (8:12)
5. "Bitches Brew/The Theme" (10:55)
Thursday Miles (18 June 1970)
6. "Directions" (Joe Zawinul) (5:35)
7. "The Mask" (9:50)
Disc Two (50:13)
Friday Miles (19 June 1970)
2. "I Fall in Love Too Easily" (Jule Styne, Sammy Cahn) (2:00)
3. "Sanctuary" (Wayne Shorter) (3:44)
4. "Bitches Brew/The Theme" (13:09)
Saturday Miles (20 June 1970)
6. "I Fall in Love Too Easily" (Jule Styne, Sammy Cahn) (0:54)
7. "Sanctuary" (Wayne Shorter) (2:49)
8. "Bitches Brew" (6:57)
9. "Willie Nelson/The Theme" (7:57)
All compositions by Miles Davis unless otherwise noted.
Personnel
Steve Grossman: Tenor saxophone, Soprano Sax
Chick Corea: Fender Rhodes electric piano
Keith Jarrett: Electronic organ
Dave Holland: Acoustic Bass, Electric Bass
Production
Recording Engineer: Stan Tonkel
Mixed by Russ Payne
Original Cover Design: Nick Fasciano
Cover Photography: Jim Marshall
Original Liner Photography: Don Hunstein
Notes
References
Miles Davis at Fillmore: Live at the Fillmore East (http://www.allmusic.com/artist/r137412) at Allmusic
The Cellar Door Sessions

Released December 27, 2005
Recorded December 1619, 1970, The Cellar Door, Georgetown, Washington D.C., USA
Genre Jazz Fusion, Funk
Length 349:58
Producer Teo Macero
[1]
Allmusic link
[2]
[3]
Rolling Stone link
The Complete Jack Johnson The Cellar Door Sessions The Complete On the Corner
Sessions 1970 Sessions
(1970) (1970) (1972-75)
The Cellar Door Sessions 1970 is a boxed live album released in 2005. It was recorded on several 1970 concerts at
the Washington-based nightclub The Cellar Door.
Significant portions of Davis' Live-Evil were edited and compiled from the music that appears on discs 5 and 6.
It is one of few recordings Keith Jarrett playing electric piano. Live-Evil and this collection are the only recordings of
John McLaughlin live performances with Miles Davis.[4]
Track listing
Disc 1
Wednesday, December 16 (1st set)
2. "Yesternow" (Miles Davis) 17:05
3. "What I Say" (Davis) 13:12
4. "Improvisation #1" (Keith Jarrett) 4:29
5. "Inamorata" (Davis) 13:59
Disc 2
Thursday, December 17 (2nd set)
1. "What I Say" 13:33
2. "Honky Tonk" (Davis) 19:59
3. "It's About That Time" (Davis) 14:41
4. "Improvisation #2" (Jarrett) 6:39
5. "Inamorata" 14:33
6. "Sanctuary" (Wayne Shorter) 0:30
Disc 3
Friday, December 18 (2nd set)
1. "Directions" 13:11
2. "Honky Tonk" 18:31
3. "What I Say" 15:09
Disc 4
Friday, December 18 (3rd set)
3. "What I Say" 14:12
4. "Sanctuary" 2:03
Disc 5
Saturday, December 19 (2nd set)
3. "What I Say" 21:31
Disc 6
Saturday, December 19 (3rd set)
4. "Sanctuary" 2:12
5. "It's About That Time" 7:49
Personnel
Gary Bartz: soprano sax and alto sax
John McLaughlin: electric guitar (CDs 5-6 only)
Keith Jarrett: Fender Rhodes, Fender electric organ
Airto Moreira: percussion, cuica (CDs 2-3-4-5-6)
Notes
[2] http:/ / www. pitchforkmedia. com/ article/ record_review/ 16897-the-cellar-door-sessions-1970
[3] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 9309457/ review/ 9438335/ the_cellar_door_sessions_1970
[4] Paul Tingen (2005). "THE CELLAR DOOR RECORDINGS" (http:/ / www. miles-beyond. com/ cellardoor. htm). miles-beyond.com. .
In Concert: Live at Philharmonic Hall

In Concert: Live at Philharmonic Hall
Released 1973
Recorded September 29, 1972 at Philharmonic Hall, New York
Length 46:02 (CD 1), 38:25 (CD 2)
Producer Teo Macero
[1]
Allmusic link
[2]
Down Beat link
[3]
Entertainment Weekly (A) link
[4]
JazzTimes (favorable) link
[5]
[6]
Spin (favorable) link
Jazz at the In Concert: Live at Philharmonic Pangaea

Plaza Hall (1975)
(1973) (1973)
In Concert: Live at Philharmonic Hall is a double album recorded by American jazz musician Miles Davis. It was
recorded live at Philharmonic Hall, New York, New York on September 29, 1972, and originally released without
track or personnel listings. The two discs have since been given the individual titles Foot Fooler and Slickaphonics.
According to Allmusic editor Steve Huey, "melody isn't the point of this music; it's about power, rhythm, and the
sum energy of the collective, and of Davis' electric jazz-rock albums, In Concert does one of the most mind-bending
jobs of living up to those ideals".[7] JazzTimes writer Tom Terrell commented that the album "predicts hip hop
('Rated X''s bassline='White Lines'), Ornette's Prime Time ('Black Satin') and Talking Heads ('Ife')".[8]
Track Listing
Disc 1: "FOOT FOOLER" IN CONCERT, PARTS 1 & 2
Track Song Title Length
1. Rated X 12:16
2. Honky Tonk 9:18
3. Theme from Jack Johnson 10:12
4. Black Satin/The Theme 14:14
Disc 2: "SLICKAPHONICS" IN CONCERT, PARTS 3 & 4:
Track Song Title Length
1. Ife 27:53
2. Right Off/The Theme 10:30
Performers
Miles Davis - electric trumpet with wah-wah
Carlos Garnett - soprano & tenor saxophone
Cedric Lawson - electric piano, synthesizer
Reggie Lucas - electric guitar
Khalil Balakrishna - electric sitar
Michael Henderson - electric bass
Al Foster - drums
Badal Roy - tablas
James Mtume - percussion
References
[2] http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1088636/ a/ In+ Concert%3A+ Live+ At+ Philharmonic+ Hall. htm
[3] http:/ / www. ew. com/ ew/ article/ 0,,288884,00. html
[4] http:/ / jazztimes. com/ articles/ 9767-black-beauty-miles-davis-at-fillmore-west-miles-davis
[5] http:/ / www. rollingstone. com/ music/ albumreviews/ in-concert-live-at-philharmonic-hall-19730621
[6] http:/ / books. google. com/ books?id=_uWz-QtMkI4C& pg=PA117#v=onepage& q& f=false
[7] Huey, Steve (November 1, 2002). Review: In Concert: Live at Philharmonic Hall (http:/ / www. allmusic. com/ album/
in-concert-live-at-philharmonic-hall-r106174/ review). Allmusic. Retrieved on 2011-02-26.
[8] Terrell, Tom (October 1997). Review: In Concert: Live at Philharmonic Hall (http:/ / jazztimes. com/ articles/
Jazz at the Plaza

Jazz at the Plaza
Recorded September 9, 1958 at the Persian Room, Plaza Hotel, New York City
Genre Jazz
Length 41:02
Label Columbia
Producer Teo Macero
Miles Davis at Fillmore: Live at the Fillmore Jazz at the In Concert: Live at Philharmonic
East Plaza Hall
(1970) (1973) (1973)
Jazz at the Plaza is a live album by Miles Davis and his famed sextet that would go on to record Kind of Blue six
months later. The concert was recorded in 1958 but not released in full until 1973, however, the three last songs
appeared (in reverse order) on 1958 Miles.
The musicians did not know they were being recorded at the time. The event was a party thrown by Columbia to
celebrate the healthy state of their jazz division. Pianist Bill Evans later stated the musicians who were still alive at
the time of release were offered payment at the 1958 scale.[1]
Track listing
1. "If I Were A Bell" 8:31
2. "Oleo" 10:39
3. "My Funny Valentine" 10:19
4. "Straight, No Chaser 10:56 including "The Theme" [unlisted]
Personnel
Miles Davis trumpet
John Coltrane tenor sax
Julian "Cannonball" Adderley alto sax
Bill Evans piano
Paul Chambers bass
Jimmy Cobb drums
References
[1] Pettinger, Peter (1998). Bill Evans: How My Heart Sings (http:/ / books. google. com/ books?id=Z7Ema0hvga8C& printsec=frontcover&
source=gbs_v2_summary_r& cad=0#v=onepage& q=& f=false). Yale University Press. pp.60. ISBN978-0-3000-7193-1. .
Dark Magus 204
Dark Magus
Dark Magus
Released 1977 (Japan)
Recorded March 30, 1974

Carnegie Hall, New York City, New York, U.S.
Genre Fusion, jazz funk
Length 100:58
Producer Teo Macero
[1]
Allmusic
[2]
Robert Christgau (A)
[3]
Down Beat
[4]
Entertainment Weekly (A)
[5]
[6]
Pitchfork Media (9.5/10)
[7]
[8]
Rolling Stone
[9]
Spin (favorable)
[10]
The Village Voice (favorable)
Agharta Dark Miles! Miles!

(1976) Magus Miles!
(1977) (1981)
Dark Magus is a live album by jazz artist Miles Davis recorded at Carnegie Hall in New York City on March 30,
1974. The album was released in 1977 in Japan as a double-LP by Columbia Records, and released in 1997 in the
Dark Magus 205
United States in a double-CD format. Unlike its predecessor concert recordings released on Pangaea and Agharta, it
was remastered and released on November 22, 2002, as part of the Davis comprehensive reissue series by Legacy
Records. In 2001, Q magazine named it as one of the 50 Heaviest Albums of All Time.[11]
In the linear notes of the CD reissue Dave Liebman confirms that he never heard the titles that were given to the
songs by the label before it's release. He refers to the "Moja Pts. 1 & 2" as "Turnaround" (although it's actually the
song "Turnaroundphrase") and "Tune in 5", respectively. "Wili Pts. 1 & 2" is mentioned as "Funk" and "For Dave"
respectively. "Tatu Pt. 2" and "Nne Pt. 1" are actually versions of "Calypso Frelimo" and "Ife" according to Liebman
(although the latter bears very little resemblance to the studio recording from Big Fun).
Track listing
Side A
1. "Moja, Pt. 1" 12:28
2. "Moja, Pt. 2" 12:40
Side B
1. "Wili, Pt. 1" 14:20
2. "Wili, Pt. 2" 10:44
Side C
1. "Tatu, Pt. 1" 18:47
2. "Tatu, Pt. 2" 6:29
Side D
1. "Nne, Pt. 1 " 15:19
2. "Nne, Pt. 2 " 10:11
Personnel
Miles Davis organ, electric trumpet with Wah Wah
Dave Liebman flute, soprano saxophone, tenor saxophone
Azar Lawrence tenor saxophone
Pete Cosey electric guitar, Synthesizer
Michael Henderson electric bass
Al Foster drums
Teo Macero producer
Dark Magus 206
References
[1] Jurek, Thom (November 1, 2002). Review: Dark Magus (http:/ / www. allmusic. com/ album/ dark-magus-r206252/ review). Allmusic.
[2] Christgau, Robert (October 1997). " Consumer Guide: Dark Magus (http:/ / www. robertchristgau. com/ get_artist. php?name=Miles+
Davis)". The Village Voice. Retrieved on 2011-02-05.
[3] Product Notes Dark Magus (http:/ / www. webcitation. org/ 5wHbZG2XL). Muze. Retrieved on 2011-02-05.
[5] Terrell, Tom (October 1997). Review: Dark Magus (http:/ / jazztimes. com/ articles/
[6] Josephes, Jason (1997). " Review: Dark Magus (http:/ / www. webcitation. org/ 5wHbGLfeI)". Pitchfork Media. Archvied from the original
(http:/ / web. archive. org/ web/ 20010215230658/ www. pitchforkmedia. com/ record-reviews/ d/ davis_miles/ dark-magus. shtml) on
2011-02-05.
[7] Cook, Richard (2004). "Review: Dark Magus". The Penguin Guide to Jazz: 424425.
[8] Hoard, Christian (November 2, 2004). " Review: Dark Magus (http:/ / books. google. com/ books?id=lRgtYCC6OUwC&
pg=PA215#v=onepage& q=& f=false)". Rolling Stone: 215, 218.
[9] Davis, Erik (August 1997). " Freakin' the Funk Revisiting Miles Davis's '70s Visions (http:/ / books. google. com/
[10] Christgau, Robert (October 14, 1997). " Miles Davis's '70s: The Excitement! The Terror! (http:/ / www. robertchristgau. com/ xg/ rock/
davis-97. php)". The Village Voice. Retrieved on 2011-02-05.
[11] A Selection Of Lists From Q Magazine - Page 2 (http:/ / www. rocklistmusic. co. uk/ qlistspage2. html#50 Heaviest)
Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991. Watson-Guptill. p.155.
ISBN 0823083462
Agharta 207
Agharta
Agharta
Released 1976
Recorded February 1, 1975 at Osaka Festival Hall, Japan
Length 97:34
Producer Teo Macero
[1]
Allmusic link
[3]
Robert Christgau (A) link
[2]
Mojo (favorable) link
Pangaea Agharta Dark

(1975) (1976) Magus
(1977)
Agharta
Agharta 208
Japanese edition design by Tadanori Yokoo.
Agharta is an album recorded by jazz trumpeter Miles Davis in 1975. Both Agharta and Pangaea were recorded on
the same day in Osaka, Japan. The Agharta concert took place during an afternoon matine, whereas Pangaea was
recorded in the evening.
On all versions of this release songs 1 and 2 on the second disc are mixed up, so the second discs first track is really
the one labeled "Theme From Jack Johnson" (which is really a full performance of "Right Off" and ends with a
version of the theme from "So What", a track from Davis's 1959 LP Kind of Blue). So track 2 is really the one
labeled "Interlude" and is a medley of "Ife" and "For Dave".
The master tapes for both Pangaea and Agharta were quite heavily remixed when prepared for release on CD. This
led to a lot more details and separation of instruments being heard on the original LP releases, as well as an overall
richer and fuller sound. This has somewhat been corrected with the Japanese DSD sound remaster that was released
on CD in 2006.
Track listing
Disc One
1. "Prelude (Part One)" 26:01
2. "Prelude (Part Two)" 6:33
3. "Maiysha" 12:20
Disc Two
1. "Theme from Jack Johnson" 26:50
2. "Interlude" 25:16
All compositions by Miles Davis.
Agharta 209
Personnel
Sonny Fortune soprano saxophone, alto saxophone, flute
Pete Cosey electric guitar, Synthesizer, percussion
Al Foster drums
Mtume conga, percussion, water drum, rhythm box
Production
Director - Keiichi Nakamura
Engineer - Tamoo Suzuki
Assistant Engineer - Mitsuru Kasai, Takaaki Amano
Alternative versions
The Japanese CD pressing indexes both "Prelude"s into one track, and the entire second disc is also indexed as one
60-minute track. [3] This is also the index used on the 2009 CD release included in the Miles Davis: The Complete
Columbia Album Collection box set, along with the original Japanese cover.
References
[2] http:/ / www. webcitation. org/ 5pvTfVSUW
[3] http:/ / www. discogs. com/ release/ 1046026
Pangaea 210
Pangaea
Pangaea
Released 1975
Recorded February 1, 1975 at Osaka Festival Hall, Japan
Genre Fusion, Jazz Funk
Length 88:38
Producer Teo Macero
[1]
Allmusic link
In Concert: Live at Philharmonic Pangaea Agharta

Hall (1975) (1976)
(1973)
Pangaea is a double album recorded by jazz trumpeter Miles Davis in 1975. Both Pangaea and Agharta were
recorded on the same day in Osaka, Japan. The Agharta concert took place during an afternoon matinee, whereas
Pangaea was recorded in the evening.
The 1975 LP Japan Edition by CBS include a 7 page booklet with photos and text (in japanese).
Pangaea 211
Track listing
Disc One
1. "Zimbabwe" 41:48
Disc Two
1. "Gondwana" 46:50
Personnel
Sonny Fortune soprano saxophone, alto saxophone, flute
Pete Cosey electric guitar, Synthesizer, percussion
Al Foster drums
James "Mtume" Forman conga, percussion, water drum, rhythm box
Production
Director - Keiichi Nakamura
Engineer - Tamoo Suzuki
Assistant Engineer - Mitsuru Kasai, Takaaki Amano
Package Coordination - Tony Tiller
References
Miles! Miles! Miles!

Released 1993
Recorded 1981
Genre Jazz Fusion
Label Sony Japan
Dark Miles! Miles! We Want

Magus Miles! Miles
(1977) (1981) (1982)
Miles! Miles! Miles! is an album by Miles Davis, released exclusively in Japan in 1993. It contains recordings from
the October 4, 1981 concert in Tokyo, including the original version of the track "Jean-Pierre", elsewhere edited by
producer Teo Macero to remove the first twenty five seconds of introduction, consisting primarily of a guitar riff and
tumbling percussion sounds.[1]
Track listing
Disc One
1. "Back Seat Betty"
2. "Ursula"
3. "My Man's Gone Now" (DuBose Heyward, George Gershwin)
Disc Two
1. "Aida"
2. "Fat Time"
3. "Jean Pierre"
Personnel
Miles Davis trumpet
Marcus Miller fender bass
Bill Evans soprano sax
Mike Stern guitar
Al Foster drums
References
[1] Cole, George (2007). The Last Miles: the Music of Miles Davis, 1980-1991. Ann Arbor: University of Michigan Press. pp.p.107.
ISBN0472032607.
We Want Miles 214
We Want Miles
We Want Miles
Released 1982
Recorded June 27, July 5 & October 4, 1981
Genre Jazz Fusion, Jazz Funk
Length 76:45
Label CBS
Producer Teo Macero
[1]
Allmusic link
[2]
Rolling Stone link
Miles! Miles! We Want Munich

Miles! Miles Concert
(1981) (1982) (1988)
We Want Miles is double album recorded by jazz trumpeter Miles Davis in 1981, produced by Teo Macero and
released by Columbia Records in 1982. The album features one of the first live appearances by Davis in more than
five years, at the Boston Club KIX, on June 27, 1981. Other tracks are recorded at Avery Fisher Hall, New York,
on July 5, and in Tokyo, October 4 of that year. First released on CD in Japan as a two-disc set (CBS/Sony CSCS
5131/5132), subsequent CD releases fit the music onto one disc. Columbia Records have never relesaed it on CD in
North America. This album won the 1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist.
We Want Miles 215
Track listing
Side One
1. "Jean Pierre" 10:30
2. "Back Seat Betty" 8:10
Side Two
"Fast Track" 15:10

2. "Jean Pierre" 4:00
Side Three
"My Mans Gone Now" (DuBose Heyward, George Gershwin) 20:12
Side Four
"KIX" 18:45
Personnel
Miles Davis Trumpet
Bill Evans Soprano saxophone
Mike Stern Electric guitar
Marcus Miller Bass guitar
Al Foster Drums
Mino Cinelu Percussion
Production
Series Producer: Henri Renaud
Executive Producer: Dr. George Butler
Control Engineers: Bud Grahm, Don Puluse
Recording Engineers: Hank Altman, Ted Brosnan
Remix Engineers: Don Puluse, Ted Brosnan
Cover Photography: Yasuhisa Yoneda
Inside Photography: Bruce Talamon
References
[2] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 146927/ review/ 5941739/ we_want_miles
The Complete Miles Davis at Montreux

The Complete Miles Davis at Montreux
Released 2002
Recorded 1973-1991 Montreux Jazz Festival, Lake Geneva, Switzerland
Genre Jazz-Fusion
Producer Claude Nobs
[1]
Allmusic link
The Cellar Door The Complete Miles Davis at

Sessions Montreux'
(1970) (2002)
The Complete Miles Davis at Montreux is a 2002 box set of 20 CDs comprising 11 appearances by Miles Davis at
the Montreux Jazz Festival between 1973 and 1991.
Track listing
Disc 1
1. Miles in Montreux 73, part 1 [Turnaroundphrase] Jul 8, 1973 16:35
2. Miles in Montreux 73, part 2 [Tune in 5] Jul 8, 1973 19:53
Disc 2
1. Ife (Miles Davis) Jul 8, 1973 27:23
2. Calypso Frelimo (M. Davis) Jul 8, 1973 16:00
3. Miles in Montreux 73, part 3 [Unknown 730620] Jul 8, 1973 14:51
Disc 3
1. Speak/That's What Happened (M. Davis/John Scofield) Jul 8, 1984 11:43
2. New Blues (M. Davis) Jul 8, 1984 8:41
3. What It Is (M. Davis-J. Scofield) Jul 8, 1984 8:05
4. It Gets Better (M. Davis) Jul 8, 1984 13:46
5. Something on Your Mind (Hubert Eaves III-James Williams) Jul 8, 1984 11:10
Disc 4
1. Time After Time (Cyndi Lauper-Rob Hyman) Jul 8, 1984 13:56
2. Hopscotch (Marcus Miller) Jul 8, 1984 7:11
3. Bass Solo Jul 8, 1984 1:26
4. Jean Pierre (M. Davis) Jul 8, 1984 10:07
5. Lake Geneva (M. Davis) Jul 8, 1984 4:20
6. Something on Your Mind (H. Eaves III-J. Williams) [Reprise] Jul 8, 1984 7:31
Disc 5
1. Speak/That's What Happened (M. Davis-J. Scofield) Jul 8, 1984 8:29
3. What It Is (M. Davis-J. Scofield) Jul 8, 1984 9:21
4. It Gets Better (M. Davis) Jul 8, 1984 13:30
5. Something on Your Mind (H. Eaves III-J. Williams) Jul 8, 1984 13:00
Disc 6
1. Time After Time (C. Lauper-R. Hyman) Jul 8, 1984 12:08
2. Hopscotch (M. Miller) Jul 8, 1984 8:09
3. Bass Solo Jul 8, 1984 1:53
5. Lake Geneva (M. Davis) Jul 8, 1984 3:16
6. Something on Your Mind (H. Eaves III-J. Williams) [Reprise] Jul 8, 1984 10:45
7. Code M.D. (Robert Irving III) Jul 8, 1984 6:51
Disc 7
1. One Phone Call/Street Scenes/That's What Happened (M. Davis/J. Scofield) Jul 14, 1985 13:27
3. Maze (M. Davis-Erin Davis-Randy Hall-Zane Giles) Jul 14, 1985 9:55
4. Human Nature (Steve Porcaro-John Bettis) Jul 14, 1985 5:31
5. MD 1/Something on Your Mind/MD 2 (M. Davis/H. Eaves III-J. Williams) Jul 14, 1985 13:24
7. Ms. Morrisine (Morrisine Tynes Irving-M. Davis-R. Irving III) Jul 14, 1985 10:36
Disc 8
1. Code M.D. (R. Irving III) Jul 14, 1985 8:01
2. Pacific Express (John McLaughlin) Jul 14, 1985 14:46
3. Katia (R. Irving III) Jul 14, 1985 7:07
5. You're Under Arrest (J. Scofield) Jul 14, 1985 6:38
6. Jean Pierre/You're Under Arrest/Then There Were None (M. Davis/J. Scofield) Jul 14, 1985 9:04
7. Decoy (R. Irving III) Jul 14, 1985 4:13
Disc 9
3. Maze (M. Davis-E. Davis-R. Hall-Z. Giles) Jul 14, 1985 10:05
4. Human Nature (S. Porcaro-J. Bettis) Jul 14, 1985 7:37
5. MD 1/Something on Your Mind/MD 2 (M. Davis/H. Eaves III-J. Williams) Jul 14, 1985 13:24
Disc 10
1. Ms. Morrisine (M. Tynes Irving-M. Davis-R. Irving III) Jul 14, 1985 10:12
2. Code M.D. (R. Irving III) Jul 14, 1985 8:10
3. Pacific Express (J. McLaughlin) Jul 14, 1985 15:25
4. Katia (R. Irving III) Jul 14, 1985 8:15
6. You're Under Arrest (J. Scofield) Jul 14, 1985 7:16
7. Jean Pierre/You're Under Arrest/Then There Were None (M. Davis/J. Scofield) Jul 14, 1985 8:43
8. Decoy (R. Irving III) Jul 14, 1985 5:04
Disc 11
3. Maze (M. Davis-E. Davis-R. Hall-Z. Giles) Jul 17, 1986 10:20
5. Wrinkle (M. Davis-E. Davis-R. Hall-Z. Giles-Wayne Linsey) Jul 17, 1986 10:55
6. Tutu (M. Miller) Jul 17, 1986 6:53
7. Splatch (M. Miller) Jul 17, 1986 11:16
Disc 12
2. Al Jarreau (M. Davis) Jul 17, 1986 6:23
3. Carnival Time (Neil Larsen) Jul 17, 1986 4:27
4. Burn (R. Irving III-R. Hall) Jul 17, 1986 8:26
5. Portia (M. Miller) Jul 17, 1986 7:22
Disc 13
1. In a Silent Way (Joe Zawinul) Jul 7, 1988 1:04
2. Intruder (M. Davis) Jul 7, 1988 4:54
4. Perfect Way (Green Gartside-David Gamson) Jul 7, 1988 4:50
5. The Senate/Me and You (Joseph "Foley" McCreary) Jul 7, 1988 9:20
7. Wrinkle (M. Davis-E. Davis-R. Hall-Z. Giles-W. Linsey) Jul 7, 1988 8:15
8. Tutu (M. Miller) Jul 7, 1988 11:05
Disc 14
1. Movie Star (Prince Rogers Nelson) Jul 7, 1988 4:27
2. Splatch (M. Miller) Jul 7, 1988 9:22
3. Heavy Metal Prelude (M. Davis) Jul 7, 1988 5:23
4. Heavy Metal (M. Davis) Jul 7, 1988 6:25
5. Don't Stop Me Now (Steve Lukather-David Paitch) Jul 7, 1988 7:19
6. Carnival Time (N. Larsen) Jul 7, 1988 13:19

8. Tomaas (M. Davis-M. Miller) Jul 7, 1988 11:08
Disc 15
1. Intruder (M. Davis) Jul 21, 1989 5:47
3. Perfect Way (G. Gartside-D. Gamson) Jul 21, 1989 6:35
4. Hannibal (M. Miller) Jul 21, 1989 10:43
6. Mr. Pastorius (M. Miller) Jul 21, 1989 4:31
7. Tutu (M. Miller) Jul 21, 1989 13:29
Disc 16
1. Jilli (John Bigham) Jul 21, 1989 5:56
3. Jo Jo (M. Miller) Jul 21, 1989 5:35
4. Amandla (M. Davis) Jul 21, 1989 5:16
5. The Senate/Me and You (J. McCreary) Jul 21, 1989 11:47
7. Portia (M. Miller) Jul 21, 1989 7:47
Disc 17
4. The Senate/Me and You (J. McCreary) Jul 20, 1990 10:51
5. In the Night (Larry Blackmon-Merv De Peyer) Jul 20, 1990 3:15
Disc 18
2. Tutu (M. Miller) Jul 20, 1990 13:31
3. Don't Stop Me Now (S. Lukather-D. Paitch) Jul 20, 1990 11:22
4. Carnival Time (N. Larsen) Jul 20, 1990 13:38
Disc 19
1. Introduction [Claude Nobs, Quincy Jones] Jul 8, 1991 1:22
2. Boplicity (M. Davis-Gil Evans) Jul 8, 1991 3:40
3. Springsville (John Carisi) [with introduction] Jul 8, 1991 3:42
4. The Maids of Cadiz (Leo Delibes) Jul 8, 1991 3:36
5. The Duke (Dave Brubeck) Jul 8, 1991 4:00
6. My Ship (Kurt Weill-Ira Gershwin) Jul 8, 1991 4:10
7. Miles Ahead (M. Davis-G. Evans) Jul 8, 1991 3:38

8. Blues for Pablo (G. Evans) Jul 8, 1991 6:00
9. Introduction [Quincy Jones] Jul 8, 1991 0:27
10. Gone (G. Evans) Jul 8, 1991 4:10
11. Gone, Gone, Gone (Dubose Heyward-George Gershwin-I. Gershwin) Jul 8, 1991 1:47
12. Summertime (G. Gershwin-I. Gershwin-D. Heyward) Jul 8, 1991 2:54
13. Here Come de Honey Man (D. Heyward-G. Gershwin-I. Gershwin) Jul 8, 1991 3:40
14. The Pan Piper (G. Evans) Jul 8, 1991 1:40
15. Solea (G. Evans) Jul 8, 1991 11:37
Disc 20
External links
Discography entry at Miles Ahead: A Miles Davis Website [2]
References
[2] http:/ / www. plosin. com/ milesAhead/ Disco. aspx?id=MontreuxBox
Live Around the World 221
Live Around the World

Live Around The World
Recorded 1988-1991
Genre Jazz
Length 70:48
Label Warner Bros.
Producer Miles Davis (live), Gordon Meltzer (executive)
Track listing
1. "In A Silent Way" (Joe Zawinul) 1:49
2. "Intruder" (Miles Davis) 4:52
3. "New Blues" (Davis) 5:35
4. Human Nature (Porcaro, Bettis) 12:48
5. "Mr. Pastorius" (Marcus Miller) 3:32
6. "Amandla" (Miller) 5:52
7. "Wrinkle" (Davis) 7:17
8. "Tutu" (Miller) 8:53
9. "Full Nelson" (Miller) 2:48
10. Time After Time (Rob Hyman/Cindy Lauper) 9:56
11. "Hannibal" (Miller) 7:22
Personnel
Miles Davis trumpet
Kenny Garrett alto saxophone
Foley lead bass
Adam Holzman, Joey DeFrancesco, Robert Irving III, Kei Akagi, John Beasley, Deron Johnson keyboards
Benny Rietveld, Richard Patterson bass
Marilyn Mazur, Munyungo Jackson percussion
Erin Davis electronic percussion
Ricky Wellman drums
Marcus Miller fender bass
Bill Evans soprano sax
Mike Stern guitar
Al Foster drums
222
Compilation albums
Miles Davis Volume 1

Compilation album by Miles Davis
Released 1955
Recorded May 9, 1952 at WOR Studios in New York City,

March 6, 1954 at Van Gelder Studio, Hackensack, New Jersey
Genre Jazz
Length 57:28
Label Blue Note
[1]
Allmusic link
Miles Davis with Miles Davis Volume Miles Davis Volume

Horns 1 2
(1956) (1955) (1955)
Alternative Cover
Miles Davis Volume 1 is an album which compiles tracks recorded by Miles Davis for Blue Note Records on 9 May
1952 and 6 March 1954. The music has been issued on a variety of formats over the years - the tracklisting below is
that of the 2001 CD reissue containing all the music recorded at the two sessions. A session in 1953 is compiled on
Miles Davis Volume 2.
The album was identified by Scott Yanow in his Allmusic essay "Hard Bop" as one of the 17 Essential Hard Bop
Recordings.[2]
Track listing
Track Song Title Time

1. Dear Old Stockholm 4:10
2. Chance It 3:00
3. Donna 3:10
4. Woody 'n' You 3:22
5. Yesterdays 3:42
6. How Deep is the Ocean? 4:36
7. Chance It (alternate take) 2:51
8. Donna (alternate take) 3:08
9. Woody 'n' You (alternate take) 3:19
10. Take Off 3:37
11. Lazy Susan 4:00
12. The Leap 4:28
13. Well, You Needn't 5:20
14. Weirdo 4:42
15. It Never Entered My Mind 4:02
Songs 1-9 were recorded in 1952, while 10-15 were recorded in 1954.
Musicians
1952
Miles Davis (trumpet)
J. J. Johnson (trombone)
Jackie McLean (alto saxophone)
Gil Coggins (piano)
Oscar Pettiford (bass)
Kenny Clarke (drums)
1954
Horace Silver (piano)
Percy Heath (bass)
Art Blakey (drums)
References
[2] Yanow, S. Hard Bop (http:/ / www. allmusic. com/ explore/ essay/ ) accessed December 7, 2009

Released 1955
Recorded April 20, 1953 at WOR Studios in New York City
Genre Jazz
Length 39:07
Label Blue Note
[1]
Allmusic link
Miles Davis Volume Miles Davis Volume Blue

1 2 Haze
(1955) (1955) (1955)
Alternative Cover
Miles Davis Volume 2 is an album which compiles tracks recorded for Blue Note Records on 20 April 1953 by
Miles Davis. Tracks 1-6 were originally released on a 10" LP, the tracklisting below is that of the 2001 reissue
containing all the music recorded at the session. Davis's other recordings for Blue Note (in 1952 and 1954) are
collected on Miles Davis Volume 1.
Track listing
Track Song Title Time

1. Kelo 3:20
2. Enigma 3:25
3. Ray's Idea 3:46
4. Tempus Fugit 3:53
5. C.T.A. 3:36
6. I Waited For You 3:31
7. Kelo (Alternate Take) 3:27
8. Enigma (Alternate Take) 3:27
9. Ray's Idea (Alternate Take) 3:53
10. Tempus Fugit (Alternate Take) 4:01
11. C.T.A. (Alternate Take) 3:18
Musicians
J. J. Johnson (trombone)
Jimmy Heath (tenor saxophone)
Gil Coggins (piano)
Percy Heath (bass)
Art Blakey (drums)
References
Birth of the Cool

Birth of the Cool
Released 1957
Recorded January 21 and April 22, 1949, March 9,

1950
Genre Cool jazz
Length 35:29
Label Capitol
Producer Walter Rivers, Pete Rugolo
[1]
Allmusic
[2]
All About Jazz (favorable)
[3]
MusicHound
[4]
Q
[3]
[5]
Rolling Stone
[3]
Virgin Encyclopedia
'Round About Birth of the Miles

Midnight Cool Ahead
(1957) (1957) (1957)
Miles Davis compilation chronology

Miles Davis Volume Birth of the Basic

2 Cool Miles
(1955) (1957) (1973)
Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in 1957 on Capitol
Records.[6] [7] It compiles twelve songs recorded by Davis's nonet for the label over the course of three sessions
during 1949 and 1950.[8] Featuring unusual instrumentation and several notable musicians, the music consisted of
innovative arrangements strongly inspired by classical music, and marked a major development in post-bebop jazz.
As the title implies, these recordings are considered seminal in the history of cool jazz. The majority of the
recordings on the record are under three minutes. The album has since been reissued many times. Blue Note recently
released a version using the original tapes from Rudy Van Gelder, who produced the album.
Background and recording history

Gil Evans contributed some charts to the sessions, acting as an advisor to a group of musicians who had met in his
small New York apartment above a Chinese laundry. Evans had gained a reputation in the jazz world for his
orchestration of bebop tunes for the Claude Thornhill orchestra, including Davis's "Donna Lee". Davis was seeking
an alternative to the small groups typical of contemporary jazz (he was a member of Charlie Parker's quintet at the
time), and in 1947 started to organize the loose circle of musicians into a working group. Rehearsals and experiments
took place over the next year.
The nonet performed live only brieflyinitially for a two week engagement in late August and early September
1948 at the Royal Roost Club in New York. Billed as the "Miles Davis Band", the group at this time consisted of
Davis (trumpet), Mike Zwerin (trombone), Bill Barber (tuba), Junior Collins (French horn), Gerry Mulligan
(baritone saxophone), Lee Konitz (alto saxophone), John Lewis (piano), Al McKibbon (bass), and Max Roach
(drums). Former Dizzy Gillespie vocalist Kenny Hagood was featured on a few songs. Unusually, the arrangers
(Mulligan, Evans and Lewis) were given credit. The group returned to the Royal Roost later in September, and
recordings from 4 September and 18 September 1948, were included on the 1998 Complete Birth of the Cool CD,
alongside the later studio sides. There was a further short residency the following year at the Clique Club, but the
nonet was not a financial success, and disbanded. In 1949 Davis had a contract with Capitol to record twelve sides
for 78 rpm singles. He thus reformed the nonet to record three sessions in January and April 1949 and March 1950.
Davis, Konitz, Mulligan and Barber were the only musicians who played on all three sessions, though the
instrumental lineup was constant (excepting the omission of piano on a few songs). Originally released as singles,
eight of the tracks were compiled in 1953 on a 10" vinyl album in Capitol's Classics in Jazz series, and Birth of the
Cool was released in 1957 as a 12" LP that added the remaining three unreleased instrumental pieces ("Move",
"Budo" and "Boplicity").[8] The final track, "Darn That Dream" (the only song with vocals, by Hagood), was
included with the other eleven on a 1971 LP.[8] Subsequent releases have been based on this last arrangement.
Musically, the songs on Birth of the Cool stand as an important reaction to the prominent bebop form in
contemporary jazz. Though the break can be exaggeratedCharlie Parker participated in the discussions Evans led,
most of the musicians were drawn from the bebop scene, and many continued to play in that style for years
afterwardit inspired a whole school of jazz musicians, particularly in California in what is usually referred to as
"West Coast jazz" or the "cool school".
Cleo Henry
Cleo Henry was the pen name used by Davis as the composer credit on the track "Boplicity", which was in fact
written by Davis and arranged by Gil Evans. Cleota Henry Davis was Davis's mother. No other composition was
ever written under this pen name by Davis.
Track listing
Arrangements by the composer unless otherwise noted.
1. "Move" (Denzil Best, arranged by John Lewis) 2:32
2. "Jeru" (Gerry Mulligan) 3:10
3. "Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) 3:17
4. "Venus de Milo" (Mulligan) 3:10
5. "Budo" (Miles Davis, Bud Powell, arranged by Lewis) 2:32
6. "Deception" (Davis, arranged by Mulligan) 2:45
7. "Godchild" (George Wallington, arranged by Mulligan) 3:07
8. "Boplicity" (Cleo Henry, i.e. Davis and Gil Evans, arranged by Evans) 2:59
9. "Rocker" (Mulligan) 3:03
10. "Israel" (Johnny Carisi) 2:15
11. "Rouge" (John Lewis) 3:13
1971 bonus track
1. "Darn That Dream" (Eddie DeLange, James Van Heusen, arranged by Mulligan) 3:26
Recording dates
Tracks 1, 2, 5, 7 21 January 1949
Tracks 4, 8, 10, 11 22 April 1949
Tracks 3, 6, 9, 12 9 March 1950
Recorded at WOR Studios, New York, New York.
The Complete Birth of the Cool (The Studio Sessions)

1. "Move" (Denzil Best, arranged by John Lewis) 2:32
2. "Jeru" (Gerry Mulligan) 3:10
3. "Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) 3:17
4. "Venus de Milo" (Mulligan) 3:10
5. "Budo" (Miles Davis, Bud Powell, arranged by Lewis) 2:32
6. "Deception" (Davis, arranged by Mulligan) 2:45
7. "Godchild" (George Wallington, arranged by Mulligan) 3:07
8. "Boplicity" (Cleo Henry, i.e. Davis and Gil Evans, arranged by Evans) 2:59
9. "Rocker" (Mulligan) 3:03
10. "Israel" (Johnny Carisi) 2:15
11. "Rouge" (John Lewis) 3:13
12. "Darn That Dream" (Eddie DeLange, James Van Heusen, arranged by Mulligan) 3:26
Recording dates
Tracks 1, 2, 5, 7 21 January 1949
Tracks 4, 8, 10, 11 22 April 1949
Tracks 3, 6, 9, 12 9 March 1950
Recorded at WOR Studios, New York, New York.
The Complete Birth of the Cool (The Live Sessions)

1. "Birth of the Cool Theme" (Gil Evans) - 0:19 - (arranged by G.Evans)
2. "Symphony Sid announces the band"
3. "Move" (Denzil Best) - 3:40
4. "Why Do I love You" (DeSylva, Gershwin, Gershwin) - 3:41 - (arranged by J.Lewis)
5. "Godchild" (George Wallington) - 5:15
6. "Symphony Sid introduction" - 0:27
7. "S'il Vous Plait" (John Lewis) - (arranged by J.Lewis)
8. "Moon Dreams" (Chummy MacGregor, Johnny Mercer) - 5:06
9. "Budo (Hallucinations)" (Bud Powell, Miles Davis) - 1:25
10. "Darn That Dream" (Eddie DeLange, James Van Heusen) - 4:25
11. "Move" (Denzil Best) - 4:48
12. "Moon Dreams" (Chummy MacGregor, Johnny Mercer) - 3:46
13. "Budo (Hallucinations)" (Bud Powell, Miles Davis) - 4:23
Recording dates
Tracks 1-9 recorded September 4, 1948, tracks 10-13 il September 18, 1948, Live at Royal Roost in New York.
Personnel
Miles Davis trumpet (all)
Kai Winding trombone (January 1949)
J. J. Johnson trombone (April 1949, March 1950)
Junior Collins French horn (January 1949)
Sandy Siegelstein French horn (April 1949)
Gunther Schuller French horn (March 1950)
Bill Barber tuba (all)
Lee Konitz alto saxophone (all)
Gerry Mulligan baritone saxophone (all)
Al Haig piano (January 1949)
John Lewis piano (April 1949, March 1950)
Joe Shulman bass (January 1949)
Nelson Boyd bass (April 1949)
Al McKibbon bass (March 1950)
Max Roach drums (January 1949, March 1950)
Kenny Clarke drums (April 1949)
Kenny Hagood vocal ("Darn That Dream" only)
The Complete Birth Of The Cool (The Live Sessions)
Mike Zwerin - trombone

Junior Collins - French horn
Bill Barber - tuba
Lee Konitz - alto saxophone
Gerry Mulligan - baritone saxophone
John Lewis piano
Al McKibbon bass
Max Roach drums
Kenny Hagood vocal (only Why Do I Love You and Darn That Dream)
Notes
[1] Erlewine, Stephen Thomas (November 1, 2001). Review: Birth of the Cool (http:/ / www. allmusic. com/ album/ birth-of-the-cool-r104727/
review). Allmusic. Retrieved on 2011-01-02.
[2] Fortuna, Michael (July 1, 2001). Review: Birth of the Cool (http:/ / www. allaboutjazz. com/ php/ article. php?id=8285). All About Jazz.
[3] Acclaimed Music - Classics in Jazz/Birth of the Cool (http:/ / www. acclaimedmusic. net/ Current/ A1788. htm). AcclaimedMusic. Retrieved
on 2011-01-02.
[4] Product Notes Birth of the Cool (http:/ / www. webcitation. org/ 5vRWpbspe). Muze. Retrieved on 2011-01-02.
[5] Hoard, Christian (November 1, 2004). " Review: Miles Smiles (http:/ / books. google. com/ books?id=t9eocwUfoSoC& pg=PA214&
dq=#v=onepage& q& f=false)". Rolling Stone: 214, 217.
[6] Smith, Chris (2009). 101 Albums That Changed Popular Music (http:/ / books. google. com/ books?id=Jk5fPOyRIXEC& pg=PA9& dq=).
US: Oxford University Press. p.9. ISBN0195373715. . Retrieved 2011-02-22.
[7] Davis, Miles; Jeff Sultanof (2002). Miles Davis - Birth of the Cool Complete Score Book (http:/ / www. scribd. com/ doc/ 35654619/
Miles-Davis-Birth-of-the-Cool-Hal-Leonard). US: Hal Leonard. pp.23. ISBN634006827. . Retrieved 2011-02-22.
[8] Smith, Chris. " 101 Albums That Changed Popular Music: Birth of the Cool (http:/ / books. google. com/ books?id=Jk5fPOyRIXEC&
pg=PA9& dq=)". Oxford University Press: 79. 2009.
References
"Miles Davis's Memorable Nonet" (http://www.jazz.com/jazz-blog/2008/9/3/birth-of-cool) by Ted Gioia (
Jazz.com (http://www.jazz.com))
"The Birth of the Cool" (http://www.jazz.com/dozens/the-dozens-the-birth-of-the-cool) by Jeff Sultanof (
Jazz.com (http://www.jazz.com))
Gridley, Mark C. (2009). "Jazz Styles: Tenth Edition"
Further reading
Davis, Miles; Troupe, Quincy, Miles, the autobiography (http://books.google.com/
books?id=xgAVXHhuNYgC&printsec=frontcover), Simon and Schuster, 1990. ISBN 0671725823. Cf.
pp.117-118 (http://books.google.com/books?id=xgAVXHhuNYgC&printsec=frontcover#PPA117,M1)
External links
Birth of the Cool (http://www.discogs.com/Miles-Davis-Birth-Of-The-Cool/master/62308) at Discogs
Circle in the Round

Circle in the Round
Recorded October 27, 1955 January 27, 1970
Genre Jazz-rock, hard bop
Length 98:25
[1]
Allmusic link
Water Circle in the Directions (Miles Davis

Babies Round album)
(1976) (1979) (1981)
Circle in the Round is an album by jazz musician Miles Davis. It collects outtakes from a variety of sessions.
Despite its lack of unity, Circle in the Round was an essential release in that, apart from 1950s recordings with
Davis's quintet and sextet, it documented key moments in his career, until then unknown to the record-buying public.
By arranging the tracks in chronological order the album shows Davis's progression in sound over the years.
"Circle in the Round" is the first studio recording in which he departed from the acoustic quintet, and therefore
marks the inception of his "electric" period. The title track, recorded in 1967, was the earliest released recording of
Miles that featured the sound of the electric guitar (played by Joe Beck), something that would become prominent in
his music over the years. The slightly later "Teo's Bag", "Side Car" (two takes), "Splash" and "Sanctuary" all show
him experimenting with various formations, all including at least one amplified instrument. "Guinnevere" is from the
same "electric" sessions of early 1970, with sitar and tabla, which yielded "Great Expectations", "Orange Lady" and
"Lonely Fire" (released on Big Fun).
Track listing
All tracks by Miles Davis except were noted
First CD release Circle in the Round (Columbia)

Disc 1
1. "Two Bass Hit" (Dizzy Gillespie, John Lewis) (10/27/1955) 3:43
2. "Love For Sale" (Cole Porter) (5/26/1958) 11:52
3. "Blues No. 2" (3/21/1961) 6:51
4. "Circle in the Round" (12/4/1967) 26:17
Disc 2
1. "Teos Bag" (1/16/1968) 5:58
2. "Side Car I" (2/13/1968) 5:00
3. "Side Car II" (2/13/1968) 3:37
4. "Splash" (11/12/1968) 8:33
5. "Sanctuary" (Wayne Shorter) (5/2/1969) 8:52
6. "Guinnevere" (David Crosby) (1/27/1970) 18:06
Personnel
Recorded between October 27, 1955 and January 27, 1970.
Miles Davis trumpet, bells, chimes
John Coltrane tenor saxophone (track 1, 2)
Cannonball Adderley alto saxophone (track 2)
Hank Mobley tenor saxophone (track 3)
Wayne Shorter tenor saxophone (tracks 4-10)
Bernie Maupin bass clarinet (track 10)
Khalil Balakrishna sitar (track 10)
Joe Beck guitar (track 4)
George Benson guitar (tracks 5,7,9)
John McLaughlin guitar (track 10)
Red Garland piano (tracks 1-2)
Bill Evans piano (track 2)
Wynton Kelly piano (track 3)
Herbie Hancock piano (tracks 4-9), celeste (track 4)
Chick Corea piano (tracks 8,10)
Joe Zawinul piano (track 10)
Paul Chambers bass (tracks 1-3)
Ron Carter bass (tracks 4-7,9)
Dave Holland bass (track 8,10)
Philly Joe Jones drums (tracks 1,3)
Jimmy Cobb drums (track 2)
Tony Williams drums (tracks 4-9)
Billy Cobham drums (track 10)
Jack DeJohnette drums (track 10)
Airto Moreira percussion (track 10)
References
Basic Miles
Basic Miles
Released 1973
Recorded October 27, 1955 August 23, 1962
Genre Jazz
Label Columbia, CBS
Producer Teo Macero, George Avakian
[1]
Allmusic link
Basic Miles is a compilation album of recordings by jazz musician Miles Davis.
Track listing
Original CD release Basic Miles (Columbia)
1. "Budo" (recorded Oct. 27, 1955; from the compilation "Jazz Omnibus")
2. "Stella by Starlight" (recorded May 26, 1958)
3. "Sweet Sue Just You" (recorded Sept. 10, 1956; from the compilation "Leonard Bernstein: What Is Jazz")
4. "Little Melonae" (remake of 1955 original; recorded March 4, 1958)
5. "Miles Ahead" (recorded May 10, 1957)
6. "On Green Dolphin Street" (recorded May 26, 1958)
7. "Round Midnight" (recorded Sept. 10, 1956)
8. "Fran-Dance" (recorded July 4, 1958)
9. "Devil May Care" (recorded August 23, 1962)
Basic Miles 235
Personnel
Recorded between September 10, 1956 and August 23, 1962.
Miles Davis trumpet, flugelhorn (track 5)
John Coltrane tenor saxophone (tracks 1-4,6-8)
Julian "Cannonball" Adderley tenor saxophone (tracks 6,8)
Wayne Shorter tenor saxophone (track 9)
Frank Rehak trombone (track 5, 9)
Bill Evans piano (tracks 2,6)
Red Garland piano (tracks 1,3,4,7)
Wynton Kelly piano (track 8)
Paul Chambers bass
Jimmy Cobb Drums (tracks 2,6,8,9)
Philly Joe Jones Drums (tracks 1,3,4,7)
Art Taylor Drums (track 5)
William Correa bongos (track 9)
Lee Konitz alto sax (track 5)
References
Super Hits 236
Super Hits
Super Hits
Original cover
Greatest hits album by Miles Davis
Released April 17, 2001
Recorded 19561985
Genre Jazz
Length 48:43
Language Instrumental
Label Sony/Legacy
Producer Teo Macero and Irving Townsend, Teo Macero, Miles Davis and Robert Irving III, Teo Macero and Cal Lampley, Irving
Townsend, Gil Evans and Miles Davis, and Miles Davis and Robert Irving III
Compiler Bob Belden
[1]
Allmusic link
Miles Davis compilations chronology
The Columbia Super The Essential Miles

Years Hits Davis
(1990) (2001) (2001)
Re-release cover
Super Hits 237
Super Hits is a greatest hits album from Miles Davis. Released in 2001, it reached #22 on Billboard's Jazz Albums
chart.[2]
Track listing
1. "So What" (Davis) 9:22 (from Kind of Blue)
2. "Someday My Prince Will Come" (Frank Churchill and Larry Morey) 9:02 (from Someday My Prince Will
Come)
3. "Time After Time" (Cyndi Lauper and Rob Hyman) 3:39 (from You're Under Arrest)
4. "Summertime" (George Gershwin, Ira Gershwin, and DuBose Heyward) 3:17 (from Porgy and Bess)
5. "Eighty-One" (Ron Carter and Davis) 6:21 (from E.S.P.)
6. "Bye Bye Blackbird" (Ray Henderson) 7:54 (from 'Round About Midnight)
7. "New Rhumba" (Ahmad Jamal) 4:37 (from Miles Ahead)
8. "Human Nature" (Steve Porcaro and John Bettis) 4:31 (from You're Under Arrest)
Personnel
"So What"
Paul Chambers upright bass
Jimmy Cobb drum kit
Bill Evans piano
"Someday My Prince Will Come"
Jimmy Cobb drum kit
Wynton Kelly piano
Hank Mobley tenor saxophone
"Time After Time"
Bob Berg soprano saxophone
Miles Davis trumpet
Super Hits 238
Al Foster drums
Robert Irving III synthesizer
Darryl Jones bass
John McLaughlin guitar
John Scofield guitar
"Summertime"
Danny Bank alto flute, bass clarinet
Bill Barber tuba
Phil Bodner flute, alto flute, clarinet
Joe Bennett trombone
Paul Chambers bass
Jimmy Cleveland trombone
Jimmy Cobb drum kit
Johnny Coles trumpet
Miles Davis trumpet, flugelhorn
Gil Evans arrangement and conducting
Bernie Glow trumpet
Dick Hixon trombone
Louis Mucci trumpet
Romeo Penque flute, alto flute, clarinet
Frank Rehak trombone
Jerome Richardson flute, alto flute, clarinet
Ernie Royal trumpet
Willie Ruff horn
Gunther Schuller horn
Julius Watkins horn
"Eighty-One"
Ron Carter double bass
Miles Davis trumpet
Tony Williams drum kit
"Bye Bye Blackbird"
Paul Chambers bass
Miles Davis trumpet
Red Garland piano
Philly Joe Jones drum kit
"New Rhumba"
Danny Bank bass clarinet
Bill Barber tuba
Joe Bennett trombone
John Carisi trumpet
Paul Chambers bass
Super Hits 239
Sid Cooper flute, clarinet

Miles Davis flugelhorn
Bernie Glow trumpet
Taft Jordan trumpet
Lee Konitz alto saxophone
Tom Mitchell bass trombone
Tony Miranda horn
Louis Mucci trumpet
Romeo Penque flute, clarinet
Frank Rehak trombone
Ernie Royal trumpet
Willie Ruff horn
Art Taylor drum kit
"Human Nature"
Bob Berg soprano sax
Miles Davis trumpet
Al Foster drums
Robert Irving III synthesizer
Darryl Jones bass
John McLaughlin guitar
John Scofield guitar
Release history
Region Date Label Format Catalog
United States April 17, 2001 Sony Compact Disc 85186
Sony Cassette tape 85186
Sbme Special MKTS. CD 705375
United States 2007 Sony BMG CD 705375
References
[2] "Super Hits - Miles Davis" (http:/ / www. billboard. com/ album/ miles-davis/ super-hits/ 473501#/ album/ miles-davis/ super-hits/ 473501).
Billboard. . Retrieved 2010-10-19.
External links
Super Hits (http://www.allmusic.com/album/r528377) at Allmusic
240
Box sets
The Columbia Years 19551985

The Columbia Years
1955-1985
Released 1988
Recorded 1955-1985
Genre Jazz
Producer Various
[1]
Allmusic link
The Columbia Years 19551985 is a 4 CD Miles Davis compilation. The box set is furthermore split up into the
sections of blues, standards, originals, moods and electric. These cover tracks 1-8 of the first disc, tracks 9-10 and
tracks 1-3 from the second disc, tracks 4-7 on the second disc and tracks 1-2 on the third disc, tracks 3-9 on the third
disc and the final disc respectively.
Track listing
Disc 1
1. "Gnrique"
2. "All Blues"
3. "Eighty-One"
4. "Blues For Pablo"
5. "Summertime"
6. "Straight, No Chaser"
7. "Footprints" (Digital Remix)
8. "Florence Sur Les Champs lyses"
9. "I Thought About You"
10. "Someday My Prince Will Come" (Alternate Take) (Digital Remix)
Tracks 1,3,8 and 9 are mono recordings. Track 9 is previously unreleased. The version of Straight, No Chaser is
from the recording Miles And Monk At Newport.
Disc 2
1. "Bye Bye Blackbird"
2. "My Funny Valentine" (Digital Remix)
3. "Love for Sale" (Digital Remix)
4. "Budo"
5. "Miles"
6. "Filles De Kilimanjaro"
7. "Fran-Dance" (Digital Remix)
8. "Seven Steps to Heaven"
Track 4 is a mono recording.
Disc 3
1. "Flamenco Sketches"
2. "So What"
3. "Water babies"
4. "Saeta"
5. "Masqualero"
6. "Pinocchio" (Digital Remix)
7. "Summer Night" (Digital Remix)
8. "Fall"
9. "It's About That Time"
Track 2 is a mono recording.
Disc 4
1. "Sivad (Excerpt)"
2. "What it Is"
3. "Ms. Morrisine"
4. "Shout"
5. "Honky Tonk"
6. "Star On Cicely"
7. "Thinkin' One Thing And Doin' Another"
8. "Miles Runs The Voodoo Down"
References
The Complete Studio Recordings of The Miles Davis Quintet 19651968 243
The Complete Studio Recordings of The Miles

Davis Quintet 19651968
The Complete Studio Recordings of The Miles
Davis Quintet 19651968
Released 24 March 1998
Recorded 20 January 1965 21 June 1968
Length 7:19:07
Label Columbia
The Complete Studio Recordings of The Miles Davis Quintet 19651968 is a box set of six CDs covering the work
of Miles Davis and his critically acclaimed second great quintet which featured Wayne Shorter, Herbie Hancock,
Ron Carter and Tony Williams.
The box set includes all songs from, as well as some rehearsal and alternative takes, the albums E.S.P., Miles Smiles,
Sorcerer, Nefertiti, Miles in the Sky and the quintet tracks from Filles de Kilimanjaro and Water Babies. The tracklist
is sequenced in chronological order with the alternative takes preceding the final album version. A few of the tracks
were previously unissued.
Detailed track information in Discogs.com [1]
References
[1] http:/ / www. discogs. com/ Miles-Davis-Miles-Davis-Quintet-1965-68/ release/ 1410360
The Complete Bitches Brew Sessions

The Complete Bitches Brew Sessions
Released 24 November 1998, reissued in 11 May 2004
Recorded August 19, 1969 - February 6, 1970
Length 264:40
Label Columbia/Legacy/Sony Music
Producer Teo Macero (orig. recordings), Bob Belden, Michael Cuscuna
[1]
Allmusic link
(Box 5) (Box 6) (Box 7)

The Complete In a Silent Way The Complete Bitches Brew The Complete Jack Johnson
Sessions Sessions Sessions
(2001) (1998) (2003)
The Complete Bitches Brew Sessions is a four-disc

box set of music recordings by trumpeter Miles Davis.
The set collects all tracks Davis recorded between
August 19, 1969 and February 6, 1970, including the
1970 double album Bitches Brew in its entirety.
However, the title of the box set is somewhat of a
misnomer: outside of the Bitches Brew tracks
themselves, none of the other tracks appeared on
Bitches Brew upon its original release, nor were they
recorded during the same August 1969 sessions that
resulted in Bitches Brew. Furthermore, additional
material recorded for, but not used in Bitches Brew, is
not included in this set; mainly rehearsal takes and
unedited performances of the six album tracks. These The original 1998 box set included metal binding and a slipcase
have however later been illegally bootlegged and given cover.
the titles Deep Brew Vol. 1 and Vol. 2).
When questioned by Paul Tingen why most of the material in fact was not recorded either for or at the same sessions
as the original album, re-issue producer Bob Belden cleared up how their thought process went. According to him
and the engineer all the songs Miles Davis recorded between August 1969 and early February 1970 used very similar
line-ups to those on Bitches Brew and the main thing they all had in common was the emphasis on keyboards. Every
song here includes two to three keyboard players, most often Chick Corea, Joe Zawinul and Herbie Hancock. It
wasn't until late in February 1970 that Davis refined his concept by dropping the multiple electric pianists and going
for a more guitar-heavy sound. Those following sessions were collected on The Complete Jack Johnson Sessions.
The box set includes some tracks that had never been previously released, one of which, the Wayne Shorter
composition "Feio," has since appeared as a bonus track on late compact disc reissues of Bitches Brew. A few of the
other tracks in the box set had previously appeared on the albums Live-Evil, Big Fun, and Circle in the Round.
The Complete Bitches Brew Sessions is chronologically number "6" in a series of Miles Davis box sets issued by
Columbia Records/Legacy Records/Sony Music (the numbering scheme refers to the chronological order of the
original recordings, not the release order of the box sets themselves). The set was reissued on 11 May 2004 with new
packaging.
Track listing
Disc one
1. "Pharaoh's Dance" (Joe Zawinul) 20:06
2. "Bitches Brew" (Miles Davis) 26:58
3. "Spanish Key" (Davis) 17:34
4. "John McLaughlin" (Davis) 4:22
Disc two
1. "Miles Runs the Voodoo Down" (Davis) 14:01
2. "Sanctuary" (Wayne Shorter) 10:56
3. "Great Expectations" (Davis - Zawinul) 13:45
4. "Orange Lady" (Zawinul) 13:50
5. "Yaphet" (Davis) 9:39
6. "Corrado" (Davis) 13:11
Disc three
1. "Trevere" (Davis) 5:55

2. "The Big Green Serpent" (Davis) 3:35
3. "The Little Blue Frog" (alternate take) (Davis) 12:13
4. "The Little Blue Frog" (Davis) 9:09
5. "Lonely Fire" (Davis) 21:09
6. "Guinnevere" (David Crosby) 21:07
Disc four
1. "Feio" (Shorter) 11:49
2. "Double Image" (Zawinul) 8:25
3. "Recollections" (Zawinul) 18:54
4. "Take It or Leave It" (Zawinul) 2:13
5. "Medley: Gemini / Double Image" (Zawinul) 5:52
Personnel
Collective listing for all recording sessions.
Miles Davis - Trumpet, Vocals
Don Alias - Percussion, Conga, Drums
Khalil Balakrishna - Sitar
Harvey Brooks - Bass, Electric bass
Ron Carter - Bass
Billy Cobham - Drums, Triangle
Chick Corea - Electric piano
Jack DeJohnette - Drums
Steve Grossman - Soprano saxophone
Herbie Hancock - Electric piano
Dave Holland - Bass, Electric bass
John McLaughlin - Guitar
Airto Moreira - Berimbau, Cuca, Percussion
Bihari Sharma - Tabla, Tamboura
Wayne Shorter - Soprano saxophone
Juma Santos (Jim Riley) - Conga, Shaker
Lenny White - Drums
Larry Young - Organ, Celeste, Electric piano
Joe Zawinul - Electric piano
References
Belden, Bob and Michael Cuscuna. "Discography/Album Index." The Complete Bitches Brew Sessions by Miles
Davis. Sony Music Entertainment C4K 65570, 1998.
External links
Article by Paul Tingen about the making of the Complete Bitches Brew Sessions boxed set at Miles Beyond [2]
References
[2] http:/ / www. miles-beyond. com/ bitchesbrew. htm
The Complete Columbia Recordings of Miles Davis

with John Coltrane
The Complete Columbia Recordings of Miles
Davis with John Coltrane
Box set by Miles Davis and John Coltrane
Released 2000
2004 (reissue)
Recorded October 26, 1955 to March 21, 1961
Genre Jazz
Length 6:26:01 (all discs)

73:18 (disc 1)
68:41 (disc 2)
75:22 (disc 3)
69:21 (disc 4)
58:56 (disc 5)
40:23 (disc 6)
Label Columbia
[1]
Allmusic link
The Complete Columbia Recordings of Miles Davis with John Coltrane is a box set by jazz musicians Miles Davis
and John Coltrane. It is the first box set in a series of eight from Columbia/Legacy compiling Davis's work for
Columbia Records. Originally issued in 2000 in a limited-edition metal slipcase, it was reissued in 2004 in an
oversized book format.
Albums
Davis' and Coltrane's work together for Columbia produced three studio albums, two tracks from a fourth, and two
live albums, all of which are contained in this box set:
'Round About Midnight (released March 4, 1957)
Milestones (released September 2, 1958)
Kind of Blue (released August 17, 1959)
Someday My Prince Will Come (released December 11, 1961) (2 tracks only)
Miles & Monk at Newport (released May 11, 1964) (one side only), reissued as Miles Davis At Newport 1958 in
2001
Jazz at the Plaza (released September 28, 1973)
Track listing
Original CD release The Complete Columbia Recordings of Miles Davis with John Coltrane, 2000 (Columbia)
Disc 1
1. Two Bass Hit (Alternate Take) - 3:21
2. Two Bass Hit - 3:44 1
3. Ah-Leu-Cha (Alternate Take) - 5:51
4. Ah-Leu-Cha - 5:53 2
5. Ah-Leu-Cha (Take 5) - 5:25
6. Little Melonae - 7:22 2
7. Budo (Alternate Take) - 5:02 8
8. Budo - 4:17 1
9. Dear Old Stockholm - 7:51 2
10. Bye Bye Blackbird (Alternate Take) - 7:50
11. Bye Bye Blackbird - 7:56 2
12. Tadd's Delight - 4:28 2
13. Tadd's Delight (Alternate Take) - 4:18
Disc 2
1. Dear Old Stockholm (Alternate Take) - 6:42
2. All of You (Alternate Take) - 7:31
3. All of You - 7:03 2
4. Sweet Sue, Just You (First Version) - 4:23
5. Sweet Sue, Just You (False Start with Discussion Between Leonard Bernstein & Miles Davis) - 1:58
6. Sweet Sue, Just You (Alternate Take) - 3:32
7. Sweet Sue, Just You - 3:41
8. Miles Davis Comments - :30
9. 'Round Midnight - 5:57 2
10. Two Bass Hit (Alternate Take) - 4:32
12. Billy Boy - 7:12 3
13. Straight No Chaser (Alternate Take) - 10:27
Disc 3
1. Straight No Chaser - 10:37 3
2. Milestones - 6:01
3. Milestones - 5:44 3
4. Sid's Ahead - 13:02 3
5. Little Melonae - 7:55
6. Dr. Jackle - 5:49 3
7. On Green Dolphin Street - 9:50
8. Fran-Dance - 5:52
9. Fran-Dance - 5:49
10. Stella by Starlight - 4:43
Disc 4
1. Love for Sale - 11:49 1
2. Freddie Freeloader - 1:27
3. Freddie Freeloader - 9:48 4
4. So What - 9:23 4
5. Blue in Green - 5:38 4
6. Flamenco Sketches - 9:33
7. Miles Davis Comments - :44
8. Flamenco Sketches - 9:27 4
9. All Blues - 11:32 4
Disc 5
1. Someday My Prince Will Come - 9:05 5
2. Teo - 9:36 5
3. Introduction by Willis Conover - 2:15 6
4. Ah-Leu-Cha - 5:52 6
6. Fran-Dance - 7:13 6
8. Bye Bye Blackbird - 9:10 6
9. The Theme - 2:48 6
Disc 6
1. If I Were a Bell - 8:31 7
2. Oleo - 10:38 7
3. My Funny Valentine - 10:18 7
1
from Circle in the Round
2
from 'Round About Midnight
3
from Milestones
4
from Kind of Blue
5
from Someday My Prince Will Come
6
from Miles Davis At Newport 1958
7
from Jazz at the Plaza/1958 Miles
8
from The Columbia Years 1955-1985
Personnel
Recorded between October 26, 1955 and March 21, 1961 in New York City (except disk 5, tracks 3-9, recorded in
Newport, RI).
Miles Davis trumpet
Hank Mobley tenor saxophone (Disc 5: track 1)
Cannonball Adderley alto saxophone (Disc 3; Disc 4: tracks 1, 6-9; Disc 5: tracks 3-9; Disc 6)
Red Garland piano (Disc 1; Disc 2; Disc 3: tracks 1-6)
Bill Evans piano (Disc 3: tracks 6-10; Disk 4: track 1, 4-9; Disc 5: tracks 3-9; Disc 6)
Wynton Kelly piano (Disc 4: tracks 2-3; Disc 5: tracks1-2)
Paul Chambers bass
Philly Joe Jones drums (Disc 1; Disc 2; Disc 3: tracks 1-6)
Jimmy Cobb drums (Disc 3: tracks 7-10; Disk 4; Disc 5; Disc 6)
References
The Complete In a Silent Way Sessions

The Complete In a Silent Way
Sessions
Released 2001, reissued in 2004
Recorded September 24, 1968-February 20, 1969
Length 3:19:24 (all discs)

71:55 (disc 1)
67:09 (disc 2)
71:59 (disc 3)
[1]
Allmusic link
[2]
Allmusic (2004 reissue) link
[3]
The Complete In a Silent Way Sessions is a three-disc box set of music recordings by trumpeter Miles Davis. As
well as the CDs it includes essays by Michael Cuscuna and Bob Belden and details of the recording sessions. It is
number five in the Legacy series of Miles Davis' Complete Sessions box-sets.
Track listing
Disc 1
1. Mademoiselle Mabry - 16:37
2. Frelon Brun (Brown Hornet) - 5:40
3. Two Faced - 18:03
4. Dual Mr. Anthony Tillmon Williams Process - 13:23
5. Splash: Interlude 1/Interlude 2/Interlude 3 [rejected] - 10:08
6. Splashdown: Interlude 1 (no horns)/Interlude 2 (no horns) - 8:03
Disc 2
1. Ascent - 14:54
2. Directions I - 6:50
3. Directions II - 4:53
4. Shhh/Peaceful - 19:17
5. In A Silent Way (rehearsal) - 5:26
6. In A Silent Way - 4:18
7. It's About That Time - 11:27
Disc 3
1. The Ghetto Walk - 26:49
2. Early Minor - 6:58
3. Shhh/Peaceful/Shhh (LP Version) - 18:18
4. In A Silent Way/It's About That Time/In A Silent Way (LP Version) - 19:52
Personnel
Musicians
Miles Davis trumpet
Wayne Shorter soprano saxophone
John McLaughlin electric guitar
Chick Corea electric piano
Herbie Hancock electric piano
Joe Zawinul organ
Dave Holland double bass
Ron Carter double bass
Tony Williams drums
Jack Dejohnette drums
Joe Chambers drums
References
[3] http:/ / www. pitchforkmedia. com/ article/ record_review/ 16895-the-complete-in-a-silent-way-sessions
In Person Friday and Saturday Nights at the

Blackhawk, Complete
In Person Friday and Saturday Nights at the Blackhawk, Complete
Released June 3, 2003
Recorded April 21 - 22, 1961
Genre Jazz
Length 117:29 ("Friday"),

123:51 ("Saturday")
Label Sony
Producer Bob Belden, Michael Cuscuna, Irving Townsend
[1]
Allmusic link
[2]
PopMatters (positive) link
Friday Night In Person at the Blackhawk In Person Friday and Saturday Nights at Saturday Night In Person at the Blackhawk
in San Francisco, Complete the Blackhawk, Complete in San Francisco, Complete
(2003) (2003) (2003)
In Person Friday Night at the Blackhawk

(CJM reissue shown)
Live album by Miles Davis Quintet
Released 1961
Recorded April 21, 1961, April 22, 1961
Genre Jazz
Length 53:29, 57:46
Label Columbia
Producer Irving Townsend
[3]
Allmusic link
[4]
(Vol. 2) link
In Person Friday and Saturday Nights at the Blackhawk, Complete, also called The Complete Blackhawk, is a
2003 four disc collection of the 1961 live performances of the Miles Davis Quintet at the Black Hawk nightclub in
San Francisco. These sets, performed with recording in mind,[5] forged new ground for jazz musician Miles Davis,
who had never previously been recorded live in a club with his combo.[6] Material from the four sets was first
released in 1961 by Columbia Records on two albums, titled In Person Friday Night at the Blackhawk and In Person
Saturday Night at the Blackhawk (Vol. 2). Although those albums were subsequently re-rereleased several times, the
complete sets were not commercially available until Sony Records released this collection. Simultaneous to this
release, Sony released the material as two separate double-albums, entitled Friday Night: In Person at the Blackhawk
in San Francisco, Complete and Saturday Night: In Person at the Blackhawk in San Francisco, Complete.[7]
The complete collection, which included liner notes from the original release by Monterey Jazz Festival co-founder
Ralph J. Gleason as well as additional notes by jazz trumpeter Eddie Henderson was critically and commercially
well-received. The collection peaked at #9 on Billboard's "Top Jazz Albums" chart.
Critical reception
In its review of the four-disc compilation, The New York Times indicated that the set was "the gold standard for
straight-ahead, postwar jazz rhythm".[8] All Music, praising the "pristine" sound and "lovely" packaging suggested
that "no Davis fan should be without these recordings purchased separately or as a set".[7] The All About Jazz
website said that the set was "so fastidiously remastered it sounds live in your living room".[6]
Complete cover imagery

The original 1961 albums and the 2003 complete reissues (both the 4-disc and 2-disc) displayed a photograph by
Leigh Wiener of Davis with his soon to be second wife, Frances Taylor, for whom the song "Fran-Dance" was
composed. In a 2001 article in The New York Times, historian Robin D.G. Kelley drew attention specifically to this
image, including Davis's position and the picture's use of lighting, as an example of Davis's camera awareness and
manipulation of what Kelley termed a cultural "pimp aesthetic".[9] Kelley argued that such iconic images of Davis
help to demonstrate that Davis was a product and representation of "a masculine culture that aspired to be like a
pimp, that embraced the cool performative styles of the players (pronounced 'playas'), the 'macks,' the hustlers, who
not only circulated in the jazz world but whose walk and talk also drew from the well of black music".[9] This
restoration of the original cover art came after a number of years during which the album was issued using a cover
with an atmospheric representation of the exterior of the Black Hawk taken during Davis's performance.
Complete track listing

The track listing for In Person Friday and Saturday Nights at the Blackhawk, Complete reproduces in its entirety the
performances of Friday and Saturday nights, April 21 and 22, 1961. Because of space constraints and a desire not to
divide sets, the producers of the box set put sessions 1 and 3 together on the first disc, placing the more energetic and
lengthier 2nd set on Disc Two.[6] For the two double-disc sets, the track listing for Friday Night: In Person at the
Blackhawk in San Francisco, Complete is that of Disc One and Disc Two, below. For Saturday Night: In Person at
the Blackhawk in San Francisco, Complete, it is that of Disc Three and Disc Four.
Except where otherwise noted, all songs by Miles Davis.
Disc One
1. "Oleo" (Sonny Rollins) 6:56
2. "No Blues" 17:13
3. "Bye Bye (Theme)" 2:54
4. "If I Were a Bell" (Frank Henry Loesser) 12:43
5. "Fran-Dance" 7:38
6. "On Green Dolphin Street" (Bronislau Kaper, Ned Washington) 12:12
7. "The Theme" :44
Disc Two
2. "Neo" 10:18
3. "I Thought About You" (Johnny Mercer, James Van Heusen) 5:04
4. "Bye Bye Blackbird" (Mort Dixon, Ray Henderson) 9:46
5. "Walkin'" (Richard Carpenter) 14:16
6. "Love, I've Found You" (Reverend C.L. Moore, Danny Small) 1:54
Disc Three
1. "If I Were a Bell" (Loesser) 12:44
2. "So What" 12:14
3. "No Blues" :27
4. "On Green Dolphin Street" (Kaper, Washington) 12:04
6. "'Round Midnight" (Bernie Hanighen, Thelonious Monk, Cootie Williams) 7:29
7. "Well, You Needn't" (Monk) 8:02
8. "The Theme" :18
Disc Four
1. "Autumn Leaves" (Joseph Kosma, Johnny Mercer, Jacques Prvert) 11:45
2. "Neo" 12:29
3. "Two Bass Hit" (Dizzy Gillespie, John Lewis) 4:36
4. "Bye Bye (Theme)" 3:27
5. "Love, I've Found You" (Moore, Small) 1:57
6. "I Thought About You" (Mercer, VanHeusen) 5:31
7. "Someday My Prince Will Come" (Frank Churchill, Larry Morey) 9:38
8. "Softly, As in a Morning Sunrise" (Oscar Hammerstein II, Sigmund Rombert) 8:41
Original CD editions track listing

Friday Night
2. "Bye Bye Blackbird" (Dixon, Henderson) 9:55
4. "No Blues" 8:53
5. "Bye Bye/The Theme" 2:42
Saturday Night
3. "So What" 12:43
6. "Neo" 12:39
Original 1961 vinyl editions track listing

Friday Night
Side A
2. "Bye Bye Blackbird" (Dixon, Henderson) 10:02
Side B
2. "No Blues" 9:09
3. "Bye Bye/The Theme" 2:36
Saturday Night
Side A
3. "So What" 12:44
Side B
3. "Neo" 12:51
Personnel
Performance
Miles Davis trumpet
Hank Mobley sax (tenor)
Wynton Kelly piano
Paul Chambers bass
Jimmy Cobb drums
Production
Bob Belden reissue producer
Steven Berkowitz A&R
Stacey Boyle tape research
Harold Chapman engineer
Michael Cuscuna reissue producer
Howard Fritzson reissue art director
Ralph J. Gleason liner notes
Eddie Henderson reissue liner notes
Patti Matheny artist coordination
Seth Rothstein project director
Darren Salmieri artist coordination
Chuck Stewart photography
Irving Townsend producer
Mark Unterberger packaging manager
Leigh Wiener cover photo
Mark Wilder audio remixing, audio mastering
Kyle Wofford artist coordination
Further reading
In Person Friday Night At The Blackhawk, Complete, Volume I review [10] at All About Jazz
In Person Saturday Night At The Blackhawk, Complete, Volume II review [11] at All About Jazz
References
[2] http:/ / www. popmatters. com/ music/ reviews/ d/ davismiles-inperson. shtml
[5] Staff. Miles Davis: Friday Night at the Blackhawk (http:/ / www. uncut. co. uk/ music/ miles_davis/ reviews/ 5818) Uncut. Retrieved
15-05-08.
[6] Colette, Dough. (November 23, 2003) Miles Davis boxes: Jack Johnson and At The Blackhawk (http:/ / www. allaboutjazz. com/ php/ article.
php?id=874). All About Jazz. Retrieved 15-05-08
[7] In Person Friday and Saturday Nights at the Blackhawk, Complete (http:/ / www. allmusic. com/ album/ r643812) at Allmusic
[8] Ratliff, Ben. (June 8, 2003) At Last: Miles Live at the Blackhawk (http:/ / query. nytimes. com/ gst/ fullpage.
html?res=9400E7DD1030F93BA35755C0A9659C8B63) The New York Times. Retrieved 15-05-08.
[9] Kelley, Robin D.G. (May 13, 2001) Miles Davis: A jazz genius in the guise of a hustler (http:/ / www. nytimes. com/ 2001/ 05/ 13/ arts/
13KELL. html?pagewanted=1& ei=5070& en=d5cedcfe78cca7b4& ex=1210996800) New York Times. Retrieved 15-05-08.
[10] http:/ / www. allaboutjazz. com/ reviews/ r0503_078. htm
External links
Complete discography information and song samples from Sony's official site (http://www.miles-davis.com/)
In Person Friday Night at the Blackhawk (http://www.allmusic.com/album/r137448) at Allmusic
In Person Saturday Night at the Blackhawk, Vol. 2 (http://www.allmusic.com/album/r137500) at Allmusic
In Person Friday Night at the Blackhawk, Complete, Vol. 1 (http://www.allmusic.com/album/r643735) at
Allmusic
In Person Saturday Night at the Blackhawk, Complete, Vol. 2 (http://www.allmusic.com/album/r643781) at
Allmusic
The Complete Jack Johnson Sessions

The Complete Jack Johnson Sessions
Recorded November 19, 1969-June 4, 1970
Genre Jazz-Funk, Jazz-Rock
Length 352:26
Label Columbia
[1]
Allmusic link
[2]
Live-Evil The Complete Jack Johnson The Cellar Door

(1970) Sessions Sessions
(1970) (1970)
The Complete Jack Johnson Sessions were recorded in April 1970 by Miles Davis, and released in September 2003.
These sessions formed the basis for the 1970 album A Tribute to Jack Johnson.
They were recorded as the soundtrack for a documentary by the same name about the heavyweight world champion
boxer Jack Johnson. One of the tracks closes with brief soliloquy by actor Brock Peters portraying Johnson.
Track listing
Disc One (75:10)
Tracks 1-4 recorded February 18, 1970 Columbia Studio B, New York, NY
Tracks 5-9 recorded February 27, 1970 Columbia Studio B, New York, NY
Track 10 recorded March 3, 1970 Columbia Studio B, New York, NY
1. "Willie Nelson (Take 2)"** 6:41
2. "Willie Nelson (Take 3)"* 10:21
3. "Willie Nelson (Insert 1)"** 6:33
4. "Willie Nelson (Insert 2)"** 5:22
5. "Willie Nelson (Remake Take 1)"* 10:45
6. "Willie Nelson (Remake Take 2)" 10:17
7. "Johnny Bratton (Take 4)"* 8:18
8. "Johnny Bratton (Insert 1)"* 6:39
9. "Johnny Bratton (Insert 2)"* 5:20
10. "Archie Moore"* 4:45
Disc Two (68:19)
Tracks 1-5 recorded March 3, 1970 Columbia Studio B, New York, NY
Tracks 6-7 recorded March 17, 1970 Columbia Studio C, New York, NY
Track 8 recorded March 20, 1970 Columbia Studio B, New York, NY
1. "Go Ahead John (Part One)"** 13:07
2. "Go Ahead John (Part Two A)"** 7:00
3. "Go Ahead John (Part Two B)"** 10:06
4. "Go Ahead John (Part Two C)"** 3:38
5. "Go Ahead John (Part One Remake)"** 11:04
6. "Duran (Take 4)"* 5:37
7. "Duran (Take 6)" 11:20
8. "Sugar Ray"* 6:16
Disc Three (77:48)
Tracks 1-6 recorded April 7, 1970 Columbia Studio B, New York, NY
Tracks 7-8 recorded May 19, 1970 Columbia Studio C, New York, NY
1. "Right Off (Take 10)" 11:09
2. "Right Off (Take 10A)"** 4:33
3. "Right Off (Take 11)"** 5:58
4. "Right Off (Take 12)"** 8:49
5. "Yesternow (Take 16)"* 9:49
6. "Yesternow (New Take 4)"** 16:02
7. "Honky Tonk (Take 2)"** 10:04
8. "Honky Tonk (Take 5)"* 11:29
Disc Four (71:14)
Tracks 1-2 recorded May 19, 1970 Columbia Studio C, New York, NY
Track 3 recorded May 21, 1970 Columbia Studio C, New York, NY
Tracks 6-10 recorded June 3, 1970 Columbia Studio C, New York, NY
1. "Ali (Take 3)"* 6:50
2. "Ali (Take 4)"* 10:16
3. "Konda"** 16:29
4. "Nem Um Talvez (Take 17)"* 2:50
6. "Little High People (Take 7)"* 6:52
7. "Little High People (Take 8)"* 9:28
9. "Nem Um Talvez (Take 4A)" 2:04
10. "Selim (Take 4B)" 2:15
11. "Little Church (Take 7)"* 3:18
12. "Little Church (Take 10)" 3:15
Disc Five (76:04)
Track 3 recorded April 7, 1970 Columbia Studio B, New York, NY
Includes an excerpt from an unaccompanied trumpet solo from November 19 or 18, 1969
Track 4 recorded April 7, 1970 Columbia Studio B, New York, NY ("Yesternow") + February 18, 1970 Columbia
Studio B, New York, NY ("Willie Nelson" uncredited)
Includes an excerpt from the unaccompanied November 1969 trumpet solo with arco bass overdubbed
Includes an excerpt of "Shhh/Peaceful" recorded February 18, 1969
Includes an excerpt from the unaccompanied November 1969 trumpet solo with the following overdubs:
orchestra arranged by Teo Macero and narration by Brock Peters
1. "The Mask (Part One)"* 7:47
2. "The Mask (Part Two)"* 15:45
3. "Right Off" 26:54
4. "Yesternow" 25:36
All compositions by Miles Davis except Disc Four, tracks 4 through 12 by Hermeto Pascoal.
(*) Previously Unissued
(**) Previously Unissued in Full
Personnel
Bennie Maupin - Bass Clarinet
Steve Grossman - Soprano Saxophone
Wayne Shorter - Soprano Saxophone
Chick Corea - Electric Piano, Organ, Electric Piano with Ring Modulator
Herbie Hancock - Organ, Electric Piano
Keith Jarrett - Electric Piano, Electric Piano with Wah Wah
Sonny Sharrock - Electric Guitar, Echoplex
John McLaughlin - Electric Guitar
Dave Holland - Electric Bass, Double Bass
Michael Henderson - Electric Bass
Gene Perla - Electric Bass
Ron Carter - Double Bass
Jack DeJohnette - Drums
Billy Cobham - Drums
Lenny White - Drums
Airto Moreira - Percussion, Berimbau, Cuica

Hermeto Pascoal - Voice, Drums
External links
Article about the making of Jack Johnson and The Complete Jack Johnson Sessions boxed set at the Miles
Beyond site, dedicated to the electric music of Miles Davis [3]
References
[2] http:/ / www. pitchforkmedia. com/ article/ record_review/ 16896-the-complete-jack-johnson-sessions
[3] http:/ / www. miles-beyond. com/ jackjohnson. htm
Seven Steps: The Complete Columbia Recordings

of Miles Davis 19631964
Seven Steps: The Complete Columbia Recordings of Miles Davis 19631964
Released 2004
Recorded 1963-1964
[1]
Rolling Stone link
The Essential Miles Seven Steps: The Complete Columbia Recordings of Miles Davis Cool &
Davis 19631964 Collected
(2001) (2004) (2006)
Seven Steps: The Complete Columbia Recordings of Miles Davis 19631964 is a box set of Miles Davis work for
Columbia Records over a two year period.
Disc 1 and 2 are the sessions that made up the Seven Steps to Heaven album.
Disc 2 and 3 are the sessions that made up the In Europe album.
Disc 4 and 5 are the sessions that made up the My Funny Valentine and Four & More albums, both recorded in 1964
at the Lincoln Center, New York, on February 12, 1964.
Disc 6 contains the Miles in Tokyo album, with Sam Rivers replacing George Coleman.
Disc 7 contains the album Miles in Berlin, which was previously only available in Germany.
References
[1] http:/ / www. webcitation. org/ 5uHBqtbth
The Complete On the Corner Sessions

The Complete On the Corner Sessions
Released October 2, 2007
Recorded Columbia Studio E and Columbia Studio B, 49 E. 53nd Street, (NYC) June 1972- May1975; March 9, 1972; June 1, 1972;
June 6, 1972; June 12, 1972; August 23, 1972; September 6, 1972; December 8, 1972; January 4, 1973; July 26, 1973;
September 17, 1973; September 18, 1973; June 19, 1974; October 7, 1974; November 6, 1974; May 5, 1975
Genre Jazz-funk, fusion
Length 6:47:13
Label Columbia
Producer Teo Macero
[1]
Allmusic link
[2]
BBC (favorable)link
[3]
Music Box link
[4]
[5]
Rolling Stone link
A Tribute to Jack The Complete On the Corner Big Fun

Johnson Sessions (1969 - 1972)
(1970) (1972)
The Complete On the Corner Sessions is the eighth and final deluxe box set in Columbia Records' Miles Davis
Series[6] .
Columbia has released a series of ten box sets containing recordings from the 1950s to the 1970s. These contain
material not available on other Columbia albums. Following The Complete In a Silent Way Sessions, The Complete
Bitches Brew Sessions, The Complete Jack Johnson Sessions, and The Cellar Door Sessions, this release includes the
funk/jazz fusion album On the Corner, which would have a strong influence on hip hop . The album was Davis'
electronic twist on what Duke Ellington called the "jungle sound." His band was made up of musicians trained not
only in the basics of jazz, but on the newer sounds of James Brown and Sly Stone.
The box set includes more than 6 hours of music. Twelve of these are previously unissued tracks. Another five tracks
are previously unissued in full. They cover sixteen sessions from On the Corner, Big Fun, and Get Up with It until
Davis's mid-seventies retirement. Miles is joined in these recordings by Chick Corea, Herbie Hancock, John
McLaughlin, Jack DeJohnette, Billy Hart, and many others. The 6-CD deluxe edition also contains a 120-page
full-color booklet with liner notes and essays by producer Bob Belden, journalist Tom Terrell, and
arranger/composer Paul Buckmaster as well as rare photographs and new illustrations[7] .
Recording history
As with many of the Miles Davis boxed sets, the overall title is rather misleading. The On the Corner boxed set
covers three years of sessions, from March 1972 to May 1975, and contains music with different styles, concepts,
approaches and personnel. Similarly, The Complete Bitches Brew Sessions includes all of the sessions Davis
recorded between August 1969 and February 1970, although the actual Bitches Brew sessions took place over just
three days in August 1969.
The sessions for the 1972 album On the Corner were recorded in June and September 1972. On the Corner was
scorned by critics at the time of its release and was one of Davis' worst-selling recordings. Its critical standing has
improved with the passage of time; today it is seen as a strong forerunner of the musical techniques of hip hop, drum
and bass, and electronic music.
Davis claimed that On the Corner was an attempt to connect with a young black audience which had largely
forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments
employed, from a musical standpoint the album was a culmination of sorts of the musique concrte approach that
Davis and producer Teo Macero (who had studied with Otto Luening at Columbia University's Computer Music
Center) had begun to explore in the late 1960s. Both sides of the record were based around simple, repetitive drum
and bass grooves (the track delineations on the original album were arbitrary), with the "melodic" parts snipped from
hours of meandering jams. These techniques, refined via the use of computers and digital audio equipment, are now
standard amongst producers of electronically-based music. Davis also cited the contemporary composer [[Karlheinz
Stockhausen] (who was later falsely rumored to have recorded with the trumpeter in the late 1970s) and Paul
Buckmaster (who played electric cello on the album and contributed some arrangements) as musical influences on
the album.
Content
The box set contains over three hours of previously unreleased material. On the November 6, 1974 date, guitarist
Pete Cosey replaced Al Foster on drums on "Hip-Skip." Later that day he returned to guitar for "What They Do",
playing alongside Dominique Gaumont. "Minnie" is based on the Minnie Ripperton song "Loving You", and is
considered to have an almost commercial disco sound, the most mainstream-sounding track of the collection. Certain
critics argue that it points towards Davis' more melodic and arranged music of the 1980s[8] .
Track listing
This list is the same as the provisional one that was published in early 2007, but the CD order has been swapped,
some of the previously unreleased tracks have undergone edits, coming in at different lengths, and they have been
given titles by Vince Wilburn, Davis' nephew, and Erin Davis, Miles' youngest son.
Disc One
1. On The Corner (unedited master, recorded June 1, 1972) - 19:25
2. On The Corner (take 4, recorded June 1, 1972) - 5:15
3. One And One (unedited master, recorded June 6, 1972) - 17:55
4. Helen Butte/Mr. Freedom X (unedited master, recorded June 6, 1972) - 23:37
5. Jabali (recorded June 12, 1972) - 11:04
Disc 1 remixed by Richard King and Bob Belden in 2007
Disc Two
1. Ife (recorded June 12, 1972) - 21:33
2. Chieftain (recorded August 23, 1972) 14:37
3. Rated X (recorded September 6, 1972) - 6:50
4. Turnaround (recorded November 29, 1972) - 17:16
5. U-turnaround (recorded November 1972) - 08:27
Track 1 from BIG FUN Track 3 from GET UP WITH IT Tracks 4 and 5 are outtakes from the same track, sections
of which were previously released on Bill Laswell's Panthalassa as Agharta Prelude Dub. See note below. Tracks 2,
3 & 5 remixed by Richard King and Bob Belden in 2007
Disc Three
1. Billy Preston (recorded December 8, 1972) - 12:33
2. The Hen (recorded January 45, 1973) 12:55
3. Big Fun/Holly-wuud (take 2) (recorded July 26, 1973) 6:32
4. Big Fun/Holly-wuud (take 3) (recorded July 26, 1973) 7:07
5. Peace (recorded July 26, 1973) 7:01
6. Mr Foster (recorded September 17, 1973) 15:14
Track 1 from stereo LP master of GET UP WITH IT Tracks 2-6 remixed by Richard King and Bob Belden in 2007
Disc Four
1. Calypso Frelimo (Sep 17, 1973) - 32:08
2. He Loved Him Madly (Jun 19, 1974) - 32:17
Both tracks from stereo LP master of GET UP WITH IT
Disc Five
1. Maiysha (recorded October 7, 1974) - 14:51
2. Mtume (recorded October 7, 1974) - 15:08
3. Mtume (take 11) (recorded October 7, 1974) - 06:51
4. Hip-Skip (recorded November 6, 1974) - 18:59
5. What They Do (recorded November 6, 1974) - 11:44
6. Minnie (recorded May 5, 1975) - 3:53
Tracks 1 & 2 from stereo LP master of GET UP WITH IT Tracks 3-6 remixed by Richard King and Bob Belden in
2007
Disc Six
1. Red China Blues (recorded 3/9/72) - 4:06
2. On The Corner/New York Girl/Thinkin' Of One Thing And Doin' Another/Vote For Miles (recorded June 1,
1972) - 19:54
3. Black Satin (recorded June 1 and July 7, 1972) - 5:15
4. One And One (recorded June 6, 1972) - 6:09
5. Helen Butte/Mr. Freedom X (master)(recorded June 6, 1972) - 23:14
6. Big Fun (recorded July 26, 1972) - 2:32
7. Holly-wuud (recorded July 26, 1972) - 2:54
Track 1 from stereo LP master of GET UP WITH IT Tracks 2-5 are the stereo LP master of ON THE CORNER
Tracks 6 & 7 are the masters for a 45 single, both are taken from track 4 on CD 3.
Notes
Note 1: All tracks composed by Miles Davis, unless noted otherwise.
Note 2: All tracks remixed by Richard King and Bob Belden are previously unreleased.
Note 3: On the two Turnaround tracks. The titles are confusing, as "Turnaroundphrase" is the title traditionally given
to a completely different piece, namely the opening section of for instance Dark Magus and Pangaea. Saxophonist
Dave Liebman called it "Turnaroundphrase", as does Jan Lohmann in his seminal discography on Miles. What's
more, Turnaround and U-Turnaround are based on the tune that appears after 22:01 in "Prelude" on Agharta. On the
LP version it's actually called "Prelude Pt2." It also appears on another official Sony release, Bill Laswell's
Panthalassa. Laswell calls it "Agharta Prelude Dub". Why the makers of the On The Corner boxed set didn't stick to
convention as established by Sony itself is a mystery.
Columbia Studio E recording sessions 1972-1976, NYC

All sessions listed could possibly be included on the forthcoming box set
1972
Miles Davis Octet - March 9, 1972
1. Red China Blues
(Originally Released on Get Up With It)
Miles Davis and His Band - June 1, 1972
1. On the Corner
2. New York Girl
3. Thinkin' One Thing and Goin' Another
4. Vote for Miles
(All Songs Originally Released on On The Corner)
1. One and One
2. Helen Butte / Mr. Freedom X
(All Songs Originally Released on On The Corner)
1. Jabali (unissued)
2. Ife (Originally Released on Big Fun)
Miles Davis and His Band - July 7, 1972
1. Black Satin
(Originally Released on On The Corner)
Miles Davis Octet - September 6, 1972

1. Rated X
Miles Davis Nonet - September 6, 1972
1. Billy Preston
1973
Miles Davis Septet - July 26, 1973
1. Holly-Wuud
2. Big Fun
3. TDK Funk
4. TDK Funk (alt. take 1)
5. TDK Funk (alt. take 2)
(Unreleased or Unknown Sessions)
Miles Davis Octet - September 17, 1973
1. Calypso Frelimo
(Originally released on Get Up with It)
1974
Miles Davis Octet - June 19 or 20, 1974
1. He Loved Him Madly
Miles Davis Octet - October 7, 1974
1. Mtume
2. Maiysha
1975
Miles Davis Septet - February 27, 1975
1. Turn of the Century (Untitled piece)
(Unreleased or unknown Sessions)
Miles Davis Septet - May 5, 1975
1. Untitled Latin Tracks 1-5
1976
Miles Davis Octet - March 30, 1976
1. Mother Dearest Mother
2. Untitled Track 1
3. Untitled Track 2
Performers
Miles Davis - Electric Trumpet with Wah Wah, organ, Electric piano
Badal Roy - Tabla
Carlos Garnett - Alto and tenor saxophone
Don Alias - Percussion
Chick Corea - synthesiser, Electric piano
Collin Walcott - Sitar
Dave Liebman - Soprano saxophone
David Creamer - Electric guitar
Harold I. Williams - Electric piano, synthesiser
Herbie Hancock - Organ, Electric piano, synthesiser
Jabali Billy Hart - drums, bongos
Jack DeJohnette - drums
James Mtume Foreman - Percussion
Lonnie Liston Smith - Organ
Michael Henderson - Electric bass with Wah Wah
Paul Buckmaster - Cello
Cedric Lawson - electric piano
Al Foster - drums
Dave Liebman - flute
Pete Cosey - electric guitar
Dominique Gaumont - electric guitar
Sonny Fortune - flute
Performers by year
1972
Cedric Lawson electric piano
Al Foster drums
James Mtume Foreman percussion
Badal Roy tabla
Sonny Fortune flute
Carlos Garnett soprano saxophone
1973
Miles Davis electric trumpet with Wah Wah, electric piano, organ
Dave Liebman flute

Al Foster drums
1974
Dave Liebman soprano saxophone, flute
Sonny Fortune flute
Al Foster drums
Performers by song
"Ife" & "Jabali" (12 June 1972 - Columbia Studio E)
Miles Davis - Electric trumpet with Wah Wah
Sonny Fortune - soprano saxophone, flute
Bennie Maupin - clarinet, flute
Carlos Garnett - soprano saxophone
Lonnie Smith - piano
Harold I. Williams, Jr. - piano
Michael Henderson - double bass
Al Foster - drums
Billy Hart - drums
Badal Roy - tabla
James Mtume - African percussion
"Rated X" (6 September 1972 - Columbia Studio E)
Cedric Lawson Fender Rhodes electric piano
Michael Henderson - bass guitar
Al Foster - drums
James Mtume Foreman - percussion
Badal Roy - tabla
"Billy Preston" (8 December 1972 - Columbia Studio E)
Carlos Garnett - soprano saxophone
Cedric Lawson Fender Rhodes electric piano
Michael Henderson - bass guitar
Al Foster - drums
James Mtume Foreman - percussion

Badal Roy - tabla
"Calypso Frelimo" (17 September 1973 - Columbia Studio E)
Miles Davis Electric trumpet with Wah Wah, electric piano, organ
Dave Liebman flute
Al Foster drums
"Calypso Frelimo" (17 September 1973 - Columbia Studio E)
Miles Davis Electric trumpet with Wah Wah, electric piano, organ
Dave Liebman flute
Al Foster drums
"He Loved Him Madly" (19 or 20 June 1974 - Columbia Studio E)
Miles Davis Electric trumpet with Wah Wah, organ
Dave Liebman soprano saxophone, flute
Al Foster drums
"Mtume" (7 October 1974 - Columbia Studio E)
Sonny Fortune flute
Al Foster drums
"Maiysha" (7 October 1974 - Columbia Studio E)
Sonny Fortune flute
Al Foster drums
Performers by recording session

March 9, 1972 Miles Davis (tpt); Wally Chambers (hca); Cornel Dupree (g); Michael Henderson (el-b); Al Foster
(d); Bernard Purdie (d); James Mtume Forman (cga, perc); Wade Marcus (brass arr); Billy Jackson (rhythm arr)
June 1, 1972 Miles Davis (tpt); Dave Liebman (ss); Chick Corea (synth); Herbie Hancock (org); Harold I. Williams
(el-p); John McLaughlin (g); Collin Walcott (sitar); Paul Buckmaster (cello); Michael Henderson (el-b); Jack
DeJohnette (d); Jabali Billy Hart (d, perc, bgo); Charles Don Alias (cga, perc); James Mtume Forman (cga, perc);
Badal Roy (tabla)
June 6, 1972 Miles Davis (tpt); Carlos Garnett (as, ts); Bennie Maupin (bcl); Herbie Hancock (el-p, synth); Harold I.
Williams (el-p, synth); Lonnie Liston Smith (org); David Creamer (g); Collin Walcott (sitar); Paul Buckmaster
(cello); Michael Henderson (el-b); Jack DeJohnette (d, handclaps); Jabali Billy Hart (d, handclaps); Charles Don
Alias (perc, handclaps); James Mtume Forman (perc, handclaps); Badal Roy (tabla, handclaps)
June 12, 1972 Miles Davis (tpt); Carlos Garnett (ss); Bennie Maupin (bcl); Lonnie Liston Smith (org); Harold I.
Williams (el-p, synth); Michael Henderson (el-b); Al Foster (d); Jabali Billy Hart (d, perc); James Mtume Forman
(cga, perc); Badal Roy (tabla)
August 23, 1972 Miles Davis (tpt); Cedric Lawson (org); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael
Henderson (el-b); Al Foster (d); Badal Roy (tabla); James Mtume Forman (cga)
September 6, 1972 Miles Davis (org); Reggie Lucas (g); Khalil Balakrishna (sitar); Cedric Lawson (synth); Michael
Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)
November 29, 1972 Miles Davis (tpt); Carlos Garnett (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil
Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)
December 8, 1972 Miles Davis (org); Carlos Garnett (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil
Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)
January 4, 1973 Miles Davis (tpt); Dave Liebman (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil Balakrishna
(sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)
July 26, 1973 Miles Davis (tpt, org); Dave Liebman (ss, fl); Pete Cosey (g); Reggie Lucas (g); Michael Henderson
(el-b); Al Foster (d); James Mtume Forman (cga, perc)
September 17, 1973 Miles Davis (tpt, org); Dave Liebman (ts, fl); John Stubblefield (ss); Pete Cosey (g); Reggie
Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)
September 18, 1973 Miles Davis (tpt, org); Dave Liebman (ts); Pete Cosey (g); Reggie Lucas (g); Michael
Henderson (el-b); Al Foster (d); James Mtume Forman (cga)
June 19, 1974 Miles Davis (tpt, org); Dave Liebman (fl); Pete Cosey (g); Reggie Lucas (g); Dominique Gaumont
(g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)
October 7, 1974 Miles Davis (tpt, org); Sonny Fortune (ss, fl); Pete Cosey (g); Reggie Lucas (g); Dominique
Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)
November 6, 1974 Miles Davis (tpt, org); Sonny Fortune (ss, ts, fl); Pete Cosey (g, d, perc); Reggie Lucas (g);
Dominique Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)
May 5, 1975 Miles Davis (tpt, org); Sam Morrison (ts); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson
(el-b); Al Foster (d); James Mtume Forman (cga, perc)
References
[2] http:/ / www. bbc. co. uk/ music/ release/ 6qdp/
[3] http:/ / www. musicbox-online. com/ reviews-2007/ milesdavis-cornersessions-09172007. html
[4] http:/ / www. pitchforkmedia. com/ article/ record_review/ 47055-the-complete-on-the-corner-sessions
[5] http:/ / www. rollingstone. com/ reviews/ album/ 16476099/ review/ 17118227/ the_complete_on_the_corner_sessions
[6] http:/ / www. amazon. com/ Complete-Corner-Sessions-Miles-Davis/ dp/ B000TLMWMO/ ref=sr_1_1?ie=UTF8& qid=1301238970& sr=1-1
[7] http:/ / www. miles-beyond. com/ otcbox. htm
External links
Article about release (http://weblogs.variety.com/thesetlist/jazz/index.html)
On The Corner track sheets at the Miles Beyond web site (http://www.miles-beyond.com/otc.htm)
On The Corner official track list, plus annotations on the Miles Beyond site (http://www.miles-beyond.com/
otcbox.htm)
Complete Miles Davis Recording Session and Personnel Listings (http://www.jazzdisco.org/miles/dis/c/
#720309)
Miles Davis: The Complete Columbia Album

Collection
The Complete Columbia
Album Collection
Genre Jazz
Label Sony Legacy
Producer Daniel Baumgarten, Richard Seidet
Miles Davis: The Complete Columbia Album Collection is a box set by jazz musician Miles Davis, released in
2009. It contains all the official releases on the Columbia Records label. The box set consists of 70 CDs and 1 DVD.
Album groups
2nd depth is a live recording.
Compilations may not belong to one specific period.
No## shows the album order in the box set.
rec. stands for recorded year, rel. for released year.
-55
1. No01. In Paris Festival International de Jazz May, 1949 (rec. 1949, rel. 1977)[SRCS 9724]
55-60 with Coltrane

with Julian "Cannonball" Adderley / Paul Chambers / John Coltrane / Bill Evans / Wynton Kelly / Hank Mobley /
Philly Joe Jones / Jimmy Cobb ...
1. No02. 'Round About Midnight (rec. 1955-1956, rel. 1956)[CK-85201]
2. No05. Milestones (rec. 1958, rel. 1958 .)[CK-85203]
3. No06. 1958 Miles (rec. 1958, rel. 1958)[C6K-65833]
1. No07. At Newport 1958 (rec. 1958, rel. 1958)[CK-85202]
2. No09. Jazz at the Plaza (rec. 1958, rel.1973)[CK-85245]
4. No10. Kind of Blue (rec. 1959, rel. 1959)[CK-64935]
5. No13. Someday My Prince Will Come (rec.1961, rel. 1961)[CK-65919]
with Gil Evans

1. No04. Miles Ahead (rec. 1957, rel. 1957)[CK-65121]
2. No08. Porgy And Bess (rec. 1958, rel. 1958)[CK-65141]
3. No11. Sketches Of Spain (rec. 1959-1960, rel. 1960)[CK-65142]
4. No17. Quiet Nights (rec. 1962, rel. 1963)[CK-65293] + "Blue Xmas (To Whom It May Concern)" and "Devil
May Care" [CXK-67397]
61 Sessions
with Hank Mobley / Wynton Kelly / Paul Chambers / Jimmy Cobb
1. No14. In Person Friday Night At The Blackhawk, San Francisco Complete (rec. 1961, rel.1961,
2CD)[C2K-87097]
2. No15. In Person Saturday Night At The Blackhawk, San Francisco Complete (rec. 1961, rel.1961,
2CD)[C2K-87100]
3. No16. At Carnegie Hall / The Complete Concert (rec.1961, rel.1962, 2CD)[C2K-65027]
63-64 Sessions
with George Coleman (Wayne Shorter) / Herbie Hancock (Victor Feldman) / Ron Carter / Tony Williams (Frank
Butler)
1. No18. Seven Steps to Heaven (rec 1963., rel.1963)[CK-93592]
1. No19. In Europe (rec. 1963, rel. 1964)[CK-93583]
2. No20. My Funny Valentine (rec. 1964, rel.1965)[CK 93593]
3. No21. "Four" & More (rec. 1964, rel.1966)[CK-93595]
4. No22. Miles In Tokyo (rec. 1964, rel. 1969)[CK-93596]
5. No23. Miles In Berlin (rec. 1964, rel.1965)[CK-93594]
65-68 The Miles Davis Quintet

with Wayne Shorter / Herbie Hancock / Ron Carter / Tony Williams
1. No24. E.S.P. (rec. 1965, rel. 1965)[CK-65683]
1. No25. Live At The Plugged Nickel (rec.1965, 2CD)[CXK-66955]
2. No26. Miles Smiles (rec.1966, rel. 1967)[CK-65682]
3. No27. Sorcerer (rec.1967, rel. 1967)[CK-65680]
4. No28. Nefertiti (rec. 1967, rel. 1968)[CK-65681]
1. DVD Miles Davis In Germany & Sweden (10/31/67)
5. No30. Miles in the Sky (rec.1968, rel. 1968)[CK-65684]
6. No29. Water Babies (rec. 1967-1968, rel.1976)[CK-86557]
68-70 Music Directed by Miles Davis

with Wayne Shorter / Herbie Hancock / Chick Corea / Ron Carter / Tony Williams / John McLaughlin / Joe Zawinul
/ Keith Jarrett / Jack DeJohnette / ...
1. No31. Filles de Kilimanjaro (rec. 1968, rel.1969)[CK-86555]
2. No32. In a Silent Way (rec.1969 rel. 1969)[CK-86556]
3. No33. Bitches Brew (rec. 1969, rel. 1970, 2CD)[C2K-65774]
4. No35. A Tribute to Jack Johnson (rec. 1970, rel. 1971)[CK-93599]
1. No36. Live at the Fillmore East, March 7, 1970: It's About that Time (rec. 1970, rel. 2001, 2CD)[C2K-85191]
2. No37. Black Beauty: Miles Davis at the Fillmore West (rec. 1970, rel. 1977, 2CD)[C2K-65138]
3. No38. Miles Davis at Fillmore: Live at the Fillmore East (rec. 1970, rel. 1970, 2CD)[C2K-65139]
4. No39. Isle Of Wight (rec. 1970, rel. 2009)
5. No40. Live-Evil (rec. 1970, rel.1971, 2CD)[C2K-65135]
5. No03. Circle in the Round (rec. 1955 - 1970, rel. 1979, 2CD)[C2K-46862] Compilation
6. No12. Direction (rec. 1960-1970, rel.1981, 2CD)[SRCS 9761/2] Compilation
7. No34. Big Fun (rec.1969-1972, rel. 1974, 2CD)[C2K-63973]
72-75 On the Corner

1. No41. On The Corner (rec. 1972, rel.1972)[CK-63980]
1. No42. In Concert: Live at Philharmonic Hall (rec. 1972, rel. 1973, 2CD)[C2K-65140]
2. No44. Get Up With It (rec. 1970-1974, rel.1974, 2CD)[C2K-63970]
1. No43. Dark Magus (rec. 1974, rel.1977, 2CD)[C2K-65137]
2. No45. Agharta (rec. 1975, rel. 1976, 2CD)[C2K-46799]
3. No46. Pangaea (rec. 1975, rel. 1975, 2CD)[C2K-46115]
81-83 with Bill Evans & Marcus Miller

1. No47. The Man With The Horn (rec. 1980-1981, rel.1981)[CK-36790]
2. No48. We Want Miles (rec. 1981, rel. 1982, 2CD)[SICP 1235/6 ] + 3 bonus trks from Miles!, Miles!, Miles!
3. No49. Star People (rec. 1982-1983, rel. 1983)[CK-38657]
83-85 Final albums in Columbia

1. No50. Decoy (rec. 1983, rel. 1984)[CK-38991]
2. No51. You're Under Arrest (rec. 1984-1985, rel. 1985)[CK-40023]
3. No52. Aura (rec. 1985, rel. 1989)[CK-45332]
Production
Box Set Producer - Daniel Baumgarten and Richard Seidet
Boxset Supervision/A&R - Steve Berkowitz
Mastering Engineer - Mark Wilder and Maria at Battery Studio, NYC
Mastering coordination - Donna Kloepfer
Project Direction - Adam Farber and Zak Profera
Archival Research - Michael Panico and Tom Tierney
Tape Research - Matt Kelly
Art Direction and Design - Bruno Lefvre, Christophe Javault and Juliette Carrico / Objectif Lune [Paris]
English translation - Michelle Sommers and Diane Cousineau
Editorial Supervision [English translation] - Jeremy Holiday and Sheri Miller
External links
Information page in www.kind-of-blue.de [1]
References
[1] http:/ / www. kind-of-blue. de/ seiten/ boxen/ miles_columbia_album_collection_box. htm
279
Videos and films
Miles in Paris
Miles in Paris
Released 1990
Recorded November 1989
Genre Electric Jazz
Length 68:08
Label Four Aces Records
Producer Warner Bros. Records (Movie)
Miles In Paris is a movie released in 1990. It was filmed in Paris in 1989 when Miles Davis was touring in Europe.
Miles was recorded with his septet in various locations in Paris, France.
The album version of Miles In Paris was released that same year as an alternative to the movie.
Track listing
1. "Hannibal" 6:16 (Composed by Marcus Miller)
2. "Jilli" 5:29 (John Bigham)
3. "Don't Stop Me Now" 3:01 (S. Lukather & D. Paitch)
4. "Wrinkle" 3:57 (Erin Davis)
5. "Mr. Pastorius" 2:39 (Marcus Miller)
6. "Human Nature" 16:29 (S. Porcaro & J. Bettis)
7. "New Blues" 13:09 (Miles Davis)
8. "Amandla" 6:45 (Marcus Miller)
9. "Tutu" 10:17 (Marcus Miller)
Performers
Miles Davis trumpet
Kei Akagi keyboards
John Bigham electric percussion
Kenny Garret saxophone, flute
Joseph McCreary a.k.a. Foley lead double bass
Benjamin Rietveld double bass
Ricky Wellman drums
Miles in Paris 280
External links
http://www.allaboutjazz.com/php/article.php?id=19702
Dingo
Dingo
Directed by Rolf de Heer
Produced by Rolf de Heer

Giorgio Draskovic
Marie-Pascale
Osterrieth
Marc Rosenberg
Written by Marc Rosenberg
Starring Colin Friels

Miles Davis
Music by Miles Davis

Michel Legrand
Cinematography Denis Lenoir
Editing by Suresh Ayyar
Distributed by Greycat Films
Release date(s) 31 January 1992
Running time 109 minutes
Country Australia
Language English
Dingo is a 1991 Australian film directed by Rolf de Heer and written by Marc Rosenberg. It traces the pilgrimage of
John Anderson (played by Colin Friels), an average guy with a passion for jazz, from his home in outback Western
Australia to the jazz clubs of Paris, to meet his idol, jazz trumpeter Billy Cross (played by legendary trumpeter Miles
Davis). In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian
outback and proceed to perform for the stunned locals. The performance was one of Davis' last on film.
Dingo 281
Music
See also: Dingo (soundtrack)
Davis, who plays the role of Cross, provided the film's soundtrack in cooperation with Michel Legrand.
Box Office
Dingo grossed $132,500 at the box office in Australia.[1]
References
[1] Film Victoria - Australian Films at the Australian Box Office (http:/ / film. vic. gov. au/ resources/ documents/ AA4_Aust_Box_office_report.
pdf)
External links
Official website (http://http://www.vertigoproductions.com.au/information.php?film_id=5&display=tech)
Dingo (http://www.imdb.com/title/tt0104109/) at the Internet Movie Database
Dingo at the National Film and Sound Archive (http://colsearch.nfsa.afc.gov.au/nfsa/search/display/display.
w3p;adv=yes;group=;groupequals=;holdingType=;page=0;parentid=;query=241331;querytype=;rec=0;resCount=10)
282
Compositions
"Donna Lee"
"Donna Lee" is a bebop jazz standard composed by Miles Davis. It was written in A flat and is based on the chord
changes of the traditional jazz standard "(Back Home Again in) Indiana".[1] One unusual feature of the tune is that it
begins with a half-bar rest. It is a very complex, fast moving chart that utilizes a compositional style based around
the usage of four note groups over each change.
Authorship
Miles Davis composed the tune in 1947, his first recorded composition, although authorship is often credited to
saxophonist Charlie Parker.[2] Parker was credited on the original 78 rpm recordings, a mistake perpetuated through
numerous reissues and causing early confusion.[2] The tune was also copyrighted under Parker's name. It was named
after bassist Curly Russell's daughter, Donna Lee Russell, a title assigned by producer Teddy Reig.
Performances
"Donna Lee" was originally recorded by the Charlie Parker Quintet on May 8, 1947 for Savoy Records in New York
City. The performers for the session were Charlie Parker (alto saxophone), Miles Davis (trumpet), Bud Powell
(piano), Tommy Potter (bass), and Max Roach (drums). Also recorded in the same session were "Chasin' the Bird",
"Cheryl", and "Buzzy".[3]
Jazz bassist Jaco Pastorius recorded his interpretation of the tune, a solo fretless electric bass rendition featuring Don
Alias on congas, for his debut album Jaco Pastorius (1976). The tune is a particular favourite of avant-garde
saxophonist Anthony Braxton, who has recorded it many times. It is also the last song ever recorded by trumpeter
Clifford Brown, prior to his death in a car accident at age 25.
Origin of the name

As stated above, the piece is named after bassist Curly Russell's daughter, Donna Lee Russell.[4]
In Charles Mingus's quasi-autobiography, Beneath the Underdog, he enters a period in his life where he has two
"wives", one named Donna and one named Lee-Marie. When Mingus introduces them to Miles Davis, and as he
considers them as one wife exhibiting the best qualities of both people, he refers to them as "Donna-lee".
Notes
[1] Burlingame
[2] Chambers (1998), p. 61
[3] http:/ / www. plosin. com/ milesahead/ BirdSessions. aspx?s=470508
[4] Ira Gitler's interview (http:/ / www. jazzwax. com/ 2010/ 07/ ira-gitler-on-bird-song-origins. html) with Mark Myers
"Donna Lee" 283
References
Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. De Capo Press. ISBN 0-306-80849-8
Burlingame, Sandra "Donna Lee" @ jazzstandards.com (http://www.jazzstandards.com/compositions-1/
donnalee.htm). Accessed 2007 September 20
Further reading
Brian Priestley Chasin the Bird: The Life and Legacy of Charlie Parker
Stephanie Stein Crease, Gil Evans: Out of the Cool
"Solar"
"Solar" is a musical composition attributed to Miles Davis on the studio album Walkin', considered a modern jazz
standard. There is disagreement concerning the exact pronunciation of the tune, whether it was intended as English
pronunciation:/solr/ or English pronunciation:/solr/. A controversy also exists over authorship of this composition
and one current consensus[1] holds that Davis' "Solar" is essentially an earlier song, "Sonny" (or "Sunny"?), written
by Chuck Wayne.
The first two measures of this song adorn Miles Davis' tombstone in Woodlawn Cemetery.
Chord structure
The commonly accepted chord structure[2] for this piece is:
A CmMaj7 % Cm7 or Gm7 Gm7 : C7
FMaj7 % Fm7 Bb7
EbMaj7 Ebm7 : Ab7 DbMaj7 Dm7b5 : G7
Recordings
Miles Davis - Walkin'
Bill Evans - Sunday at the Village Vanguard
Pat Metheny - Question and Answer
Brad Mehldau - Art of the Trio, Vol. 4
McCoy Tyner - Live at Sweet Basil
Kenny Barron - Live At Bradley's
Stanley Clarke Trio - Jazz in the Garden
References
[1] Voce, Steve. Chuck Wayne Obituary. The Independent (London), 1997 August 1 ( link (http:/ / findarticles. com/ p/ articles/ mi_qn4158/
is_19970801/ ai_n14122055)). Accessed 6 August 2007
[2] New Real Book Volume 1. New Real Book Volume 1. Petalnuma, CA: Sher Music Co., 1988
"Milestones" 284
"Milestones"
"Milestones"
Composition by Miles Davis from the album Milestones
Recorded 1958
Genre Jazz
Length 5:45
Label Columbia
Composer Miles Davis
Milestones track listing
"Dr. Jackle"
"Sid's Ahead"
"Two Bass Hit"
"Milestones"
"Billy Boy"
"Straight, No Chaser"
"Milestones" is a jazz composition written by Miles Davis. It appears on the album of the same name in 1958. It has
since become a jazz standard. "Milestones" is the first example of Miles composing in a modal style and
experimentation in this piece led to the writing of "So What" from the 1959 album Kind of Blue.
It was oringally called "Miles" on the album, and led off the B side of the record. Since people began referring to the
tune as "Milestones" rather than "Miles," in later editions of the album the name was changed.
The musicians on the original 1958 recording of "Milestones" are:
Cannonball Adderley - Alto saxophone
Red Garland - Piano
Milestones is also the name of another tune by Miles Davis he had written while playing with Charlie Parker.
Musically it is not related to the more famous tune.
"Milestones" has been performed by
Elek Bacsik
Chet Baker
Anthony Braxton
Miles Davis
Bill Evans
Dexter Gordon
Herbie Hancock
Roy Hargrove
Joe Henderson
Bobby Jaspar
"Milestones" 285
Wynton Kelly
Dave Liebman
Wes Montgomery
Joe Pass
Enrico Rava
Buddy Rich
Jimmy Smith
Ren Thomas
Charles Earland
Bob Weir & Ratdog
Little Feat
Phil Lesh and Friends
Phil Collins Big Band
Jerry Garcia
The Dead
Mark Murphy
Oliver Nelson
Turtle Island String Quartet
"All Blues" 286
"All Blues"
"All Blues"
Composition by Miles Davis from the album Kind of Blue
Recorded April 22, 1959
Genre Jazz
Length 11:33
Label Columbia
Producer Teo Macero
Kind of Blue track listing
1. "So What"
2. "Freddie Freeloader"
3. "Blue in Green"
4. "All Blues"
"All Blues" is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a
12 bar blues in 6/4; the chord sequence is that of a basic blues and made up entirely of 7th chords, with a VI in the
turnaround instead of just the usual V chord. In the song's original key of G this chord is an E7.[1]
The piece is made even more distinctive by the bass vamp that repeats through the whole piece, except when a V or
VI chord is reached (the 9th and 10th bars of a chorus). Further to this, there is a harmonically similar vamp that is
played by the horns (the two saxophones in the case of Kind of Blue) at the beginning and then (usually) continued
by the piano under any solos that take place. Each chorus is usually separated by a four-bar vamp which acts as an
introduction to the next solo/chorus!
While originally an instrumental piece and usually performed as such, lyrics were later written for it by Oscar Brown
Jr..
References
[1] The Real Book Sixth Edition. Hal Leonard Corporation. p.18. ISBN0-634-06038-4.
"Blue in Green" 287
"Blue in Green"
"Blue in Green"
Composition by Bill Evans and Miles Davis from the album Kind of Blue
Genre Jazz
Length 5:37
Label Columbia
Composer Miles Davis and Bill Evans
Producer Teo Macero
1. "So What"
3. "Blue in Green"
4. "All Blues"
"Blue in Green" is the third track on Miles Davis' 1959 album, Kind of Blue. One of two ballads on the LP (the other
being "Flamenco Sketches"), "Blue in Green"'s melody is very modal, incorporating the presence of the dorian,
mixolydian, and lydian modes. The first measure is a G minor chord with an added natural 13 (Gm13), which
contains an F natural but the modal tonality of the piece is already evident as the opening note of the melody is an E
natural, which is the leading tone of the F major scale. The natural 13 of the chord is E natural.
It has long been speculated that pianist Bill Evans wrote "Blue in Green",[1] even though the LP and most jazz
fakebooks credit only Davis with its composition. In his autobiography, Davis maintains that he alone composed the
songs on Kind of Blue. The version on Evans' trio album Portrait in Jazz, recorded in 1959, credits the tune to
'Davis-Evans'. Earl Zindars, in an interview conducted by Win Hinkle, said that "Blue in Green" was 100-percent
written by Bill Evans.[2] In a 1978 radio interview, Evans said that he himself had written the song.[3]
In a recording made in December 1958 or January 1959 for Chet Baker's album Chet (prior to the Kind of Blue
sessions), Evans' introduction on the jazz standard "Alone Together" has been directly compared to his playing on
"Blue in Green".[4]
Jazz fusion guitarist Lee Ritenour covered the song from his 2005 album "Overtime."[5] [6]
References
[1] The notes accompanying Bill Evans - The Complete Riverside Recordings, published in 1984, give credit to both Evans and Davis
((Davis-Evans) Jazz Horn Music/Warner-Tamerlane Publ. BMI)
[2] See page 20 of the Fall 1993 issue of Letter from Evans (http:/ / www2. selu. edu/ orgs/ 34skid/ html/ 23. pdf) where Earl Zindars says "I
know that it is [100-percent Bill's] because he wrote it over at my pad where I was staying in East Harlem, 5th floor walkup, and he stayed
until 3 o'clock in the morning playing these six bars over and over."
[3] http:/ / www. npr. org/ templates/ story/ story. php?storyId=92185496 35m30s - On being asked about the issue by the interviewer (Marian
McPartland), Evans said "The truth is I did [write the music]... I don't want to make a federal case out of it, the music exists, and Miles is
getting the royalties"
[4] http:/ / www. amazon. com/ Chet-20-Bit-Mastering-Baker/ dp/ B00004UENB
[5] "Overtime overview" (http:/ / www. allmusic. com/ album/ r740189). Allmusic.com. .
[6] "Overtime Lee Ritenour" (http:/ / jazztimes. com/ articles/ 15885-overtime-lee-ritenour). JazzTimes.com. .
"Flamenco Sketches" 288
"Flamenco Sketches"
"Flamenco Sketches"
Recorded March 2 and April 22, 1959
Genre Jazz
Length 9:26
Label Columbia
Composer Miles Davis and Bill Evans
Producer Teo Macero
1. "So What"
3. "Blue in Green"
4. "All Blues"
"Flamenco Sketches" is a jazz composition written by American jazz trumpeter Miles Davis and pianist Bill Evans.
It is the fifth track on Davis' 1959 album Kind of Blue, the best-selling jazz record of all time, and an innovative
experiment in modal jazz. The track features Miles Davis, John Coltrane, Cannonball Adderley and Bill Evans.
The song has no written melody, but is rather defined by a set of chord changes that are improvised over using
various modes of the major scale of each tonality. Each musician separately chose the number of bars for each of the
modal passages in his solo. Davis gets credit for the song form, but Evans is credited with the opening 4-bar vamp
over Cmaj7 and G9sus4, which is the opening theme to his ballad improvisation "Peace Piece." Because of the
presence of this vamp, "Flamenco Sketches" is usually played as a ballad. The modes used in "Flamenco Sketches"
are as follows:
C Ionian (natural major scale)
A Mixolydian (Major with a minor 7th)
B Ionian
G Harmonic Minor over D (alternates over bass notes D and E)
G Dorian
An alternate take of "Flamenco Sketches" is included on most recent re-issues of Kind of Blue as the sixth and last
track.
"Freddie Freeloader"
"Freddie Freeloader"
Released August 17 1959
Recorded March 2 1959
Genre Jazz
Length 9:46
Label Columbia
Producer Teo Macero
1. "So What"
3. "Blue in Green"
4. "All Blues"
"Freddie Freeloader" is a composition by Miles Davis and is the second track on his album Kind of Blue. The piece
takes the form of a twelve-bar blues in B-flat, but the chord over the final two bars of each chorus is an A-flat7, not
the traditional B-flat7 followed by either F7 for a turnaround or some variation of B-flat7 for an ending. Davis
employed Wynton Kelly as the pianist for this track in place of Bill Evans, as Kelly was something of a blues
specialist.[1] The solos are by Miles Davis, John Coltrane, Cannonball Adderley, Paul Chambers, and Wynton
Kelly.[2]
According to the documentary Kind of Blue: Made in Heaven, the song was named after an individual named
Freddie who would frequently try to see the music Davis and others performed without paying (thus freeloading).[1]
The name may have also been inspired by Red Skeltons most famous character, "Freddie the Freeloader" the hobo
clown.[1] [2]
"Freddie Freeloader" has proven to be one of Davis' most enduring compositions. Stanley Jordan recorded it for his
album Magic Touch.
A vocalese version is featured on Freddie Freeloader: Jon Hendricks and Friends (1990) featuring Bobby McFerrin
(Wynton Kelly), Al Jarreau (Miles Davis), George Benson (Cannonball Adderley) and Jon Hendricks (John
Coltrane).
Notes
[1] "Fifty Years Ago Today: "Freddie Freeloader" and the Start of "Kind of Blue"" (http:/ / www. allaboutjazz. com/ php/ news. php?id=31133).
All About Jazz. . Retrieved 29 September 2010.
[2] Kurtz, Alan. "Miles Davis: Freddie Freeloader" (http:/ / www. jazz. com/ music/ 2009/ 1/ 9/ miles-davis-freddie-freeloader). Jazz.com. .
Retrieved 29 September 2010.
External links
" Freddie Freeloader (http://www.allmusic.com/song/t1560010)" at Allmusic
"So What" 291
"So What"
"So What"
Genre Jazz
Length 9:22
Label Columbia
Producer Teo Macero
1. "So What"
3. "Blue in Green"
4. "All Blues"
"So What" is the first track on the 1959 Miles Davis album Kind of Blue.
History
"So What" is one of the best known examples of modal jazz, set in the Dorian mode and consisting of 16 bars of D
Dorian, followed by eight bars of E Dorian and another eight of D Dorian.[1] This AABA structure puts it in the
thirty-two bar format of American popular song.
The piano-and-bass introduction for the piece was written by Gil Evans for Bill Evans (no relation) and Paul
Chambers on Kind of Blue. An orchestrated version by Gil Evans of this introduction is later to be found on a
television broadcast given by Miles' Quintet (minus Cannonball Adderley who was ill that day) and the Gil Evans
Orchestra; the orchestra gave the introduction, after which the quintet played the rest of "So What".
The distinctive voicing employed by Bill Evans for the chords that interject the head, from the bottom up three
perfect fourths followed by a major third, has been given the name "So What chord" by such theorists as Mark
Levine.
While the track is taken at a very moderate tempo on Kind Of Blue, it is played at an extremely fast tempo on later
live recordings by the Quintet, such as Four and More.
The same chord structure was later used by John Coltrane for his standard "Impressions".[2]
"So What" 292
Renditions
In 1991, saxophonist Candy Dulfer covered the song from her debut album "Saxuality."[3]
In 2005, Larry Coryell Trio covered the song from the album "Electric."[4] [5]
References
[1] Khan, Steve. "Miles Davis Jazz Trumpet Solo Transcription and Analysis" (http:/ / www. stevekhan. com/ sowhata. htm). . Retrieved 11
October 2010.
[2] Nisenson, Eric (1995). Ascension: John Coltrane and his quest. Da Capo Press. p.126. ISBN0306806444.
[3] "Saxuality overview" (http:/ / www. allmusic. com/ album/ r132182). Allmusic. .
[4] "Electric overview" (http:/ / www. allmusic. com/ album/ r787871). Allmusic.com. .
[5] "Electric overview" (http:/ / www. allmusic. com/ album/ r787871). Allmusic.com. .
External links
"So What" at jazzstandards.com (http://www.jazzstandards.com/compositions-4/sowhat.htm)
So What - Youtube (http://www.youtube.com/watch?v=EkdxjihGRyI), a 1958 live recording of Miles Davis
and John Coltrane performing "So What".
293
Soundtracks
Ascenseur pour l'chafaud

Ascenseur pour l'chafaud
Soundtrack album by Miles Davis
Released 1958
Recorded December 4 and 5, 1957
Genre Jazz
Length 1:08:48
Label Fontana
[1]
Allmusic
[2]
Mojo (favorable)
Miles Ascenseur pour 1958

Ahead l'chafaud Miles
(1957) (1958) (1958)
Ascenseur pour l'chafaud is an album by jazz musician Miles Davis. It was recorded at Le Poste Parisien Studio
in Paris on December 4 and 5, 1957. The album features the musical cues for the 1958 Louis Malle film Ascenseur
pour l'chafaud.
Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's
soundtrack - possibly inspired by the Modern Jazz Quartet's recording for Roger Vadim's Sait-on jamais (Does One
Ever Know), released a few months earlier in 1957.
Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. Rappeneau introduced him to
Malle, and Davis agreed to record the music after attending a private screening. On December 4, he brought his four
sidemen to the recording studio without having had them prepare anything. Davis only gave the musicians a few
rudimentary harmonic sequences he had assembled in his hotel room, and, once the plot was explained, the band
improvised without any precomposed theme, while edited loops of the musically relevant film sequences were
projected in the background.
Jazz Track, an album that contains ten songs from this soundtrack, received a 1960 Grammy nomination for Best
Jazz Performance, Solo or Small Group.
Track listing
No. Title Length
1. "Nuit Sur Les Champs-lyses (take 1)" 2:25
5. "Assassinat (take 1)" 2:02
8. "Motel" 3:56
9. "Final (take 1)" 3:05
10. "Final (take 2)" 3:00
11. "Final (take 3)" 4:04
12. "Ascenseur" 1:57
13. "Le Petit Bal (take 1)" 2:40
14. "Le Petit Bal (take 2)" 2:53
15. "Squence Voiture (take 1)" 2:56
16. "Squence Voiture (take 2)" 2:16
17. "Gnrique" 2:45
18. "L' Assassinat de Carala" 2:10
19. "Sur L'Autoroute" 2:15
20. "Julien Dans L'Ascenseur" 2:07
21. "Florence Sur Les Champs lyses" 2:50
22. "Diner au Motel" 3:58
23. "vasion De Julien" 0:53
24. "Visite Du Vigile" 2:00
25. "Au Bar du Petit Bac" 2:50
26. "Chez Le Photographe Du Motel" 3:50
Note: The tracklisting above refers to the currently available CD version. The original soundtrack to the film, as
mixed and edited (with additional reverb) in 1958, and used for the screen, can be heard in tracks 17 to 26.
Personnel
Barney Wilen - tenor saxophone
Ren Urtreger - piano
Pierre Michelot - bass
References
[1] Nastos, Michael G. (2000). Ascenseur Pour l'chafaud - Miles Davis | AllMusic: Review (http:/ / www. allmusic. com/ album/
ascenseur-pour-lchafaud-r106212/ review). Allmusic. Retrieved on 2011-03-20.
[2] Caulfield, Mary (March 3, 2011). Miles Davis - Disc of the day - Mojo (http:/ / www. webcitation. org/ 5xKkjFpRV). Mojo. Archived from
the original (http:/ / www. mojo4music. com/ blog/ 2011/ 03/ miles_davis_1. html) on 2011-03-20.
Music from Siesta

Music from Siesta
Soundtrack album by Miles Davis and Marcus Miller
Recorded January-February 1987 at Sigma Sound Studio, New York and Amigos Studio, Hollywood
Genre Classical, Jazz
Length 37:54
Label Warner Bros./WEA
Producer Marcus Miller
[1]
Allmusic link
Tutu Music from Amandla

(1986) Siesta (1989)
(1987)
Music from Siesta is an album released in 1987 by Miles Davis and Marcus Miller. It is the soundtrack of the 1987
film Siesta, directed by Mary Lambert.
Track listing
All song composed by Marcus Miller; except "Theme For Augustine" by Miles Davis & Marcus Miller
1. "Lost in Madrid, Part 1" - 1:48
2. "Siesta / Kitt's Kiss / Lost in Madrid, Part 2" - 6:54
3. "Theme for Augustine / Wind / Seduction / Kiss" - 6:33
4. "Submission" - 2:32
5. "Lost in Madrid, Part 3" - 0:49
6. "Conchita / Lament" - 6:43
7. "Lost in Madrid, Part 4 / Rat Dance / The Call" - 1:41
8. "Claire / Lost in Madrid, Part 5" - 4:33
9. "Afterglow" - 1:41
10. "Los Feliz" - 4:35
Performers
Marcus Miller - bass
John Scofield - acoustic guitar on "Siesta"
Omar Hakim - drums on "Siesta"
Earl Klugh - classical guitar on "Claire"
James Walker - flute on "Los Feliz"
Jason Miles - synthesizer programming
References
Dingo 298
Dingo
Dingo
Soundtrack album by Miles Davis and Michel Legrand
Recorded March 1990

Crystal Studios, Los Angeles, CA
Genre Jazz
Length 45:45
Label Warner Bros.
Producer Gordon Meltzer
[1]
Allmusic link
Aura Dingo Doo-Bop

(1989) (1991) (1992)
Dingo: Selections from the Motion Picture Soundtrack is the soundtrack to the 1992 movie of the same name. It
was composed by Michel Legrand and performed by Miles Davis and Chuck Findley.
Dingo 299
Track listing
1. "Kimberley Trumpet"
2. "Arrival"
3. "Concert on the Runway"
4. "Departure"
5. "Dingo Howl"
6. "Letter as Hero"
7. "Trumpet Cleaning"
8. "Dream"
9. "Paris Walking I"
10. "Paris Walking II"
11. "Kimberley Trumpet in Paris"
12. "Music Room"
13. "Club Entrance"
14. "Jam Session"
15. "Going Home"
16. "Surprise!"
Personnel
Buddy Collette woodwind
Miles Davis trumpet
Marty Krystall woodwind
Michel Legrand keyboards, arranger and conductor
Alphonse Mouzon drums, percussion
Charles Owens woodwind
Kei Akagi keyboards
Richard Todd French horn
Foley bass
John Bigham drums, percussion
George Bohannon trombone
Oscar Brashear trumpet
Ray Brown trumpet
David Duke French horn
Chuck Findley trumpet
Kenny Garrett alto saxophone
George Graham trumpet
Bill Green woodwind
Thurman Green trombone
Marni Johnson French horn
Jackie Kelso woodwind
Abraham Laboriel bass
Harvey Mason, Sr. drums, percussion
Lew McCreary trombone
Dick Nash trombone
Alan Oldfield keyboards
Dingo 300
Benny Rietveld bass

Mark Rivett guitar
Nolan Andrew Smith trumpet
John Stephens woodwind
Ricky Wellman drums, percussion
Vincent DeRosa French horn
References
[1] http:/ / www. allmusic. com/ album/ r158334/ review
The Hot Spot 301
The Hot Spot

The Hot Spot
theatrical poster
Directed by Dennis Hopper
Produced by Paul Lewis
Written by Charles Williams

(Novel & Screenplay)
Nona Tyson
(Screenplay)
Starring Don Johnson

Virginia Madsen
Jennifer Connelly
Music by Jack Nitzsche
Cinematography Ueli Steiger
Editing by Wende Phifer Mate
Distributed by Orion Pictures
Release date(s) September 8, 1990 (Toronto Film

Festival)
October 12, 1990 (general)
Running time 130 minutes
Country United States
Language English
Gross revenue US$1,293,976
The Hot Spot is a 1990 American drama film directed by Dennis Hopper and based on the 1952 book Hell Hath No
Fury by Charles Williams. It stars Don Johnson, Virginia Madsen, and Jennifer Connelly, and features a score by
Jack Nitzsche played by John Lee Hooker, Miles Davis, Taj Mahal and Roy Rogers.
The Hot Spot 302
Plot
Drifter Harry Madox takes a job as a used car salesman in a small Texas town. In the summer heat, he develops an
interest in a couple of hot women, one who works at the car dealership and another who is married to its owner.
Gloria Harper is a young, innocent-seeming woman with a secret. It somehow involves a sleazy local man named
Frank Sutton who appears to have some hold on her.
Dolly Harshaw is a seductive, anything-goes femme fatale married to George Harshaw, the car dealer. She keeps a
gun handy and likes to have sex in unusual, dangerous ways.
Harry carries on with both while looking for an opportunity to rob the local bank.
It ultimately is revealed that Sutton has nude photographs of Gloria, taken from a distance at a remote lakeside
setting. Harry lies in wait for Sutton one night and viciously beats him.
Dolly begins to see Harry as her ticket to better things. When she coaxes her husband into bed, it is only to bring
George's weak heart to a fatal end.
A sheriff arrests Harry, suspecting him in the bank job, but can't prove it. Harry decides to leave town with Gloria by
his side, but Dolly puts an end to that by revealing to Gloria everything else Harry has been doing in town, including
her.
Cast
Don Johnson as Harry Madox
Virginia Madsen as Dolly Harshaw
Jennifer Connelly as Gloria Harper
Jerry Hardin as George Harshaw
William Sadler as Frank Sutton
Charles Martin Smith as Lon Gulick
Barry Corbin as the Sheriff
Production
Charles Williams wrote a screenplay version of his own novel with Nona Tyson in 1962.[1] It was intended for
Robert Mitchum. Many years later, Dennis Hopper found the script and updated it.[1] The director described the film
as "Last Tango in Texas. Real hot, steamy stuff".[2] A bedroom scene originally called for Madsen to appear naked,
but she decided to put on a negligee because she felt that, "Not only was the nudity weak storywise, but it didn't let
the audience undress her".[3] Hopper later admitted that Madsen was right.[3] The director gave his impressions of
working with Johnson: "He wasn't that bad. He has a lot of people with him. He came on to this film with two
bodyguards, a cook, a trainer, ah let's see, a helicopter pilot he comes to and from the set in a helicopter, very
glamorous let's see, two drivers, a secretary, and, oh yes, his own hair person, his own make-up person, his own
wardrobe person. So when he walks to the set he has five people with him".[4] Johnson found Hopper's approach to
filmmaking "a little disappointing, I gotta tell you".[5] Hopper shot the film in Texas during what he described as the
"hottest, steamiest weather you could imagine".[6] The swimming scenes were filmed at the Hamilton Pool Preserve.
Reception
The Hot Spot had its world premiere at the 1990 Toronto Film Festival.[7] Director Dennis Hopper felt that stars Don
Johnson and Virginia Madsen were not as enthusiastic in promoting the film as he would have liked. Hopper said of
Johnson that "He says he's not going to do anything for this picture until he reads the reviews."[8] Johnson claims that
he was unable to do promotion because he was shooting the film Harley Davidson and the Marlboro Man with
Mickey Rourke.[8] Of Madsen, Hopper claimed that she "was very embarrassed" by the amount of her on-screen
The Hot Spot 303
nudity.[9] The film was released on October 12, 1990, in 23 theaters, grossing USD $112,188 in its opening
weekend. The film grossed only $1.2 million in the North America, far less than the cost of its production.[10]
The Hot Spot received generally mixed reviews from critics and currently has a 67 percent rating at Rotten
Tomatoes. Roger Ebert gave the film three out of four stars and wrote, "Only movie lovers who have marinated their
imaginations in the great B movies from RKO and Republic will recognize The Hot Spot as a superior work in an old
tradition."[11] In her review for the New York Times, Janet Maslin wrote, "Mr. Hopper's direction is tough and
stylish, in effective contrast with the sunny look of Ueli Steiger's cinematography."[12] USA Today gave the film
two-and-a-half stars out of four and wrote, "In other words, Hopper's direction isn't any great shakes, and the
wrap-up is somewhat confusing, but this film does make you want to go skinny-dipping with someone else's
mate."[13] In his review for the Washington Post, Desson Howe wrote, "Hot Spot will never go down as timeless,
neoclassic noir. But, with its Hopperlike moments, over-the-top performances and infectious music, it carries you
along for a spell."[14] Entertainment Weekly gave the film a "B" rating and Owen Gleiberman wrote, "Hopper still
hasn't learned how to pace a movie, but working from Charles Williams' 1952 novel Hell Hath No Fury he comes up
with a reasonably diverting hothouse yarn."[15]
Soundtrack
The soundtrack for the film is composed by Jack Nitzsche and features an original collaboration between John Lee
Hooker, Miles Davis, Taj Mahal and Roy Rogers. Allmusic describes the soundtrack album as "marvelous music ...
something listeners should be thankful for, particularly fans of either Miles Davis or John Lee Hooker".[16]
References
[1] Thomas, Bob (November 22, 1990). "Director Hopper's back in hot spot with new film". The Advertiser.
[2] Krum, S (April 18, 1990). "Why Dennis Got Back on His Bike". Herald.
[3] Hayward, J (June 9, 1990). "Screen Sirens Sense and Sexuality". Courier-Mail.
[4] Malcolm, Derek (November 29, 1990). "The Hopper file". The Guardian.
[5] Trebbe, Ann (August 23, 1991). "Movie Marlboro Man". USA Today.
[6] Krum, S (October 23, 1990). "Hopper's back in the hot spot". Herald Sun.
[7] Harris, Christopher (August 29, 1990). "Frears to attend premiere". Globe and Mail.
[8] Trebbe, Ann (September 11, 1990). "Hopper, hopping mad at Johnson". USA Today.
[9] Dougherty, Steve (November 12, 1990). "With a New Wife, Son and Movie Uneasy Rider Dennis Hopper Hopes to Find the Hot Spot Back
on Top" (http:/ / www. people. com/ people/ archive/ article/ 0,,20113574,00. html). People. . Retrieved 2009-12-09.
[10] "The Hot Spot" (http:/ / www. boxofficemojo. com/ movies/ ?id=hotspot. htm). Box Office Mojo. . Retrieved 2008-03-27.
[11] Ebert, Roger (October 26, 1990). "The Hot Spot" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19901026/ REVIEWS/
10260301/ 1023). Chicago Sun-Times. . Retrieved 2009-12-09.
[12] Maslin, Janet (October 12, 1990). "Taxidermy and Temptations: Dennis Hopper's Dark World". New York Times.
[13] Clark, Mike (October 12, 1990). "Sexy Hot Spot loses some sizzle over time". USA Today.
[14] Howe, Desson (October 26, 1990). "Hopper Marks The Hot Spot". Washington Post.
[15] Gleiberman, Owen (October 19, 1990). "The Hot Spot" (http:/ / www. ew. com/ ew/ article/ 0,,318392,00. html). Entertainment Weekly. .
The Hot Spot 304
External links
The Hot Spot (http://www.imdb.com/title/tt0099797/) at the Internet Movie Database
The Hot Spot (http://www.allmovie.com/work/23273) at Allmovie
The Hot Spot (http://www.rottentomatoes.com/m/1030149-hot_spot/) at Rotten Tomatoes
The Hot Spot (http://www.boxofficemojo.com/movies/?id=hotspot.htm) at Box Office Mojo
305
As sideman and collaboration recordings
"Billie's Bounce"
"Billie's Bounce"
Composition by Charlie Parker
Released 1945
Recorded November 1945
Genre Jazz
Label Savoy
Composer Charlie Parker
"Billie's Bounce" also known as "Bill's Bounce", is a 12 bar blues in the Key of F jazz composition written in 1945
by Charlie Parker. It was dedicated to Billy Shaw by the Yardbird. The original recording by Charlie Parker and His
Re-Boppers was inducted into the Grammy Hall of Fame in 2002.[1] . Copyright 1945 by Atlantic Music Corp.
Copyright renewed and assigned 1973 to Atlantic Music Corp.
Originally an instrumental, the tune was later added lyrics by Jon Hendricks.[2]
Personnel
The original 1945 recording had the following lineup:[2]
Charlie Parker Eb Alto Saxophone
Miles Davis Bb trumpet
Dizzy Gillespie piano (Gillespie also plays trumpet in other recordings from the same session)
Curley Russell bass
Max Roach drums
Renditions
Ben Webster and the Modern Jazz Quartet 1953: An Exceptional Encounter (1953)
Shelly Manne The Three and the Two (1954)
Stan Getz and J. J. Johnson Stan Getz and J.J. Johnson at the Opera House (1957)
Wes Montgomery Fingerpickin (1957)
Bud Powell Bud Plays Bird (1958)
Red Garland
Betty Roche Singin' and Swingin' (1960)
Albert Ayler My Name is Albert Ayler (1963)
Don Byas Anthropology (1963)
George Benson Giblet Gravy (1968)
Ella Fitzgerald Montreux '77 (1977)
Johnny Griffin Birds and Ballads (1978)
Robert Wyatt Radio Experiment Rome, February 1981 (1981/2009)
Milcho Leviev and Dave Holland Up & Down (1987)
"Billie's Bounce" 306
Oscar Peterson Encore at the Blue Note (1990)

Dizzy Gillespie To Bird With Love (1992)
David Murray Saxmen (1993)
Keith Jarrett Tokyo '96 (1996)
See Also
Charlie Parker's Savoy and Dial Sessions
Notes
[1] Grammy Hall of Fame (http:/ / www. grammy. org/ recording-academy/ awards/ hall-of-fame) - retrieved on 28 April 2009
[2] Billie's Bounce (http:/ / www. jazzstandards. com/ compositions-1/ billiesbounce. htm) at jazzstandards.com (http:/ / www. jazzstandards.
com/ ) - retrieved on 28 April 2009
Bird on 52nd St.

Bird on 52nd St.
Live album by Charlie Parker
Released 1948 (LP); October 21, 1994 (CD release)
Recorded July 6, 1948 at the Onyx Club, New York
Genre Jazz
Length 40:01
Label Debut (JWS 501)
Bird on 52nd St. is a live album by saxophonist Charlie Parker. It was released in 1948 under Debut Records label as
JWS 501. It was recorded in 1948[1] on a home tape recorder.[2] Even though it was remastered and restored in 1994,
the recording is very problematic with continuous noises and whirrings.
Track listing
1. "52nd Street Theme" (Thelonious Monk) - 2:19
2. "Shaw 'Nuff" (Ray Brown, Gil Fuller, Dizzy Gillespie) - 1:33
3. "Out of Nowhere" (Johnny Green, Edward Heyman) - 3:05
4. "Hot House" (Tadd Dameron) - 2:15
5. "This Time the Dream's on Me" (Harold Arlen, Johnny Mercer) - 2:21
6. "A Night in Tunisia" (Dizzy Gillespie) - 3:29
7. "My Old Flame" (Sam Coslow, Arthur Johnston) - 3:24
8. "52nd Street Theme" - 1:05
9. "The Way You Look Tonight" (Jerome Kern, Dorothy Fields) - 4:42
10. "Out of Nowhere" - 2:35
11. "Chasin' the Bird" (Parker) - 1:47
12. "This Time the Dreams's on Me" - 3:29
13. "Dizzy at Atmosphere" (Gillespie) - 2:59
14. "How High the Moon" (Nancy Hamilton, Morgan Lewis) - 3:38
15. "52nd Street Theme" - 1:14
Personnel
Charlie Parker - alto saxophone
Duke Jordan - piano
Tommy Potter - bass
Max Roach - drums
References
[1] Charlie Parker discography (http:/ / www. jazzdisco. org/ fantasy-records/ discography-19-1950/ )
[2] Original liner notes
Cool Bird 309
Cool Bird
Cool Bird
Studio album by Charlie Parker
Released 2000
Recorded October-December 1947
Genre Jazz
Cool Bird is a compilation CD released by Magnum Collectors of recording sessions undertaken during
October-December 1947 by Charlie Parker's so-called 'classic quintet' for the Dial label featuring Parker, Miles
Davis, Duke Jordan, Tommy Potter and Max Roach. They are joined by J. J. Johnson on six of the 22 tracks.
Track listing
1. "Dexterity" (C. Parker)
2. "Bongo Bop"
3. "Dewey Square"
4. "The Hymn (Superman)"
5. "Bird of Paradise"
6. "Embraceable You" (G. Gershwin & I. Gershwin)
7. "Bird Feathers"
8. "Klact-Oveeseds-Tene"
9. "Scrapple from the Apple" (C. Parker)
10. "My Old Flame"
11. "Out Of Nowhere"
12. "Don't Blame Me"
13. "Drifting on a Reed"
14. "Quasimodo"
15. "Charlie's Wig"
16. "Bongo Beep"
17. "Crazeology"
18. "How Deep Is the Ocean" (I. Berlin)
19. "Another Hair Do"
20. "Blue Bird"
21. "Klaunstance"
22. "Bird Gets the Worm" (C. Parker)
Cool Bird 310
Personnel
Charlie Parker - (alto sax)
Duke Jordan (piano)
Tommy Potter (double bass)
Max Roach (drums)
J. J. Johnson (trombone) - appears on tracks 13-18
Conception 311
Conception
Conception
Compilation album by Miles Davis, Stan Getz, Lee Konitz
Released 1951
Recorded 1949-1951 at Van Gelder Studio, Hackensack
Genre Jazz
Length 39:36
Label Prestige (PRLP 7013)
[1]
Allmusic link
Birth of the Conception Blue

Cool (1951) Period
(1949) (1951)
Conception is a compilation album issued in 1951 as PRLP 7013, featuring Miles Davis on a number of tracks. The
album features other notable musicians such as Lee Konitz, Sonny Rollins, Stan Getz, Gerry Mulligan and Zoot
Sims. All the pieces were recorded at the famous Van Gelder Studio. The cover was designed by Bob Parent.
Conception 312
Track listing
1. "Odjenar" (George Russell) - 2:52
2. "Hibeck" (Lee Konitz) - 3:07
3. "Yesterdays" (Jerome Kern) - 2:27
4. "Ezz-Thetic" (Russell) - 2:54
5. "Indian Summer" (Victor Herbert)" - 2:35
6. "Duet for Saxophone and Guitar" (Konitz) - 2:41
7. "Conception" (George Shearing) - 4:03
8. "My Old Flame" (Sam Coslow, Arthur Johnston) - 6:36
9. "Intoit" (Stan Getz) - 3:22
10. "Prezervation" (Getz) - 2:44
11. "I May Be Wrong" (Gerry Mulligan) - 3:28
12. "So What" (Mulligan) - 2:44
Note: The final track, "So What", is not the composition of the same name composed by Miles Davis from the 1959 album Kind of Blue.
Recording sessions and personnel
June 21, 1949

"Prezervation"
Stan Getz - Tenor sax
Al Haig - Piano
Gene Ramey - Bass
Stan Levey - Drums
1950
January 6
"Intoit"
Stan Getz - Tenor sax
Al Haig - Piano
Tommy Potter - Bass
Roy Haynes - Drums
March 15
"I May Be Wrong"
Don Ferrara, Howard McGhee, Al Porcino - Trumpets
J.J. Johnson, Kai Winding - Trombones
Charlie Kennedy - Alto sax
Georgie Auld, Zoot Sims - Tenor saxes
Gerry Mulligan - Baritone sax
Tony Aless - Piano
Chubby Jackson - Bass
Don Lamond - Drums
"So What"
Gerry Mulligan - Baritone sax
Conception 313
Zoot Sims - Tenor sax

Charlie Kennedy - Alto sax
J. J. Johnson, Kai Winding - Trombones
Tony Aless - Piano
Chubby Jackson - Bass
Don Lamond - Drums
1951
March 8
"Odjenar", "Hibeck", "Yesterdays", "Ezz-Thetic"
Lee Konitz - Alto sax
Sal Mosca - Piano
Billy Bauer - Guitar
Arnold Fishkin - Bass
Max Roach - Drums
March 13
"Indian Summer", "Duet for Saxophone and Guitar"
Lee Konitz - Alto sax
Billy Bauer - Guitar
October 5
"Conception", "My Old Flame"
Sonny Rollins - Tenor sax
Walter Bishop - Piano
Tommy Potter - Bass
Art Blakey - Drums
References
Somethin' Else 314
Somethin' Else
Somethin' Else
Studio album by Cannonball Adderley
Released 1958
Recorded March 9, 1958 at Van Gelder Studio (Hackensack)
Genre Hard bop, Bebop
Length 43:41
Label Blue Note (BST 81595)
Producer Alfred Lion
[1]
Allmusic
Cannonball Adderley chronology
Cannonball's Somethin' Portrait of

Sharpshooters Else Cannonball
(1958) (1958) (1958)
Somethin' Else is a 1958 album by jazz musician Julian "Cannonball" Adderley, regarded as a landmark album in
the hard bop and cool styles. This LP is notable for the presence and prominent contributions of Miles Davis, in one
of his few recording dates for Blue Note Records. Many critics and jazz fans consider Somethin' Else to be among
the greatest jazz albums of all time.[2] [3] The Penguin Guide to Jazz selected this album as part of its suggested
"Core Collection."[4]
Album information
The extent of Davis's leadership or co-leadership on Somethin' Else is disputed. Davis plays several of the first solos,
and, according to the liner notes, chose most of the material - he would continue to play "Autumn Leaves" and "Love
for Sale", at increasingly frenetic tempos, in the years to come. He also composed the bluesy title track and
suggested Adderley cover "Dancing in the Dark" (on which Davis does not appear). The one exception is the 12-bar
blues, "One for Daddy-O", written by Adderley's brother Nat (for Chicago radio DJ Holmes "Daddy-O" Daylie, not
the Adderleys' father). Nonetheless, at the end of that track, Davis can be heard addressing producer Alfred Lion: "Is
Somethin' Else 315
that what you wanted, Alfred?" The collaboration between Adderley and Davis would continue in 1959 with Davis's
Kind of Blue, one of the most universally acclaimed jazz albums.
The album also features Art Blakey on drums, with Hank Jones on piano and Sam Jones (no relation) on double
bass.
Reissues
CD reissues include a bonus track, variously titled "Bangoon" or (originally, and incorrectly) "Alison's Uncle". That
song is a Hank Jones composition, more hard bop in orientation than the rest of the record. It features a paradigmatic
solo by Blakey (he can be heard humming along during the solo). The title under which the song was originally
released, "Alison's Uncle", refers to the fact that the session took place shortly after the wife of Adderley's brother
Nat had given birth to a daughter named Alison - thus making Cannonball Adderley "Alison's Uncle".
Track listing
1. "Autumn Leaves" (Joseph Kosma) 11:01
2. "Love for Sale" (Cole Porter) 7:06
3. "Somethin' Else" (Miles Davis) 8:15
4. "One for Daddy-O" (Nat Adderley, Sam Jones) 8:26
5. "Dancing in the Dark" (Arthur Schwartz) 4:07
6. "Bangoon" (initially released as "Alison's Uncle" and also noted as "Bangoon" on the RVG edition CD) (Hank
Jones) 5:05 (not on original LP)
Personnel
Cannonball Adderley - Alto saxophone, Leader
Hank Jones - Piano
Sam Jones - Bass
Art Blakey - Drums
References
[1] Allmusic review (http:/ / www. allmusic. com/ album/ r134300)
[2] Blue Note Reviews (http:/ / www. bluenote. com/ detail. asp?SelectionID=9419)
[3] Reviews by Amazon Customers (http:/ / www. amazon. com/ dp/ customer-reviews/ B00000I41J)
[4] Cook, Richard; Brian Morton (2006) [1992]. "Julian 'Cannonball' Adderley". The Penguin Guide to Jazz Recordings. The Penguin Guide to
Jazz (8th ed. ed.). New York: Penguin. pp.9. ISBN0-14-102327-9.
External links
Blue Note 1595 - List of reissues (http://www.cannonball-adderley.com/1595.htm)
Miles & Monk at Newport

Miles & Monk at Newport
Live album by Miles Davis and Thelonious Monk
Released 1964
Recorded May & July 1958, April 1963
Genre Jazz
Label Columbia
Thelonious Monk chronology
Monk in Miles & Monk at Big Band and Quartet in

Tokyo Newport Concert
(1963) (1964) (1963)
Miles & Monk at Newport was a combined album of a Miles Davis appearance at Newport with an appearance of
Thelonious Monk, from the LP era. Despite the title, the two artists do not perform together on the LP, and they are
represented on each side by separate live appearances at the Newport Jazz Festival.
On the first side of the LP was a series of high tempo performances of bebop tunes and other staples of the Davis live
repertoire from 1958. The performance was contemporaneous with Davis' Milestones album. Aside from the 1973
release Jazz at the Plaza (also a 1958 concert) during the LP era, this was the only legitimate (non-bootleg) recording
of a live Davis combo performance earlier than the 1960 Blackhawk recordings. As such, this performance and Jazz
at the Plaza were the only legitimate live recordings representing the Kind of Blue sextet. On the second side were a
few numbers by Thelonious Monk's combo, from a 1963 Newport appearance. It featured the idiosyncratic
appearance by clarinetist Pee Wee Russell.
In 1973, an expanded version of the Davis Newport performance was released as the LP Miles & Coltrane.
In the 1994 the album was released with the Davis Newport performances expanded and the Monk portion released
separately on the 2CD Monk compilation Live at Newport 1963-65.
Track listing
Original LP
Side 1 - Davis in 1958
1. "Ah-Leu-Cha" (5:55, composed by Charlie Parker)
2. "Straight, No Chaser" (8:52, composed by Thelonious Monk)
3. "Fran-Dance" (7:08, composed by Miles Davis)
4. "Two Bass Hit" (4:19, composed by Dizzy Gillespie and John Lewis)
Side 2 - Monk in 1963
1. "Nutty" (13:57, composed by Thelonious Monk)
2. "Blue Monk" (11:18, composed by Thelonious Monk)
1994 Reissue
CD1 - Davis in 1958
1. "Introduction"
2. "Ah-Leu-Cha"
3. "Straight, No Chaser"
4. "Fran-Dance"
5. "Two Bass Hit"
6. "Bye Bye Blackbird"
7. "Theme"
CD2 - Monk in 1963
1. "Introduction"
2. "Criss-Cross"
3. "Light Blue"
4. "Nutty"
5. "Blue Monk"
6. "Epistrophy"
Personnel
Side One Personnel:
Cannonball Adderley (alto saxophone)
John Coltrane (tenor saxophone)
Bill Evans (piano)
Paul Chambers (bass)
Jimmy Cobb (drums)
Side Two personnel:
Pee Wee Russell (clarinet)
Charlie Rouse (tenor saxophone)
Thelonious Monk (piano)
Butch Warren (bass)
Frankie Dunlop (drums)
CK 318
CK
C.K.
Studio album by Chaka Khan
Recorded January-1988-September 1988
Genre Rhythm and blues
Length 49:26
Label Warner Bros. Records
Producer Russ Titelman

David Frank
Chaka Khan
Prince
Chris Jasper
Allmusic [1]
Chaka Khan chronology
Destiny C.K. Life is a Dance - The Remix

(1986) (1988) Project
(1989)
C.K. is the eighth studio album by American R&B/funk singer Chaka Khan, released on the Warner Bros. Records
label in 1988.
C.K. was Khan's first album not to be recorded with Arif Mardin, instead it had with the exception of two tracks
Russ Titelman at the helm as producer, with whom she had collaborated on hits like "Ain't Nobody" (1983), "Eye to
Eye" from 1984's platinum-selling I Feel for You as well as "Tight Fit" from her previous album Destiny. Musically
C.K. combined a variety of genres such as soul, R&B, funk, pop as well as two jazz titles and altogether the set was
more laid-back, less hip-hop influenced and production-wise not as complex and synth-driven as I Feel for You and
Destiny.
Three singles were released from C.K.: Womack & Womack's Latino-flavoured "It's My Party" which reached #5 on
Billboard's R&B Singles chart, "Soul Talkin'" and "Baby Me" which became another Top 10 hit on the R&B chart,
CK 319
peaking at #8. The C.K. album itself also charted higher than the preceding Destiny, reaching #17 on the R&B
Albums chart.
C.K. opens with Khan's cover of Stevie Wonder's 1970 hit "Signed, Sealed, Delivered I'm Yours", again featuring
the composer himself on harmonica, just like on "I Feel for You".
One of the two tracks not to be produced by Russ Titelman was the funky and improvisational "Sticky Wicked",
Khan's first proper collaboration with Prince after having covered his "I Feel for You" in 1984 and turning it into a
million-selling hit single. C.K. also includes a second Prince composition, "Eternity" (produced by David Frank and
Khan herself), and some ten years later Khan and Prince were to team up for a full-length album together, Come 2
My House.
"C.K." features one track written and co-produced by Chris Jasper, former member of the Isley Brothers, who was
also responsible for writing and producing much of the Isley material from 1973 through 1984 before the Isley
Brothers breakup. Jasper can also be heard singing background with Chaka on "Make It Last".
C.K. features two recordings of jazz classics that since have become mainstays in Khan's live repertoire, "The End of
a Love Affair", a tribute to Billie Holiday who first recorded the song on her 1958 album Lady in Satin, and Alec
Wilder's "I'll Be Around", the latter with a guest appearance by another legend in the jazz genre, Miles Davis, who in
fact also features on the Prince track "Sticky Wicked".
One title from the C.K. sessions was only released as a single B-side, "Everybody Needs Some Love" written by
former Rufus member David "Hawk" Wolinski, producer Russ Titelman and Khan herself.
C.K. was transferred from vinyl to CD in 1988 and remains in print.
Track listing
1. "Signed, Sealed, Delivered (I'm Yours)" (Stevie Wonder, Syreeta Wright, Lula Mae Hardaway, Lee Garrett) -
4:45
2. "Soul Talkin'" (Brenda Russell) - 4:15
3. "It's My Party" (Womack & Womack) - 5:11
4. "Eternity" (Prince) - 4:03
5. "Sticky Wicked" (Prince) - 6:54
6. "The End Of A Love Affair" (Edward Redding) - 5:11
7. "Baby Me" (Holly Knight, Billy Steinberg) - 4:04
8. "Make It Last" (Chris Jasper, Margie Jasper) - 4:48
9. "Where Are You Tonite" (Haase, Chaka Khan) - 4:53
10. "I'll Be Around" (Alec Wilder) - 5:21
Personnel
Chaka Khan - vocals
Jimmy Bralower - drums tracks: 1, 3, 7
Rob Mounsey - keyboards tracks: 3, 6, 7, 9, 10
Ron Skies - keyboards, drums tracks: 3, 4, 6, 7
Carol Steele - percussion tracks: 1, 3, 8, 9
Omar Hakim - drums tracks: 1, 2
Paul Pesco - guitar tracks: 1, 7
Stevie Wonder - harmonica track: 1
Eddie Martinez - guitar tracks: 2, 3
Hilary Bercovici - keyboards track: 2
Steve Lindsey - keyboards track: 2
CK 320
Bobby McFerrin - vocals track: 2

Brenda Russell - vocals track: 2
Cecil Womack - vocals & keyboards track: 4
Eric Leeds - saxophone track: 5
Atlanta Bliss - trumpet track: 5
Miles Davis - trumpet tracks: 5, 10
Marcus Miller - bass guitar tracks: 6, 10
Steve Ferrone - drums tracks: 6, 10
George Benson - guitar track: 6
John Tropea - guitar tracks: 6, 10
Margaret Ross - harp track: 6, 10
David Nadien - orchestra tracks: 6, 10
Dave Grusin - piano tracks: 6, 10
Warren Hill - saxophone tracks: 7, 8
Bernard Wright - keyboards track: 9
Chris Parker - percussion track: 9
Chris Jasper - keyboards, synthesizers, background vocals: 8
Production
Russ Titelman - record producer tracks 1-3, 6-10
Chaka Khan - producer track: 4
David Frank - producer track: 4
Chris Jasper - producer track: 8
Prince - producer track: 5
Gary Wright - sound mix tracks: 1-5, 7-9
Josh Abbey - sound mix track: 6 & 10
Non-album tracks and remixes

"Everybody Needs Some Love" (B-side of single "Baby Me", produced by Russ Titelman) - 4:26
"It's My Party" (New Party Mix) - 8:40
"It's My Party" (Club Instrumental) - 5:05
"It's My Party" (Club Edit) - 5:10
"It's My Party" (Dance Dub) - 5:18
"Soul Talkin'" (Serious Soul Mix, remixed by Paul Simpson) - 6:14
"Soul Talkin'" (Serious Soul Edit) - 4:25
"Baby Me" (2 CK's And A Baby Mix) - 6:35
"Baby Me" (Big Baby Mix-Extended Mix) - 4:21
"Baby Me" (Nursery Mix) - 4:25
References
Back on the Block

Back on the Block
Studio album by Quincy Jones
Recorded 1989
Oceanway Record One
Lighthouse Studios
Westlake Audio
(Los Angeles, California)
Digital Recorders
(Nashville, Tennessee)
Tarpan Studios
(San Rafael, California)
Genre Hip hop, R&B, Jazz
Length 57:54
Label Qwest
Producer Quincy Jones
[1]
Allmusic link
[2]
Ebony (favorable) link
[3]
Rolling Stone link
[4]
Warr.org link
Quincy Jones chronology
The Back on the Q's Jook

Dude Block Joint
(1981) (1989) (1995)
Back on the Block is a 1989 studio album produced by Quincy Jones.[5] It features many famous and important
musicians and singers, including Ella Fitzgerald, Miles Davis, Ice-T, Big Daddy Kane, Sarah Vaughan, Dizzy
Gillespie, George Benson, Luther Vandross, Dionne Warwick, Barry White, Chaka Khan, Take 6, Bobby McFerrin,
Al Jarreau and Ray Charles.
Overview
Multiple singles were lifted from the album and found success on Pop and R&B radio, including "I'll Be Good To
You", "I Don't Go For That", "The Secret Garden (Sweet Seduction Suite)", and "Tomorrow (A Better You, Better
Me)". "Tomorrow" is noteworthy for introducing a young Tevin Campbell to the music scene. Back on the Block
won the 1991 Grammy Award for Album of the Year. Jones' track, Setembro (Brazilian Wedding Song) was
featured on the soundtrack for the 1991 film, Boyz n the Hood.
Ella Fitzgerald and Sarah Vaughan

Back on the Block featured the last studio recordings of jazz singers Ella Fitzgerald and Sarah Vaughan.
Fitzgerald and Jones had previously worked together on her 1963 album with Count Basie, Ella and Basie!. Jones
had produced three albums with Sarah Vaughan when they both worked for Mercury Records.
Grammy Awards
At the 33rd Grammy Awards, Back on the Block won seven Grammy Awards, including the Grammy Award for
Album of the Year.
In arranging, Jerry Hey, Quincy Jones, Ian Prince and Rod Temperton won the Grammy Award for Best
Instrumental Arrangement for "Birdland", and Glen Ballard, Hey, Jones and Clif Magness won the Grammy Award
for Best Instrumental Arrangement Accompanying Vocal(s) for "The Places You Find Love".
Jones also won the Grammy Award for Best Jazz Fusion Performance for "Birdland", and the Grammy Award for
Producer of the Year, Non-Classical.
Bruce Swedien won the Grammy Award for Best Engineered Album, Non-Classical for his work on the album.
Ray Charles and Chaka Khan won the Grammy Award for Best R&B Performance by a Duo or Group with Vocal
for "I'll Be Good To You".
The Grammy Award for Best Rap Performance by a Duo or Group went to Big Daddy Kane, Ice T, Kool Moe Dee,
Melle Mel, Quincy Jones III and Jones for Back on the Block.
Track listing
# Title Writer(s) Time
1 "Prologue (2Q's Rap)" Big Daddy Kane, Jones 1:04
2 "Back on the Block" Jones, Rod Temperton, Siedah Garrett,Caiphus Semenya,Ice-T, Melle Mel, Kane, 6:34
Kool Moe Dee
3 "I Don't Go for That" Ian Prince 5:11
4 "I'll Be Good to You" George Johnson, Louis Johnson, Sonora Sam 4:54
5 "The Verb To Be (Introduction to Wee B. Dooinit)" Mervyn Warren 0:29
6 "Wee B. Dooinit (Acapella Party by the Human Jones, Garrett, Ian Prince 3:34
Bean Band)"
7 "The Places You Find Love" Glen Ballard, Clif Magness, Caiphus Semenya 6:25
8 "Jazz Corner of the World (Introduction to Kane, Dee 2:54

"Birdland")"
9 "Birdland" Joe Zawinul 5:33
10 "Setembro (Brazilian Wedding Song)" Ivan Lins, Gilson Peranzzetta 5:05

11 "One Man Woman" Garrett, Ian Prince, Harriet Roberts 3:44
12 "Tomorrow (A Better You, Better Me)" George Johnson, Louis Johnson, Garrett, 4:46
13 "Prelude to the Garden" Jorge Calandrelli 0:54
14 "The Secret Garden (Sweet Seduction Suite)" Jones,Temperton, Garrett, El DeBarge 6:41
Chart history
These is the history of the Billboard Music Charts (North America) for Back on the Block.
Year Music Chart Position
1989 Billboard 200 #9
Top Contemporary Jazz Albums #1
Top R&B/Hip-Hop Albums #1
Credits
Recorded in 1989, in Hollywood, Los Angeles, the credits include:
Ella Fitzgerald - Vocals
Take 6
Chaka Khan
Bobby McFerrin
Melle Mel
Ray Charles
Big Daddy Kane
Ice-T
Luther Vandross
Sarah Vaughan
Al Jarreau
Dionne Warwick
Barry White
Syreeta Wright
Grandmaster Melle Mel
Al B. Sure!
Tevin Campbell
Alvin Chea
Andra Crouch
Kool Moe Dee
Nadirah Ali
Maxi Anderson
Peggie Blu
McKinley Brown
Sandra Crouch
Geary Faggett
Voncielle Faggett
Geary Lanier Foggett
Ken Ford
Jania Foxworth
Siedah Garrett
Tammie Gibson
Rose Banks
El DeBarge
Cedric Dent
Chad Durio
Jim Gilstrap
Jackie Gouche
Alex Harris
Howard Hewett
Reggie Green
Jennifer Holliday
Pattie Howard
James Ingram
David Thomas
Mervyn Warren
Charity Young
Shane Shoaf
Alfie Silas
Perry Morgan
Phil Perry
Tyren Perry
Derrick Schoefield
Mark Kibble
Edie Lehmann
Tiffany Johnson
Clif Magness
Donovan McCrary
Howard McCrary
Claude McKnight
Jean Johnson McRath
Dizzy Gillespie
Gary Grant
Bill Reichenbach Jr. - Trombone
Jerry Hey - Trumpet, Arranger, Keyboards
James Moody - Alto saxophone
Gerald Albright Alto saxophone, Vocals
Paul Jackson Jr. - Guitar
Michael Landau
Randy Lukather
Steve Lukather
George Benson - Guitar, Vocals
George Johnson - Guitar, Vocals (bckgr)
Neil Stubenhaus - Bass guitar
Louis Johnson
Nathan East
Ollie Brown - Percussion
Harvey Mason, Sr.
Paulinho Da Costa
J.C. Gomez
John Robinson
Bruce Swedien
Bill Summers Percussion, hindewhu
Michael Boddicker - Synthesizer
Jorge Calandrelli
Randy Kerber
Rhett Lawrence
David Paich
Michael Young
Greg Phillinganes
Ian Underwood
Steve Porcaro
Joe Zawinul - Vocals, Synthesizer
Larry Williams - Keyboards, Saxophone
George Duke - Keyboards, Fender Rhodes
Herbie Hancock - Keyboards, Synthesizer Pads
Sheila E. - Timbales, Soloist
Glen Ballard - Arranger
Rod Temperton
Jesse Jackson - Narrator
Quincy Jones - Arranger, Drums, Vocals, Korg M1
Ian Prince Arranger, Keyboards
Caiphus Semenya Arranger, Conductor, Vocal Arrangement
Morris Michael
References
[2] http:/ / findarticles. com/ p/ articles/ mi_m1077/ is_n4_v45/ ai_8325319/ pg_1
[3] http:/ / www. rollingstone. com/ artists/ quincyjones/ albums/ album/ 197670/ review/ 5942967/ back_on_the_block
[4] http:/ / www. warr. org/ quincy. html#BOTB
[5] allmusic {{{Back on the Block > Overview}}} (http:/ / www. allmusic. com/ album/ r10576)
Miles & Quincy Live at Montreux

Miles & Quincy Live at Montreux
Live album by Quincy Jones
Released 1993
Recorded Jul 8, 1991
Genre Cool jazz, Big band
Label Warner Bros.
[1]
Allmusic link
Quincy Jones chronology
Back on the Miles & Quincy Live at Q's Jook

Block Montreux Joint
(1989) (1991) (1995)
Miles & Quincy Live at Montreux is a Miles Davis collaboration with Quincy Jones for the 1991 Montreux Jazz
Festival. For the first time in three decades, Davis returned to the songs arranged by Gil Evans on such classic 1950s
albums as Miles Ahead, Porgy and Bess and Sketches of Spain. This album was also the last album recorded by
Davis (though recordings from nine days later, despite being recorded at Lyon, would be included on the "Complete
Montreux" box set.) It left a lot of people who had been disappointed with his newer, more experimental works
happy that he had ended his career on such a high note.
Track listing
1. Introduction by Claude Nobs & Quincy Jones
2. "Boplicity"
3. Introduction to Miles Ahead Medley
4. "Springsville"
5. "Maids Of Cadiz"
6. "The Duke"
7. "My Ship"
8. "Miles Ahead"
9. "Blues For Pablo"
10. Introduction to Porgy And Bess Medley
11. "Orgone"
12. "Gone, Gone, Gone"
13. "Summertime"
14. "Here Come De Honey Man"
15. "The Pan Piper"
16. "Solea"
Personnel
Performed by The Gil Evans Orchestra and The George Gruntz Concert Jazz Band.
Kenny Garrett - alt sax
Wallace Roney - trumpet, fluegelhorn
Quincy Jones - conductor, producer
References
Miles Davis & Gil Evans: The Complete Columbia

Studio Recordings
Miles Davis & Gil Evans: The Complete
Columbia Studio Recordings
Box set by Miles Davis and Gil Evans
Released 1996, 2004 (reissue)
Recorded May 6, 1957 to Feb 16, 1968
Genre Jazz
Length 426:38
Compiler Phil Schaap
[1]
Allmusic link
[2]
Alternative Cover
Cover of original 1996 release
Miles Davis & Gil Evans: The Complete Columbia Studio Recordings[3] is a box set of music by jazz musicians
Miles Davis and Gil Evans originally released on CD in 1996 and remastered and re-released in 2004. It collects
work from 1957 through 1968 at Columbia Records recording studios.
Miles Davis and Gil Evans had worked together on Davis' landmark 1949 album Birth of the Cool. Evans was a
distinguished soloist, but it was his role as arranger that is well-illustrated here with alternate and working takes.
Track listing
Disc 1 - Miles Ahead (masters released on Miles Ahead)
1. "Springsville" (master) - 3:28
2. "The Maids of Cadiz" (master) - 3:59
3. "The Duke" (master) - 3:28
4. "My Ship" (master) - 4:28
5. "Miles Ahead" (master) - 3:29
6. "Blues For Pablo" (master) - 5:19
7. "New Rhumba" (master) - 4:35
8. "The Meaning of the Blues" (master) - 2:50
9. "Lament" (master) - 2:16
10. "I Don't Wanna Be Kissed (By Anyone But You)" (master) - 3:07
11. "Springsville" (remake take 7) - 3:16
12. "The Maids of Cadiz" (take 1) - 3:57
13. "The Duke" (take 11) - 3:32
14. "My Ship" (take 1) - 4:23
15. "Miles Ahead" (take 4) - 3:32
16. "Blues For Pablo" (take 1) - 3:01
17. "New Rhumba" (take 5) - 4:45
18. "The Meaning of the Blues" (rehearsal take) - 2:49
19. "Lament" (rehearsal take) - 2:20
20. "I Don't Wanna Be Kissed (By Anyone But You) (Take 8)" - 3:11
Disc 2 - Porgy And Bess (masters released on Porgy and Bess)
1. "Buzzard Song" (master) - 4:09
2. "Bess, You Is My Woman Now" (master) - 5:12
3. "Gone" (master) - 3:38
4. "Gone, Gone, Gone" (master) - 2:05
5. "Summertime" (master) - 3:21
6. "Oh Bess, Oh Where's My Bess" (master) - 4:31
7. "Prayer (Oh Doctor Jesus)" (master) - 4:42
8. "Fisherman, Strawberry, Devil Crab" (master) - 4:11
9. "My Man's Gone Now" (master) - 6:16
10. "It Ain't Necessarily So" (master) - 4:25
11. "Here Come De Honey Man" (master) - 1:20
12. "I Loves You, Porgy" (master) - 3:43
13. "There's a Boat That's Leaving" (master) - 3:28
14. "Gone" (take 3) - 3:40
15. "Summertime" (take 2) - 3:19
16. "Prayer (Oh Doctor Jesus)" (take 2) - 4:16
17. "I Loves You, Porgy" (take 1, second version) - 4:17
18. "There's a Boat That's Leaving..." (take 2) - 3:41
19. "Oh Bess, Oh Where's My Bess" (take 5) - 4:22
20. "Gone" (take 4) - 3:40
Disc 3 - Sketches Of Spain (masters released on Sketches of Spain)
1. "Concierto De Aranjuez (Adagio)" (master) - 16:23
2. "Will O' the Wisp" (master) - 3:50
3. "The Pan Piper" (master) - 23:43

4. "Saeta" (master) - 5:08
5. "Solea" (master) - 12:24
6. "Song of Our Country" (master) - 3:29
7. "Saeta" (full version of master) - 6:05
8. "The Pan Piper" (take 1) - 19:30
9. "Concierto De Aranjuez (Adagio)" (alternate take, part one) - 12:03
10. "Concierto De Aranjuez (Adagio)" (alternate take, part two) - 3:32
11. "Song of Our Country" (take 14) - 3:11
Disc 4 - Quiet Nights And More (masters released on Quiet Nights)
1. "Song No: 2" (master) - 1:40
2. "Once Upon a Summertime" (master) - 3:27
3. "Aos Pes Da Cruz" (master) - 4:18
4. "Song No: 1" (master) - 4:37
5. "Wait Till You See Her" (master) - 4:06
6. "Corcovado" (master) - 2:45
7. "Blue Xmas" (master) - 2:43
8. "Nothing Like You" (master) - 2:00
9. "Devil May Care" (master) - 3:29
10. "The Time of the Barracudas" (master) - 12:48
11. "Falling Water" (take 4) - 3:45
15. "Springsville" (take 5) - 3:34
17. "The Maids of Cadiz" (take 11, insert 1) - 2:38
18. "Lament (Medley)" - (take 2) - 2:37
19. "The Duke" (take 1) - 3:30
20. "I Don't Wanna Be Kissed (By Anyone But You)" (CK 53225 issued version) - 3:07
Disc 5 - The Making Of Miles Ahead
1. "Springsville" (rehearsal sequence) - 7:01
2. "Springsville" (rehearsal w/ piano) - 2:32
5. "The Maids of Cadiz" (rehearsal sequence)
6. "Count Off For the Duke" (take 3) - 0:37
7. "The Duke" (take 8) - 3:33
8. "The Duke" (piano take 3) - 1:55
9. "My Ship" (take 6) - 4:39
10. "Miles Ahead" (rehearsal sequence) - 1:40
13. Studio Discussion - 0:30
14. "My Ship" (take 7) - 4:41
15. "Miles Ahead" (piano insert - mono) - 3:09
16. "Blues For Pablo" (rehearsal sequence) - 5:54

17. "New Rhumba" (take 2) - 4:40
18. "Lament" (take 1) - 2:24
19. "I Don't Wanna Be Kissed (By Anyone But You)" (rehearsal) - 2:13
20. "I Don't Wanna Be Kissed (By Anyone But You)" (take 5) - 2:58
22. "I Don't Wanna Be Kissed (By Anyone But You)" (piano take 4) - 2:57
Disc 6 - Alternate And Rehearsal Takes
2. "Springsville" (take 8 w/out overdubs) - 3:33
4. "Miles Ahead" (take 11 w/out overdubs) - 3:31
5. "I Don't Wanna Be Kissed (By Anyone But You)" (take 3 w/out overdubs) - 2:59
6. "Springsville" (overdub take 1) - 2:07
7. "Springsville" (overdubbed solos 4-5) - 2:20
8. "Springsville" (overdubbed solos 6-9) - 2:31
9. "Springsville" (issued overdubbed solo) - 0:26
10. "Miles Ahead" (issued overdubbed Solo) - 1:53
11. "Miles Ahead" (overdubbed solo) - 1:35
12. "I Don't Wanna Be Kissed (By Anyone But You)" (overdubbed solo 1) - 1:05
16. "I Don't Wanna Be Kissed (By Anyone But You)" (overdubbed solo 19 & 19c) - 2:56
17. "Miles Ahead" (mono master) - 3:29
18. "Gone" (rehearsal sequence) - 2:53
19. "Gone, Gone, Gone" (rehearsal sequence) - 2:57
21. "Bess, You Is My Woman Now" (rehearsal take) - 4:57
22. "It Ain't Necessarily So" (take 1) - 3:22
23. "Oh Bess, Oh Where's My Bess" (take 3) - 3:53
24. "I Loves You, Porgy" (rehearsal sequence) - 2:17
25. "There's A Boat That's Leaving Soon For New York" (remake) - 2:23
26. "My Man's Gone Now" (remake take) - 6:12
27. "Song of Our Country" (take 9) - 2:58
28. "Concierto De Aranjuez (Adagio)" (rehearsal) - 7:20
29. "Concierto De Aranjuez (Adagio)" (alternate ending) - 1:21
Personnel
Gil Evans - piano
References
[2] http:/ / www. rollingstone. com/ artists/ milesdavis/ albums/ album/ 113120/ review/ 5944683/
miles_davis__gil_evans_the_complete_columbia_studio_recordings
[3] The album name is rendered differently in different places.
333
Related biographies
Cannonball Adderley
Cannonball Adderley
Birth name Julian Edwin Adderley
Born September 15, 1928

Tampa, Florida
Origin United States
Died August 8, 1975 (aged46)

Gary, Indiana
Genres Jazz, Soul jazz
Occupations Teacher, musician
Instruments Alto saxophone, soprano saxophone
Years active 19551975
Labels Blue Note, Fantasy, Capitol, Prestige, Riverside
Associated acts Nat Adderley

Miles Davis
George Duke
Yusef Lateef
Sam Jones
Joe Zawinul
Louis Hayes
Bobby Timmons
Bill Evans
Julian Edwin "Cannonball" Adderley (September 15, 1928 August 8, 1975) was a jazz alto saxophonist of the
hard-bop era of the 1950s and 1960s. Originally from Tampa, Florida, he moved to New York in the mid 1950s.[1]
His nickname derived originally from "cannibal," an honorific title imposed on him by high school colleagues as a
tribute to his vast eating capacity.[2]
He was the brother of jazz cornetist Nat Adderley.[1]
Early life and career

His educational career was long established prior to teaching applied instrumental music classes at Dillard High
School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching
positions at Florida A&M University.[3] Both Cannonball and brother Nat played with Ray Charles when Charles
lived in Tallahassee during the early 1940s.[4] Cannonball was a local legend in Florida until he moved to New York
City in 1955, where he lived in Corona, Queens.[1] [5]
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar
Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because
he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball
style, he soared through the changes, and became a sensation in the following weeks.
Prior to joining the Miles Davis band, Adderley formed his own group with his brother Nat after signing onto the
Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that
Davis asked him to play with his group.[1]
Adderley joined the Miles Davis sextet in October 1957, three months prior to John Coltrane's return to the group.
Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist
Bill Evans's time with the sextet, an association that led to recording Portrait of Cannonball and Know What I
Mean?.[1]
His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to
Jazz, released on Riverside Records.[1]
Band leader
The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet.
Adderley's first quintet was not very successful; however, after leaving Davis' group, he formed another, again with
his brother, which enjoyed more success.
The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups,
included such noted musicians as:
pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, George Duke, Wynton
Kelly, Bill Evans
bassists Ray Brown, Sam Jones, Walter Booker, Victor Gaskin
drummers Louis Hayes, Roy McCurdy
saxophonists Charles Lloyd, Yusef Lateef.
The sextet was noteworthy towards the end of the 1960s for achieving crossover success with pop audiences, but
doing it without making artistic concessions.
Later life
By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles
Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and
The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of
John Coltrane and Wayne Shorter. In that same year, his quintet appeared at the Monterey Jazz Festival in
California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me,
starring Clint Eastwood. In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine)
in the episode "Battle Hymn" in the third season of the TV series Kung Fu.[6]
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his
former leader.[1]
Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive
Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall"
(written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also
entered the charts.
Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia Fraternity of America Incorporated
(Gamma Theta, University of North Texas, '60, & Xi Omega, Frostburg State University, '70), the largest and oldest
music fraternity in America and Alpha Phi Alpha, the oldest existing intercollegiate Greek-letter fraternity
established for African Americans (made Beta Nu chapter, Florida A&M University).[7]
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he
was inducted into the Down Beat Jazz Hall of Fame.[1]
References
[1] allmusic Biography (http:/ / www. allmusic. com/ artist/ p5981)
[2] (http:/ / www. cannonball-adderley. com/ 288. htm)
[3] Jazz.com: Nat Adderley (http:/ / www. jazz. com/ encyclopedia/ adderley-nat-nathaniel)
[4] Lydon, Michael, Ray Charles: Man and Music, Routledge, ISBN 0-415-97043-1, Routledge Publishing, January 22, 2004
[5] Berman, Eleanor. "The jazz of Queens encompasses music royalty" (http:/ / www. post-gazette. com/ pg/ 06001/ 629777. stm), Pittsburgh
Post-Gazette, January 1, 2006. Accessed October 1, 2009. "When the trolley tour proceeds, Mr. Knight points out the nearby Dorie Miller
Houses, a co-op apartment complex in Corona where Clark Terry and Cannonball and Nat Adderley lived and where saxophonist Jimmy
Heath still resides."
[6] Julian "Cannonball" Adderley at IMDB (http:/ / www. imdb. com/ name/ nm0011645/ )
[7] List of prominent members at Cornell University website. (http:/ / www. rso. cornell. edu/ alpha/ prominent/ prominent. html)
cannonball adderloy
External links
The Cannonball Adderley Rendez-vous (http://www.cannonball-adderley.com/)
Cannonball Adderley Discography at Jazzdisco.org (http://www.jazzdisco.org/adderley/)
Podcast with clip of Cannonball Adderley's duet with the Nutty Squirrels (http://destinyland.mondoglobo.net/
2006/08/23/the-war-of-the-singing-rodents/)
History with link to mp3 of Nutty Squirrels/Cannonball Adderley session (http://www.10zenmonkeys.com/
2006/10/29/haunted-by-chipmunk-ghosts/)
Cannonball Adderley (http://www.allmusic.com/artist/p5981) at Allmusic
Cannonball Adderley at NPR Music (http://www.npr.org/templates/story/story.php?storyId=15404098)
Kei Akagi 336
Kei Akagi
Kei Akagi
Born March 16, 1953Japan
Genres Jazz
Instruments Piano
Associated acts Airto Moreira/Flora Purim, Miles Davis
Website [1]
/~yamagen/kei/top.htm
Kei Akagi ( / Akagi Kei, born March 16, 1953) is a Japanese American jazz pianist most known
as a sideman. In particular he is known for his work with the Airto Moreira/Flora Purim group and in Miles Davis's
band in the late 1980s and early 1990s.
He was born in Japan, but lived in Cleveland, Ohio for part of his childhood, until he moved back to Japan at the age
of 12. He later returned to the United States at 22. He is associated with the Californian jazz scene at present. He is
the Chancellor Professor of Music at the University of California, Irvine. He also appears on "Frank Gambale live"
Performance History
1979-1985 Airto Moreira/Flora Purim
1984-1985 Joe Farrell
1985-2000 James Newton
1986 Allan Holdsworth
1986 Jean-Luc Ponty
1986-1988 Al Di Meola
1989-1991 Miles Davis
1991-2000 Stanley Turrentine
1994-1995 Sadao Watanabe
Recording History
Mirror Puzzle with Charles Fambrough, Willie Jones III & Rick Margitaz (AudioQuest Music, 1994)[2]
External links
Official Website (Japanese) [1]
Billboard bio [3]
Faculty bio UCI [4]
References
[1] http:/ / www. aomori-net. ne. jp/ ~yamagen/ kei/ top. htm
[2] Valley-Entertainment.com (http:/ / www. valley-entertainment. com/ mirror-puzzle-1. html)
[3] http:/ / www. billboard. com/ bbcom/ bio/ index. jsp?pid=8221
[4] http:/ / music. arts. uci. edu/ content/ kei-akagi
Don Alias 337
Don Alias
Don Alias
Born December 25, 1939
New York City, New York
United States
Genres Jazz, jazz fusion
Occupations Musician
Instruments Drums, Conga drums, Percussion instruments, djembe
Associated acts Joni Mitchell, Miles Davis, Weather Report, Jaco Pastorius, Pat Metheny, Herbie Hancock
Website [1]
Official Website Don Alias
Charles 'Don' Alias[2] (b. December 25, 1939 New York City, New York; d. March 29, 2006 New York City) was
an American jazz percussionist.
Alias was best known for his skill at congas and other hand drums. He was, however, a capable drum kit performer:
Alias played drums on the song "Miles Runs the Voodoo Down" from Bitches Brew (1969) when neither Lenny
White nor Jack DeJohnette were able to capture the marching band rhythm requested by trumpeter Miles Davis.[3]
Alias performed on hundreds of recordings, and was perhaps best known for his associations with Miles Davis and
saxophonist David Sanborn, though he also performed or recorded with the group Weather Report, singer Joni
Mitchell, pianist Herbie Hancock, The Brecker Brothers, Jaco Pastorius, Pat Metheny and many others. Alias was
born in New York City and arrived in Boston in the early 1960s intending to study medicine but, after playing
congas in a number of local bands, made an abrupt career switch.
Discography
As sideman
With Philip Bailey
Soul on Jazz (Heads Up International, 2002)
With Carla Bley
Sextet (Watt, 1986-87)
Fleur Carnivore (Watt, 1988)
The Very Big Carla Bley Band (Watt, 1990)
Looking for America (Watt, 2002)
With Miles Davis
Bitches Brew (Columbia, 1970)
On the Corner (Columbia 1971)
Amandla (Warner Bros., 1989)
With Jack DeJohnette
Oneness (ECM, 1997)
With Joe Farrell
Penny Arcade (CTI, 1973)
With Dan Fogelberg
Don Alias 338
The Innocent Age (Full Moon, 1981)

With Bill Frisell
Unspeakable (Elektra Nonesuch, 2004)
With Kenny Garrett
Black Hope (Warner Bros, 1992)
With Elvin Jones
Merry-Go-Round (Blue Note, 1971)
With Joni Mitchell
Don Juan's Reckless Daughter (Asylum, 1977)
Mingus (Asylum, 1979)
Shadows and Light (Asylum, 1980)
With Jaco Pastorius
Word of Mouth (Warner Bros., 1980-81)
With Carlos Santana and John McLaughlin
Love Devotion Surrender (Columbia, 1973)
With James Taylor
Flag (Columbia, 1979)
With Weather Report
Weather Report (Columbia, 1971) - uncredited
Black Market (Columbia, 1976)
References
[1] http:/ / donalias. com
[2] surname pronounced ah-LIE-ahs
[3] see the notes for The Complete Bitches Brew Sessions (1998)
External links
Official Website Don Alias (http://donalias.com)
Don Alias's Interview (http://www.digitalinterviews.com/digitalinterviews/views/alias.shtml)
Article in Drummerworld (http://www.drummerworld.com/drummers/Don_Alias.html)
John Beasley 339
John Beasley
John Beasley
Born 1960
Origin Shreveport, Louisiana, United States
Genres Jazz, Blues, Soul, R&B, Funk, Afro-Cuban, Latin, Classical, Rock
Occupations Composer, Producer, Arranger, Pianist
Instruments Piano, keyboards,
Labels Resonance Records, Windham Hill Jazz, EWE, Japan
Associated acts Queen Latifah, Wall-E, Miles Davis, Chaka Khan, Steely Dan
Website [1]
Official website
John Beasley (born 1960) is an American composer, pianist, producer, and arranger who has recorded and
performed with musicians such as Miles Davis, Steely Dan, Chaka Kahn, James Brown, Spice Girls, Dianne Reeves,
Ry Cooder, Chick Corea and Srgio Mendes, Freddie Hubbard, John Patitucci, Queen Latifah, and Ivan Lins.
Origins
Born in Shreveport, Louisiana, Beasley is third generation musician who was raised in a house filled with music. His
grandfather, Rule Oliver, played trombone in territory bands and was a junior high school band director for 50 years
in Arkansas. His mother, Lida Beasley, is a brass instrumentalist. For most of her career, she taught music at various
public schools and colleges, along with being band director and conducting operas.
Growing up around musicians, Beasley learned how to play trumpet, oboe, drums, saxophone, and flute, mostly
because of his mother's need for wind instrumentalists for her bands. His father, Rule Beasley, is a pianist and
bassoonist, who played with the Fort Worth Symphony. Also, he was a professor of music composition at University
of North Texas College of Music and at Santa Monica College, where he taught many musicians performing today.
Beasley created a drum set with garbage can lids and kitchen pots and pans when he was around two years old. His
grandfather started bringing him drum parts, which he put together, and had a drum set from age four to high school.
Beasley began piano lessons at age seven and stopped taking formal lessons when he started high school. In six
grade, he had private lessons with a university oboe teacher which lasted three years. He taught himself to play the
sax, flute, and trumpet and began playing for the John Adams Junior School and Santa Monica College orchestras
that his mother led. He was also in the state choir but quit because he got bored.
Beasley started writing music in junior high school. After his father bought him a Bobby Timmons record, he wanted
to play jazz. In Grade 7, he formed a jazz band with high school-aged friends. Always mesmerized by inner melodies
and day dreaming, on family camping trips he packed his score pad to compose and arrange.
As soon as he graduated from high school, he started 'gigging'; playing in bars when he was too young to get entry as
a customer. Fearless about learning and performing, in just a few years he was touring around the U.S. and
internationally with Srgio Mendes and Freddie Hubbard.
John Beasley 340
Career
At age 14, Beasley wrote a jazz piece for the University of North Texas Jazz Band. Jimmy Lyons, founder of the
Monterey Jazz Festival, heard Beasley's piece and recommended him for a scholarship at the Stan Kenton summer
jazz camp. The Stan Kenton Orchestra performed Beasley's composition at the camp, and then added it to its
repertoire that year.
Declining an oboe scholarship from the Juilliard, Beasley went on to tour and record with Miles Davis, Steely Dan,
Carly Simon, Barbra Streisand, Baaba Maal, Queen Latifah, Christian McBride and the Los Angeles Philharmonic
Orchestra, Chaka Khan, James Brown, and John Pattituci to name a few. Recognizing Beasley's talent for composing
and arranging, major recording artists have added Beasley's original sound and music to their projects.
At 24, Beasley started writing music for Paramount, Disney, and MGMs television shows, including Cheers, Family
Ties, Star Trek, and Fame. He also wrote the Touchstone TV logo, which is still used today. His first brush with
Hollywood films was as a pianist playing on film scores for film luminaries such as Thomas Newman, Dave Grusin,
Alan Silvestri, and Carmine Coppola in box office hits such as WALL-E", "Finding Nemo, Erin Brockovich, The
Godfather III, A Bug's Life, and Austin Powers: The Spy Who Shagged Me.[2] He composes pro bono for films and
podcasts for Nobel Peace Prize winning Doctors Without Borders. Along the way, Beasley has written award
winning commercials for ad agencies in the US and Germany for over 20 years. While touring with Miles Davis,
Beasley was inspired to release his first of seven solo recordings.
Today, Beasley, continues to juggle his studio work on hit reality/game shows such as American Idol, Pussycat Dolls
Present:, America's Got Talent, and Singing Bee, along with touring as Musical Director for Queen Latifah,
conducting workshops, playing on TV/Films, producing other artists, and writing new music.
His eighth album, Letter to Herbie, a tribute to 2008 Grammy winner, Herbie Hancock, featuring Christian McBride,
Jeff "Tain" Watts, and Roy Hargrove was released in April 2008 and has already topped the Jazz Music Charts. In
2009, he released Positootly!.[3] In 2010 he appeared in a Web-TV simulcast.[4]
References
[1] http:/ / www. beasleymusic. com/
[2] http:/ / www. imdb. com/ name/ nm1707406/
[4] http:/ / www. allaboutjazz. com/ php/ news. php?id=48649
External links
Official website (http://www.beasleymusic.com/)
John Beasley (http://www.imdb.com/name/nm1707406/) at the Internet Movie Database
John Beasley (http://www.tv.com/person/182928/summary.html) at TV.com
John Beasley (http://www.myspace.com/johnbeasleymusic) on Myspace
Short expos of John Beasley playing on YouTube (http://www.youtube.com/watch?v=Pu3NxzERIYY/)
John Beasley's page on Resonance Records (http://www.resonancerecords.org/johnbeasley)
Bob Berg 341
Bob Berg
Bob Berg
Birth name Robert Berg
Born April 7, 1951
Origin New York, USA
Died December 5, 2002 (aged51)
Genres Hard bop

Post bop
Instruments Saxophone
Labels Stretch Records, Denon, GRP
Associated acts Miles Davis, Horace Silver, Cedar Walton, Mike Stern, Chick Corea
Bob Berg (April 7, 1951 December 5, 2002) was a jazz saxophonist originally from Brooklyn, New York City. He
started his musical education at the age of six when he began studying classical piano. He began playing the
saxophone at the age of thirteen. Bob Berg was a Juilliard graduate influenced heavily by the late 196467 period of
John Coltrane's music. He was known for his extremely expressive playing and tone.
A student from the hard bop school, he played from 1973 to 1976 with Horace Silver and from 1977 to 1983 with
Cedar Walton. Berg became more widely known through his short period in the Miles Davis band. He left Davis's
band in 1987 after recording only one album with them.
After leaving Davis's band, Berg released a series of solo albums and also performed and recorded frequently in a
group co-led with guitarist Mike Stern. On these albums he played a more accessible style of music, mixing funk,
jazz and even country music with many other diverse compositional elements to produce albums that were always
musical. He often played at the 7th Ave South NYC club. He worked with Chick Corea, Steve Gadd and Eddie
Gomez in a great quartet. His tenor saxophone sound was a synthesis of rhythm and blues players like Junior Walker
and Arnett Cobb with the lyricism, intellectual freedom and soul of Wayne Shorter, Joe Henderson and John
Coltrane.
He was tragically killed in a road traffic accident in East Hampton, NY while driving to buy groceries with his wife
Arja. The person who crashed into his car was driving a cement truck that accidentally skidded on ice.
Discography
As leader
New Birth (1978; Xanadu Records)
Steppin': Live in Europe (1982)
Short Stories (1987) Denon Records
Cycles (1988)
Live at the Sweet Basil with Randy Brecker [Sonet]
In the Shadows (1990)
New York Journey with M. Genoud, J.C. Lavanchy, I. Malherbe (1990) [Preludio Productions]
Back Roads (1991)
Virtual Reality (1992)
Enter the Spirit (1993)
Bob Berg 342
Riddles (1994)
The Best of Bob Berg (1995)
Another Standard (1997)
Jazz Times Superband (2000)
As sideman
With Miles Davis
You're Under Arrest (1985)
With Horace Silver
Silver 'n Brass (1975)
Silver 'n Wood (1976)
With Dizzy Gillespie
Rhythmstick (1990)
With Cedar Walton
First Set (1979) [Steeplechase]
Second Set (1979) [Steeplechase]
Third Set (1979) [Steeplechase]
Animation (1979) [CBS]
Eastern Rebellion 3 (1979) [Timeless]
With Chick Corea
Time Warp (1995)
With Wolfgang Muthspiel
Timezones (1989)
With Tom Coster
Let's Set The Record Straight (1993) [JVC]
The Forbidden Zone (1994) [JVC]
External links
Jazz Professional article about his death [1]
Interview with Bob Berg [2]
References
[1] http:/ / www. jazzprofessional. com/ report/ Bob%20Berg. htm
[2] http:/ / www. allaboutjazz. com/ iviews/ bberg. htm
Elwood Buchanan 343
Elwood Buchanan
Elwood C. Buchanan, Sr was an American jazz trumpeter and teacher who became an early mentor of Miles Davis.
Buchanan was born in St Louis, Missouri, and was trained in music by Joseph Gustat, the principal trumpeter with
the St Louis Symphony Orchestra. He began his career playing in local dance bands, including Andy Kirk's
orchestra, and on the riverboats that travelled on the Mississippi River between St Louis and New Orleans. During
the late 1930s and early 1940s, he taught music and directed the band at Lincoln High School in East St Louis, and
also visited the local elementary schools to give weekly lessons. Buchanan was known for his strict and demanding
teaching style, and for encouraging pupils to compete with one another.
Buchanan was a friend of Miles Davis's father, who told him of his son's interest in music. Although Davis, at
thirteen, was then too young to attend Buchanan's school, Buchanan began giving him private lessons. Davis joined
the school band when he began attending Lincoln. Although Buchanan had the band play mainly marches rather than
jazz, the techniques he taught profoundly affected Davis' jazz style. In particular, Buchanan went against the times
by recommending to his students that they play without vibrato, and is said to have broken Davis of the habit by
rapping his knuckles with a ruler and commanding: "Stop shakin' that note. You're going to shake enough when you
get old". [1] Buchanan also encouraged Davis to study the lean, relaxed playing of Bobby Hackett (then little known
beyond the East Coast) and Harold Shorty Baker. In this, too, Buchanan went against fashion; the most popular
trumpeter of the day was Louis Armstrong, whose hot playing style was very different from those of Hackett or
Baker.
Davis later credited Buchanan with persuading his parents to buy him a new trumpet, rather than a violin as his
mother had preferred. Buchanan also introduced Davis to Clark Terry, who would become his recording partner.
In his autobiography, Davis recalled: "Mr. Buchanan was the biggest influence on my life up until then. He was
definitely the person who took me all the way into music at that time." [2]
Sources
So What: The Life of Miles Davis by John Szwed (Simon & Schuster, 2002)
Milestones: The Music and Times of Miles Davies by J.K. Chambers (Da Capo Press, 1998)
Miles Davis: The Autobiography [3]
Clark Terry: Having Fun [1] from All About Jazz.
References
[2] http:/ / yanko. lib. ru/ books/ bio/ miles. htm#_Toc496769661
[3] http:/ / yanko. lib. ru/ books/ bio/ miles. htm
Ron Carter 344
Ron Carter
Ron Carter
Ron Carter performing at the European Jazz Exp 2007

Born May 4, 1937
Origin Ferndale, Michigan, U.S.
Genres Orchestral jazz

Mainstream jazz
Third Stream
Occupations Professor
Clinician
Jazz musician
Instruments Double bass

Cello, Piccolo bass
Years active 1960present
Ron Carter (born May 4, 1937) is an American jazz double-bassist. His appearances on over 2,500 albums make
him one of the most-recorded bassists in jazz history, along with Milt Hinton, Ray Brown and Leroy Vinnegar.
Carter is also an acclaimed cellist who has recorded numerous times on that instrument.[1]
Biography
Carter was born in Ferndale, Michigan. He started to play cello at the age of 10, but when his family moved to
Detroit, he ran into difficulties regarding the racial stereotyping of classical musicians and instead moved to bass. He
attended the historic Cass Technical High School in Detroit, and, later, the Eastman School of Music, where he
played in its Philharmonic Orchestra. He gained his bachelor's degree at Eastman in 1959, and in 1961 a master's
degree in double bass performance from the Manhattan School of Music.
His first jobs as a jazz musician were with Jaki Byard and Chico Hamilton. His first records were made with Eric
Dolphy (another former member of Hamilton's group) and Don Ellis, in 1960. His own first date as leader, Where?,
with Dolphy and Mal Waldron and a date also with Dolphy called Out There with George Duvivier and Roy Haynes
and Carter on cello; its advanced harmonies and concepts were in step with the third stream movement.
Carter came to fame via the second great Miles Davis quintet in the early 1960s, which also included Herbie
Hancock, Wayne Shorter and Tony Williams. Carter joined Davis's group in 1963, appearing on the album Seven
Steps to Heaven and the follow-up E.S.P., the latter being the first album to feature only the full quintet. It also
featured three of Carter's compositions (the only time he contributed compositions to Davis's group). He stayed with
Davis until 1968 (when he was replaced by Dave Holland), and participated in a couple of studio sessions with Davis
in 1969 and 1970. Although he played electric bass occasionally during this period, he has subsequently eschewed
that instrument entirely, and now plays only acoustic bass. Carter was close to Davis and even revealed to an
interviewer in 1966 that the famous trumpeter's favorite color was fuchsia.[2]
Ron Carter 345
Carter also performed on some of Hancock, Williams and Shorter's recordings during the sixties for Blue Note
Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard,
Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and others.
After leaving Davis, Carter was for several years a mainstay of CTI Records, making albums under his own name
and also appearing on many of the label's records with a diverse range of other musicians. Notable musical
partnerships in the 70's and 80's included Joe Henderson, Houston Person, Hank Jones, and Cedar Walton. During
the 1970s he was a member of the New York Jazz Quartet.
He appears on the alternative hip-hop group A Tribe Called Quest's influential album The Low End Theory on a track
called "Verses from the Abstract". He also appears as a member of the jazz combo the Classical Jazz Quartet.
In 1994, Carter appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The
album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American
community, was heralded as "Album of the Year" by Time Magazine. In 2001, Carter collaborated with Black Star
and John Patton to record "Money Jungle" for the Red Hot Organizatin's compilation album, Red Hot + Indigo, a
tribute to Duke Ellington.
Carter was Distinguished Professor Emeritus of the Music Department of The City College of New York, having
taught there for twenty years,[3] and received an honorary Doctorate from the Berklee College of Music, in Spring
2004. He joined the faculty of the Juilliard School in New York City in 2008, teaching bass in the school's Jazz
Studies program.
Carter made a notable appearance in Robert Altman's 1996 film Kansas City. The end credits feature him and fellow
bassist Christian McBride duetting on Solitude.
Ron Carter sits on the Advisory Committee of the Board of Directors of The Jazz Foundation of America as well as
the Honorary Founder's Committee.[4] Ron has worked with the Jazz Foundation since its inception to save the
homes and the lives of America's elderly jazz and blues musicians including musicians that survived Hurricane
Katrina.[5]
Ron Carter 346
Discography
As leader
1961: Where? (Prestige Records) with Eric Dolphy, Charlie Persip,
Mal Waldron, George Duvivier
1966: Out Front (Prestige)
1969: Uptown Conversation (Embryo Records)
1973: All Blues (CTI Records)
1973: Blues Farm
1974: Spanish Blue
1975: Anything Goes
1976: Yellow & Green
1976: Pastels
1977: Piccolo
1977: Third Plane (Milestone) trio with Herbie Hancock and Tony
Williams
1978: 1+3 (JVC) trio live with Hank Jones or Herbie Hancock and
Tony Williams
1978: Peg Leg (Milestone)
1978: Standard Bearers
1979: Parade
1980: New York Slick (Milestone)
1980: Patrao
1980: Empire Jazz
1990: Carnaval
1991: Meets Bach (Blue Note)
1992: Friends (Blue Note)
1994: Jazz, My Romance (Blue Note)
1995: Mr. Bow Tie (Blue Note)
1995: Brandenburg Concerto (Blue Note)
1997: The Bass and I
1998: So What (Blue Note) trio with Kenny Barron and Lewis Nash
1999: Orfeu (Blue Note)
2001: When Skies Are Grey (Blue Note)
2002: Stardust (Blue Note)
2003: The Golden Striker (Blue Note)
2003: Eight Plus
2003: Ron Carter Plays Bach
2006: Live at The Village Vanguard
2007: Dear Miles
2008: Jazz and Bossa
Ron Carter 347
As sideman
With Tadd Dameron
The Magic Touch (1962)
With Miles Davis
Quiet Nights (1962)
Four & More
My Funny Valentine
Live at the Plugged Nickel
Miles Smiles
ESP
Miles in the Sky
Sorcerer
Water Babies
Nefertiti
With Herbie Hancock
Empyrean Isles
Maiden Voyage
Speak Like a Child
VSOP
Quartet (1981)
With David "Fathead" Newman
Mr. Gentle Mr. Cool : A Tribute To Duke Ellington (1994, Kokopelli Records)
With Horace Silver
Silver 'n Brass (1975)
Silver 'n Wood (1976)
Silver 'n Voices (1976)
Silver 'n Percussion (1977)
Silver 'n Strings Play the Music of the Spheres (1978)
The Hardbop Grandpop (1996)
A Prescription for the Blues (1997)
With Charles Tolliver
Paper Man (1969) - Black Lion Records
With McCoy Tyner
The Real McCoy
Expansions
Trident
Counterpoints
Fly with the Wind
Supertrios
Extensions
With others
Ron Carter 348
Alice Coltrane - Ptah, The El Daoud (1970)

Toshiko Akiyoshi - Toshiko at Top of the Gate (1968)
George Benson - Giblet Gravy (1968)
Bob Brookmeyer - Bob Brookmeyer and Friends (1962)
Donald Byrd - Electric Byrd (1970), Kofi (196970)
Stan Getz - Voices (1967)
Billy Cobham - Spectrum (1973)
Harry Connick, Jr. - Harry Connick Jr. (1987)
Eric Dolphy - Out There (1960), Far Cry (1960)
Lou Donaldson - Lush Life (1967), Sophisticated Lou (1973)
Roberta Flack - First Take (1970), Quiet Fire (1971), Killing Me Softly (1973)
Bill Frisell - Bill Frisell, Ron Carter, Paul Motian (2006)
Johnny Frigo - Live from Studio A in New York City (1988)
Jim Hall - Concierto (1975), Live at Village West (1984), Telephone (1985), Alone Together (1986)
Chico Hamilton - The Further Adventures of El Chico (Impulse!, 1966)
Gene Harris - Gene Harris of the Three Sounds (1972)
Coleman Hawkins - Night Hawk (1961) with Eddie Davis and Tommy Flanagan
Joe Henderson - Power to the People, The State Of The Tenor: Live At The Village Vanguard
Andrew Hill - Grass Roots (1968), Lift Every Voice (1969), Passing Ships (1969)
Freddie Hubbard - Red Clay (1970), First Light (1971)
Bobby Hutcherson - Components (1965)
Milt Jackson - Sunflower (1972)
Quincy Jones - Gula Matari (1970)
Steve Kuhn and Gary McFarland - The October Suite (Impulse!, 1966)
Helen Merrill - Duets (1987)
Wes Montgomery - So Much Guitar (1961), Tequila, California Dreaming
Oliver Nelson - Sound Pieces (1966) Happenings (1966)
New York Jazz Quartet - In Concert in Japan (1975)
Hermeto Pascoal - Hermeto (1971), Slaves Mass (1976)
Duke Pearson - Sweet Honey Bee (1966)
Austin Peralta - Maiden Voyage (2006)
Sam Rivers - Fuchsia Swing Song (1964), Contours (1965)
Shirley Scott - On a Clear Day (1966)
Gil Scott-Heron - Pieces of a Man (1972)
Marlena Shaw - From the Depths of My Soul (1973)
Wayne Shorter - Speak No Evil (1964), The All Seeing Eye (1965)
Grace Slick- Manhole (1973)
Gbor Szab - Spellbinder (Impulse!, 1966)
Livingston Taylor-"Pajamas" from the album In Harmony (1980)
Bobby Timmons - In Person (1961), Born to Be Blue! (1963), The Soul Man! (1966), Got to Get It! (1967)
Mal Waldron - The Quest (1961)
Kai Winding - The Incredible Kai Winding Trombones (Impulse!, 1960)
A Tribe Called Quest - The Low End Theory (1991)
Eli Degibri - Israeli Song (2010)
Giorgio - Party Of The Century (2010)
Red Garland - Red Garland's Piano (1957)
Ron Carter 349
Filmography
2003: Ron Carter & Art Farmer: Live at Sweet Basil with Cedar Walton and Billy Higgins[6]
2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham[7]
References
[1] Allmusic biography (http:/ / www. allmusic. com/ artist/ p6251/ biography)
[2] http:/ / danouellette. artistshare. com/ default. aspx
[3] Ron Carter Official Website (http:/ / www. roncarter. net)
[4] jerryjazzmusician.com. 2009-13-10. URL: http:/ / www. jerryjazzmusician. com/ mainHTML. cfm?page=storfer. html. Accessed:
2009-13-10. (Archived by jerryjazzmusician.com at http:/ / www. jerryjazzmusician. com/ mainHTML. cfm?page=storfer. html)
[5] ireport.com. 2009-13-10. URL: http:/ / www. ireport. com/ docs/ DOC-337150. Accessed: 2009-13-10. (Archived by ireport.com at http:/ /
www. ireport. com/ docs/ DOC-337150)
[6] VIEW DVD Listing (http:/ / www. view. com/ ron_carter_and_art_farmer_live_at_sweet_basil_dvd. aspx)
[7] VIEW DVD Listing (http:/ / www. view. com/ herbie_hancock_trio_hurricane_dvd. aspx)
External links
Ron Carter Official Website (http://www.roncarter.net)
Interview with Ron Carter (http://thebadplus.typepad.com/dothemath/2007/06/interview_with_.html)
2006 Interview with Ron Carter (http://www.stateofmindmusic.com/?entry=428)
Interview with Ron Carter (2007) (http://www.artistshousemusic.org/videos/music+industry+profile+
legendary+jazz+bassist+ron+carter)
Ron Carter at All About Jazz (http://www.allaboutjazz.com/php/musician.php?id=5580)
Bassist Ron Carter, an Interview With Editor Jake Kot (http://www.bass-musician-magazine.com/General/
bass-musician-magazine-detail.asp?year=2008&month=12&article-id=528507067)
Ron Carter's dedicated page on the Party Of The Century project (http://potc.giorgiosound.com/index.
php?page=Ron Carter)
Video interview with Ron Carter at allaboutjazz.com (http://www.allaboutjazz.com/php/news.php?id=50133)
Paul Chambers 350
Paul Chambers
Paul Chambers
Birth name Paul Laurence Dunbar Chambers, Jr.
Born April 22, 1935

Pittsburgh, Pennsylvania
United States
Died January 4, 1969 (aged33)
Genres Jazz
Instruments Upright bass, tuba, cello, baritone saxophone, baritone horn
Labels Blue Note Records, Prestige Records, Verve Records, Riverside Records
Associated acts Miles Davis Quintet
Paul Laurence Dunbar Chambers, Jr. (April 22, 1935 January 4, 1969) was a jazz bassist. A fixture of rhythm
sections during the 1950s and 1960s, his importance in the development of jazz bass can be measured not only by the
length and breadth of his work in this short period but also his impeccable time, intonation, and virtuosic
improvisations.[1]
Biography
Born in Pittsburgh, Pennsylvania on April 22, 1935, Chambers was raised in Detroit, Michigan following the death
of his mother. He began playing music with several of his schoolmates; the baritone horn was his first instrument.[1]
Later he took up the tuba. "I got along pretty well, but it's quite a job to carry it around in those long parades, and I
didn't like the instrument that much." Chambers became a string bassist around 1949.[1] His formal bass training got
going in earnest in 1952, when he began taking lessons with a bassist in the Detroit Symphony Orchestra. Chambers
did some classical work himself, with a group called the Detroit String Band that was, in effect, a rehearsal
symphony orchestra. Studying at Cass Technical High School off and on from 1952 to 1955, he played in Cass' own
symphony, and in various other student groups, one of which had him playing baritone saxophone. By the time he
left for New York at the invitation of tenor saxophonist Paul Quinichette, he had absorbed a working knowledge of
many instruments.[1]
Jazz bass players were largely limited to timekeeping with drums, until Duke Ellington's bassist Jimmy Blanton
began a transformation in the instrument's role at the end of the 1930s. Chambers was about 15 when he started to
listen to Charlie Parker and Bud Powell, his first jazz influences. Oscar Pettiford and Ray Brown were the first
bassists he admired, and these were followed by Percy Heath, Milt Hinton and Wendell Marshall for their rhythm
section work, and Charles Mingus and George Duvivier for their technical prowess and for their efforts in
broadening the scope of jazz bass. Blanton was his all-time favorite. Playing his first gig at one of the little bars in
the Hastings Street area, he was soon doing club jobs with Thad Jones, Barry Harris and others.
From 1954 on through 1955, he gained significance touring with such musicians as Bennie Green, Quinichette,
George Wallington, J. J. Johnson and Kai Winding. In 1955 he joined the Miles Davis quintet, staying on with the
group until 1963 and appearing on many classic albums, including Kind of Blue. One of Chambers's most noted
performances was on that album's first track, "So What", which opens with a brief duet featuring Chambers and
pianist Bill Evans. The sessions for Kind of Blue were difficult for all of the musicians, working to the peak of their
musical abilities. Chambers' playing on Kind of Blue are considered some of the most patient and thought out bass
lines in the history of jazz. From 1963 until 1968 Chambers played with the Wynton Kelly trio. He freelanced
Paul Chambers 351
frequently as a sideman for other important names in jazz throughout his career. During the course of his lifetime
Paul Chambers developed addictions to both alcohol and heroin. On January 4, 1969 he died of tuberculosis at the
premature age of 33.
Influence
Chambers' accompaniment and solos with Davis and other leaders remain distinctive and influential. He and Slam
Stewart were among the first jazz bassists to perform arco or bowed features. From his role in the Davis band,
Chambers was the bassist in two rhythm sections. The first, with Red Garland on piano and Philly Joe Jones on
drums, came to be known as "the rhythm section," that name featured on a celebrated album by saxophonist Art
Pepper, Art Pepper Meets the Rhythm Section. The second, with Wynton Kelly and Jimmy Cobb, made many
sessions as a unit, recording albums with John Coltrane, Wes Montgomery, and by themselves under Kelly's name in
albums such as Kelly Blue.
Paul Chambers was in great demand as a session musician, and played on numerous albums during the period he was
active including such landmarks as Thelonious Monk's Brilliant Corners, Coltrane's Giant Steps, and Oliver Nelson's
The Blues and the Abstract Truth. Many musicians wrote songs dedicated to Chambers. Long-time fellow Davis
bandmate, pianist Red Garland, wrote the tune "The P.C. Blues", and Coltrane's song "Mr. P.C." is named after
Chambers. Tommy Flanagan wrote "Big Paul", which was performed on the John Coltrane and Kenny Burrell
Prestige 1958 LP. Max Roach wrote a drum solo called "Five For Paul", on a 1977 drum solo LP recorded in Japan,
and Sonny Rollins wrote "Paul's Pal" for him as well.
Chambers' various bass solos that were captured on classic recordings by Miles Davis, John Coltrane, Red Garland,
Lee Morgan, Sonny Rollins, Jackie McClean inspired music educator Jim Stinnett to write "The Music of Paul
Chambers." This three volume series continues to serve bassists throughout the US and the world. [2]
Discography
As a leader
Chambers' Music (Aladdin/Jazz West, 1956)
Whims Of Chambers (Blue Note, 1956)
Paul Chambers Quintet (Blue Note, 1957)
Bass on Top (Blue Note, 1957)
Go (Vee-Jay, 1959)
High Step (Blue Note, 1956) (w/John Coltrane)
The East/West Controversy (Xanadu, 1957) (w/Hampton Hawes)
We Three (Prestige/New Jazz, 1958) (w/Roy Haynes & Phineas Newborn)
Ease It (Charly/Affinity, 1959) (w/Julian "Cannonball" Adderley)
Just Friends (Charly/Le Jazz, 1959) (w/Julian "Cannonball" Adderley)
1st Bassman (Vee-Jay, 1960)
Paul Chambers 352
As sideman
Cannonball Adderley
Julian "Cannonball" Adderley (EmArcy, 1955)
Cannonball Adderley Quintet in Chicago (Mercury, 1959)
Cannonball Takes Charge (Riverside, 1959)
Nat Adderley
Introducing Nat Adderley (Mercury/Wing, 1955); reissued as Them Adderleys (Limelight, 1966)
Naturally! (Jazzland, 1961)
Toshiko Akiyoshi
The Toshiko Trio (Storyville, 1956)
Toshiko Mariano and her Big Band (Vee-Jay, 1964)
Lorez Alexandria
Alexandria the Great (Impulse!, 1964)
Chet Baker
Chet (Riverside, 1959)
Tina Brooks
Back To The Tracks (Blue Note, 1960)
Kenny Burrell
Introducing Kenny Burrell (Blue Note, 1956)
John Jenkins with Kenny Burrell (Blue Note, 1957)
Kenny Burrell and John Coltrane (Prestige, 1958)
Donald Byrd
Motor City Scene (Bethlehem, 1960)
Sonny Clark
Sonny's Crib (Blue Note, 1957)
Sonny Clark Trio (Blue Note, 1957)
Cool Struttin' (Blue Note, 1958)
Blues In The Night (Blue Note, 1958)
My Conception (Blue Note, 1959)
Jimmy Cleveland
Introducing Jimmy Cleveland And His All Stars (EmArcy, 1955)
John Coltrane
Blue Train (Blue Note, 1957)
Coltrane (Prestige, 1957)
Bahia (Prestige, 1958)
Black Pearls (Prestige, 1958)
Lush Life (Prestige, 1958)
Settin' The Pace (Prestige, 1958)
Traneing In (Prestige, 1958)
Soultrane (Prestige, 1958)
Stardust (Prestige, 1958)
The Believer (Prestige, 1958)
The Last Trane (Prestige, 1958)
Paul Chambers 353
(w/Milt Jackson) Bags and Trane (Atlantic, 1960)

Giant Steps (Atlantic, 1960)
(w/Julian "Cannonball" Adderley) Cannonball and Coltrane (Phillips, 1965)
Miles Davis
Miles (Prestige, 1955)
'Round About Midnight (Columbia, 1955)
Cookin' (Prestige, 1956)
Relaxin' (Prestige, 1956)
Steamin' (Prestige, 1956)
Workin' (Prestige, 1956)
Collectors' Items (Prestige, 1956)
Miles Ahead (Columbia, 1957)
Milestones (Columbia, 1958)
Porgy and Bess (Columbia, 1958)
Kind of Blue (Columbia, 1959)
Sketches of Spain (Columbia, 1960)
Someday My Prince Will Come (Columbia, 1961)
In Person Friday and Saturday Nights at the Blackhawk, Complete (1961)
Quiet Nights (Columbia, 1962)
Kenny Dorham
Blue Spring (Riverside, 1959)
Quiet Kenny (Prestige, 1959)
Whistle Stop (Blue Note, 1961)
Kenny Drew
Kenny Drew Trio (Riverside, 1956)
Bill Evans
On Green Dolphin Street (Riverside, 1959)
Gil Evans
Gil Evans & Ten (Prestige, 1957)
The Complete Pacific Jazz Sessions' (Pacific Jazz, 1958)
The Individualism of Gil Evans (Verve, 1964)
Curtis Fuller
Curtis Fuller with Red Garland (Prestige, 1957)
The Opener (Blue Note, 1957)
Curtis Fuller Jazztette with Benny Golson (Savoy, 1959)
Red Garland
A Garland of Red (Prestige, 1956)
Groovy (Prestige, 1957)
Red Garland Revisited! (Prestige, 1957)
Red Garland's Piano (Prestige, 1957)
P.C. Blues (Prestige, 1957)
Dig It! (Prestige, 1958)
Can't See For Lookin' (Prestige, 1958)
It's a Blue World (Prestige, 1958)
Paul Chambers 354
Manteca (Prestige, 1958)

All Kinds of Weather (Prestige, 1959)
Red in Bluesville (Prestige, 1959)
Dexter Gordon
Dexter Calling (Blue Note, 1961)
Benny Golson
Benny Golson's New York Scene (Contemporary, 1957)
The Modern Touch (Riverside, 1958)
Groovin' With Golson (Prestige, 1959)
Turning Point (Mercury, 1962)
Bennie Green
Bennie Green Blows His Horn (Prestige, 1955)
The 45 Session (Blue Note, 1958)
Glidin' Along (Jazzland, 1961)
Grant Green
First Session (Blue Note, 1960)
Johnny Griffin
A Blowing Session (Blue Note, 1957)
The Congregation (Blue Note, 1957)
Herbie Hancock
Inventions and Dimensions (Blue Note, 1963)
Barry Harris
Bull's Eye (Fantasy, 1968)
Joe Henderson
Four (Verve, 1968)
Straight, No Chaser (Verve, 1968)
Freddie Hubbard
Here to Stay (Blue Note, 1962)
Milt "Bags" Jackson
Bags and Trane (Atlantic, (w/John Coltrane) 1960)
Statements (Impulse!, 1961)
John Jenkins
John Jenkins with Kenny Burrell (Blue Note, 1957)
J. J. Johnson
The Eminent Jay Jay Johnson Volume 2 (Blue Note, 1955)
Trombone For 2 (w/Kai Winding) (Columbia, 1955)
The Great Kai & J. J. (w/Kai Winding)(Impulse!, 1960)
Philly Joe Jones
Philly Joe's Beat (Atlantic, 1960)
Philly Joe Jones & Elvin Jones Together! (Atlantic, 1964)
Clifford Jordan
Cliff Jordan (Blue Note, 1957)
Paul Chambers 355
Wynton Kelly
Piano (Riverside, 1958)
Kelly Blue (Riverside, 1959)
Kelly at Midnight (Vee-Jay, 1960)
Kelly Great (Vee-Jay, 1960)
Wynton Kelly! (Vee-Jay, 1961)
Comin' in the Back Door (Verve, 1963)
Abbey Lincoln
That's Him (Riverside, 1957)
Jackie McLean
McLean's Scene (Prestige/New Jazz, 1957)
Jackie's Bag (Blue Note, 1959)
New Soil (Blue Note, 1959)
Capuchin Swing (Blue Note, 1960)
Blue Mitchell
Out of the Blue (Riverside, 1958)
Hank Mobley
Tenor Conclave (Prestige, 1956)
Peckin' Time (Blue Note, 1958)
Roll Call (Blue Note, 1960)
Soul Station (Blue Note, 1960)
Workout (Blue Note, 1961)
Another Workout (Blue Note, 1961)
The Turnaround (Blue Note, 1965)
Thelonious Monk
Brilliant Corners (Riverside, 1956)
Lee Morgan
Lee Morgan Sextet (Blue Note, 1956)
Lee Morgan Vol. 3 (Blue Note, 1957)
City Lights (Blue Note, 1957)
The Cooker (Blue Note, 1957)
Lee-Way (Blue Note, 1960)
Here's Lee Morgan (Vee-Jay, 1960)
Charisma (Blue Note, 1966)
The Rajah (Blue Note, 1966)
Wes Montgomery
Full House (Riverside, 1962)
Smokin' at the Half Note (Verve, 1965)
Willow Weep for Me (Verve, 1969)
Oliver Nelson
The Blues and the Abstract Truth (Impulse!, 1961)
Phineas Newborn, Jr.
A World of Piano (Contemporary, 1961)
Paul Chambers 356
Art Pepper
Art Pepper Meets the Rhythm Section (Contemporary, 1957)
Gettin' Together (Contemporary, 1960)
Bud Powell
Bud! The Amazing Bud Powell (Vol. 3) (Blue Note, 1957)
The Scene Changes: The Amazing Bud Powell (Vol. 5) (Blue Note, 1958)
Ike Quebec
Blue And Sentimental (Blue Note, 1961)
Sonny Red
Out of the Blue (Blue Note, 1960)
Freddie Redd
Shades of Redd (Blue Note, 1960)
Redd's Blues (Blue Note, 1961)
Sonny Rollins
Tenor Madness (Prestige, 1956)
Sonny Rollins: Volume 2 (Blue Note, 1957)
Sound of Sonny (Riverside, 1957)
Louis Smith
Smithville (Blue Note, 1958)
Frank Strozier
Fantastic (Koch Jazz, 1960)
Art Taylor
A.T.'s Delight (Blue Note, 1960)
Clark Terry
Serenade to a Bus Seat (Riverside, 1957)
Kai Winding
The Trombone Sound (Columbia, 1955)
Trombone For 2 (w/J. J. Johnson)(Columbia, 1955)
The Great Kai & J. J. (w/J. J. Johnson)(Impulse!, 1960)
References
[1] Allmusic Biography (http:/ / www. allmusic. com/ artist/ p63587/ biography)
[2] (http:/ / www. jimstinnett. com/ books. html#anchorchambers)
Jimmy Cobb 357
Jimmy Cobb
Jimmy Wilbur Cobb (born January 20, 1929 in
Washington D.C.) is an American jazz drummer.
Probably his most famous work is on Miles Davis' Kind
of Blue (1959), considered by many to be the
quintessential jazz record. Cobb is the last surviving
player from the session. He also played on other famous
Davis albums, including Sketches of Spain, Someday My
Prince Will Come, Live at Carnegie Hall, Live at the
Blackhawk, and briefly on Porgy and Bess and Sorcerer.
He has worked extensively with a wide range of artists,

including Dinah Washington, Pearl Bailey, Clark Terry,
Cannonball Adderley, Dizzy Gillespie, John Coltrane,
Sarah Vaughan, Billie Holiday, Wynton Kelly, Stan
Getz, Wes Montgomery, Gil Evans, Miles Davis, Paul
Chambers, Kenny Burrell, J. J. Johnson, Sonny Stitt, Nat
Adderley, Hank Jones, Ron Carter, George Coleman,
Fathead Newman, Geri Allen, Earl Bostic, Leo Parker,
Charlie Rouse, Ernie Royal, Philly Joe Jones, Bobby
Timmons, Walter Booker, Jerome Richardson, Keter
Betts, Jimmy Cleveland, Sam Jones, Red Garland, Joe
Henderson, Eddie Gomez, Bill Evans, Stefan Karlsson,
Jeremy Steig, Richard Wyands, Peter Bernstein, Richie
Cole, Nancy Wilson, Ricky Ford, David Amram, and Photo by Tom Beetz
many more.
Awards
In June 2008, Jimmy was the recipient of the Don Redman Heritage award. On October 17, 2008, Jimmy was one of
6 to be presented with the 2009 National Endowment for the Arts, NEA Jazz Masters, award.
Band: Jimmy currently leads the Jimmy Cobb "So What" Band, celebrating 50 years of Kind of Blue and the music
of Miles Davis. As a result of his rhythmic timing, his unsurpassed experience, and unique style, Cobb is one of the
most sought-after jazz musicians today.
List of Festivals Cobb has performed at in the past:
1. Newport Jazz festival
2. Stanford Jazz festival
3. Playboy jazz festival
4. JVC Jazz festival
5. Montreux Jazz festival
6. New Orleans Jazz, festival
7. Child of the Sun Jazz Festival
8. Teluride Jazz festival
9. Saratoga Jazz festival
10. Montreal Jazz festival
Jimmy Cobb 358
11. Guinness Jazz festival

12. Edinburgh Jazz festival
13. Vancouver Jazz festival
14. Singapore Jazz festival
15. Cape May Jazz festival
16. Red Rock Jazz festival
17. Oakland Jazz festival
18. Nova Sad Old Gold Jazz Festival
19. Winnipeg Jazz Festival and Many more
Marsalis Music Honors series

In 2006 the album Marsalis Music Honors Jimmy Cobb was released, as part of the Marsalis Music Honors series.
The album's musicians include Ellis Marsalis on piano.
Marsalis Music Honors Jimmy Cobb

Studio album by Jimmy Cobb
Released March 14, 2006

March 20, 2006
Recorded University of North Carolina - Greensboro, School of Music, Greensboro,

NC
March 78, 2005
Genre Jazz
Length 62 minutes
Label Marsalis Music/Rounder Records
Producer Branford Marsalis
Track listing
1. "Mr. Lucky" (Henry Mancini) - 6:32
2. "W.K." (Jimmy Cobb, David Matthews) - 7:12
3. "Eleanor (Sister Cobb)" (Jimmy Cobb) - 6:11
4. "Composition 101" (Jimmy Cobb) - 6:46
5. "Can You Read My Mind" (John Williams) - 7:31
6. "There is Something About You (I Don't Know)" (Andrew "Tex" Allen") - 5:56
7. "Johnny One Note" (Richard Rogers, Lorenz Hart) - 6:05
8. "Real Time" (Richard Tee) - 4:16
9. "Tell Me" (Ellis Marsalis) - 5:16
10. "Tune 341" (Jimmy Cobb, David Matthews) - 6:12
Jimmy Cobb 359
Personnel
Jimmy Cobb - drums
Ellis Marsalis - piano
Andrew Speight - saxophone
Orlando Le Fleming - bass
Discography
As sideman
With Cannonball Adderley
Sophisticated Swing (EmArcy, 1956)
Cannonball Enroute (EmArcy, 1957)
Cannonball's Sharpshooters (EmArcy, 1958)
Jump for Joy (EmArcy, 1958)
Cannonball Adderley Quintet in Chicago (Mercury, 1959)
Cannonball Takes Charge (Riverside, 1959)
With Nat Adderley
That's Right! (Riverside, 1960)
With Toshiko Akiyoshi (Vee-Jay, 1964)
Toshiko Mariano and her Big Band
With Lorez Alexandria
Alexandria the Great (Impulse!, 1964)
With John Coltrane
Standard Coltrane (Prestige, 1958)
Stardust (Prestige, 1958)
Kenny Burrell and John Coltrane (Prestige, 1958)
Bahia ((Prestige, 1958)
Giant Steps on "Naima" only (Atlantic, 1959)
Coltrane Jazz (Atlantic, 1959)
With Miles Davis
Porgy and Bess (Columbia, 1958)
1958 Miles (Columbia, 1958)
Jazz at the Plaza (Columbia, 1958)
Kind of Blue (Columbia, 1959)
Sketches of Spain (Columbia, 1960)
Someday My Prince Will Come (Columbia, 1961)
In Person Friday and Saturday Nights at the Blackhawk, Complete (Columbia, 1961)
Miles & Monk at Newport (Columbia, 1963)
With Kenny Dorham
Blue Spring (Riverside, 1959)
With Curtis Fuller
Soul Trombone (Impulse!, 1961)
With Paul Gonsalves
Jimmy Cobb 360
Gettin' Together (Jazzland, 1960)

With Joe Henderson
Four (Verve, 1968)
Straight, No Chaser (Verve, 1968)
With John Hendricks
Freddie Freeloader (Denon, 1990)
With Wynton Kelly
Kelly Blue (Riverside, 1959)
Wynton Kelly! (Vee-Jay, 1961)
Someday My Prince Will Come (Vee-Jay, 1961)
Comin' in the Back Door (Verve, 1963)
It's All Right! (Verve, 1964)
Undiluted (Verve, 1965)
Blues on Purpose (Xanadu, 1965)
Full View (Riverside, 1967)
Last Trio Session (Delmark, 1968)
With Pat Martino
Desperado (Prestige, 1970)
With Wes Montgomery
Full House (Riverside, 1962)
Boss Guitar (Riverside, 1963)
Guitar on the Go (Riverside, 1963)
The Alternative Wes Montgomery (Riverside, 1963)
Smokin' at the Half Note (Verve, 1965)
Smokin' Guitar (Verve, 1965)
Willow Weep for Me (Verve, 1969)
With Art Pepper
Gettin' Together (Contemporary, 1960)
With Sonny Red
Out of the Blue (Blue Note, 1960)
With Shirley Scott
For Members Only (Impulse!, 1963)
On a Clear Day (Impulse!, 1966)
With Wayne Shorter
Introducing Wayne Shorter (Vee-Jay, 1959)
With Bobby Timmons
This Here is Bobby Timmons (Riveside, 1960)
Easy Does It (Riverside, 1961)
From the Bottom (Riverside, 1964)
The Soul Man! (Prestige, 1966)
Got to Get It! (Milestone, 1967)
With Sarah Vaughan
Live in Japan (Mainstream, 1975)
Jimmy Cobb 361
Ronnie Scott's Presents Sarah Vaughan Live (Pye, 1977)
External links
Jimmy Cobb - Legendary Jazz Drummer [1] - includes full discography
Join Jimmy Cobb on Twitter [2]
Join Jimmy Cobb on FaceBook [3]
Myspace - The Official Jimmy Cobb [4]
Jimmy Cobb Music [5]
Drummerworld.com Page [6]
Jazz Icon Jimmy Cobb [7]
Jimmy Cobb interview at allaboutjazz.com [8]
References
[1] http:/ / jimmycobb. net/ discography. html
[2] http:/ / twitter. com/ JimmyCobb
[3] http:/ / www. facebook. com/ people/ Jimmy-Cobb/ 1633486668
[4] http:/ / www. myspace. com/ theofficialjimmycobb
[5] http:/ / jimmycobb. net/ purchase. html
[6] http:/ / www. drummerworld. com/ drummers/ Jimmy_Cobb. html
[7] http:/ / www. sonicbids. com/ epk/ epk. aspx?epk_id=149427
George Coleman 362
George Coleman
George Coleman
Birth name George Edward Coleman
Born March 8, 1935
Origin Memphis, Tennessee, USA
Genres Jazz, Hard bop, Post-bop
Occupations Saxophonist
Composer
Bandleader
Teacher
Years active 1950spresent
Labels Evidence, Telarc
Associated acts Jimmy Smith

Miles Davis
Herbie Hancock
B.B. King
Max Roach
Slide Hampton
Lionel Hampton
Ahmad Jamal
Joey DeFrancesco
Website [1]
www.GeorgeColeman.com
George Edward Coleman (born March 8, 1935 in Memphis, Tennessee) is an American hard bop saxophonist,
bandleader, and composer, known chiefly for his work with Miles Davis and Herbie Hancock in the 1960s.
Biography
Coleman taught himself to play the alto saxophone in his teens, inspired (like many jazz musicians of his generation)
by Charlie Parker. Among his schoolmates were Harold Mabern, Booker Little, Frank Strozier, Hank Crawford and
Charles Lloyd.[2] After working with Ray Charles, Coleman started working with B.B. King in 1953,[3] at which
point he switched to tenor saxophone.[4] In 1956 Coleman moved to Chicago, along with Booker Little, where he
worked with Gene Ammons and Johnny Griffin before joining Max Roach Quintet 1958-1959. Coleman recorded
with organist Jimmy Smith's Houseparty (1957), with Lee Morgan, Curtis Fuller, Eddie McFadden, Kenny Burrell,
and Donald Bailey. Moving to New York with Max Roach in that year, he went on to play with Slide Hampton
(19591962), Ron Carter, Jimmy Cobb, and Wild Bill Davis (1962), before joining Miles Davis Quintet in
1963-1964.[5]
His most famous albums with Davis (and the rhythm section of Herbie Hancock (piano), Ron Carter (bass) and Tony
Williams (drums)) are Seven Steps to Heaven (1963), A Rare Home Town Appearance (1963), Cte Blues (1963), In
Europe (1963), My Funny Valentine (1964) and Four & More, both live recordings of a concert in Lincoln Center
for the Performing Arts in New York in February 1964. Shortly after this concert, Coleman was replaced by Wayne
Shorter. The following year, he played on Herbie Hancock's Maiden Voyage (1964), with Ron Carter and Tony
Williams, generally considered to be one of the pianist's finest albums. He played with Lionel Hampton
(19651966), also in 1965 and performed on Chet Baker's The Prestige Sessions, with Kirk Lightsey, Herman
George Coleman 363
Wright and Roy Brooks.[6] Charles Mingus (19771978), Shirley Scott (1972), Clark Terry, Horace Silver, Elvin
Jones (1968), Ahmad Jamal (1994, 2000) and many others.
Coleman also appeared in the film "Freejack", the 1992 science-fiction film with Emilio Estevez, Mick Jagger and
Anthony Hopkins; and 1996s "Preachers Wife" with Denzel Washington and Whitney Houston.[7]
Coleman is still recording. His CD as co-leader, Four Generations of Miles: A Live Tribute to Miles, with bassist
Ron Carter, drummer Jimmy Cobb and guitarist Mike Stern was released on Chesky Records in October 2002 and
concentrates almost exclusively on the 1950s repertoire of Miles Davis. Tracks include: "There Is No Greater Love,"
"All Blues," "On Green Dolphin Street," "Blue in Green," "81," "Freddie Freeloader," "My Funny Valentine," "If I
Were a Bell," and "Oleo." He recently was heard on Joey DeFrancesco's 2006 release Organic Vibes, along with
vibraphonist Bobby Hutcherson, Billboard's Top Jazz Album, peaked to #17.[8]
Discography
As leader
Year Title Personnel Label
1976 Revival
1988 Playing Changes JHR
1989 Manhattan Panorama Evidence
1991 My Horns of Plenty Verve
1992 At Yoshi's (Live) Evidence
1998 I Could Write a Book: The Music of Richard Rodgers Telarc
2000 Danger High Voltage Two & Four Recordings
2002 Four Generations of Miles: A Live Tribute to Miles Chesky
As sideman
With Miles Davis
Quiet Nights (Columbia)
In Europe (Columbia)
Seven Steps to Heaven (Columbia)
My Funny Valentine (Columbia)
Four & More (Columbia)
With Slide Hampton
Sister Salvation (Atlantic)
Somethin' Sanctified (Atlantic)
Jazz With A Twist (Atlantic)
With Herbie Hancock
Maiden Voyage (Blue Note)
With Elvin Jones
Poly-Currents (Blue Note, 1969)
Coalition (Blue Note, 1970)
With Booker Little
Booker Little and Friend (Bethlehem, 1961)
George Coleman 364
With Lee Morgan

City Lights (Blue Note)
With John Patton
Memphis to New York Spirit (Blue Note, 1969)
With Duke Pearson
Honeybuns (Atlantic)
Prairie Dog (Atlantic)
With Max Roach
Deeds Not Words (Riverside)
Max Roach Plus Four Plays Charlie Parker (Emarcy)
On The Chicago Scene (Emarcy)
Max Roach Quintet At Newport (Emarcy)
With Jimmy Smith
House Party (Blue Note, 195758)
The Sermon! (Blue Note, 1958)
With Mal Waldron
Sweet Love, Bitter (Impulse!, 1967)
With Reuben Wilson
Love Bug (Blue Note, 1969)
References
[1] http:/ / www. georgecoleman. com/
[2] Vladimir, Bogdanov. All Music Guide to the Blues: The Definitive Guide to the Blues, Backbeat Books, page 133, (2003) - ISBN 0879307366
[3] All About Jazz: George Coleman: This Gentleman can PLAY (http:/ / www. allaboutjazz. com/ php/ article. php?id=1078)
[4] Larkin, Colin. The Guinness Encyclopedia of Popular Music, Guinness, page 887, (1995) - ISBN 1561591769
[5] Billboard: George Coleman bio (http:/ / www. billboard. com/ bbcom/ bio/ index. jsp?pid=6406)
[6] Yanow, Scott. Trumpet Kings: The Players Who Shaped the Sound of Jazz Trumpet, Backbeat Books, page 34, (2001) - ISBN 0879306408
[7] IMDb: George Coleman (http:/ / imdb. com/ name/ nm0171042/ )
[8] Billboard: Organic Vibes (http:/ / www. billboard. com/ bbcom/ retrieve_chart_history. do?model. chartFormatGroupName=Albums&
model. vnuArtistId=54623& model. vnuAlbumId=1056455)
External links
George Coleman official website (http://www.georgecoleman.com/)
George Coleman as Sideman (http://www.georgecoleman.com/discography_frame_index.html)
John Coltrane 365
John Coltrane
John Coltrane
Birth name John William Coltrane
Also known as "Trane"

Hamlet, North Carolina, U.S.
Died July 17, 1967 (aged40)

Huntington, New York, U.S.
Genres Jazz, avant-garde jazz, bebop, hard bop, post bop, modal jazz, free jazz
Occupations Saxophonist, composer, bandleader
Instruments Tenor saxophone, soprano saxophone, alto saxophone
Labels Prestige, Blue Note, Atlantic, Impulse!, Pablo
Associated acts Miles Davis Quintet, Thelonious Monk
Website [1]
johncoltrane.com
Saint John William Coltrane

Born September 23, 1926Hamlet, North Carolina, U.S.
Died July 17, 1967 (aged40)Huntington, New York, U.S.
Patronage All Artists Information about Coltrane's canonization [2]
John William Coltrane (aka "Trane"; September 23, 1926 July 17, 1967[3] ) was an American jazz saxophonist
and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of
modes in jazz and later was at the forefront of free jazz. He was prolific, organizing at least fifty recording sessions
as a leader during his recording career, and appeared as a sideman on many other albums, notably with trumpeter
Miles Davis and pianist Thelonious Monk.
As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was
pianist Alice Coltrane, and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians,
and remains one of the most significant tenor saxophonists in jazz history. He received many posthumous awards
and recognition, including canonization by the African Orthodox Church as Saint John William Coltrane. In 2007,
Coltrane was awarded the Pulitzer Prize Special Citation for his "masterful improvisation, supreme musicianship and
iconic centrality to the history of jazz."[4]
John Coltrane 366
Biography
Early life and career (19261954)

John Coltrane was born in Hamlet, North Carolina on September 23,
1926, and grew up in High Point, NC, attending William Penn High
School (now Penn-Griffin School for the Arts). Beginning in
December 1938 Coltrane's aunt, grandparents, and father all died
within a few months of each other, leaving John to be raised by his
mother and a close cousin.[5] In June 1943 he moved to Philadelphia,
Pennsylvania. He enlisted in the Navy in 1945, and played in the Navy
jazz band once he was stationed in Hawaii. Coltrane returned to
civilian life in 1946 and began jazz theory studies with Philadelphia
guitarist and composer Dennis Sandole. Coltrane continued under
Sandole's tutelage until the early 1950s. Originally an altoist,[6] during
this time Coltrane also began playing tenor saxophone with the Eddie
Vinson Band. Coltrane later referred to this point in his life as a time
when "a wider area of listening opened up for me. There were many
things that people like Hawk, and Ben, and Tab Smith were doing in
the '40s that I didn't understand, but that I felt emotionally."[7] Coltrane's first recordings were made when he
was a sailor
An important moment in the progression of Coltrane's musical
development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat article
in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes."[6] Parker became an early
idol, and they played together on occasion in the late 1940s.
Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music
from some 1946 recording sessions had been played for Miles Davispossibly impressing the latter.[3]
There are recordings of Coltrane from as early as 1945. He was a member of groups led by Dizzy Gillespie, Earl
Bostic and Johnny Hodges in the early- to mid-1950s.
Miles and Monk period (19551957)

Coltrane was freelancing in Philadelphia in the summer of 1955 while studying with guitarist Dennis Sandole when
he received a call from trumpeter Miles Davis. Davis, whose success during the late forties had been followed by
several years of decline in activity and reputation, due in part to his struggles with heroin, was again active, and was
about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet" to
distinguish it from Davis's later group with Wayne Shorter) from October 1955 through April 1957 (with a few
absences), a period during which Davis released several influential recordings which revealed the first signs of
Coltrane's growing ability. This First Quintet, represented by two marathon recording sessions for Prestige in 1956
that resulted in the albums Cookin', Relaxin', Workin', and Steamin', disbanded in mid April due partly to Coltrane's
heroin addiction.[3]
During the later part of 1957 Coltrane worked with Thelonious Monk at New Yorks Five Spot, a legendary jazz
club, and played in Monk's quartet (JulyDecember 1957), but owing to contractual conflicts took part in only one
official studio recording session with this group. A private recording made by Juanita Naima Coltrane of a 1958
reunion of the group was issued by Blue Note Records in 1993 as Live at the Five Spot-Discovery!. More
significantly, a high-quality tape of a concert given by this quartet in November 1957 surfaced, and in 2005 Blue
Note made it available on CD. Recorded by Voice of America, the performances confirm the group's reputation, and
the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall, is widely acclaimed.
John Coltrane 367
Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and
trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original
Coltrane compositions, and the title track, "Moment's Notice," and "Lazy Bird", have become standards. Both tunes
employed the first examples of his chord substitution cycles known as Coltrane changes.[3]
Davis and Coltrane again

Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of
sound" to describe the style Coltrane developed during his stint with Monk and was perfecting in Davis' group, now
a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He stayed with
Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and
Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he
participated in the Davis sessions Milestones and Kind of Blue, and the live recordings Miles & Monk at Newport and
Jazz at the Plaza.[3]
At the end of this period Coltrane recorded his first album for Atlantic Records, Giant Steps, comprised exclusively
of his own compositions. The album's title track is generally considered to have the most complex and difficult chord
progression of any widely-played jazz composition. Giant Steps utilizes Coltrane changes. His development of these
altered chord progression cycles led to further experimentation with improvised melody and harmony that he would
continue throughout his career.[3]
First albums as leader

Coltrane formed his first group, a quartet, in 1960 for an appearance at the Jazz Gallery in New York City. After
moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in
the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had
been a friend of Coltrane's for some years and the two men long had an understanding that the pianist would join
Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions
were the later released albums Coltrane's Sound and Coltrane Plays the Blues.
Still with Atlantic Records, for whom he had recorded Giant Steps, his first record with his new group was also his
debut playing the soprano saxophone, the hugely successful My Favorite Things. Around the end of his tenure with
Davis, Coltrane had begun playing soprano saxophone, an unconventional move considering the instrument's near
obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for
Sidney Bechet and the work of his contemporary, Steve Lacy, even though Miles Davis claimed to have given
Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on
the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement (Coltrane changes)
used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead
of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device,
including "26-2," "Satellite," "Body and Soul", and "The Night Has a Thousand Eyes".
John Coltrane 368
First years with Impulse Records (19601962)

In May 1961, Coltrane's contract with Atlantic was bought out by
the newly formed Impulse! Records label.[8] An advantage to
Coltrane recording with Impulse! was that it would enable him to
work again with engineer Rudy Van Gelder, who had taped both
his and Davis's Prestige sessions, as well as Blue Train. It was at
Van Gelder's new studio in Englewood Cliffs, New Jersey that
Coltrane would record most of his records for the label.
By early 1961, bassist Davis had been replaced by Reggie

Workman while Eric Dolphy joined the group as a second horn
around the same time. The quintet had a celebrated (and
extensively recorded) residency in November 1961 at the Village
Coltrane and wife Alice, 1962
Vanguard, which demonstrated Coltrane's new direction. It
featured the most experimental music he'd played up to this point,
influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John
Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore
performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!"[9] The most celebrated of the
Vanguard tunes, the 15-minute blues, "Chasin' the 'Trane", was strongly inspired by Gilmore's music.[10]
During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style.
Audiences, too, were perplexed; in France he was famously booed during his final tour with Davis. In 1961, Down
Beat magazine indicted Coltrane, along with Eric Dolphy, as players of "Anti-Jazz" in an article that bewildered and
upset the musicians.[11] Coltrane admitted some of his early solos were based mostly on technical ideas.
Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also
known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some
jazz musicians (including Trane's old boss, Miles Davis) and critics. But as Coltrane's style further developed, he
was determined to make each performance "a whole expression of one's being".[12]
Classic Quartet period (19621965)

In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as
it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was
moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically,
melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored
continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk about You."
The criticism of the quintet with Dolphy may have had an impact on Coltrane. In contrast to the radicalism of Trane's
1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of Coltrane, which
featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible.
He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington
and John Coltrane and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The
Impulse compilation Coltrane for Lovers is largely drawn from these three albums. The album Ballads is emblematic
of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember".
Despite a more polished approach in the studio, in concert the quartet continued to balance "standard" and its own
more exploratory and challenging music, as can be seen on the Impressions album (two extended jams including the
title track along with "Dear Old Stockholm", "After the Rain" and a blues), Coltrane at Newport (where he plays
"My Favorite Things") and Live at Birdland both from 1963. Coltrane later said he enjoyed having a "balanced
catalogue."
John Coltrane 369
The Classic Quartet produced their most famous record, A Love Supreme, in December 1964. It is reported that
Coltrane, who struggeld with repeated drug addiction, derived inspiration for "A Love Supreme" through a near
overdose in 1957 which galvanized him to spirituality.[13] A culmination of much of Coltrane's work up to this point,
this four-part suite is an ode to his faith in and love for God. These spiritual concerns would characterize much of
Coltrane's composing and playing from this point onwards, as can be seen from album titles such as Ascension, Om
and Meditations. The fourth movement of A Love Supreme, "Psalm", is, in fact, a musical setting for an original
poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for
each syllable of the poem, and bases his phrasing on the words. Despite its challenging musical content, the album
was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of
Coltrane, Tyner, Jones and Garrison. Indeed the previous album Crescent recorded only a few months before already
shows the adventurousness and rapport between these musicians. The album was composed at Coltrane's home in
Dix Hills on Long Island.
The quartet only played A Love Supreme live oncein July 1965 at a concert in Antibes, France. By then, Coltrane's
music had grown even more adventurous, and the performance provides an interesting contrast to the original.
Avant-garde jazz and the second quartet (19651967)

In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert
Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of
Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as
leader. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence
Impulse! became a leading free jazz record label.
After A Love Supreme was recorded, Ayler's apocalyptic style became more prominent in Coltrane's music. A series
of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly
abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo
register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to
concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing
freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space,
Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations
(September 1965).
In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie
Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute long piece that included adventurous
solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective
improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane
invited Pharoah Sanders to join the band in September 1965.
By any measure, Sanders was one of the most abrasive, virtuosic saxophonists then playing. While Coltrane used
over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting
in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with
Sanders, the more he gravitated to Sanders' unique sound.
Adding to the quartet

By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali
joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over
the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966,
dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in
interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free-jazz form's
intensity into their own solo projects.
John Coltrane 370
There are speculations that in 1965 Coltrane may have begun using LSD[14] [15] - informing the sublime, "cosmic"
transcendence of his late period. After Jones's and Tyner's departures, Coltrane led a quintet with Pharoah Sanders
on tenor saxophone, his second wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums.
Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known
for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes even being
an hour long. Concert solos for band members regularly extended beyond fifteen minutes in duration.
Despite the radicalism of the horns, the rhythm section with Ali and Alice Coltrane had a more relaxed, random but
meditative feel than with Jones and Tyner. The group can be heard on several live recordings from 1966, including
Live at the Village Vanguard Again! and Live in Japan. In 1967, Coltrane entered the studio several times; though
pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings
were either with the quartet minus Sanders (Expression and Stellar Regions) or as a duo with Ali. The latter duo
produced six performances which appear on the album Interstellar Space.
Death and funeral

Coltrane died from liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. His funeral
was held on Friday, July 21 at St. Peters Lutheran Church in New York City. The Albert Ayler Quartet and The
Ornette Coleman Quartet respectively opened and closed the service. He is buried at Pinelawn Cemetery in
Farmingdale, N.Y.
Biographer Lewis Porter has suggested, somewhat controversially, that the cause of Coltrane's illness was hepatitis,
although he also attributed the disease to Coltrane's heroin use.[16] In a 1968 interview Albert Ayler claimed that
Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, though Alice Coltrane
later denied this.
His death surprised many in the musical community who were not aware of his condition. Miles Davis commented:
"Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know
he was that sickor even sick at all."[17]
The Coltrane family reportedly remains in possession of much more as-yet-unreleased music, mostly mono reference
tapes made for the saxophonist and, as with the 1995 release Stellar Regions, master tapes that were checked out of
the studio and never returned. The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged
much of its unreleased material in the 1970s.[18] Lewis Porter has stated that Alice Coltrane, who died in 2007,
intended to release this music, but over a long period of time; her son Ravi Coltrane, responsible for reviewing the
material, is also pursuing his own career.
Instruments
Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high
school. In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became
known for playing primarily.[3]
In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well.
The cover of his album My Favorite Things features Coltrane playing soprano.[3] Toward the end of his career, he
experimented with flute in his live performances and studio recordings.
John Coltrane 371
Religious beliefs
Coltrane was born and raised in a Christian home, and was influenced by religion and spirituality from childhood.
His maternal grandfather, the Reverend William Blair, was a preacher at an African Methodist Episcopal Zion
Church[19] [20] in High Point, North Carolina, and John's paternal grandfather, Reverend William H. Coltrane, was an
A.M.E. Zion minister in Hamlet, North Carolina.[19] John's parents met through church affiliation, and married in
1925.[19] John was born in 1926. As a youth, John practiced music in the southern African-American church. In A
Night in Tunisia: Imaginings of Africa in Jazz, Norman Weinstein notes the parallel between Coltrane's music and
his experience in the southern church.[21]
In 1955, Coltrane married Juanita Naima Grubbs, a Muslim convert, (for whom he later wrote the piece "Naima"),
and came into contact with Islam.[22] Coltrane explored Hinduism, the Kabbalah, Jiddu Krishnamurti, African
history, and the philosophical teachings of Plato and Aristotle.[23] Coltrane also became interested in Zen Buddhism
and, later in his career, visited Buddhist temples during his 1966 tour of Japan.[24]
Since 1948, Coltrane had struggled with heroin addiction[25] [26] as well as alcoholism.[26] In 1957, Coltrane changed
his life for the better. He had a religious experience which may have been what finally led him to overcome his
addictions to alcohol and heroin.[27] In the liner notes of A Love Supreme (released in 1965) Coltrane states "[d]uring
the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller,
more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others
happy through music." In his 1965 album Meditations, Coltrane wrote about uplifting people, "...To inspire them to
realize more and more of their capacities for living meaningful lives. Because there certainly is meaning to life."[28]
John and Naima Coltrane had no children together and were separated by the summer of 1963, and not long after that
John met pianist Alice McLeod (who soon became Alice Coltrane).[29] John and Alice moved in together and had
two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately
married."[30] John Jr. was born in 1964, Ravi was born in 1965, and Oranyan (Oran) was born in 1967.[30] According
to Lavezzoli, "Alice brought happiness and stability to John's life, not only because they had children, but also
because they shared many of the same spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also
understood what it was like to be a professional musician".[30]
Moustafa Bayoumi, an associate professor of English at Brooklyn College, City University of New York, argues that
Coltrane's A Love Supreme (recorded in December 1964 and released in 1965) features Coltrane chanting, "Allah
Supreme."[31] However, in Lewis Porter's book John Coltrane: His Life and Music (2000), on page 242, he describes
the lyrics this way: "Coltrane and another voice - probably himself overdubbed - chant the words "a love supreme" in
unison with the bass ostinato". In Peter Lavezzoli's book The Dawn of Indian Music in the West: Bhairavi (2006), on
page 283, he says, "Certainly in his opening solo in "Acknowledgment," with his constant modulations of the same
phrase in different keys, Coltrane assumes the role of the preacher. After stating the theme in every possible key,
Coltrane concludes his solo and quietly begins to chant, "A love supreme . . . . a love supreme," singing the same
four notes played by Garrison on the bass. After chanting "A love supreme" sixteen times, Coltrane and the band
shift from F minor down to E flat minor, and the chant slowly tapers off." Whatever the case may be, the liner notes
to A Love Supreme appear to mention God in a Universalist sense, and do not advocate one religion over another.[32]
Further evidence of this universal view regarding spirituality can be found in the liner notes of Meditations (1965), in
which Coltrane declares, "I believe in all religions."[30]
Lavezzoli points out that "After A Love Supreme, most of Coltrane's song and album titles had spiritual implications:
Ascension, Om, Selflessness, Meditations, "Amen," "Ascent," "Attaining," "Dear Lord," "Prayer and Meditation
Suite," and the opening movement of Meditations, "The Father and the Son and the Holy Ghost," the most obvious
Christian reference in any of Coltrane's work."[30] Coltrane's collection of books included The Gospel of Sri
Ramakrishna, the Bhagavad Gita, Paramahansa Yogananda's Autobiography of a Yogi, which, Lavezzoli points out,
"recounts Yogananda's search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed
that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and
John Coltrane 372
Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah,
and astrology with equal sincerity."[33]
In October 1965, Coltrane recorded Om, referring to the sacred syllable in Hinduism, which symbolizes the infinite
or the entire Universe. Coltrane described Om as the "first syllable, the primal word, the word of power". The
29-minute recording contains chants from the Bhagavad-Gita, a Hindu holy book, as well as Coltrane and Pharoah
Sanders chanting from a Buddhist text, The Tibetan Book of the Dead,[34] and reciting a passage describing the
primal verbalization "om" as a cosmic/spiritual common denominator in all things.
Coltrane's spiritual journey was interwoven with his investigation into world music. He believed not only in a
universal musical structure which transcended ethnic distinctions, but in being able to harness the mystical language
of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce
specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control
them, and elicit a response from the audience. Coltrane said: "I would like to bring to people something like
happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my
friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song
and immediately he'd receive all the money he needed."[35]
Legacy
The influence Coltrane has had on music spans many different genres and musicians. Coltrane's massive influence
on jazz, both mainstream and avant-garde, began during his lifetime and continued to grow after his death. He is one
of the most dominant influences on post-1960 jazz saxophonists and has inspired an entire generation of jazz
musicians. In 1965, he was inducted into the Down Beat Jazz Hall of Fame. In 1972, A Love Supreme was certified
gold by the RIAA for selling over half a million copies in Japan. This album, as well as My Favorite Things, was
certified gold in the United States in 2001. In 1982 Coltrane was awarded a posthumous Grammy for "Best Jazz Solo
Performance" on the album Bye Bye Blackbird, and in 1997, was awarded the Grammy Lifetime Achievement
Award.[7]
In 1967, Nirvana released a B-side titled "Requiem to John Coltrane" almost immediately upon his death.
His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in
2007. Coltrane's son, Ravi Coltrane, named after the great Indian sitarist Ravi Shankar, who was greatly admired by
Coltrane, has followed in his father's footsteps and is a prominent contemporary saxophonist.
A former home, the John Coltrane House in Philadelphia, was
designated a National Historic Landmark in 1999. His last
home, the John Coltrane Home in the Dix Hills neighborhood
of Huntington, New York, where he resided from 1964 until
his death in 1967, was added to the National Register of
Historic Places on June 29, 2007.
His revolutionary use of multi-tonic systems in jazz has

become a widespread composition and reharmonization
technique known as "Coltrane changes".
In 2002, scholar Molefi Kete Asante listed John Coltrane on
his list of 100 Greatest African Americans.[36] John Coltrane House, 1511 North Thirty-third Street,
Coltrane's tenor (Selmer Mark VI, serial number 125571, Philadelphia
dated 1965) and soprano (Selmer Mark VI, serial number

99626, dated 1962) saxophones were auctioned on February 20, 2005 to raise money for the John Coltrane
Foundation. The soprano raised $70,800 but the tenor remained unsold.[37]
John Coltrane 373
Sainthood
The African Orthodox Church canonized Coltrane in 1982.[38]
However, the Saint John Coltrane African Orthodox Church, San
Francisco, which is fondly known as "the Coltrane church", is the
only African Orthodox Church whose services incorporate
Coltrane's music and use his lyrics as prayers in their liturgy.[39] A
documentary on Coltrane, featuring this San Francisco branch of
the Church and presented by Alan Yentob, was produced for the
BBC in 2004.[40] Samuel G. Freedman writes in his New York
Times article "Sunday Religion Inspired By Saturday Nights",
December 1, 2007, "... the Coltrane church is not a gimmick or a
forced alloy of nightclub music and ethereal faith. Its message of
deliverance through divine sound is actually quite consistent with
Coltranes own experience and message." In the same article, he
comments on John Coltrane's place in the canon of American
St. John Coltrane the Divine Sound Baptist
music. "In both implicit and explicit ways, Coltrane also
functioned as a religious figure. Addicted to heroin in the 1950s,
he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. In
1964, he recorded A Love Supreme, an album of original praise music in a free-jazz mode... In 1966, an interviewer
in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, 'A saint.'" [41]
John Coltrane is depicted as one of the ninety saints in the monumental Dancing Saints icon of St. Gregory of Nyssa
Episcopal Church in San Francisco. The Dancing Saints icon is a 3000-square-foot (280m2) painting rendered in the
Byzantine iconographic style that wraps around the entire church rotunda. The icon was executed by iconographer
Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who has painted other icons
of Coltrane for the Coltrane Church.[42] Saint Barnabas Episcopal Church in Newark, New Jersey included Coltrane
on their list of historical black saints and even made a "case for sainthood" for him in an article on their former
website.[43]
Discography
Prestige and Blue Note Records

Coltrane (debut solo LP) (1957)
Blue Train (1957)
John Coltrane with The Red Garland Trio (1957)
Soultrane (1958)
Lush Life (1958)
John Coltrane 374
Atlantic Records
Giant Steps (first album entirely of Coltrane compositions) (1960)
Coltrane Jazz (first appearance by McCoy Tyner and Elvin Jones) (1961)
My Favorite Things (1961)
Ol Coltrane (features Eric Dolphy, compositions by Coltrane and Tyner) (1961)
Coltrane Plays the Blues (1962)
Coltrane's Sound (1964)
Impulse! Records
Africa/Brass (brass arranged by Tyner and Dolphy) (1961)
Live! at the Village Vanguard (features Dolphy, first appearance by Jimmy Garrison) (1962)
Coltrane (first album to solely feature the "classic quartet") (1962)
Duke Ellington & John Coltrane (1963)
Ballads (1963)
John Coltrane and Johnny Hartman (1963)
Impressions (1963)
Live at Birdland (1963)
Crescent (1964)
A Love Supreme (1965)
The John Coltrane Quartet Plays (1965)
Ascension (1965)
New Thing at Newport (live with Archie Shepp) (1965)
Kulu Se Mama (1966)
Meditations (quartet plus Pharoah Sanders and Rashied Ali) (1966)
Live at the Village Vanguard Again! (featuring Alice Coltrane, as well as Sanders and Ali) (1966)
Expression (posthumous and final Coltrane-approved release; one track features Coltrane on flute) (1967)
References
[1] http:/ / www. johncoltrane. com/
[2] http:/ / articles. sfgate. com/ 1998-06-16/ music/ 17722625_1_saint-john-coltrane-patron-saint-black-jesus
[3] allmusic Biography (http:/ / www. allmusic. com/ artist/ p65851/ biography)
[4] "The 2007 Pulitzer Prize Winners Special Awards and Citations" (http:/ / www. pulitzer. org/ citation/ 2007-Special-Awards-and-Citations).
Pulitzer Prize Committee. Thursday, June 25, 2009 1:51:03 PM. . Retrieved 2009-06-29.
[5] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music (http:/ / books. google. com/ ?id=OsiDu2wDVXgC& dq=john+ coltrane&
printsec=frontcover). Ann Arbor, Michigan: University of Michigan Press. pp.1517. ISBN978-0472086436. .
[6] John Coltrane "Coltrane on Coltrane", (http:/ / www. downbeat. com/ default. asp?sect=stories& subsect=story_detail& sid=353) Down Beat,
29 September 1960
[7] "John Coltrane Biography" (http:/ / www. johncoltrane. com/ swf/ main. htm). The John Coltrane Foundation. Friday, May 11, 2007 3:11:27
AM. . Retrieved 2009-06-29.
[8] Ratliff, Ben (2007). Coltrane: The Story of a Sound. New York: Farrar, Straus & Giroux. ISBN 0-374-12606-2.
[9] Corbett, John. "John Gilmore: The Hard Bop Homepage" (http:/ / members. tripod. com/ ~hardbop/ gilmore. html). Eric B. Olsen. Down
Beat. . Retrieved 2007-12-08.
[10] Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. p.235.
[11] Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. pp.235236.
[12] Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. pp.179. ISBN0306806444.
[13] "A Love Supreme" (http:/ / www. abbeville. com/ jazz/ 160. asp). .
[14] Porter 1998, pp. 265-266.
[15] Mandel, Howard (2008-01-30). "John Coltrane: Divine Wind" (http:/ / www. thewire. co. uk/ articles/ 539/ ?pageno=5). The Wire (221). .
[16] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp.292.
ISBN978-0472086436.
John Coltrane 375
[17] Porter, Lewis (2000-01-28). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. p. 290
[18] "ABC-Paramount Records Story" (http:/ / www. bsnpubs. com/ abc/ abcstory. html), by David Edwards, Patrice Eyries, and Mike Callahan,
Both Sides Now website, retrieved January 29, 2007.
[20] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 270 (2006, Continuum International Publishing Group .
ISBN0-8264-1815-5.)
[21] A Night in Tunisia: Imaginings of Africa in Jazz by Norman C. Weinstein, page 61 (1993, Hal Leonard Corporation . ISBN0-87910-167-9.)
[22] Jessie Carney Smith, ed. "John Coltrane" (http:/ / www. gale. cengage. com/ free_resources/ bhm/ bio/ coltrane_j. htm). Gale (Cengage). .
[23] Emmett G. Price III. "John Coltrane, "A Love Supreme" and GOD" (http:/ / www. allaboutjazz. com/ coltrane/ article_003. htm).
allaboutjazz.com. . Retrieved 2008-10-09.
[24] The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, pages 286-287 (2006, Continuum International Publishing Group .
ISBN0-8264-1815-5.)
ISBN0-8264-1815-5.)
ISBN0-8264-1815-5.)
[28] Scott Anderson (Spring 1996). "John Coltrane, Avant Garde Jazz, and the Evolution of My Favorite Things" (http:/ / room34. com/ coltrane/
thesis). room34.com. . Retrieved 2008-10-09.
ISBN0-8264-1815-5.)
ISBN0-8264-1815-5.)
[31] Jonathan Curiel (2004-08-15). "Muslim roots of the blues: The music of famous American blues singers reaches back through the South to
the culture of West Africa" (http:/ / www. sfgate. com/ cgi-bin/ article. cgi?f=/ c/ a/ 2004/ 08/ 15/ INGMC85SSK1. DTL). San Francisco
Chronicle. . Retrieved 2008-10-09.
[32] John Coltrane's liner notes to A Love Supreme, December 1964 (http:/ / www. jindustry. com/ xtra/ coltrane/ html/ saintjohn. html)
ISBN0-8264-1815-5.)
[34] Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. pp.183. ISBN0306806444.
[35] Porter 1998, p. 211
[36] Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN
1-57392-963-8.
[37] "John Coltrane's Saxophones/ Benefit Auction /see description below" (http:/ / drrick. com/ trane/ trane. htm). drrick.com. . Retrieved
2011-04-07.
[38] Saint John Coltrane African Orthodox Church web site (http:/ / www. coltranechurch. org/ )
[39] Article "The Jazz Church" (http:/ / elvispelvis. com/ jazzchurch. htm) by Gordon Polatnick at www.elvispelvis.com
[40] 2004 BBC documentary (http:/ / www. diverse. tv/ programme. aspx?id=67) on the Saint John Coltrane African Orthodox Church at
www.diverse.tv
[41] Samuel G. Freedman, " Sunday Religion, Inspired by Saturday Nights (http:/ / www. nytimes. com/ 2007/ 12/ 01/ us/ 01religion. html)",
New York Time (December 1, 2007).
[42] Saint Gregory's of Nyssa Episcopal Church web site (http:/ / www. saintgregorys. org/ worship/ art_section/ 243/ )
[43] " John Coltrane The Case for Sainthood (http:/ / web. archive. org/ web/ 20090510123849/ http:/ / www. forministry. com/
USNJECUSASBECS/ SaintJohnColtrane. dsp)". St. Barnabas Episcopal Church website.
John Coltrane 376
Sources
Kahn, Ashley (2003) [2002]. A Love Supreme: The Story of John Coltrane's Signature Album. Elvin Jones.
Penguin Books. ISBN0142003522.
Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group.
ISBN0826418155.
Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. ISBN0306806444.
Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. ISBN047208643X.
Ratliff, Ben (2007). Coltrane: The Story of a Sound. New York: Farrar, Straus & Giroux. ISBN0-374-12606-2.
Simpkins, Cuthbert (1989) [1975]. Coltrane: A Biography. New York: Herndon House Publishers.
ISBN0-915-54282-X.
Thomas, J.C. (1975). Chasin' the Trane. New York: Da Capo. ISBN0-306-80043-8.
Woideck, Carl (1998). The John Coltrane Companion. New York: Schirmer Books. ISBN0-02-864790-4.
External links
Official Website (http://www.johncoltrane.com)
1957 Carnegie Hall Performance in Transcription and Analysis (http://www.colby.edu/music/honors/
Bertholf.pdf)
"John Coltrane" (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=218). Find a Grave. Retrieved
2008-03-31.
Infography about John Coltrane (http://www.infography.com/content/736735270236.html)
Chick Corea 377
Chick Corea
Chick Corea
Chick Corea in 2009

Birth name Armando Anthony Corea
Born June 12, 1941
Origin Chelsea, Massachusetts, U.S.
Genres Jazz
Jazz fusion
Post bop
Latin jazz
Classical Music
Avant-garde jazz
Occupations Pianist
Keyboardist
Composer
Bandleader
Instruments Piano, keyboards, Synthesizers, organ, Vibraphone, drums
Years active [1]

1962present
Labels ECM, Polydor, Stretch, Warner Bros.
Associated acts Return to Forever, Five Peace Band, Chaka Khan
Website http:/ / www. chickcorea. com
Armando Anthony "Chick" Corea (born June 12, 1941)[2] is an American jazz pianist, keyboardist, and composer.
Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he
participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.[2]
Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and
1990s. He is also known for promoting Scientology.[3]
Chick Corea 378
Life and career
Youth
Corea was born in Chelsea, Massachusetts. He is of Sicilian and Spanish descent.[4] Armando's father, a jazz trumpet
player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the
age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop stars such as Dizzy
Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight Corea also took up drums, which
would later influence his use of the piano as a percussion instrument.
Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore
Sullo from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark
his interest in musical composition. He also spent several years as a performer and soloist for The Knights of St.
Rose, a Drum & Bugle Corp based in Chelsea.
Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb
Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club.
He eventually decided to move to New York where he studied musical education for one month at Columbia
University and six months at The Juilliard School. He quit after finding both disappointing, but liked the atmosphere
of New York where the musical scene became the starting point for his professional career.
Early career
Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s
playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamara.
One of the earliest recordings of his playing is with Blue Mitchell's quintet on The Thing To Do. This album features
his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular
melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune
features a drum solo by a very young Al Foster.)
His first album as a leader was Tones for Joan's Bones in 1966, two years before the release of his album Now He
Sings, Now He Sobs, with Roy Haynes on drums and Miroslav Vitou on bass.[2]
He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records).[2]
Avant garde period

From 1968 to 1971 Chick Corea had associations with avant garde players and
his solo style revealed a dissonant, avant garde orientation. His avant garde
playing can be heard on his solo works of the period, his solos in live recordings
under the leadership of Miles Davis, his recordings with Circle, and his playing
on Joe Farrell's Song of the Wind album on CTI Records.
In September 1968 Corea replaced Herbie Hancock in the piano chair in Davis'
band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent
Way, and Bitches Brew. In concert, Davis' rhythm section of Corea, Dave
Holland, and Jack DeJohnette combined elements of free jazz improvisation and
rock music. Corea experimented using electric instruments with the Davis band,
mainly the Fender Rhodes electric piano.
In live performance he frequently processed the output of his electric piano with
a device called a ring modulator, producing sounds reminiscent of composer Chick Corea, 2007
Chick Corea 379
Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Live at the
Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis
band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric
piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.[2]
Holland and Corea left to form their own group, Circle, active between 1970 and 1971. This free jazz group featured
multi-reed player Anthony Braxton and drummer Barry Altschul. This band was documented on Blue Note and
ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the
strings. In 1971 or 1972 Corea struck out on his own.
The concept of communication with an audience became a big thing for me at the time. The reason I
was using that concept so much at that point in my life in 1968, 1969 or so was because it was a
discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not
noticing that what I did had an effect on others. I did not even think about a relationship to an audience,
really, until way later.[5]
Jazz fusion
In the early 1970s Corea took a profound stylistic turn from avant
garde playing to a crossover jazz fusion style that incorporated Latin
jazz elements. He founded Return to Forever in 1971. This band had a
fusion sound and even though it relied on electronic instrumentation it
drew more on Brazilian and Spanish-American musical styles than on
rock music. On its first two records, Return to Forever featured Flora
Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute
and soprano saxophone. Airto Moreira played drums. Corea's Bobby McFerrin and Chick Corea, New Orleans
Jazz and Heritage Festival in 2008
compositions for this group often had a Brazilian tinge. In 1972 Corea
played many of the early Return to Forever songs in a group he put
together for Stan Getz. This group, with Stanley Clarke on bass and Tony Williams on drums, recorded the
Columbia label album Captain Marvel under Getz's name.
. Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played
drums. No one replaced vocalist Purim. (Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.)
In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea
extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977. Thereafter,
Corea focused on solo projects.[2]
Corea's composition "Spain" first appeared on the 1972 Return to Forever album Light as a Feather. This is probably
his most popular piece, and it has been recorded by a variety of artists. There are also a variety of subsequent
recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that
appeared in 1999, and a collaborative piano and voice-as-instrument arrangement with Bobby McFerrin on the 1992
album Play. Corea usually performs "Spain" with a prelude based on Joaqun Rodrigo's Concierto de Aranjuez
(1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain".
In 1976 he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Moran and electric
violinist Jean-Luc Ponty.
The late Ana Mazzotti, a Brazilian jazz pianist and vocalist, dedicated what is perhaps her last ever recorded track,
"Grand Chick", to Chick Corea. The song may be found on her "Ao Vivo Guaruja 1982" album. As Ana Mazzotti
worked with Brazilian jazz fusion masters Azymuth in her first album, it was further testament to Chick Corea's
influence in the genre.
Chick Corea 380
Duet projects
In the 1970s Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet
albums on ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. A new record called The
New Crystal Silence (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008.
The package includes a disc of duets and another disc featuring the Sydney Symphony.
Later, toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Herbie Hancock.
These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha
concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other
composers such as Bla Bartk.
In December 2007 Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck.[6] Fleck and Corea
toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at
the 49th Grammy Awards for the track "Spectacle."[7]
In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi).
The duo played a concert at Tokyo's Budokan arena on April 30.[8]
Later work
Corea's other bands include the Elektric Band, the Akoustic Band, and
Origin.
The Akoustic Band released a self-titled album in 1989, and featured
John Patitucci on bass and Dave Weckl on drums. It marked a turn
back toward traditional jazz in Corea's career, and the bulk of his
subsequent recordings have been acoustic ones. The Akoustic Band
also provided the music for the 1986 Pixar short Luxo Jr. with their
song The Game Maker.
Corea performs with Bla Fleck, March 1, 2008
[2]
In 1992 Corea started his own record label, Stretch Records.
In 2001 the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums, respectively, released
the album Past, Present & Futures. The 11-song album includes only one standard composition (Fats Waller's
"Jitterbug Waltz"). The rest of the tunes are Corea originals.
He also participated in 1998's Like Minds, which features Gary Burton on vibes, Pat Metheny on guitar, Dave
Holland on bass and Roy Haynes on drums.
Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano
concerto and an adaptation of his signature piece, Spain for a full symphony orchestra and performed it in
1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any
keyboards: His String Quartet No. 1, specifically written for and performed by the highly acclaimed Orion String
Quartet on 2004's Summerfest.
Corea has continued releasing jazz fusion concept albums such as To the Stars (2004) and Ultimate Adventure
(2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group.
In 2008 the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al
Di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and
mainstream publications.[9] Most of the group's studio recordings were re-released on the compilation Return to
Forever: The Anthology to coincide with the tour. A concert DVD recorded during their performance at the
Montreux Jazz Festival was released in May 2009. He is recently working on a collaboration CD with the Grammy
Award winning jazz vocal group The Manhattan Transfer, due to be released in August 2009.
Chick Corea 381
A new group, the 5 Peace Band, which features Corea and guitarist John McLaughlin began a world tour in October
2008. Corea previously worked with McLaughlin in Miles Davis' late-1960s bands, including the group that recorded
Davis' album Bitches Brew. Joining Corea and McLaughlin in the 5 Peace Band are saxophonist Kenny Garrett, and
bassist Christian McBride. Drummer Vinnie Colaiuta played with the band in Europe and on select North American
dates; Brian Blade played all dates in Asia and Australia, and most dates in North America.
Scientology
Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of
Scientology, has been a continual source of inspiration. In 1968 Corea discovered Dianetics, Hubbard's principal
work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters
until Hubbard's death in 1986, and Corea even had three guest appearances on Hubbard's 1982 album Space Jazz:
The Soundtrack of the Book Battlefield Earth, noting, "[Hubbard] was a great composer and keyboard player as well.
He did many, many things. He was a true Renaissance Man."[3]
Corea claimed that Scientology became a profound influence on his musical direction in the early 1970s:
I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean
something to people. [10]
In 1998 Chick Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th
anniversary of Freedom Magazine, the Church of Scientology's investigative news journal, at the National Press
Club in Washington, D.C., to honor 11 human rights activists.[11]
Other beliefs
In a recent interview with jazz journalist C.B.Liddell, Corea also emphasized the importance of The Golden Rule,
which he defined as, "you treat others well and you will be treated well back."
"I find that if I treat others well, the kindness is returned to me," he added.[12]
Awards
Over the years, he has been nominated for 51 Grammy Awards out of which he has won 15:
Year Award Album/song
1976 Best jazz instrumental performance, group No Mystery (with Return to Forever)
1977 Best arrangement of an instrumental "Leprechaun's Dream", The Leprechaun

recording
1977 Best jazz instrumental performance, group The Leprechaun
1979 Best jazz instrumental performance, group Friends
1980 Best jazz instrumental performance, group Duet (with Gary Burton)
1982 Best jazz instrumental performance, group In Concert, Zrich, October 28, 1979 (with Gary Burton)
1989 Best R&B instrumental performance "Light Years", GRP Super Live In Concert (with Elektric Band)
1990 Best jazz instrumental performance, group Akoustic Band (with Akoustic Band)
2000 Best instrumental solo "Rhumbata", Native Sense (with Gary Burton)
2001 Best jazz instrumental performance Like Minds (with Gary Burton, Pat Metheny, Roy Haynes and Dave Holland)
2002 Best instrumental arrangement "Spain for Sextet & Orchestra", Corea.Concerto
2004 Best jazz instrumental solo "Matrix"
2007 Best jazz instrumental performance, group "The Ultimate Adventure"

Chick Corea 382
2008 Best jazz instrumental album The New Crystal Silence (with Gary Burton)
2010 Best jazz instrumental album Five Peace Band Live (with John McLaughlin, Kenny Garrett, Christian McBride, Vinnie
Colaiuta)
His 1968 album Now He Sings, Now He Sobs was inducted in the Grammy Hall of Fame in 1999.
In 2010, he was named doctor honoris causa at Norwegian University of Science and Technology (NTNU).[13]
References
[1] http:/ / www. allmusic. com/ artist/ chick-corea-p66463/ biography
[3] "All About Jazz" (http:/ / www. allaboutjazz. com/ php/ article. php?id=15351). . Retrieved 2008-03-24.
[4] http:/ / www. jazz. com/ music/ 2007/ 11/ 5/ chick-corea-brazil
[5] "Chick Corea Interview on ArtistInterviews" (http:/ / www. artistinterviews. eu/ ?page_id=6& parent_id=22). . Retrieved 2008-03-28.
[6] Levine, Doug (24 April 2007). "Chick Corea, Bela Fleck Collaborate On New CD" (http:/ / www. voanews. com/ english/ archive/ 2007-04/
2007-04-24-voa68. cfm). VOA News (Voice of America). . Retrieved 1 January 2009.
[7] http:/ / www. concordmusicgroup. com/ news/ concord-music-group-garners-28-grammy-nominations/
[8] http:/ / www. nme. com/ video/ id/ S2m4Oy9TWmo/ search/ flh
[9] Chinen, Nate (August 3, 2008). "The Return of Return to Forever" (http:/ / www. nytimes. com/ 2008/ 08/ 03/ arts/ music/ 03chin. html). The
New York Times. . Retrieved April 1, 2010.
[10] Down Beat, October 21, 1976, p.47
[11] Haywood You Remember Garden City Park (http:/ / antonnews. com/ mineolaamerican/ 1998/ 10/ 23/ news/ )
[12] http:/ / yknow-interviews. blogspot. com/ 2010/ 12/ chick-corea-jazz-pianist. html
[13] http:/ / www. nrk. no/ nyheter/ distrikt/ nrk_trondelag/ 1. 7355183
External links
Official site (http://www.chickcorea.com/)
Official discography (http://www.chickcorea.com/discography.html)
Jazzreview.com biography (http://www.jazzreview.com/articledetails.cfm?ID=498)
Verve Records Archived (http://web.archive.org/20071013193702/http://www.vervemusicgroup.com/
artist.aspx?aid=2713) October 13, 2007 at the Wayback Machine.
An Interview with Chick Corea (http://www.bobrosenbaum.com/transcripts/corea1.pdf) by Bob Rosenbaum,
July 1974 (PDF file) 'You put these notes together and you come out with that sound, and isnt it beautiful. So
what? What does it do to another person? What does it do to your neighborhood?'
Betty Davis 383
Betty Davis
Betty Davis
Birth name Betty Mabry
Born July 26, 1945

Durham, North Carolina, USA
Origin New York City, New York, USA
Genres Funk, soul, rock, funk rock, glam rock
Occupations Singer, Songwriter
Instruments Vocals
Labels MPC
Associated acts Miles Davis
Betty Davis (ne Betty Mabry) (born July 26, 1945)[1] is an American funk, rock and soul singer. She was also
Miles Davis's second wife.
Background
She worked as a model, appearing in photo spreads in Seventeen, Ebony and Glamour.[2] In her time in New York,
Mabry met several musicians including Jimi Hendrix and Sly Stone.
Marriage to Miles Davis

Mabry met Miles Davis in 1967 and married him in September 1968. In just one year of marriage she influenced him
greatly. The Miles Davis album Filles de Kilimanjaro included a song named after her and her photo on the front
cover. In his autobiography, Miles credited Mabry with helping to plant the seeds of his future musical explorations
by introducing the trumpeter to psychedelic rock guitarist Jimi Hendrix and funk innovator Sly Stone.
It is believed that Hendrix and Betty Davis had an affair that hastened the end of her marriage to Miles Davis, but
Betty denies this. What's more, Hendrix and Miles stayed close after the divorce, planning to record until Hendrix's
death. The influence of Hendrix and especially Sly Stone on Miles Davis was obvious on the album Bitches Brew,
which ushered in the era of jazz fusion. The origin of the album's title is unknown, but some believe Miles was
subtly paying tribute to the woman whose intersecting relationships helped spur the album's genesis. In fact, it is said
that he originally wanted to call the album Witches' Brew it was Betty who convinced him to change it.[3]
Music career
After the breakup of her marriage with Davis, Betty moved to London to pursue her modeling career. She wrote
music while in the UK and returned to the US with the intention of recording songs with Santana. Instead, she
organized a group of talented West Coast funk musicians to make her own recordings.
Her first record, Betty Davis, was released in 1973. It had impressive lyrics and funky grooves on songs such as
"Anti Love Song," as well as an impressive list of musicians:
Neal Schon (Santana/Journey) Doug Rodrigues (Buzzy Linhart, Lenny White) - guitar
Gregg Errico (Sly & The Family Stone) - drums
Larry Graham (Sly & The Family Stone and eponym of Graham Central Station) - bass
Betty Davis 384
Patryce Banks (Graham Central Station) - percussion

Willie Sparks (Graham Central Station) - drums
Hershall Kennedy (Graham Central Station) - horns
Greg Adams (Tower of Power) - horns
Mic Gillette (Tower of Power) - horns
Skip Mesquite (Tower of Power) - saxophone
Merl Saunders - electric piano
Pete Sears - acoustic piano
The Pointer Sisters - background vocals
Davis released two more studio albums, They Say I'm Different (1974) and her major label debut on Island Records
Nasty Gal (1975). None of the three albums was a commercial success. Davis remained a cult figure as a singer, due
in part to her open sexual attitude, which was controversial for the time. Some of her shows were boycotted and her
songs were not played on the radio due to pressure by religious groups. However, with the passage of time her
records have become highly regarded by collectors of soul and funk music. Both Betty Davis and They Say I'm
Different were re-released by Seattle's Light in the Attic Records on May 1, 2007. In September 2009 Light in the
Attic Records reissued Nasty Gal and her unreleased 4th studio album recorded in 1976, re-titled as Is It Love or
Desire? (the original title was Crashin' From Passion). Both reissues contained extensive liner notes and shed some
light on the mystery of why her 4th album, considered possibly to be her best work by many members of her band
(Herbie Hancock, Chuck Rainey, Alphonse Mouzon), was shelved by the record label and remained unreleased for
33 years. After a final recording session in 1979, Davis eventually stopped making music and returned to
Pennsylvania.
Material from the 1979 recording session was eventually used for two bootleg albums, Hangin' Out In Hollywood
(1995) and Crashin' From Passion (1996). A greatest hits album, Anti Love: The Best of Betty Davis, was released in
2000.
Discography
Original Studio Albums
Year Album Label Notes

1973 Betty Davis Just Sunshine 1st studio album; produced by Greg Errico
Light in the Attic (2009 re-release)
1974 They Say I'm Different Just Sunshine 2nd studio album; produced by Betty Davis
1975 Nasty Gal Island 3rd studio album; produced by Betty Davis
2009 Is It Love or Desire? Light in the Attic 4th album; recorded in 1976 and released in 2009
Betty Davis 385
Unofficial Releases
Hangin' Out In Hollywood (1995) (Charly) / Crashin' From Passion (Razor & Tie) (1996)
Compilation of material recorded in 1979 and released in 1995 and 1996 without the artist's consent
Anti Love: The Best of Betty Davis (2000) (UFoxy)
Compilation
This Is It! Anthology (2005) (Vampisoul)
Compilation
References
[1] http:/ / www. allmusic. com/ artist/ p16873
[2] (http:/ / www. soulwalking. co. uk/ Betty Davis. html) Soulwalking.co.uk Retrieved on 06-05-07
[3] (http:/ / www. thedailymaverick. co. za/ article/
2010-09-07-madonna-before-madonna-the-woman-who-introduced-miles-to-hendrix-finally-speaks) thedailymaverick.co.za Retrieved on
07-09-10
External links
The Sound of Young America: Betty Davis Interview (http://www.maximumfun.org/blog/2007/06/
podcast-tsoya-betty-davis.html) June 21, 2007: Betty Davis gives her first radio interview in 30 years.
Neil Spencer, "Miles Davis: The muse who changed him, and the heady Brew that rewrote jazz", The Guardian, 5
September 2010 (http://www.guardian.co.uk/music/2010/sep/05/miles-davis-bitches-brew-reissue) -
includes 2010 interview with Betty Davis.
Betty Davis: Betty Davis (http://www.allaboutjazz.com/php/article.php?id=765) Album review
Betty Davis (http://www.allmusic.com/artist/p16873) at Allmusic
Bill Evans (pianist)

Bill Evans
Bill Evans performing at the Montreux Jazz Festival (Switzerland) with his trio consisting of Marc Johnson, bass & Philly Joe Jones, drums, July
13, 1978.
Birth name William John Evans
Born August 16, 1929
Died September 15, 1980 (aged51)
Genres Jazz, modal jazz, third stream, cool jazz, post-bop
Occupations Pianist
Composer
Arranger
Instruments Piano
Years active [1]

1950s-1980
Labels Riverside, Verve, Fantasy
Associated acts George Russell, Miles Davis, Cannonball Adderley, Philly Joe Jones, Scott LaFaro, Paul Motian, Eddie Gomez, Marty Morell,
Tony Bennett, Jim Hall
William John Evans, known as Bill Evans (August 16, 1929 September 15, 1980) was an American jazz pianist.
His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically
independent, "singing" melodic lines influenced a generation of pianists including: Chick Corea, Herbie Hancock,
John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Warren Bernhardt,
Michel Petrucciani and Keith Jarrett, as well as many other musicians world-wide. The music of Bill Evans
continues to inspire younger pianists like Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias[2] and arguably Brad
Mehldau,[3] early in his career. He is considered by some to be the most influential post World War II jazz pianist.[4]
Evans is an inductee of the Down Beat Jazz Hall of Fame.[5]
Biography
Early life
Bill Evans was born in Plainfield, New Jersey, United States, to a mother of Rusyn ancestry and a father of Welsh
descent.[6] He received his first musical training at his mother's church. Evans's mother was an amateur pianist with
an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a
proficient flautist by age 13 and could play the violin.
At age 12, Evans filled in for his older brother Harry in Buddy Valentino's band.[7] At this age he was able to
interpret classical music, but he couldn't improvise. In the beginning, he was playing exactly what was written in the
sheet, but soon he was trying to improvise, and - following his fascination in this subject - he was learning about
harmony of the songs, and how to alter it. He was playing dance music (and jazz) at home for some time.[8] In the
late 1940s, he played boogie woogie in various New York City clubs. He attended Southeastern Louisiana
University on a music scholarship and in 1950 performed Beethoven's Third Piano Concerto on his senior recital
there, graduating with a degree in piano performance and teaching. He was also among the founding members of
SLU's Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the fraternity's football team,
helping them win the school's 1949 intramural tournament.[8]
Evans's first professional job was with sax player Herbie Fields's band, based in Chicago. During the summer of
1950, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo
Theater and shows in Philadelphia, Baltimore, and at Washington D.C.'s Howard Theater. In addition to Fields and
Evans, the band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon its
return to Chicago, Evans and Aton worked as a duo in Chicago clubs, often backing singer Lurlean Hunter. Shortly
thereafter, Evans received his draft notice and entered the U.S. Army.
After his army service, Evans returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and
other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he
also mentored younger music students.
1950s
Working in New York in the 1950s, Evans gained recognition as a sideman in traditional and so-called Third Stream
jazz groups. During this period he had the opportunity to record in many different contexts with some of the best jazz
musicians of the time. Seminal recordings made with composer/theoretician George Russell, including "Concerto for
Billy the Kid" and "All About Rosie", are notable for Evans's solo work. Evans also appeared on notable albums by
Charles Mingus, Oliver Nelson, Tony Scott, and Art Farmer. In 1956, he made his debut album, New Jazz
Conceptions, featuring the original version of "Waltz for Debby", for Riverside Records. Producer Orrin Keepnews
was convinced to record the reluctant Evans by a demo tape guitarist Mundell Lowe played to him over the phone.
In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis's famed sextet. Though his
time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history
of jazz, as Evans's introspective scalar approach to improvisation deeply influenced Davis's style. Davis wrote in his
autobiography, "Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got, was like
crystal notes or sparkling water cascading down from some clear waterfall." Additionally, Davis said, "I've sure
learned a lot from Bill Evans. He plays the piano the way it should be played."
Evans's desire to pursue his own projects as a leader (and increasing problems with drug use) led him to leave the
Davis sextet in late 1958. Shortly after, he recorded Everybody Digs Bill Evans, documenting the wholly original
meditative sound he was exploring at the time. But Evans came back to the sextet at Davis's request to record the
jazz classic Kind of Blue in early 1959. Evans's contribution to the album was overlooked for years; in addition to
cowriting the song "Blue in Green",[9] he had also already developed the ostinato figure from the track "Flamenco
Sketches" on the 1958 solo recording "Peace Piece" from his album Everybody Digs Bill Evans. Evans also penned
the heralded liner notes for Kind of Blue comparing jazz improvisation to Japanese visual art.[10] By the fall of 1959,
he had started his own trio.
1960s
At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to
become one of the most acclaimed piano triosand jazz bands in generalof all time. With this group, Evans's
focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the
band members that often bordered on collective improvisation, blurring the line between soloist and accompanist.
The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable
level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the
Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same
recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were
collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known
recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor.
In addition to introducing a new freedom of interplay within the piano trio, Evans began (in performances such as
"My Foolish Heart" from the Vanguard sessions) to explore extremely slow ballad tempos and quiet volume levels,
which had been virtually unknown in jazz. His chordal voicings became more impressionistic, reminiscent of
classical composers such as Debussy, Ravel, Scriabin, and Satie, and he moved away from the thick block chords he
had often used with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, reflecting the
influence of jazz pianist Bud Powell.
Like Davis, Evans was a pioneer of modal jazz, favoring harmonies that helped avoid some of the idioms of bebop
and other earlier jazz. In tunes like Time Remembered, the chord changes more or less absorbed the derivative styles
of bebop and instead relied on unexpected shifts in color. It was still possible (and desirable) to make these changes
swing, and a certain spontaneity appeared in expert solos that were played over the new sound. Most composers refer
to the style of Time Remembered as "plateau modal," because of its frequent juxtaposition of harmony.
LaFaro's death at age 25 in a car accident, ten days after the Vanguard performances, devastated Evans. He did not
record or perform in public again for several months. His first recording after LaFaro's death was the duet album
Undercurrent, with guitarist Jim Hall, released on United Artist Jazz records in 1963. Recorded in two sessions on
April 24 and May 14, 1962, it is now widely regarded as a classic jazz piano-guitar duet recording. The album is also
notable for its striking cover image, "Weeki Wachee Spring, Florida" by photographer Toni Frissell. The original LP
and the first CD reissue featured a cropped, blue-tinted version, overlaid with the title and the Blue Note logo; but
for the most recent (24-bit remastered) CD reissue, the image has been restored to its original black-and-white
coloration and size, without lettering.
When he re-formed his trio in 1962, Evans replaced LaFaro with bassist Chuck Israels, initially keeping Motian on
the drums. Two albums, Moonbeams and How My Heart Sings!, resulted. In 1963, after having switched from
Riverside to the much more widely distributed Verve, he recorded Conversations With Myself, an innovative album
on which he employed overdubbing, layering up to three individual tracks of piano for each song. The album won
him his first Grammy award, for Best Instrumental Jazz Performance Soloist or Small Group.
Though his time with Verve was prolific in terms of recording, his artistic output was uneven. Despite Israels's fast
development and the creativity of new drummer Grady Tate, they were ill-represented by the rather perfunctory
album Bill Evans Trio with Symphony Orchestra, with the piece Pavane by Gabriel Faur remarkably reinvented
with improvisations by Evans. Some unique contexts were attempted, such as a big-band live album at Town Hall,
recorded but never issued due to Evans's dissatisfaction with it (although the jazz trio portion of the Pavane concert
was made into its own somewhat successful release), and an album with a symphony orchestra, not warmly received
by critics.
During this time, Helen Keane, Evans's manager, began having an important influence. One of the first women in her
field, she significantly helped to maintain the progress (or prevent the deterioration) of Evans's career in spite of his
self-destructive lifestyle.
In 1966, Evans discovered the remarkable young Puerto Rican bass player Eddie Gomez. In what turned out to be an
eleven-year stay, the sensitive and creative Gomez sparked new developments in both Evans's playing and his trio
conception. One of the most significant releases during this period is Bill Evans at the Montreux Jazz Festival, from
1968. Although it was the only album Evans made with drummer Jack DeJohnette, it has remained a critical and fan
favorite, due to the trio's remarkable energy and interplay.
Other highlights from this period include "SoloIn Memory of His Father" from Bill Evans at Town Hall (1966),
which introduced the famous theme "Turn Out the Stars," a second successful pairing with guitarist Jim Hall;
Intermodulation (1966); and the subdued, crystalline solo album Alone (1968), featuring a 14-minute-plus version of
"Never Let Me Go."
1970s
In 1968, Marty Morell joined the trio on drums and remained until 1975, when he retired to family life. This was
Evans's most stable, longest-lasting group. Evans had kicked his heroin habit and was entering a period of personal
stability as well. The group made several albums, including From Left to Right (1970), which features Evans's first
use of electric piano; The Bill Evans Album (1971), which won two Grammies; The Tokyo Concert (1973); Since We
Met (1974); and But Beautiful (1974), featuring the trio plus legendary tenor saxophonist Stan Getz in live
performances from Holland and Belgium, released posthumously in 1996. Morell was an energetic, straight-ahead
drummer, unlike many of the trio's former percussionists, and many critics feel that this was a period of little growth
for Evans. After Morell left, Evans and Gomez recorded two duo albums, Intuition and Montreux III.
In 1974, Bill Evans recorded a multimovement jazz concerto specifically written for him by Claus Ogerman entitled
Symbiosis, originally released on the MPS Records label. The 1970s also saw Evans collaborate with the singer Tony
Bennett on 1975's The Tony Bennett/Bill Evans Album and 1977's Together Again.
On September 13, 1975, Evans's son, Evan, was born. Evan Evans did not often see his always-touring father. A
child prodigy, he embarked on a career in film scoring, ambitiously attending college courses in 20th-century
composition, instrumentation, and electronic composition at the age of ten. He also studied with many of his father's
contemporaries, including Lalo Schifrin and harmony specialist Bernard Maury.
In 1976, Marty Morell was replaced on drums by Eliot Zigmund. Several interesting collaborations followed, and it
was not until 1977 that the trio was able to record an album together. Both I Will Say Goodbye (Evans's last album
for Fantasy Records) and You Must Believe in Spring (for Warner Bros., released posthumously) highlighted changes
that would become significant in the last stage of Evans's career. A greater emphasis was placed on group
improvisation and interaction, Evans was reaching new expressive heights in his soloing, and new experiments with
harmony and keys were attempted.
Gomez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer he considered his "all-time
favorite drummer" and with whom he had recorded his second album in 1957, to fill in. Several bassists were tried,
with the remarkable Michael Moore staying the longest. Evans finally settled on Marc Johnson on bass and Joe
LaBarbera on drums. This trio was Evans's last. Although they released only one record before Evans's death in 1980
(The Paris Concert, Edition One and Edition Two, 1979), they rivaled (and arguably exceeded) the first trio in their
powerful group interactions. Evans stated that this was possibly his best trio, a claim supported by the many
recordings that have since surfaced, each documenting the remarkable musical journey of his final year. The
Debussylike impressionism of the first trio had given way to a dark and urgent yet undeniably compelling, deeply
moving (if not mesmerizing) romantic expressionism.
Evans's Rusyn ancestry is sometimes confused with a "Russian" ethnic background. His music reflects Russian titans
like the Rachmaninoffesque pianism of his brooding constructions and the Shostakovich-like "Danse Macabre"
modal explorations of "Nardis", the piece he reworked each time it served as the finale of his performances. But the
"anticipatory meter" that Evans deliberately perfected with his last trio reflects late Ravel, especially the
controversial second half of the French composer's dark and turbulent La Valse. The recording documenting Evans's
playing during the week preceding his death is the valedictory "The Last Waltz." Many albums and compilations
have been released in recent years, including three multidisc boxed sets: Turn Out the Stars (Warner Bros.), The Last
Waltz, and Consecration. The Warner Bros. set is a selection of material from Evans's final residency at New York's
Village Vanguard club, nearly two decades after his classic performances there with the La Faro/Motian trio; the
other two are drawn from his performances at San Francisco's Keystone Korner the week before his death. A
particularly revealing comparison of early and late Evans (1966, 1980) is a 2007 DVD of two previously unreleased
telecasts, The Oslo Concerts.
Death
Evans's drug addiction most likely began during his stint with Miles Davis in the late 1950s. A heroin addict for
much of his career, his health was generally poor, and his financial situation worse, for most of the 1960s. By the end
of that decade, he appeared to have succeeded in overcoming his addiction to heroin. However, during the 1970s,
cocaine use became a serious and ultimately fatal problem for Evans. His body finally gave out in September 1980,
whenravaged by psychoactive drugs, a perforated liver, and a lifelong battle with hepatitishe died in New York
City of a bleeding ulcer, cirrhosis of the liver, and bronchial pneumonia. Evans's friend Gene Lees bleakly
summarized Evans's struggle with drugs to Peter Pettinger as "the longest suicide in history".[8] At the time of his
death, Evans was residing with his partner Laurie Verchomin [11], in Fort Lee, New Jersey.[6] Bill Evans is buried at
Roselawn Memorial Park and Mausoleum, Baton Rouge, East Baton Rouge Parish, Louisiana (Section #161, Plot
K), next to his brother Harry Evans, who died the previous year. The inscription reads, "William John Evans; August
16, 1929; September 15, 1980".
Legacy
As music critic Richard S. Ginell noted, With the passage of time, Bill Evans has become an entire school unto
himself for pianists and a singular mood unto himself for listeners. There is no more influential jazz-oriented pianist
-- only McCoy Tyner exerts nearly as much pull among younger players and journeymen -- and Evans has left his
mark on such noted players as Herbie Hancock, Keith Jarrett, Chick Corea, Brad Mehldau. [12] Bill Evans's
musicianship has been a model for many pianists in various genres. His music displayed a creative mastery of
harmony, rhythm, and interpretive jazz conception, fusing elements from jazz, classical, and ethnic music. In his
duos and trios, Evans developed in unprecedented ways a unique conception of ensemble performance and a
classical sense of form and conceptual scale. His '60s recordings Conversations with Myself and Further
Conversations with Myself were innovative solo performances involving multiple layers of overdubs recorded in the
studio by Evans himself.
Evans's work continues to influence pianists, guitarists, composers, and interpreters of jazz music around the world.
Many of his tunes, such as "Waltz for Debby", "Turn Out the Stars," "Very Early," and "Funkallero," have become
often-recorded jazz standards. Many tribute recordings featuring his compositions and favorite tunes have been
released in the years following his passing (see below) as well as tribute compositions. Pat Metheny's "September
15th" is one such recording. During his lifetime, Evans was honored with 31 Grammy nominations and seven
Awards. In 1994, he was posthumously honored with the Grammy Lifetime Achievement Award.
Tribute albums
1981: Elegy For Bill Evans by Richie Beirach
1986: Music of Bill Evans by the Kronos Quartet with Eddie Gomez and Jim Hall.
1990: Bill Evans by Paul Motian
1991: Bill Evans: A Tribute by Jimmy Rowles, McCoy Tyner, Herbie Hancock, John Lewis, and Dave McKenna
(Palo Alto Records)
1992: Then Along Came Bill: A Tribute to Bill Evans by Sylvia Syms
1993: Time Remembered: John Mclaughlin Plays Bill Evans by John Mclaughlin
1994: Now & Then: A Tribute to Bill Evans by Mitchel Forman
1994: Your Story: The Music of Bill Evans by Howard Alden
1996: Turn Out The Stars - The Songs Of Bill Evans by Dominic Alldis
1997: Conversations with Bill Evans by Jean-Yves Thibaudet
1998: Evanessence: Tribute to Bill Evans by Fred Hersch
1998: I Remember Bill: A Tribute to Bill Evans by Don Sebesky and Larry Coryell
2000: Conviction: Thoughts Of Bill Evans by Roseanna Vitro
2000: Remembering Bill Evans - A Vocal Tribute by Karen Gallinger
2002: Homage To Bill Evans And Jim Hall by Luigi Tessarollo with Stefano Bollani
2002: Play Bill Evans by The Danish Radio Jazz Orchestra & Jim McNeely
2003: Bill Evans: Tribute to the Great Post-Bop Pianist by Paul Motian
2006: Paz - Nio Josele and the music of Bill Evans by Nio Josele
2006: Remembering the Rain: The Music of Bill Evans by Stephen D. Anderson
2007: Playsong - The Music Of Bill Evans by Hilde Hefte
2008: Bill Evans Project by Riccardo Fioravanti Trio
2008: Something for you - Eliane Elias Sings and Plays Bill Evans by Eliane Elias
2008: We Sing Bill Evans by Joan Diaz Trio
2009: Bill Evans Compositions Vol. 1 & Vol. 2 by Stefano Battaglia
References
[1] http:/ / www. allmusic. com/ artist/ bill-evans-p6477
[2] All About Jazz on Eliane Elias. (http:/ / www. allaboutjazz. com/ php/ article. php?id=28148)
[3] Articles by Samuel Chell (All About Jazz) (http:/ / www. allaboutjazz. com/ php/ article. php?id=25824) and Kristen MacKenzie (pp. 4 and
18) (http:/ / www. bradmehldau. com/ content/ music/ pdf/ mackenzie. pdf).
[4] Cook, Richard & Morton, Brian (2008). The Penguin Guide to Jazz Recordings 9th edition. Penguin. ISBN0141034017.
[5] "1981 Down Beat Critics Poll" (http:/ / www. downbeat. com/ default. asp?sect=stories& subsect=story_detail& sid=707). downbeat.com. .
[6] Wilson, John S. "Bill Evans, Jazz Pianist Praised For Lyricism and Structure, Dies; 'In Touch With His Feelings' Trouble With Scales" (http:/
/ select. nytimes. com/ gst/ abstract. html?res=F30610FC3A5C12728DDDAE0994D1405B8084F1D3), The New York Times, September 17,
1980. Accessed June 30, 2009. "Mr. Evans, who lived in Fort Lee, N.J., toured in Europe this summer."
[7] Simpson, Joel. Bill Evans. Biography (http:/ / www. allaboutjazz. com/ php/ musician. php?id=6592)
[8] Pettinger, Peter (2002). Bill Evans: How My Heart Sings (New Ed ed.). Yale University Press. ISBN0300097271.
[9] The liner notes to Bill Evans - The Complete Riverside Recordings, published in 1984, give credit to both Evans and Davis ((Davis-Evans)
Jazz Horn Music/Warner-Tamerlane Publ. BMI).
[10] Bill Evans (1959). "Liner notes" (http:/ / www. billevanswebpages. com/ kindblue. html). Kind of Blue. .
[11] http:/ / www. laurieverchomin. com/ media/
[12] Richard S. Ginell. "Bill Evans" (http:/ / www. allmusic. com/ artist/ bill-evans-p6477). allmusic.com. . Retrieved August 25, 2010.
Further reading
Shadwick, Keith (2002). Bill Evans Everything Happens To Me - a musical biography (Paperback ed.). Backbeat
Books. ISBN0879307080.
External links
billevans.net Detailed Discography (http://www.billevans.net)
Bill Evans entry Jazz Discography Project (http://www.jazzdisco.org/evans/cat/a/)
The Bill Evans Webpages (http://www.billevanswebpages.com/)
Bill Evans: Time Remembered (http://www.billevans.nl)
The Work of Claus Ogerman (http://bjbear71.com/Ogerman/Claus.html) Bill Evans' work with
composer/arranger/conductor Claus Ogerman is documented here in a pictorial discography of original albums
and compilations, many with explanatory liner notes.
"Remembering Bill Evans" (http://www.jazz.com/jazz-blog/2008/1/29/remembering-bill-evans) by Ted
Gioia, Jazz.com (http://www.jazz.com), January, 2008.
Letter From Evans (http://www.scribd.com/search?cat=redesign&q=Letter+From+Evans&x=20&y=11)
edited by Win Hinkle newsletter dedicated solely to the music and the life of Bill Evans, published 198994.
Link is to all issues.
"Bill Evans: Twelve Essential Recordings by Ted Gioia" (http://www.jazz.com/dozens/
the-dozens-essential-bill-evans)
Bill Evans A Complete Blog Discography Project (http://www.theuniversalmindof.blogspot.com/)
The Bill Evans Memorial Library (http://home.btconnect.com/beml/)
Bill Evans (saxophonist)

Bill Evans
Bill Evans in Warsaw, Poland July 24, 2004

Born 8 February 1958

Clarendon Hills, Illinois
United States
Genres Jazz fusion, jazz, bluegrass
Occupations Musician, songwriter, record producer
Instruments Saxophone, clarinet
Years active [1]

1980s-Present
Associated acts Miles Davis, Elements.
Website [2]
Bill Evans official Web site
Bill Evans (born February 9, 1958 in Clarendon Hills, Illinois) is an American jazz saxophonist.[3] His father was a
classical piano prodigy and until junior high school Evans studied classical clarinet. Early in his studies he was able
to hear such artists as Sonny Stitt and Stan Getz live at the Jazz Showcase in Chicago. He attended Hinsdale Central
High School and studied with tenor saxophonist Vince Micko. His stylistic influences are wide ranging and include
players such as Sonny Rollins, Joe Henderson, John Coltrane, Stan Getz, Steve Grossman, and Dave Liebman. He
has stated that although he never transcribed solos, he was able to get a very deep intuitive feel and understanding of
each of these players' styles.
Biography
He plays primarily tenor and soprano saxophones. Evans attended North Texas State University and William
Paterson University, where he studied with Dave Liebman, a Miles Davis alumnus. Moving to NYC in 1979 he spent
countless hours in lofts playing jazz standards and perfecting his improvisational style. At the age of 22 he joined
Miles Davis and was part of his musical comeback in the early to mid 1980s.[3] Notable albums recorded with Miles
include The Man With The Horn, We Want Miles, Star People, and Decoy. In addition he has played, toured and
recorded with artists such as Herbie Hancock, John McLaughlin,[3] Michael Franks, Willie Nelson, Mick Jagger, Les
McCann, Mark Egan, Danny Gottlieb, Ian Anderson and Randy Brecker, among others. He is featured on the Petite
Blonde album[3] with Victor Bailey, Dennis Chambers, Mitch Forman, and Chuck Loeb. Two of his most recent
albums Soul Insider and Soulgrass were nominated for Grammy awards. Soulgrass was a ground breaking
bluegrass/jazz fusion concept involving such musicians as Bela Fleck, Sam Bush, Bruce Hornsby, and drummer
Vinnie Colaiuta.
During the 1980s and 1990s he was a member of the group Elements.[3]
Beginning in 1990 Bill has been touring with his own band playing close to 90 concerts a year worldwide. He has
recorded over 17 solo CD's and received 2 Grammy Award nominations. He recorded an award-winning CD called
Bill Evans - Vans Joint with the WDR Orchestra in 2009. He has played a wide variety of music with his solo
projects including bluegrass influenced jazz to funk to contemporary groove and is considered a renaissance man in
many circles. Evans has admitted, "I like to use the instruments used in Americana like the banjo, fiddle, mandolin
and steel guitar. I just write my music using those instruments." Evans is also the east coast full co-chairman of the
Caster Reelers Fishing Organization. a small but exclusive fishing club. Their favored fishing grounds are Quetico
Provincial Park in Ontario, Canada.
Discography
Living in the Crest of a Wave (1984, Elektra/Musician)
The Alternative Man (1986, Blue Note)
Summertime (1989, Jazz City)
Let the Juice Loose Live at the Tokyo Blue Note Vol 1 (1990, Jazz City)
The Gambler Live at the Tokyo Blue Note Vol 2 (1991, Jazz City)
Petite Blond (1992, Lipstick Records)
Evans, Bailey, Dennis Chambers, Mitchel Forman, Loeb Petite Blonde (1992, Lipstick Records)
Push (1993, Lipstick Records)
Bill Evans & Push Live in Europe (1995, Lipstick Records)
Escape (1996, ESC Records)
Starfish & the Moon (1997, Escapade)
Touch (1998, ESC/EFA)
Soul Insider (2000, ESC/EFA)
Big Fun (2003, ESC Records)
Soulgrass (2005, BHM Zyx)
Bill Evans, Randy Brecker Soulbop Band Live (2005, BHM/Zyx)
The Other Side of Something (2007, intuition)
Vans Joint (2009, BHM/Zyx)
References
[1] http:/ / www. allmusic. com/ artist/ bill-evans-p36779
[2] http:/ / www. billevanssax. com/
[3] Yanow, Scott. "Biography: Bill Evans" (http:/ / www. allmusic. com/ artist/ p36779/ biography). Allmusic. . Retrieved 31 May 2010.
External links
Bill Evans official Web site (http://www.billevanssax.com/)
Gil Evans 395
Gil Evans
Gil Evans
With Ryo Kawasaki at Sweet Basil in New York City,1982

Born May 13, 1912
Died April 20, 1988 (aged75)
Genres Jazz, Third stream
Occupations Composer
Labels Impulse!, Prestige Records
Notable instruments
Piano
Gil Evans (born 13 May 1912 in Toronto, Canada, died 20 March 1988 in Cuernavaca, Mexico) was a jazz pianist,
arranger, composer and bandleader, active in the United States. He played an important role in the development of
cool jazz, modal jazz, free jazz and jazz fusion, and collaborated extensively with Miles Davis.[1]
Biography
Born Ian Ernest Gilmore Green, his name was changed early on to Evans, the name of his stepfather. His family
moved to Stockton, California where he spent most of his youth. After 1946, he lived and worked primarily in New
York City, living for many years at Westbeth Artists Community.[1]
Between 1941 and 1948, he worked as an arranger for the Claude Thornhill Orchestra. Evans' modest basement
apartment behind a New York City Chinese laundry soon became a meeting place for musicians looking to develop
new musical styles outside of the dominant bebop style of the day. Those present included the leading bebop
performer Charlie Parker himself. In 1948, Evans, with Miles Davis, Gerry Mulligan, and others, collaborated on a
band book for a nonet. The group was booked for a week at the "Royal Roost" as an intermission group on the bill
with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949 and
1950. These recordings were reissued on a 1957 Miles Davis LP titled Birth of the Cool.
Later, while Davis was under contract to Columbia Records, producer George Avakian suggested that Davis work
with any of several arrangers. Davis immediately chose Evans. The three albums that resulted from the resulting
collaboration are Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960). Another collaboration
from this period, Quiet Nights (1962) was issued later, against the wishes of Davis, who broke with his
then-producer Teo Macero for a time as a result. Although these four records were marketed primarily under Davis's
name (and credited to Miles Davis with Orchestra Under the Direction of Gil Evans), Evans's contribution was as
important as Davis's. Their work coupled Evans's classic big band jazz stylings and arrangements with Davis's solo
playing. Evans also contributed behind the scenes to Davis' classic quintet albums of the 1960s.
Gil Evans 396
From 1957 onwards Evans recorded, under his own name, Big Stuff (1957, aka Gil Evans & Ten), New Bottle Old
Wine and Great Jazz Standards (a.k.a. "Pacific Standard Time", 195758), Out of the Cool (1960), and The
Individualism Of Gil Evans (1964). Among the featured soloists on these records were Lee Konitz, Steve Lacy,
Johnny Coles and Cannonball Adderley. In 1965 he arranged the big band tracks on Kenny Burrell's Guitar Forms
album. Evans was quite warm to Latin and Brazilian music. 1966 he recorded a 'special' Latin album with his
orchestra, Look To The Rainbow, for the Brazilian singer Astrud Gilberto. Evans toured extensively during 1972-87,
performing frequently in European concerts and festivals, and traveling twice to Japan, once with Jaco Pastorius.
In the 1970s, following Davis and many other jazz musicians, Evans worked in the free jazz and jazz-rock idioms,
gaining a new generation of admirers. Evans had a particular interest in the work of rock guitarist Jimi Hendrix.
Hendrix's 1970 death made impossible a scheduled meeting with Evans to discuss having Hendrix front a big band
led by Evans. In 1974, he released an album of his arrangements of music by Hendrix. In 1986, Evans produced and
arranged the soundtrack to the film of the Colin MacInnes book Absolute Beginners, thereby working with such
contemporary artists as Sade Adu, Patsy Kensit's Eight Wonder, The Style Council, Jerry Dammers, Smiley Culture,
Edward Tudor-Pole, and, notably, David Bowie. In 1987, Evans recorded a live CD with Sting, featuring big band
arrangements of songs by and with The Police.
In April 1983, the Gil Evans Orchestra was booked into the Sweet Basil jazz club (Greenwich Village, New York)
by jazz producer and Sweet Basil owner Horst Liepolt. This turned out to be a regular Monday night engagement for
Evans for nearly five years and also resulted in the release of a number of successful albums by Gil Evans and the
Monday Night Orchestra (produced by Horst Liepolt). One of these albums, Bud and Bird, won the Grammy award
for Grammy Award for Best Jazz Instrumental Performance, Big Band in 1989.
In 1986, Evans was inducted into the Down Beat Jazz Hall of Fame.
Evans died in the same Mexican city as Charles Mingus, Cuernavaca.[1]
Discography
1957: Gil Evans & Ten
1958: New Bottle Old Wine
1958: Dream of You (with Helen Merrill)
1959: Great Jazz Standards
1960: Out of the Cool
1961: Into the Hot
1964: The Individualism of Gil Evans
1965: Guitar Forms (with Kenny Burrell)
1966: Look to the Rainbow (with Astrud Gilberto)
1971: Blues in Orbit
1971: Where Flamingos Fly (Artists House)
1973: Svengali
1975: Plays the Music of Jimi Hendrix
1975: There Comes a Time
1976: Tokyo Concert
1977: Priestess (Antilles Records)
1978: Little Wing (Circle Records (Germany))
1980: Live at the Public Theater Volume 1 & 2
1986: Live at Sweet Basil
1986: Farewell
1986: Bud and Bird (Grammy Award for Best Jazz Instrumental Performance, Big Band)
1986: Absolute Beginners Soundtrack
Gil Evans 397
1987: Live at Umbria Jazz: Volume 1 & 2

1987: Collaboration (with Helen Merrill)
1987: 75th Birthday Concert
1987: Paris Blues (duo with Steve Lacy)
1987: Last Session (with Sting)
1988: A Tribute to Gil
1990: Gil Evans with RMS - Take Me To The Sun
Arrangements for Miles Davis

1957: Miles Ahead
1958: Porgy and Bess
1960: Sketches of Spain
1963: Quiet Nights
Filmography
2005: RMS Live With Gil Evans at the Montreux Jazz Festival 1983
2007: Gil Evans and His Orchestra[2]
2007: Strange Fruit with Sting
2009: Miles Davis The Cool Jazz Sound
Compositions
Gil Evans' compositions include "La Nevada", "Boplicity" with Miles Davis as by Cleo Henry, "Miles Ahead",
"Eleven", "London", "Jambangle", "Prelude to Orgone", "Orgone", "C Blues", "Zee Zee", "Waltz", "Jelly Roll",
"Sunken Treasure", "Alyrio", "Anita's Dance", "Copenhagen Sight", "Variation on the Misery", "Spaced",
"Proclamation", and "So Long".
References
[1] Allmusic Biography (http:/ / www. allmusic. com/ artist/ p74579)
[2] VIEW Video DVD Listing (http:/ / www. view. com/ gil_evans_and_his_orchestra_dvd. aspx)
External links
Gil Evans Homepage (http://www.gilevans.com)
Interview with "Gil Evans: Out Of The Cool" author Stephanie Stein Crease (http://www.jerryjazzmusician.
com/mainHTML.cfm?page=crease.html#)
Foley 398
Foley
Joseph McCreary, Jr., known professionally as Foley, is an American composer, musician, and photographer who
is best known as the "lead bassist" with trumpeter Miles Davis from 1987 until 1991. With his custom-made Blue
Marble "lead bass," tuned nearly an octave higher than a standard bass guitar and processed through various effects,
Foley was able to create the illusion of a lead guitarist.[1]
Biography
Foley spent his early years playing in Columbus, Ohio, where he was born and raised, composing and recording his
own music.
Foley is featured on the Miles Davis albums Amandla, Dingo, Live Around the World, The Complete Miles Davis at
Montreux, and countless live bootleg recordings.[1] Foley also plays a lead bass solo on Mint Condition's R&B Top
40 hit "So Fine" and the interlude track "Gumbo" from their CD From the Mint Factory.
In 1993, during his time at Motown, Foley released 7 Years Ago....Directions In Smart-Alec Music. The album
featured the AIDS-related song "If It's Positive,"[2] which is widely regarded as the first in a long line of AIDS
awareness songs during the early 1990s. Foley performed this song live on BET's award-winning show Teen Summit,
in which then-host Belma Johnson had taken an AIDS/HIV test and revealed the results live on the air. That episode,
featuring "If It's Positive" and Foley's AIDS awareness concerns, helped BET to win their first NAACP Image
Award. The video features guest appearances from Speech and Aerle Taree [3] of Arrested Development. The video
had heavy rotation on BET as well. Foley later joined Arrested Development and can be seen in the group's "Ease
My Mind" video and their Arsenio Hall appearance in which he served as music arranger. He toured with Arrested
Development from 1993 to 1994, alternately playing bass with Arrested Development and drums with Fishbone,
during Lollapalooza '93.
The Cit de la Musique showed a Miles Davis exhibition from October 16, 2009 to January 17, 2010 that included
Foley's famous "lead bass."
Foley has shared the stage with an array of diverse artists including Sly Stone, George Clinton, Santana, Herbie
Hancock, Prince, Chaka Khan, Patrice Rushen, El DeBarge, Al Jarreau, Alice in Chains, Foreigner, Bootsy Collins,
Fishbone, Arrested Development, David Sanborn , Jungle Bros., Macy Gray, Mint Condition, Monica, Davina, Larry
Dunn, Lenny White, Marcus Miller, Res, Khaleel, and Primus.
Foley can currently be seen playing drums on tour with George Clinton. In 2008, he served as music arranger for
performances with George Clinton and His Gangsters of Love on The Tonight Show and The Late Show.
References
[1] Cole, George. "Miles's Musician Profiles: Foley," (http:/ / www. thelastmiles. com/ profiles_foley. php) The Last Miles, 2005. Last accessed
March 6, 2006.
[2] "If It's Positive" music video on YouTube (http:/ / www. youtube. com/ watch?v=KztYdkxh1cE)
[3] http:/ / www. aerletaree. com/
External links
Official website (http://www.smartalecmusic.com)
Allmusic entry (http://www.allmusic.com/artist/p50012/biography)
YouTube Channel (http://www.youtube.com/smartalecFILMS)
Sonny Fortune 399
Sonny Fortune
Sonny Fortune (born May 19, 1939 in Philadelphia,
Pennsylvania) is an American jazz alto saxophonist and
flautist. He also plays soprano saxophone, tenor
saxophone, baritone saxophone and clarinet.[1]
Biography
After moving to New York City in 1967 he recorded and
appeared live with drummer Elvin Jones's group. In
1968 he was a member of Mongo Santamara's band. He
subsequently performed with singer Leon Thomas, and
with pianist McCoy Tyner (197173).[1]
In 1974 he replaced Dave Liebman in Miles Davis's
ensemble, remaining until spring 1975, when he was
succeeded by Sam Morrison. Fortune was the first alto
player to record with Miles since Cannonball Adderley
on Kind of Blue in 1959, and he can be heard on the
albums Big Fun, Get Up With It, Agharta and Pangaea,
the last two recorded live in Japan.[1]
He joined Adderley's brother, Nat, after his brief tenure

with Davis, and then went on to form his own group in
June 1975, recording two albums for the A&M Horizon
label. During the 1990s, he recorded several acclaimed Sonny Fortune in April, 2007
albums for the Blue Note label. He has also performed

with Roy Brooks, Buddy Rich, George Benson, Rabih Abou Khalil, Roy Ayers, Oliver Nelson, Gary Bartz, Rashied
Ali and Pharoah Sanders, as well as appearing on the live album The Atlantic Family Live at Montreux (1977).[1]
Discography
As leader
1974: Long Before Our Mothers Cried (Strata-East Records)
1975: Awakening (A&M/Horizon Records)
1976: Waves of Dreams (A&M/Horizon)
1977: Serengeti Minstrel
1978: Infinity Is
1979: With Sound Reason
1992: Laying It Down
1993: Monk's Mood
1994: Four In One
1995: A Better Understanding
1996: From Now On
2000: In the Spirit of John Coltrane
2003: Continuum
Sonny Fortune 400
2007: You And The Night And The Music

2009: Last Night at Sweet Rhythm
As sideman
With Rabih Abou-Khalil
Al-Jadida (1990)
With Miles Davis
Get Up with It (1974)
Big Fun (1975)
Pangaea (1975)
Agharta (1975)
With Alphonse Mouzon
The Essence of Mystery (1972)
With McCoy Tyner
Sahara (1972)
With Mal Waldron
Crowd Scene (Soul Note, 1989)
Where Are You? (Soul Note, 1989)
Filmography
Elvin Jones: Jazz Machine (2008) with Sonny Fortune, Ravi Coltrane, Willie Pickens and Chip Jackson[2]
Europafest: Jazz Highlights (2008) with Mike Stern, Sonny Fortune, Bob Berg, Sun Ra, Archie Shepp, John
Zorn, Bill Frisell, and more[3]
References
[2] VIEW DVD Listing (http:/ / www. view. com/ elvin_jones_jazz_machine_dvd. aspx)
[3] Arkadia DVD Listing (http:/ / www. view. com/ europafest_jazz_highlights_dvd. aspx)
External links
SonnyFortune.com (http://www.sonnyfortune.com/) official home page
Al Foster 401
Al Foster
Al Foster
Al Foster Quintet in Trieste, Italy 2007

Born January 18, 1944

Richmond, Virginia, United States
Genres Jazz
Instruments Drum set
Years active [1]

1960s-Present
Al Foster (born January 18, 1943 in Richmond, Virginia) is an American jazz drummer. Foster played with Miles
Davis's large funk fusion group in the 70s, was one of the few people to have contact with Miles during his
retirement, and was also part of his comeback album "The Man With the Horn" of 1981. He was the only musician
to play in Miles' band for both periods.
Biography
Foster grew up in New York. He began playing drums at the age of 13 and made his recording debut, with Blue
Mitchell, at 16.[2]
He joined Miles Davis's group when Jack DeJohnette left.[2] As a member of the Davis band from 1972 to 1985,
Foster's contribution to Davis' music is articulated by Davis himself in his 1989 autobiography, Miles: The
Autobiography, where Davis describes the first time he heard Foster play live in 1972 at the Cellar Club on 95th
Street in Manhattan: 'He [Foster] knocked me out because he had such a groove and he would just lay it right in
there. That was the kind of thing I was looking for. AI could set it up for everybody else to play off and just keep the
groove going forever."
Other artists Foster has performed and recorded with include Joe Henderson, Freddie Hubbard, McCoy Tyner,
Wayne Shorter, Bobby Hutcherson, John Scofield, Pat Metheny, Charlie Haden, Randy & Michael Brecker, Bill
Evans, George Benson, Kenny Drew, Carmen McRae, Stan Getz, Toots Thielemans, Dexter Gordon, Hank Jones,
George Mraz, Blue Mitchell and Chick Corea. Over the years, Foster has toured extensively with Herbie Hancock,
Sonny Rollins, and Joe Henderson, becoming a major attraction in all three bands as well as an integral part of them.
He is an all-round drummer, who has played in musical styles ranging from bebop to free form to jazz/rock.
Recently Foster has recorded and toured with his own band. He began composing in the 1970s. He likens it to
playing chess with the piano. Although he does not read music, he can play his songs on the piano with a groove.
Al Foster 402
Since 1996 Al has been touring with his own band, featuring bassist Douglas Weiss. The current band also features
Israeli born Saxophonist Eli Degibri, and Adam Birnbaum on piano. The band has played over 1000 concert and
club dates all over the world, including the UK, Italy, France, Holland, Germany, Belgium, Spain, Portugal, Poland,
Russia, South Africa.
Discography
As leader
The Night Of The Wolf (Vinyl, 7", 1975, Roulette Records) music by Ivano Fossati and Oscar Prudente[3] .
Brandyn (1996, Laika Records) with Chris Potter, Dave Kikoski and Doug Weiss.
Love, Peace and Jazz! Live at the Village Vanguard (2008, JazzEyes) with Eli Degibri, Kevin Hays and Doug
Weiss.
The Paris Concert (DVD - 2008, Inakustic Gmbh) with Eddie Henderson, Eli Degibri, Aaron Goldberg, George
Colligan and Doug Weiss.
As co-leader
Oh! (ScoLoHoFo) (2003) with Joe Lovano, John Scofield, Dave Holland
As sideman
With Miles Davis
On the Corner (1972)
In Concert: Live at Philharmonic Hall (1973)
Big Fun (1974)
Get Up with It (1974)
Dark Magus (1974)
Agharta (1975)
Pangaea (1975)
The Man with the Horn (1981)
We Want Miles (1981)
Star People (1983)
Decoy (1984)
You're Under Arrest (1985)
Amandla (1989)
With Blue Mitchell
The Thing to Do (1964)
Down with It! (1965)
With Sonny Rollins
Nubia (1978)
Don't Ask (1979)
Love at First Sight (1980)
Here's to the People (1991)
Sonny Rollins + 3 (1995)
With McCoy Tyner
Horizon (1979)
Quartets 4 X 4 (1980)
Al Foster 403
It's About Time (with Jackie McLean, 1985)

New York Reunion (1991)
McCoy Tyner Plays John Coltrane (1997)
McCoy Tyner with Stanley Clarke and Al Foster (1998)
With others
Silver 'n Brass (with Horace Silver, 1975)
Witches, Goblins, Etc. (with Sadik Hakim, piano, and Errol Walters, bass) Steeplechase 1977)[4]
Everything Must Change (with Johnny Lytle, 1978)
In, Out And Around (with Mike Nock, 1978)
Elegie For Bill Evans (with Richie Beirach, 1981)
So Near, So Far (Musings for Miles) (with Joe Henderson, 1992)
Pure (with Chris Potter, Concord Records 1994)
Time Well Spent (with Andy LaVerne and George Mraz, 1994)
I Remember Miles (with Shirley Horn, 1998)
Oh!(with John Scofield, Joe Lovano, Dave Holand, 2003)
The Montreal Tapes: a tribute to Joe Henderson (with Charlie Haden and Joe Henderson, 2004)
Israeli Song (with Eli Degibri, 2010)
References
[1] http:/ / www. allmusic. com/ artist/ al-foster-p77092/ biography
[2] Lewis, Dave. "Al Foster: Biography" (http:/ / www. allmusic. com/ artist/ p77092). Allmusic. . Retrieved 2010-03-25.
[3] discogs (http:/ / www. discogs. com/ Al-Foster-Band-The-Night-Of-The-Wolf/ release/ 2153994)
[4] Jazz International, 1978
Red Garland
William "Red" Garland (May 13, 1923April 23, 1984) was an American hard bop jazz pianist whose block chord
style, in part originated by Milt Buckner, influenced many forthcoming pianists in the jazz idiom.[1] [2]
Biography
Beginnings
William "Red" Garland was born in Dallas, Texas in 1923. Though he came from a non-musical family, Garland
showed an early interest in music. He began his musical studies on the clarinet and alto saxophone but in 1940
switched to the piano. Garland spent copious amounts of time practicing and rapidly developed into a proficient
player. A short early career as a welterweight boxer did not seem to hurt his playing hands. He fought a young Sugar
Ray Robinson before making the switch to a full-time musician.
Garland's sound
Garland's trademark block chord technique, a commonly borrowed maneuver in jazz piano today, was unique and
differed from the methods of earlier block chord pioneers such as George Shearing and Milt Buckner. Garland's
block chords were constructed of three notes in the right hand and four notes in the left hand, with the right hand one
octave above the left. The right hand played the melody in octaves with a perfect 5th placed in the middle of the
octave (a 5th above the lowest note of the octave) even when it seemed to not suit the harmony. The 5th played in
the middle of the octave becomes virtually inaudible when the chord in the left hand is played simultaneously, but
the added 5th gives the voicings a particularly rich, distinctive and slightly out-of-tune character.
Red Garland 404
Garland's left hand played four note chords that simultaneously beat out the same exact rhythm as the right hand
melody played. But, unlike George Shearing's block chord method, Garland's left hand chords did not change
positions or inversions until the next chord change occurred. It's also worth noting that Garland's four note left hand
chord voicings occasionally left out the roots of the chords, which later became a chord style associated with pianist
Bill Evans. Garland's block chord method had a brighter quality, slightly more dissonance, and a fullness in the
upper register compared to the mellower Shearing block chord sound. Garland's solo lines also had a glassy,
shimmering tone that matched the quality of his chords.
Early work
After the Second World War, Garland performed with Roy Eldridge, Coleman Hawkins, Charlie Parker, and Lester
Young. He found steady work in the cities of Boston, New York and Philadelphia. In the late 1940s he toured with
Eddie Vinson at the same time that John Coltrane was in Vinson's band. His creativity and playing ability continued
to improve, though he was still somewhat obscure. By the time he became a pianist for Miles Davis he was
influenced by Ahmad Jamal and Charlie Parker's pianist Walter Bishop.
Miles Davis Quintet

Garland became famous in 1955 when he joined the Miles Davis Quintet featuring John Coltrane, Philly Joe Jones
and Paul Chambers. Davis was a big fan of boxing and was impressed that Garland had boxed earlier in his life.
Together the group recorded their famous Prestige albums, Miles: The New Miles Davis Quintet, Workin, Steamin',
Cookin', and Relaxin'. Garland's style is prominent in these seminal recordingsevident in his distinctive chord
voicings, his sophisticated accompaniment and his musical references to Ahmad Jamal's style. One critic dismissed
Garland as a "cocktail" pianist. The quintet's recordings would arguably influence the Free jazz movement more than
some of the more jazz avant-garde records of the time.
Garland played on the first of Davis's many Columbia recordings, 'Round About Midnight. Though he would
continue playing with Miles, their relationship was beginning to deteriorate. By 1958, Garland and Jones had started
to become more erratic in turning up for recordings and gigs. He was eventually fired by Miles, but later returned to
play on another jazz classic, Milestones. Davis was displeased when Garland quoted Davis's much earlier and by
then famous solo from "Now's The Time" in block chords during the slower take of "Straight, No Chaser." Garland
walked out of one of the sessions for Milestones, so that on the track "Sid's Ahead" Davis comped behind the
saxophone solos.
After the Miles Davis Quintet

In 1958 Garland formed his own trio. Among the musicians the trio recorded with are Pepper Adams, Nat Adderley
(Cannonball Adderley's brother), Ray Barretto, Kenny Burrell, Eddie "Lockjaw" Davis, Jimmy Heath, Harold Land,
Philly Joe Jones, Blue Mitchell, Ira Sullivan, and Leroy Vinnegar. The trio also recorded as a quintet with John
Coltrane and Donald Byrd.
Altogether Garland led 19 recording sessions while at Prestige Records and was involved in 25 sessions for Fantasy
Records. He stopped playing professionally for a number of years in the 1960s when the popularity of rock and roll
music coincided with a substantial drop in the popularity of jazz.
Garland eventually returned to his native Texas in the 1970s. His mother was in need of closer supervision in her
declining years. He led a recording in 1977 named Crossings which reunited him with Philly Joe Jones, and he
teamed up with world-class bassist Ron Carter. His later work tended to sound more modern and less polished than
his better known recordings. He continued recording until his death from a heart attack in 1984, aged 61.
Red Garland 405
Partial discography
As leader
A Garland of Red (1956; Prestige Records)
Red Garland's Piano (1956; Prestige Records)
Soul Junction (1957; Prestige Records)
High Pressure (1957; Prestige Records)
All Mornin' Long (1957)
Dig It! (1958)
All Kinds of Weather (1958; Prestige Records)
Soul Burnin' (1960; Prestige Records)
Keystones! (1977; Xanadu Records)
Red Alert (1977; Galaxy Records)
As sideman
With John Coltrane
Traneing In (1957)
Lush Life (1957)
Soultrane (1958)
With Miles Davis
Miles: The New Miles Davis Quintet (1955)
Cookin' with The Miles Davis Quintet (1956)
Relaxin' with The Miles Davis Quintet (1956)
Workin' with The Miles Davis Quintet (1956)
Steamin' with The Miles Davis Quintet (1956)
'Round About Midnight (1957)
Milestones (1958)
With Art Pepper
Art Pepper Meets the Rhythm Section (1957)
References
[1] Allmusic (http:/ / www. allmusic. com/ artist/ p6557/ biography)
[2] Allaboutjazz.com (http:/ / www. allaboutjazz. com/ bios/ rxgbio. htm)
Kenny Garrett 406
Kenny Garrett
Kenny Garrett
Born October 9, 1960

Detroit, Michigan
United States
Genres Jazz
Post bop
Bandleader
Labels Atlantic Records, Warner Bros. Records, Mack Avenue Records, Criss Cross Jazz
Associated acts Five Peace Band, Miles Davis, Woody Shaw, Art Blakey, Marcus Miller
Website [1]
Official Site
Kenny Garrett is a Grammy Award winning American post bop jazz saxophonist and flautist, who gained fame as a
member of the Duke Ellington Orchestra, and Miles Davis' band as a young man. He has since pursued a critically
acclaimed solo career, and most recently, by joining a supergroup of jazz musicians, titled the Five Peace Band.
Biography
Kenny Garrett was born in Detroit, Michigan on October 9, 1960; Garrett is a 1978 graduate of Mackenzie High
School. His father was a carpenter who played tenor saxophone as a hobby. Garrett's own career as a saxophonist
took off when he joined the Duke Ellington Orchestra in 1978,[2] then led by Duke's son, Mercer Ellington. Three
years later he played in the Mel Lewis Orchestra, playing the music of Thad Jones and also the Dannie Richmond
Quartet, focusing on Charles Mingus's music.
In 1984, he recorded his first album as a bandleader, Introducing Kenny Garrett, on the CrissCross label. He then
recorded two albums with Atlantic Records; Prisoner of Love and African Exchange Student. Garrett signed to the
Warner Bros. Records label, and beginning with Black Hope, in 1992,[2] he has continued to record with them.
Among his notable recordings on Warner Bros. are Pursuance: The Music of John Coltrane, recorded in 1996, and
Songbook, his first album made up entirely of his own compositions, recorded in 1997 and nominated for a Grammy
Award. During his career, Garrett has performed and recorded with many jazz greats such as Miles Davis, Art
Blakey, Joe Henderson, Freddie Hubbard, Woody Shaw, McCoy Tyner, Pharoah Sanders, Brian Blade, Marcus
Miller, Chick Corea, John McLaughlin, Herbie Hancock, Bobby Hutcherson, Ron Carter, Elvin Jones, and Mulgrew
Miller. Garrett's music sometimes exhibits Asian influence, an aspect which is especially prevalent in his 2006
recording, Beyond the Wall.
Kenny Garrett 407
While Garrett is most well known in many circles for the five years he spent playing with Miles Davis during Miles'
electric period, he states that he has become accustomed to the association:
"I was in Miles' band for about five years. I think that tag will always be there. That is five years of my life. That's
the only musical situation that I was there longer than a year. It was a good five years. I have gotten used to that.
Some people became aware of me through Miles and then they would come to my concerts. I think that is part of my
history and I am proud of that. I am still trying to carve out my own name and my own music. I just look at it as a
part of history and it is going to be there. Every time they mention Kenny Garrett, there will probably be some
association with Miles Davis, but at the same time, when they mention Herbie Hancock, they always mention Miles
Davis, or Wayne Shorter. You get used to it after a while." (allaboutjazz.com)
Garrett's latest album is Sketches of MD:
Live at the Iridium, featuring Pharoah
Sanders. It was released on September 23,
2008. On his website, KennyGarrett.com, he
states that his current band consists of
electric bass and organ.
Garrett performed in a world tour,

2008-2009 with Chick Corea, John
McLaughlin, Christian McBride and Brian
Christian McBride, John McLaughlin, Vinnie Colaiuta and Kenny Garrett Photo:
Blade/Vinnie Colaiuta as the "Five Peace Pierre Corbucci
Band". The CD "Five Peace Band - Live"
won a GRAMMY Award on January 31, 2010.
On May 7, 2011 Kenny Garrett was presented an Honorary Doctorate in Music Degree from Berklee College of
Music, Boston, Massachusetts. Garrett was the Commencement Speaker. There were 908 graduates - the largest
graduating class in Berklee history. The commencement ceremony took place at the Agganis Arena (Boston
University). Four thousand people were in attendance.
Discography
As leader
Introducing Kenny Garrett, 1984
5 Paddle Wheel, 1988
Prisoner of Love, 1989 (Atlantic Records)
African Exchange Student, 1990 (Atlantic)
Black Hope, 1992 (Warner Bros. Records)
Introducing Kenny Garrett, 1994
Threshold, 1994
Triology, 1995
Stars & Stripes Live, 1995
Pursuance: The Music Of John Coltrane, 1996
Songbook, 1997 (GRAMMY nomination)
Simply Said, 1999
Old Folks, 2001
Birds Of A Feather: A Tribute To Charlie Parker, 2001
Happy People, 2002
Standard of Language, 2003
Beyond The Wall, 2006 (GRAMMY nomination)
Kenny Garrett 408
Sketches of MD - live at the Iridium, 2008
As sideman
With Miles Davis
Amandla (1989)
Miles & Quincy Live at Montreux (1991)
With Marcus Miller
The Sun Don't Lie (1993)
Tales (1995)
Live & More (1998)
M (2001)
Panther/live (2004)
With Other Artists (these are just a few of the 230+ sideman recordings)
Chick Corea
John McLaughlin
Vinnie Colaiuta
Christian McBride
Donald Byrd
Q-Tip
Mike Stern
Terence Blanchard
Cedar Walton
Javon Jackson
Duke Ellington Orchestra
Wayman Tisdale
Steve Turre
Roy Haynes
Lenny White
Clifton Anderson
Jeff "Tain" Watts
John Scofield
Charnett Moffett
Rodney Kendrick
Jazzmatazz
Geri Allen
Dennis Chambers
Donald Byrd
Philippe Saisse
Kenny Garrett 409
References
[1] http:/ / www. kennygarrett. com/
[2] Skelly, Richard. "Kenny Garrett: Biography" (http:/ / www. allmusic. com/ artist/ p78930). Allmusic. . Retrieved 2010-03-21.
External links
Official Site (http://www.kennygarrett.com/)
Kenny Garrett (http://beta.asoundstrategy.com/kennygarrett/)
Bio at The Duke Jazz Archive (http://www-music.duke.edu/jazz_archive/artists/garrett.kenny/01/)
Allmusic (http://www.allmusic.com/artist/p78930)
Allaboutjazz (http://www.allaboutjazz.com/php/article.php?id=255)
Herbie Hancock 410
Herbie Hancock
Herbie Hancock
Hancock in concert at the Nice Jazz Festival 2010

Birth name Herbert Jeffrey Hancock
Also known as Herbie Hancock
Born April 12, 1940

Chicago, Illinois
United States
Genres Jazz, bebop, post bop, jazz fusion, hard bop, jazz-funk, funk, R&B, electro funk, classical
Occupations Musician, composer, bandleader
Instruments piano, synthesizer, organ, clavinet, keytar, vocoder
Labels Columbia, Blue Note, Verve, Warner Bros. Records
Associated acts Miles Davis Quintet, Jaco Pastorius, Stevie Wonder
Website [1]
Official website of Herbie Hancock
Herbert Jeffrey "Herbie" Hancock (b. April 12, 1940) is an American pianist, bandleader and composer.[2] As
part of Miles Davis's "second great quintet", Hancock helped redefine the role of a jazz rhythm section, and was one
of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace synthesizers and
funk. Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success
among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from
jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with
harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.
Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of
musicians, including bandleader Mongo Santamara), "Maiden Voyage", "Chameleon", and the singles "I Thought It
Was You" and "Rockit". His 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of
the Year, only the second jazz album ever to win the award after Getz/Gilberto in 1965.
As a member of Soka Gakkai, Hancock is an adherent of the Nichiren school of Mahayana Buddhism.[3] [4]
Herbie Hancock 411

Hancock was born in Chicago, Illinois. Like many jazz pianists, Hancock started with a classical music education.
He studied from age seven, and his talent was recognized early. Considered a child prodigy,[5] he played the first
movement of Mozart's Piano Concerto No. 5 at a young people's concert with the Chicago Symphony at age
eleven.[6]
Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also
influenced by records of the vocal group the Hi-Lo's:
..by the time I actually heard the Hi-Lo's, I started picking that stuff out; my ear was happening. I could
hear stuff and that's when I really learned some much farther-out voicings -like the harmonies I used on
'Speak Like a Child' -just being able to do that. I really got that from Clare Fischer's arrangements for
the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... He and Bill Evans, and
Ravel and Gil Evans, finally. You know, that's where it music after two years.
In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student.[7] Hancock often
mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with
Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. (He later
graduated from Grinnell, which also awarded him an honorary Doctor of Fine Arts degree in 1972).[6] [8] Donald
Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study
composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation,
and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin' Off for
Blue Note Records in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo Santamara with a hit
single, but more importantly for Hancock, Takin' Off caught the attention of Miles Davis, who was at that time
assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the
new band.
Miles Davis quintet and Blue Note

Hancock received considerable attention when, in May 1963,[6] he joined Miles Davis's "second great quintet." This
new band was essentially Miles Davis surrounded by fresh, new talent. Davis personally sought out Hancock, whom
he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective,
comprising bassist Ron Carter, 17-year-old drummer Tony Williams, and Hancock on piano. After George Coleman
and Sam Rivers each took a turn at the saxophone spot, the quintet would gel with Wayne Shorter on tenor
saxophone. This quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been
especially praised for its innovation and flexibility.
The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use
common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a
unique taste for "orchestral" accompaniment - using quartal harmony and Debussy-like harmonies, with stark
contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and
over existing melodic and chordal schemes. In the later half of the sixties their approach became so sophisticated and
unorthodox that conventional chord changes would hardly be discernible; hence their improvisational concept would
become known as "Time, No Changes".
While in the Davis' band, Hancock also found time to record dozens of sessions for the Blue Note label, both under
his own name and as a sideman with other musicians such as Wayne Shorter, Tony Williams, Grant Green, Bobby
Hutcherson, Sam Rivers, Donald Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard.
His albums Empyrean Isles (1964) and Maiden Voyage (1965) were to be two of the most famous and influential
jazz LPs of the sixties, winning praise for both their innovation and accessibility (the latter demonstrated by the
subsequent enormous popularity of the Maiden Voyage title track as a jazz standard, and by the jazz rap group US3
Herbie Hancock 412
having a hit single with "Cantaloop" (derived from "Cantaloupe Island" on Empyrean Isles) some twenty five years
later). Empyrean Isles featured the Davis rhythm section of Hancock, Carter and Williams with the addition of
Freddie Hubbard on cornet, while Maiden Voyage also added former Davis saxophonist George Coleman (with
Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the post-bop style.
Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles My
Point of View (1963), Speak Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto flute and bass
trombone. 1963's Inventions and Dimensions was an album of almost entirely improvised music, teaming Hancock
with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo Martinez.
During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup, the first of many
soundtracks he recorded in his career.
Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's
tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the
Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved
to be instrumental in his future artistic endeavors.
Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band.
In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to
search for a new sound, Hancock, despite his departure from the working band, continued to appear on Miles Davis
records for the next few years. Noteworthy appearances include In a Silent Way, A Tribute to Jack Johnson and On
the Corner.
Fat Albert and Mwandishi

Hancock left Blue Note in 1969, signing up with Warner
Bros. Records. In 1969, Hancock composed the soundtrack
for the Bill Cosby animated children's television show Fat
Albert and the Cosby Kids. Titled Fat Albert Rotunda, the
album was mainly an R&B-influenced album with strong jazz
overtones. One of the jazzier songs on the record, "Tell Me A
Bedtime Story", was later re-worked as a more electronic
sounding song for the Quincy Jones album, Sounds...and Stuff
Like That.
Hancock became fascinated with accumulating musical

gadgets and toys. Together with the profound influence of
Davis's Bitches Brew, this fascination would culminate in a
series of albums in which electronic instruments are coupled
with acoustic instruments.
Hancock's first ventures into electronic music started with a
sextet comprising Hancock, bassist Buster Williams and
drummer Billy Hart, and a trio of horn players: Eddie
Henderson (trumpet), Julian Priester (trombone), and
multireedist Bennie Maupin. Dr. Patrick Gleeson was
eventually added to the mix to play and program the
synthesizers. In fact, Hancock was one of the first jazz 2010Hancock playing a Roland AX-7 keytar, at The
pianists to completely embrace electronic keyboards. Roundhouse, Camden, London, 2006
Herbie Hancock 413
The sextet, later a septet with the addition of Gleeson, made three experimental albums under Hancock's name:
Mwandishi (1971), Crossings (1972) (both on Warner Bros. Records), and Sextant (1973) (released on Columbia
Records); two more, Realization and Inside Out, were recorded under Henderson's name with essentially the same
personnel. The music often had very free improvisations and showed influence from the electronic music of some
contemporary classical composers.
Synthesizer player Patrick Gleeson, one of the first musicians to play synthesizer on any jazz recording, introduced
the instrument on Crossings, released in 1972, one of a handful of influential electronic jazz/fusion recordings to
feature synthesizer that same year. On Crossings (as well as on I Sing the Body Electric), the synthesizer is used
more as an improvisatory global orchestration device than as a strictly melodic instrument. This reflected Gleeson's
(and Powell's) interest in contemporary European electronic music techniques and in the West Coast synthesis
techniques of Morton Subotnick and other contemporaries, several of whom were resident at one time or another, as
was Gleeson, at The Mills College Tape Music Center. An early review of Crossings in Downbeat magazine
complained about the synthesizer, but a few years later the magazine noted in a cover story on Gleeson that he was
"a pioneer" in the field of electronics in jazz. Gleeson used a modular Moog III for the recording of the album, but
used an ARP 2600 synthesizer, and occasionally an ARP Soloist for the group's live performances. On Sextant
Gleeson used the more compact ARP synthesizers instead of the larger Moog III for both studio and live
performances. In the albums following The Crossings, Hancock started to play synth himself and unlike Gleeson, he
plays it as a melodical and rhythm instrument just like electric pianos.
Hancock's three records released in 1971-1973, became later known as the "Mwandishi" albums, so-called after a
Swahili name Hancock sometimes used during this era (Mwandishi is Swahili for writer). The first two, including
Fat Albert Rotunda were made available on the 2-CD set Mwandishi: the Complete Warner Bros. Recordings,
released in 1994, but are now sold as individual CD editions. Of the three electronic albums, Sextant is probably the
most experimental since the Arp synthesizers are used extensively, and some advanced improvisation ("post-modal
free impressionism") is found on the tracks "Hornets" and "Hidden Shadows" (which is in the meter 19/4). "Hornets"
was later revised on the 2001 album Future2Future as "Virtual Hornets".
Among the instruments Hancock and Gleeson used were Fender Rhodes piano, ARP Odyssey, ARP 2600, ARP Pro
Soloist Synthesizer, a Mellotron and the Moog synthesizer III.
All three Warner Bros. albums Fat Albert Rotunda, Mwandishi, and Crossings, were remastered in 2001 and
released in Europe but were not released in the U.S.A. as of June 2005. In the Winter of 2006-2007 a remastered
edition of Crossings was announced and scheduled for release in the Spring.
Headhunters and Death Wish

After the sometimes "airy" and decidedly experimental
"Mwandishi" albums, Hancock was eager to perform more
"earthy" and "funky" music. The Mwandishi albums
though these days seen as respected early fusion recordings
had seen mixed reviews and poor sales, so it is probable
that Hancock was motivated by financial concerns as well
as artistic restlessness. Hancock was also bothered by the
fact that many people did not understand avant-garde music.
He explained that he loved funk music, especially Sly
Stone's music, so he wanted to try to make funk himself.
Hancock performing in concert, 2005

Herbie Hancock 414
He gathered a new band, which he called The Headhunters, keeping only Maupin from the sextet and adding bassist
Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason. The album Head Hunters, released in 1973,
was a major hit and crossed over to pop audiences, though it prompted criticism from some jazz fans. Head Hunters
was recorded at Different Fur studios.
Despite charges of "selling out", Stephen Erlewine of Allmusic positively reviewed the album amongst other friendly
critics, saying, "Head Hunters still sounds fresh and vital three decades after its initial release, and its genre-bending
proved vastly influential on not only jazz, but funk, soul, and hip-hop."[9]
Mason was replaced by Mike Clark, and the band released a second album, Thrust, the following year. (A live album
from a Japan performance, consisting of compositions from those first two Head Hunters releases was released in
1975 as Flood. The record has since been released on CD in Japan.) This was almost as well-received as its
predecessor, if not attaining the same level of commercial success. The Headhunters made another successful album
(called Survival of the Fittest) without Hancock, while Hancock himself started to make even more commercial
albums, often featuring members of the band, but no longer billed as The Headhunters. The Headhunters reunited
with Hancock in 1998 for Return of the Headhunters, and a version of the band (featuring Jackson and Clark)
continues to play live and record.
In 1973, Hancock composed his second masterful soundtrack to the controversial film The Spook Who Sat By The
Door. Then in 1974, Hancock also composed the soundtrack to the first Death Wish film. One of his memorable
songs, "Joanna's Theme", would later be re-recorded in 1997 on his duet album with Wayne Shorter 1 + 1.
Hancock's next jazz-funk albums of the 1970s were Man-Child (1975), and Secrets (1976), which point toward the
more commercial direction Hancock would take over the next decade. These albums feature the members of the
'Headhunters' band, but also a variety of other musicians in important roles.
Back to the Basics: VSOP and the Future Shock

During late 1970s and early 1980s, Hancock toured with his "V.S.O.P." quintet, which featured all the members of
the 1960s Miles Davis quintet except Davis, who was replaced by trumpet giant Freddie Hubbard. There was
constant speculation that one day Davis would reunite with his classic band, but he never did so. VSOP recorded
several live albums in the late 1970s, including VSOP (1976), and VSOP: The Quintet (1977).
In 1978, Hancock recorded a duet with Chick Corea, who had replaced him in the Miles Davis band a decade earlier.
He also released a solo acoustic piano album titled The Piano (1978), which, like so many Hancock albums at the
time, was initially released only in Japan. (It was finally released in the US in 2004.) Several other Japan-only
releases have yet to surface in the US, such as Dedication (1974), VSOP: Tempest in the Colosseum (1977), and
Direct Step (1978). Live Under the Sky was a VSOP album remastered for the US in 2004, and included an entire
second concert from the July 1979 tour.
From 1978-1982, Hancock recorded many albums consisting of jazz-inflected disco and pop music, beginning with
Sunlight (featuring guest musicians like Tony Williams and Jaco Pastorius on the last track) (1978). Singing through
a vocoder, he earned a British hit,[10] "I Thought It Was You", although critics were unimpressed.[11] This led to
more vocoder on the 1979 follow-up, Feets, Don't Fail Me Now, which gave him another UK hit in "You Bet Your
Love".[10] Albums such as Monster (1980), Magic Windows (1981), and Lite Me Up (1982) were some of Hancock's
most criticized and unwelcomed albums, the market at the time being somewhat saturated with similar pop-jazz
hybrids from the likes of former bandmate Freddie Hubbard. Hancock himself had quite a limited role in some of
those albums, leaving singing, composing and even producing to others. Mr. Hands (1980) is perhaps the one album
during this period that was critically acclaimed. To the delight of many fans, there were no vocals on the album, and
one track featured Jaco Pastorius on bass. The album contained a wide variety of different styles, including a disco
instrumental song, a Latin-jazz number and an electronic piece in which Hancock plays alone with the help of
computers.
Herbie Hancock 415
Hancock also found time to record more traditional jazz while creating more commercially oriented music. He
toured with Tony Williams and Ron Carter in 1981, recording Herbie Hancock Trio, a five-track live album released
only in Japan. A month later, he recorded Quartet with Wynton Marsalis, released in the US the following year.
Hancock, Williams and Carter toured internationally with Wynton and his brother Branford Marsalis in what was
affectinately known as "VSOP II". This quintet can be heard on Marsalis' debut album on Columbia (1981). In 1982
he contributed to the Simple Minds album New Gold Dream (81,82,83,84), playing a synthesizer solo on the track
'Hunter and The Hunted'.
In 1983, Hancock had a mainstream hit with the Grammy-award winning instrumental single "Rockit" from the
album Future Shock. It was perhaps the first mainstream single to feature scratching, and also featured an innovative
animated music video which was directed by Godley and Creme and showed several robot-like artworks by Jim
Whiting. The video was a hit on MTV and reached #8 in the UK.[12] The video won five different categories at the
inaugural MTV Video Music Awards. This single ushered in a collaboration with noted bassist and producer Bill
Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: Future Shock
(1983), Sound-System (1984) and Perfect Machine (1988). Despite the success of "Rockit", Hancock's trio of
Laswell-produced albums (particularly the latter two) are among the most critically derided of his entire career,
perhaps even more so than his erstwhile pop-jazz experiments. Hancock's level of actual contribution to these albums
was also questioned, with some critics contending that the Laswell albums should have been labelled "Bill Laswell
featuring Herbie Hancock".
During this period, he appeared onstage at the Grammy awards with Stevie Wonder, Howard Jones, and Thomas
Dolby, in a famous synthesizer jam (The video on Youtube can be found here.) [13]. Lesser known works from the
80s are the live album Jazz Africa and the studio album Village Life (1984) which were recorded with Gambian kora
player Foday Musa Suso. [14] Also, in 1985 he performed as a guest on the album So Red The Rose by the Duran
Duran shoot off group Arcadia. He also provided introductory and closing comments for the PBS rebroadcast in the
United States of the BBC educational series from the mid-1980s, Rock School (not to be confused with the most
recent Gene Simmons' Rock School series).
In 1986, Hancock performed and acted in the film 'Round Midnight. He also wrote the score/soundtrack, for which
he won an Academy Award for Original Music Score. Often he would write music for TV commercials. "Maiden
Voyage", in fact, started out as a cologne advertisement. At the end of the Perfect Machine tour, Hancock decided to
leave Columbia Records after a 15-plus-year relationship.
As of June 2005, almost half of his Columbia recordings have been remastered. The first three US releases, Sextant,
Head Hunters and Thrust as well as the last four releases Future Shock, Sound-System, the soundtrack to Round
Midnight and Perfect Machine. Everything released in America from Man-Child to Quartet has yet to be remastered.
Some albums, made and initially released in the US, were remastered between 1999 and 2001 in other countries such
as Magic Windows and Monster. Hancock also re-released some of his Japan-only releases in the West, such as The
Piano.
Herbie Hancock 416
1990s and later

After leaving Columbia, Hancock took a break. Then, with
friends Ron Carter, Tony Williams, Wayne Shorter, and Davis
admirer Wallace Roney, they recorded A Tribute to Miles
which was released in 1994. The album contained two live
recordings and studio recording classics with Roney playing
Davis's part as trumpet player. The album won a Grammy for
best group album. He also toured with Jack DeJohnette, Dave
Holland and Pat Metheny in 1990 on their Parallel Realities
tour, which included a memorable performance at the
Montreux Jazz Festival in July 1990.
Hancock's next album, Dis Is Da Drum released in 1994 saw

him return to Acid Jazz. Also in 1994, Hancock appeared on
the Red Hot Organization's compilation album, Stolen
Moments: Red Hot + Cool. The album, meant to raise
awareness and funds in support of the AIDS epidemic in
relation to the African American community, was heralded as
"Album of the Year" by Time Magazine.
1995's The New Standard found him and an all-star band

including John Scofield, Jack DeJohnette and Michael
Brecker interpreting pop songs by Nirvana, Stevie Wonder,
Hancock live in concert
The Beatles, Prince, Peter Gabriel and others. A 1997 duet
album with Wayne Shorter titled 1 + 1 was successful, the
song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition, and Hancock also
achieved great success in 1998 with his album Gershwin's World which featured inventive readings of George & Ira
Gershwin standards by Hancock and a plethora of guest stars including Stevie Wonder, Joni Mitchell and Shorter.
Hancock toured the world in the support of Gershwin's World with a sextet that featured Cyro Baptista, Terri Lynne
Carrington, Ira Coleman, Eli Degibri and Eddie Henderson.
In 2001, Hancock recorded Future2Future, which reunited Hancock with Bill Laswell and featured doses of
electronica as well as turntablist Rob Swift of The X-Ecutioners. Hancock later toured with the band, and released a
live concert DVD with a different lineup which also included the "Rockit" music video. Also in 2001, Hancock
partnered with Michael Brecker and Roy Hargrove to record a live concert album saluting Davis and John Coltrane
called Directions in Music: Live at Massey Hall recorded live in Toronto. The threesome toured t support the album,
and have toured on and off through 2005.
2005 saw the release of a duet album called Possibilities. It features duets with Carlos Santana, Paul Simon, Annie
Lennox, John Mayer, Christina Aguilera, Sting and others. In 2006, Possibilities was nominated for Grammy awards
in two categories: "A Song For You", featuring Christina Aguilera was nominated for a Grammy Award for Best
Pop Instrumental Performance, and "Gelo No Montanha", featuring Trey Anastasio on guitar was nominated for a
Grammy Award for Best Instrumental Performance. Neither nomination resulted in an award.
Also in 2005, Hancock toured Europe with a new quartet that included Beninese guitarist Lionel Loueke, and
explored textures ranging from ambient to straight jazz to African music. Plus, during the Summer of 2005, Hancock
re-staffed the famous Head Hunters and went on tour with them, including a performance at The Bonnaroo Music &
Arts Festival.
Herbie Hancock 417
However, this lineup did not consist of any of the original

Headhunters musicians. The group included Marcus Miller,
Terri Lyne Carrington, Lionel Loueke and John Mayer.
Hancock also served as the first artist in residence for
Bonnaroo that summer.
Also in 2006, Sony BMG Music Entertainment (which bought
out Hancock's old label, Columbia Records) released the
two-disc retrospective The Essential Herbie Hancock. This
two-disc set is the first compilation of Herbie's work at
Warner Bros. Records, Blue Note Records, Columbia and at
Verve/Polygram. This became Hancock's second major
Hancock playing at the XM Sonic Stage at The Bonnaroo
Music & Arts Festival compilation of work since the 2002 Columbia-only "The
Herbie Hancock Box" which was released at first in a plastic
4x4 cube then re-released in 2004 in a long box set. Hancock also in 2006, recorded a new song with Josh Groban
and Eric Mouquet (co-founder of Deep Forest) titled "Machine". It is featured on Josh Groban's CD "Awake".
Hancock also recorded and improvised with guitarist Lionel Loueke on Loueke's debut album Virgin Forest [15] on
the ObliqSound label in 2006, resulting in two improvisational tracks "Le Rveil des Agneaux (The Awakening of
the Lambs)" and "La Poursuite du lion (The Lion's Pursuit)".
Hancock, a longtime associate and friend of Joni Mitchell released a 2007 album, River: The Joni Letters, that paid
tribute to her work. Norah Jones and Tina Turner recorded vocals,[16] as did Corinne Bailey Rae, and Leonard Cohen
contributed a spoken piece set to Hancock's piano. Mitchell herself also made an appearance. The album was
released on September 25, simultaneously with the release of Mitchell's album Shine.[17] "River" was nominated for
and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honor. The
album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for
Best Instrumental Jazz Solo.
Recently Hancock performed at the Shriner's Children's Hospital Charity Fundraiser with Sheila E, Jim Brickman,
Kirk Whalum and Wendy Alane Wright.
His latest work includes assisting the production of the Kanye West track "RoboCop", found on 808s & Heartbreak.
On June 14, 2008, Hancock performed at Rhythm on the Vine at the South Coast Winery in Temecula, California for
Shriners Hospital for Children. Other performers at the event, that raised $515,000 for Shriners Hospital, were
contemporary music artist Jim Brickman, and Sheila E. & the E. Family Band.[18]
On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for
American President Barack Obama.[19] Hancock also performed the Rhapsody in Blue at the 2009 Classical BRIT
Awards with classical pianist Lang Lang. Hancock was named as the Los Angeles Philharmonic's creative chair for
jazz for 2010-12.[20] In June 2010, Hancock released his newest album, The Imagine Project.
On June 5, 2010, Hancock received an Alumni Award from his alma mater, Grinnell College.[21]
Discography
Herbie Hancock 418
Title Year Label
Takin' Off 1962 Blue Note
My Point of View 1963 Blue Note
Inventions and Dimensions 1963 Blue Note
Empyrean Isles 1964 Blue Note
Maiden Voyage 1965 Blue Note
Blow-Up (Soundtrack) 1966 MGM
Speak Like a Child 1968 Blue Note
The Prisoner 1969 Blue Note
Fat Albert Rotunda 1969 Warner Bros.
Mwandishi 1970 Warner Bros.
He Who Lives In Many Places (with bassist Terry Plumeri) 1971 Airborne.
Crossings 1972 Warner Bros.
Sextant 1973 Columbia
Head Hunters 1973 Columbia
Thrust 1974 Columbia
Death Wish (Soundtrack) 1974 Columbia
Dedication 1974 Columbia
Man-Child 1975 Columbia
Flood (Live album) 1975 Columbia
Secrets 1976 Columbia
VSOP (Live album) 1976 Columbia
Herbie Hancock Trio 1977 Columbia
VSOP: The Quintet (Live album) 1977 Columbia
VSOP: Tempest in the Colosseum (Live album) 1977 Columbia
Sunlight 1977 Columbia
Directstep 1978 Columbia
An Evening with Herbie Hancock & Chick Corea: In Concert (Live album with Chick Corea) 1978 Columbia
The Piano 1979 Columbia
Feets, Don't Fail Me Now 1979 Columbia
VSOP: Live Under the Sky (Live album) 1979 Columbia
CoreaHancock (Live album with Chick Corea) 1979 Polydor
Monster 1980 Columbia
Mr. Hands 1980 Columbia
Herbie Hancock Trio 1981 Columbia
Magic Windows 1981 Columbia
Lite Me Up 1982 Columbia
Quartet (Live album) 1982 Columbia
Future Shock 1983 Columbia

Herbie Hancock 419
Sound-System 1984 Columbia
Village Life (with Foday Musa Suso) 1985 Columbia
Round Midnight (Soundtrack) 1986 Columbia
Jazz Africa (Live album with Foday Musa Suso) 1987 Polygram
Perfect Machine 1988 Columbia
A Tribute to Miles 1994 Qwest/Warner Bros.
Dis Is Da Drum 1994 Verve/Mercury
The New Standard 1995 Verve
1 + 1 (with Wayne Shorter) 1997 Verve
Gershwin's World 1998 Verve
Future2Future 2001 Transparent
Directions in Music: Live at Massey Hall (Live album) 2002 Verve
Possibilities 2005 Concord/Hear Music
River: The Joni Letters 2007 Verve
Then and Now: the Definitive Herbie Hancock 2008 Verve
The Imagine Project 2010 Hancock
Filmography
As a Leader
2000: Dejohnette, Hancock, Holland and Metheny - Live in Concert
2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham[22]
2002: The Jazz Channel Presents Herbie Hancock (BET on Jazz) with Cyro Baptista, Terri Lynne Carrington, Ira
Coleman, Eli Degibri and Eddie Henderson
2004: Herbie Hancock - Future2Future Live
2006: Herbie Hancock - Possibilities with John Mayer, Christina Aguilera, Joss Stone, and more
Awards
Academy Awards
1986, Original Soundtrack, for Round Midnight
Grammy Awards
1. 1984, Best R&B Instrumental Performance, for Rockit
2. 1985, Best R&B Instrumental Performance, for Sound-System
3. 1988, Best Instrumental Composition, for Call Sheet Blues
4. 1995, Best Jazz Instrumental Performance, Individual Or Group, for A Tribute to Miles
5. 1997, Best Instrumental Composition, for Manhattan (Island Of Lights And Love)
6. 1999, Best Instrumental Arrangement Accompanying Vocal(s), for St. Louis Blues
7. 1999, Best Jazz Instrumental Performance, Individual Or Group, for Gershwin's World
8. 2003, Best Jazz Instrumental Album, Individual or Group, for Directions in Music: Live at Massey Hall
9. 2003, Best Jazz Instrumental Solo, for My Ship
10. 2005, Best Jazz Instrumental Solo, for Speak Like a Child
Herbie Hancock 420
11. 2008, Album of the Year, for River: The Joni Letters
12. 2008, Best Contemporary Jazz Album, for River: The Joni Letters
13. 2011, Best Improvised Jazz Solo, for A Change Is Gonna Come
14. 2012, Best jazz song to make the world end' '
Playboy Music Poll

Best Jazz Group, 1985
Best Jazz Keyboards, 1985
Best Jazz Album - Rockit, 1985
Best Jazz Keyboards, 1986
Best R&B Instrumentalist, 1987
Best Jazz Instrumentalist, 1988
Keyboard Magazine's Readers Poll

Best Jazz & Pop Keyboardist, 1983
Best Jazz Pianist, 1987
Best Jazz Keyboardist, 1987
Best Jazz Pianist, 1988
Other notable awards

MTV Awards (5 awards in total) - Best Concept Video - Rockit, 198384
Gold Note Jazz Awards - NY Chapter of the National Black MBA Association, 1985
French Award Officer of the Order of Arts & Letters-Paris, 1985
BMI Film Music Award "Round Midnight", 1986
U.S. Radio Award "Best Original Music Scoring - Thom McAnn Shoes", 1986
Los Angeles Film Critics Association "Best Score - Round Midnight", 1986
BMI Film Music Award "Colors", 1989
Soul Train Music Award "Best Jazz Album - The New Standard", 1997
Festival International Jazz de Montreal Prix Miles Davis, 1997
VH1's 100 Greatest Videos "Rockit" is "10th Greatest Video", 2001
NEA Jazz Masters Award, 2004
Downbeat Magazine Readers Poll Hall of Fame, 2005
[23]
References
[1] http:/ / www. herbiehancock. com/
[2] "Britannica Concise Encyclopedia: Herbie Hancock" (http:/ / www. answers. com/ topic/ herbie-hancock). Herbie Hancock Biography.
Answers Corporation. 2010. . Retrieved 1 July 2010.
[3] http:/ / www. beliefnet. com/ Faiths/ Buddhism/ 2007/ 10/ Herbie-Fully-Buddhist. aspx
[4] Burk, Greg (February 24, 2008). "He's still full of surprises" (http:/ / articles. latimes. com/ 2008/ feb/ 24/ entertainment/ ca-hancock24). The
Los Angeles Times. .
[5] "Who influenced Herbie Hancock?" (http:/ / wiki. answers. com/ Q/ Who_influenced_Herbie_Hancock& src=ansTT). Answers.com. Answers
Corporation. 2010. . Retrieved 1 July 2010.
[6] Dobbins, Bill and Kernfeld, Barry. "Herbie Hancock", Grove Music Online, ed. L. Macy (accessed 19 February 2007), grovemusic.com
(http:/ / www. grovemusic. com/ ) (subscription access).
[7] "CHRIS ANDERSON" (http:/ / www. mapleshaderecords. com/ cds/ 56922. php). Review of Love Locked Out. Mapleshade Music. .
Retrieved 1 July 2010.
[8] The tune Dr Honoris Causa written by Joe Zawinul and performed by Cannonball Adderley's quintet is an ironic celebration of the honorary
degree.
Herbie Hancock 421
[9] Erlewine, Stephen Thomas (2010). "Headhunters Herbie Hancock" (http:/ / www. allmusic. com/ album/ r140166/ review). Allmusic review
of Headhunters. Rovi Corporation. . Retrieved 1 July 2010.
[10] Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p.242. ISBN1-904994-10-5.
[11] http:/ / www. warr. org/ hancock. html
[12] Brown, T. Kutner, J. & Warwick, N. The Complete Book of the British Charts. Omnibus Press (ISBN 0711990751), 2002, p.447
[13] http:/ / it. youtube. com/ watch?v=ZZEGHnAxEpo
[14] http:/ / www. pandora. com/ music/ artist/ 3feb50074a703d1a
[15] http:/ / www. obliqsound. com/ releases/ virgin_forest. html
[16] Andre Mayer (June 18, 2007). "Key figure: An interview with jazz legend Herbie Hancock" (http:/ / www. cbc. ca/ arts/ music/ hancock.
html). CBC News. . Retrieved 2007-09-11.
[17] JoniMitchell.com (http:/ / www. jonimitchell. com/ news/ index. cfm)
[18] Shriners Hospitals for Children, "About Rhythm on the Vine" (http:/ / www. rhythmonthevine. org/ index. cfm/ id/ 2/ About-ROTV/ ),
Rhythm on the Vine, 2008.
[19] "Obama: People Who Love This Country Can Change It" (http:/ / www. foxnews. com/ politics/ 2009/ 01/ 18/
obama-family-arrives-concert-lincoln-memorial/ ). Foxnews. January 18, 2009. . Retrieved 2009-02-09.
[20] Haga, E. Herbie Hancock Named L.A. Philharmonic's Next Creative Chair for Jazz (http:/ / jazztimes. com/ articles/
24981-herbie-hancock-named-l-a-philharmonic-s-next-creative-chair-for-jazz), Jazz Times, August 5, 2009.
[21] Alumni Award: Herbert J. Hancock '60 (http:/ / loggia. grinnell. edu/ Page. aspx?pid=1098), Hancock received an Alumni Award from
Grinnell College at the annual Alumni Assembly June 5, 2010.
[22] VIEW DVD Listing (http:/ / www. view. com/ herbie_hancock_trio_hurricane_dvd. aspx)
[23] Hancock named Harvard Foundation Artist of the Year The Harvard University Gazette (http:/ / www. news. harvard. edu/ gazette/ 2008/
02. 28/ 99-culturalrhythms. html)
External links
Official website of Herbie Hancock (http://www.herbiehancock.com/)
Official Herbie Hancock MySpace page (http://www.myspace.com/herbiehancock)
Herbie Hancock at Verve Records (http://vervemusicgroup.com/artist.aspx?ob=pri&src=wiki&aid=2846)
River:The Joni Letters at Verve Records (http://vervemusicgroup.com/product.aspx?ob=n&src=art&
pid=11770)
Possibilities (http://www.herbiehancock.com/music/) Herbie Hancock
Discography (http://www.stamil.homepage.t-online.de/hhdisco.htm) Herbie Hancock Discography
Interview with Herbie Hancock (http://applematters.com/index.php/section/comments/
the_applematters_interview_herbie_hancock/) on music and technology from AppleMatters (http://www.
applematters.com)
Interview with Herbie Hancock (http://www.livedaily.com/interviews/
liveDaily_Interview_Herbie_Hancock-8360.html) on the "Possibilities" album release from LiveDaily (http://
www.livedaily.com/)
Herbie Hancock: Outside The Comfort Zone (http://www.jambase.com/headsup.asp?storyID=11098&
disp=all) Herbie Hancock interview from JamBase (http://www.jambase.com/)
"Herbie Hancock: Essential Recordings" (http://www.jazz.com/dozens/
the-dozens-twelve-essential-herbie-hancock-performances) by Ted Gioia ( www.jazz.com (http://www.jazz.
com))
Herbie Hancock's Grinnell College Alumni Award citation (http://loggia.grinnell.edu/Page.aspx?pid=1098)
from Grinnell College Alumni Assembly on June 5, 2010.
Jimmy Heath 422
Jimmy Heath
Jimmy Heath
Percy Heath and Jimmy (1977)
Birth name James Edward Heath
Also known as Little Bird
Origin Philadelphia, PA, United States
Genres Jazz
Occupations musician, educator
Instruments saxophone
Associated acts Heath Brothers
Website [1]
James Edward Heath (born October 25, 1926),[2] nicknamed Little Bird, is an American jazz saxophonist,
composer and arranger. He is the brother of bassist Percy Heath and drummer Albert Heath.
Biography
Jimmy originally played alto saxophone but after the influence of Charlie Parker on his work for Howard McGhee
and Dizzy Gillespie in the late 1940s, he earned the nickname "Little Bird" (Parker's nickname was Bird) and he
switched to tenor sax.[2]
He briefly joined Miles Davis's group in 1959, replacing John Coltrane, and also worked with Kenny Dorham and
Gil Evans.[2] [3] He recorded extensively as leader and sideman. During the 1960s, he frequently worked with Milt
Jackson and Art Farmer.[2]
In 1975, he and his brothers formed the Heath Brothers, also featuring pianist Stanley Cowell.[2]
Heath composed most of the 1956 Chet Baker and Art Pepper album Playboys.[2]
In the 1980s, he joined the faculty of the Aaron Copland School of Music at Queens College in the City University
of New York. With the rank of Professor, he led the creation of the Jazz Program at Queens College and attracted
prominent musicians such as Donald Byrd to the campus. He also served on the Board of the Louis Armstrong
Archives on campus, and the restoration and management of the Louis and Lucille Armstrong Residence in Corona,
Queens, near his own home.[4] In addition to teaching at Queens College for over twenty years, he has also taught at
Jazzmobile.[3] Heath was a recipient of the 2003 NEA Jazz Masters Award.[3] In 2004, he was awarded an honorary
Doctorate in Human Letters.[5]
Heath is the father of R&B songwriter/musician James Mtume.[6]
Jimmy Heath 423
Discography
As leader
1959: The Thumper (Riverside Records)
1959: Nice People (Original Jazz Classics)
1960: Really Big! (Riverside Records)
1961: The Quota (Riverside Records)
1962: Triple Threat (Riverside Records)
1963: Fast Company (Milestone Records)
1963: Swamp Seed (Riverside Records)
1964: On the Trail (Riverside Records)
1972: The Gap Sealer (Cobblestone Records)
1972: Jimmy (Muse Records)
1973: Love and Understanding (Xanadu Records)
1974: Time and the Place (Landmark Records)
1975: Picture of Heath (Xanadu Records)
1975: Marchin' On (Strata East Records)
1979: In Motion (Columbia Records)
1985: New Picture (Landmark Records)
1987: Peer Pleasure (Landmark Records)
1992: Little Man, Big Band (Verve Records)
1994: You've Changed (Steeplechase Records)
1995: You or Me (Steeplechase Records)
2006: Turn Up the Heath (Planet Arts Recordings)
2009: Endurance (Jazz Legacy Productions)
As sideman
1948: Howard McGhee - The Howard McGhee Sextet with Milt Jackson
1959: Blue Mitchell - Blue Soul (Riverside)
1960: Nat Adderley - That's Right! (Riverside)
1960: Kenny Dorham - Show Boat (Time)
1962: Blue Mitchell - A Sure Thing (Riverside)
1962: Curtis Fuller - Soul Trombone (Impulse!)
1962: Pony Poindexter - Pony's Express
1962: Milt Jackson - Statements (Impulse!)
1964: Milt Jackson - Spanish Fly
1964: Milt Jackson - Jazz 'n' Samba (Impulse!)
1965: Donald Byrd - Up with Donald Byrd (Verve)
1965: Cal Tjader - Soul Sauce (Verve)
1970: Herbie Mann - Big Boss Mann
1974: Red Garland - The Quota
1974: Milt Jackson - Olinga (CTI)
1976: Stanley Cowell - Regeneration
2006: Nancy Wilson - Turned to Blue
With Continuum
Mad About Tadd (1980, Palo Alto Records)[7]
Jimmy Heath 424
References
[1] http:/ / www. jimmyheath. com
[2] Allmusic biography (http:/ / www. allmusic. com/ artist/ p6707)
[3] Friedwald, Will (July 19, 2010). "A Jazz Colossus Steps Out" (http:/ / online. wsj. com/ article/
SB10001424052748704518904575366003370572496. html?KEYWORDS=jimmy+ heath). The Wall Street Journal (New York: Dow Jones
& Co.). ISSN0099-9660. . Retrieved July 20, 2010.
[4] Berman, Eleanor. "The jazz of Queens encompasses music royalty" (http:/ / www. post-gazette. com/ pg/ 06001/ 629777. stm), Pittsburgh
Post-Gazette, January 1, 2006. Accessed October 1, 2009. "When the trolley tour proceeds, Mr. Knight points out the nearby Dorie Miller
Houses, a co-op apartment complex in Corona where Clark Terry and Cannonball and Nat Adderley lived and where saxophonist Jimmy
Heath still resides."
[5] CUNY.edu (http:/ / www. qc. cuny. edu/ nis/ Releases/ viewNews. php?id=69)
[6] National Endowment for the Arts. "NEA Jazz Masters: Jimmy Heath" (http:/ / www. arts. gov/ honors/ jazz/ jmCMS/ master.
php?id=2003_01). National Endowment for the Arts. . Retrieved 20 July 2010.
[7] Allmusic review (http:/ / www. allmusic. com/ album/ r33823)
External links
Personal website (http://www.jimmyheath.com)
Brotherly Jazz:The Heath Brothers DVD Documentary (http://www.brotherlyjazz.com)
Jimmy Heath's oral history video excerpts (http://www.visionaryproject.com/heathjimmy) at The National
Visionary Leadership Project
Dave Holland 425
Dave Holland
Dave Holland

Wolverhampton, Staffordshire
EnglandUnited Kingdom
Genres Jazz, avant-garde, jazz fusion
Occupations Musician, composer, bandleader
Instruments bass, guitar, ukulele
Labels Dare2
Associated acts Miles Davis, Chick Corea, Circle, Anthony Braxton, Kenny Wheeler, Gateway, Chris Potter
Website [1]
Dave Holland.com
Dave Holland (born October 1, 1946) is a jazz bassist, composer and bandleader who has been performing and
recording for five decades, and has lived in the United States for 40 years.[2]
His work ranges from pieces for solo performance to big band. Holland runs his own independent record label,
Dare2, which he launched in 2005. He has explained his musical philosophy by quoting fellow jazz artist Sam
Rivers. "Sam said, Dont leave anything outplay all of it, Holland once told a radio interviewer. That's become
almost a mantra for me over the years as I've tried to find a way to build a vehicle which lets me utilize the full
spectrum which includes the tradition, playing the blues and improvising freely. I love all that music, and there's
been a desire to reconcile all those areas, to make them relevant, hopefully, in a contemporary context, as one
music."
Biography
Born in Wolverhampton, England, Holland taught himself how to play stringed instruments, beginning at four on the
ukulele, then graduating to guitar and later bass guitar. He quit school at the age of 15 to pursue his profession in a
top 40 band, but soon gravitated to jazz. After seeing an issue of Down Beat where Ray Brown had won the critics'
poll for best bass player, Holland went to a record store, and bought a couple of LPs featuring Brown backing pianist
Oscar Peterson. He also bought two Leroy Vinnegar albums (Leroy Walks! and Leroy Walks Again) because the
bassist was posed with his instrument on the cover. Within a week, Holland traded in his bass guitar for an acoustic
bass and began practicing with the records. In addition to Brown and Vinnegar, Holland was drawn to the bassists
Charles Mingus and Jimmy Garrison.
Dave Holland 426
After moving to London in 1964, Holland played acoustic bass in small venues and studied with James Edward
Merrett, principal bassist of the Philharmonia Orchestra and, later, the BBC Symphony Orchestra. Merrett trained
him to sight read and then recommended he apply to the Guildhall School of Music and Drama. Holland received a
fulltime scholarship for the three-year program. At 20, Holland was keeping a busy schedule in school, studios and
Ronnie Scott's Jazz Club, Londons premier jazz club, where he often played in bands that supported such touring
American jazz saxophonists as Coleman Hawkins, Ben Webster and Joe Henderson. He also linked up with other
British jazz musicians, including guitarist John McLaughlin, saxophonist Evan Parker, reedsman John Surman,
South Africa-born, London-based pianist Chris McGregor, and drummer John Stevens, and performed on the
Spontaneous Music Ensemble's classic 1968 album Karyobin. He also began a working relationship with
Canada-born, England-based trumpeter Kenny Wheeler that continues today.
With Miles Davis

In 1968, Miles Davis and Philly Joe Jones heard him at Ronnie Scott's Jazz Club, playing in a combo that opened for
the Bill Evans Trio. Jones told Holland that Davis wanted him to join his band (replacing Ron Carter). Davis left the
UK before Holland could contact him directly, and two weeks later Holland was given three days' notice to fly to
New York for an engagement at Count Basie's nightclub. He arrived the night before, staying with Jack DeJohnette,
a previous acquaintance. The following day Herbie Hancock took him to the club, and his two years with Davis
began. This was also Hancock's last gig as Davis's pianist, as he left afterwards for a honeymoon in Brazil and was
replaced by Chick Corea when he couldn't return for an engagement due to illness. Holland's first recordings with
Davis were in September 1968, and he appears or half of the album Filles de Kilimanjaro (with Davis, Corea, Wayne
Shorter and Tony Williams).
Holland was a member of Davis's rhythm section through the summer of 1970; he appears on the albums In a Silent
Way and Bitches' Brew. All three of his studio recordings with Davis were important in the evolution of jazz
fusion.{{Citation needed|date=April 2011} In the first year of his tenure with Davis, Holland played primarily
upright bass. By the end of 1969, he played electric bass guitar (often treated with Wah-wah pedal and other
electronic effects) with greater frequency as Davis's music became increasingly electronic, amp-based and funky.
Holland was also a member of Davis's working group during this time, unlike many of the musicians who would
appear only on the trumpeter's studio recordings. The so-called "lost quintet" of Davis, Shorter, Corea, Holland and
Jack DeJohnette was active in 1969 but never made any studio recordings as a quintet. A 1970 live recording of this
group plus percussionist Airto Moreira, Live at the Fillmore East, March 7, 1970: It's About That Time, was issued
in 2001. Steve Grossman replaced Shorter in early 1970; Keith Jarrett joined the group as a second keyboardist
thereafter, and Gary Bartz replaced Grossman during the summer of 1970.
Post-Davis and the 1970s

After leaving Davis's group, Holland briefly joined the avant-garde jazz group Circle with Chick Corea, Barry
Altschul and Anthony Braxton. This started a 34-year association with the ECM record label. After recording a few
albums, Circle disbanded when Corea was replaced by Sam Rivers. 1972 saw the recording of Conference of the
Birds, with Rivers, Altschul and Braxton Holland's first recording as a leader, and the beginning of a long musical
relationship with Rivers. The title of the album is taken from that of a 4,500 line epic poem by Persian Sufist writer,
Farid al-Din Attar.
Holland worked as a leader and as a sideman with many other jazz artists in the 1970s, including Stan Getz and the
Gateway Trio with John Abercrombie and DeJohnette. The Gateway trio released two influential modern jazz
albums in 1975 and 1977, and reformed in 1994 for a recording session which yielded another two albums. During
the mid-'70s, Holland recorded several important albums with Braxton including "New York, Fall 1974" (1974)
and "Five Pieces (1975)" that were released on Arista Records. His performances with Braxton also were
documented on live recordings such as "Quartet (Dortmund)" (1976) and "Town Hall 1972" (1972), originally
Dave Holland 427
released on the Swiss Hat Hut label. Holland also recorded duo sessions with saxophonist Rivers and fellow bassist
Barre Phillips, and the solo bass album Emerald Tears. As a sideman, he appeared on rock and pop recordings as
well, working with singer Bonnie Raitt on her 1972 album Give It Up.
The 1980s
Holland formed his first working quintet in 1983, and over the next four years released Jumpin In, Seeds of Time,
and Razors Edge, featuring alto saxophonist Steve Coleman, trumpeter Wheeler and trombonist Julian Priester.
Subsequently, he formed the Dave Holland Trio (with Coleman and DeJohnette) for the 1988 album Triplicate, and
teamed with Coleman, electric guitarist Kevin Eubanks and drummer Marvin Smitty Smith for Extensions. He also
recorded Life Cycle, an album of compositions played on solo cello.
The bassist also continued to collaborate with his peers, often connecting with legendary figures from the previous
generation of jazz icons. In 1989, Holland teamed with drummer Billy Higgins and pianist Hank Jones to record The
Oracle, and joined drummer Roy Haynes and guitarist Pat Metheny to make Question & Answer.
The 1990s and 2000s

During the 90s, he renewed an affiliation, begun in the 1970s, with Joe Henderson, joining the tenor saxophonist on
So Near (So Far), a tribute to Miles Davis, Porgy & Bess, and Joe Henderson Big Band. Holland also reunited with
vocalist Betty Carter, touring and recording the live album Feed the Fire (1993). Fellow Davis album Herbie
Hancock invited Holland to tour with him in 1992, subsequently recording The New Standard. Holland joined
Hancocks band again in 1996. (More recently, he was part of the sessions for River: The Joni Letters, winner of the
2008 Grammy for Album of the Year.)
As a leader, Holland formed his third quartet and released Dream of the Elders (1995), which introduced the
vibraphonist Steve Nelson to his ensembles. Holland also formed his current quintet, which includes tenor
saxophonist Chris Potter, trombonist Robin Eubanks and, a more recent addition, drummer Nate Smith. Their
recordings to date are Points of View, Not for Nothin, Prime Directive, Extended Play: Live at Birdland and Critical
Mass. In addition to releasing four quintet albums on ECM, Holland debuted his Big Band, which released What
Goes Around in 2002. The album won Holland his first Grammy award as a leader, in the Best Large Jazz Ensemble
Album category. The second Big Band recording, Overtime (2005), was released on Holland's own Dare2 record
label and again won the Grammy in the Best Large Jazz Ensemble Album category.
Hollands work with the group won wide public recognition that year. He won Downbeat's Critics Poll for Musician
of the Year, Big Band of the Year, and Acoustic Bassist of the Year (he also garnered top bassist in the 2006 poll).
The Jazz Journalists Association also honored him as Musician and Acoustic Bassist of the Year. He was the
recipient of the prestigious Miles Davis Award at the Montreal Jazz Festival. Also in 2005, Holland formed Dare2
Records, an independent record label that allowed him to have more control over his recordings. Besides Overtime,
the label has released the quintet recording Critical Mass (2006) and the sextet recording Pass It On (2008).
Pathways, the debut recording of Hollands octet, was released on March 23, 2010. On October 5, 2010, Holland
released Hands, a studio album featuring flamenco guitarist Pepe Habichuela.
In 2009, Holland was a co-founder of an all-star group called The Overtone Quartet. The group consisted of Holland
on bass, Chris Potter on tenor saxophone, Jason Moran on piano, and Eric Harland on drums. The group toured
extensively throughout the United States and Europe.
Off the bandstand, Holland has received honorary doctorates from the New England Conservatory (Boston), where
he held a fulltime teaching position from 1987-'88 and where he has been visiting artist in residence since 2005;
Berklee College of Music (Boston); and Birmingham Conservatoire (Birmingham, England). He was also named
Fellow of the Guildhall School of Music and Drama (London). From 1982-'89, Holland served as the artistic director
of the Banff Summer Jazz Workshop through the Banff School of Fine Arts in Alberta, Canada. In addition, he has
taught workshops and master classes around the world at universities and music schools.
Dave Holland 428
Holland currently resides in upstate New York.
Discography
As leader
1971 - Music from Two Basses (with Barre Phillips) - ECM
1972 - Conference of the Birds - 1972 - ECM
1976 - Sam Rivers/Dave Holland Vols. 1 & 2 - Improvising Artists
1977 - Emerald Tears - ECM
1982 - Life Cycle - ECM
1983 - Jumpin' In - ECM
1984 - Seeds of Time - ECM
1987 - The Razor's Edge - ECM
1988 - Triplicate - ECM
1990 - Extensions - ECM
1990 - Question and Answer - collaboration with Pat Metheny and Roy Haynes
1993 - Ones All - Intuition
1995 - Dream of the Elders - ECM
1998 - Points of View - ECM
1998 - Thimar - ECM (with Anouar Brahem and John Surman)
2000 - Prime Directive - ECM
2001 - Not For Nothin' - ECM
2002 - What Goes Around - ECM
2003 - Extended Play: Live at Birdland - ECM
2005 - Overtime - Dare2
2006 - Critical Mass - Dare2
2007 - Live at The 2007 Monterey Jazz Festival
2008 - Pass It On - Dare2
2010 - Pathways - Dare2
2010 - Hands - Dare2
Compilation:
2004 - Rarum, Vol. 10: Selected Recordings - 2004 - ECM
As sideman
With Miles Davis
Filles de Kilimanjaro (1968)
In a Silent Way (1969)
1969 Miles - Festiva De Juan Pins (1969)
Bitches Brew (1969)
Live at the Fillmore East, March 7, 1970: It's About That Time (1970)
Miles Davis at Fillmore: Live at the Fillmore East (1970)
Black Beauty: Live at the Fillmore West (1970)
Live-Evil (1970)
Big Fun (19691972)
With Chick Corea
A.R.C. (1970) ECM
Dave Holland 429
Song Of Singing Blue Note

Sundance (1969) Groove Merchant
Early Days Denon
Is (1969) Groove Merchant
With Circle
Circulus Blue Note
Circlin' In Blue Note
Paris Concert (1971) ECM
Live In Germany SOPL 1943
Gathering SOPL 20
With Anthony Braxton
New York, Fall 1974 (1974) Arista
Five Pieces (1975) (1975) Arista
Anthony Braxton Live (1975) Arista
The Montreux/Berlin Concerts [live] (1975) Arista
Quartet (Dortmund) [live] (1976) HatART
With Kenny Wheeler
Gnu High (1975) ECM
Deer Wan (1977) ECM
Double, Double You, 1984
Flutter By, Butterfly, 1988
Music For Large & Small Ensembles, 1990
The Widow In The Window (1990)
Angel Song (1997) ECM
What Now? (2005)
With Gateway
Gateway (1975) ECM
Gateway 2 (1977) ECM
Homecoming (1994) ECM
In the Moment (1994) ECM
With John Hartford
Morning Bugle (1972) Warner Bros.
Vassar Clements, John Hartford, Dave Holland Rounder (1988)
With others
Lee Konitz, Satori (1974)
Tomasz Stako, Balladyna (1976) ECM 1071
Betty Carter, Feed the Fire (1993) Verve
Joe Henderson, So Near, So Far (Musings for Miles) (1993)
Bill Frisell, With Dave Holland and Elvin Jones (2001) Nonesuch
Claudia Acuna, Rhythm of Life (2002) Verve
Scolohofo, Oh! (2003) Blue Note Records
Herbie Hancock, River: The Joni Letters (2006) Verve
Norman Blake, Tut Taylor, Sam Bush, Butch Robins, Vassar Clements, Jethro Burns, Norman Blake/Tut
Taylor/Sam Bush/Butch Robins/Vassar Clements/David Holland/Jethro Burns (1976) Flying Fish
Dave Holland 430
Filmography
As a leader
2000: Dejohnette, Hancock, Holland and Metheny - Live in Concert
2005: Dave Holland Quintet - Live in Freiburg
2009: Dave Holland Quintet: Vortex
2009: Dave Holland Quintet - Live from the Zelt-Musik-Festival, Freiburg 1986
As a sideman
2004: Miles Electric - A Different Kind of Blue
References
[1] http:/ / daveholland. com/
[2] Allmusic (http:/ / www. allmusic. com/ artist/ dave-holland-p6757/ biography)
External links
Official website (http://daveholland.com/)
Dave Holland on ECM Records (http://www.trovar.com/ECM/ECM.php?artist=Holland)
Audio Interview (http://www.icebergradio.com/daveholland) with Dave Holland
Review of Critical Mass from JazzChicago.net (http://www.jazzchicago.net/reviews/dhq.html)
Dave Holland: Jazz at the Bass Level, Oregon Music News (http://oregonmusicnews.com/blog/2010/02/23/
portland-jazz-festival-dave-holland-jazz-at-the-bass-level/)
Artist's biography at AllAboutJazz.com (http://www.allaboutjazz.com/php/musician.php?id=7683)
Robert Irving III

Robert Irving III
Robert Irving III

Born 1953
Origin Chicago, Illinois, U.S.
Genres Jazz, R&B
Occupations Keyboardist, songwriter, arranger, record producer
Labels Verve Forecast Records, Sonic Portraits Entertainment
Website [1]
Robert Irving III, (1953) is an American pianist, composer, arranger and music educator
A native of Chicago, Irving was one of a group of young Chicago musicians that in the late '70s and early '80s
formed the nucleus of Miles Davis' recording and touring bands. Irving left the Davis band in 1989, and has gone on
to a prolific career as touring musician, composer, arranger, producer, educator and interdisciplinary artist. Irving has
recently (with the 2007 release of New Momentum) resumed his career as a recording artist under his own name.
Early background
Irving's first musical instrument was the bugle, followed by a range of brass instruments including cornet, French
horn, and valve trombone. While he was a brass player, Irving also studied piano to further his knowledge of musical
theory.
Irving's family moved to North Carolina in 1969 and remained there until 1978. While in North Carolina, Irving
continued his studies in musical theory, played trombone in concert bands, keyboards for pop/funk and fusion bands,
and organ and piano for gospel groups. Hammond organ and keyboards became his primary instruments.
After returning to Chicago in 1978, Irving connected with a number of young musicians, including Vince Wilburn
Jr. and Darryl Jones who would later join him in the Miles Davis band. These musicians formed a series of bands,
including Data and AL7. In 1979, AL7 was invited by arranger/producer Tom Tom 84 to record some demo tapes
for Maurice White (of Earth, Wind, & Fire).
The Miles Davis connection

In 1980, an Irving composition entitled Space was played for Wilburn's uncle, Miles Davis. Space captured Davis'
interest, and led to Irving, Wilburn and their band being invited to New York for Davis' first recording sessions in
several years.
The fruits of these sessions were included on the 1981 album, The Man with the Horn, the first recording Davis had
released in six years. The title track, The Man With the Horn, was co-written and arranged by Irving, who also
co-wrote and arranged another track titled Shout.
Returning to Chicago, Irving continued his composing, arranging, and producing; notably, working on albums for
Ramsey Lewis (1981 and 1982), Randy Hall, and others.
Also, in 1982 Irving became musical director and pianist for the Kuumba Theater production of The Little
Dreamer a Nite in the Life of Bessie Smith and studied stride-piano with the legendary Little Brother Montgomery,
who had composed music for the show.
Then, in 1983 Davis invited Irving to once again return to work with him as composer, arranger and co-producer.
The Davis - Irving collaborations

The initial Miles Davis - Robert Irving III collaboration resulted in the album Decoy. Irving then joined Davis'
touring band, where he remained for 5 years, holding the keyboard chair and the role of musical director.
Notably, in the role of musical director, Irving was responsible for musical arrangements, rehearsals (which Davis
never attended), and musical liaison between Davis and group members that included some of the leading musicians
of the era, such as John Scofield, Bill Evans, Mike Stern, Kenny Garrett and Darryl Jones. In those roles, Irving
listened to recordings of each nights performance with Davis to cull what were spontaneous creative ideas that
then became a permanent part of the groups musical arrangements. Some of that work is finely exhibited on The
Complete Miles Davis at Montreux collection.
Irving also collaborated with Davis (as composer, producer and arranger) on the 1985 recording, You're Under
Arrest. The album included Grammy-nominated covers of Time After Time and Human Nature.
While working on the material for You're Under Arrest, Irving added to his arranging credentials by studying with
Gil Evans, who decades earlier had famously arranged some of Miles Davis most celebrated recordings.
Later, Irving extended this musical direction on projects such as his film score for the feature film Street Smart also
with Andr Lassalle on guitar (1985), starring Morgan Freeman and Christopher Reeve -- with Miles Davis as
featured instrumentalist.
Irving remained with the Davis band until 1989, remaining close to Davis until Davis death in 1991.
Musician, bandleader, producer, composer, arranger

Since leaving the Davis band, Irving has been based in Chicago and has kept active on many musical fronts,
continuing to develop as a pianist, arranger, composer and producer. He has performed, as leader and sideman, with
a list of musicians that includes David Murray, Wallace Roney, Eddie Henderson, Lenny White, and fellow Miles
Davis alumni Darryl Jones, Vince Wilburn Jr., and Al Foster. He has contributed to these settings as composer and
arranger and pianist.
Irving released his first solo album in 1988, Midnight Dream, which featured John Scofield, Darryl Jones, Buddy
Williams, Andr Lassalle and Phil Perry.
In addition, Irving recorded as leader and music director of the Davis alumni bands ESP and ESP2, on a number of
David Murray albums, as a member of Khalil El Zabar's Juba Collective, and with Wallace Roney. He has produced
albums for, among others, Terri Lyne Carrington (Real Life Story, 1990). In the Chicago community, Irving has
taught and lectured at numerous schools, workshops and community events, and he founded Chicago's African Arts
Ensemble (an 18-piece pan-African jazz group commissioned by the African Festival of the Arts).
Irving also composed the score for the George Tillman, Jr.'s 1995 feature film, Scenes for the Soul, and, composed
for the Miami Chamber Symphony (Mademoiselle Mandarin, a concerto for jazz harp and orchestra, featuring Swiss
harpist, Markus Klinko).
New Momentum
With the 2007 release of New Momentum on the Sonic Portraits Entertainment label, Irving has returned to recording
under his own name. The CD was co-produced by Terri Lyne Carrington.
The CD is a Billboard Magazine "critics' choice" (highly recommended for musical merit.)
An excerpt of a The Billboard Review article - April 7, 2007 (by Dan Ouellette):
Conspicuously absent as a leader since serving as Miles Davis fusion-oriented musical director in the 80s, Robert
Irving III returns in dramatic fashion on New Momentum, the premiere release for indie Sonic Portraits.
The disc is largely an acoustic piano trio date, highlighted by Irving originals and two nods to his mentors 60s
repertoire: a buoyant cover of Davis Seven Steps to Heaven and a refined take on Wayne Shorters Nefertiti.
Whats so remarkable about Irvings return from obscurity is the fresh, vital sound, spurred by his pianistic
dynamism, and infused with an imaginative improvisational approach that encompasses dancing tempo shifts and
harmonic curves.
Bassist Buster Williams costars, with arco support on the ballad Primordial Waters, low-end punch to the title
track and a walking bass conversation with Irving on the midtempo groove tune Always . . . Sometimes.
Irving is also a painter. When he was a member of Miles Davis band, Davis encouraged him to take up painting.
Irving actually began painting regularly in 1997, and has seen his work exhibited in a number of galleries.
Selected discography
2007Robert Irving III, New Momentum (Sonic Portraits Entertainment) -- leader, composer, arranger and
producer (with Terri Lyne Carrington)
2002Juba Collective (Kahil El'Zabar), Juba Collective -- piano, organ, keyboards
2002Miles Davis, The Complete Miles Davis at Montreux -- composer, arranger, keyboards
1997Wallace Roney, Village -- keyboards
1997David Murray, Fo Deuk Revue -- piano, composer
1996David Murray, Dark Star (#1 on Billboard chart) -- organ, piano, synthesizers
1995David Murray, Jug-a-Lug -- organ, synthesizers
1994David Murray, The Tip -- organ, synthesizers
1992ESP, ESP (Robert Irving III, Darryl Jones, Bobby Broom, Kirk Whalum, Toby Williams) -- composer,
arranger, keyboards, producer
1991Susan Osborne, Wabi (Nippon Music Award for Best Creative Concept) -- producer
1989Terri Lyne Carrington, Real Life Story (Grammy Award Nominee) -- producer
1989Robert Lee Irving, Midnight Dream -- composer, arranger, keyboards, producer
1985Miles Davis, You're Under Arrest (Grammy Award Nominee) -- composer, arranger, keyboards, producer
1983Miles Davis, Decoy (Downbeat Album of the Year) -- composer, arranger, keyboards, producer
1981Miles Davis, The Man With the Horn -- composer, arranger, keyboards, producer
References
Cole, George, The Last Miles (University of Michigan Press 2005)
External links
"Robert Irving III" site [2]
"Sonic Portraits Entertainment" site [1]
"The Last Miles" site [3]
Robert Irving III interview at Allaboutjazz.com [4]
References
[1] http:/ / www. sonic-portraits. com
[2] http:/ / www. myspace. com/ robertirvingiii
[3] http:/ / www. thelastmiles. com
Keith Jarrett 435
Keith Jarrett
Keith Jarrett
Born May 8, 1945
Allentown, Pennsylvania, U.S.
Genres Jazz, Western classical music, Jazz fusion, Free Improvisation
Occupations Pianist
Organist
Composer
Instruments Piano
Organ
Soprano Saxophone
Melodica
Labels Atlantic Records

Impulse! Records
ECM/Universal Classics
Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American pianist/composer who performs both
jazz and classical music.
Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early
1970s he has enjoyed a great deal of success in jazz, jazz fusion, and classical music; as a group leader and a solo
performer. His improvisations draw not only from the traditions of jazz, but from other genres as well, especially
Western classical music, gospel, blues, and ethnic folk music.
In 2003, Jarrett received the Polar Music Prize, the first (and to this day only) recipient not to share the prize with a
co-recipient,[1] and in 2004 he received the Lonie Sonning Music Prize.
In 2008, he was inducted into the Down Beat Hall of Fame in the magazine's 73rd Annual Readers' Poll.
Early years
Jarrett, who is of Hungarian and Scottish extraction, grew up in suburban Allentown, Pennsylvania, with significant
early exposure to music.[2] He possessed absolute pitch, and he displayed prodigious musical talents as a young
child. He began piano lessons just before his third birthday, and at age five he appeared on a TV talent program
hosted by the swing bandleader Paul Whiteman.[3] The young Jarrett gave his first formal piano recital at the age of
seven, playing works by composers including Mozart, Bach, Beethoven, and Saint-Sans, and ending with two of his
own compositions.[4] Encouraged especially by his mother, Jarrett took intensive classical piano lessons with a series
of teachers, including Eleanor Sokoloff of the Curtis Institute.
In his teens, as a student at Emmaus High School in Emmaus, Pennsylvania, Jarrett learned jazz and quickly became
proficient in it. In his early teens, he developed a strong interest in the contemporary jazz scene; a Dave Brubeck
performance was an early inspiration. At one point, he had an offer to study classical composition in Paris with the
famed teacher Nadia Boulangeran opportunity that pleased Jarrett's mother but that Jarrett, already leaning toward
jazz, decided to turn down.[5]
Following his graduation from Emmaus High School in 1963,[6] Jarrett moved from Allentown to Boston,
Massachusetts, where he attended the Berklee College of Music and played cocktail piano in local clubs. After a year
he moved to New York City, where he played at the Village Vanguard.
Keith Jarrett 436
In New York, Art Blakey hired Jarrett to play with the Jazz Messengers. During a show with that group he was
noticed by Jack DeJohnette who (as he recalled years later) immediately realized the talent and the unstoppable flow
of ideas of the unknown pianist. DeJohnette talked to Jarrett and soon recommended him to his own band leader,
Charles Lloyd. The Charles Lloyd Quartet had formed not long before and were exploring open, improvised forms
while building supple grooves; without quite realizing it at first, they were moving into terrain that was also being
explored, although from another stylistic background, by some of the psychedelic rock bands of the west coast. Their
1966 album Forest Flower was one of the most successful jazz recordings of the mid-1960s and when they were
invited to play the Fillmore in San Francisco, they won over the local hippie audience. Although the band would
become plagued by internal instability and (according to Jarrett) siphoning-off of show revenue by Lloyd, its tours
across America and Europe, even to Moscow, made Jarrett a widely noticed musician in rock and jazz underground
circles. It also laid the foundations of a lasting musical bond with drummer Jack DeJohnette (who also plays the
piano). The two would cooperate in many contexts during their later careers.
In those years, Jarrett also began to record his own tracks as a leader of small informal groups, at first in a trio with
Charlie Haden and Paul Motian. Jarrett's first album as a leader, Life Between the Exit Signs (1967), was released on
the Vortex label, to be followed by Restoration Ruin (1968), which is arguably the most bizarre entry in the Jarrett
catalog. Not only does Jarrett barely touch the piano, but he plays all the other instruments on what is essentially a
folk-rock album, and even sings. Another trio album with Haden and Motian, titled Somewhere Before, followed
later in 1968, this one recorded live for Atlantic Records.
Miles Davis
The Charles Lloyd Quartet with Jarrett, Ron McClure and Jack DeJohnette came to an end in 1968, after the
recording of Soundtrack because of disputes over money as well as artistic differences.[7] Jarrett was asked to join
the Miles Davis group after Miles heard him in a New York City club (according to another version Jarrett tells,
Miles had brought his entire band to see a tour date of Jarrett's own trio in Paris; the Davis band being practically the
only audience, an attention that made Jarrett feel embarrassed). During his tenure with Davis, he played both Fender
Contempo electronic organ and Fender Rhodes electric piano, alternating with Chick Corea; they can be heard side
by side on some 1970 recordings, for instance the August, 1970 Isle of Wight Festival performance preserved in the
film Miles Electric: A Different Kind of Blue and now on Bitches Brew Live [8] After Corea left in 1970, Jarrett often
played electric piano and organ simultaneously. Despite his growing dislike of amplified music and electric
instruments within jazz, he continued with the group out of respect for Davis and because of his desire to work with
Jack DeJohnette. He has often cited Davis as a vital influence, both musical and personal, on his own thinking about
music and improvisation.
Jarrett is heard on several Davis albums: Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door
Sessions (recorded December 1619, 1970, at the Cellar Door club in Washington, DC), and Live-Evil, which is
largely composed of heavily edited Cellar Door recordings. The extended sessions from these recordings can be
heard on The Complete Cellar Door Sessions. Jarrett also plays electric organ on Get Up With It; the song he is
featured on, "Honky Tonk", is an abridged version of a track available in its entirety on The Complete Jack Johnson
Sessions. In addition, part of a track called "Konda" (recorded May 21, 1970) was released during Davis's late-1970s
retirement on a compilation album called Directions (1980). The track, which features an extended Fender-Rhodes
piano introduction by Jarrett, was released in full on 2003's The Complete Jack Johnson Sessions.[9]
Keith Jarrett 437
1970s quartets
From 1971 to 1976, Jarrett added saxophonist Dewey Redman to the existing trio with Haden and Motian. The
so-called American quartet was often supplemented by an extra percussionist, such as Danny Johnson, Guilherme
Franco, or Airto Moreira, and occasionally by guitarist Sam Brown. The quartet members played various
instruments, with Jarrett often being heard on soprano saxophone and percussion as well as piano; Redman on
musette, a Chinese double-reed instrument; and Motian and Haden on a variety of percussion. Haden also produced a
variety of unusual plucked and percussive sounds with his acoustic bass, even running it through a wah-wah pedal
for one track ("Mortgage on My Soul," on the album Birth). The group recorded two albums for Atlantic Records in
1971, El Juicio (The Judgement) and Birth; one on Columbia Records, Expectations that included rock-influenced
guitar by Sam Brown as well as string and brass arrangements, and for which his contract with Columbia was
immediately terminated; seven albums on Impulse! Records; and two on the ECM label.
The last two albums, both recorded for Impulse!, feature mainly the compositions of the other band members, as
opposed to Jarrett's own, which dominated the previous albums.
Jarrett's compositions and the strong musical identities of the group members gave this ensemble a very distinctive
sound. The quartet's music is an amalgam of free jazz, straight-ahead post-bop, gospel music, and exotic,
Middle-Eastern-sounding improvisations.
In the mid- and late 1970s Jarrett led a "European quartet" concurrently with the American quartet, which was
recorded by ECM. This combo consisted of saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon
Christensen.
This ensemble played in a style similar to that of the American quartet, but with many of the avant-garde and
Americana elements replaced by the European folk influences that characterized the work of ECM artists at the time.
Jarrett became involved in a legal wrangle following the release of the album Gaucho in 1980 by the U.S. rock band
Steely Dan. The album's title track, credited to Donald Fagen and Walter Becker, bore an undeniable resemblance to
Jarrett's "Long As You Know You're Living Yours," from the Belonging album. When a Musician magazine
interviewer pointed out the similarity, Becker admitted that he loved the Jarrett composition and Fagen said they had
been influenced by it. After their comments were published, Jarrett sued, and Becker and Fagen were forced to add
his name to the credits and to include him in the royalties.[10]
Solo piano
Jarrett's first album for ECM, Facing You (1971), was a solo piano date recorded in the studio. He has continued to
record solo piano albums in the studio intermittently throughout his career, including Staircase (1976), The Moth
and the Flame (1981), and The Melody at Night, With You (1999). Book of Ways (1986) is a studio recording of
clavichord solos.
The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing
totally improvised solo concerts, and it is the popularity of these voluminous concert recordings that has made him
one of the best-selling jazz artists in history, not to mention one of the most ambitious and innovative. Albums
released from these concerts include The Kln Concert (1975) which became the best selling piano recording in
history;[11] and Sun Bear Concerts (1976) - a 10-LP (and later 6-CD) Box Set.
Another of Jarrett's solo concerts, Dark Intervals (1987, Tokyo), had less of a free-form improvisation feel to it
because of the brevity of the pieces. Sounding more like a set of short compositions, these pieces are nonetheless
entirely improvised.
After a hiatus, Jarrett returned to the extended solo improvised concert format with Paris Concert (1990), Vienna
Concert (1991), and La Scala (1995), before his career was interrupted by chronic fatigue syndrome. These later
concerts tend to be more influenced by classical music than the earlier ones, reflecting his interest in composers such
as Bach and Shostakovich, and are mostly less indebted to popular genres such as blues and gospel. The Vienna
Keith Jarrett 438
Concert in particular has been widely hailed as a masterpiece of improvisation, with its huge, arch-like opening
movement, with a stunningly dissonant, virtuosic middle section, framed by more lyrical sections; Jarrett himself, in
the liner notes to the album, named it his greatest achievement and the fulfillment of everything he was aiming to
accomplish.
Jarrett has commented that his best performances have been when he has had only the slightest notion of what he
was going to play at the next moment. An apocryphal account of one such performance had Jarrett staring at the
piano for several minutes without playing; as the audience grew increasingly uncomfortable, one member shouted to
Jarrett, "D sharp!", to which the pianist responded, "Thank you!", and launched into an improvisation.
Jarrett's 100th solo performance in Japan was captured on video at Suntory Hall Tokyo on April 14, 1987, and
released the same year. The recording was titled Solo Tribute. This is a set of almost all standard songs.
Another video recording, titled Last Solo, was released in 1987 from a live solo concert at Kan-i Hoken hall, Tokyo,
Japan, recorded January 25, 1984.
Both Solo Tribute and Last Solo were reissued on Image Entertainment DVD in 2002.
In the late 1990s, Jarrett was diagnosed with chronic fatigue syndrome (CFS) and was unable to leave his home for
long periods of time. It was during this period that he recorded The Melody at Night, With You, a solo piano effort
consisting of jazz standards presented with very little of the reinterpretation he usually employs. The album had
originally been a Christmas gift to his second wife, Rose Anne.
By 2000, Jarrett had returned to touring, both solo and with the Standards Trio. Two 2002 solo concerts in Japan,
Jarrett's first solo piano concerts following his illness, were released on the 2005 CD Radiance (a complete concert
in Osaka, and excerpts from one in Tokyo), and the 2006 DVD Tokyo Solo (the entire Tokyo performance). In
contrast with previous concerts (which were generally a pair of continuous improvisations 3040 minutes long), the
2002 concerts consist of a linked series of shorter improvisations (some as short as a minute and a half, a few of
fifteen or twenty minutes).
In September 2005 at Carnegie Hall, Jarrett performed his first solo concert in North America in more than ten years,
released a year later as a double-CD set (The Carnegie Hall Concert).
On November 26, 2008, he performed solo in the Salle Pleyel in Paris, and a few days later, on December 1, at
London's Royal Festival Hall, marking the first time Jarrett had played solo in London in seventeen years. These
concerts were released in October 2009 on the album Paris / London: Testament.
The Standards Trio

In 1983, at the suggestion of ECM head Manfred Eicher,[12] Jarrett asked bassist Gary Peacock and drummer Jack
DeJohnette, with whom he had worked on Peacock's 1977 album Tales of Another, to record an album of jazz
standards, simply titled Standards, Volume 1. Two more albums, Standards, Volume 2 and Changes, both recorded
at the same session, followed soon after. The success of these albums and the group's ensuing tour, which came as
traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new Standards Trio becoming
one of the premier working groups in jazz, and certainly one of the most enduring, continuing to record and tour for
more than twenty-five years.
The trio has recorded numerous live and studio albums consisting primarily of jazz repertory material. The trio
members each cite Ahmad Jamal as a major influence in their musical development for his use of both melodic and
multi-tonal lines..
The Jarrett-Peacock-DeJohnette trio also produced recordings that consist largely of challenging original material,
most notably 1987's Changeless. (These recordings are noted above.) Several of the standards albums contain an
original track or two, some attributed to Jarrett but mostly group improvisations. The live recordings Inside Out and
Always Let Me Go (both released in 2001) marked a renewed interest by the trio in wholly improvised free jazz. By
this point in their history, the musical communication among these three men had become nothing short of
Keith Jarrett 439
telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The
Standards Trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler
for acoustics, will play these days) and is one of the few truly successful jazz groups to play both straight-ahead (as
opposed to smooth) and free jazz.
A related recording, At the Deer Head Inn (1992), is a live album of standards recorded with Paul Motian replacing
DeJohnette, at the venue in Delaware Water Gap, Pennsylvania, 40 miles from Jarrett's hometown, where he had his
first job as a jazz pianist. It was the first time Jarrett and Motian had played together since the demise of the
American quartet sixteen years earlier.
Classical music
Since the early 1970s, Jarrett's success as a jazz musician has enabled him to maintain a parallel career as a classical
composer and pianist, recording almost exclusively for ECM Records.
In The Light, an album made in 1973, consists of short pieces for solo piano, strings, and various chamber
ensembles, including a string quartet and a brass quintet, and a piece for cellos and trombones. This collection
demonstrates a young composer's affinity for a variety of classical styles, with varying degrees of success.
Luminessence (1974) and Arbour Zena (1975) both combine composed pieces for strings with improvising jazz
musicians, including Jan Garbarek and Charlie Haden. The strings here have a moody, contemplative feel that is
characteristic of the "ECM sound" of the 1970s, and is also particularly well-suited to Garbarek's keening saxophone
improvisations. From an academic standpoint, these compositions are dismissed by many classical music aficionados
as lightweight, but Jarrett appeared to be working more towards a synthesis between composed and improvised
music at this time, rather than the production of formal classical works. From this point on, however, his classical
work would adhere to more conventional disciplines.
Ritual (1977) is a composed solo piano piece recorded by Dennis Russell Davies that is somewhat reminiscent of
Jarrett's own solo piano recordings.
The Celestial Hawk (1980) is a piece for orchestra, percussion, and piano that Jarrett performed and recorded with
the Syracuse Symphony under Christopher Keene. This piece is the largest and longest of Jarrett's efforts as a
classical composer.
Bridge of Light (1993) is the last recording of classical compositions to appear under Jarrett's name. The album
contains three pieces written for a soloist with orchestra, and one for violin and piano. The pieces date from 1984
and 1990.
In 1988 New World Records released the CD Lou Harrison: Piano Concerto and Suite for Violin, Piano, and Small
Orchestra, featuring Jarrett on piano, with Naoto Otomo conducting the piano concerto with the New Japan
Philharmonic. Robert Hughes conducted the Suite for Violin, Piano, and Small Orchestra. In 1992 came the release
of Jarrett's performance of Peggy Glanville-Hicks's Etruscan Concerto, with Dennis Russell Davies conducting the
Brooklyn Philharmonic Orchestra. This was released on Music Masters Classics, with pieces by Lou Harrison and
Terry Riley. In 1995 the record label Music Masters Jazz released a CD on which one track featured Jarrett
performing the exquisite solo piano part in Lousadzak, a 17-minute piano concerto by American composer Alan
Hovhaness. The conductor again was Dennis Russell Davies. Most of Jarrett's classical recordings are of older
repertoire, but Jarrett may have been introduced to this modern work by his one-time manager George Avakian, who
was a friend of the composer. Jarrett has also recorded classical works for ECM by composers such as Bach, Handel,
Shostakovich, and Arvo Prt.
In 2004, Jarrett was awarded the Lonie Sonning Music Prize. The prestigious award usually associated with
classical musicians and composers has only previously been given to one other jazz musicianMiles Davis. The
first person to receive the award was Igor Stravinsky, in 1959.
Keith Jarrett 440
Other works
Jarrett also plays harpsichord, clavichord, organ, soprano saxophone, drums, and many other instruments. He often
played saxophone and various forms of percussion in the American quartet, though his recordings since the breakup
of that group have rarely featured these instruments. On the majority of his recordings in the last twenty years, he has
played acoustic piano only. He has spoken with some regret of his decision to give up playing the saxophone, in
particular.
On April 15, 1978, Jarrett was the musical guest on Saturday Night Live. His music has also been used on many
television shows, including The Sopranos on HBO. The 2001 German film Bella Martha (English title: Mostly
Martha), whose music consultant was ECM founder and head Manfred Eicher, features Jarrett's "Country," from the
European quartet album My Song.[13]
Idiosyncrasies
One of Jarrett's trademarks is his frequent, loud vocalizations (grunting, squealing, and tuneless singing), similar to
that of Glenn Gould, Thelonious Monk, Erroll Garner, Oscar Peterson, Ralph Sutton, Willie "The Lion" Smith, Paul
Asaro, and Cecil Taylor. Jarrett is also physically active while playing, writhing, gyrating, and almost dancing on the
piano bench. These behaviors occur in his jazz and improvised solo performances, but are for the most part absent
whenever he plays classical repertory. Jarrett has noted his vocalizations are based on involvement, not content, and
are more of an interaction than a reaction, ultimately enhancing the quality of the music.[14]
However, Jarrett is notoriously intolerant of audience noise, including coughing and other involuntary sounds,
especially during solo improvised performances. He feels that extraneous noise affects his musical inspiration, and
distracts from the purity of the sound. As a result, cough drops are routinely supplied to Jarrett's audiences in cold
weather, and he has even been known to stop playing and lead the crowd in a group cough. This intolerance was
made clear during a concert on October 31, 2006, at the restored Salle Pleyel in Paris. After making an impassioned
plea to the audience to stop coughing, Jarrett walked out of the concert during the first half, refusing at first to
continue, although he did subsequently return to the stage to finish the first half, and also the second. A further solo
concert three days later went undisturbed, following an official announcement beforehand urging the audience to
minimize extraneous noise. In 2008, during the first half of another Paris concert, Jarrett complained to the audience
about the quality of the piano that he had been given, walking off between solos and remonstrating with staff at the
venue. Following an extended interval, the piano was replaced. In 2007, in concert in Perugia during the Umbria
Jazz Festival, angered by photographers Jarrett implored the audience: "I do not speak Italian, so someone who
speaks English can tell all these assholes with cameras to turn them fucking off right now. Right now! No more
photographs, including that red light right there. If we see any more lights, I reserve the right (and I think the
privilege is yours to hear us), but I reserve the right and Jack and Gary reserve the right to stop playing and leave the
goddamn city!" This caused the organizers of the Festival to declare that they will never invite him again.[15] . In a
performance at Carnegie Hall on 16 January 2011, he stopped in the middle of a quiet improvisation in an apparent
reaction to an audience member's persistent coughing. After a moment's silence, he remarked, "Where's the coughing
now?" and continued playing. He subsequently said, "Since I'm the only person in this hall who can't leave, I have
just one solution to deal with this coughing--play loud! Is that what you want?". Before he went back to playing
another quiet tune, he said, "Maybe I should draw a circle with a line through it and issue a warning--Soft Song."[16]
Jarrett is also extremely protective of the quality of recordings of his concerts. In 1992, a trio concert at the Royal
Festival Hall in London was temporarily stopped as he thought he had identified someone in the audience with a
recording device. It turned out to be a light on the mixing desk and the concert resumed after an apology. Similarly, a
2010 concert in Lyon was interrupted after he confused the electric devices on an audience member's wheelchair
with recording equipment. The concert resumed, although without apology.
Keith Jarrett 441
Jarrett has been known for many years to be strongly opposed to electronic instruments and equipment. His liner
notes for the 1973 album Solo Concerts: Bremen/Lausanne states: "I am, and have been, carrying on an
anti-electric-music crusade of which this is an exhibit for the prosecution. Electricity goes through all of us and is not
to be relegated to wires." He has largely eschewed electric or electronic instruments since his time with Miles Davis.
For many years he has been a follower of the teachings of metaphysician and mystic G. I. Gurdjieff. In 1980 he
recorded an album of Gurdjieff's compositions, called Sacred Hymns, for ECM.
Personal
Jarrett lives in an 18th-century farmhouse in Oxford Township, New Jersey, in rural Warren County. He uses a
converted barn on his property as a recording studio and practice facility.[17]
Jarrett's first marriage, to Margot Erney, ended in divorce. He and his second wife Rose Anne (ne Colavito)
divorced in 2010 after a thirty-year marriage. Jarrett has four brothers, all younger, two of whom are involved in
music. Chris Jarrett is also a pianist, and Scott Jarrett is a producer and songwriter. Noah Jarrett, one of two sons
from Jarrett's first marriage, is a bassist and composer.
References
[1] http:/ / www. polarmusicprize. org/ newSite/ aboutprize. shtml. Retrieved Jan. 19, 2010.
[2] "Music: Growing Into The Silence" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,983616,00. html). Time. October 23, 1995. .
[3] Carr, Ian. Keith Jarrett: The Man and His Music (New York: Da Capo, 1992), p. 8.
[4] Carr, Ian. Keith Jarrett, p. 7.
[5] Carr, Ian. Keith Jarrett, p. 17.
[6] http:/ / www. mcall. com/ news/ local/ all-a1_5jarrett. 6572968sep14,0,4716330. story?page=2.
[7] Carr, Ian. Keith Jarrett, pp. 3839.
[8] http:/ / www. amazon. co. uk/ dp/ B004ENAC4I
[9] Davis, Miles. The Complete Jack Johnson Sessions. Columbia/Legacy, 2003.
[10] Don't Mess with Steely Dan (http:/ / www. postgazette. com/ pg/ 06216/ 711039-153. stm); Brian Sweet, Steely Dan: Reelin' in the Years
(London: Omnibus Press, 1994), p. 144.
[11] Keith Jarrett Biography (http:/ / www. allaboutjazz. com/ php/ musician. php?id=7984), All About Jazz accessed April 6, 2010
[12] Smith, Steve. "40 Years Old, a Musical House Without Walls". New York Times, Dec. 23, 2009
[13] http:/ / www. imdb. com/ title/ tt0246772/ soundtrack. Retrieved Jan. 16, 2010.
[14] Jarrett, Keith. The Art of Improvisation. (DVD). Euroarts, 2005
[15] Keith Jarrett Officially Banned from Umbria Jazz Festival After Outburst, JazzTimes Magazine, July 16, 2007. (http:/ / jazztimes. com/
articles/ 23750-keith-jarrett-officially-banned-from-umbria-jazz-festival-after-outburst)
[16] Observed by audience member at Carnegie Hall, 16 January 2011
[17] "A One-of-a-Kind Artist Prepares for His Solo" (http:/ / online. wsj. com/ article/ SB123319724806127435. html). The Wall Street Journal.
2009-01-09. . Retrieved 2009-04-08.
Sources
Carr, Ian. Keith Jarrett: The Man and His Music (http://www.amazon.co.uk/dp/0306804786). 1992 ISBN
0586092196
Ian Carr, Digby Fairweather, Brian Priestley. ' The Rough Guide to Jazz (http://www.amazon.co.uk/dp/
1843532565)'. 2003 ISBN 1-84353-256-5
External links
KeithJarrett.it (http://www.keithjarrett.it) The most complete fan site dedicated to Keith Jarrett
Keith Jarrett fansite (http://www.keithjarrett.org).
Interview with Ethan Iverson for BBC (2009) (http://dothemath.typepad.com/dtm/interview-with-keith-jarrett.
html)
Keith Jarrett 442
Art of the States: Keith Jarrett (http://artofthestates.org/cgi-bin/performer.pl?perf=691) performing

Lousadzak, op. 48 (1944) by Alan Hovhaness
Keith Jarrett at Yahoo!Groups (http://launch.groups.yahoo.com/group/keithjarrett/).
Keith Jarrett on ECM Records (http://www.ecmrecords.com/Catalogue/ECM/1900/1900.php?lvredir=712&
cat=/Artists/Jarrett+Keith##Keith+Jarrett&catid=0&doctype=Catalogue&order=releasedate&
rubchooser=901&mainrubchooser=9).
Keith Jarrett by Otaclio Melgao (http://keithjarrett.vilabol.uol.com.br)
Keith Jarrett: a short biography (fan site). (http://www.lynndavidnewton.com/music/kj/JarrettSketch.html)
"Keith Jarrett Standards Trio Celebrates Its 25th Anniversary" (http://www.jazz.com/jazz-blog/2008/2/4/
keith-jarrett-standards-trio-celebrates-its-25th-anniversary) by Ted Gioia Jazz.com (http://www.jazz.com).
Keith Jarrett on Marian McPartland's Piano Jazz (NPR). (http://www.npr.org/programs/pianojazz/
previousguests/winter2007/jarrett.html)
Recent Interview (2007) (http://www.culturekiosque.com/jazz/portrait/keith_jarrett.html#hp/)
1997 New York Times profile of Jarrett (http://query.nytimes.com/gst/fullpage.
html?res=9C00E0DD153DF93AA35751C0A961958260)
Keith Jarrett Transcriptions Project (http://dark-intervals.com/index_en.html) Transcriptions (http://
dark-intervals.com/transcriptions.html)
Keith Jarrett on ECM Records (http://www.trovar.com/ECM/ECM.php?artist=Jarrett)
Darryl Jones 443
Darryl Jones
Darryl Jones
Also known as The Munch
Born 11 December 1961

Chicago, Illinois
United States
Genres Jazz, Rock and roll, R&B, Progressive jazz, Pop rock
Occupations Musician, film scorer, Actor
Instruments Bass guitar, guitar
Years active 1980 - present
Associated acts The Rolling Stones, Miles Davis,
Website [1]
Darryl Jones's Web Site
Notable instruments
Fender Jazz Bass

Lakland Darryl Jones Signature Bass
Darryl Jones (born December 11, 1961),[2] also known as "The Munch",[3] is an American bass guitarist. Jones
began his notable career as a session musician, where he gained the experience and confidence to play with some of
the most highly regarded recording artists, in jazz, blues, and rock music. Most recently, he has been best known in
his role as primary bassist for The Rolling Stones since Bill Wyman's departure in 1993.
Career
Jones was born in Chicago, Illinois.[2] As a youth, his father, a drummer, supported his musical interests and initially
taught his son to play the guitar. A neighbor who was a bassist convinced Darryl to switch to playing the bass
instead.[2] Jones attended Southern Illinois University Carbondale. One musician that Jones first played with in his
studio sessions was the nephew of noted jazz musician Miles Davis, Vince Wilburn Jr. He told Jones that Miles
Davis was looking for a new bass player, and vouched for him. Jones called Miles Davis, who gave him his first
touring gig,[4] and from that point to years later, was mentored by Davis, after joining Davis' band in 1983. As a
young protege, Jones recorded with Davis playing bass guitar on the Miles Davis albums Decoy (1984) and You're
Under Arrest (1985). Jones has worked with jazz recording artists who include Herbie Hancock's Headhunters, Mike
Stern, John Scofield, and Steps Ahead, as well as touring pop and rock artists Cher, Sting, Peter Gabriel, Madonna,
Eric Clapton and Joan Armatrading.
Jones has performed and recorded with The Rolling Stones since founding bassist Bill Wyman's retirement in 1993.
In the manner of other tour and recording sidemen for the band, such as saxophonist Bobby Keys and keyboardist
Chuck Leavell, Jones' stage movement and audience interaction is low-key and he generally wears understated
apparel on stage. He is a salaried employee and does not share financial participation in the band's worldwide
publishing, recording and concert touring revenues.
Darryl Jones 444
References
[1] http:/ / www. darryljones. com
[2] Jones, Darryl (2010). "Darryl Jones BIO" (http:/ / www. darryljones. com/ home/ frameset_one. htm). . Retrieved 31 October 2010.
[3] Jisi, Chris (Jan/Feb 1995). "Darryl Jones: Like A Rolling Stone" (http:/ / www. abasses. com/ darryljones/ bassplayer. htm). Bass Player
Magazine: biography and interview. Bass Player magazine. . Retrieved 31 October 2010.
[4] Goldsher, Alan (2009). "Darryl Jones Stone Unturned" (http:/ / www. bassplayer. com/ article/ darryl-jones-stone/ jul-05/ 11380). Bass Player
magazine, New Bay Media. . Retrieved 7 November 2010.
Notes
Goldsher, Alan (August 2005). " Darryl Jones Stone Unturned (http://www.bassplayer.com/story.
asp?sectioncode=21&storycode=9825)". Bass Player
Coryat,Karl. (February 2003) " Darryl Jones on Playing with the Rolling Stones, Sting, and Miles Davis - to
Name a Few (http://www.bassplayer.com/article/darryl-jones-rolling/February-2003/584)". Bass Player.
Jisi, Chris. (January 2000) " Darryl Jones: Like A Rolling Stone (http://www.bassplayer.com/article/
darryl-jones-playing/January-2000/6980)". Bass Player.
Wissmann, Chris (1996). " Former SIU Student Playing Bass for Rolling Stones (http://users.midwestmail.
com/nightlife/cdalerocks/nightlife/zzzPermanent/22_DarrylJones.html)". "Nightlife"
External links
A Basses - Darryl Jones Signature Series Bass (http://www.abasses.com/bass.html)
Darryl Jones's Web Site (http://www.darryljones.com)
Philly Joe Jones

Philly Joe Jones
Birth name Joseph Rudolph Jones
Born July 15, 1923

Philadelphia, Pennsylvania,
United States
Died August 30, 1985 (aged62)
Genres Jazz, hard bop, bebop, cool jazz, modal
Occupations Drummer
Instruments Drums
Joseph Rudolph (Philly Joe) Jones (July 15, 1923 August 30, 1985) was a Philadelphia-born United States jazz
drummer, known as the drummer for the Miles Davis Quintet.[1]
Philly Joe Jones was often confused with another influential jazz drummer, Jo Jones. The two died only a few days
apart from each other.
Biography
In 1947 he became the house drummer at Caf Society in New York City, where he played with the leading bebop
players of the day. Among them, the most important influence on Jones was Tadd Dameron. Jones toured and
recorded with Miles Davis Quintet from 1955 to 1958 a band that became known as "The Quintet".[2] Miles
acknowledged that Jones was his favorite drummer[2] (in fact, in his autobiography, Davis admitted to asking other
drummers to play that "Philly Joe lick", with mixed results). He organized the Davis Quintet in 1955 so that Jones
and Davis would not have difficulties finding competent local musicians to play with them.
From 1958 onwards Jones worked as a leader, but continued to work as a sideman with other musicians, including
Bill Evans and Hank Mobley. Evans also openly admitted that Philly Joe was his all-time favorite drummer. For two
years (1967-69) he taught at a specially organised school in Hampstead, London, but was prevented from otherwise
working in the UK by the Musicians' Union.
From 1981 he helped to found the group Dameronia, dedicated to the music of the composer Tadd Dameron, and led
it until his death.[2] He also played in 2 movies
Discography
As leader
1957: The Joe Jones Special - Jazztone
1958: Blues for Dracula (Riverside Records)
1959: Drums Around the World: Philly Joe Jones Big Band Sounds (Riverside)
1959: Showcase (Riverside, with Blue Mitchell, Julian Priester, Pepper Adams)
1960: Philly Joe's Beat - Atlantic
1964: Together!
1968: Mo' Joe - Black Lion
1968: My Fire - Prestige
1977: Mean What You Say - Sonet
1977: Philly Mignon - Galaxy

1978: Drum Songs - Galaxy
1979: Advance! - Galaxy
1981: Octet - Marge
1982: To Tadd with Love - Uptown
As sideman
With Miles Davis
Cookin' with The Miles Davis Quintet (1956)
Relaxin' with The Miles Davis Quintet (1956)
Workin' with The Miles Davis Quintet (1956)
Steamin' with The Miles Davis Quintet (1956)
'Round About Midnight (1957)
Porgy and Bess (1958)
Milestones (1958)
Someday My Prince Will Come (1961)
With others
Clifford Brown - Memorial Album (1953; Blue Note)
J.R. Monterose - J. R. Monterose (1956; Blue Note)
Sonny Rollins - Tenor Madness (1956; Riverside)
Bennie Green- Bennie Green with Art Farmer (1956)
Sonny Rollins - Newk's Time (1957; Blue Note)
John Coltrane - Blue Train (1957; Blue Note)
Joe Castro - Mood Jazz (1957; Atlantic)
Art Pepper - Art Pepper Meets the Rhythm Section (1957; Riverside)
Clark Terry - In Orbit (1958; Riverside)
Jimmy Smith - Softly as a Summer Breeze (1958; Blue Note)
Bill Evans - Everybody Digs Bill Evans (1958; Riverside Records)
Blue Mitchell - Big 6 (1958; Riverside)
Sonny Clark - Cool Struttin' (1958; Blue Note)
Freddie Hubbard - Goin' Up (1960; Blue Note)
Dexter Gordon - Dexter Calling... (1961; Blue Note)
Blue Mitchell - Smooth as the Wind (1961; Riverside)
Hank Mobley - Another Workout (1961; Blue Note)
Milt Jackson & Wes Montgomery - Bags Meets Wes! (1962; Riverside)
Bill Evans - California Here I Come (1967; Verve)
Archie Shepp - Archie Shepp & Philly Joe Jones - (1969; America)
Red Garland - Keystones! (1977; Xanadu Records)
References
[2] Carr, Ian; Fairweather, Digby and Priestley, Brian Rough Guide to Jazz Rough Guides, 2004 ISBN 1843532565, 9781843532569 (http:/ /
books. google. es/ books?id=I5wrGL-a-Q8C& pg=RA5-PT23& lpg=RA5-PT23& dq="ira+ coleman"+ AND+ bass& source=bl&
ots=qwsmOIMpeI& sig=QkscPLAP8IGK4BoLm2rVBMLmEDA& hl=es& ei=HTuQSt3fG8aMjAellrDnDQ& sa=X& oi=book_result&
ct=result& resnum=4#v=onepage& q=philly joe jones& f=false) at Google Books
Wynton Kelly 447
Wynton Kelly
Wynton Kelly
Birth name Wynton Kelly
Origin Brooklyn
Died April 12, 1971 (aged39)

Toronto, Ontario, Canada
Genres Jazz
Instruments Piano
Wynton Kelly (December 2, 1931 April 12, 1971) was a Jamaican-born jazz pianist, who spent his career in the
United States.[1] He is perhaps best known for working with trumpeter Miles Davis in the 1950s.[1]
Biography
Son of Jamaican immigrants, Kelly was born in Jamaica,[2] and started his professional career as a teenager, initially
as a member of R&B groups. After working with Lee Abrams, Cecil Payne, Dinah Washington and Dizzy
Gillespie,[3] he was a member of Miles Davis' Quintet from 1959 to 1963. He appears on Davis' seminal 1959 album
Kind of Blue, replacing Bill Evans on the track "Freddie Freeloader". He likewise appears on a single track from
John Coltrane's Giant Steps, replacing Tommy Flanagan on "Naima". [1]
He recorded 14 titles for Blue Note in a trio (1951), and worked with Washington, Gillespie, and Lester Young
during 1951-1952. After serving in the military, he worked with Washington (1955-1957), Charles Mingus
(1956-1957), and the Dizzy Gillespie Big Band (1957), but he would be most famous for his stint with Miles Davis
(1959-1963), recording such albums with him as Kind of Blue, At the Blackhawk, and Someday My Prince Will
Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy
Cobb) with him to form his trio.
Kelly recorded as a leader for Blue Note, Riverside Records, Vee-Jay, Verve, and Milestone.[4] Kelly had a daughter,
Tracy, in 1963, with partner Anne. The track, "Little Tracy", from the LP Comin' in the Back Door, is named after
Kelly's daughter. Tracy Matisak is a now a Philadelphia television personality.
Kelly's second cousin, bassist Marcus Miller, also performed with Miles Davis in the 1980s and 1990s.[1]
Kelly died in Toronto, Canada, from an epileptic seizure in April 1971.
Wynton Kelly 448
Discography
As leader
1951: Piano Interpretations (Blue Note)
1958: Piano (Riverside)
1959: Kelly Blue (Riverside)
1959: Kelly Great (Vee-Jay)
1960: Kelly at Midnight (Vee-Jay)
1961: Wynton Kelly! (Vee-Jay)
1961: Someday My Prince Will Come (Vee-Jay)
1963: Comin' in the Back Door (Verve)
1964: It's All Right! (Verve)
1965: Undiluted (Verve)
1965: Smokin' at the Half Note (Verve)
1965: Blues on Purpose (Xanadu)
1967: Full View (Milestone)
1968: Last Trio Session (Delmark)
As sideman
With Julian "Cannonball" Adderley
Things Are Getting Better (1958)
Cannonball Adderley Quintet in Chicago (1959)
Cannonball Takes Charge (1959)
African Waltz (1961)
The Cannonball Adderley Quintet Plus (1961)
With Nat Adderley
Much Brass (1959)
That's Right! (1960)
Naturally! (1961)
Alexandria the Great (1964)
More of the Great (1964)
With Gene Ammons
Night Lights (1970)
With Walter Benton
Out of This World (1960)
With Bob Brookmeyer
Jazz is a Kick (1960)
With Joy Bryan
Make the Man Love Me (1961)
With Donald Byrd
Off to the Races (1958)
With Betty Carter
Wynton Kelly 449
Out There (1958)

With Paul Chambers
Go... (1959)
1st Bassman (1960)
With James Clay
The Sound of the Wide Open Spaces!!! (1960)
With Jimmy Cleveland
Cleveland Style (1957)
With John Coltrane
Coltrane Jazz (1961)
With King Curtis
The New Scene of King Curtis (1960)
Soul Meeting (1960)
With Miles Davis
Kind of Blue (1959)
Someday My Prince Will Come (1961)
Dizzy and Strings (1954)
Dizzy Atmosphere (1957)
Birks' Works (1957)
Dizzy in Greece (1957)
Dizzy Gillespie at Newport (1957)
With Benny Golson
Benny Golson's New York Scene (1957)
The Modern Touch (1957)
Turning Point (1962)
With Paul Gonsalves
Gettin' Together (1960)
With Dexter Gordon
The Jumpin' Blues (1970)
With Grant Green
First Session (1960)
With Johnny Griffin
Introducing Johnny Griffin (1956)
A Blowin' Session (1957)
With Eddie Harris
Cool Sax, Warm Heart (1964)
With Jimmy Heath
On the Trail (1964)
With Bill Henderson
Bill Henderson Sings (1959)
Wynton Kelly 450
With Joe Henderson

Four (1968)
Straight, No Chaser (1968)
With Ernie Henry
Seven Standards and a Blues (1957)
Last Chorus (1957)
With Billie Holiday
Lady Sings the Blues (1956)
With Helen Humes
Swingin' with Humes (1961)
With Illinois Jacquet
The Blues That's Me (1969)
With Eddie Jefferson
Letter From Home (1962)
With J. J. Johnson
The Eminent Jay Jay Johnson Volume 2 (1954)
With Elvin Jones & Philly Joe Jones
Together! (1961)
With Sam Jones
The Chant (1961)
With Roland Kirk
Domino (1962)
With Steve Lacy
Soprano Sax (1957)
With Abbey Lincoln
That's Him (1957)
It's Magic (1958)
With Booker Little
Booker Little (1960)
With Chuck Magione
Recuerdo (1962)
With Blue Mitchell
Big 6 (1958)
Blue Soul (1959)
Blue's Moods (1960)
A Sure Thing (1962)
With Hank Mobley
Peckin' Time (1958)
Soul Station (1960)
Roll Call (1961)
Workout (1961)
Wynton Kelly 451
Another Workout (1961)

With Wes Montgomery
Bags Meets Wes! (1961)
Full House (1962)
Smokin' at the Half Note (1965)
With Lee Morgan
Here's Lee Morgan (1960)
With Mark Murphy
Rah (1961)
With David Newman
Staight Ahead (1960)
With Art Pepper
Gettin' Together (1960)
With Sonny Red
Out of the Blue (1959)
With Dizzy Reece
Star Bright (1959)
With Wayne Shorter
Introducing Wayne Shorter (1959)
With Sonny Rollins
Sonny Rollins, Vol. 1 (1956)
Newk's Time (1957)
With Don Sleet
All Members (1961)
With Frank Strozier
Fantastic Frank Strozier (1959)
With Art Taylor
A.T.'s Delight (1960)
With Teri Thornton
Devil May Care (1960)
With Phil Upchurch
Feeling Blue (1967)
With Dinah Washington
Back to the Blues (1962)
Wynton Kelly 452
References
[2] Jazz.com (http:/ / www. jazz. com/ encyclopedia/ kelly-wynton).
[3] Down Beat Profile (http:/ / www. downbeat. com/ artists/ window. asp?action=new& aid=572& aname=Wynton+ Kelly)
[4] See Kelly's discography (http:/ / www. jazzdisco. org/ wynton-kelly/ catalog/ album-index/ ).
External links
Wynton Kelly Discography at jazzzdisco.org (http://www.jazzdisco.org/wynton-kelly/) accessed August 19,
2010
Wynton Kelly Discography with cover photos (http://www.icnet.ne.jp/~au_discography/wk.htm) accessed
August 19, 2010
Wynton Kelly Hardbop Homepage (http://hardbop.tripod.com/wynton.html) accessed August 20, 2010
Wynton Kelly Allmusic Biography (http://www.allmusic.com/artist/p6884) accessed August 20, 2010
Lee Konitz 453
Lee Konitz
Lee Konitz
Birth name Lee Konitz
Origin Chicago, Illinois, U.S.
Genres Jazz
Cool jazz
Occupations Saxophonist, Composer
Instruments Alto saxophone
Labels RCA Red Seal

Atlantic Records
Verve Records
Prestige Records
Palmetto Records
Associated acts Jim Hall, Elvin Jones, Lennie

Tristano
Warne Marsh
Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois.
Generally considered one of the driving forces of Cool Jazz, Konitz has also performed successfully in bebop and
avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker
exercised a tremendous influence on other players.
Konitz, like other students of pianist and theoretician Lennie Tristano, was noted for improvising long, melodic lines
with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time
signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz.
Konitz's association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis'
epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long
career, Konitz has played with musicians from a wide variety of jazz styles.
Lee Konitz 454
Life and career

Konitz was born in 1927 in Chicago, Illinois. At age eight Konitz received his first instrumenta clarinetbut later
dropped the instrument in favor of the tenor saxophone.
Konitz eventually moved from tenor to alto. His greatest influences at the time were the swing big bands he and his
brother listened to on the radio, in particular Benny Goodman. Hearing Goodman on the radio is actually what
prodded him to ask for a clarinet. On the saxophone he recalls improvising before ever learning to play any
standards.[1]
Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. The
engagement apparently did not start out smoothly, as Ventura is said to have banged his head against a wall when
Konitz played. A month later the band parted ways. Between 1945 and 1947 he worked off and on with Jerry Wald.
In 1946 he first met pianist Lennie Tristano and worked in a small cocktail bar with him. His next substantial work
was done with Claude Thornhill in 1947, with Gil Evans arranging and Gerry Mulligan as a composer in most
part.[2] [3]
In 1949 he teamed up with the Miles Davis group for one or two weeks and again in 1950 to record Birth of the
Cool. Konitz has stated that he considered the group to belong to Gerry Mulligan, and credits Lennie Tristano as the
true forebearer of "the cool". His debut as leader also came in 1949, with the release of Subconscious-Lee on Prestige
Records. He also turned down an opportunity to work with Benny Goodman that same yeara decision he is on
record as regretting.[4]
In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra. In 1961, he recorded Motion with Elvin
Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic, consisted entirely
of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism.
Charlie Parker lent him support on the day Konitz's child was being born in Seattle, Washington with him stuck in
New York City. The two were actually good friends, and not the rivals some jazz critics once made them out to be.[5]
He has also had problems with his heart which he has received surgery for in the past.[6]
In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations
were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly
the entire history of jazz, from Louis Armstrong's "Struttin' With Some Barbecue" with valve trombonist Marshall
Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist
Jim Hall.
Konitz contributed to the film score for Desperate Characters (1971).
Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with
Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others.
Konitz has become more experimental as he has grown older, and has released a number of free and avant-garde jazz
albums, playing alongside many far younger musicians. He has released albums on contemporary free jazz/improv
labels such as hatART, Soul Note and Omnitone.
Lee Konitz 455
Discography
As leader
1949-50: With Tristano, Marsh and Bauer (Prestige)
1953: Konitz Meets Mulligan (With Gerry Mulligan and Chet Baker) (Pacific)
1954: Konitz (Storyville)
1954: Jazz At Storyville (Storyville)
1954: In Harvard Square (Storyville)
1954: Lee Konitz With Warne Marsh (Atlantic)
1956: Lee Konitz Featuring Hans Koller, Lars Gullin, Roland Kovac (Swingtime)
1956: Inside Hi-Fi (Atlantic)
1957: Tranquility (Verve)
1957: The Real Lee Konitz (Atlantic)
1958: Very Cool (Verve)
1958: An Image: Lee Konitz with Strings (Verve)
1959: Lee Konitz Meets Jimmy Giuffre (Verve)
1959: You and Lee (Verve)
1961: Motion (Verve)
1965: Trio and Quartet (Magnetic)
1966: Modern Jazz Compositions from Haiti (Impulse!)
1967: The Lee Konitz Duets (Milestone: OJC)
1968: Impressive Rome (CAM)
1968: European Episode (CAM)
1969: Peacemeal (Milestone)
1970: Lee Konitz Sax Duets (Music Minus One)
1971: Spirits (Milestone: OJC)
1974: Jazz A Juan (SteepleChase)
1974: Satori (Milestone: OJC)
1974: Lone-Lee (SteepleChase)
1974: I Concentrate on You (A Tribute to Cole Porter) (SteepleChase)
1975: Warne Marsh Quintet: Jazz Exchange (Storyville)
1975: Hal Galper: Windows (SteepleChase)
1975: Trio: Oleo (Sonet)
1975: Chicago 'n' All That Jazz (Denon: LaserLight)
1976: Lee Konitz Meets Warne Marsh Again (PAUSA)
1976: Figure and Spirit (Progressive)
1977: The Lee Konitz Quintet (Chiaroscuro Records)
1977: The Lee Konitz Nonet (Chiaroscuro)
1977: Tenorlee (Candid)
1977: Pyramid (Improvising Artists)
1979: Seasons Change (Circle Records (Germany), with Karl Berger)
1979 Nonet: Live at Laren (Soul Note)
1979: Yes, Yes Nonet (Steeple Chase)
1980: Martial Solal: Live at the Berlin Jazz Days (MPS)
1980: Heroes (Verve)
1980: Anti-heroes (Verve)
1982: Toot Sweet (Owl)
Lee Konitz 456
1983: Glad, Koonix! (Dragon)

1983: Martial Solal: Star Eyes, Hamburg 1983 (HatOLOGY)
1983: Dovetail (Sunnyside)
1983: Dedicated To Lee: Lee Konitz Plays The Music of Lars Gullin (Dragon)
1983: Art of the Duo (Enja)
1984: Wild as Springtime (GFM)
1986: Quartet: Ideal Scene (Soul Note)
1986: Medium Rare (Label Bleu)
1987: Quartet: The New York Album (Soul Note)
1988: The Space Jazz Trio: Blew (Philology)
1988: Solitudes (Philology)
1989: In Rio (MA)
1989: Konitz in Denmark (Rightone)
1989: Round and Round (Music Masters)
1990: Frank Wunsch Quartet: S'Nice (Nabel)
1990: Zounds (Soul Note)
1990: Once Upon a Line (Musidisc)
1991: Lars Sjosten Quartet: Friends (Dragon)
1991: Lullaby of Birdland (Candid)
1992: The Jazzpar All Star Nonet: Leewise (Storyville)
1992: Jazz Nocturne (Evidence)
1992: Lunasea (Soul Note)
1992: From Newport to Nice (Philology)
1992: Frank-Lee Speaking (West Wind)
1993: Rhapsody (Evidence)
1993: Renato Sellani: Speakin' Lowly, Volume 1 (Philology)
1993: So Many Stars (Philology)
1993: Rhapsody II (Evidence)
1993: Italian Ballads, Volume1 (Philology)
1993: Brazilian Rhapsody (BMG: Music Masters)
1994: Orchestra Il Suono Improvviso: A Venezia (Philology)
1994: Swiss Kiss (TCB)
1995: Haiku (Nabel)
1995: Umberto Petrin: Breaths and Whispers (Homage to Alexandr Skrjabin) (Philology)
1995: John Pl Indreberg: Step Towards a Dream (Odin)
1995: Don Friedman: Attila Zoller: Thingin' (HatOLOGY)
1995: Move (Moon)
1995: Free with Lee(Philology)
1996: Alone Together (Blue Note)
1996: Live at the Manhattan Jazz Club (GAM)
1996: Guarana (AxolOtl Jazz)
1996: Unaccompanied Live in Yokohama (PSF)
1996: Strings for Holiday: A Tribute To Billie Holiday (Enja)
1996: Lee Konitz Meets Don Friedman (Camerata)
1996: It's You (SteepleChase)
1997: Twelve Gershwin in Twelve Keys (Philology)
1997: Out of Nowhere (SteepleChase)
Lee Konitz 457
1997: The Frankfurt Concert (West Wind)

1997: Dearly Beloved (SteepleChase)
1997: Body and Soul (Camerata)
1998: Saxophone Dreams (Koch)
1998: Inside Cole Porter (Philology)
1998: L'Age Mur (Philology)
1998: Tender Lee (for Chet) (Philology)
1998: Self Portrait (Philology)
1998: Dialogues (Challenge)
1999: Dig-It (SteepleChase)
1999: Three Guys (Enja)
1999: Trio: Another Shade of Blue (Blue Note)
2000: The Axis Quartet: Play French Impressionist Music from the Turn of the Twentieth Century (Palmetto)
2000: rich Perry: RichLee! (SteepleChase)
2000 Quartet: Sound of Surprise (RCA Victor)
2000: Pride (SteepleChase)
2001: Franco D'Andrea: Inside Rodgers (Philology)
2001: Renato Sellani: Minority, Volume 2: All The Way (The Soft Ways) (Philology)
2001 Trio: Some New Stuff (DIW)
2001 Quintet: Parallels (Chesky)
2002: Matt Wilson: Gong with Wind Suite (Steeplechase)
2002: Irio De Paula: Duas Contas (Philology)
2002: Barbara Casini: Outra Vez (Philology)
2002: At the New Mississippi Jazz Club (Philology)
2003: Live-Lee (Milestone)
2003: Stephano Bollani: Suite for Paolo (Philology)
2003: Kenny Werner: Unleemited (Owl)
2003: A Day in Florence (Philology)
2004: BargaLee (Philology)
2004: Sound-Lee (Membran International)
2004: One Day With Lee (Capri)
2006: Ohad Talmor String Project: Inventions(OmniTone)
2006: New Nonet (directed by Ohad Talmor) (OmniTone)
2007: Riccardo Arrighini: The Soprano Sax Album: Standards (Philology)
2007: Brian Dickenson: The Glen Gould Session (Philology)
2007: Ohad Talmor Big Band: Portology(featuring the Orquestra Jazz de Matosinhos) (OmniTone)
2008: Lee Konitz & Minsarah: Deep Lee (Featuring Jeff Denson, Florian weber, Ziv Ravitz) (ENJA)
2009: Lee Konitz / Dan Tepfer: Duos with Lee (Sunnyside)
2009: Lee Konitz New quartet: Live at the village Vanguard (Featuring Jeff Denson, Florian weber, Ziv Ravitz)
(ENJA)
Lee Konitz 458
As sideman
With Stan Kenton
City Of Glass
This Modern World
New Concepts Of Artistry In Rhythm
Sketches On Standards
Portraits On Standards
Kenton Showcase
With Gerry Mulligan
Lee Konitz And The Gerry Mulligan Quartet
Lee Konitz Plays With The Gerry Mulligan Quartet
With Miles Davis
Birth of the Cool (1949)
Miles Ahead (1957)
With Bill Evans
Crosscurrents (1977)
With Gil Evans
Gil Evans & Ten (1957)
With Lennie Tristano
Lennie Tristano (1956)
With others
1947 - Claude Thornhill and His Orchestra: The Uncollected Claude Thornhill and His Orchestra (Hindsight)
1949 - Lennie Tristano/Warne Marsh: Intuition (Capitol)
1968 - Attila Zoller: Zo-Ko-Ma (MPS Records)
1972 - Charles Mingus: Charles Mingus and Friends in Concert (Columbia)
2006 - Francois Thberge: Soliloque (Effendi Records)
2009 - Jakob Bro: Balladeering (Loveland Records)
With Arkadia Jazz All Stars
Thank You, Gerry!
Television appearances
SOLOS: The Jazz Sessions[7] (2004)
Weightless - a recording session with Jakob Bro (2009)
Further reading
Andy Hamilton: *Lee Konitz: Conversations on the Improviser's Art* (University of Michigan Press, 2007).
Crafted out of numerous interviews between the author and his subject, the book offers a unique account of Konitzs
life and music, detailing his own insights into his musical education and his experiences with such figures as Miles
Davis, Stan Kenton, Warne Marsh, Lennie Tristano, Charles Mingus, Bud Powell and Bill Evans.[8]
Lee Konitz 459
Compositions
Lee Konitz's compositions included "Subconscious-Lee", "Thingin'", "Sound-Lee", "Palo Alto", "Kary's Trance",
"Riffin'", "Self Portrait in Blues", "Back and Forth", "Figure and Spirit", "Ice Cream Konitz", "Dream Stepper",
"Without You Man", "Rebecca", "Mr. 88", "Hi Beck", "Tautology", "Sax of a Kind", "Progression", and "Gundula".
References
[1] Robinson, Michael. "An interview with Lee Konitz" (http:/ / www. sawf. org/ Newedit/ edit09182000/ musicarts. asp). . Retrieved
2007-05-31.
[2] "Ibid"; Gordon, Jack
[3] "Ibid"; Billy Taylor's Jazz at the Kennedy Center
[4] "Ibid"; Gordon, Jack
[5] "Ibid"; An Interview with Lee Konitz
[6] Jung, Fred. "A Fireside Chat With Lee Konitz" (http:/ / www. jazzweekly. com/ interviews/ konitz. htm). . Retrieved 2007-05-31.
[7] http:/ / www. solosjazz. com/ a_lee. php
[8] http:/ / www. press. umich. edu/ titleDetailDesc. do?id=130264
External links
A 1985 interview (http://www.melmartin.com/html_pages/Interviews/konitz.html)
Lee Konitz: 12 Memorable Duets (http://www.jazz.com/dozens/the-dozens-lee-konitz-duets) by Thierry
Qunum (Jazz.com)
Lee Konitz Trio: Live At The Village Vanguard (http://www.npr.org/templates/story/story.
php?storyId=122688265) by NPR
Azar Lawrence
Azar Lawrence (born 1953)[1] is an American jazz saxophonist, known for his contributions as sideman to McCoy
Tyner, Miles Davis, and Freddie Hubbard. Lawrence was the tenor saxophonist Tyner used following John
Coltrane's death.
Lawrence released Summer Solstice on Prestige Records in 1975, produced by Orrin Keepnews. It featured Raul de
Souza, Gerald Hayes, Amaury Tristo, Dom Salvador, Ron Carter, Guilherme Franco on the songs "Novo Ano" and
"Highway" which were composed by Amaury Tristo, and Lawrence, Souza, Albert Dailey, Carter and Billy Hart on
all other selections.
Bridge Into The New Age featured Jean Carn, Woody Shaw, Ray Straughter, Woody Murray, Clint Houston, Billy
Hart, Guillerme Franco, Julian Priester, Hadley Caliman, Black Arthur, Joe Bonner, John Heard, Leon "Ndugu"
Chancler, Mtume and Kenneth Nash.
People Moving featured Patrice Rushen, Jerry Peters, Michael Stanton, John Rowin, Lee Ritenour, Paul Jackson,
Harvey Mason.
Musician and screenwriter Hebert Baker taught music and mentored Lawrence, who recalled Baker as "one of the
greatest pianists who ever lived" and taught Lawrence to reach down deep inside himself for his music.[2]
Azar Lawrence 460
Discography
As leader
1974: Bridge into the New Age (Prestige)
1975: Summer Solstice (Prestige)
1976: People Moving (Prestige)
2009: Prayer For My Ancestors (Furthermore)
2010: Mystic Journey (Furthermore)
As sideman
With Mulatu Astatke
Timeless (2010, Mochilla)
With Henry Butler
Fivin' Around (1986, Impulse!/MCA)
With Miles Davis
Dark Magus (1977)
With Henry Franklin
If We Should Meet Again (2007, Skipper Productions)
Home Cookin (2007, Skipper Productions)
With Gene Harris
In a Special Way (1976)
With Freddie Hubbard
Bundle of Joy (1977)
With Woody Shaw
The Moontrane (1974, Muse)
With The 360 Degree Music Experience
In: Sanity (Black Saint, 1976)
With McCoy Tyner
Enlightenment (1973, Milestone)
Sama Layuca (1974, Milestone)
Atlantis (1974, Milestone)
With Harry Whitaker
Black Renaissance (1976, Bay State/Ubiquity)
References
[1] Allmusic biography (http:/ / www. allmusic. com/ artist/ p8998/ discography)
[2] http:/ / www. thebottomend. co. uk/ Azar_Lawrence_artists. php
Dave Liebman 461
Dave Liebman
Dave Liebman (born on 4 September 1946, Brooklyn, New York) is an American saxophonist and flautist.[1] In
June 2010, he received a NEA Jazz Masters lifetime achievement award from the National Endowment for the Arts.
Biography
David Liebman was born into a Jewish family in Brooklyn, New York, on September 4, 1946. He began classical
piano lessons at the age of nine and saxophone by twelve. His interest in jazz was sparked by seeing John Coltrane
perform live in New York City clubs such as Birdland, the Village Vanguard and the Half Note. Throughout high
school and college, Liebman pursued his jazz interest by studying with Joe Allard, Lennie Tristano, and Charles
Lloyd. Upon graduation from New York University (with a degree in American History), he began to seriously
devote himself to the full-time pursuit of being a jazz artist.
In the early 1970s, after recording with Genya Ravan and Ten Wheel Drive, Liebman took the leading role (as
President) in organizing several dozen musicians into a cooperative, Free Life Communication, which became an
integral part of the fertile New York loft jazz scene in the early 1970s and was funded by The New York State
Council of the Arts and the Space for Innovative Development. After one year spent with Ten Wheel Drive, one of
the early jazz fusion groups, Liebman secured the saxophone/flute position with the group of John Coltrane's
drummer, Elvin Jones. Within two years, Liebman reached the zenith of his apprenticeship period when Miles Davis
hired him. These years, 197074, were filled with tours and recordings. At the same time, Liebman began exploring
his own music, first in the Open Sky Trio with Bob Moses and then with pianist Richie Beirach in the group Lookout
Farm. This group recorded for the German-based ECM label as well as A&M Records while touring the U.S.,
Canada, India, Japan and Europe. Lookout Farm was awarded the number one position in the category "Group
Deserving of Wider Recognition"in the 1976 Down Beat's International Critics' Poll.
In 1977, Liebman did a world tour with pianist Chick Corea, followed up the next year by the formation of the David
Liebman Quintet with John Scofield, Kenny Kirkland and Terumasa Hino as featured sidemen. After several world
tours and recordings by the quintet over three years, he reunited with Richard Beirach. They began performing and
recording as a duo, as well as creating the group Quest in 1981. Beginning with bassist George Mraz and drummer
Al Foster, the group solidified when Ron McClure and Billy Hart joined in 1984. Through 1991, Quest recorded
seven CDs, toured extensively and did many workshops with students worldwide.
Liebman's present group, formed in 1991, includes guitarist Vic Juris, bassist Tony Marino and drummer Marko
Marcinko. With these musicians, he has pursued an eclectic direction in recording projects that has ranged from jazz
standards to Puccini arias, original adaptations from the John Coltrane and Miles Davis repertoires, original
compositions in styles ranging from world music to fusion, always maintaining a repertoire that balances the past,
present and future.
Over the past decades, Liebman has often been featured with top European jazz artists such as Joachim Khn, Daniel
Humair, Paolo Fresu, Jon Christensen, Bobo Stenson and in the World View Trio with Austrian drummer Wolfgang
Reisenger and French bassist Jean-Paul Celea. His ability to play in so many diverse styles has led to big band and
radio orchestra performances with the Brussels Jazz Orchestra, the WDR and NDR in Germany, the Metropole
Orchestra of the Netherlands, the new music group Klangforum from Vienna and, most notably, Liebman was the
first improviser to perform with the world famous Ensemble InterContemporain founded by Pierre Boulez in France.
On all these occasions, the music is arranged from Liebman's own compositions and improvisations. He has
consistently placed among the top finalists in the Down Beat Critics' Poll since 1973 in the Soprano Saxophone
category. David Liebman has been featured on several hundred recordings of which he has been the leader or
co-leader on over one hundred. Nearly three hundred original compositions have been recorded. His artistic output
has ranged from straight-ahead classic jazz to chamber music, from fusion to avant garde, with numerous CDs
Dave Liebman 462
featuring original arrangements of the music of Monk, Miles Davis, Coltrane, Kurt Weill, Alec Wilder, Cole Porter,
Jobim and Puccini.
Liebman has published material on a variety of subjects including instructional DVDs. He has also published
chamber music and over the years has contributed regularly to various periodicals, such as the Saxophone Journal
and the International Association of Jazz Educators Journal. He is the author of several milestone books: Self
Portrait of a Jazz Artist, A Chromatic Approach to Jazz Harmony and Melody, Developing a Personal Saxophone
Sound and numerous others, several of which have been translated into other languages.
His teaching activities at universities and in clinic settings have taken him literally around the world as a result of his
varied musical directions and expertise on several instruments, along with an ability to articulate the intricacies of
the jazz language, aesthetic and technique. Over the years, he has regularly received grantees to study with him
funded by the NEA (U.S.), the Canadian Arts Council, as well as Arts Councils of numerous European countries. In
1989, he founded the International Association of Schools of Jazz (IASJ), an organization dedicated to networking
educators and students from international jazz schools through periodic meetings, exchange programs and
newsletters. Liebman presently serves as the Artistic Director of the IASJ. He scored music for the JazzEx Ballet
Company in the Netherlands in the early 1990s and Ocean of Light for Katrina and the Tsunami tragedies in 2006.
Liebman has received several distinguished awards including two NEA grants for composition and performance; an
Honorary Doctorate from the Sibelius Academy of Helsinki, Finland; a Grammy nomination for Best Solo
Performance in 1998 and Best Arrangement for Big Band in 2005; induction into the International Association of
Jazz Educator's Hall of Fame in 2000; Artist Grant from the Pennsylvania Council of the Arts in 2005; and Jazz
Journalist Award for Soprano Sax in 2007. In June 2010, Liebman received a 2011 NEA Jazz Masters lifetime
achievement award from the National Endowment for the Arts, including a stipend of $25,000.[2] [3]
Discography
As leader
Year Album
Personnel Label
1973 Lookout Farm Frank Tusa, Don Alias, Jeff Williams, John Abercrombie, Richard Beirach, Badal ECM
Roy
1973 Drum Ode Gene Perla, Barry Altschul, Collin Walcott ECM
1973 First Visit Richie Beirach, Dave Holland, Jack DeJohnette Phillips
LP reissued by West 54
Records
CD reissued by West Wind
[4]
Records
1976 Light'n Up Please Chris Hayes, Pee Wee Ellis, Jumma Santos, Al Foster, Jeff Berlin, Tony Saunders A&M/Horizon Records
1978 Pendulum! Randy Brecker, Richard Beirach, Frank Tusa, Al Foster Artists House
1998 The Elements: Water - David Liebman (soprano saxophone, tenor saxophone, wood flute), Pat Metheny Arkadia Entertainment Corp.
Giver Of Life (guitars), Bill Hart (drums), Cecil McBee (bass)
Dave Liebman 463
As sideman
With Miles Davis
On the Corner
Dark Magus
Get Up with It
1967
Och Hans Vanner: Lars Werner, Love (Sweden)
1970
Nightscapes: David Liebman/Carvel Six, CBS/Sony (Japan)
Hino's Journey To Air: Terumasa Hino, Love TP (Japan)
Brief Replies: Ten Wheel Drive, Polydor
Peculiar Friends: Ten Wheel Drive, Polydor
The Best Of Ten Wheel Drive: Polydor
1971
My Goal's Beyond: Mahavishnu John McLaughlin, Douglas
Genesis: Elvin Jones, Blue Note
Merry-Go-Round: Elvin Jones, Blue Note
1972
Open Sky: Open Sky Trio
Mr. Jones: Elvin Jones, Blue Note
Live At The Lighthouse: Elvin Jones, Blue Note (re-released 1990) Vols. 12, Blue Note
Jazz Jamboree '72: Elvin Jones, Polskie Nagruna (Poland)
From A Whisper To A Scream: Esther Phillips, Kudo
1973
People In Me: Abbey Lincoln, Inner City (Nippon Phonogram, Japan)
Spirit In The Sky: Open Sky Trio, P.M.
1974
Dark Magus: Miles Davis, CBS/Sony
Drum Ode: David Liebman, ECM/Polydor (Germany)
Get Up With It: Miles Davis, Columbia
Somesvilles: Fred Thompkins, Festival
1975
Ljubljana Jazz Festival '75: Na Koncertinom Podiju (various artists) Jugoton (Yugoslavia)
Year Of The Ear: Baird Hersey, Bent BRSI
Sweet Hands: David Liebman, A&M;/Horizon
Live From Onkel Po's Carnegie Hall: (various artists with Lookout Farm), Polydor (Europe)
Father Time: Frank Tusa, Inner City (Enja-Germany)
Passing Dreams: Badal Roy, Adamo
Ashiribad: Badal Roy, Trio (Japan)
Forgotten Fantasies: David Liebman/Richard Beirach, A&M;/Horizon
Bittersuite In The Ozone: Bob Moses, Mozown
From Russia With Jazz: Prince Igor Yahivelich, Different Drummer
What'cha Gonna Do For Me: Steve Satten, Columbia
1976
Dave Liebman 464
Wishes/Kochi: Masabumi Kikuchi, East Wind (Japan), Inner City

A Place Within, Link Chamberlain: Muse (*also released as: What's New, David Liebman, Jacobson Tobacco
Road Germany)
Main Force: Elvin Jones, Vanguard
The Last Call: David Liebman, Ego (Germany)
1977
New Moon In Zytron: Jame Zytro, Pacific Arts
Bishop's Bag: Bishop Norman Williams, Theresa
1978
Pendulum: David Liebman, Artist's House
Mosaic Select 32-(3 CDs): Live at the Village Vanguard with Richie Beirach, randy Brekcer, Al Foster, Frank
Tusa
Omert: David Liebman/Richard Beirach, Trio, Breaktime (Japan)
Tiger In The Rain: Michael Franks, Warner Bros.
Flaming Spirit: Ric Drexler, Claremont
Nature's Revenge: Ryo Kawasaki, MPS
1979
The Opal Heart: David Liebman, Enja (Germany)
Matsuri: Yoshio "Chin" Suzuki, CBS/Sony (Japan)
All-In All-Out: Masahiko Satoh, CBS/Sony (Japan)
Faun: John McNeil, Steeplechase (Denmark)
Secret Places: Nina Sheldon, Plug
City Connection: Terumasa Hino, Flying Disc (Japan)
Dancing On The Table: Niels Henning Orsted Pedersen, Steeplechase (Denmark)
Doin' It Again: David Liebman, Timeless (Holland)
"Mr. Foster": Al Foster, Nippon/Columbia (Japan)
Who's Who: John Scofield, Arista Novus
Family: Bob Moses, Sutra (also titled: Devotion, Soul Note, Italy)
Wheels Of Colored Light: Bob Moses, Open Mind (Germany)
Home: Steve Swallow, ECM (Germany)
Dedications: David Liebman, CMP (Germany)
What It Is: David Liebman, CBS/Sony (Japan) Columbia (USA)
1980
Day Dream: Terumasa Hino, Flying Disk (Japan)
Heads Up: Stone Alliance, PM Records
If They Only Knew: David Liebman, Timeless (Holland), MCA - Impulse (USA)
Susto: Masabumi Kikuchi, Columbia (Japan)
Minerva's Owl:Aki Takase, Continental (Japan)
Mountain: Nobuyoshi Ino, Nippon/Columbia (Japan)
1981
Impressions Of Charles Mingus: Teo Macero, Palo Alto
Clean Sweep: John McNeil, Steeplechase (Denmark)
Wings: Yoshio "Chin" Suzuki, Trio (Japan)
Fusion Super Jam: Aurex Jazz '81, EWJ 80210 (Japan)
Visiting This Planet: Tisziji Munoz, Anami Music
Dave Liebman 465
Memories, Dreams and Reflections: David Liebman, P.M. Records

Hearing Voices: Tisziji Munoz, Anami Music
Quest: Liebman/Beirach Quartet, Trio, Breaktime (Japan), Palo Alto (USA)
So Nobody Else Can Hear: Jimmy Cobb, CVR (rereleased on Estee Disc 0049)
Coupe De Tete: Kip Hanrahan, American Clave
1982
Earth Jones: Elvin Jones, Palo Alto
(rereleased on Quicksilver QSCD4015)Mistletoe Music: (various artists), Palo Alto
"Lieb" Close-Up: David Liebman, CVR
Spirit Renewed: David Liebman, Bob Moses, Eddie Gomez, Timeline Records (France 1991)
Dogatana: Kazumi Watanabe, Better Days, Nippon Columbia
1983
Symbols Of Hopi: Jill McManus, Concord
Mars: Steve Masakowski, Prescription Records
Things We Did Last Summer: John McNeil, Steeplechase (Denmark)
Picadilly Lilly: University of Miami Concert Jazz Band
Introspection: Jukkis Votilla, Finn Records, Polydor (Finland)
Visit With The Great Spirit: Bob Moses, Gramavision
1984
Sweet Fury: David Liebman, From Bebop to Now (Canada)
The Spell: Klaus Ignatzek, Nabel (Germany)
1985
Picture Show: David Liebman, PM Records
Tender Mercies: Klaus Ignatzek, Nabel Records (Germany)
Double Edge: David Liebman/Richard Beirach, Storyville (Denmark)
The Duo Live: David Liebman/Richard Beirach, Advance Music (Germany)
New Hands: Lars Danielsson, Dragon (Sweden)
Guided Dream: Tolvan Big Band with David Liebman, Dragon (Sweden)
The Loneliness Of A Long Distance Runner: David Liebman, CMP (Germany)
Acoustical Suspension: Teo Macero, Teresa Gramophone Dr. Jazz FW
1986
The Story Of Moses: Bob Moses, Gramavision
Quest II: Liebman/Beirach Quartet, Storyville (Denmark)
Inner Voices: Paolo Fresu, Splash (Italy)
Inner Rhythm: Robert Jospe, Tundra
1987
Homage To John Coltrane: David Liebman, Owl/EMI Records (France), Blue Note (USA), rereleased by
Universal in 2002
Midpoint: Quest, Storyville (Denmark)
The Energy Of The Chance: David Liebman and Dave Love, Heads Up
A Tribute To John Coltrane: David Liebman/Wayne Shorter, King-Paddle Wheel (Japan), Columbia Records
(USA)
Rah: Billy Hart, Gramavision
Abracadabra: Jeff Palmer, Soul Note (Italy)
Men's Land: Michel Portal, Label Bleu (France)
Dave Liebman 466
1988
New York Nights: Quest, Pan (Japan)
Trio Plus One: David Liebman, Owl/EMI (France)
Natural Selection: Quest, Evidence
Unexpected: Zaviot with David Liebman, Jazz Is (Israel)
A Sip Of Your Touch: Riccardo Del Fra, Ida (France)
Voice Of The Wind: Ed Sarath, Timeline (France)
Day And Night: McGill Jazz Ensemble with David Liebman, McGill (Canada)
1989
Trio Plays Cole Porter: Red Records (Italy)
Timeline: David Liebman, Owl/EMI (France)
Visions: Tom Harrell, Contemporary
Chant: Daivd Liebman & Richard Beirach, CMP (Germany)
Sail Away: Tom Harrell, Contemporary
Something Else: Jack Bruce, CMP (Germany)
Nine Again: David Liebman & Franco D'Andrea, Red Records (Italy)
Tomorrow's Expectations: David Liebman & Caris Visentin with the Ronan Guilfoyle Trio, FMC (Ireland)
Schoenberg Improvisations: Harry Pepl, Amadeo (Austria)
The Blessing Of The Old, Long Sound: David Liebman, New Sound Planet (Italy)
The House On Lefferts Blvd.: Yosi Levy, MCI (Israel)
Homecoming: Abbey Rader [5], Cadence
1990
Exaton: Christian LeDelezir, Exaton (France)
Manu Pekar And Guests: Columbia (France)
The Tree: David Liebman, Soul Note (Italy)
One OF A Kind: David Liebman, Line Records (Germany)
(*Compilation CD of "Memories, Dreams and Reflections" and "Picture Show" PM Records)
Of One Mind: Quest, CMP (Germany)
West Side Story Today: David Liebman/Gil Goldstein, Owl/EMI (France)
Pacific Rim: Phillip Kahn, Borland International
Portal: Gurtu, Cinelu, Liebman, Live In Lille, Sari Seeri (France)
Bestial Cluster: Mick Karn, CMP (Germany)
1991
Classic Ballads: David Liebman, Candid (England)
Looking For The LightA Tribute to Chet Baker: Phil Markowitz, CB Records
Classique: David Liebman, Owl/EMI (France)
Poem: Lars Danielsson, Dragon (Sweden)
Fresh Enough: Lars Danielsson, Bellaphon (Germany)
Blues For McCoy: David Panichi, Spirit Song
Convergence: Gunnar Mossblad, Mossblad Music
So In Love: Craig Fraedrich, Positive Music
Anadolu: Aydin Esen, Columbia/CBS Sony
The Moment: Yoshio "Chin" Suzuki, One Voice (Japan)
Sailing Stone: Motohiko Hino, Fun House (Japan)
Last Day In May: Ed Sarath, Konnex (Germany)
1992
Dave Liebman 467
Setting The Standard: David Liebman, Red Records (Italy)

Stranger In Brooklyn: Mike Zilber, Owl/EMI (France)
Turn It Around: David Liebman, Owl/EMI (France)
Turandot: Bob Belden, Blue Note (Japan)
The Yin And The Yout: Paul Wertigo, Vera Bra (Germany)
Joy: David Liebman with the JMU Ensemble, Candid (England)
Sax Legends 1 And 2: various artists, Paddle Wheel (Japan), Evidence (USA)
(also released as: The Colossal Saxophone Sessions, Evidence, USA) Life's A Lesson: Ben Sidran, Go Jazz
(Japan)
The Seasons: David Liebman, Soul Note (Italy)
New Songs: Manu Pekar, Gorgone (France)
Island: Shiro Mori, Verve Forecast, Polydor K.K (Japan)
1993
Besame Mucho: David Liebman, Red Records (Italy)
Key Of The Moment: Peter Weniger, Mons (Germany)
Tales From The Reefs: Bocle Brothers, One (France)
It's There: Motohiko Hino, Fun House (Japan)
King Oedipus: Peter Herbert, Milenium (Austria)
Time Changes: Jerry Hahn, Enja (Germany)
RH Factor: Reuben Hoch, Bellaphon (Germany)
The Gatecrasher: Andreas Manndorf (Austria)
Klang Debuts: MHS Big Band St. Gut (Austria)
1994
Far North: Liebman, Danielsson, Christensen, Stenson, Curling Legs (Norway)
Miles Away: David Liebman, Owl/EMI (France), Blue Note (USA)
Particular Vernacular: Bill Gerhardt Planet X (Netherlands)
True Image: Jarmo Savolinen, Challenge Records (Netherlands)
Gulf: Intergalactic Ballet, TipToe (Germany)
Falling Stones: David Liebman with Marc van Roon Trio, Mons (Germany)
Songs For My Daughter: David Liebman, Soul Note (Italy)
Graphic Reality: David Liebman and Miku Narunsky, Owl/EMI (France)
Impressions: Afro Blue Band, Milestone
Zyphoid Process: Scott Cutshall, CMP (Germany)
From Me To You: Ulf Radelius, DEP (Sweden)
When Granny Sleeps: When Granny Sleeps, Storyville (Denmark)
Sliding In: Pete McGuinness, Episode
1995
Adventures: Ken Sangster, Jazz Focus (Canada)
No Images: John Hollenbeck (CRI)
Luis Vidal with David Liebman: Fresh Sound (Spain)
Orchestre De Cambra, Luis Vidal and David Liebman: Fresh Sound (Spain)
Mr. X: Mordy Ferber, Ozone
New York Rendezvous: Didier Lockwood, JMS (France)
In The Same Breath: David Liebman, Wolfgang Muthspiel, Mick Goodrick, CMP (Germany)
Voyage: David Liebman, Evidence
Prayer For My Father: Valery Volkov, Sigman International
Dave Liebman 468
Miss You In New York: T Square, CBS/Sony (Japan)

Adventure Publique: Papaq (France)
If I Only Knew: Reuben Hoch, Bellaphon (Germany)
Meditations Suite: David Liebman, Arkadia Jazz
Souls and Masters: David Liebman and Mike Gerber, Cactus(Canada)
1996
New York Breed: Conrad Herwig, Double Time
Return Of The Tenor - Standards: David Liebman, Double Time
Quatre Fois Trois: Daniel Humair, Label Bleu (France)
World View: David Liebman, Jean Paul Celea, Wolfgang Reisinger, Label Bleu (France)
Live In NY: Liebman, Danielsson, Stenson, Christensen, Dragon (Sweden)
And Into The Light: Greg Waits, Jagre Music
Dis Tanz: Michael Nick,Transes Europeenes(France)
New Vista: David Liebman, Arkadia Jazz
An Echoed Smile: Matt Ballisteras, Palmetto
The Music Of Alec Wilder: Vic Juris, Double Time
Thought Provoking: Rick DellaRatta, Stella
But Beautiful: Dave Liebman, Phil Markowitz, Sunshine Digital (Japan)
Homepage: Uli Rennert, SOS Music (Austria)
Rencontre: Papaq with David Liebman (France)
The Four Elements: Jens Winther, Stunt (Denmark)
1997
Affairs: Rolf Kuhn, Intuition (Germany)
Inner Voices: David Liebman, Abbey Rader [5], Abray
Swing Time: Peter LaRoca (Sims), Blue Note
Off The Coast: Terumasa Hino, Sweet Basil (Japan)
Time Immemorial: David Liebman, ENJA (Germany)
Free Time: Nick Bissesi, Hallway
A Walk in the Clouds... Liebman Plays Puccini: David Liebman, Arkadia Jazz
Hunters-Gatherers: Liebman, Votilla, Jormin, Savolinen (Double Time)
1998
Orphee: Allie Defau,Night and Day(France)
Jazz Pioneers of the 70s: with Randy Brecker,Pat Martino,Al Foster,Buster Williams,JoAnne Brackeen, 201
Music
Thank You, John: Arkadia All Stars, Arkadia (Liebman cut nominated for Grammy)
Panthalassa: Bill Laswell with Miles Davis,Columbia
Endless Miles: with various artists,N2K
Invisible City: Andre Bush,Odd Culture
Pink Elephant Magic: JoAnne Brackeen,Arkadia
Sacred System Nagual Site: Bill Laswell,Wicklow
Innermedium: Robert Musso, DIW
Taurus People: John Nugent, Jazz Focus(Canada)
Metal Caribe: Richie Zellon,Song-o-saurus
Spirit Child: Lenora Helms,J Curve
Missing a Page: David Liebman,Jean Paul Celea,Wolfgag Reisinger,Label Bleu(France)
After Dark: David Liebman with the Ronan Guilfoyle Trio,IMC(Ireland)
Dave Liebman 469
Suite for Soprano Sax and Strings: David Liebman with Florian Ross,Naxos
Detroit Montreux Jazz Festival: Ford Motor Corporation
Pantau-X:Uli Soykal,Pantau(Austria)
Sombritude: Amdy Emler, Casa(France)
I Mean You: Peter Weniger,Mons(Germany)
Meeting Two,Ravi Magnifique,Au Merle Moquer (France)
Stamm/Soph Project: Marvin Stamm, Marstam
Petty Theft: SkipWilkins and Jill Allen, Cathexis
Atelier Musicale Del Ventesimo Secolo: Liebman, Celea, Reisinger, Associazone Culturale(Italy)
Passing Dreams: Badal Roy, Greetika (new tracks added to original 1975 recording)
The Banff Sessions: John Stowell, Origin
Le Jazz Hot: Bill Warfield Big Band featuring Dave Liebman, Planet Arts
Colors:: David Liebman, Hatology (Switzerland)
1999
Monk's Mood :Dave Liebman Trio,Double Time Jazz
Purple Circles: Misako Kano,Jazz Focus(Canada)
Presence of Joy: Tisziji Munoz,Anami Records
In Color: Peter Wettre Trio,Resonant Music (Norway)
The Unknown Jobim: Dave Liebman Group,GMN
Dark Star: Teo Macero TMP 03
Inner Voices Live: Dave Liebman and Abbey Rader [5], Abray
IASJ Gala Concert 4 April 1998 featuring Michael Brecker, David Liebman, IASJ
2000
Topaz Under the Moon: Jeff Rehab, Topaz
Tour De Force: David Liebman and Petter Wettre, Household Records (Norway)
Second Voyage: Lewis Porter, Altrisuoni(Italy)
The Daedalus Project-Labyrinth: Dimitrious Vassilakis, Candid (England)
Among Birds and Beasts: Marc Van Roon and David Liebman, Apple on the Moon (Holland)
Clear Day: JD Walter with David Liebman, Double Time
The Human Spirit: Tisziji Munoz, Anami Records
In Harmony's Way: Jeff Berlin, MAJ Records
Live At Big Mama's: Maurizio Giammarco and David Liebman, Soul Note (Italy)
Live at the Jazz School: David Liebman and Mike Zilber, Jazzschool Records
2001
In a Mellow Tone: Dave Liebman Group, Zoho
Latin-Genesis: w/Dan Moretti, Don Braden,Whaling City Sound
Ghosts: Reisinger, Liebman, Celea-Nightbird(France)
Sylvan Treasure: Jesse Green, (Chiaroscuro)
Beyond the Line: David Liebman Big Band, Omnitone Records
Lichtblau: Andre Nendza-Crecycle Music(Germany)
Nuage: Jeff Johnston-Justin Time (Canada)
Lunar: David Liebman/Marc Copland Quartet- Hatology Records(Switzerland)
Cosmos: David Liebman and Abbey Rader [5]- Cadence CJR1158
Hope: Piotr Wjastik, Power Bros. (Poland)
Sketches of Spain: David Liebman with the Manhattan School of Music
Dave Liebman 470
Jazz Orchestra, Jazzheads

Ringin' Bells: Alesandro Fabri Quartet, Via Venuto Jazz Records (Italy)
Live at the Jazz School: David Liebman and Mike Zilber, Jazzschool Records
To Music: Jim Robitaille, Whailing City Sound
2002
Le Jazz Est Un Roman: Alain Gerber, Owl(France)
Feel: Cues Trio Meets Dave Liebman, Abeat(Italy)
Bookends: David Liebman and Marc Copland, Hatology(Switzerland)
These are Them: Al Ashley, Jazz Land
Monsoon: Scott Dubois, Soul Note(Italy)
2003
Conversation: Dave Liebman Group, Sunnyside
In Berlin: Andreas Schmidt and Friends, Jazzmusic (Germany)
Human Circle: The Wayfarer: Dave Liebman with the Budapest Jazz Orchestra, BMC (Hungary)
Line Ish: w/ Tony Bianco, Tony Marino, Emanem (England)
Seasons Revisited: David Liebman w/ the Gunnar Mossblad Ensemble, Soul Note (Italy)
Cruisin': Juergen Seefelder,West Wind (Germany)
Reasons for Christmas: Various Artists, PATH
Snake Charmer: Rez Abbasi, Earth Sounds
Lieb Plays Alec Wilder: Daybreak (Netherlands)
Monkey Dance: Tony Bianco, FMR Records (England)
In Berlin: Andreas Schmidt and Friends, Jazzmusic (Germany)
Day and Nite: David Liebman and Mike Murley, Cornerstone (Canada)
2004
Gathering of Spirits: Saxophone Summit (Liebman, Brecker, Lovano), Telarc
Caminando: Jean-Marie Machado / David Liebman, PAO Records (Austria)
David Liebman and Richie Beirach Retrospective: Mosaic Select Series #12
Second Look: Vic Juris, Mel Bay Records
Different But The Same: David Liebman and Ellery Eskelin, Hatology (Switzerland)
Selected as 2nd Best of the Year -Falter Weekly-Vienna, Austria
Oracion: Guillermo McGill, Karonte (Spain)
Manhattan Dialogues: David Liebman and Phil Markowitz, Zoho
Fusion for Miles - A Guitar Tribute: Jeff Richmond, Tone Center
Harrison on Harrison: Joel Harrison, High Note
After Utopia: Andy Sugg, Newmarket Music (Australia)
Refusion: Wolfgang Reisinger, Universal (Austria)
Jazz My Soul: Jazz Explorers, Rhythm Dynamics 200
2005
Flashpoint: David Liebman with Steve Smith, Aydin Esen, Anthony Jackson, Tone Center
Spectacles: Andre Nendza's A.Tronic-Jazzsick(Germany)
Miles Ahead: Dave Liebman with the Manhattan School Orchestra, Jazzheads
Blues All Ways: Dave Liebman, Omnitone
Negative Space: Dave Liebman with Roberto Tarenzi, Tony Arco, Paolo Benedittini, Verve
Grey Matters: David Kane, Magellan
The Distance Runner: David Liebman Solo Performance, Hatology(Switzerland)
Dave Liebman 471
Exploration: C.Dal Sasso, Nocturne(France)

Three For All: David Liebman, Steve Swallow, Adam Nussbaum(We Three), Challenge(Netherlands)
Tiger by the Tail: George Gruntz Concert Jazz Band, Montreux (Switzerland)
Faces: Jean Charles Richard, Herade (France)
Vienna Dialogues: David Liebman and Bobby Avey, ZoHo
4 More: Thomas Carbou, Twinz
Redemption: Quest, Hatology (Switzerland)
Forever Lost: Jiannis Pavlidis (England)
Dream of Nite: Dave Liebman with Roberto Tarenzi, Tony Arco, Paolo Benedittini, Verve
2006
Machinery of the Night: David Kane, Magellan
Depth of Emotion: Ed Saindon, World Improvised Music
Traces: Dan Stern, Kvetch Records Ltd (England)
Back On the Corner: David Liebman Group with Mike Stern and Anthony Jackson, Tone Center
Waters Ashore: with Misha Feigin and LaDonna Smith, Transmuseq Records
New Light - Live in Oslo: Pettre Wettre, Gene Perla, Scott Neuman, PM Records
Identita': Massimo Manzi, Wide Records (Italy)
Origin: Emre Katari, Rec Jazz (Turkey)
Kopacoustic: Music from the Kopa Festival (Sweden)
Autumn Suite: Jarek Smietana, CDJASR (Poland)
2007
Seraphic Light: Saxophone Summit (Liebman, Lovano, Coltrane), Telarc
Something Sentimental: Nuttree Quartet with Adam Nussbaum, John Abercrombie, Jay Anderson, Kind of
Blue(Switzerland)
Renewal: David Liebman and Ellery Eskelin, Hatology (Switzerland)
Nomads: David Liebman and Michael Stephans, ITM (Germany)
Further Conversations: Dave Liebman Group, True Azul
Live at the IAJE: Dave Liebman Group, On Site Recording
Mona Lisa Puzzle: Hey Rim Jeon, Jazz Jeon Records
The Comet's Tail: Chuck Owen and the Jazz Surge Perform the Compositions of Michael Brecker, Mama
Records
Study in Contrast: Teo Macero, Teo Productions Inc.
Obligatory Villagers: Nellie McKay, Hungry Mouse Records
Miles from India: Various Artists, Times Square
Unibrain: Kakaphonic-Boom a Room
2008
Strength to Climb: Jazz Explorers, Jazz Explorers
Lieb Plays Kurt Weil: Daybreak (Netherlands)
Liebman Meets Intra Live: with Enrico Intra, Alfa (Italy)
Porgy and Bess: Dave Liebman with the Manhattan School Orchestra, Jazzheads
Remembering The Future: Jon Hemmersam, NCB (Denmark)
Live at the Jazz Standard: Mateusz Kotakowski and Dave Liebman,Fenom Media(Poland)
Free 4 DAG: Simon Goubert,CR(France)
Dave Liebman 472
References
[1] Allmusic (http:/ / www. allmusic. com/ artist/ p98423/ discography)
[2] http:/ / artsbeat. blogs. nytimes. com/ 2010/ 06/ 24/ nea-will-honor-18-artists/ NEA Will Honor 18 Artists
[3] National Endowment for the Arts (June 24, 2010). "National Endowment for the Arts Announces the 2011 NEA Jazz Masters" (http:/ / www.
arts. gov/ honors/ jazz/ 2011-NEA-Jazz-Masters-Announced. html). Washington: National Endowment for the Arts. . Retrieved July 19, 2010.
[4] Allmusic (http:/ / www. allmusic. com/ album/ 1st-visit-r162794)
[5] http:/ / www. abbeyrader. com/
External links
Dave Liebman's web site (http://www.davidliebman.com/)
Dave Liebman at AllAboutJazz.com (http://www.allaboutjazz.com/php/musician.php?id=8748)
Interview with Dave Liebman (http://www.allaboutjazz.com/php/article.php?id=14749)
"In Conversation with Dave Liebman" (http://www.jazz.com/features-and-interviews/2009/1/3/
in-conversation-with-dave-liebman) by Ted Panken
( Jazz.com (http://www.jazz.com))
Teo Macero 473
Teo Macero
Teo Macero
Macero at the first Miles Davis Conference held at Washington University in St. Louis, MO on May 11, 1996
(photo:Catherine Rankovic).
Birth name Attilio Joseph Macero
Also known as Teo Macero
Origin Glens Falls, New York, U.S.
Died February 19, 2008 (aged82)

New York, U.S.
Genres Jazz, Classical, Third Stream, Orchestral jazz
Occupations Composer, saxophonist, Producer
Labels Columbia
Associated acts Miles Davis, Charles Mingus, Thelonious Monk, Dave Brubeck
Teo Macero (October 30, 1925 February 19, 2008), born Attilio Joseph Macero, was an American jazz
saxophonist, composer, and record producer. He was a producer at Columbia Records for twenty years, and most
notably produced the Miles Davis album, Kind of Blue, which at #12, is the highest-ranked jazz album on Rolling
Stone's 500 Greatest Albums of All Time, and according to the RIAA, is the best-selling jazz album of all time.
Macero also produced Davis' Bitches Brew, and Dave Brubeck's Time Out, which, along with Kind of Blue, are three
of the best-known and most influential jazz albums of all time.
Teo Macero 474
Biography
Early work
Teo Macero was born and raised in Glens Falls, New York. After serving in the United States Navy, he moved to
New York City in 1948 to attend the Juilliard School of Music. He studied composition, and graduated from Juilliard
in 1953 with Bachelor's and Master's degrees.
In 1953, Macero co-founded Charles Mingus' Jazz Composers Workshop, and became a major contributor to the
New York City avant-garde jazz scene. As a composer, Macero wrote in an atonal style, as well as in third Stream, a
synthesis of jazz and classical music. He performed live, and recorded several albums with Mingus and the other
Workshop members over the next three years, including Jazzical Moods (in 1954) and Jazz Composers Workshop (in
1955).
During this time, Macero also recorded Explorations (DLP-6). While he had contributed compositions to other
albums, this was the first full album of his own compositions, and Macero's first album as a leader. Macero plays
tenor and alto saxophones on the album, and is joined by Orlando DiGirolamo on accordion, both Mingus and Lou
Labella on basses, and Ed Shaughnessy on drums. Explorations was originally released in 1954 on Mingus' Debut
Records, and was reissued on CD in 2006 on Fresh Sounds Records, with additional tracks.
The 1958 short experimental film Bridges-Go-Round by filmmaker Shirley Clarke featured two alternative
soundtracks, one by Louis and Bebe Barron and one by Macero.
Columbia Records producer

Macero found greater fame as a producer for Columbia Records. He joined Columbia in 1957, and produced
hundreds of records while at the label. Macero worked with dozens of artists at Columbia including Mingus, Duke
Ellington, Ella Fitzgerald, Thelonious Monk, Johnny Mathis, Count Basie, Dave Brubeck, Tony Bennett, Charlie
Byrd, and Stan Getz. He was also responsible for signing Mingus, Monk, and Byrd to Columbia. Additionally,
Macero produced over 100 albums of classical orchestral music for Columbia, including less conventional,
contemporary pieces such as And God Created Great Whales by Alan Hovhaness, which required him to overlay
recordings of humpbacked whale songs over the orchestral track. He also had an all girl Band called the What Four
with Mrs Huntington Hartford in it. They had a hit song called "I'm going to destroy that boy".
Macero produced the seminal Dave Brubeck Quartet album Time Out, and Thelonious Monk's first Columbia
recording, Monk's Dream, as well as Underground. He also produced Mingus' first Columbia album, Mingus Ah Um.
Beyond jazz, he produced a number of Broadway original cast recordings including A Chorus Line and Bye Bye
Birdie. And he produced the soundtrack to The Graduate, by Simon and Garfunkel.
While Macero produced many artists' albums, he had an especially long and prolific relationship with Miles Davis.
He produced most of Davis' Columbia catalog, including the classics Kind of Blue, Porgy and Bess, Sketches of
Spain, and Someday My Prince Will Come. Macero's role as producer on Kind of Blue has sometimes been disputed,
as some of the early Kind of Blue sessions were overseen by Irving Townsend. But numerous sources, including the
original liner notes, support Macero's involvement in the sessions, and preparation of the final album, and credit him
as producer.[1] [2] [3] The role of the producer was further expanded on Davis' later forays into electric fusion, such as
In a Silent Way, Bitches Brew, and A Tribute to Jack Johnson, which were highlighted by Macero's innovative
mixing and editing techniques. In 2001, Miles Davis biographer Paul Tingen likened Macero's role in the electric
music of Davis to that of George Martin with The Beatles.[4]
Taking his cue from Tingen, Nick Southall described the impact of Macero's work on In a Silent Way in a 2003
Stylus Magazine article:
Behind the scenes, Miles and Teo took the tapes of the In A Silent Way sessions and transformed some
beautiful, folk-tinged, melody-driven sets into two exquisite, beguiling and otherworldly pieces of
Teo Macero 475
music. Using techniques that pre-dated the proliferation of tape loops, cut-ups, edits and sequencing in
rock, pop, hip hop and dance music, Miles and Teo took apart the original recording and reassembled
them outside of any traditional or accepted jazz structure or melodic framework. This idea of taking jazz
away from its birth, genesis and flowering as a live art and into the studio would soon become standard
practice, but in 1969 it was groundbreaking.[5]
Some listeners and critics have complained that Macero overproduced Davis' recordings, and cut too much. But after
hearing the unedited tapes from the In A Silent Way sessions, jazz critic John Ballon wrote that the original editing
and production "attests to the producing genius of Teo Macero." Ballon continues:
It took a force like Teo to splice together a cohesive album out of so many inspired pieces. Not only did
Teo have the balls to stand up to Miles on creative decisions, he had the right. And Miles knew it. And
while his ego rebelled against any producer messing with his music, Miles knew that incredibly great
records were borne out of the conflict and compromise of his relationship with Teo.[6]
On Davis' 1970 release, Bitches Brew, Macero continued to expand his innovative practices, and "Bitches Brew not
only became a controversial classic of musical innovation, it also became renowned for its pioneering use of studio
technology."[7] Some of the controversy at the time also stemmed from the use of the word bitches in the title.
Macero recalls that when Davis told him that he wanted to call it Bitches Brew, "I thought he was kidding."[8] The
album became the best-selling jazz album of its time, selling 500,000 copies by 1976, when most successful jazz
albums sold less than 30,000 copies.
Macero's innovative techniques were inspired partially by his association with avant-garde composer Edgard Varse,
and they continue to impact the way musicians, producers, and remixers work in the studio today. Brian Eno, a
producer who has worked extensively with U2 and Talking Heads, among others, talked about Macero's influence on
him in a 1996 interview with jazzthetik magazine. Eno describes being "fascinated" by Macero's editing techniques
and the "spatial" quality he added to the music. "He did something that was extremely modern."[9]
In 1975, Macero left Columbia and formed his own production company. However, he continued to work with Davis
until 1983, and continued to produce records for Columbia throughout his career.
Composer and arranger

Macero also composed and arranged music during his time at Columbia, contributing tracks to (and still producing)
several albums including Monk's Monk's Blues, and Something New, Something Blue, a collection of blues
compositions and arrangements by Macero, Teddy Charles, Manny Albam, and Bill Russo. He contributed a track to
(and produced) John Lewis and Gunther Schuller's Orchestra U.S.A. album, Sonorities, an album of third stream
compositions, and he arranged music for easy listening pioneer, Andr Kostelanetz.
He composed, conducted, and produced numerous television and film soundtracks and scores. He scored the 1970
Muhammad Ali documentary, a.k.a. Cassius Clay, and more recently, produced soundtrack music for True
Romance, Finding Forrester, and Martin Scorsese's The Blues.
Macero has also composed for, conducted, and performed with Leonard Bernstein and the New York Philharmonic,
the London Philharmonic Orchestra, the Salt Lake Symphony, the Kansas City Symphony, and The Juilliard School;
and has been commissioned by, and composed ballets for, the Joffrey Ballet Company, the Anna Sokolow Ballet
Company, the London Ballet Company, the Juilliard Ballet Company, and the American Ballet Theatre.
Teo Macero 476
Other work
After his tenure at Columbia, Macero continued as a player and producer on other projects, working with Brubeck,
Tony Bennett, Herbie Hancock, Michel Legrand, Wallace Roney, Shirley MacLaine, Vernon Reid, Robert Palmer,
and DJ Logic. With Robert Palmer he produced the hit song "Addicted To Love".
In the 1970s and 1980s, Macero released a handful of his own albums, including Time Plus Seven, Impressions of
Charles Mingus, and Acoustical Suspension, before founding his own label, Teorecords, in 1999. Subsequently, he
released over a dozen albums of original compositions, and continued to produce reissues of Miles Davis and other
artists for various record companies. However, Macero was outspoken in his opposition to the practice of adding
back alternate takes that didn't appear on the original albums, or otherwise altering the original music, on the grounds
that it corrupts the intentions of the musicians and the producer at the time the recording was made. "They put all the
mistakes back in," said Macero. "Don't destroy the original record."[8]
In the late 80s Macero tried his hand at country music, producing an album by a New York based band called
Sixgun, whose members included Joe Spena, Phil Gelfer, Kenny Davis (Leichtling), Ed Jennings, and Pete DeSalvo.
He made this connection through his friend Phil Levitan, manager of the group, and father of well-known Nashville
producer and agent, Ken Levitan.
Films
A Teo Macero documentary film, Play That, Teo, is currently being produced by Olana DiGirolamo, daughter of
Macero's friend and collaborator, Orlando DiGirolamo. Shot by cinematographer Fortunato Procopio, the film
features a behind-the-scenes look at the person behind the persona, and includes photos, archival footage, and
recordings from Macero's personal collection.[10]
Another documentary "Teo" was filmed over the past five years by producer/director Daragh McCarthy and features
Teo Macero's last recording session and extensive interviews.[11]
Awards
Macero was awarded the BMI Student Composer Award in 1953.
Macero received two Guggenheim Fellowships for composition in 1957 and 1958.
Macero was awarded a National Endowment for the Arts grant in 1974.
Macero received over 20 Recording Industry Association of America (RIAA) Gold, Platinum, and Multi-platinum
certifications.
Discography
Teo Macero with the Prestige Jazz Quartet (Prestige, 1957)
Something New, Something Blue with Manny Albam (Columbia, 1959)
Impressions of Charles Mingus (Palo Alto, 1983)
Acoustical Suspension (Doctor Jazz, 1984)
Notes
[1] Marmorstein, Gary: The Label: The Story of Columbia Records, Thunder's Mouth Press, 2007.
[2] Nisenson, Eric: The Making of Kind of Blue, St. Martin's Griffin, 2001.
[3] Carr, Ian: Miles Davis: The Definitive Biography, HarperCollins, 1998.
[4] Tingen, Paul: (http:/ / www. miles-beyond. com), Miles Beyond, Billboard Books, New York, 2001.
[5] Southall, Nick: "Miles Davis - In A Silent Way" (http:/ / www. stylusmagazine. com/ articles/ on_second_thought/
miles-davis-in-a-silent-way. htm), Stylus, September 2003.
[6] Ballon, John: "Miles Davis: The Complete In A Silent Way Sessions", All About Jazz, October 2003.
Teo Macero 477
[7] Tingen, Paul: "The Making Of The Complete Bitches Brew Sessions." (http:/ / www. miles-beyond. com/ bitchesbrew. htm)
[8] Interview (http:/ / wcpn. org/ jazz/ jazztracks/ interviews/ teo-macero. html) with Macero by Bobby Jackson.
[9] Engelbrecht, Michael: "Interview with Brian Eno", Jazzthetik, November 1996.
[10] Play That, Teo (http:/ / www. playthatteo. com/ about. html) film information at official website.
[11] Daragh McCarthy,The Guardian, 28 February 2007
References
Tingen, Paul: Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991, Billboard Books, 2001.
Marmorstein, Gary: The Label: The Story of Columbia Records, Thunder's Mouth Press, 2007.
Feather, L and Gitler, I (eds): The Biographical Encyclopedia of Jazz, Oxford University Press, 2007.
Weidenbaum, Marc: "Higher Sources", Pulse!, August 2001.
External links
Teorecords (http://web.archive.org/web/20060318102707/http://www.teorecords.com/index.html) official
site (no longer active) at the Internet Archive.
Teo Macero Collection, 1949-1992 (http://www.nypl.org/sites/default/files/archivalcollections/pdf/
musmacer.pdf) Music Division, New York Public Library for the Performing Arts.
Commentable Teo Macero discography (http://www.teomacero.com/discography/).
Teo Macero (http://www.imdb.com/name/nm0532163/) at the Internet Movie Database
Official site for the documentary film, Play That, Teo (http://www.playthatteo.com).
Audio feature (http://www.npr.org/templates/story/story.php?storyId=1134732) about In a Silent Way from
National Public Radio.
Short clip from "Teo" a documentary in production. (http://www.youtube.com/watch?v=RBrviOJIH4o)
Obituary by John Fordham and an appreciation by Daragh McCarthy (http://music.guardian.co.uk/jazz/story/
0,,2260375,00.html) from the Guardian newspaper. retrieved 28 Feb 2008.
Artists House Music (http://www.artistshousemusic.org/videos/producer+and+arranger+teo+macero+on+
his+early+career+in+the+music+business) Exclusive interview conducted in 2004.
Miles Beyond (http://www.miles-beyond.com). The book Miles Beyond was the first to fully appreciate
Macero's central role in Davis' electric music. The corresponding site also gives extensive details.
Daly, Ann: "A Century of Jazz and Modern Dance" (http://www.anndaly.com/author/essays/jazz.html),
2000.
Several references (http://www.yair-haklai.co.il/text27.html) to Anna Sokolow and Macero's work together.
Le Grand Spectacle (http://www.abt.org/education/archive/ballets/grand_spectacle.html) at the American
Ballet Theater.
Review (http://www.holeintheweb.com/drp/drptm.htm) of The Best of Teo Macero, by Ted White.
Interview (http://www.furious.com/Perfect/teomacero.html) with Macero by Iara Lee.
AllMusic (http://www.allmusic.com/artist/p100598/biography) biography of Teo Macero, by Scott Yanow.
RIAA album certification database (http://www.riaa.com/goldandplatinumdata.php?table=SEARCH).
Guggenheim Foundation (http://www.gf.org/index.html).
Ratliff, Ben: "Teo Macero, 82, Record Producer, Dies" (http://www.nytimes.com/2008/02/22/arts/music/
22macero.html), New York Times, February 22, 2008.
Al McKibbon 478
Al McKibbon
Al McKibbon
Al McKibbon, Lucky Thompson and Hilda A. Taylor at the Three Deuces, New York,
1947.
Photo: William P. Gottlieb.
Born 1919
Died 2005
Genres Jazz
Instruments Double Bass
Al McKibbon (January 1, 1919 July 29, 2005) was an American jazz double bassist, known for his work in bop,
hard bop, and Latin jazz.
In 1947, after working with Lucky Millinder, Tab Smith, J. C. Heard, and Coleman Hawkins, he replaced Ray
Brown in Dizzy Gillespie's band, in which he played until 1950. In the 1950s he recorded with the Miles Davis
nonet, Earl Hines, Count Basie, Johnny Hodges, Thelonious Monk, George Shearing, Cal Tjader, Herbie Nichols
and Hawkins. McKibbon was credited with interesting Tjader in Latin music while he played in Tjader's group.
McKibbon has always been highly regarded (among other signs of this regard, he was the bassist for the Giants of
Jazz), and continued to perform until 2004. In 1999, at age 80, he recorded his first album in his own name, Tumbao
Para Los Congueros De Mi Vida (Blue Lady Records), which was nominated for a Grammy for Best Latin Jazz
Performance. McKibbon's second album, Black Orchid (Nine Yards Music), was released in 2004. He also wrote the
Afterword to Raul Fernandez' book, Latin Jazz, part of the Smithsonian Institution's series of exhibitions on jazz.
Discography
As Sideman
With Nat Adderley
To the Ivy League from Nat (1956)
Alexandria the Great (1964)
With Thelonious Monk
Genius of Modern Music: Volume 2 (1955)
With Randy Newman
12 Songs (1970)
With The Night Blooming Jazzmen
The Night Blooming Jazzmen (1971)
With Herbie Nichols
The Prophetic Herbie Nichols Vol. 1 (1955)
The Prophetic Herbie Nichols Vol. 2 (1955)
Herbie Nichols Trio (1956)
Al McKibbon 479
With George Shearing

On the Sunny Side of the Strip (1960)
"Latin Escapade" (1956[1] )
References
[1] Fernandez, Ral (2002). Latin Jazz: La combinacin perfecta/the perfect combination. San Francisco: Chronicle Books. ISBN0-8118-36-8-9.
San Jose Mercury News report of death 30 July 2005 (http://www.mercurynews.com/mld/mercurynews/news/

12263536.htm)
Googled cache of Bassland article retrieved 18 June 2005 (http://google.com/
search?q=cache:6UAqmcT7YpIJ:www.bassland.net/1bigal.htm+"Al+McKibbon"&hl=en)
Allmusic.com article on Al McKibbon (http://www.allmusic.com/artist/p36811/biography)
http://extratv.warnerbros.com/cmp/presentations/99_grammy/retrieved Aug. 5, 2005
Frenandez, Raul. Latin Jazz: The Perfect Combination/La Combinacion Perfecta (Chronicle Books, 2002).
John McLaughlin 480
John McLaughlin
John McLaughlin
John McLaughlin performing in 2008

Also known as Mahavishnu John McLaughlin
Born 4 January 1942

Doncaster, England
Genres Jazz fusion, jazz, world fusion, post-bop
Occupations Musician, songwriter
Instruments Guitar, keyboard
Labels [1]
Abstract Logix
Verve Records
Associated Miles Davis, Tony Williams Lifetime, Mahavishnu Orchestra, Shakti, Remember Shakti, Paco de Luca, Al Di Meola, Carlos
acts Santana, Katia Labque, Zakir Hussain.
Website [2]
Official website
Notable instruments
Gibson EDS-1275
Gibson L-4
Gibson Hummingbird
Fender Mustang
Gibson Les Paul Custom
Abraham Wechter-built "Shakti guitar"
Ovation acoustic
John McLaughlin (born 4 January 1942, Doncaster, South Yorkshire, England), also known as Mahavishnu John
McLaughlin, is an English jazz and jazz fusion guitarist and composer. He played with Tony Williams's group
Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A
Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a
technically virtuosic and complex style of music that fused eclectic jazz and rock with eastern and Indian influences.
His guitar playing includes a range of styles and genres, including jazz, Indian classical music, fusion, and Western
classical music, and has influenced many other guitarists. He has also incorporated flamenco music in some of his
acoustic recordings. The Indian tabla maestro Zakir Hussain has called John McLaughlin "one of the greatest and
one of the important musicians of our times". In 2010, Guitarist Jeff Beck called him "the best guitarist alive".[3] In
2003, McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".[4]
John McLaughlin 481
Biography
1960s
From a family of musicians (his mother being a concert violinist), McLaughlin studied violin and piano as a child,
but took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stephane
Grappelli. McLaughlin moved to London from Yorkshire in order to involve himself in the thriving music scene in
the early 1960s, playing with Alexis Korner[5] and the Marzipan Twisters before moving on to Georgie Fame's
backing band, the Brian Auger band, and importantly, the Graham Bond Quartet in 1963.[6] During the 1960s he
often had to support himself with session work, which he often found unsatisfying,[7] but which radically enhanced
his playing and sight-reading skills.
Before moving to the U.S., McLaughlin recorded Extrapolation (with Tony Oxley and John Surman) in 1969, in
which he showed technical virtuosity, inventiveness and the ability to play in odd meters. He moved to the U.S. in
1969 to join Tony Williams's group Lifetime. He subsequently played with Miles Davis on his landmark albums In A
Silent Way, Bitches Brew (which has a track named after him), On The Corner, Big Fun (where he is featured soloist
on "Go Ahead John") and A Tribute to Jack JohnsonDavis paid tribute to him in the liner notes to Jack Johnson,
calling McLaughlin's playing "far in." McLaughlin returned to the Davis band for one recorded night of a week-long
club date, which was released as part of the album Live-Evil and as part of th Cellar Door boxed set.
A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix.
McLaughlin recollects "we played one night, just a jam session. And we played from 2 until 8, in the morning. I
thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi
was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing
everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could
get his hands on he'd use!"
His reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry
Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, and others.
1970s
He recorded Devotion in early 1970 o Douglas Records (run by Alan Douglas), a high-energy, psychedelic fusion
album that featured Larry Young on organ (who had been part of Lifetime), Billy Rich on bass, and the R&B
drummer Buddy Miles (who had played with Jimi Hendrix). Devotion was the first of two albums he released on
Douglas.
On the second Douglas album, however, McLaughlin went in a different direction in 1971 when he released My
Goal's Beyond in the U.S., a collection of unamplified acoustic works. Side A ("Peace One" and "Peace Two") offers
a fusion blend of jazz and Indian classical forms; side B features some of the most melodic acoustic playing
McLaughlin ever recorded, including such standards as "Goodbye Pork Pie Hat", by Charles Mingus whom
McLaughlin considered an important influence on his own development. Other tracks that expressed some of
McLaughlin's other influences include "Something Spiritual" Dave Herman, "Hearts and Flowers" (P.D. Bob
Cornford), "Phillip Lane", "Waltz for Bill Evans" (Chick Corea), "Follow Your Heart", "Song for My Mother" and
"Blue in Green" (Miles Davis). "Follow Your Heart" had been released earlier on Extrapolation under the title
"Arjen's Bag".
My Goal's Beyond was inspired by McLaughlin's decision to follow the Indian spiritual leader Sri Chinmoy, to
whom he had been introduced in 1970 by Larry Coryell's manager. The album was dedicated to Chinmoy, with one
of the guru's poems printed on the liner notes. It was on this album that McLaughlin took the name "Mahavishnu."
In 1979, he formed a short-lived funk fusion power trio named the Trio of Doom with Tony Williams on drums and
Jaco Pastorius on bass. Their only live performance was on 3 March 1979 at the Havana Jam Festival (2-4 March
John McLaughlin 482
1979) in Cuba, part of a US State Department sponsored visit to Cuba. Later on 8 March 1979 the group recorded the
songs they had written for the festival at Columbia Studios, New York, on 52nd St.[8] Recollections from this
performance are captured on Ernesto Juan Castellanos's documentary Havana Jam '79.
Mahavishnu Orchestra
McLaughlin's 1970s electric band, the Mahavishnu Orchestra,[9]

included violinist Jerry Goodman (later replaced in the second iteration
of the Orchestra by Jean-Luc Ponty), keyboardist Jan Hammer (later
replaced by Gayle Moran and then Stu Goldberg), bassist Rick Laird
(later replaced by Ralphe Armstrong), and drummer Billy Cobham
(later replaced by Narada Michael Walden). The band performed a
technically virtuosic and complex style of music that fused eclectic
jazz and rock with Eastern and Indian influences. This band established
fusion as a new and growing style within the jazz and rock worlds.
McLaughlin's playing at this time was distinguished by fast solos and
exotic musical scales.
In 1973, McLaughlin collaborated with Carlos Santana, also a disciple

of Sri Chinmoy, on an album of devotional songs, Love Devotion
Surrender, which included recordings of Coltrane compositions
John McLaughlin, Zirkus Krone, Munich, West
including a movement of A Love Supreme. He has also worked with
Germany 1973 April 13 (photo by Peter
the jazz composers Carla Bley and Gil Evans. Duray-Bito)
The Mahavishnu Orchestra's personality clashes were as explosive as
their performances and consequently the first incarnation of the group split in late 1973 after just two years and three
albums, one of which was a live recording entitled "Between Nothingness and Eternity". In 2001 the "Lost Trident
Sessions" album was released, recorded in 1973 but shelved when the group disbanded. McLaughlin then reformed
the group with Narada Michael Walden (drums), Jean-Luc Ponty (violin), Ralphe Armstrong (bass), and Gayle
Moran (keyboards and vocals), and a string and horn section (McLaughlin referred to this as "the real Mahavishnu
Orchestra"). This incarnation of the group recorded an additional two Mahavishnu albums, Apocalypse with the
London Symphony Orchestra and Visions of the Emerald Beyond. A scaled-down quartet was formed with
McLaughlin, Walden on drums, Armstrong on bass and Stu Goldberg on keyboards and synthesizer, which
generated a third "Mahavishnu 2" recording in 1976 largely due to contractual obligations, Inner Worlds.
McLaughlin then became absorbed in his acoustic playing with his Indian classical music based group Shakti (see
below). Around this time, McLaughlin also appeared on Stanley Clarke's School Days and numerous other fusion
albums.
John McLaughlin 483
Other activities
After the first reincarnation of the Mahavishnu Orchestra split,

McLaughlin worked with acoustic group Shakti. McLaughlin had
already been studying Indian classical music and playing the veena for
several years. The group featured Lakshminarayanan L. Shankar
(violin), Zakir Hussain (tabla), Thetakudi Harihara Vinayakram
(ghatam) and earlier Ramnad Raghavan (mridangam). John was one of
the earliest westerners to attain any acclaim performing Indian music
for Indian audiences. The group recorded three albums; 'A Handful of
Beauty' (1975), 'Shakti' (1976), and 'Natural Elements' (1977). Based
John McLaughlin, Remember Shakti Concert,
on carnatic and Hindustani substrates, along with extended use of
Munich/Germany (2001)
konnakol, the band introduced ragas and Indian percussion to many
jazz aficionados.[10]
In this group, McLaughlin played a custom made steel string acoustic guitar made by luthier Abe Wechter and the
Gibson guitar company, which featured two tiers of strings over the soundhole: a conventional six string
configuration with an additional seven strings strung underneath on a forty-five degree angle - these were
independently tunable and were played as "sympathetic strings" much like a sitar or veena. The instrument also
featured a scalloped fretboard along the full length of the neck which enabled McLaughlin to play bends far beyond
the reach of a conventional fretboard.
In 1979, he teamed up with flamenco guitarist Paco de Luca and jazz guitarist Larry Coryell (replaced by Al Di
Meola in the early 1980s) as the Guitar Trio. For the fall tour of 1983, they were joined by Dixie Dregs guitarist
Steve Morse, who opened the show as a soloist and participated with The Trio in the closing numbers. The Trio,
again featuring McLaughlin along with de Luca and Di Meola, reunited in 1996 for a second recording session and
a world tour. In 1979, McLaughlin recorded the album Johnny McLaughlin: Electric Guitarist, the title on
McLaughlin's first business cards as a teenager in Yorkshire. This recording was a return to more mainstream
jazz/rock fusion and to the electric instrument after three years of playing acoustic guitars, particularly his Gibson
2-tier custom-made steel string with the Shakti group. McLaughlin was so used to the scalloped fretboard from his
Shakti days and so accustomed to the freedom it provided him that he had the fretboard scalloped on his Gibson
Byrdland Electric hollowbody.
He also formed the short-lived One Truth Band who recorded
one studio album, Electric Dreams. The group had L. Shankar
on violins, Stu Goldberg on keyboards, Fernando Saunders on
electric bass, and Tony Smith on drums. 1979 also saw the
formation of the very short-lived Trio of Doom, consisting of
McLaughlin with Jaco Pastorius (bass) and Tony Williams
(drums). They only played one concert, at the Karl Marx
Theater in Havana, Cuba on 3 March 1979,[11] as part of the
Havana Jam festival, a US State Department cultural
exchange program known by some musicians as 'The Bay of Left to Right: Al Di Meola, John McLaughlin and Paco de
Gigs'. Their performance is clearly captured on Ernesto Juan Luca
Castellanos's documentary Havana Jam '79. They later
recorded three tracks at CBS Studios in New York, 8 March 1979.
John McLaughlin 484
1980s
After the dissolution of the One Truth Band, McLaughlin toured in a guitar duo with Christian Escoud.[12]
In the late '80s and early '90s McLaughlin recorded and performed live with a trio including bassist Kai Eckhardt and
percussionist Trilok Gurtu. The group recorded two albums: Live at The Royal Festival Hall and Que Alegria, with
latter featuring Dominique DiPiazza on bass for all but two tracks; parts of the subsequent tour also included Jeff
Berlin on bass. These recordings saw a return to acoustic instruments for McLaughlin, performing on nylon-string
guitar. On "Live at the Royal Festival Hall" McLaughlin utilised a unique guitar synth which enabled him to
effectively "loop" guitar parts and play over them live. The synth also featured a pedal which provided sustain when
pressed. McLaughlin played parts which sound overdubbed and creating lush soundscapes, aided by Gurtu's unique
percussive sounds. This approach is used to great effect in the track "Florianapolis", amongst others.
With the group Fuse One, he released two albums in 1980 and 1982.[13]
In 1986 he appeared with Dexter Gordon in Bertrand Tavernier's film "Round Midnight." He also composed The
Mediterranean Concerto, orchestrated by Michael Gibbs. The world premier featured McLaughlin and the Los
Angeles Philharmonic. It was recorded in 1988 with Michael Tilson Thomas conducting the London Symphony
Orchestra. Unlike what is typical practice in classical music, the concerto includes sections where McLaughlin
improvises. Also included on the recording were five duets between McLaughlin and his then-girlfriend Katia
Labque.
1990s
In the early 1990s he toured with his trio on the Que Alegria album. The trio comprised John McLaughlin,
percussionist Trilok Gurtu and bass player Kai Eckhardt (later replaced by Dominique DiPiazza). Following this
period he recorded and toured with The Heart of Things featuring Gary Thomas, Dennis Chambers, Matthew
Garrison, Jim Beard and Otmaro Ruz. In 1993 he released a Bill Evans tribute album entitled "Time Remembered:
John McLaughlin Plays Bill Evans" with his acoustic guitar backed by the acoustic guitars of the Aighetta Quartet
and the acoustic bass of Yan Maresz. In recent times he has toured with Remember Shakti.
In addition to original Shakti member Zakir Hussain, this group has also featured eminent Indian musicians U.
Srinivas, V. Selvaganesh, Shankar Mahadevan, Shivkumar Sharma, and Hariprasad Chaurasia. In 1996, John
McLaughlin, Paco DeLucia and Al Di Meola (known collectively as "The Guitar Trio") reunited for a world tour and
recorded an album by the same name. In that same year he recorded "The Promise". Also notable during the period
were his performances with Elvin Jones and Joey DeFrancesco.
2000s
In 2003, he recorded a ballet score, Thieves and Poets, along with arrangements for classical guitar ensemble of
favorite jazz standards, and a three-DVD instructional video on improvisation entitled "This is the Way I Do It"
(which contributed to the development of video lessons[14] ). In June 2006, he released a post-bop/jazz fusion album
entitled Industrial Zen, on which McLaughlin experiments with the Godin Glissentar as well as continuing to expand
his guitar-synth repertoire.
In 2007, he left Universal Records and joined Abstract Logix [1]. Recording sessions for his first album on that label
took place in April. That summer, he began touring with a new jazz fusion quartet, the 4th Dimension, consisting of
keyboardist/drummer Gary Husband, bassist Hadrian Feraud, and drummer Mark Mondesir. During the 4th
Dimension's tour, an "instant CD" entitled Live USA 2007: Official Bootleg was made available comprising
soundboard recordings of six pieces from the group's first performance. Following completion of the tour,
McLaughlin sorted through recordings from each night to release a second MP3 download-only collection entitled,
Official Pirate: Best of the American Tour 2007. During this time, McLaughlin also released another instructional
DVD, The Gateway to Rhythm, featuring Indian percussionist and Remember Shakti bandmate Selva Ganesh
John McLaughlin 485
Vinayakram (or V. Selvaganesh), focusing on the Indian rhythmic system of konnakol. McLaughlin also remastered
and released a shelved 1980 project called The Trio of Doom, featuring jazz/fusion luminaries Jaco Pastorius and
Tony Williams. The project had been aborted due to conflicts between Williams and Pastorius as well as what was at
the time a mutual dissatisfaction with the results of their performance.
On 28 July 2007, McLaughlin performed at Eric Clapton's Crossroads Guitar Festival in Bridgeview, Illinois.
On 28 April 2008, the recording sessions from the previous year surfaced on the
album Floating Point, featuring the rhythm section of keyboardist Louis Banks,
bassist Hadrien Feraud, percussionist Sivamani and drummer Ranjit Barot
bolstered on each track by a different Indian musician. Coinciding with the
release of the album was another DVD, Meeting of the Minds, which offered
behind the scenes studio footage of the Floating Point sessions as well as
interviews with all of the musicians.
McLaughlin engaged in a late summer/fall 2008 tour with Chick Corea, Vinnie
Colaiuta, Kenny Garrett and Christian McBride under the name Five Peace
Band, from which came an eponymous double-CD live album in early 2009.
McLaughlin performed with Mahavishnu Orchestra drummer Billy Cobham at McLaughlin, 2007 Crossroads Guitar
the 44th Montreux Jazz Festival, in Montreux, Switzerland, on 2 July 2010, for Festival
the first time since the band split up.

In November 2010, a new book was released by Abstract Logix Books entitled Follow Your Heart- John
McLaughlin Song by Song. It was authored by Walter Kolosky, who also wrote the book, Power, Passion and Beauty
- The Story of the Legendary Mahavishnu Orchestra. The book discussed each song McLaughlin wrote and
contained never before seen photographs.
Influence
McLaughlin has been cited as a major influence on many 1970s and 1980s fusion guitarists. Examples are prominent
players such as Steve Morse, Eric Johnson, Mike Stern, Al Di Meola, Pebber Brown, Shawn Lane, and Scott
Henderson. His influence did not stop in the 80's, though; hardcore punk guitarist Greg Ginn of Black Flag cited
Birds of Fire by The Mahavishnu Orchestra which inspired him to record more progressive guitar work and even
record instrumental songs. Current players still hold him as highly influential, including Omar Rodriguez of The
Mars Volta. According to Pat Metheny, McLaughlin has changed the evolution of the guitar during several of his
periods of playing. McLaughlin is also considered a major influence on composers in the fusion genre. In an
interview with Downbeat, Chick Corea remarked that "...what John McLaughlin did with the electric guitar set the
world on its ear. No one ever heard an electric guitar played like that before, and it certainly inspired me. John's
band, more than my experience with Miles, led me to want to turn the volume up and write music that was more
dramatic and made your hair stand on end". 2010, Jeff Beck called him "the best guitarist alive".[15]
John McLaughlin 486
Equipment
Gibson EDS-1275 - McLaughlin played the Gibson doubleneck between 1971 and 1973,[16] his first years with
the Mahavishnu Orchestra;[17] this is the guitar which, amplified through a 100-watt Marshall amplifier "in
meltdown mode," produced the signature McLaughlin sound hailed by Guitar Player as one of the "50 Greatest
Tones of All Time."[18]
Double Rainbow doubleneck guitar made by Rex Bogue, which McLaughlin played from 1973 to 1975.[19] [20]
The first Abraham Wechter-built acoustic "Shakti guitar,"[21] a customized Gibson J-200[22] with drone strings
transversely across the soundhole.[23]
He currently plays Godin electric/MIDI guitars [24], one of which can be seen on the Eric Clapton's Crossroads
Chicago 2007 DVD.
References
[1] http:/ / www. abstractlogix. com
[2] http:/ / www. johnmclaughlin. com
[3] Uncut magazine, March 2010.
[4] "Rolling Stone 100 Greatest Guitarists of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 5937559/ page/ 29). .
[5] Jazzreview.com (http:/ / www. jazzreview. com/ articledetails. cfm?ID=159)
[6] Mo Foster, '17 Watts? The Birth of British Rock Guitar', Sanctuary Publishing 1997
[7] Guitar Player Magazine, interview August 1978
[8] Trio of Doom
[9] Power, Passion and Beauty, The Story Of The Legendary Mahavishnu-Orchestra (http:/ / www. allaboutjazz. com/ php/ article.
php?id=22802)
[10] Chembur.com (http:/ / www. chembur. com/ anecdotes/ carnatic/ lshankar/ )
[11] Sleeve notes: Trio of Doom, Columbia/Legacy 82796964502
[12] Allaboutjazz.com (http:/ / www. allaboutjazz. com/ php/ musician. php?id=6573)
[13] Allmusic Discography (http:/ / www. allmusic. com/ artist/ p10614/ discography)
[14] Walter Kolosky "All About Jazz" 2004 http:/ / www. allaboutjazz. com/ php/ article. php?id=14486
[15] Uncut magazine, March 2010.
[16] "An EDS-1275 and a Drone-Stringed J-200: The Tale of John McLaughlins Two Rare Gibsons" (http:/ / www. gibson. com/ en-us/
Lifestyle/ Features/ An EDS-1275 and a Drone-String/ ). Gibson Guitar Corporation. . Retrieved 4 March 2010.
[17] Chapman, Richard (2000). Guitar: music, history, players. Dorling Kindersley. pp.115. ISBN9780789459633.
[18] Blackett, Matt (October 2004). "The 50 Greatest Tones of All Time". Guitar Player 38 (10): 4466.
[19] Ferris, Leonard (May 1974). "John McLaughlin & Rex Bogue Creating the 'Double Rainbow'" (http:/ / www. cs. cf. ac. uk/ Dave/
mclaughlin/ art/ rainbow. html). Guitar Player. . Retrieved 3 March 2010.
[20] Cleveland, Barry. "John McLaughlin's 2007 Touring Rig" (http:/ / www. godinguitars. com/ johnmclaughlin_07. htm). Godin Guitars. .
Retrieved 4 March 2010.
[21] Milkowski, Bill (1998). Rockers, jazzbos & visionaries (http:/ / books. google. com/ books?id=HeAXAQAAIAAJ& q=abraham+ wechter).
Billboard Books. p.176. ISBN9780823078332. .
[22] Stump, Paul (2000). Go ahead John: the music of John McLaughlin (http:/ / books. google. com/ books?id=TDFqHbV5K7cC& pg=PA97).
SAF Publishing. p.97. ISBN9780946719242. .
[23] Wheeler, Tom (August 1978). "McLaughlin's Revolutionary Drone-String Guitar" (http:/ / www. 7171. org/ electrons/ frap/ article3. html).
Guitar Player. . Retrieved 19 Ocotber 2009.
[24] http:/ / www. godinguitars. com/ johnmclaughlin_07. htm
John McLaughlin 487
External links
John McLaughlin Official Website (http://www.johnmclaughlin.com)
John McLaughlin French Website (http://www.johnmclaughlin.fr)
Mahavishnu John McLaughlin by Otaclio Melgao (http://johnmclaughlinbyotaciliomelgaco.vilabol.uol.com.
br)
Finding the Way: The Music of John McLaughlin (http://www.allaboutjazz.com/php/article.php?id=2158)
JMA - John McLaughlin Archives (http://jmarc.co.nr/)
Complete Discography (http://web.archive.org/web/20091027075711/http://geocities.com/BourbonStreet/
Quarter/7055/McLaughlin/)
John McLaughlin video interview at allaboutjazz.com (http://www.allaboutjazz.com/php/news.
php?id=57204)
John McLaughlin and Billy Cobham Montreux Jazz Festival 2010 (http://www.youtube.com/
watch?v=V0RHamiP7tM)
2010 interview with John McLaughlin on ProgSphere (http://www.prog-sphere.com/2011/01/17/
john-mclaughlin/)
Jackie McLean 488
Jackie McLean
For other persons named John McLean, see John McLean.
Jackie McLean
Birth name John Lenwood McLean
Born May 17, 1931
Died March 31, 2006 (aged74)
Genres Bop
Hard bop
Modal jazz
Progressive jazz
Mainstream jazz
Post-bop
Occupations Musician, bandleader, composer, educator, community activist
Instruments alto saxophone
John Lenwood (Jackie) McLean (May 17, 1931 March 31, 2006) was an American jazz alto saxophonist,
composer, bandleader and educator, born in New York City.[1]
Biography
McLean's father, John Sr., played guitar in Tiny Bradshaw's orchestra. After his father's death in 1939, Jackie's
musical education was continued by his godfather, his record-store-owning stepfather, and several noted teachers. He
also received informal tutoring from neighbors Thelonious Monk, Bud Powell, and Charlie Parker. During high
school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy
Kirk).
Along with Rollins, he played on Miles Davis' Dig album, when he was 19 years old. As a young man McLean also
recorded with Gene Ammons, Charles Mingus, George Wallington, and as a member of Art Blakey's Jazz
Messengers. McLean joined Blakey after reportedly being punched by the volatile Mingus. Fearing for his life,
McLean pulled out a knife and contemplated using it against Mingus in self-defense. He later stated that he was
grateful that he did not stab the bassist.[2]
His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without
abandoning his foundation in hard bop. Throughout his career he was known for a distinctive tone, akin to the tenor
saxophone and often described with such adjectives as withering, piercing, or searing); a slightly sharp pitch; and a
strong foundation in the blues.
McLean was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret card
forced him to undertake a large number of recording dates; consequently, he produced an extensive body of recorded
work in the 1950s and 1960s. He was under contract with Blue Note Records from 1959 to 1967, having previously
recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for this
organization is highly regarded and includes leadership and sideman dates with a wide range of musicians, including
Donald Byrd, Sonny Clark, Lee Morgan, Ornette Coleman, Dexter Gordon, Billy Higgins, Freddie Hubbard,
Grachan Moncur III, Bobby Hutcherson, Mal Waldron, and many others.
In 1962 he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over
the years to deal with harmonic problems in jazz, incorporating ideas from the free jazz developments of Ornette
Coleman. Emblematic of his stylistic growth is the solo on his piece "Quadrangle" as compared to the version of the
Jackie McLean 489
same tune on BST 4051, Jackie's Bag, recorded in 1959. Let Freedom Ring began a period in which he performed
with avant-garde jazz musicians rather than the veteran hard bop performers he had been playing with previously.
His adaptation of modal jazz and free jazz innovations to his vision of hard bop made his recordings from 1962 on
distinctive. In early 1964, he served six months in prison on drug charges.
McLean recorded with dozens of well-known musicians and had a gift for spotting talent. Saxophonist Tina Brooks,
trumpeter Charles Tolliver, pianist Larry Willis, trumpeter Bill Hardman, and tubist Ray Draper were among those
who benefited from McLean's support in the 1950s and 1960s. Drummers such as Tony Williams, Jack DeJohnette,
Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean.
In 1967, his recording contract, like those of many other progressive musicians, was terminated by Blue Note's new
management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a
living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of
Hartford. He later set up the university's African American Music Department (now the Jackie McLean Institute of
Jazz) and its Bachelor of Music degree in Jazz Studies program.
In 1970, he and his wife, Dollie McLean, founded the Artists Collective, Inc. of Hartford, an organization dedicated
to preserving the art and culture of the African Diaspora. It provides educational programs and instruction in dance,
theatre, music and visual arts. The membership of McLean's later bands were drawn from his students in Hartford,
including Steve Davis and his son Ren, who is a jazz saxophonist and flautist as well as a jazz educator. Also, in
McLean's Hartford group was Mark Berman, the jazz pianist and broadway conductor of Smokey Joe's Cafe and
Rent. In 1979 he reached #53 in the UK Singles Chart with "Doctor Jackyll and Mister Funk".[3]
He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001 and numerous
other national and international awards. McLean was the only American jazz musician to found a department of
studies at a University and a community based organization almost simultaneously. Each has existed for over three
decades.
After a long illness, McLean died on March 31, 2006, in Hartford, Connecticut.
Discography
As leader
Prestige
Lights Out! (1956)
4, 5 and 6 (1956)
Alto Madness (1957)
McLean's Scene (1957)
Blue Note
New Soil (1959)
Swing, Swang, Swingin' (1959)
Capuchin Swing (1960)
Jackie's Bag (195960)
Bluesnik (1961)
A Fickle Sonance (1961)
Let Freedom Ring (1962)
Tippin' the Scales (1962)
Vertigo (196263)
One Step Beyond (1963)
Destination... Out! (1963)
Jackie McLean 490
It's Time! (1964)

Action Action Action (1964)
Right Now! (1965)
Jacknife (1965)
Consequence (1965)
New and Old Gospel (1967)
'Bout Soul (1967)
Demon's Dance (1967)
One Night with Blue Note Preserved Volume 2 (1985) with Woody Shaw, McCoy Tyner, Cecil McBee and Jack
DeJohnette
It's About Time (1985) with McCoy Tyner
Hat Trick (1996)
Fire & Love (1998)
Nature Boy (2000)
SteepleChase
Ode to Super (1973)
Dr. Jackle (1979; recorded 1966)
Contour (1980)
Strange Blues (1990)
Makin The Changes (1990)
Dynasty (1990)
A Long Drink Of The Blues ( 1994)
Others
The Jackie Mac Attack Live (1991)
Rhythm Of The Earth (1992) Dreyfus
As sideman
With Gene Ammons
The Happy Blues (1956)
Jammin' with Gene (1956)
Funky (1957)
Jammin' in Hi Fi (1957)
With Art Blakey
Hard Bop (1956)
Drum Suite (1956)
Ritual (1957)
With Kenny Burrell
2 Guitars with Jimmy Raney (1957)
With Donald Byrd
2 Trumpets with Art Farmer (1956)
Off to the Races (1958)
Fuego (1959)
Byrd in Flight (1960)
With Sonny Clark
Jackie McLean 491
Cool Struttin' (1958)

With Miles Davis
Dig (1951)
Quintet / Sextet (1955)
With Walter Davis Jr.
Davis Cup (1959)
With Kenny Dorham
Inta Somethin' (1961)
Matador (1962)
With Ray Draper
Tuba Sounds (1957)
With Charles Mingus
Pithecanthropus Erectus (1956)
Blues and Roots (1958)
With Hank Mobley
Mobley's Message (1956)
Hi Voltage (1967)
With Grachan Moncur III
Evolution (1963)
With Lee Morgan
Lee-Way (1960)
Tom Cat (1964)
Cornbread (1965)
Infinity (1965)
Charisma (1966)
The Sixth Sense (1967)
With Freddie Redd
The Connection (1960)
Shades of Redd (1960)
Redd's Blues (1961)
With Jimmy Smith
Open House (1960)
Plain Talk (1960)
With Art Taylor
Taylors Wailers (1957)
With Mal Waldron
Mal 2 (1957)
Like Old Time (1976)
Left Alone '86 (1986)
With Jack Wilson
Easterly Winds (1967)
Jackie McLean 492
Filmography
The Connection, as himself (Dir. Shirley Clarke)
Jackie McLean on Mars (1980), as himself (Dir. Ken Levis)
Ken Burns' Jazz (2000), as himself (Dir. Ken Burns)
References
[2] Liner notes to the album Dynasty
[3] Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p.341. ISBN1-904994-10-5.
External links
Jackie McLean complete discography from Music City (http://www.music-city.org/Jackie-McLean/
discography/)
Jackie McLean (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=13820409) at Find a Grave
Allmusic (http://www.allmusic.com/cg/x.dll?p=amg&sql=B6185)
MusicWeb (http://www.musicweb.uk.net/encyclopaedia/)
NEA Jazz Masters (http://www.iaje.org/bio.asp?ArtistID=2)
Official history of the Artists Collective Inc. (http://artistscollective.org/history.htm)
History of the Artists Collective Inc. (http://www.connectforkids.org/node/2702)
Jackie McLean on the Hard Bop Home Page (http://members.tripod.com/~hardbop/mclean.html)
Obituary in The Guardian (London) by John Fordham, April 3, 2006 (http://www.guardian.co.uk/obituaries/
story/0,,1745370,00.html)
"Blues for Jackie," Obituary by Owen McNally in Hartford Courant (Hartford, CT) April 1, 2006 (http://www.
hartfordinfo.org/issues/documents/artsandculture/htfd_courant_040106_b.asp)
New England Jazz History Database - Audio Interviews (http://www.jazzhistorydatabase.com/collections-old/
williamson-interviews.html)
Jazz Portraits from the WGBH Archives: Jackie McLean (http://streams.wgbh.org/online/play.
php?xml=specials/jzpt/mclean_jackie.xml&template=wgbh_audio) a radio documentary from WGBH Radio
Boston (http://www.wgbh.org/jazz)
Bennie Maupin 493
Bennie Maupin
Bennie Maupin
Born 29 August 1940
Detroit Michigan
United States
Genres Post bop, Jazz fusion
Occupations Musician, Composer
Instruments Saxophone, Flute, Bass clarinet
Labels Columbia Records
Associated acts Almanac, Herbie Hancock, Miles Davis, Meat Beat Manifesto, Horace Silver, Roy Haynes
Website [1]
Official site
Bennie Maupin (born 29 August 1940) is a Detroit Michigan jazz multireedist. He performs on various saxophones,
flute and bass clarinet.[2]
He is probably best known for his participation in Herbie Hancock's Mwandishi sextet and Headhunters band, and
for performing on Miles Davis's seminal fusion record, Bitches Brew. Maupin has collaborated with Horace Silver,
Roy Haynes and many others. He has also performed on several Meat Beat Manifesto albums. He is noted for having
a harmonically-advanced, "out" improvisation style, while having a different sense of melodic direction than other
"out" jazz musicians such as Eric Dolphy. As a composer, he has an ability to create brief melodies and song forms
that create vast landscapes for improvisation.
Maupin was also a member of Almanac, a group with Cecil McBee (bass), Mike Nock (piano) and Eddie Marshall
(drums).
Discography
As leader
1974: The Jewel in the Lotus
1977: Slow Traffic to the Right
1978: Moonscapes
1998: Driving While Black on Intuition with Patrick Gleeson
2006: Penumbra
2008: Early Reflections
As sideman
With Herbie Hancock
Mwandishi (1971)
Crossings (1972)
Sextant (1972)
Head Hunters (1973)
Thrust (1974)
Flood (1975)
Man-Child (1975)
Secrets (1976)
Bennie Maupin 494
VSOP (1976)
Dis Is Da Drum (1994)
With Miles Davis
Bitches Brew (1970)
A Tribute to Jack Johnson (1971)
On The Corner (1972)
Big Fun (1974)
With others
John Beasley: Positootly!
Lee Morgan: Live at the Lighthouse, Caramba!
Eddie Henderson: Inside Out, Equinox, Sunburst (Blue Note, 1975)
Jack DeJohnette: Have You Heard?
McCoy Tyner: Tender Moments (Blue Note, 1968), Together (Milestone, 1978)
Lenny White: Big City
Marion Brown: Juba Lee
Mike Clark: Actual Proof
Horace Silver: Serenade to a Soul Sister (Blue Note, 1968), You Gotta Take a Little Love (Blue Note, 1969)
Lonnie Smith: Turning Point (Blue Note, 1969)
Darek Oles: Like a Dream
References
[1] http:/ / www. benniemaupin. com
[2] Allmusic (http:/ / www. allmusic. com/ artist/ p7074)
External links
Official site (http://www.benniemaupin.com)
((Category:American Muslims))
Palle Mikkelborg 495
Palle Mikkelborg
Palle Mikkelborg (born March 6, 1941), is a Danish jazz trumpeter,
composer, arranger and record producer. He started playing
professionally in 1960, and has since been a dominant figure on the
Danish and international progressive jazz scene. He has released
several solo records, and records with various co-founded groups, as
well as appearing as sideman or arranger on numerous international
records. Among notable international collaborations, one finds
appearances with Gil Evans Big Band, George Russell Big Band, Gary
Palle Mikkelborg, mrs festival 2010
Peacock, Jan Garbarek and Miles Davis (for whom he composed and
produced the 1985 (released 1989) record Aura). In 2001 he was
awarded the Nordic Council Music Prize.
Discography [1]
Cover of "To Whom It May Concern: Greatest".

Sony Music A/S, 2005
References
[1] http:/ / www. kalleklev. no/ artist_files/ artist_idx. php?id=23
Marcus Miller 496
Marcus Miller
Marcus Miller
Miller in Ancienne Belgique, Bruxelles, Belgium, 2007

Birth name William Henry Marcus Miller Jr.
Born June 14, 1959

Brooklyn, New York, United States
Genres Jazz, jazz fusion, R&B, rock, funk
Occupations Musician, Composer, producer
Instruments Bass, double bass, guitar, vocals, saxophone, clarinet, keyboards, recorder
Website [1]
MarcusMiller.com
Notable instruments
Fender Jazz Bass
Marcus Miller (born William Henry Marcus Miller Jr., June 14, 1959, Brooklyn, New York) is an American jazz
musician, composer, producer, and multi-instrumentalist. He has made a name for himself, being one of the most
well-respected bass players to this day.
Miller is best known as a bassist, working with trumpeter Miles Davis, singer Luther Vandross, and saxophonist
David Sanborn, as well as maintaining a prolific solo career. Miller is classically trained as a clarinetist and also
plays keyboards, saxophone and guitar.
Life and career
Early life
Miller was born in 1959 and raised in a musical family that includes his father, William Miller (a church organist and
choir director) and jazz pianist Wynton Kelly. By 13, Marcus was proficient on clarinet, piano and bass guitar, and
already writing songs. Two years later he was working regularly in New York City, eventually playing bass and
writing music for jazz flutist Bobbi Humphrey and keyboardist Lonnie Liston Smith. Miller soon became a top call
session musician, gracing well over 500 albums, a short list of which includes Michael Jackson, Herbie Hancock,
Mariah Carey, Wayne Shorter, McCoy Tyner, Frank Sinatra, Dr. John, Aretha Franklin, Elton John, Grover
Washington Jr., Donald Fagen, Bill Withers, Chaka Khan, LL Cool J and Me'shell NdegOcello and Flavio Sala.
Marcus Miller 497
Professional career
Miller spent approximately 15years performing as a sideman or
session musician and observing how great band leaders operated.
During that time he also did a lot of arranging and producing. He was a
member of the Saturday Night Live band from 1978 through 1979.
Miller's contribution to signature tunes is legendary, such as the intro
on Aretha Franklin's 'I Wanna Make It Up To You,' just to name one.
He has played on over 500 recordings defining the basslines of the
music of such greats as Luther Vandross, Grover Washington Jr.,
Roberta Flack, Carly Simon, McCoy Tyner, Bryan Ferry and Billy
Idol. He won the "Most Valuable Player" award, (awarded by NARAS
to recognize studio musicians) three years in a row and was
subsequently awarded "player emeritus" status and retired from
eligibility. In the nineties, Miller began to record his own records, he
had to put a band together to take advantage of touring opportunities.
Miller's proficiency on his main instrument, the bass guitar, is

generally well-regarded. Not only has Miller been involved in the
continuing development of the technique known as "slapping",
particularly his "thumb" technique, but his fretless bass technique has
Miller at the Paradiso in Amsterdam, 2007
also served as an inspiration to many, and has taken the fretless bass
into musical contexts and genres previously unexplored on the electric
bass. The influences of some of the previous generation of electric bass players, such as Larry Graham, Stanley
Clarke, and Jaco Pastorius, are audible in Miller's playing. Early in his career, Miller was accused of being simply
imitative of Pastorius, but has since more fully integrated the latter's methodology into his own sound.
Miller has an extensive discography, and tours frequently and widely in Europe and Japan.
Between 1988 and 1990 he appeared in the first season and again toward the end as both the musical director and
also as the house band bass player in The Sunday Night Band during the two seasons of the acclaimed music
performance program Sunday Night on NBC late-night television.[2]
As a composer, Miller wrote "Tutu" for Miles Davis, a piece that defined Davis's career in the late 1980s, and was
the title track of Davis's album Tutu, upon which Miller wrote all the songs with only two exceptions, and one of
those was co-written with Davis. He also composed "Chicago Song" for David Sanborn and co-wrote "'Til My Baby
Comes Home", "It's Over Now", "For You to Love", and "Power of Love" for Luther Vandross. Miller also wrote
"Da Butt", which was featured in Spike Lee's School Daze.
Personal Life
Miller has a wife named Brenda. He has four children- two daughters, Hattie and Nicole, and two sons named Julian
and Jon. Julian is following his father's footsteps as a member of up-and-coming hip hop group Propaganda
Machine, and Nicole attends University of Colorado, Boulder.
Grammy Awards
Miller has won numerous Grammy Awards as a producer for Miles Davis, Luther Vandross, David Sanborn, Bob
James, Chaka Khan and Wayne Shorter. He won a Grammy Award for Best R&B Song in 1992, for Luther
Vandross' "Power of Love" and in 2001 he won for Best Contemporary Jazz Album for his fourth solo instrumental
album, M2.
Marcus Miller 498
Miller currently is bandleader of his own band, which strives to remain faithful to the concepts of improvisation and
innovation in jazz-based music that is perhaps more accessible to different audiences. His concerts and recorded
works are often regarded as intensely creative and therefore appealing to serious musicians. In 1997 Miller played
bass and bass clarinet in a band called Legends, featuring Eric Clapton (guitars and vocals), Joe Sample (piano),
David Sanborn (alto sax) and Steve Gadd (drums). It was an 11-date tour of major jazz festivals in Europe.
In addition to his recording and performance career, Miller has established a parallel career as a film score composer.
He has written numerous scores for films featuring: Eddie Murphy, L.L. Cool J, Chris Rock, Matthew Perry, Samuel
L. Jackson and others.
Miller composed the musical score for the Chris Rock-created sit-com, Everybody Hates Chris, now in syndication
on Nick-At Nite.
See also interview on ABC Radio National Music Show with Andrew Ford Nov 2010
Instruments and gear

Fender currently produces a Marcus Miller signature Fender Jazz Bass in four (made in Japan)- and five-string
(made in U.S) versions.[3] He uses EBS amplifiers as well as some effects pedals.
Discography
Solo period (1982present)
1983: Suddenly
1984: Marcus Miller
1993: The Sun Don't Lie
1995: Tales
1998: Live & More
2000: Best of '82-'96
2001: M (2002 Grammy Award for Best Contemporary Jazz Album)
2002: The Ozell Tapes
2005: Silver Rain
2007: Free
2008: Marcus[4]
2008: Thunder (as SMV, with Stanley Clarke and Victor Wooten)
2010: A Night in Monte Carlo - Live 2009
Luther Vandross Period
1983: "Busy Body"
1985: "The Night I Fell In Love"
1985: "'Til My Baby Comes Home"
1985: "It's Over Now"
1986: "I Really Didn't Mean It"
1986: "Never Too Much"
1986: "She Won't Talk To Me"
1986: "Give Me the Reason"
1987: "Stop to Love"
1987: "See Me"
1988: "Luther In Love - Megamix"
1988: "Any Love"
1989: "The Best Of Love"
Marcus Miller 499
1989: "Come back"

1991: "The Rush"
1991: "Power of Love / Love Power (Uno Clio & Colin and Carl Remix)"
1991: "Power of Love / Love Power"
1991: "Power of Love"
1993: "Never Let Me Go"
1993: "Heaven knows"
1995: "This is Christmas"
1995: "Power of Love / Love Power (The Frankie Knuckles Mixes)"
1996: "Your Secret Love"
1996: "I Can Make It Better"
1998: "I Know"
2001: "Luther Vandross"
2003: "Dance With My Father"
2007: "Love Luther"
Grover Washington jr period
1984: Inside Moves
David Sanborn period (19752000)
1977: Lovesongs
1980: Hideaway
1981: Voyeur
1981: As We Speak
1982: Backstreet
1984: Straight to the Heart
1987: Change of Heart
1988: Close-Up
1991: Another Hand
1992: Upfront
1994: Hearsay
1995: Pearls
1996: Songs from the Night Before
1999: Inside
Miles Davis period (19801990)
1981: The Man with the Horn
1982: We Want Miles
1983: Star People
1986: Tutu
1987: Music From Siesta
1989: Amandla
2002: The Complete Miles Davis at Montreux
The Jamaica Boys period (19861990)
1987: The Jamaica Boys
1989: The Jamaica Boys II: J. Boys
Film Scores
1990: "House Party" (featuring Kid & Play)
Marcus Miller 500
1992: "Boomerang" (featuring Eddie Murphy)

1994: "Above the Rim" (featuring Tupac Shakur)
1994: "A Low Down Dirty Shame" (featuring Keenan Ivory Wayans)
1996: "The Great White Hype" (featuring Samuel L. Jackson)
1997: "The Sixth Man" (featuring Marlon Wayans)
1999: "An American Love Story"
2000: "The Ladies Man" (featuring Tim Meadows)
2001: "The Trumpet of the Swan" (featuring Reese Witherspoon)
2001: "The Brothers" (featuring Morris Chestnut)
2001: "Two Can Play That Game" (featuring Vivaca Fox)
2002: "Serving Sara" (featuring Matthew Perry)
2003: "Deliver Us from Eva" (featuring L.L. Cool J)
2003: "Head of State" (featuring Chris Rock)
2004: "Breakin' All the Rules" (featuring Jamie Foxx)
2005: "King's Ransom" (featuring Anthony Anderson)
2006: "Save the Last Dance 2" (featuring Izabella Miko)
2007: "I Think I Love My Wife" (featuring Chris Rock)
2007: "This Christmas" (featuring Idris Elba)
2008: "Thunder" (featuring Stanley Clark and Victor Wooten)
2009: "Good Hair" (featuring Chris Rock as SMV)
2009: "Obsessed" (featuring Beyonc Knowles)
References
[1] http:/ / www. marcusmiller. com/
[2] Sunday Night episodes #104 (1988), #121 (1989)
[3] Fender,com (http:/ / www. fender. com/ products/ search. php?partno=0257802321)
[4] Levine, Doug (25 March 2008). "Bassist Marcus Miller Surrounds Himself With New Generation of R&B Stars on 'Marcus'" (http:/ /
voanews. com/ english/ archive/ 2008-03/ 2008-03-25-voa63. cfm). VOA News (Voice of America). . Retrieved 3 January 2009.
External links
Official site (http://www.marcusmiller.com/)
HoneySoul Interview (http://www.honeysoul.com/wp/?p=692)
Jazzitalia Interview (http://www.jazzitalia.net/articoli/Int_MarcusMiller_eng.asp)
Jazz USA Interview (http://jazzusa.com/index.cfm?sector=stories&page=masterofalltrades_DVD.asp)
The Dude Pit Interview (http://www.vintagebass.com/thedudepit/archive/index.php?t-14893.html)
NPR interview (http://www.npr.org/templates/story/story.php?storyId=4587020)
Podcast featuring GRP Records and Marcus Miller (http://emancipation.mypodcast.com)
Airto Moreira 501
Airto Moreira
Airto Moreira
Airto Moreira
Born August 5, 1941

Itaipolis, Brazil
Genres Jazz
Occupations Bandleader, composer, sideman
Instruments Percussion
Associated acts Flora Purim
Airto Moreira (born August 5, 1941)[1] is a Brazilian jazz drummer and percussionist. Airto is married to jazz
singer Flora Purim, and their daughter Diana Moreira is also a singer.[1] He currently resides in Los Angeles.
Biography
Airto Moreira was born in Itaipolis, Brazil, into a family of folk healers, and raised in Curitiba and So Paulo.
Showing an extraordinary talent for music at a young age, he became a professional musician at age 13, noticed first
as a member of the samba jazz pioneers Sambalano Trio and for his landmark recording was Quarteto Novo with
Hermeto Pascoal in 1967.[1] Shortly after, he followed his wife Flora Purim to the United States.
After moving to the USA, Airto began playing regularly with jazz musicians in New York, including the bassist
Walter Booker. Through Booker, Airto began playing with Joe Zawinul, who in turn introduced him to Miles Davis.
At this time Miles was experimenting with electronic instruments and rock and funk rhythms, a form which would
soon come to be called Jazz fusion. Airto was to participate in several of the most important projects of this
emerging musical form. Airto stayed with Miles for about two years, touring and participating in the creation of the
seminal fusion recording Bitches Brew.[2] Shortly after leaving Miles, Airto joined other Miles alumni Joe Zawinul,
Wayne Shorter and Miroslav Vitous in their group Weather Report, playing percussion on their first album, Weather
Report. He left Weather Report (replaced by Dom Um Romo and Muruga Booker for their Sweetnighter album) to
join fellow Miles alumnus Chick Corea's new band Return to Forever. He played drums on Return to Forever's first
two albums, their Return to Forever and Light as a Feather. These albums are regarded today as classics of the
fusion genre.
Airto was a contributor to many of Grateful Dead percussionist Mickey Hart's world music / percussion albums in
Rykodisc's The World collection, including The Apocalypse Now Sessions, Dafos, Supralingua, and Planet Drum
which won a World Music Grammy in 1991.[1] He can be heard playing congas on Eumir Deodato's 1970s
space-funk berhit Also sprach Zarathustra on the Prelude album.
Airto has played with many of the greatest names in Jazz including Cannonball Adderley, Lee Morgan, Paul
Desmond, Wayne Shorter, Dave Holland, Jack DeJohnette, John McLaughlin, Keith Jarrett, Al Di Meola, Zakir
Airto Moreira 502
Hussain, George Duke and Mickey Hart.[1] He also has played with the Latin/fusion rock band Santana and with
symphonic orchestras and as a solo percussionist, and during live performances often includes a samba solo, where
he emulates the sound of an entire band using just a single pandeiro.
In addition to jazz concerts and recordings, he has composed and contributed music to film and television (including
scores for Apocalypse Now and Last Tango in Paris), played at the re-opening of the Library of Alexandria, Egypt [3]
(along with fellow professor of ethnomusicology Halim El-Dabh[4] ), and taught at UCLA and the California Brazil
Camp.
In 1996, Airto and his wife Flora Purim collaborated with P.M. Dawn on the song "Non-Fiction Burning" for the
AIDS-Benefit Album Red Hot + Rio produced by the Red Hot Organization.
Awards
Airto was voted the number one percussionist in Down Beat Magazine's Critics Poll for the years 1975 through
1982 and most recently in 1993.[5]
In September 2002, Brazils President Fernando Henrique Cardoso named Airto Moreira and Flora Purim to the
Order of Rio Branco, one of Brazil's highest honors.
Discography
As leader
1970: Natural Feelings - One Way Records - Flora Purim, Hermeto Pascoal, Ron Carter and Sivuca.
1971: Seeds on the Ground One Way - Purim, Pasocal, Carter, Sivuca, Dom Um Romo, and Severino de
Oliveira.
1972: Fingers (CTI Records)- Purim, David Amaro, Hugo Fattoruso, Jorge Fattoruso and Ringo Thielmann
1972: Free (CTI Records) - featuring Purim, Chick Corea, Keith Jarrett, Stanley Clarke
1974: Virgin Land (CTI Records) Purim, Amaro, Clarke, Alex Blake, Eddie Daniels, Gabriel DeLorme, George
Duke, George Marge, Jane Taylor, Kenny Ascher, and Milcho Leviev
1975: Identity - Purim, Amaro, Egberto Gismonti, Herbie Hancock, John Heard, John Williams, Luis Johnson,
Ral de Souza, Roberto, Ted Lo and Wayne Shorter
1976: Promises of the Sun Arista - Purim, de Souza, Hugo Fattoruso, Milton Nascimento, Novelli, and Toninho
Horta.
1977: I'm Fine, How Are You? Warner Music Japan - featuring Fattoruso, de Souza, Ruben Rada
1979: Touching You Touching Me Warner Music Japan - Purim, Fatturoso, Al Ciner, Alphonso Johnson,
Bayette, George Duke, George Sopuch, Herb Alpert, Joe Farrell, Jose Bertrami, Laudir de Oliveira, Manolo
Badrena, Marcos Valle, Michael Boddicker, Nivaldo Ornellas, Peter Bunetta, Richard Feldman and The Sweet
Inspirations.
1984" Misa Espiritual:Airto's Brazilian Mass Harmonia Mundi - Gil Evans, WDR Big Band, WDR Strings,
Marcos Silva
1985: Three-way Mirror w Purim and Joe Farrell (his last recording)
1986: Latino: Aqui Se Puede Montuno - Purim, Alphonso Johnson, Cachete Maldonado, Donaldo Alias, Frank
Colon, Geni da Silva, Giovanni Hidalgo, Jeff Elliot, Farrell, Jorge Dalto, Kei Akagi, Keith Jones, Larry Nass,
Laudir de Oliveira, Neves, Rafael Jose, de Souza, Tite Curet Alonso and Tony Moreno.
1988: Samba De Flora Montuno - Purim, Johnson, Angel Maldonado, Bruce Bigenho, David Tolegian, Dom
Camardella, Alias, Colon, Hidalgo, Eliot, Jill Avery, Farrell, Dalto, Akagi, Jones, Nass, de Oliveira, Luiz Munoz,
Michael Shapiro, Jose, Randy Tico, de Souza, Roland Bautista, Rolando Gingras and Moreno
1989: Struck by Lightning Venture Records - Purim, Bob Harrison, Chick Corea, Gary Meek, Herbie Hancock,
Jose Neto, Junior Homrich, Marcos Silva, Mark Egan, Mike Shapiro, Randy Tico and Stanley Clarke
Airto Moreira 503
1989: Killer Bees B&W - Purim, Corea, Meek, Hancock, Hiram Bullock, Egan and Clarke
1992: The Other Side of This Rykodisc - for Mickey Hart's The World series
1993: Revenge of the Killer Bees (remix of Killer Bees) Electric Melt
1999: Homeless Melt 2000
1999: Code: Brasil Target: Recife Melt 2000
2003: Life After That with daughter Diana, wife Flora plus Oscar Castro Neves and others.
As sideman
With Duke Pearson
How Insensitive (1969)
With Edu Lobo
Cantiga de Longe (1971)
With Return to Forever
Return to Forever (1972)
Light as a Feather (1972)
With Weather Report
Weather Report (1971)
With Stan Getz
Captain Marvel (1972)
With Eumir Deodato
Prelude (1972)
With Flora Purim
Butterfly Dreams (1973)
With Santana
Borboletta (1974)
With Opa
Goldenwings (1976)
With Al Di Meola
Soaring Through a Dream (1985)
With Fourth World
Fourth World Recorded live at Ronnie Scott's (1992)
Fourth World (1994)
Fourth World [live] (1995)
Encounters of the Fourth World (1995)
Last Journey (1999)
With Mickey Hart
The Apocalypse Now Sessions: The Rhythm Devils Play River Music - Rhythm Devils (1980)
Dafos (1983)
At the Edge (1990)
Planet Drum (1991)
Mickey Hart's Mystery Box (1996)
Supralingua - (1998)
Airto Moreira 504
With Hermeto Pascoal

Slaves Mass (1976)
With Andreas Georgiou
Asate (2003)
With Stephen Kent
Stephen Kent Live at Starwood (2005)
With Belinda Underwood
Underwood Uncurling (2005)
With Jacob Anderskov
Ears to the Ground (2008)
Rhythmstick (1990)
Filmography
2006: Airto & Flora Purim: The Latin Jazz All-Stars[6]
References
[2] M.E.L.T. 2000 artist's bio (http:/ / www. melt2000. com/ page. html?chapter=0& id=6)
[3] Europe Jazz Network Bio (http:/ / www. ejn. it/ mus/ moreira. htm)
[4] Seachrist, Denise A. (2003). The Musical World of Halim El-Dabh. Kent, Ohio, United States: Kent State University Press 296 pp ISBN
0-87338-752-x
[5] Downbeat Magazine: check the years mentioned (http:/ / www. downbeat. com/ artists/ artist_main. asp?sect=archives& aid=712&
aname=Down+ Beat+ Critics+ Poll)
[6] VIEW Listing (http:/ / www. view. com/ airto_and_flora_purim_the_latin_jazz_all-stars_dvd. aspx)
External links
Airto's Official Website (http://www.airto.com)
Europe Jazz Network Bio (http://www.ejn.it/mus/moreira.htm)
Airto's interview (http://www.clubbity.com/charts_fea_roots.asp?ID=502&tipo=interviews)
Airto Moreira interview at Allaboutjazz.com (http://www.allaboutjazz.com/php/news.php?id=52491)
Hermeto Pascoal 505
Hermeto Pascoal
Hermeto Pascoal
Photo by Tom Beetz

Born June 22, 1936, Arapiraca, Alagoas, Brazil
Genres Brazilian traditions, jazz, forr
Instruments keyboards, button accordion, melodica, saxophone, flute, others
Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da
Canoa, Alagoas, Brazil.[1] Pascoal is a greatly beloved musical figure in the history of Brazilian music, known for his
abilities at orchestration and improvisation, as well as being a record producer and contributor to many other
Brazilian and international albums.[2]
Biography

Pascoal comes from a remote corner of northeastern Brazil, an area that lacked electricity at the time he was born. He
learned the accordion from his father and practiced for hours indoors as, being albino, he was incapable of working
in the fields with the rest of his family.[2]
Hermeto's career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown
groups. These now-classic albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano)
established widely influential new directions in post-bossa Brazilian jazz.
In 1966, he played in the Sambrasa Trio, with Airto Moreira and Humberto Clayber; they released only one album,
Em Som Maior. Then he joined Trio Novo (Airto Moreira, Heraldo do Monte, Theo de Barros) and in 1966 the
group, renamed Quarteto Novo, released an album that launched the careers of Pascoal and Moreira.[3] Pascoal
would then go on to join the multi-faceted group Brazilian Octopus.[4]
Hermeto Pascoal 506
International fame
He initially caught the international public's attention with an appearance on Miles Davis's 1971 album Live-Evil,
which featured Pascoal on several pieces (which he also composed).[2] Davis has said that Pascoal was "the most
impressive musician in the world". Later collaborations involved fellow Brazilian musicians Airto Moreira and Flora
Purim. From the late 1970s onward he mostly led his own groups, playing at many prestigious venues, such as the
Montreux Jazz Festival in 1979. Other members of the group have included bassist Itibere Zwarg, pianist Jovino
Santos-Neto and percussionists Nene, Pernambuco and Zabele.
Known as o Bruxo (the Sorcerer), Hermeto often makes music with unconventional objects such as teapots,
children's toys, and animals, as well as keyboards, button accordion, melodica, saxophone, guitar, flute, voice,
various brass and folkloric instruments.[2] Perhaps because he grew up in the countryside, he uses nature as a basis
for his compositions, as in his Msica da Lagoa, in which the musicians burble water and play flutes while immersed
in a lagoon: a Brazilian television broadcast from 1999 showed him soloing at one point by singing into a cup with
his mouth partially submerged in water. Folk music from rural Brazil is another important influence in his work.[2]
Between 1996 and 1997, Hermeto surprised the musical world with a book project, Calendrio do Som, which
contains a song for every day of the year, including 29 February, so that everyone would have a song for his or her
birthday.[2]
He and his wife Aline Morena currently live in her hometown, Curitiba, Paran, Brazil.[2]
Discography
As leader or member
1964: Conjunto Som 4 (with Conjunto Som 4)
1966: Em Som Maior (with Sambrasa Trio)
1967: Quarteto Novo (with Quarteto Novo)
1969: Brazilian Octopus (with Brazilian Octopus)
1970: Hermeto Pascoal (solo debut, reissued on CD as Brazilian Adventure)
1973: A msica livre de Hermeto Pascoal
1977: Slaves Mass
1979: Zabumb-bum-
1979: Ao vivo Montreux Jazz Festival
1979: Nova histria da Msica Popular Brasileira (compilation)
1980: Crebro magntico
1982: Hermeto Pascoal & Grupo (reissued by Westwind Germany on CD as The Legendary Improviser. The
reissue appears to be a copy from vinyl.)
1984: Lagoa da Canoa, Municpio de Arapiraca
1986: Brasil Universo
1987: S no toca quem no quer
1988: Hermeto solo: por diferentes caminhos
1992: Festa dos deuses
1993: Instrumental no CCBB (with Renato Borghetti)
1998: Msica!: o melhor da msica de Hermeto Pascoal (compilation)
1999: Eu e eles
2004: Mundo verde esperana
2006: Chimarro com rapadura (with Aline Morena)
2010: Bodas de Lato (with Aline Morena)
Hermeto Pascoal 507
As contributor
1956: Ritmos Alucinantes, by Clovis Pereira
1959: Batucando no Morro, by Pernambuco do Pandeiro e seu regional
1970: Natural Feelings, by Airto Moreira
1970: Electric Byrd, by Donald Byrd
1970: It Could Only Happen with You, by Duke Pearson
1970: Live-Evil, by Miles Davis
1971: Cantiga de Longe, by Edu Lobo
1971: Seeds on the Ground, by Airto Moreira
1975: Di Melo, by Di Melo
1976: Open Your Eyes, You Can Fly, byFlora Purim
1976 Goldenwings, by Opa
1977: Ors, by Raimundo Fagner
1978: Robertinho no passo, by Robertinho de Recife
1979: Sivuca, by Sivuca
1979: Live in Montreux, by Elis Regina
1980: Stone Alliance, by Mrcio Montarroyos
1983: Cordas vivas, by Heraldo do Monte
1984: Ponto do msicos, by Nen
1986: Balozinho, by Eduardo Gudin
1986: Cordas mgicas, by Heraldo do Monte
1986: Pindorama, by Pau Brasil
1987: Flvio Pantoja, by Flavio Pantoja
1987: Dharana, by Dharana
1996: Brasil Musical - Srie Msica Viva (with Pau Brasil)
1998: Maritmo, by Adriana Calcanhotto (on track "Cano por Acaso")
2000: Oferenda, by Aleuda
2000: Nao Nordestina, by Z Ramalho (on track "Violando com Hermeto")
2003: The Music of Hermeto Pascoal, by Mike Marshall and Jovino Santos Neto
2006: Roda Carioca, by Jovino Santos Neto
References
[1] "Hermeto Pascoal Discography - Slipcue.com Brazilian Music Guide" (http:/ / www. slipcue. com/ music/ brazil/ pascoal. html). .
[2] "allmusic Biography" (http:/ / www. allmusic. com/ artist/ p112663/ biography). .
[3] N. Scott Robinson-World Music and Percussion, Frame Drums, Riq, Tambourines (http:/ / www. nscottrobinson. com/ airto. php)
[4] All Brazilian Music: The music from Brazil (http:/ / www. allbrazilianmusic. com/ en/ Essentials/ Essentials. asp?Status=MATERIA&
Nu_Materia=1188)
External links
The official site (http://www.hermetopascoal.com.br/)
Interview and extensive information and discography (http://www.brazzil.com/musdec96.htm)
Sam Rivers 508
Sam Rivers
Sam Rivers
Sam and Joe Daley, 1976

Birth name Samuel Carthorne Rivers
Origin El Reno, Oklahoma, USA
Genres Avant-garde jazz

Free jazz
Bandleader
Composer
Clarinet
Flute
Harmonica
Piano
Years active 1950spresent
Labels Blue Note, RCA, Impulse, Stunt
Associated acts Quincy Jones

Miles Davis
Dizzy Gillespie
Bobby Hutcherson
Andrew Hill
Jimmy Lyons
Dave Holland
Website [1]
Sam Rivers
Samuel Carthorne Rivers (born September 25, 1923, El Reno, Oklahoma)[2] is an American jazz musician and
composer. He performs on soprano and tenor saxophones, bass clarinet, flute, harmonica and piano.
Active in jazz since the early 1950s, Rivers earned wider attention during the mid-1960s spread of free jazz. With a
thorough command of music theory, orchestration and composition, Rivers has been an influential and prominent
artist in jazz music.[2]
Sam Rivers 509
Early life
Rivers's father was a gospel musician who had sung with the Fisk Jubilee Singers and the Silverstone Quartet,
exposing Rivers to music from an early age. Rivers moved to Boston, Massachusetts in 1947, where he studied at the
Boston Conservatory with Alan Hovhaness.[2]
He performed with Quincy Jones, Herb Pomeroy, Tadd Dameron and others.
Blue Note era

In 1959 Rivers began performing with 13-year-old drummer Tony Williams, who later went on to have an
impressive career. Rivers was briefly a member of the Miles Davis's quintet in 1964, partly at Williams's
recommendation. This quintet was recorded on a single album, Miles in Tokyo. Unfortunately, Rivers' playing style
was too free to be compatible with Davis's music at this point, and he was soon replaced by Wayne Shorter. Rivers
was signed by Blue Note Records, for whom he recorded four albums as leader and made several sideman
appearances. Among noted sidemen on his own Blue Note Records were Jaki Byard who appears on Fuchsia Swing
Song, Herbie Hancock and Freddie Hubbard. He appeared on Blue Note recordings of Tony Williams, Andrew Hill
and Larry Young.
Rivers's music is rooted in bebop, but he is an adventurous player, adept at free jazz. The first of his Blue Note
albums, Fuchsia Swing Song, is widely regarded as a masterpiece of an approach sometimes called "inside-outside".
The performer frequently obliterates the explicit harmonic framework ("going outside") but retains a hidden link so
as to be able to return to it in a seamless fashion. Rivers brought the conceptual tools of bebop harmony to a new
level in this process, united at all times with the ability to "tell a story" which Lester Young had laid down as a
benchmark for the jazz improviser.
His powers as a composer were also in evidence in this period: the ballad "Beatrice" from Fuchsia Swing Song has
become an important standard, particularly for tenor saxophonists. It is analysed in detail in The Jazz Theory Book
by Mark Levine who notes how each of its four four-bar elements has a distinct emotional identity.
Loft era
During the 1970s, Rivers and his then wife, Bea, ran a noted jazz performance loft called Studio Rivbea in New
York City's NoHo district. He continued to record for a variety of labels, including several albums for Impulse!
(Streams, recorded live at Montreux, Hues - both records contain different trio performances later collated on CD as
Trio Live - the quartet album Sizzle and his first big-band disc, Crystals); perhaps his best-known work from this
period, though, is his appearance on Dave Holland's Conference of the Birds, in the company of Anthony Braxton
and Barry Altschul.
Sam Rivers 510
Recently
Rivers currently lives near Orlando, Florida. He
performs regularly with his Orchestra and Trio (with
Doug Matthews and Rion Smith). In 1998 he recorded
two big-band albums for RCA Victor with the RivBea
All-Star Orchestra, Culmination and Inspiration (the
title-track is an elaborate reworking of Dizzy
Gillespie's "Tanga": Rivers was in Gillespie's band near
the end of the trumpeter's life). Other recent albums of
note include Portrait, a solo recording for FMP, and
Vista, a trio with drummers Adam Rudolph and Harris
Eisenstadt for Meta.
2007
In 2006, he released Aurora, a third CD featuring
compositions for his Rivbea Orchestra and the first CD featuring members of his working orchestra in Orlando.
Sam Rivers and the RivBea Orchestra are currently recording several new compositions at Sonic Cauldron Studios in
Winter Springs, FL.
Discography
As leader
1964: Fuchsia Swing Song (Blue Note Records)
1965: Contours (Blue Note)
1966: A New Conception (Blue Note)
1967: Dimensions & Extensions (Blue Note)
1973: Streams (Impulse!)
1971-73: Hues (Impulse!)
1974: Crystals (Impulse!)
1976: Sam Rivers/Dave Holland Vols. 1 & 2, (Improvising Artists)
1976: Sizzle (Impulse!)
1976: The Tuba Trio Vols 1-3 (Circle Records (Germany))
1976: Jazz Of The 70's (Circle)
1978: Waves, Tomato
1980: Contrasts, ECM 1162
1981: Crosscurrent, Blue Marge 1005
1982: Colours (Black Saint)
1997: Configuration, nato
1998: Eight Day Journal, nato (with Tony Hymas)
Lake Eola, Orlando Fl in 2008
1999: Winter Garden, nato (with Tony Hymas)
1999: Inspiration, RCA Victor

Sam Rivers 511
As sideman
With Steven Bernstein
Diaspora Blues (Tzadik, 2002)
With Miles Davis
Miles in Tokyo (Columbia, 1964)
With Brian Groder
Torque (2007)
With Andrew Hill
Change (Blue Note, 1966)
With the Dave Holland Quartet
Conference of the Birds, (ECM, 1973)
With Bobby Hutcherson
Dialogue (Blue Note, 1965)
With Jason Moran
Black Stars, (Blue Note, 2001)
With Music Revelation Ensemble
In the Name of..., (DIW, 1993)
With Don Pullen
Capricorn Rising (Black Saint, 1975)
with Cecil Taylor
The Great Concert of Cecil Taylor (Prestige, 1969)
With Alexander von Schlippenbach
Tangens (FMP, 1998)
With Tony Williams
Life Time (Blue Note, 1964)
Spring (Blue Note, 1965)
With Larry Young
Into Somethin', (Blue Note, 1964)
References
[1] http:/ / www. rivbea. com/
External links
Sam Rivers Web Site (http://www.rivbea.com/)
The Sam Rivers Sessionography and Gigography (http://bb10k.com/RIVERS.disc.html)
Jazz at Lincoln Center - Chat With Sam Rivers (http://www.jazzatlincolncenter.org/jalc/chats/rivers2.html)
FMP Releases (http://www.fmp-label.de/freemusicproduction/musiker/rivers.html)
High Octane Octogenerian (http://www.allaboutjazz.com/php/article.php?id=1867)
Sam Rivers 512
Listening
NPR profile (http://www.npr.org/templates/story/story.php?storyId=112554824), September 20, 2009
Interview at allaboutjazz.com (http://www.allaboutjazz.com/php/news.php?id=44856)
Badal Roy
Badal Roy (Bangla: ) (born Amarendra Roy Chowdhury in Comilla, eastern Bengal, India, 1945) is a
tabla player, percussionist, and recording artist known for his work in jazz, world music, and experimental music.
Biography
Roy was born into a Hindu family in a predominantly Muslim eastern Bengal region of India (which later became
East Pakistan, then Bangladesh).[1] He speaks the Bengali, English, Hindi, and Urdu languages.[1] His father was a
government official who served in the distinguished position of Joint Secretary. His nickname, Badal (meaning
"rain," "cloud," or "thunder" in the Bengali language), was given to him by his grandfather after he began crying in
the rain as a baby.[1]
An early inspiration for Roy was American popular music, and he particularly enjoyed the music of artists such as
Elvis Presley, Pat Boone, and Nat King Cole. His first exposure to jazz came when he saw a concert by Duke
Ellington and his 60-member orchestra at the Metropole Hotel in Karachi, West Pakistan in 1959; he and his brother
were the only Pakistanis in attendance (the rest of the audience was white).
Roy received a master's degree in statistics. He came to New York City in 1968 to work on a Ph.D. With only eight
dollars in his pocket, he began working as a busboy and waiter in various Indian restaurants, including Taste of India
and Raga. He later settled in East Brunswick Township, New Jersey.[2]
Musical career
Roy began playing the tabla at age 10 or 11, studying with his uncle. After coming to New York, he began
performing with Steve Gorn at a Manhattan restaurant called Raga, eventually attracting the attention of Miles
Davis. Davis invited Roy to join his group, and he recorded on Davis's albums On the Corner (1972), Big Fun
(196972; released 1974), and Get Up with It (197074). Roy subsequently performed and recorded with many
leading jazz musicians, including Davis, Dave Liebman, Pharoah Sanders, John McLaughlin, Herbie Hancock,
Herbie Mann, Pat Metheny, Lester Bowie, Airto Moreira, Charlie Haden, Purna Das Baul, Yoko Ono, and Ornette
Coleman (playing in Coleman's electric band Prime Time). In the 1990s Roy began performing with the Brazilian
guitar duo Duofel. He has also collaborated with Ken Wessel and Stomu Takeishi in a fusion trio named Alankar.
They currently have one album entitled Daybreak.
Roy has appeared and offered workshops at RhythmFest, the Starwood Festival, and at the SpiritDrum Festival,[3] a
special tribute to the late Babatunde Olatunji (co-sponsored by ACE and Musart) with Muruga Booker, Jim Donovan
of Rusted Root, Halim El-Dabh, Jeff Rosenbaum and Sikiru Adepoju, among others.[4] He often plays with Muruga
Booker in the Global Village Ceremonial Band, and with Michael Wolff & Impure Thoughts. In 2004, Roy worked
with Richie Havens on the album The Grace of the Sun. In the first half of 2006, Roy traveled to Japan in order to
appear in a tribute for David Baker, his recently deceased recording engineer and friend.
In addition to tabla, Roy also plays a variety of percussion instruments including shakers, bells, rain stick, and
flexatone. His notable students include Geoffrey Gordon.
In 2008 the album Miles From India, a tribute to Miles Davis, on which Roy appeared received a Grammy
nomination.[5]
Badal Roy 513
Musical style
Unlike many tabla players, Roy does not come from a family of professional musicians and is essentially self-taught,
although he studied with his late maternal uncle Dwijendra Chandra Chakraborty as a child, and also studied briefly
with Alla Rakha.[1] Consequently, his playing is freer than that of many other tabla players, who adhere more strictly
to the tala system of Indian rhythm. He often plays a set of up to eight tabla (tuned to different pitches) and two baya
at a time, which he plays melodically as well as rhythmically.
Discography
As leader
1997 - One in the Pocket (Nomad Records)
1998 - Daybreak - Alankar
2002 - Kolkata Rose (with Geoff Warren)
2002 - Raga Roni (with Perry Robinson & Ed Schuller) Geeta
With Amit Chatterjee

1997 - Endless Radiance (Art of the Duo) (Tutu)
With Ornette Coleman

1995 - Tone Dialing - Ornette Coleman
With Miles Davis

1974 - Big Fun (2xLP) Columbia Records, 2xCD Columbia (reissued 2000)
1974 - Get Up With It (2xLP) Columbia Records 1974 (2xCD Coline 1991, 2000)
1988 - Miles Davis: The Columbia Years 1955 - 1985 (Box set, also 4xCD) Columbia
1993 - On The Corner (CD, Album) Columbia Records, (Legacy reissued 2000)
1997 - Miles Davis In Concert: Live At Philharmonic Hall, Legacy
1998 - Panthalassa: The Music of Miles Davis 1969-1974
With Steve Gorn

1983 - Yantra: Flute and Tabla (reissued 1994)
With Richie Havens

2004 - Grace of the Sun
With Bill Laswell

1998 - Sacred System: Nagual Site (CD) BMG
2000 - Lo. Def Pressure (LP & CD) Sub Rosa
With David Liebman

1974 - Lookout Farm (LP) ECM Records
1975 - Passing Dreams (reissued 1998, 2002)
1975 - Drum Ode (LP) ECM Records
1975 - Sweet Hands
1975 - Ashirbad (reissued 2002)
Badal Roy 514
1976 - Father Time
With Herbie Mann

Sun Belt (Atlantic)
With John McLaughlin

1999 - My Goals Beyond Knit Classics (Ryko)
With Yoko Ono

1982 - It's Alright (I See Rainbows)
1992 - Onobox
1992 - Walking on Thin Ice
With Mike Richmond

1988 - Basic Tendencies (with Glen Velez) Music of the World
1994 - Asian Journal (with Nana Vasconcelos & Steve Gorn)
With Perry Robinson

1978 - Kundalini
With Pharoah Sanders

1972 - Wisdom Through Music (Impulse! Records)
1974 - Love In Us All (CD) Universal Music (Japan)
With Lonnie Liston Smith

1973 - Golden Dreams
1973 - Astral Traveling - (LP) Flying Dutchman (reissued Bluebird Jazz 2002)
With Leni Stern

1991 - Ten Songs
1998 - Recollection
With Steve Turre

1992 - Sanctified Shells
2000 - In the Valley of Sacred Sound - Harold E. Smith
Badal Roy 515
With Barney McAll & Rufus Cappadocia

2003 - Vivid Jazzhead
With Michael Wolff & Impure Thoughts

2000 - Impure Thoughts Indianola Music
2001 - Intoxicate Indianola Music
2004 - Dangerous Vision Artemis Records
2006 - Love & Destruction Rong Records
With other artists

1967 - Virgo Vibes - Roy Ayers Atlantic (reissued 2002)
1979 - Earthquake Island - Jon Hassell (Tomato Music)
1984 - Mood Swing - The Nails (LP) RCA
1989 - Dancing With The Lion - Andreas Vollenweider (CD) CBS (reissued with bonus tracks 2005)
1993 - Angel Rodeo - Lisa Sokolov Laughing Horse Records
1993 - Prophecy: The Whale & the Elephant Trade Notes on the State of the World - Zusaan Kali Fasteau (Flying
Note)
1994 - Espelho das guas - Duofel (CD)(Velas)
1997 - Rising Sun - D. K. Dyson (Ocean Records)
1998 - Wake Up And Dream - Ekstasis (CD) CyberOctave
2000 - Musica (with Luiz Bueno) MCD World Music
2001 - Export Quality - Dum Dum Project (2xLP) X-Squared Records
2001 - Daughters of the Sun - Nana Simopoulos (Na. Records)
2001 - Branching Out - William Cepeda (Blue Jackel)
2001 - The Sea To The North - Garth Hudson Woodstock Records
2002 - Of Unicorns and Jasmine ...A Lover's Tale - Simirillion (with Cecil Wilson) Canned Air Records
2002 - Sacred Spaces - Lee Boice
2003 - Rebirth - Children On The Corner (Sonance Records)
2003 - Heavy Skies - Roman Kunsman (Downtown Jazz)
2005 - Free Funk (with Muruga Booker & members of the Global Village Ceremonial Band, Perry Robinson &
Belita Woods) Qbico 2005
2006 - Vivid (with Barney Mcall & Rufus Cappadocia) Jazzhead Oz
Songs For Sitar and Tabla (with Arooj Lazewai) Cassette (Music of the World)
2007 - Bonfire Dreams - Various Artists, ACE
2008 - OrthoFunkOlogy - Free Funk (with Muruga Booker & Perry Robinson) Musart
2008 - An die Musik - Nobu Stowe & Alan Munshower with Badal Roy (Soul Note)
2008 - Miles From India - Various Artists (4Q/Times Square Records)
Badal Roy 516
References
[1] Drum Magazine (http:/ / drummagazine. com/ html/ modules. php?op=modload& name=News& file=article& sid=308)
[2] "Play it Again, Badal Roy" (http:/ / www. highbeam. com/ doc/ 1P1-103180517. html), India Abroad, September 10, 2004. Accessed June 26,
2008. "But last week, Roy, an East Brunswick, New Jersey-based tabla player, who has performed with the likes of Miles Davis, Dizzy
Gillespie and Yoko Ono, was part of the tournament's opening night act."
[3] SpiritDrum Festival Website (http:/ / www. rosencomet. com/ spiritdrum/ index. html)
[4] Muruga Booker Website (http:/ / murugabooker. com/ ace. html)
[5] Recalling Miles Davis by Crossing Cultures by Nate Chinen - New York Times, May 12, 2008 (http:/ / www. nytimes. com/ 2008/ 05/ 12/
arts/ music/ 12mile. html)
External links
"Badal Roy: Funky Tabla" (http://www.rootsworld.com/rw/motw/profile_badal.html) (Artist Profile from
Music of the World site)
"Tale of A Tabla Nonconformist" (http://209.85.165.104/search?q=cache:6F9k-moGBEoJ:drummagazine.
com/html/modules.php?op=modload&name=News&file=article&sid=308+") by Iris Brooks (November
1997)
John Scofield 517
John Scofield
John Scofield
John Scofield at Moers Festival 2006, Germany

Born December 26, 1951 Dayton, Ohio, United States
Genres Jazz, jazz fusion
Occupations Musician, songwriter
Instruments Guitar
Years active [1]

1970s-Present
Labels EmArcy Records, Verve, Blue Note, Gramavision, Enja
Associated acts Miles Davis, Medeski Martin & Wood
Website [2]
www.johnscofield.com
Notable instruments
Ibanez Artstar AS200
John Scofield (born December 26, 1951 in Dayton, Ohio),[3] often referred to as "Sco," is an American jazz guitarist
and composer, who has played and collaborated with Miles Davis, Dave Liebman, Joe Henderson, Charles Mingus,
Joey Defrancesco, Herbie Hancock, Pat Metheny, Bill Frisell, Pat Martino, Mavis Staples, Phil Lesh, Billy Cobham,
Medeski Martin & Wood, George Duke, Jaco Pastorius, John Mayer, [4] and many other well known artists. At ease
in the bebop idiom, Scofield is also well versed in jazz fusion, funk, blues, soul, and other forms of modern
American music.
Biography
Early in his life, Scofield's family left Ohio and relocated to the small, then mostly rural location of Wilton,
Connecticut; it was here that he discovered his interest in music.[5]
Educated at the Berklee College of Music, Scofield eventually left school to record with Chet Baker and Gerry
Mulligan. He joined the Billy Cobham/George Duke Band soon after and spent two years playing, recording and
touring with them. Scofield recorded with Charles Mingus in 1976, and replaced Pat Metheny in Gary Burton's
quartet.[6] In autumn 1976 he signed a contract with Enja Records, and he released his first album, John Scofield, in
1977. Around this time, he toured and recorded with Pianist Hal Galper, first on his own solo album Rough House in
1978, and Galper's album Ivory Forest (1980), where he is heard playing a solo rendition of Thelonious Monk's
"Monk's Mood". In 1979 he formed a trio with his mentor Steve Swallow and Adam Nussbaum which, with
drummer Bill Stewart replacing Nussbaum, has become the signature group of Scofield's career. In 1982, he joined
Miles Davis, with whom he remained for three and a half years. He contributed tunes and guitar work to three Davis
recordings, Star People, You're under Arrest and Decoy.
John Scofield 518
While still with Davis, he released the first of his Gramavision recordings Electric Outlet (1984). Still Warm (1985)
followed after he left Davis's group. At the end of the Davis tenure, he started what is now referred to as his Blue
Matter Band - with Dennis Chambers on drums, Gary Grainger on bass and at times either Robert Aries or Jim Beard
on keyboards - releasing Blue Matter, Loud Jazz and Pick Hits Live.
At the beginning of the 1990s, he formed his quartet that included Joe Lovano with whom he recorded several
important albums for Blue Note Records. Time on My Hands (1990), with Lovano, Charlie Haden and Jack
DeJohnette, showcased Scofield's guitar and Mingus-influenced writing. Bill Stewart subsequently became the
group's drummer, and played on Meant To Be (1991) and What We Do (1993). In 1992, Scofield released Grace
Under Pressure, featuring fellow guitarist Bill Frisell, with Charlie Haden on bass and Joey Baron on drums. Stewart
rejoined with Scofield and bassist Steve Swallow for the 1994 collaboration with Pat Metheny, I Can See Your
House from Here.
Towards the end of his tenure with Blue Note, Scofield returned to a more funk and soul jazz-oriented sound, a
direction which has dominated much of his subsequent output. In 1994 and 1995, Scofield formed a core group that
included organist/pianist Larry Goldings, bassist Dennis Irwin, and alternately drummers, Bill Stewart and Idris
Muhammad. The group toured extensively, and the albums Hand Jive and Groove Elation feature this
funk/groove/soul dimension in Scofield's music, bringing in tenor saxophonist Eddie Harris, percussionist Don Alias,
trumpeter Randy Brecker, and others. He recorded the acclaimed 1997 album A Go Go with the avant garde jazz trio
Medeski Martin & Wood. Also during this period, his relationship began with British composer Mark-Anthony
Turnage. First as a soloist on Turnage's Blood on the Floor: Elegy for Andy, the two paired up to create Scorched,
Turnage's orchestrations of Scofield compositions largely form the Blue Matter period. Scorched, a recording
available on Deutsche Grammophon, debuted in Frankfurt, Germany.
He released berjam in 2002 and Up All Night in 2004, two albums on which he experiments with drum n bass and
other modern rhythms. John Scofield has also worked and recorded in Europe with nu-fusionist Bugge Wesseltoft
New Conception of Jazz in 2001/2 and 2006. Late 2004 saw the release of EnRoute: John Scofield Trio LIVE, which
features the jazz trio of John Scofield, the venerable Steve Swallow on bass and Bill Stewart on drums. It was
recorded live at The Blue Note in NYC in December 2003. The next year, he released That's What I Say - JS plays
the music of Ray Charles - Scofield with an all-star guest studded collection of Ray Charles material. This led to a
series of performances with Mavis Staples, Gary Versace on organ, John Benitez on bass, and Steve Hass on drums.
After sitting in for two engagements in December (3rd & 4th) of 2005 with Phil Lesh and Friends, Scofield has since
played numerous shows with the band. Most recently, on June 3 at Mountain Jam, which took place in Hunter, NY
the first weekend of June 2007.
On September 26, 2006 he released Out Louder, his second collaborative effort album with avant garde jazz trio
Medeski Martin & Wood. The group, known collectively as MSMW toured extensively worldwide in 2006 and
2007, with sporadic engagements planned in the future. Scofield also performs as a duo with John Medeski - aptly
named The Johns and another groove trio with Scofield, Medeski and drummer Adam Deitch.
September 18, 2007 saw This Meets That released on EmArcy Records - Universal Music's jazz label, a record
featuring his trio with Steve Swallow and Bill Stewart. This time John added a horn section to expand the sound of
his trio.
Never one to follow an expected path, in recent years Scofield launched a personal search for musical inspiration
beyond the standard 12 bar blues and found it in "old time gospel music - the closest relative to and inspiration for
the R& B. His 2009 release Piety Street with bass legend George Porter, Jr. and singer/keyboardist Jon Cleary. The
collaboration heard on the 2010 release 54 had its origins back in the 90's when Vince Mendoza asked John Scofield
to play on his first album. John has since been featured on two of Vinces records and his guitar sound and
improvisational skills work well within Vinces concept. When Mendoza assumed directorship of The Metropole
Orchestra, he and Scofield decided to collaborate again with a primary focus on Mendozas arrangements of Scofield
compositions as performed with The Metropole Orchestra.
John Scofield 519
In a return to Scofieldesque "straight ahead" jazz, he went to the studio in January 2011 with pianist/organist Larry
Goldings, bassist Scott Colley and drummer Brian Blade, laying the tracks for a ballads album scheduled for a May
2011 release on EmArcy Records.
In April 2010, Scofield was named an Officier of the Ordre des Arts et des Lettres by the French Ministry of Culture.
Scofield is currently serving as an adjunct faculty member in the Jazz Department at New York University's
Steinhardt School of Education.
He married Susan Scofield in 1978. They are the parents of music producer Jean Scofield (b. 1981) and writer Evan
Scofield (b. 1987).
Equipment
Scofield endorses Ibanez guitars. His signature guitar, the JSM100, is based on his longtime stage and recording
guitar, a 1981 Ibanez AS200 which he believes to be one of the best semi-acoustics ever built. He gets his tone by
running a Pro Co RAT through either a Vox AC-30 or Mesa Boogie amplifier. Some of his effects include an Ibanez
CS9 Analog Chorus, a Line 6 FM4 Filter Modeler, and a Line 6 DL4 Delay Modeler. Some of his additional effects
include a Digitech XP100 Whammy/Wah, a Boss EQ Pedal, a Boss Loop Station, and a Boomerang phrase sampler
pedal. John Scofield uses Dunlop Delrin 2mm picks.
Discography
As leader & co-leader

John Scofield Live (1977) - Enja Records
John Scofield aka East Meets West (1977) - Trio
Records/Black-Hawk Records, Bellophon
Records
Rough House (1978) - Enja Records
Who's Who? (1979) - Arista/Novus
Bar Talk (1980) - Jive/Novus
Out Like a Light (1981) - Enja Records
Shinola (1981) - Enja Records
Electric Outlet (1984) - Gramavision
Still Warm (1985) - Gramavision
Blue Matter (1986) - Gramavision
Loud Jazz (1987) - Gramavision
Pick Hits Live (1987) - Gramavision
Flat Out (1989) - Gramavision
Time on My Hands (1990) - Blue Note
Meant To Be (1991) - Blue Note
Grace Under Pressure (1992) - Blue Note
What We Do (1993) - Blue Note
I Can See Your House From Here (1994) - w/Pat John Scofield playing at the International Jazz Festival Enschede, 2007.
Metheny - Blue Note
Hand Jive (1994) - Blue Note

Groove Elation (1995) - Blue Note
Quiet (1996) - Verve
John Scofield 520
A Go Go with Medeski Martin & Wood(1998) - Verve

Bump (2000) - Verve
Works For Me (2001) - Verve
berjam (2002) - Verve
Oh! (2003) - as ScoLoHoFo - Blue Note
Up All Night (2003) - Verve
Scorched (2004) - w/Mark-Anthony Turnage - DG Deutsche Grammophon
EnRoute: John Scofield Trio LIVE (2004) - Verve
That's What I Say: John Scofield Plays the Music of Ray Charles (2005) - Verve
Saudades (2006) - as Trio Beyond - ECM
Out Louder (2006) - as Medeski Scofield Martin & Wood - Indirecto
This Meets That (2007) - Emarcy Records
Piety Street (2009) - Emarcy Records
54 (2010) - w/Vince Mendoza & The Metropole Orkestra - Emarcy Records
Compilations
Best of John Scofield (1989) - Blue Note
Slo Sco:The Best of the Ballads (1990) - Gramavision
Liquid Fire: The Best of John Scofield (1994) - Gramavision
Steady Groovin': The Blue Note Groove Sides (2000) - Blue Note
As a sideman
With Teodross Avery
My Generation (1996) - Impulse!
With Billy Cobham
A Funky Thide of Sings (1975) - Atlantic
Life & Times (1976) - Wounded Bird Records
With Joe Beck & Larry Coryell
Tributaries (1978) - Arista Novus
With the George Adams-Don Pullen Quartet
Live at Montmartre (Timeless, 1985)
With Miles Davis
You're Under Arrest (1985) - Columbia
Decoy (1984) - Sony Music
Star People (1983) - Sony Music
With John Ellis:
One Foot In The Swamp (2005) - Hyena
With David Friesen
Two for the Show (1994) - ITM Pacific
Onstage in 2004
With Jon Gordon
Possibilities (2000) - Double-Time

With Herbie Hancock
John Scofield 521
The New Standard (1995) - Verve

With Jimmy Haslip
A R C (1993) - UMG
With Roy Haynes
Love Letters (2003) - Columbia
With Joe Henderson
So Near, So Far (Musings for Miles) (1993) - Verve
Porgy & Bess (1997) - Verve
With Ron Holloway
Struttin' (1995) - Milestone Records
With Marc Johnson
Shades of Jade (2005) - ECM
Second Sight (1987) - ECM
Bass Desires (1986) - ECM
With Lee Konitz
Rhapsody II (1993) - Evidence
With Manhattan Jazz Quintet
Manhattan Blues (1990) Sweet Basil
With Gary Marks
Gathering (1974) - Arewea Records
With Charles Mingus
Three of Four Shades of Blue (1977) - Collectables Records
With Gerry Mulligan and Chet Baker
Carnegie Hall Concert (1974) - CTI Records
With John Patitucci
Now (1998) - Concord Jazz
With Phil Lesh and Friends
Live at the Warfield (2006) - Image
Rhythmstick (1990)
With Harvie Swartz
In a Different Light (1990) - Blue Moon
With Tommy Smith:
Blue Smith (1999) - Linn Records
With Gary Thomas
By Any Means Necessary (1989) - JMT
With Mark Antony Turnage
Blood On The Floor (album) (1998) - Decca Records
With Bugge Wesseltoft
New Conception Of Jazz Live (2003) - Jazzland
John Scofield 522
With Lenny White

Present Tense (1995) - Hip Bop
Music for the Fifth World (1992) - Capitol
With Keller Williams
Dream (2007) - SCI Fidelity Records
References
[1] http:/ / www. allmusic. com/ artist/ john-scofield-p7501
[2] http:/ / www. johnscofield. com/
[3] AOL.com artist profile (http:/ / music. aol. com/ artist/ john-scofield/ 7501/ main)
[4] http:/ / www. berklee. edu/ bt/ 172/ coverstory. html
[5] All About Jazz Bio (http:/ / www. allaboutjazz. com/ artists/ scofield. htm)
[6] Yahoo Music artist Bio (http:/ / music. yahoo. com/ ar-262946-bio--John-Scofield)
External links
Official site (http://www.johnscofield.com/)
Verve Records: John Scofield Bio (http://www.vervemusicgroup.com/artist.aspx?aid=2928)
Video Interview (11/2004) (http://mediatheque.cite-musique.fr/masc/?url=/MediaComposite/CMDI/
CMDI000001000/default.htm)
Interview (01/2003) (http://www.allaboutjazz.com/php/article.php?id=87)
Interview (03/2002) (http://www.allaboutjazz.com/iviews/jscofield2002_1.htm)
Interview (05/2000) (http://www.digitalinterviews.com/digitalinterviews/views/scofield.shtml)
John Scofield guitar tab (http://www.jazzguitar.be/john_scofield_licks.html)
Interview from honesttune.com (http://www.honesttune.com/content/view/550/33/)
Wayne Shorter 523
Wayne Shorter
Wayne Shorter
Convocation Hall, Toronto, Nov. 27, 1977. Photo courtesy of Jean-Luc Ourlin
Born August 25, 1933

Newark, New Jersey, United States
Genres Modal jazz, crossover jazz, post-bop, hard bop, jazz fusion
Occupations Musician, composer
Labels Blue Note, Columbia, Verve
Associated acts Art Blakey, Miles Davis, Weather Report
Wayne Shorter (born August 25, 1933) is an American jazz saxophonist and composer, commonly regarded as one
of the most important American jazz musicians of his generation. He is generally acknowledged to be jazz's greatest
living composer.[1] Shorter's output within the field has earned worldwide recognition, critical praise and various
commendations, including multiple Grammy Awards.[2] The virtuoso has recorded over 20 albums as a leader, and
appeared on dozens more with others including Art Blakey's Jazz Messengers in the late 1950s, Miles Davis's second
great quintet in the 1960s and the jazz fusion band Weather Report, which Shorter co-led in the 1970s. Many of his
compositions have become standards.
Biography

Shorter was born in Newark, New Jersey, and attended Newark Arts High School.[3] He loved music, being
encouraged by his father to take up the saxophone as a teenager (his brother Alan became a trumpeter). After
graduating from New York University in 1956, Shorter spent two years in the U.S. Army, during which time he
played briefly with Horace Silver. After his discharge from the army, he played with Maynard Ferguson. It was in
his youth that Shorter was given the nickname Mr. Gone, which would later become an album title for Weather
Report.[4]
In 1959, Shorter joined Art Blakey. He stayed with Blakey for five years, and eventually became musical director for
the group.
Wayne Shorter 524
With Miles Davis (1964-1970)

When John Coltrane finally left Miles Davis' band in 1960 to pursue his own group (after previously trying to leave
in 1959), Coltrane proposed Wayne Shorter as a replacement but Shorter was unavailable and Davis went with
Sonny Stitt on tenor followed by a revolving door of Hank Mobley, George Coleman, and Sam Rivers. In 1964,
Miles Davis persuaded Shorter to leave Blakey and join his quintet alongside Herbie Hancock, Ron Carter and Tony
Williams.
Miles' so-called "second great quintet" (to distinguish it from the quintet with Coltrane) that included Hancock and
Shorter has frequently been cited by musicians and critics as one of the most influential groups in the history of jazz,
and Shorter's compositions are a primary reason for the group's unique sound. Shorter composed extensively for
Miles Davis (e.g. "Prince of Darkness", "E.S.P.", "Footprints", "Sanctuary", "Nefertiti", and many others); on some
albums, he provided half of the compositions, typically hard-bop workouts with spaced-out long melody lines above
the beat.
Herbie Hancock said of Shorter's tenure in the group, "The master writer to me, in that group, was Wayne Shorter.
He still is a master. Wayne was one of the few people who brought music to Miles that didn't get changed." Davis
said, "Wayne is a real composer. He writes scores, write the parts for everybody just as he wants them to sound...
Wayne also brought in a kind of curiosity about working with musical rules. If they didn't work, then he broke them,
but with musical sense; he understood that freedom in music was the ability to know the rules in order to bend them
to your own satisfaction and taste."[5]
Shorter remained in Davis's band after the breakup of the quintet in 1968, playing on early jazz fusion recordings
including In a Silent Way and Bitches Brew (both 1969). His last live dates and studio recordings with Davis were in
1970.
Until 1968, he played tenor saxophone exclusively. The final album on which he played tenor in the regular
sequence of Davis albums was Filles de Kilimanjaro. In 1969, he played the soprano saxophone on the Davis album
In a Silent Way and on his own Super Nova (recorded with then-current Davis sidemen Chick Corea and John
McLaughlin). When performing live with Miles Davis, recordings from summer 1969 to early spring 1970 he played
both soprano and tenor saxophones. By the early 1970s, however, he chiefly played soprano saxophone.
Solo Blue Note recordings

Simultaneous with his time in the Miles Davis quintet, Shorter recorded several albums for Blue Note Records,
featuring almost exclusively his own compositions, with a variety of line-ups, quartets and larger groups including
Blue Note favourites such as Freddie Hubbard. His first Blue Note album (of nine in total) was Night Dreamer
recorded at Rudy Van Gelder's studio in 1964 with Lee Morgan, McCoy Tyner, Reggie Workman and Elvin Jones.
JuJu and Speak No Evil are well known recordings from this era. Shorter's compositions on these albums are notable
for their use of:
pentatonic melodies harmonised with pedal points and complex harmonic relationships;
structured solos that reflect the composition's melody as much as its harmony;
long rests as an integral part of the music, in contrast with other, more effusive, players of the time such as John
Coltrane.
The later album The All Seeing Eye was a free-jazz workout with a larger group, while Adams Apple of 1966 was
back to carefully constructed melodies by Shorter leading a quartet. Then a sextet again in the following year for
Schizophrenia with his Miles Davis band mates Hancock and Carter plus trombonist Curtis Fuller, alto
saxophonist/flautist James Spaulding and strong rhythms by drummer Joe Chambers. These albums have recently
been remastered by Rudy Van Gelder.
Shorter also recorded occasionally as a sideman (again, mainly for Blue Note) with Donald Byrd, McCoy Tyner,
Grachan Moncur III, Freddie Hubbard, Lee Morgan, and bandmates Hancock and Williams.
Wayne Shorter 525
Weather Report (1971-1985)

Following the release of Odyssey of Iska in 1970, Shorter
formed the fusion group Weather Report with Miles Davis
veteran keyboardist Joe Zawinul. The other original members
were bassist Miroslav Vitous, percussionist Airto Moreira, and
drummer Alphonse Mouzon. After Vitous' departure in 1973,
Shorter and Zawinul co-led the group until the band's break-up
in late 1985. A variety of excellent musicians that would make
up Weather Report alumni over the years (most notably the
revolutionary bassist Jaco Pastorius) helped the band produce
many high quality recordings in diverse styles through the years,
with funk, bebop, Latin jazz, ethnic music, and futurism being
the most prevalent denominators.
Solo
Shorter also recorded critically acclaimed albums as a

bandleader, notably Native Dancer, which featured his Miles
Davis band-mate Herbie Hancock and Brazilian composer and
vocalist Milton Nascimento. Shorter was to work with both of
these musicians again later.
On the title track of Steely Dan's 1977 album Aja, he played a
Shorter with Weather Report in Amsterdam, in 1980
solo that moved the critic writing the album's liner notes to the
point that he called it "suitable for framing" (meaning 'beautiful'
rather than 'wooden').
Concurrently, in the late 1970s and the early 1980s, he toured in the V.S.O.P. quintet. This group was a revival of the
1960s Miles Davis quintet, except that Freddie Hubbard filled the trumpet chair instead of Miles. Shorter appeared
with the same former Davis bandmates on the Carlos Santana double LP The Swing of Delight, for which he also
composed a number of pieces.
From 1977 through 2002, he appeared on ten Joni Mitchell studio albums, gaining him a wider audience.
Recent career
After leaving Weather Report, Shorter continued to record
and lead groups in jazz fusion styles, including touring in
1988 with guitarist Carlos Santana, who appeared on the
last Weather Report disc This is This! In 1989, he
contributed to a hit on the rock charts, playing the sax solo
on Don Henley's song "The End of the Innocence" and also
produced the album "Pilar" by the Portuguese
singer-songwriter Pilar Homem de Melo. He has also
Shorter performing. Photo by Tom Beetz. maintained an occasional working relationship with Herbie
Hancock, including a tribute album recorded shortly after
Davis's death with Hancock, Carter, Williams and Wallace Roney. He continued to appear on Joni Mitchell's records
in the 1990s. Shorter's distinctive sound is also apparent in the soundtrack for the Harrison Ford film The Fugitive
released in 1993.
Wayne Shorter 526
In 1995, Shorter released the album High Life, his first solo recording for seven years. It was also Shorter's debut as a
leader for Verve Records. Shorter composed all the compositions on the album and co-produced it with the bassist
Marcus Miller. High Life received the Grammy Award for best Contemporary Jazz Album in 1997.
Shorter would work with Hancock once again in 1997, on the much acclaimed and heralded album 1+1. The song
"Aung San Suu Kyi" (named for the Burmese pro-democracy activist) won both Hancock and Shorter a Grammy
Award.
In 2009, he was announced as one of the headline acts at the Gnaoua World Music Festival in Essaouira, Morocco.
Quartet
Shorter formed his current band in 2000, the

first permanent acoustic group under his
leadership, a quartet with young musicians,
pianist Danilo Perez, bassist John Patitucci,
and drummer Brian Blade, playing his own
complex compositions, many of them
reworkings of tunes from his substantial
portfolio going back to the 1960s. Two
albums of live recordings featuring this
quartet have been released, Footprints Live!
(2002) and Beyond the Sound Barrier
(2005). The quartet has received great
acclaim from fans and critics, especially for
the strength of Shorter's tenor saxophone The Wayne Shorter Quartet at the Teatro degli Arcimboldi, Milan, 2010
playing. The Shorter biography Footprints:
The Life and Work of Wayne Shorter by journalist Michelle Mercer contains an insight into the working life of these
musicians as well as insight into Shorter's life, thoughts and Buddhist beliefs.[6] Beyond the Sound Barrier received
the 2006 Grammy Award for Best Instrumental Jazz Album.
Shorter's 2003 album Alegra (his first studio album for ten years, since High Life) received the 2004 Grammy
Award for Best Instrumental Jazz Album; it features the quartet with a host of other musicians, including pianist
Brad Mehldau, drummer Terri Lyne Carrington and former Weather Report percussionist Alex Acua. Shorter's
compositions, some new, some reworked from his Miles Davis period, feature the complex Latin rhythms that
Shorter specialised in during his Weather Report days.
Personal life
Shorter married Teruka (Irene) Nakagami, in the 1960s; they met in 1961 and later had a child, Miyako.[7] Some of
his compositions are copyrighted as "Miyako Music". Shorter dedicated some pieces to his daughter: "Miyako" and
"Infant Eyes". The couple separated in 1964.[8]
Shorter met Ana Maria in 1964 and they were married in 1970.[8] In 1986, their daughter Iska died of a grand mal
seizure at age 14.[9] Ana Maria and the couple's niece Dalila were both killed in 1996 on TWA Flight 800 while en
route to see him in Italy.[8] Shorter married Carolina Dos Santos, a close friend of Ana Maria, in 1999. He is a
Nichiren Buddhist and a member of Ska Gakkai.[8]
Wayne Shorter 527
Discography
Title Year Label
Introducing Wayne Shorter 1959 Vee-Jay
Second Genesis 1960 Vee-Jay
Wayning Moments 1962 Vee-Jay
Night Dreamer 1964 Blue Note
JuJu 1964 Blue Note
Speak No Evil 1965 Blue Note
The Soothsayer 1965 Blue Note
Et Cetera 1965 Blue Note
The All Seeing Eye 1965 Blue Note
Adam's Apple 1966 Blue Note
Schizophrenia 1967 Blue Note
Super Nova 1969 Blue Note
Moto Grosso Feio 1970 Blue Note
Odyssey of Iska 1970 Blue Note
Native Dancer with Milton Nascimento 1974 Columbia
Atlantis 1985 Columbia
Phantom Navigator 1986 Columbia
Joy Ryder 1988 Columbia
Carlos Santana and Wayne Shorter - Live at the Montreux Jazz Festival 1988 with Carlos Santana 1988 Image Entertainment
High Life 1995 Verve
1 + 1 with Herbie Hancock 1997 Verve
Footprints Live! 2002 Verve
Alegra 2003 Verve
Beyond the Sound Barrier 2005 Verve
Awards
Down Beat Poll Winner New Star Saxophonist (1962)
Grammy Award for Best Jazz Fusion Performance for Weather Report's 8:30 (1979)
Grammy Award for Best Instrumental Composition for Dexter Gordon's Call Sheet Blues (1987)
Grammy Award for Best Jazz Instrumental Performance, Individual or Group for A Tribute to Miles (1994)
Grammy Award for Best Contemporary Jazz Album for High Life (1996)
Grammy Award for Best Instrumental Composition for Aung San Suu Kyi (1997)
NEA Jazz Masters (1998)
Honorary Doctorate of Music (1999; Berklee College of Music)
Grammy Award for Best Jazz Instrumental Solo for In Walked Wayne (1999)
Grammy Award for Best Instrumental Composition for Sacajawea (2003)
Grammy Award for Best Jazz Instrumental Performance, Individual or Group for Alegra (2003)
Wayne Shorter 528
Grammy Award for Best Jazz Instrumental Performance, Individual or Group for Beyond The Sound Barrier
(2005)
Jazz Journalists Association Jazz Award Small Ensemble Group of the Year to Wayne Shorter Quartet (2006)
References
[1] Ratliff, Ben. The New York Times. http:/ / topics. nytimes. com/ topics/ reference/ timestopics/ people/ s/ wayne_shorter/ index. html.
[2] The New York Times: "Times Topics" listing (http:/ / topics. nytimes. com/ topics/ reference/ timestopics/ people/ s/ wayne_shorter/ index.
html)
[3] A Brief History (http:/ / www. nps. k12. nj. us/ arts/ a_brief_history. htm), Newark Arts High School. Accessed August 10, 2008.
[4] The Big Takeover: Weather Report - Forecast: Tomorrow (Columbia Legacy) : (http:/ / www. bigtakeover. com/ recordings/
weather-report-forecast-tomorrow-columbia-legacy)
[5] Davis, Miles; Troupe, Quincy (1990). Miles: The Autobiography. Simon and Schuster. p.274. ISBN0671725823.
[6] "Footprints: The Life and Work of Wayne Shorter" (http:/ / www. allaboutjazz. com/ php/ article. php?id=15937). allaboutjazz.com. .
[7] http:/ / 100greatestjazzalbums. blogspot. com/ 2006/ 07/ speak-no-evil-wayne-shorter-blue-note. html
[8] "A Separate Peacee" (http:/ / www. people. com/ people/ archive/ article/ 0,,20122768,00. html). People. . Retrieved 2010-02-21.
[9] Ratliff, Ben. The New York Times. http:/ / topics. nytimes. com/ topics/ reference/ timestopics/ people/ s/ wayne_shorter/ index. html.
External links
Essay on Wayne Shorter (http://web.archive.org/web/20080225123458/http://www.orbismusic.com/
old_site/wayne+shorter/shorterpaper.html) (Internet archive copy from February 2008)
"An Interview with Wayne Shorter" (http://www.jazz.com/features-and-interviews/2008/3/21/
in-conversation-with-wayne-shorter) by Bob Blumenthal, ( Jazz.com (http://www.jazz.com)).
The Complete Wayne Shorter (http://home.ica.net/~blooms/wshome.html)
Wayne Shorter's letter read during Joe Zawinul's funeral (http://www.zawinulfans.org/modules/sections/
index.php?op=viewarticle&artid=43)
Wayne Shorter discography (http://www.jazzdisco.org/wayne-shorter/discography/)
Wayne Shorter Quartet with NEC Philharmonia, Boston (http://www.allaboutjazz.com/php/article.
php?id=34718) on AllAboutJazz.com
Sonny Stitt 529
Sonny Stitt
Sonny Stitt
Sonny Stitt in New York City on July 6, 1976

Birth name Edward Stitt
Born February 2, 1924
Origin Boston, Massachusetts, USA
Died July 22, 1982 (aged58)
Genres Jazz, Bebop, hard bop
Occupations Saxophonist
Instruments Tenor saxophone, Alto saxophone
Associated acts Billy Eckstine, Gene Ammons, Eddie Davis, Charlie Parker, Miles Davis
Edward "Sonny" Stitt (b. February 2, 1924, Boston, Massachusetts[1] d. July 22, 1982, Washington, D.C.)[2] was
an American jazz saxophonist of the bebop/hard bop idiom. He was also one of the most well-documented
saxophonists of his generation, recording over 100 albums in his lifetime. He was nicknamed the "Lone Wolf" by
jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz. He is considered the greatest
disciple of Charlie Parker.[3] Although his playing was at first heavily inspired by Charlie Parker and Lester Young,
Stitt eventually developed his own style, one which influenced John Coltrane. Stitt was especially effective with
blues and with ballad pieces such as "Skylark".
Biography
Early life
Stitt was born in Boston, Massachusetts and grew up in Saginaw, Michigan. Stitt had a musical background; his
father was a college music professor, his brother was a classically trained pianist, and his mother was a piano
teacher.[1]
In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an
extraordinary similarity that was partly coincidental and not merely due to Stitt's emulation. Stitt's improvisations
were more melodic/less dissonant than those of Parker. Stitt's earliest recordings were made in 1945 with Stan Getz
and Dizzy Gillespie. He had also experienced playing in some swing bands, though he mainly played in bop bands.
Stitt featured in Tiny Bradshaw's big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie's band
in 1945.[2]
Sonny Stitt 530
Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene
Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being
referred to as a Charlie Parker emulator. Later on, he notably played with Gene Ammons and Bud Powell. Stitt spent
time in a Lexington prison between 194849 for selling narcotics.
Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie
Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument
was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor.[1] He played with other bop
musicians Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt,
in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost.
Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost
and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as
"Autumn Leaves."
Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the
tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which
include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which
featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking
habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid
homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on
guitar and at Newport in 1964 with other bebop players including J.J. Johnson.
He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by
Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded
by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity
as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie
"Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in
1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for
Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott's in
London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another
in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey.
Later life
In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which
was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and
ebullient soloing was quite reminiscent of his earlier playing. Stitt was one of the first jazz musicians to experiment
with an electric saxophone (the instrument was called a Varitone), as heard on the album Just The Way It Was - Live
At The Left Bank, recorded in 1971 and released in 2000.
Stitt, joining the Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk and bassist Al
McKibbon) on some albums for the Mercury Records label, and recording sessions for Cobblestone and other labels.
His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22.
Sonny Stitt 531
Discography
As leader
1952: Kaleidoscope, Prestige
1955:Sonny Stitt Plays Arrangements by Quincy Jones, Roost (RST 2204)
1956: Sonny Stitt, Roost (RST 2208)
1956: For Musicians only, Verve (with Gillespie, Stan Getz, John Lewis, Ray Brown, Stan Levey)
1957: Sonny Side Up, Verve (with Gillespie, Sonny Rollins)
1957: Only the Blues, Verve (with Roy Eldridge and Oscar Peterson)
1958: Sonny Stitt, MCA
1959: Sonny Stitt Sits In with the Oscar Peterson Trio, Verve (with Peterson)
1962: Stitt Meets Brother Jack, Prestige (with Jack McDuff)
1962: Boss Tenors in Orbit Verve (with Gene Ammons)
1963: Move on Over (Argo, with Joe Diorio, et al.)
1963: Salt And Pepper, Impulse
1963: Stitt plays Bird, Atlantic, (with Jim Hall, John Lewis, Richard Davis, Connie Kay)
1964: Soul People, Prestige (with Booker Ervin)
1965: The Complete Roost Sonny Stitt Studio Sessions
1965: Live at Ronnie Scott's
1969: Night Letter, Prestige (with Gene Ludwig, Pat Martino, Randy Gelispie)
1971: Turn it On!, Prestige
1971: Just the Way It Was, Hyena, Recorded live at The Famous Ballroom, Baltimore, Maryland, USA, (with
Don Patterson - organ; Billy James - drums)
1972: Tune-Up!, Muse (with Barry Harris, Sam Jones, Allan Dawson)
1972: Constellation
1972: Sonny Stitt/12!, Muse
1974: The Champ
1980: Sonny's Back, Muse
1981: Sonny, Sweets and Jaws- Live at Bubbas, Whos Who in Jazz (with Harry "Sweets" Edison, Eddie Lockjaw
Davis)
1982: Last Stitt Sessions, Muse
As Sideman
With Gene Ammons
Boss Tenors, 1961, Verve
With Art Blakey
A Jazz Message (1963) Impulse! Records
With Milt Jackson
Loose Walk (Palcoscenico Records)
With Zimbo Trio
Zimbo Trio invites Sonny Stitt, (1979) Clam/Continental
Sonny Stitt 532
References
[1] Wilson, John S. (1982). "Sonny Stitt, Saxophonist, Is Dead; Style Likened to Charlie Parker's" (http:/ / proquest. umi. com). The New York
Times: pp.28. . Retrieved 2008-06-25.
[2] "SONNY STITT, 58, JAZZ SAXOPHONIST, DISCIPLE OF CHARLIE (BIRD) PARKER" (http:/ / proquest. umi. com). The Boston Globe:
pp.1. 1982-07-25. . Retrieved 2008-06-25.
[3] allmusic ((( Sonny Stitt > Biography ))) (http:/ / www. allmusic. com/ artist/ p7618/ biography)
External links
Sonny Stitt at Verve Records (http://www.vervemusicgroup.com/artist.aspx?ob=per&src=prd&aid=2810)
Sonny Stitt at the Hard Bop Homepage (http://members.tripod.com/~hardbop/stitt.html)
BBC - Radio 3 Jazz Profiles - Sonny Stitt (http://www.bbc.co.uk/radio3/jazz/profiles/sonny_stitt.shtml)
Gary Thomas
Gary Thomas (born June 10, 1960) is an American jazz saxophonist
and flautist from Baltimore, Maryland. He is a member of Jack
DeJohnette's Special Edition band and has worked with John
McLaughlin, Cassandra Wilson, Wallace Roney, Miles Davis and
Steve Coleman. He currently serves as Director of Jazz Studies at the
Peabody Institute in Baltimore.
Discography
Gary Thomas in Munich (2002)
As leader
The Seventh Quadrant (1987)
Code Violations (1988)
By Any Means Necessary (1989, with John Scofield, Dennis Chambers)
While The Gate Is Open (1990)
The Kold Kage (1991)
Till We Have Faces (1992, with Pat Metheny, Preis der Deutschen Schallplattenkritik 1993)
Exile's Gate (1993)
Found On Sordid Streets (1997)
Pariah's Pariah (1998)
Gary Thomas 533
As sideman
Irresistible Forces (MCA, 1987)
With Greg Osby
The Invisible Hand (Blue Note, 1999)
External links
Thomas's page at the Peabody Institute [1]
Article on Thomas in Baltimore newspaper [2]
References
[1] http:/ / www. peabody. jhu. edu/ 487
[2] http:/ / www. citypaper. com/ bob/ story. asp?id=1076
Tony Williams 534
Tony Williams
Tony Williams
Birth name Anthony Tillmon Williams

Chicago, Illinois, U.S.
Origin Boston, Massachusetts, U.S.
Died February 23, 1997 (aged51)
Genres Jazz, post-bop, jazz fusion
Occupations Drummer, music producer
Instruments Drums
Associated acts Miles Davis, The Tony Williams Lifetime, Sam Rivers, Jackie McLean, Alan Dawson, V.S.O.P.
Anthony Tillmon "Tony" Williams (December 12, 1945 February 23, 1997) was an American jazz drummer.
Widely regarded as one of the most important and influential jazz drummers to come to prominence in the 1960s,
Williams first gained fame in the band of trumpeter Miles Davis, and was a pioneer of jazz fusion.[1]
Biography
Williams was born in Chicago and grew up in Boston. He began studies with drummer Alan Dawson at an early age,
and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired
Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed
Davis's "Second Great Quintet." Williams was a vital element of the group, called by Davis in his autobiography
"...the center that the group's sound revolved around."[2] His inventive playing helped redefine the role of jazz
rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related
tempos and/or time signatures).
Williams's first album as a leader, 1964's Life Time, was recorded during his tenure with Davis. In 1969, he formed a
trio, The Tony Williams Lifetime, with John McLaughlin on guitar, and Larry Young on organ. Jack Bruce joined on
bass later. Lifetime was a pioneering band of the fusion movement, a combination of rock, R&B, and jazz. Their first
album, Emergency!, was largely rejected by the jazz community at the time of its release. Today, Emergency! is
considered by many to be a fusion classic.
After McLaughlin's departure, and several more albums, Lifetime disbanded. In 1975, Williams put together a band
he called "The New Tony Williams Lifetime," featuring bassist Tony Newton, pianist Alan Pasqua, and English
Tony Williams 535
guitarist Allan Holdsworth, which recorded two albums for Columbia Records, Believe It and Million Dollar Legs.
In mid-1976, Williams was a part of a reunion of sorts with his old Miles Davis band compatriots,
pianist/keyboardist Herbie Hancock, bassist Ron Carter, and tenor saxophonist Wayne Shorter. Miles was in the
midst of a six-year hiatus and was replaced by Freddie Hubbard. The record was later released as V.S.O.P. ("Very
Special OneTime Performance") and was highly instrumental in increasing the popularity of acoustic jazz. The group
went on to tour and record for several years, releasing a series of live albums under the name "V.S.O.P." or "The
V.S.O.P. Quintet." (The CD reissues of these albums are sold under Herbie Hancock's name - making things a bit
confusing since the original V.S.O.P. album, which alone was a Hancock album, is not currently available on CD.)
In 1979, Williams, guitarist John McLaughlin and bassist Jaco Pastorius reunited for a one-time performance at the
Havana Jazz Festival. This trio came to be known as the Trio of Doom, and a recording of their performance was
released in 2007. It opens with a powerful drum improvisation by Williams, followed by Mclaughlin's "Dark Prince"
and Jaco's "Continuum," Tony's original composition "Para Oriente" and Mclaughlin's "Are You the One?"
With the group Fuse One, he released two albums in 1980 and 1982.[3] In 1985, Williams recorded an album for
Blue Note Records entitled Foreign Intrigue, which featured the playing of pianist Mulgrew Miller and trumpeter
Wallace Roney. Later that year he formed a quintet with Miller, Roney, saxophonist Bill Pierce, and bassist Charnett
Moffett (later Ira Coleman). This band played Williams' compositions almost exclusively (the Lennon/McCartney
song "Blackbird," the standard "Poinciana," and the Freddie Hubbard blues "Birdlike" being the exceptions) and
toured and recorded throughout the remainder of the 1980s and into the early 1990s. This rhythm section also
recorded as a trio.
Williams also played drums for the band Public Image Limited, fronted by former Sex Pistols singer John Lydon, on
their 1986 release album/cassette/compact disc (the album title varied depending on the format). He played on the
songs "FFF," "Rise" (a modest hit), and "Home." Bill Laswell (see below) co-wrote those three songs with Lydon.
The other drummer on that album was Ginger Baker, who had played in Cream with Jack Bruce, later the bass player
with the Tony Williams Lifetime.
Williams lived and taught in the San Francisco Bay Area until his death from a heart attack following routine gall
bladder surgery. One of his final recordings was The Last Wave by the trio known as Arcana, a release organized by
prolific bass guitarist Bill Laswell.
Discography
As leader
1964: Life Time (Blue Note)
1965: Spring (Blue Note)
1969: Emergency! (Polydor)
1970: Turn It Over (Verve)
1971: Ego (Polydor)
1972: The Old Bum's Rush (Polydor)
1975: Believe It (Columbia)
1975, 1976 The Collection (Columbia)
1976: Million Dollar Legs (Columbia)
1979: The Joy of Flying (Columbia)
1980: Play Or Die (P.S. Productions) with Tom Grant and Patrick O'Hearn [4]
1982: Third Plane (Carrere) with Ron Carter and Herbie Hancock
1985: Foreign Intrigue (Blue Note)
1986: Civilization (Blue Note)
1986, 1988: Angel Street (Blue Note)
Tony Williams 536
1989: Native Heart (Blue Note)

1991: The Story of Neptune (Blue Note)
1992: Tokyo Live (Blue Note)
1993: Unmasked (Atlantic)
1996: Wilderness (Ark 21)
1996: Young at Heart (Columbia)
As sideman
With Geri Allen
Twenty One (1994)
With Arcana
The Last Wave (1995)
Arc of the Testimony (1997)
With Chet Baker
You Can't Go Home Again (1972)
The Best Thing for You (1977)
Chet Baker / Wolfgang Lackerschmid (1979)
With George Cables
Phantom of the City (1985)
With Ron Carter
Third Plane (1978)
Etudes (1982)
With Stanley Clarke
Stanley Clarke (1974)
With Miles Davis
Seven Steps to Heaven (1963)
Miles Davis in Europe (1963)
Four & More (1964)
My Funny Valentine (1964)
Miles in Tokyo (1964)
Miles in Berlin (1964)
E.S.P. (1965)
The Complete Live at the Plugged Nickel (1965)
Miles Smiles (1966)
Directions (1967, 1968)
Sorcerer (1967)
Nefertiti (1967)
Water Babies (1967, 1968)
Circle in the Round (1967, 1968)
Miles in the Sky (1968)
The Complete Miles DavisGil Evans Studio Recordings four takes of 'Falling Water' (1968)
Filles de Kilimanjaro (1968)
In a Silent Way (1969)
With Eric Dolphy
Tony Williams 537
Out to Lunch (1964)

With Kenny Dorham
Una Mas (1963)
With Gil Evans
The Gil Evans Orchestra Plays the Music of Jimi Hendrix track 8, 'Little Wing' (1975)
With Tommy Flanagan
The Trio (1983)
With Hal Galper
Now Hear This (1977)
With Stan Getz
Captain Marvel (1972)
With Dexter Gordon
Round Midnight (1986)
With Herbie Hancock
My Point of View (1963)
Maiden Voyage (1964)
Empyrean Isles (1964)
V.S.O.P. (1976)
V.S.O.P.: The Quintet (1977)
V.S.O.P.: Tempest in the Colosseum (1977)
Herbie Hancock Trio (1977)
Sunlight (1978)
V.S.O.P.: Live Under the Sky (1979)
Herbie Hancock Trio (1981)
Mr. Hands (1982)
Quartet (1982)
Town Hall Concert (1985)
Future2Future
With Herbie Hancock, Wayne Shorter, Ron Carter and Wallace Roney
A Tribute to Miles (1992)
With Jonas Hellborg and the Soldier String Quartet
The Word (1991)
With Joe Henderson
Relaxin' at Camarillo (1979)
With Andrew Hill
Point of Departure (1964)
With Terumasa Hino
May Dance (1977)
With Allan Holdsworth
Atavachron track 5 (1986)
With Michael Mantler
Movies (1977)
Tony Williams 538
With Ray Manzarek

The Golden Scarab (1973)
With Branford Marsalis
Renaissance (1987)
With Wynton Marsalis
Wynton Marsalis (1981)
With John McLaughlin
Johnny McLaughlin: Electric Guitarist (1978)
With Jackie McLean
Vertigo (19623)
One Step Beyond (1963)
New Wine In Old Bottles (1978)
With Marcus Miller
The Sun Don't Lie (199092)
With Mulgrew Miller
The Countdown (1988)
With Grachan Moncur III
Evolution (Blue Note, 1963)
Some Other Stuff (Blue Note, 1964)
With Jaco Pastorius and John McLaughlin
Trio of Doom (1979)
With Michel Petrucciani
Marvellous (1994)
With Public Image Limited
Album (1985)
With Don Pullen
New Beginnings (Blue Note, 1988)
With Sam Rivers
Fuchsia Swing Song (Blue Note, 1964)
With Sonny Rollins
Easy Living (1977)
Don't Stop the Carnival (1978)
No Problem (1981)
With Wallace Roney
Verses (1987)
With Travis Shook
Travis Shook (1993)
With Wayne Shorter
The Soothsayer (1965)
With McCoy Tyner
Tony Williams 539
Supertrios (1977)
Counterpoints (1978)
With Sadao Watanabe
I'm Old Fashioned (1976)
With Weather Report
Mr. Gone (1978)
References
[1] Allmusic website (http:/ / www. allmusic. com/ artist/ p7832)
[2] Miles The Autobiography, Miles Davis with Quincy Troupe, Picador 1989, p.254
[3] Allmusic Fuse One Discography (http:/ / www. allmusic. com/ artist/ p10614)
[4] (http:/ / www. discogs. com/ Tony-Williams-Play-Or-Die/ release/ 1381514)
Joe Zawinul 540
Joe Zawinul
Joe Zawinul
Joe Zawinul live with "The Zawinul Syndicate" (Freiburg/Germany, 2007)

Birth name Josef Erich Zawinul
Born July 7, 1932

Vienna, Austria
Died September 11, 2007 (aged75)

Vienna, Austria
Genres Jazz, jazz fusion, romantic music, art music, world music
Occupations Keyboardist, composer
Instruments Keyboards: synthesizer, piano, accordion, EWI
Associated acts Zawinul Syndicate

Weather Report
Miles Davis
Cannonball Adderley
Website [1]
www.zawinulmusic.com
Josef Erich Zawinul (July 7, 1932 September 11, 2007)[2] was an Austrian-American jazz keyboardist and
composer.
First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles
Davis, and to become one of the creators of jazz fusion, an innovative musical genre that combined jazz with
elements of rock and world music. Later, Zawinul co-founded the groups Weather Report and the world fusion
music-oriented Zawinul Syndicate. Additionally, he made pioneering use of electric piano and synthesizers. Zawinul
was named "Best Electric Keyboardist" 28 times by the readers of Down Beat magazine.[3]
Several artists have honored Zawinul with songs, notably Brian Eno's instrumental "Zawinul/Lava", John
McLaughlin's instrumental "Jozy", Warren Cuccurullo's "Hey Zawinul", Bob Baldwin's "Joe Zawinul", Chucho
Valdes's Zawinul's Mambo, and Birli Lagrne's instrumental "Josef". Zawinul's playing style is often dominated by
quirky melodic improvisations both bebop, ethnic and pop sounding combined with sparse but rhythmic playing
of big-band sounding chords or bass lines. In Weather Report, he often employed a vocoder as well as pre-recorded
sounds played (i.e. filtered and transposed) through a synthesizer, creating a very distinctive synthesis of jazz
harmonics and "noise" ("using all the sounds the world generates").
Joe Zawinul 541
Biography

Zawinul was born and grew up in Landstrae, as a son of the worker Josef Zawinul, in Vienna, Austria, where he
went to school with the late former Austrian Federal President Thomas Klestil. His grandmother was a Hungarian
Sinti ("Gypsy"), and his grandfather was from southern Moravia.
Classically trained at the Konservatorium Wien, Zawinul played in various broadcasting and studio bands before
emigrating to the U.S. in 1959 on a music scholarship at Berklee College of Music in Boston.
He went on to play with trumpeter Maynard Ferguson, where he first met Wayne Shorter after having had an
influence in hiring him. Shorter left soon thereafter to play in Art Blakey's group and Josef was apparently dismissed
from the Ferguson band for wanting to have too much control over personnel decisions. Zawinul then toured and
recorded with singer Dinah Washington for two years.

In 1961, Zawinul joined the Quintet led by saxophonist Cannonball Adderley.[2] During his nine-year stint with
Adderley, he wrote the hit song "Mercy, Mercy, Mercy." He also composed "Walk Tall" and "Country Preacher," the
latter a tribute to U.S. Civil Rights Movement leader Jesse Jackson, from the 1969 album of the same name.
With Miles Davis

In the late 1960s, Zawinul recorded with Miles Davis's studio band and helped create the sound of jazz fusion. He
played on the album In a Silent Way, the title track of which he composed, and the landmark album Bitches Brew,
for which he contributed the twenty-minute track, "Pharaoh's Dance", which occupied the whole of side one.[2]
Zawinul is known to have played live with Davis only once, on July 10, 1991, in Paris, along with Wayne Shorter,
shortly before Davis' death.[2]
Zawinul, along with other Davis sidemen Chick Corea and Herbie Hancock, was one of the first to use electric
pianos and early synthesizers like the ARP 2600 in 1973's Sweetnighter. He was among the first to use an electric
piano, the Wurlitzer. He used the Fender-Rhodes thereafter, adding a wah-wah pedal and later the Mutron effect unit
for a complex phased timbre. His creativity and attention to detail resulted in a very contemporary and modern
sound. He also has played the kalimba on Weather Report's Mysterious Traveller and Mr. Gone.
With Weather Report

In 1970, Zawinul co-founded Weather Report with saxophonist and Davis alumnus Wayne Shorter. Their first two
years emphasized a relatively open, group improvisation format not dissimilar to what Miles Davis was doing in a
more rock oriented format. However, Josef started making changes with their third album, Sweetnighter, citing he
was "tired of waiting for something to happen". Funk elements such as electric bass, wah-wah pedal, etc. started to
be introduced in the band's sound. Music critics generally agree that their 4th album, Mysterious Traveller, was their
true breakthrough album, capturing the classic Weather Report "sound" for the first time. The musical forms were
now through-composed similar to classical music, and the combination of jazz harmonies with 70's groove elements
launched the band into its most successful period.
Joe Zawinul 542
Their biggest commercial success came from his composition

"Birdland", a 6-minute opus featured on Weather Report's
1977 album Heavy Weather, which peaked at number 30 on
the Billboard pop albums chart. "Birdland" is one of the most
recognizable jazz pieces of the 1970s, covered by many
prominent artists from The Manhattan Transfer and Quincy
Jones to Maynard Ferguson, the Buddy Rich Big Band, and
Jefferson Starship. Even Weather Report's version received
significant mainstream radio airplay unusual for them
Zawinul with Weather Report in Toronto, 1977 Photo: and served to convert many new fans to music which they
Jean-Luc Ourlin
may never have heard otherwise. The song won him three
Grammys.
Weather Report was active until the mid 80s, with Zawinul and Shorter remaining the sole constant members
through multiple personnel shifts. The group was notable for bringing to prominence pioneering fretless bass
guitarist Jaco Pastorius, but also other musicians, such as Alphonso Johnson and Peter Erskine. Shorter and Zawinul
had already gone separate ways, after the recording of their "final" Sportin' Life, when it was discovered that they
had to do one more album in order to fulfill the CBS contract. This Is This! therefore became their final album.
Shorter participated despite being busy leading his own group, and Peter Erskine was also brought in again for this
record, ending up playing on most compositions.
Later career
Zawinul also wrote a symphony, called Stories of the Danube, which was commissioned by the Brucknerhaus, Linz.
It was first performed as part of the Linzer Klangwolke (a large-scale open-air broadcast event), for the opening of
the 1993 Bruckner Festival in Linz. In its seven movements, the symphony traces the course of the Danube from
Donaueschingen through various countries ending at the Black Sea. It was recorded in 1995 by the Czech State
Philharmonic Orchestra, Brno, conducted by Caspar Richter.[2]
Zawinul was hospitalized in his native Vienna on August 7, 2007,[4] after concluding a five-week European tour. He
died from a rare form of skin cancer (Merkel cell carcinoma) on September 11, 2007.[5] [6] He is buried in the
Zentralfriedhof Cemetery in Vienna.
Discography
As leader
To You with Love (Strand, 1959)
Money In The Pocket (Atlantic, 1966)
The Rise and Fall of the Third Stream (Vortex, 1968)
Zawinul (Atlantic, 1971)
Dialects (Columbia, 1986)
The Immigrants (Columbia, 1988)
Black Water (Columbia, 1989)
Lost Tribes (Columbia, 1992)
My People (ESC-Records, 1996)
Stories of the Danube (Polygram, 1996)
World Tour (ESC, 1997)
Mauthausen - Vom groen Sterben hren (ESC-Records, 2000) [3]
Faces & Places (ESC-Records, 2002)
Joe Zawinul 543
Joe Zawinul & The Zawinul Syndicate Vienna Nights Live at Joe Zawinul's Birdland (BirdJAM 2005)
Brown Street (2006)
Music for Two Pianos with Friedrich Gulda: Brahms' Variations on a Theme by HaydnWDR Big Band Kln
(Capriccio, 2006)
75 (BirdJAM, 2008)
With:
Ben Webster
Soulmates (Riverside, 1963)
As sideman
With Dinah Washington
What a Diff'rence a Day Makes! (Mercury, 1960)
Dinah Washington & Brook Benton Two of Us (Mercury, 1960)
Nancy Wilson/Cannonball Adderley (Capitol, 1961)
The Cannonball Adderley Sextet in New York (Riverside, 1962)
Cannonball in Europe! (Riverside, 1962)
Jazz Workshop Revisited (Riverside, 1963)
Autumn Leaves (Riverside [Japan], 1963)
Nippon Soul (Riverside, 1963)
Cannonball Adderley Live! (Capitol, 1964)
Live Session! (Capitol, 1964)
Cannonball Adderley's Fiddler on the Roof (Capitol, 1964)
Domination (Capitol, 1965)
Money in the Pocket (Capitol, 1966)
Great Love Themes (Capitol, 1966)
Mercy, Mercy, Mercy! Live at 'The Club' (Capitol, 1966)
Cannonball in Japan (Capitol, 1966)
Radio Nights (Night, 1967-8)
74 Miles Away (Capitol, 1967)
Why Am I Treated So Bad! (Capitol, 1967)
Accent on Africa (Capitol, 1968)
Country Preacher (Capitol, 1969)
In Person (Capitol, 1970)
The Cannonball Adderley Quintet & Orchestra (Capitol, 1970)
The Price You Got to Pay to Be Free (Capitol, 1970)
With Nat Adderley
Naturally! (Jazzland, 1961)
Autobiography (Atlantic, 1964)
Live at Memory Lane (Atlantic, 1966)
The Scavenger (Milestone, 1968)
You, Baby (CTI, 1968)
Calling Out Loud (CTI, 1968)
With Miles Davis
Joe Zawinul 544
In a Silent Way (Columbia, 1969)

Big Fun (Columbia, 1969)
Bitches Brew (Columbia, 1970)
Live-Evil (Columbia, 1971)
Circle in the Round (Columbia, 1979)
With Weather Report
Weather Report (Columbia, 1971)
I Sing the Body Electric (Columbia, 1972)
Live in Tokyo (Columbia, 1972)
Sweetnighter (Columbia, 1973)
Mysterious Traveller (1974)
Tale Spinnin' (1975)
Black Market (1976)
Heavy Weather (1977)
Mr. Gone (1978)
8:30 (1979)
Night Passage (1980)
Weather Report (1982)
Procession (1983)
Domino Theory (1984)
Sportin' Life (1985)
This Is This! (1986)
Live and Unreleased (2002)
Forecast: Tomorrow (2006)
As contributor
Amen by Salif Keita (Mango, 1991)
Crazy Saints by Trilok Gurtu (1993)
References
[1] http:/ / www. zawinulmusic. com/
[3] Joe Zawinul Biography (http:/ / www. zawinulmusic. com/ biography)
[4] Zawinul Online Blog Archive Joe Zawinul Hospitalized in Vienna (http:/ / www. zawinulonline. org/ 2007/ 08/ 07/
joe-zawinul-hospitalized-in-vienna/ )
[5] McDonald, Ray (12 September 2007). "Keyboardist Joe Zawinul Dies" (http:/ / voanews. com/ english/ archive/ 2007-09/ 2007-09-12-voa18.
cfm). VOA News (Voice of America). . Retrieved 2 January 2009.
[6] Schudel, Matt (September 12, 2007). "Joe Zawinul, 75; Keyboardist Was a Pioneer of Jazz Fusion" (http:/ / www. washingtonpost. com/
wp-dyn/ content/ article/ 2007/ 09/ 11/ AR2007091102289. html). The Washington Post. . Retrieved May 6, 2010.
Joe Zawinul 545
Biographies
Glasser, Brian (2001). In a Silent Way: A Portrait of Joe Zawinul. London: Sanctuary. ISBN1860743269.
OCLC45900631.
Baumann, Gunther (2002) (in German). Zawinul: Ein Leben aus Jazz [Zawinul: A Life of Jazz]. Salzburg; Wien:
Frankfurt am Main; Residenz. ISBN3701712913. OCLC469270497.
Yamashita, Kunihiko (2006). Joe Zawinul: On the Creative Process. Tokyo: Rittor Music. ISBN4845613379.
OCLC169983180.
External links
Official website (http://www.joe-zawinul.at)
Zawinul Online (http://www.zawinulonline.org)
Italian fans website (http://www.zawinulfans.org)
Obituary from The Times (http://www.timesonline.co.uk/tol/comment/obituaries/article2434266.ece)
Profile (http://www.unknownpublic.com/writing/zawinul2.html) of Joe Zawinul by Guardian writer and
Unknown Public editor John L. Walters
Rolling Stone's Joe Zawinul Page (http://www.rollingstone.com/artists/joezawinul)
BBC's Profile of Joe Zawinul (http://www.bbc.co.uk/radio3/jazz/profiles/joe_zawinul.shtml)
Joe Zawinul website (http://www.zawinulsite.com)
Jazz Police's review of "Brown Street", Joe Zawinul's latest release (http://www.jazzpolice.com/content/view/
6684/2/)
Joe Zawinul backstage at his club "Birdland" in Vienna, Austria, by Johann Marcus Streitner (http://www.
shylingo.com/Current/People/Zawinul/)
See Zawinul Story for what happened during the Malibu Fire with the Weather Report Concert Recordings Tapes
(http://www.icwiring.com/history.html)
Joe Zawinul Died at age 75 (http://www.neorunner.com/archive/2007/09/11/
Jazz_Great_Joe_Zawinul_Dead_at_75.php)
Public Tribute and Obituary (http://www.lastingtribute.co.uk/famousperson/zawinul/2637339)
In-Depth Interview with Anil Prasad of Innerviews (http://www.innerviews.org/inner/zawinul.html)
Allmusic profile (http://www.allmusic.com/artist/p53219/biography)
546
Related articles and tributes
Directions in Music: Live at Massey Hall

Directions in Music: Live at Massey Hall
Live album by Herbie Hancock, Roy Hargrove & Michael Brecker
Released 2002
Recorded October 25, 2001
Genre Jazz
Label Verve
Herbie Hancock chronology
Future2Future Directions in Music: Live at Massey Possibilities

(2001) Hall (2005)
(2002)
Directions in Music: Live at Massey Hall is a live recording by Herbie Hancock, Roy Hargrove and Michael
Brecker. It was recorded on October 25, 2001 in Toronto, and was subtitled, Celebrating Miles Davis & John
Coltrane. It was Hancock's forty-fourth album.
It won the Best Jazz Instrumental Album, Individual or Group in 2003.
Directions in Music: Live at Massey Hall 547
Track listing
1. "The Sorcerer" (Herbie Hancock) 8:53
2. "The Poet" (Roy Hargrove) 6:35
3. "So What"/"Impressions" (Miles Davis)/(John Coltrane) 12:51
4. "Misstery" (Michael Brecker, Hancock, Hargrove) 8:16
5. "Naima" (Coltrane) 7:29
6. "Transition" (Coltrane) 10:26
7. "My Ship" (Ira Gershwin, Kurt Weill) 8:40
8. "D Trane" (Brecker) 15:09
Personnel
Michael Brecker tenor saxophone
Roy Hargrove trumpet, flugelhorn
John Patitucci double bass
Brian Blade drums
External links
Hancock-Brecker-Hargrove at Verve Records [1]
References
[1] http:/ / www. vervemusicgroup. com/ artist/ releases/ default. aspx?pid=10689& aid=2846
5892 Milesdavis 548
5892 Milesdavis
Milesdavis
Designations
MPC designation 5892
Named after Miles Davis
Alternate name(s) 1981 YS1
Orbital characteristics
Epoch May 14, 2008
Ap 3.1062707
Peri 1.6610239
Eccentricity 0.3031587
Orbital period 1344.1923665
Mean anomaly 65.18346
Inclination 4.58469
Longitudeof ascendingnode 153.81149
Argument of peri 290.90407
Physical characteristics
Absolute magnitude (H) 13.6
5892 Milesdavis (1981 YS1) is a Mars-crossing asteroid.
External links
JPL Small-Body Database Browser on 5892 Milesdavis (http://ssd.jpl.nasa.gov/sbdb.cgi?sstr=5892+
Milesdavis)
Selim Sivad: A Tribute to Miles Davis

Selim Sivad: a Tribute to Miles Davis
Studio album by World Saxophone Quartet
Released 1998
Genre Jazz
Length 52:42
Label Justin Time
[1]
Selim Sivad: A Tribute to Miles Davis at Allmusic
World Saxophone Quartet chronology
Takin' It 2 the Next Selim Sivad: The Music of Miles M'Bizo

Level Davis (1999)
(1996) (1998)
Selim Sivad: The Music of Miles Davis is the fifteenth album by the jazz group the World Saxophone Quartet and
their third on the Canadian Justin Time label. The album features performances by Hamiet Bluiett, John Purcell,
Oliver Lake and David Murray, with guests Jack DeJohnette, Chief Bey, Okyerema Asante, and Titos Sompa and is
dedicated to Miles Davis.
Track listing
1. "Seven Steps To Heaven" (Miles Davis, Feldman) - 6:12
2. "Selim" - 7:30
3. "Freddie Freeloader" -6:48
4. "The Road To Nefertiti" (Bluiett, Lake, Murray, Purcell) - 9:59
5. "Tutu" (Miller) 6:52
6. "Blue in Green" - 5:31
7. "All Blues" 9:50
All compositions by Miles Davis except as indicated.
Personnel
Hamiet Bluiett baritone saxophone, contra-alto clarinet
John Purcell saxello, alto flute
Oliver Lake alto saxophone, flute
David Murray tenor saxophone, bass clarinet
Jack DeJohnette drums, piano
Chief Bey: Ashiko African Drums
Okyerema Asante African Drums, percussion, kalimba
Titos Sompa African drums, percussion, kalimba, voice
References
So Near, So Far (Musings for Miles)

So Near, So Far (Musings for Miles)
Studio album by Joe Henderson
Released 1993
Genre Jazz
Label Verve
Producer Richard Seidel, Don Sickler
[1]
Allmusic link
Joe Henderson chronology
Lush Life: The Music of Billy So Near, So Far (Musings for Double Rainbow: The Music of Antonio Carlos
Strayhorn Miles) Jobim
(1992) (1993) (1995)
So Near, So Far (Musings for Miles) is a 1993 album by jazz saxophonist Joe Henderson, the second of the five
albums he recorded with Verve Records during the end of his career. It is a tribute to Miles Davis.
Tracklisting
1. "Miles Ahead"
2. "Joshua"
3. "Pfrancing (No Blues)"
5. "Milestones"
6. "Teo"
7. "Swing Spring"
8. "Circle"
9. "Side Car"
10. "So Near, So Far"
Digitally recorded at Power Station, NYC, October 12-14, 1992.
Personnel
Saxophone - Joe Henderson
Bass - Dave Holland
Drums - Al Foster
Guitar - John Scofield
Producer - Don Sickler, Richard Seidel
Co-producer - Joe Henderson
References
A Tribute to Miles
A Tribute to Miles
Studio album by Herbie Hancock, Wayne Shorter, Tony Williams, Ron Carter and Wallace Roney
Released 1994
Recorded 1994
Genre Jazz
Label Qwest
Herbie Hancock chronology
Perfect A Tribute to Dis Is Da

Machine Miles Drum
(1988) (1994) (1994)
A Tribute to Miles is a tribute album by Herbie Hancock, Wayne Shorter, Tony Williams, Ron Carter and Wallace
Roney. This was the tribute album to pay homage to the then recently departed mentor of the above men, Miles
Davis who died in September 1991. Playing the part of Davis was young trumpet player Wallace Roney.
This album won all five men a Grammy award for Best Jazz Instrumental Performance, Individual Or Group. This
marked Hancock's third overall Grammy award.
Two of the songs were recorded live, on their national tour honoring their fallen mentor.
Track listing
1. "So What (Live)"
2. "RJ"
3. "Little One"
4. "Pinocchio"
5. "Elegy"
6. "Eighty One"
7. "All Blues (Live)"
Personnel
Herbie Hancock - piano, calliope (music)
Wayne Shorter - tenor saxophone, soprano saxophone
Wallace Roney - trumpet
Ron Carter - bass
555
Discography and lists
Discography
Miles Davisdiscography
Miles Davis, photo taken by Tom Palumbo in New York City

Releases
Studio albums 67
Live albums 51
Compilation albums 61
Soundtracks 3
Box sets 15
Collaborations 72
Videos 34
Tunes 48
Miles Davis was an American trumpeter, flugelhornist, bandleader and composer. His major discography consists of
67 studio albums, 51 live albums, 61 compilation albums, 15 box sets, 3 soundtrack albums and 48 vinyl records.
Davis' initial appearances on record were mainly as a member of bebop saxophonist Charlie Parker's quintet
19441947.[1] While Davis had begun recording as a bandleader earlier, Prestige Records released his major debut
album Blue Period in 1951. He recorded studio albums under this record label from 1951 through 1961, with the
exception of Blue Moods, issued by Debut Records in 1955. The earliest Davis music so far released was recorded
from April 4, 1945 through August 14, 1947, and released on July 12, 1990 by Savoy Records under the title First
Miles. The delay was typical for recordings made before the first 78 rpm long-playing records were introduced in
1948 by Columbia Records.[2]
From 1949 through 1950, Davis recorded twelve tunes with a nonet consisting of himself and other noted jazz
musicians Gerry Mulligan, Lee Konitz, John Lewis, Max Roach and Kenny Clarke. These recordings eventually
appeared on the album Birth of the Cool in 1957 by Capitol Records. He later signed to Columbia and released
'Round About Midnight on March 18, 1957. His acclaimed 1959 album Kind of Blue is generally stated to be the
best-selling jazz album of all time,[3] although the data is not conclusive. The follow-up album in 1960, Sketches of
Spain, went gold.
Discography 556
He formed his second great quintet in 1964, that band becoming a template in the post-fusion era. With the release of
Miles in the Sky, Davis permanently abandoned hard bop, instead adopting jazz fusion and avant-garde jazz.[4] In this
era he released the studio album Bitches Brew, which went platinum, culminating in the long electric jams from the
mid-1970s released as Pangaea, Agharta, and Dark Magus. After a brief retirement, in the period between 1981 and
1991 Davis released albums under the Columbia and Warner Bros. labels. These recordings combined jazz with
popular music genres as he turned more toward the mainstream.[5] He finished his music career with Doo-Bop, in
which he experimentally combined jazz with hip-hop, although his 1972 album On the Corner contained beats that
would later be sampled for hip-hop.[6]
Albums
Studio albums
Prestige/Debut, 19451961
Year Album details
1951 Blue Period

Released: 1951
Recorded: January 17, 1951 October 5, 1951
Label: Prestige
Format: LP
Dig
Released: October 5, 1951
Recorded: October 5, 1951
Label: Prestige
Format: LP
1954 Blue Haze

Released: 1954
Recorded: May 19, 1953 April 3, 1954
Label: Prestige
Format: LP
Walkin'
Released: April 3, 1954
Recorded: April 3, 1954
Label: Prestige
Format: LP

Released: December 24, 1954
Recorded: December 24, 1954
Label: Prestige
Format: LP
Discography 557
1955 Miles Davis and Horns

Released: 1955
Recorded: January 17, 1951 February 19, 1953
Label: Prestige
Format: LP
Musings of Miles
Released: June 7, 1955
Recorded: June 7, 1955
Label: Prestige
Format: LP
Blue Moods
Released: July 9, 1955
Recorded: July 9, 1955
Label: Debut
Format: LP
Quintet / Sextet
Released: August 5, 1955
Label: Prestige
Format: LP
1956 Miles: The New Miles Davis Quintet

Released: April 1956
Recorded: November 16, 1955
Label: Prestige
Format: LP
1957 Bags' Groove

Released: 1957
Recorded: June 29, 1954 December 24, 1954
Label: Prestige
Format: LP
Cookin'
Released: 1957
Label: Prestige
Format: LP
Relaxin'
Released: 1958
Recorded: May 11, 1956 October 26, 1956
Label: Prestige
Format: LP
1959 Workin'
Released: 1959
Label: Prestige
Format: LP
1961 Steamin'
Released: 1961
Label: Prestige
Format: LP
Discography 558
1966 Collectors' Items

Released: 1966
Recorded: October 5, 1951 March 16, 1956
Label: Prestige
Format: LP
Columbia, 19551975
Year Album details Peak chart positions Certifications
US Jazz Cont. BEL FRA NLD NZL NOR SWE SWI

[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
1957 'Round About Midnight

Released: March 18, 1957
June 5, 1956
Label: Columbia
Format: LP
1957 Miles Ahead

Released: 1957
Recorded: May 6, 1957 August
22, 1957
Label: Columbia
Format: LP
1958 Milestones
Released: 1958
Recorded: April 2, 1958 April 3,
1958
Label: Columbia
Format: LP
Porgy and Bess

Released: 1958
Recorded: July 22, 1958 August
18, 1958
Label: Columbia
Format: LP
1958 Miles
Released: 1958
Recorded: May 26, 1958
Label: Columbia
Format: LP
1959 Kind of Blue 10 29 40 58

21[A] US: 4
[15]
Released: August 17, 1959 Platinum
[16]
Recorded: March 2, 1959 April UK: Gold
22, 1959
Label: Columbia
Format: LP, Reel Tape
Discography 559
1960 Sketches of Spain [15]

13[B] US: Gold
November 20, 1959
Label: Columbia
1961 Someday My Prince Will Come 116

Recorded: March 7, 1961 March
21, 1961
Label: Columbia
Format: LP
1963 Quiet Nights(with Gil Evans) 93

Released: December 1963
Recorded: July 27, 1962 April
17, 1963
Label: Columbia

Released: 1963
Recorded: April 16, 1963 May
14, 1963
Label: Columbia
1965 E.S.P.
Released: November 1965
Recorded: January 20, 1965
January 22, 1965
Label: Columbia
Format: LP
1967 Miles Smiles

Released: January 1967
October 25, 1966
Label: Columbia
Sorcerer
Released: 1967
Recorded: August 21, 1962 May
24, 1967
Label: Columbia
Format: LP
Discography 560
1968 Nefertiti
Released: 1968
Recorded: June 7, 1967 July 19,
1967
Label: Columbia
Format: LP
Miles in the Sky

Released: 1968
Recorded: January 16, 1968 May
17, 1968
Label: Columbia
Format: LP
1969 Filles de Kilimanjaro

Released: January 29, 1969
September 24, 1968
Label: Columbia
In a Silent Way 134

Recorded: February 18, 1969
Label: Columbia
Format: LP
1970 Bitches Brew 35 80 [15]

US: Platinum
Released: April 1970
Recorded: August 19, 1969
January 28, 1970
Label: Columbia
1971 A Tribute to Jack Johnson 159

Released: February 24, 1971
Recorded: February 18 April 7,
1970
Label: Columbia
Format: LP, CD, CS
Live-Evil 125 4
Released: November 17, 1971
Recorded: February 6, 1970
December 19, 1970
Label: Columbia
Format: LP, CD
1972 On the Corner 156

Recorded: June 1, 1972 June 6,
1972
Label: Columbia
Format: LP, CD
Discography 561
1974 Big Fun 179

June 12, 1972
Label: Columbia
Format: LP, CD
Get Up with It 141

Recorded: May 19, 1970
October 7, 1974
Label: Columbia
Format: CD
1976 Water Babies 190

Recorded: June 1967 November
1968
Label: Columbia
Format: CD
"" denotes releases that did not chart or was not released.
A the September 30, 2008 released album Kind of Blue 50th Anniversary Collection was also charted on 2009
at number 92 in the Belgian albums chart.
B 1987 reissue
Columbia/Warner Bros., 19811991

(sales
US Jazz Cont. BEL FRA NLD NZL NOR SWE SWI thresholds)
[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
1981 The Man With The Horn 53 1 46 35 30

Released: July 1981
Recorded: June 1, 1980 May 6,
1981
Label: Columbia
Format: CD
1983 Star People 136 4

Released: 1983
Recorded: September 1, 1982
January 5, 1983
Label: Columbia
Format: CD
1984 Decoy 169 1

Released: June 1984
September 11, 1983
Label: Columbia
Format: CD
Discography 562
1985 You're Under Arrest 111 3 26 19

Released: September 9, 1985
January 1985
Label: Columbia
Format: CD
1986 Tutu 186 1 5 33 27

March 25, 1986
Label: Warner Bros.
Format: CD, CS
1989 Amandla 177 1 43 24

Released: May 18, 1989
Recorded: December 1988 early
1989
Label: Warner Bros.
Format: CD, CS
Aura 17
February 4, 1985
Label: Columbia
Format: CD, CS
1992 Doo-Bop 190 1 21 40 7

February 1991
Label: Warner Bros.
Format: LP, CD, CS
Live albums
Album details Peak chart positions Certifications

Year (sales
[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
1957 The Complete Amsterdam Concert

Label: Celluloid
Format: CD, LP
1958 At Newport 1958

Released: 1958
Label: Columbia
Format: CD, LP
Discography 563
1960 Copenhagen 1960

Label: Royal Jazz
Format: CD, LP
Live in Zurich 1960

Label: Jazz Unlimited
Format: CD, LP
Free Trade Hall, Vol. 1

Label: Magnetic
Format: CD, LP
Free Trade Hall, Vol. 2

Label: Magnetic
Format: CD, LP
1961 In Person Friday Night at the

Blackhawk, Vol. 1
Label: Sony Records
Format: CD, LP
In Person Saturday Night at the

Blackhawk, Vol. 2
Label: Sony
Format: CD, LP
At Carnegie Hall 59
Label: TriStar
Format: CD, LP
Live Miles: More Music from the

Legendary Carnegie Hall Concert
Label: CBS
Format: CD, LP
1963 Live In St. Louis And Paris 1963

Label: The Golden Age of Jazz
Format: LP
1964 Live in Europe 116

Released: 1964
Label: Sony
Format: CD, LP
Miles in Tokyo
Label: CBS/Sony
Format: CD, LP
Discography 564
1965 Miles in Berlin

Label: CBS
Format: LP

Released: May 1965
Label: Columbia
Format: LP
Live at the Plugged Nickel 16

Released: 1965
Label: CBS
Format: LP
1966 Four & More

Label: Columbia
Format: LP
Gingerbread Boy, At Portland State

College
Label: Stone
Format: LP
1967 His Greatest Concert Ever

Label: Jazzman
Format: LP
1970 Miles Davis at Fillmore: Live at the 159 1

Fillmore East
Label: Columbia/Legacy
Format: CD, LP
1971 Berlin and Beyond

Label: Lunch for your Ears
Format: LP
1973 In Concert: Live at Philharmonic Hall 152 13

Released: 1973
Format: CD, LP
Jazz at the Plaza

Label: Columbia
Format: CD, LP
1975 Pangaea
Released: 1975
Label: Columbia
Format: CD, CS, LP
New York Bottom Line 1975

Label: Jazz Masters
Format: CD, LP
Discography 565
1976 Agharta
Released: 1976
Label: Columbia
Format: CD, CS, LP
1977 Dark Magus

Released: 1977
Format: CD, LP
Black Beauty: Live at the Fillmore West

Released: 1977
Format: CD
In Paris Festival International de Jazz 33

Released: 1977
Label: The Jazz Factory
Format: CD
1982 We Want Miles 159 2

Released: 1982
Label: CBS
Format: CD
1987 Greek Theatre '88

Label: Jazz Masters
Format: CD
1993 Miles & Quincy Live at Montreux 1

Released: 1993
Label: Warner Bros.
Format: CD, CS

Released: 1993
Label: Sony
Format: LP, CD
Live in Zurich
Released: 1993
Label: Gambit
Format: CD
1969 Miles Festiva De Juan Pins

Label: Sony
Format: CD
1994 Live at Newport 1958 & 1963

Label: TriStar Music
Format: CD
1996 Live Around the World 4

Label: Warner Bros.
Format: LP, CD, CS
Discography 566
1998 Miles Davis at Carnegie Hall: Complete

Released: 1998
Format: CD
2000 Chasin' the Bird

Label: Arpeggio Blues
Format: CD
Complete Birdland Recordings

Label: Definitive
Format: CD
2001 Live at the Fillmore East, March 7, 3

1970: It's About That Time
Label: Sony
Format: CD
2002 The Complete Miles Davis at Montreux 19

Label: Columbia
Format: CD
2003 In Person: Friday and Saturday Nights 9

at the Blackhawk, Complete
Label: Sony
Format: CD
2004 Birdland 1951

Label: Sony
Format: CD
2005 Munich Concert

Label: IMC Records
Format: CD
Amsterdam Concert
Label: Lone Hill Jazz
Format: CD
2006 Winter in Europe 1967

Label: Gambit
Format: CD
2007 Live at the 1963 Monterey Jazz Festival 8

Label:
Format: CD
Isle of Wight Concert

Label: Vinyl Passion
Format: LP
Discography 567
2008 Live in Poland 1983

Label: Gambit
Format: CD
2011 Bitches Brew Live

Label: Sony/Legacy
Format: CD
Compilations

Year (sales
[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
1951 Conception
Label: OJC
Format: LP
1953 Miles Davis Volume 2

Label: Blue Note
Format: LP
1955 Miles Davis Volume 1

Released: 1955
Label: Blue Note
Format: LP
1957 Birth of the Cool

Released: 1957
Label: Capitol
Format: LP
1958 Jazz Track

Label: Jazzbeat
Format: LP
Four Play
Label: Jazz Music Yesterday
Format: LP, CD
1961 Miles Davis in Person, Vol. 1 68

Label: Columbia
Format: LP
1966 Miles Davis for Lovers

Released: 1966
Label: Prestige
Format: LP
Discography 568
1969 Miles Davis' Greatest Hits

Released: 1969
Format: LP
1973 Basic Miles: The Classic Performances 189 21

of Miles Davis
Released: 1973
Label: Columbia
Format: LP
1979 Circle in the Round 18

Released: 1979
Format: LP
1981 Directions
Released: 1981
Format: LP
The Miles Davis Collection, Vol. 1: 12 33

Sides of Miles
Released: 1981
Label: Columbia
Format: LP
1988 Bopping the Blues

Released: March 1988
Label: Black Lion
Format: LP, CD
1990 First Miles

Label: Savoy Jazz
Format: LP, CD
1992 The Best of Miles Davis: The

Capitol/Blue Note Years
Label: Blue Note
Format: LP, CD
Tune Up
Label: Natasha Records
Format: LP, CD
Plays Classic Ballads

Label: Sony
Format: LP, CD
Discography 569
1995 The Ballad Artistry Of Miles Davis

Label: EMI
Format: LP, CD
Highlights from the Plugged Nickel 9

Label: Sony
Format: LP, CD
1996 Ballads and Blues 15

Label: Blue Note
Format: LP, CD
This Is Jazz, Vol. 8: Miles Davis 19

Acoustic
Label: Sony
Format: LP, CD
So What!
Label: Absord Records
Format: LP, CD
Bluing: Miles Davis Plays the Blues

Label: Prestige
Format: LP, CD
1997 The Best of Miles Davis & Gil Evans 14

Label: Sony
Format: LP, CD
This Is Jazz, Vol. 22: Miles Davis Plays 16

Ballads
Label: Sony
Format: LP, CD
Miles Davis & Freddie Hubbard

Label: Master Ton
Format: LP, CD
Discography 570
1998 Panthalassa: The Music of Miles Davis 4

1969-1974
Label: Sony
Format: LP, CD
Mellow Miles
Label: Sony
Format: LP, CD
This Is Jazz, Vol. 38: Electric

Label: Sony
Format: LP, CD
Selection of Miles Davis

Label: Golden Sounds
Format: LP, CD
Jazz Showcase
Label: Golden Sounds
Format: LP, CD
1999 Love Songs 1

Label: Sony
Format: LP, CD
Out of the Blue

Label: Hallmark
Format: LP, CD
Panthalassa: The Remixes 13

Label: Sony
Format: LP, CD
2000 Miles to Go
Label: Prism Platinum
Format: LP, CD
Ken Burns Jazz 11

Format: LP, CD
Discography 571
2001 Ballads
Label: Columbia
Format: LP, CD
Super Hits 9
Label: Legacy
Format: LP, CD
The Essential Miles Davis 1

Label: Sony
Format: LP, CD
2002 Boplicity
Label: Recall Records
Format: LP, CD
Blue Moods: Music for You 17

Format: LP, CD
Bird of Paradise
Label: ZYX
Format: LP, CD
Autumn Leaves
Label: Newsound 2000
Format: LP, CD
2004 Quintessence: 1945-1951

Label: Frmeaux & Associs
Format: LP, CD
Jazz Moods: Cool

Format: LP, CD
The Best of Miles Davis 80

Label: Prestige
Format: LP, CD
2005 In a Soulful Mood

Label: Music Club Records
Format: LP, CD
Prestige Profiles, Vol. 1 25

Label: Prestige
Format: LP, CD
Discography 572
2006 Cool & Collected 8 89 17

Format: LP, CD
2007 The Peacocks

Label: Jazz Cats Records
Format: LP, CD
Evolution of the Groove

Label: Sony
Format: LP, CD
Forever Miles Davis 20

Label: Madacy Special Markets
Format: LP, CD
Cool: The Best of Miles Davis

Label: MCR
Format: LP, CD
2008 Mile's Groove

Label: Deluxe
Format: LP, CD
Beautiful Ballads & Love Songs 24

Label: Legacy
Format: LP, CD
Playlist 13
Label: Playlist
Format: LP, CD
Muted Miles 21
Label: Prestige
Format: LP, CD
2009 Mile's Groove 20

Label: Sony
Format: LP, CD
2010 Perfect Way: The Miles Davis

Anthology: The Warner Bros. Years
Label: Warner Bros.
Format: LP, CD
2011 Jazz Legend

Released: 2011
Label: AAO Music
Format: LP, CD
Discography 573
Soundtracks

(sales thresholds)
US Jazz Cont. BEL FRA NLD NZL NOR SWE SWI
[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
1958 Ascenseur pour l'chafaud

Released: 1958
Label: Fontana
Format: LP
1987 Music from Siesta 12

Released: November 1987
Label: Warner Bros./WEA
Format: LP, CD
1991 Dingo 5
Label: Warner Bros.
Format: LP, CD
Box sets
Compilation box sets

Year (sales
[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
1988 The Columbia Years 19551985 9

Released: 1988
Label: Columbia
Format: LP, CD
1996 Miles Davis & Gil Evans: The Complete 3

Columbia Studio Recordings
Released: 1996
Format: LP, CD
Discography 574
1998 The Complete Studio Recordings of The

Label: Columbia
Format: LP, CD
The Complete Bitches Brew Sessions 6 104

Label: Columbia/Legacy/Sony
Format: LP, CD
2000 The Complete Columbia Recordings of 4

Miles Davis with John Coltrane
Released: 2000
Label: Columbia
Format: LP, CD
2001 The Complete In a Silent Way Sessions 6

Released: 2001
Label: Columbia
Format: LP, CD
2003 The Complete Jack Johnson Sessions 4

Label: Columbia
Format: LP, CD
2004 Seven Steps: The Complete Columbia 15

Recordings of Miles Davis 19631964
Released: 2004
Format: LP, CD
2006 Great Sessions

Label: Blue Note
Format: LP, CD
2006 The Legendary Prestige Quintet Sessions 15

Label: Prestige
Format: LP, CD
2007 The Complete On the Corner Sessions 12

Label: Columbia
Format: LP, CD
Limited edition box set

Discography 575

(sales
[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
2009 Miles Davis: The Complete Columbia

Album Collection
Label: Columbia
Format: LP, CD
Live box sets

Year (sales
[7] [9] [10] [11] [12] [13] [14]
Albums Jazz (fla.)
[7] [8]
Albums
[7]
1995 The Complete Live at the Plugged Nickel 10

1965
Label: Legacy
Format: LP, CD
2003 In Person Friday and Saturday Nights at 9

the Blackhawk, Complete
Label: Sony
Format: LP, CD
2005 The Cellar Door Sessions 16 187

Format: LP, CD
Vinyl records
Discography 576
Year Catalog number Label A-side B-side Footnotes
1946 MG 12001 Savoy Now's The Time Bring It On Home
1947 934 Savoy Milestones Sippin' at Bell's [17]
1947 951 Savoy Goin' to Mintons Half Nelson [17]
1948 4507 Savoy Little Willie Leaps Half Nelson [18]
1949 57-60005 Capitol Jeru Godchild [18]
1949 15404 Capitol Move Budo [18]
1949 60011 Capitol Boplicity Israel [18]
1950 1221 Capitol Venus Demilo Darn That Dream [18]
1951 734 Prestige Morpheus Blue Room [18]
1951 742 Prestige Down Whispering [18]
1951 45-321 Prestige Dig It's Only A Paper Moon [18]
1951 868 Prestige Conception Bluing [18]
1951 876 Prestige Out Of The Blue, Part 1 Out Of The Blue, Part 2 [18]
1951 846 Prestige Bluing, Part 1 Bluing, Part 2 [18]
1951 777 Prestige Dig, Part 1 Dig, Part 2 [18]
1951 766 Prestige My Old Flame, Part 1 My Old Flame, Part 2 [18]
1951 817 Prestige It's Only A Paper Moon, Part 1 It's Only A Paper Moon, Part 2 [18]
1952 45-1633 Blue Note Well, You Needn't Donna [18]
1952 1595 Blue Note Woody'n You Dear Old Stockholm [18]
1952 1596 Blue Note Yesterdays Chance It [18]
1952 1597 Blue Note The Squirrel Donna [18]
1953 45-1649 Blue Note Tempus Fugit Lazy Susan [18]
1953 1620 Blue Note Kelo C.T.A. [18]
1953 1618 Blue Note Tempus Fugit Enigma [18]
1953 1619 Blue Note Ray's Idea I Waited For You [18]
1953 884 Blue Note Tasty Pudding, Part 1 Tasty Pudding, Part 2 [18]
1953 1620 Blue Note Kelo C.T.A. [18]
1953 45-353 Prestige My Funny Valentine Smooch [18]
1953 902 Prestige When Lights Are Low Miles Ahead [18]

Discography 577
1954 45-1650 Blue Note The Leap Weirdo [18]
1954 45-1633 Blue Note Well, You Needn't Donna [18]
1954 45-376 Prestige You Don't Know What Love Is That Old Devil Moon [18]
1954 898 Prestige Four That Old Devil Called Love [18]
1954 893 Prestige Blue Haze, Part 1 Blue Haze, Part 2 [18]
1954 45-157 Prestige Walkin', Part 1 Walkin', Part 1 [18]
1954 915 Prestige But Not For Me (unknown) [18]
1955 45-103 Prestige Green Haze, Part 1 Green Haze, Part 2 [18]
1955 45-114 Prestige A Night In Tunisia, Part 1 A Night In Tunisia, Part 2 [18]
1955 DEP 27 Debut Blue Moods, Vol. 1 [18]
1955 DEP 28 Debut Blue Moods, Vol. 2 [18]
1955 45-268 Prestige S'posin' Just Squeeze Me [18]
1956 45-123 Prestige If I Were A Bell, Part 1 If I Were A Bell, Part 2 [18]
1956 45-413 Prestige Airegin 'Round Midnight [18]
1956 45-395 Prestige Tune Up Oleo [18]
1956 45-248 Prestige The Surrey With The Fringe On Top Diane [18]
1956 45-165 Prestige It Never Entered My Mind, Part 1 It Never Entered My Mind, Part 2 [18]
1956 45-195 Prestige When I Fall In Love, Part 1 When I Fall In Love, Part 2 [18]
Albums recorded as sideman

Year Title Artist(s) Footnotes
* Dr. Jekyll Cannonball Adderley [19]
1945 Bird's Eyes, Vol. 13 Charlie Parker [20]
Bird's Eyes, Vol. 14 [21]
The Love Songs of Mr. B Billy Eckstine [23]
The Charlie Parker Story Charlie Parker [24]
Yardbird in Lotus Land Charlie Parker [25]

Discography 578
1946 The Young Rebel Charles Mingus [26]
Charlie Parker on Dial, Vol. 1 Charlie Parker [27]
1947 Encores [28]
1948 The Band That Never Was [29]
1950 Sarah Vaughan in Hi-Fi Sarah Vaughan [30]
1951 Swedish Schnapps Charlie Parker [31]
1953 Sonny Rollins with the Modern Jazz Quartet Sonny Rollins [32]
1955 Charlie Parker Memorial, Vol. 1 Charlie Parker [33]
Charlie Parker Memorial, Vol. 2 [34]
I Surrender, Dear Billie Eckstine [35]
The Genius of Charlie Parker Charlie Parker [36]
1956 What is Jazz Leonard Bernstein [37]
1957 En Concerts Rene Urtreger [38]
Music For Brass: The 1957 Columbia Third Stream Recordings, vol. 1 Brass Ensemble of the Jazz and Classical Music [39]
1958 Bird on 52nd Street Charlie Parker [40]
Somethin' Else Cannonball Adderley [41]
Legrand Jazz Michel Legrand [42]
1960 En Concert Avec Europe 1 John Coltrane [43]
1962 The Bird Returns Charlie Parker [44]
A Date with Greatness Coleman Hawkins, Howard McGhee and Lester [45]
Young
1971 Bird in Paris Charlie Parker [46]
1975 Nasty Gal Betty Davis [47]
1986 Fahrenheit Toto [48]
1987 Oh, Patti Scritti Politti [49]
Siesta Marcus Miller [50]
1988 Bopping the Blues Earl Coleman, Ann Baker [51]
Machismo Cameo [52]
Provision Scritti Politti [53]
CK Chaka Khan [54]
Scrooged Original Soundtrack (various artists) [55]

Discography 579
1989 Back on the Block Quincy Jones [56]
Rara Avis Charlie Parker [57]
Stars of Modern Jazz at Carnegie Hall, Christmas 1949 (various artists) [58]
Hollywood Stampede Coleman Hawkins [59]
Prisoner of Love Kenny Garrett [60]
1990 The Hot Spot (various artists) [61]
Benny Carter And His Orchestra Benny Carter [62]
Bird: The Complete Charlie Parker on Verve Charlie Parker [63]
1991 You Won't Forget Me Shirley Horn [64]
Bird's Eyes, Vol. 7 Charlie Parker [65]
1992 Flying Home Illinois Jacquet [66]
We the People Bop Serge Chaloff [67]
Capri Paolo Rustichelli [68]
1993 The Sun Don't Lie Marcus Miller [69]
1994 Mister B. And The Band Billy Eckstine [70]
Bird's Eyes, Vol. 12 Charlie Parker [71]
1995 Bird's Eyes, Vol. 19 [72]
Blue Bird [74]
The Complete RCA Victor Recordings Dizzy Gillespie [75]
The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Fats Navarro and Tadd Dameron [76]
Dameron
Complete Bird At Birdland, Vol. 1 Charlie Parker [77]
1996 In a Soulful Mood [78]
Music Forever and Beyond: The Selected Works of Chick Corea Chick Corea [79]
Mystic Man Paolo Rustichelli [80]
1999 Birth of Bop Charlie Parker [81]
2000 Cool Bird [82]
2001 Complete 1945 - 1949 West Coast Recordings Charles Mingus [83]
2002 Boss Bird Charlie Parker [84]
Louis Armstrong and His Friends Louis Armstrong [85]

Discography 580
2003 The Complete Verve Master Takes Charlie Parker [86]
Complete Onyx Recordings [87]
The Immortal Charlie Parker [88]
2004 The Complete Savoy and Dial Sessions [89]
Complete Dial Sessions [90]
2010 Cinematik Paolo Rustichelli [91]
"*" denotes the unknown release dates.
Videos
Year Video Director Footnotes
* 1969 Berlin Concert [92]
1967 Stockholm, 1967 [93]
1969 Rome, 1969 [94]
Copenhagen, 1969 [95]
Berlin, 1969 [96]
1970 Miles in Tanglewood [97]

Jack DeJohnette [97]
1971 Miles in Berlin, 1971 [98]

Ndugu Leon Chancler [98]
1973 Tokyo, 1973 [99]

Al Foster [99]
Stockholm, 1973 [100]

Al Foster [100]
Berlin, 1973 [101]

Al Foster [101]
Vienna, 1973 [102]

Al Foster [102]
1974 Prince of Darkness [103]
1985 Live in Montreal [104]
1986 Miles Ahead: The Music of Miles Davis [105]
1987 Live at Estival Jazz Lugano [106]
1988 Live in Munich [107]
1988 At La Villette [108]
1991 The Miles Davis Story [109]
In Paris [110]
1993 Live at Montreux [111]
1995 Miles Ahead: Music of Miles Davis [112]
1998 Miles Davis & John Coltrane [113]

Discography 581
2000 Live from the Montreal Jazz Festival [114]
2001 Live in Paris [115]
2004 Miles Electric: A Different Kind of Blue [116]
The Cool Jazz Sound [117]
Miles Davis: A Different Kind of Blue [118]

Murray Lerner [119]
2006 Live in Germany 1988 [120]
European Tour 1967 [121]
2007 Milan 1964 [122]
2008 Miles Davis: Live in Montreal [123]

Tom O'Neill [124]
Live in Poland 1983 [125]
At Hammersmith Odeon, London [126]
2009 That's What Happened: Live in Germany, 1987 [127]
"*" denotes the unknown release date.

"" denotes, that no directors collaborated, or that no directors were found due to lack of sources.
References
[1] "Miles Davis -> Biography" (http:/ / www. allmusic. com/ artist/ miles-davis-p6377/ biography). Allmusic. Rovi Corporation. . Retrieved
2011-01-13.
[2] Marmorstein, Gary (2007-02-06). The Label: The Story of Columbia Records. Thunder's Mouth Press. p.165. ASINB0016BSWZW.
ISBN1560257075.
[3] "History of Jazz Time Line: 1959" (http:/ / www. allaboutjazz. com/ jazz1959. htm). All About Jazz. . Retrieved 2011-03-02.
[4] Erlewine, Stephen Thomas. "Miles in the SkyAllmusic" (http:/ / www. allmusic. com/ album/ miles-in-the-sky-bonus-tracks-r137480).
Allmusic. Rovi Corporation. . Retrieved 2011-01-15.
[5] "Miles Davis" (http:/ / www. britannica. com/ EBchecked/ topic/ 152808/ Miles-Davis). Encyclopaedia Britannica. . Retrieved 2011-04-05.
"Although critics dismissed much of the music Davis released after Bitches Brew, his excursions helped keep jazz popular with mainstream
audiences."
[6] "Doo-BopAllmusic" (http:/ / www. allmusic. com/ album/ doo-bop-r137440). Allmusic. Rovi Corporation. . Retrieved 2011-01-15.
[7] "Allmusic -> Miles Davis -> Charts & Awards" (http:/ / allmusic. com/ artist/ miles-davis-p6377/ charts-awards). Allmusic. Rovi Corporation.
. Retrieved 2010-12-31.
[8] "Extended Search: Miles Davis" (http:/ / www. ultratop. be/ en/ search. asp?cat=a& lang=nl& search=Miles+ Davis). ultratop.be.
ULTRATOP & Hung Medien / hitparade.ch. . Retrieved 2010-12-31.
[9] "Extended Search: Miles Davis" (http:/ / lescharts. com/ search. asp?cat=a& lang=nl& search=Miles+ Davis). lescharts.com. Hung Medien. .
[10] "Extended Search: Miles Davis" (http:/ / dutchcharts. nl/ search. asp?cat=a& lang=nl& search=Miles+ Davis). dutchcharts.nl. Hung Medien
/ hitparade.ch. . Retrieved 2010-12-31.
[11] "Extended Search: Miles Davis" (http:/ / charts. org. nz/ search. asp?cat=a& lang=nl& search=Miles+ Davis). charts.org.nz. Hung Medien. .
[12] "Extended Search: Miles Davis" (http:/ / norwegiancharts. com/ search. asp?cat=a& lang=nl& search=Miles+ Davis). norwegiancharts.com.
Hung Medien. . Retrieved 2010-12-31.
[13] "Extended Search: Miles Davis" (http:/ / swedishcharts. com/ search. asp?cat=a& lang=nl& search=Miles+ Davis). swedishcharts.com.
Hung Medien. . Retrieved 2010-12-31.
[14] "Extended Search: Miles Davis" (http:/ / hitparade. ch/ search. asp?cat=a& lang=nl& search=Miles+ Davis). hitparade.ch. Hung Medien. .
[15] "Gold & Platinum Database: "Miles Davis"" (http:/ / riaa. com/ goldandplatinumdata. php?resultpage=1& table=SEARCH_RESULTS&
action=& title=& artist=Miles Davis& format=& debutLP=& category=& sex=& releaseDate=& requestNo=& type=& level=& label=&
company=& certificationDate=& awardDescription=& catalogNo=& aSex=& rec_id=& charField=& gold=& platinum=& multiPlat=&
level2=& certDate=& album=& id=& after=& before=& startMonth=1& endMonth=1& startYear=1958& endYear=2010& sort=Artist&
Discography 582
perPage=25). Recording Industry Association of America. . Retrieved 2010-10-18.

[16] "Certified Awards Search: "Miles Davis"" (http:/ / www. bpi. co. uk/ certifiedawards/ search. aspx). British Phonographic Industry. .
[17] "Savoy 500 - 1000 series Numerical Listing" (http:/ / www. 78discography. com/ Sav500. htm). 78discography. . Retrieved 2011-04-04.
[18] "Miles Davis Discography" (http:/ / www. jazzdisco. org/ miles-davis/ discography/ ). jazzdisco.org. Jazz Discography Project. . Retrieved
2011-03-26.
[19] "Meets Miles DavisAllmusic.com" (http:/ / www. allmusic. com/ album/ meets-miles-davis-r384723/ credits). Allmusic. Rovi
Corporation. . Retrieved 2011-01-26.
[20] "Bird's Eyes, Vol. 13Allmusic.com" (http:/ / www. allmusic. com/ album/ birds-eyes-vol-13-r625992/ credits). Allmusic. Rovi
[21] "Charlie Parker: Bird's Eyes, Volume 14" (http:/ / www. kind-of-blue. de/ seiten/ disco/ birds_eyes_vol_14. htm). kind-of-blue.de. .
[22] "Charlie Parker: Bird's Eyes, Volume 18" (http:/ / www. kind-of-blue. de/ seiten/ disco/ birds_eyes_vol_18. htm). kind-of-blue.de. .
[23] "Billy Eckstine - The Love Songs Of Mr. "B" (EmArcy MG 36030)" (http:/ / www. jazzdisco. org/ gene-ammons/ catalog/
#emarcy-mg-36030). Jazz Discography Project. . Retrieved 2011-01-31.
[24] "The Charlie Parker StoryAllmusic.com" (http:/ / www. allmusic. com/ album/ the-charlie-parker-story-savoy-jazz-r167055/ credits).
[25] "Yardbird in Lotus LandAllmusic.com" (http:/ / www. allmusic. com/ album/ cool-bird-r460683/ credits). Allmusic. Rovi Corporation. .
[26] "Charles Mingus - The Young Rebel (Swingtime (E) ST 1010)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #swingtime-st-1010).
Jazz Discography Project. . Retrieved 2011-01-31.
[27] "Charlie Parker On Dial, Vol. 1 (Spotlite (E) SPJ 101)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #spotlite-spj-101). Jazz
Discography Project. . Retrieved 2011-01-31.
[28] "Charlie Parker - Encores (Savoy SJL 1107)" (http:/ / jazzdisco. org/ miles-davis/ catalog/ #savoy-sjl-1107). Jazz Discography Project. .
[29] "The Band That Never Was" (http:/ / www. kind-of-blue. de/ seiten/ disco/ the_band_that_never_was. htm) (in German). kind-of-blue.de. .
[30] "Sarah Vaughan in Hi-FiAllmusic.com" (http:/ / www. allmusic. com/ album/ sarah-vaughan-in-hi-fi-r149395/ credits). Allmusic. Rovi
[31] "Swedish SchnappsAllmusic.com" (http:/ / www. allmusic. com/ album/ swedish-schnapps-r238741/ credits). Allmusic. Rovi Corporation.
. Retrieved 2011-01-16.
[32] "Sonny Rollins with the Modern Jazz QuartetAllmusic.com" (http:/ / www. allmusic. com/ album/
sonny-rollins-with-the-modern-jazz-quartet-r146594/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16.
[33] "Charlie Parker Memorial, Vol. 1Allmusic.com" (http:/ / www. allmusic. com/ album/ ccharlie-parker-memorial-vol-1-r155769/ credits).
[34] "Charlie Parker Memorial, Vol. 2Allmusic.com" (http:/ / www. allmusic. com/ album/ charlie-parker-memorial-vol-2-r155770/ credits).
[35] "Billy Eckstine - I Surrender, Dear (EmArcy MG 36010)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #emarcy-mg-36010). Jazz
[36] "The Genius of Charlie ParkerAllmusic.com" (http:/ / www. allmusic. com/ album/ the-genius-of-charlie-parker-savoy-jazz-r167056/
credits). Allmusic. Rovi Corporation. . Retrieved 2011-02-01.
[37] "Leonard Bernstein - What Is Jazz (Columbia CL 919)" (http:/ / jazzdisco. org/ miles-davis/ catalog/ #columbia-cl-919). Jazz Discography
Project. . Retrieved 2011-02-01.
[38] "Rene Urtreger En Concerts (Carlyne Music (F) CAR 006)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #carlyne-music-car-006).
[39] "The Brass Ensembles Of The Jazz And Classical Music Society - Music For Brass (Columbia CL941)" (http:/ / www. jazzdisco. org/
miles-davis/ catalog/ #columbia-cl-941). Jazz Discography Project. . Retrieved 2011-03-06.
[40] "Bird on 52nd StreetAllmusic.com" (http:/ / www. allmusic. com/ album/ bird-on-52nd-st-r145071/ credits). Allmusic. Rovi Corporation. .
[41] "Somethin' ElseAllmusic.com" (http:/ / www. allmusic. com/ album/ somethin-else-r134300/ credits). Allmusic. Rovi Corporation. .
[42] "Legrand JazzAllmusic.com" (http:/ / www. allmusic. com/ album/ legrand-jazz-r142665/ credits). Allmusic. Rovi Corporation. .
[43] "Miles Davis En Concert Avec Europe 1 (Trema (F) TR 710455)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #trema-tr-710455).
[44] "The Bird ReturnsAllmusic.com" (http:/ / www. allmusic. com/ album/ the-bird-returns-r169295/ credits). Allmusic. Rovi Corporation. .
Discography 583
[45] "Coleman Hawkins/Howard McGhee/Lester Young - A Date With Greatness (Imperial LP 9188-A)" (http:/ / www. jazzdisco. org/
miles-davis/ catalog/ #imperial-lp-9188-a). Jazz Discography Project. . Retrieved 2011-01-31.
[46] "Charlie Parker - Bird In Paris (Bird In Paris CP 3)" (http:/ / jazzdisco. org/ miles-davis/ catalog/ #bird-in-paris-cp-3). Jazz Discography
[47] "Nasty GalAllmusic.com" (http:/ / www. allmusic. com/ album/ nasty-gal-r34772/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-16.
[48] "TotoAllmusic.com" (http:/ / www. allmusic. com/ album/ fahrenheit-r20314/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-16.
[49] "Scritti Politti - Oh, Patti (Virgin VST 1006)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #virgin-vst-1006). Jazz Discography
[50] "Miles Davis/Marcus Miller - Siesta (Warner Bros. 25655)" (http:/ / www. jazzdisco. org/ miles-davis/ catalog/ #warner-bros-25655). Jazz
[51] "Bopping the BluesAllmusic.com" (http:/ / www. allmusic. com/ album/ bopping-the-blues-r106119/ credits). Allmusic. Rovi Corporation.
. Retrieved 2011-01-12.
[52] "MachismoAllmusic.com" (http:/ / www. allmusic. com/ album/ machismo-r3196/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-16.
[53] "ProvisionAllmusic.com" (http:/ / www. allmusic. com/ album/ provision-r17595/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-16.
[54] "Chaka Khan: C. K." (http:/ / www. kind-of-blue. de/ seiten/ disco/ chaka_khan. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-14.
[55] "ScroogedAllmusic.com" (http:/ / www. allmusic. com/ album/ scrooged-r128418/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-02-27.
[56] "Back on the BlockAllmusic.com" (http:/ / www. allmusic. com/ album/ back-on-the-block-r10576/ credits). Allmusic. Rovi Corporation.
. Retrieved 2011-01-12.
[57] "Rara AvisAllmusic.com" (http:/ / www. allmusic. com/ album/ rara-avis-r145126/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-15.
[58] "Charlie Parker: Stars of Modern Jazz at Carnegie Hall, Christmas 1949" (http:/ / www. kind-of-blue. de/ seiten/ disco/ xmas49. htm) (in
German). kind-of-blue.de. . Retrieved 2010-01-15.
[59] "Hollywood StampedeAllmusic.com" (http:/ / www. allmusic. com/ album/ hollywood-stampede-r104744/ credits). Allmusic. Rovi
[60] "Kenny Garrett: Prisoner Of Love" (http:/ / www. kind-of-blue. de/ seiten/ disco/ kenny_garrett. htm). kind-of-blue.de. . Retrieved
2010-01-16.
[61] "The Hot SpotAllmusic.com" (http:/ / www. allmusic. com/ album/ the-hot-spot-original-soundtrack-r84384/ credits). Allmusic. Rovi
[62] "Benny Carter And His Orchestra" (http:/ / www. kind-of-blue. de/ seiten/ disco/ benny_carter_and_his_orchestra. htm) (in German).
kind-of-blue.de. . Retrieved 2010-01-14.
[63] "Bird: The Complete Charlie Parker on VerveAllmusic.com" (http:/ / www. allmusic. com/ album/
bird-the-complete-charlie-parker-on-verve-r145076/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16.
[64] "You Won't Forget MeAllmusic.com" (http:/ / www. allmusic. com/ album/ you-wont-forget-me-r141065/ credits). Allmusic. Rovi
[65] "Charlie Parker: Bird's Eyes, Volume 7" (http:/ / www. kind-of-blue. de/ seiten/ disco/ birds_eyes_vol_7. htm). kind-of-blue.de. . Retrieved
2010-01-16.
[66] "Flying HomeAllmusic.com" (http:/ / www. allmusic. com/ album/ flying-home-r141361/ credits). Allmusic. Rovi Corporation. .
[67] "Serge Chaloff: We The People Bop" (http:/ / www. kind-of-blue. de/ seiten/ disco/ serge_chaloff. htm). kind-of-blue.de. . Retrieved
2010-01-16.
[68] "CapriAllmusic.com" (http:/ / www. allmusic. com/ album/ capri-r158085/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-12.
[69] "The Sun Don't LieAllmusic.com" (http:/ / www. allmusic. com/ album/ the-sun-dont-lie-r198912/ credits). Allmusic. Rovi Corporation. .
[70] "Billy Eckstine: Mister B. And The Band" (http:/ / www. kind-of-blue. de/ seiten/ disco/ eckstine. htm) (in German). kind-of-blue.de. .
[71] "Bird's Eyes, Vol. 12Allmusic.com" (http:/ / www. allmusic. com/ album/ bird-eyes-vol-12-r298612/ credits). Allmusic. Rovi Corporation.
. Retrieved 2011-01-14.
. Retrieved 2011-01-14.
. Retrieved 2011-01-14.
[74] "Blue Bird" (http:/ / www. kind-of-blue. de/ seiten/ disco/ blue_bird. htm) (in German). kind-of-blue.de. . Retrieved 2011-01-15.
[75] "The Complete RCA Victor RecordingsAllmusic.com" (http:/ / www. allmusic. com/ album/ the-complete-rca-victor-recordings-r209885/
Discography 584
[76] "The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd DameronAllmusic.com" (http:/ / www. allmusic. com/
album/ the-complete-blue-note-and-capitol-recordings-of-fats-navarro-and-tadd-dameron-r229400). Allmusic. Rovi Corporation. . Retrieved
2011-01-16.
[77] "Complete Bird At Birdland 1950 - 1951 Volume One" (http:/ / www. kind-of-blue. de/ seiten/ boxen/ complete_bird_at_birdland_vol1.
htm) (in German). kind-of-blue.de. . Retrieved 2011-01-16.
[78] "In a Soulful MoodAllmusic.com" (http:/ / www. allmusic. com/ album/ in-a-soulful-mood-single-disc-r246001/ credits). Allmusic. Rovi
[79] "Music Forever and Beyond: The Selected Works of Chick CoreaAllmusic.com" (http:/ / www. allmusic. com/ album/
music-forever-and-beyond-the-selected-works-of-chick-corea-r233052/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16.
[80] "Mystic ManAllmusic.com" (http:/ / www. allmusic. com/ album/ mystic-man-r271988/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-16.
[81] "Birth of BopAllmusic.com" (http:/ / www. allmusic. com/ album/ birth-of-bop-r445628/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-15.
[82] "Cool BirdAllmusic.com" (http:/ / www. allmusic. com/ album/ cool-bird-r460683/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-12.
[83] "Charles Mingus: Complete 1945 - 1949 West Coast Recordings" (http:/ / www. kind-of-blue. de/ seiten/ disco/ mingus_west_coast. htm)
(in German). kind-of-blue.de. . Retrieved 2011-01-14.
[84] "Boss BirdAllmusic.com" (http:/ / www. allmusic. com/ album/ boss-bird-r599186/ credits). Allmusic. Rovi Corporation. . Retrieved
2011-01-15.
[85] "Louis Armstrong and His FriendsAllmusic.com" (http:/ / www. allmusic. com/ album/
louis-armstrong-and-his-friends-rcabluebird-r598321/ credits). Allmusic. Rovi Corporation. . Retrieved 2011-01-16.
[86] "The Complete Verve Master TakesAllmusic.com" (http:/ / www. allmusic. com/ album/ the-complete-verve-master-takes-r661945/
[87] "Complete Onyx RecordingsAllmusic.com" (http:/ / www. allmusic. com/ album/ complete-onyx-recordings-r650980/ credits). Allmusic.
Rovi Corporation. . Retrieved 2011-01-15.
[88] "The Immortal Charlie ParkerAllmusic.com" (http:/ / www. allmusic. com/ album/ the-immortal-charlie-parker-r181478/ credits).
[89] "The Complete Savoy and Dial Studio Sessions" (http:/ / www. kind-of-blue. de/ seiten/ boxen/ parker_complete_savoy_studio_box. htm)
(in German). kind-of-blue.de. . Retrieved 2011-01-14.
[90] "Complete Dial SessionsAllmusic.com" (http:/ / www. allmusic. com/ album/ complete-dial-sessions-r182902/ credits). Allmusic. Rovi
[91] "Paolo Rustichelli: Cinematik" (http:/ / www. kind-of-blue. de/ seiten/ disco/ rustichelli_cinematik. htm) (in German). kind-of-blue.de. .
[92] "1969 Berlin ConcertAllmusic.com" (http:/ / www. allmusic. com/ album/ r1726351). Allmusic. Rovi Corporation. . Retrieved
2011-01-31.
[93] "The Stockholm, 1967rateyourmusic" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ stockholm__1967/ ). rateyourmusic. .
[94] "Rome, 1969rateyourmusic" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ rome__1969/ ). rateyourmusic. . Retrieved
2011-05-04.
[95] "Copenhagen, 1969rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ copenhagen__1969/ ). rateyourmusic. .
[96] "Berlin, 1969rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ copenhagen__1969/ ). rateyourmusic. .
[97] "Miles in Tanglewoodrateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ miles_in_tanglewood/ ).
rateyourmusic. . Retrieved 2011-05-04.
[98] "Miles in Berlin, 1971rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ miles_in_berlin__1971/ ).
rateyourmusic. . Retrieved 2011-05-04.
[99] "Tokyo, 1973rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ tokyo__1973/ ). rateyourmusic. . Retrieved
2011-05-04.
[100] "Stockholm, 1973rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ stockholm__1973/ ). rateyourmusic. .
[101] "Berlin, 1973rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ berlin__1973/ ). rateyourmusic. . Retrieved
2011-05-04.
[102] "Vienna, 1973rateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ vienna__1973/ ). rateyourmusic. . Retrieved
2011-05-04.
[103] "Prince of Darknessrateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ prince_of_darkness/ ). rateyourmusic.
. Retrieved 2011-05-04.
[104] "Live in Montrealrateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ live_in_montreal/ ). rateyourmusic. .
Discography 585
[105] "Miles Ahead: The Music of Miles Davisrateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/
miles_ahead__the_music_of_miles_davis/ ). rateyourmusic. . Retrieved 2011-05-04.
[106] "Live at Estival Jazz Luganorateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ live_at_estival_jazz_lugano/
). rateyourmusic. . Retrieved 2011-05-04.
[107] "Live in Munichrateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ live_in_munich/ ). rateyourmusic. .
[108] "At La Villetterateyourmusic.com" (http:/ / rateyourmusic. com/ release/ video/ miles_davis/ at_la_villette/ ). rateyourmusic. . Retrieved
2011-05-04.
[109] "The Miles Davis StoryAllmusic.com" (http:/ / www. allmusic. com/ album/ r618439). Allmusic. Rovi Corporation. . Retrieved
2011-01-29.
[110] "In ParisAllmusic.com" (http:/ / www. allmusic. com/ album/ r85857). Allmusic. Rovi Corporation. . Retrieved 2011-01-31.
[111] "Live at MontreuxAllmusic.com" (http:/ / www. allmusic. com/ album/ r397276). Allmusic. Rovi Corporation. . Retrieved 2011-01-31.
[112] "Miles Ahead: Music of Miles DavisAllmusic.com" (http:/ / www. allmusic. com/ album/ r419700). Allmusic. Rovi Corporation. .
[113] "Miles Davis & John ColtraneAllmusic.com" (http:/ / www. allmusic. com/ album/ r449809). Allmusic. Rovi Corporation. . Retrieved
2011-01-31.
[114] "Live from the Montreal Jazz FestivalAllmusic.com" (http:/ / www. allmusic. com/ album/ r491450). Allmusic. Rovi Corporation. .
[115] "Live in ParisAllmusic.com" (http:/ / www. allmusic. com/ album/ r542178). Allmusic. Rovi Corporation. . Retrieved 2011-01-31.
[116] "Miles Electric: A Different Kind of BlueAllmusic.com" (http:/ / www. allmusic. com/ album/ r718849). Allmusic. Rovi Corporation. .
[117] "The Cool Jazz SoundAllmusic.com" (http:/ / www. allmusic. com/ album/ r718780). Allmusic. Rovi Corporation. . Retrieved
2011-01-31.
[118] "Miles Electric - A Different Kind of Blue" (http:/ / www. amazon. com/ Miles-Electric-Different-Kind-Blue/ dp/ B00069FKN2/
ref=sr_1_1?ie=UTF8& s=dvd& qid=1296479517& sr=8-1). Amazon.com. . Retrieved 2011-01-31.
[119] "Miles Davis: A Different Kind of BlueAllmusic.com" (http:/ / www. allmusic. com/ album/ r718849). Allmusic. Rovi Corporation. .
[120] "Prince of DarnessAllmusic.com" (http:/ / www. allmusic. com/ album/ r827185). Allmusic. Rovi Corporation. . Retrieved 2011-01-31.
[121] "European Tour 1967Allmusic.com" (http:/ / www. allmusic. com/ album/ r2062110). Allmusic. Rovi Corporation. . Retrieved
2011-01-31.
[122] "Milan 1964Allmusic.com" (http:/ / www. allmusic. com/ album/ r1079778). Allmusic. Rovi Corporation. . Retrieved 2011-01-31.
[123] "Miles Davis: Live in Montreal" (http:/ / www. amazon. com/ Miles-Davis-Montreal-John-Scofield/ dp/ B001953OE4/
ref=sr_1_1?ie=UTF8& s=dvd& qid=1296479649& sr=1-1). Amazon.com. . Retrieved 2011-01-31.
[124] "Live in MontrealAllmusic.com" (http:/ / www. allmusic. com/ album/ r1429274). Allmusic. Rovi Corporation. . Retrieved 2011-01-31.
[125] "Live in Poland 1983Allmusic.com" (http:/ / www. allmusic. com/ album/ r1810082). Allmusic. Rovi Corporation. . Retrieved
2011-01-31.
[126] "At Hammersmith Odeon, LondonAllmusic.com" (http:/ / www. allmusic. com/ album/ r1429429). Allmusic. Rovi Corporation. .
[127] "That's What Happened: Live in Germany, 1987Allmusic.com" (http:/ / www. allmusic. com/ album/ r1541796). Allmusic. Rovi
External links
Miles Davis (http://www.allmusic.com/artist/p6377) at Allmusic
Official website (http://http://www.milesdavis.com/uk)
Miles Davis collector site (http://www.kind-of-blue.de/index.htm) (German)
"Miles Davis Collector's Guides & Discographies" (http://www.jazzdisco.org/miles-davis/)
Miles Davis at Music Box (http://www.musicbox-online.com/davis.html)
78rpm vinyl records collection (http://www.78discography.com)
Article Sources and Contributors

Miles Davis Source: http://en.wikipedia.org/w/index.php?oldid=429880557 Contributors: (jarbarf), -Midorihana-, 195.241.245.xxx, 2T, 3finger, 75pickup, 777sms, A Train, ABF, ACSE,
Abu-Fool Danyal ibn Amir al-Makhiri, Adashiel, Addyfe, Aenar, After Midnight, Aitias, Ajor, Aktiver Arbeiter, Alansohn, Alcuin, Ali K, Alien life form, Alkivar, Allstarecho, AllyD, Almita,
AlvaroMR, Alvestrand, Amnesta, Amorelli, Anas Salloum, AndersL, Andonic, Andrew Levine, Andrew Norman, Andrzejbanas, Angela, Anger22, Angr, Angrysockhop, Anthony22, AntiuserX,
Apeloverage, Arcadian, ArchonMagnus, Arctic hobo, ArielGold, Arnach, Asdf123zxc, Ask123, Astronaut, Astuishin, Atavi, Atif.t2, Augeralf, Auntof6, Aussie Ausborn, Autiger, Avillia, Ayla,
BNutzer, BabuBhatt, Badbilltucker, Ballchin, BaronLarf, BarretBonden, Barrettmagic, Bartash, Basawala, Bbsrock, Beckettwatt, Ben Ram, Ben-Zin, Bencherlite, Benjiboi, Benjimon, Benny the
wayfarer, Bergljot94, Bess1030, Bestperson, Betacommand, Binksternet, Bjmullan, Blah28948, Blanchardb, BlindManEditing, Bluerasberry, Bobblewik, Bobianite, Bobo192, Boing! said
Zebedee, Bongwarrior, Booglegodit13, Brandon97, Brettblock, Brighterorange, BrothaTimothy, Budgy, Bunnyhop11, Butros, Byrial, CIreland, CZmarlin, Calliopejen1, Camembert, Can't sleep,
clown will eat me, Canal Moins, CanisRufus, Canyouhearmenow, Card, CatherineMunro, CdaMVvWgS, Cdg1072, Chairman S., Chasingsol, Cheese101, Cherry blossom tree, Cheshirecat575,
Chickyraptor, Chillllls, Chuunen Baka, CircleAdrian, Cj120, Cjmarsicano, Clam0p, ClamDip, Clerks, Cluth, Cntras, Coasterlover1994, Coby1bs, Colchester121891, Colonies Chris, Cometstyles,
Comicsubversion, CommonsDelinker, Conversion script, Corti, Cosprings, CrazyTalk, Cribcage, Crispmuncher, CryptoDerk, Cubs Fan, Cureden, CurtisJohnson, D6, DARTH SIDIOUS 2, DVD
R W, Dan56, Daniel Case, DanielDeibler, Danmiles, Danny, Danreitz, Danthemankhan, Darwinek, Dasondas, Dave souza, David Gerard, David Sneek, Dawn Bard, Dbfirs, Dbtfz, Deb,
Debresser, Debuskjt, Delirium, Deltabeignet, Der Golem, DerHexer, Derek R Bullamore, Derek Ross, Derekmcgovern, Devario, Dffgd, Diannaa, Dimadick, Discordanian, Discospinster,
Dissolve, Djharrity, Djus, Dmchuck4, Docroxalot, Doctorhawkes, Dogru144, DoomsDay349, Dr. Shaggeman, Dralwik, Dreadstar, Drmies, Drumsac, Ds13, Dunks58, Dutzi, E-Kartoffel,
E2eamon, ESkog, Eastfrisian, Eddhurt, Edelmand, Edward Tambling, Eelalien, El C, Electromagnolia, Elfred, Eman, Emerson7, Enkrates, EoGuy, Epbr123, Eric-Wester, Ericamandy, Ericamick,
Erik9, Erinaries, Evenfiel, Everyking, Evolauxia, F u buddy, Faithlessthewonderboy, Falcon8765, Faradayplank, Fborstad, Ferdinand Pienaar, Ffirehorse, Fieldday-sunday, Firstmilast, Fish and
karate, FjghdK, Fladrif, Flammerstoolight, Flatterworld, Floaterfluss, FotoPhest, Frank, FranksValli, Franois-do, Fredrik, Freederick, Freimut Bahlo, Frenchtoasty17, FreplySpang, Funeral,
Funkydory, FuriousFreddy, Fuscob, G.AC, Gareth E Kegg, Gareth Owen, Gary King, Garyth123, Gbondmg42, Gekedo, Gentgeen, Gephart, Ghtx, Gingerburn, GirasoleDE, Gm7b52001,
GoDuckies!, Gobonobo, Gogo Dodo, GoingBatty, Gonzonoir, Goo Paine, Good Olfactory, GorillaWarfare, Gpia7r, Graham87, Grahamdubya, Grammarmonger, Gramscis cousin,
GreatOrangePumpkin, GregAsche, GripTheHusk, Groovinhigh, Gub, Gurch, Gyrofrog, Hadal, Hailey C. Shannon, Hajatvrc, Halaqah, Haldraper, Hall Monitor, Hamtechperson, Haquim,
Harabanar, Hardys, Hawkestone, Hegel shmegel, Hektor, HisSpaceResearch, Hooverbag, Hotstuff29, Hsbrent, Hu12, Hut 6.5, Hyacinth, IL7Soulhunter, Icairns, Igbo, Ignatiuswiki, Igorrr, Ijon,
Ikeeledmytoychicken, Illinois2011, Ilse@, Iluv2eatbiscuits, Ilyushka88, Ina Moore, Infrogmation, InnocuousPseudonym, Interloop2610, Ionescuac, Iridescent, Irishguy, Isidore, Isnow, Issovia,
Ivan Bajlo, Ixfd64, J.delanoy, J.smith, JForget, JHunterJ, JNW, JackMullins, JackofOz, Jackol, Jacques Delson, Jakealator, James086, Jamieli, Japo, Jaranda, Jauerback, Javier8888, JayHenry,
JayJasper, Jazzeur, Jeff G., Jeffrey Mall, Jerjazmus6, Jerry teps, Jessiejames, Jfurr1981, Jimbonator, Jimelutz, Jimmer, Jimthing, Jiy, Jkiang, Jleon, Jmeltzer, Jmlk17, JoanneB, Joe5150, Joelr31,
Jogers, John, John Baez, John FitzGerald, John Reid, Johnpacklambert, Johnthepcson, Johnwrw, Jordan 1972, Joshronsen, Jossi, Jrousso, Jschnur, Jszack, Jubella, Jusdafax, JustAGal, Jwhite518,
JzG, K1Bond007, Ka Faraq Gatri, Kablammo, Kaiba, Kbdank71, Kenyon, Kevin McE, Kewp, Kingturtle, Kisch, KittenKlub, Klausness, Kneberle, Knucmo2, Koavf, Koyaanis Qatsi, Kubigula,
Kukini, L Kensington, LWGillan, Lacky, Lairor, Larry333, Last5, Laureano-M-B, Ldecoursey, LeaveSleaves, LeoNomis, Lightmouse, Linnell, Literaturegeek, Little Mountain 5, Llewis27,
LodeRunner, Lolocass, Lord Voldemort, LouI, Luigilos, Lupin, Lupo, Lypheklub, MJ94, MK2, Ma'ame Michu, Magioladitis, Magister Mathematicae, Malber, Mamawrites, Mani1, Mantee,
Mapletip, Marek69, Mark, MarkSweep, Marked1234, Martpol, Maser Fletcher, Matanya (renamed), Mav, Maxbps, Maximillion Pegasus, Mayumashu, McSly, McTrixie, Mcmillin24, Merbabu,
Merphant, Mezigue, Miagw, Michaelpb, MickWest, Migospia, Mikasa, MilesAndMiles, MilesTrane21, Milesb23, Mind meal, Minimac, MisterAngryBear, Mjgw, Mjpieters, Mjspe1, MoRsE,
Modemac, Moeron, Motorizer, Moxy, MrGater, MrRadioGuy, Msja101, Muijz, Mvgorski, MwNNrules, Mysloop, Mtze, N5iln, NAHID, NJlo, NTmatter, Nabokov, Naddy, Nakon, Nanotone,
NawlinWiki, Ndorward, Ndugu, Nefe375, NeilN, NellieBly, Nem1yan, Netrat, Neurolysis, Nevilley, Newport 63, Newyorkcatwhite, Nick Watts, Nigazblood, Nihonjoe, Nimmolo, NoVomit,
Norwikian, NoslO wehttaM, Nuge, OBNOXIUs, ONEder Boy, Occuli, Oded.yunger, Oden, Odysseus1138, Ohconfucius, Ohnoitsjamie, Oliver Lineham, Oneiros, Orange Suede Sofa, Ortolan88,
PAWiki, PEJL, PJtP, PMDrive1061, Pabanks46, Pablo X, Paranomia, Parkwells, Parsifal, Paul210, Penguinzzz, Peruvianllama, Peter Delmonte, Peter Fleet, Peter.C, Pgeffen, Pheter360, Philip
Cross, Philip Trueman, Phoenix2, Piccadilly, Pigsonthewing, Piriczki, Pjoef, Pmyatt, Pohick2, Pointillist, Politepunk, Portillo, Pr7iDeS, PrincessofLlyr, Puchiko, PullUpYourSocks,
Pumpkinjuice3000, Punctured Bicycle, Pwt898, Quadell, QuasyBoy, Queixa, Quelcrime, QzDaddy, RFGS, Rabbi4455, Racingstripes, Radiant chains, Rahin, Rainwarrior, Rancourrancour,
RaseaC, Raul654, Raven4x4x, RayAYang, RazerCrane, Razorflame, Razorhead, RedActor61, RedRose333, RedSox2008, RedWolf, Redlentil, Reedy, Retiono Virginian, RexNL, ReyBrujo, Rich
Farmbrough, Richbell00, Riotrocket8676, Rjwilmsi, Rmrfstar, RobertG, Rock8888, RodC, Rogerd, Rollerkoster09, Roottap, Rorybob, Ross Uber, Rothorpe, Roundhouse0, Royboycrashfan,
Rt66lt, Runt, RussellBlatcher, Russian69, Sam Francis, Saminferno, Sango123, Sannse, Schroeder74, SchuminWeb, Scieberking, Scoo, Scorpion0422, Sdfgfshfh 131, Sdornan, SeanO, Sefsf,
Sgcook, Shadowhillway, She Who Must Be Obeyed, Shearonink, ShelfSkewed, Shimgray, Shoejar, ShutUpEccles, Silence, Silver Edge, Silverxxx, Simonfieldhouse, Sincy55, Siraj555, Sjking92,
Sketchee, Skol fir, Slo, Sluzzelin, Slysplace, Smegpt86, SmokeyTheCat, Smorrison01, Sneakums, Snoop God, Snoyes, Snozzwanger, Soetermans, Soundgarden, Sparklism, Special-T, Spellcast,
Splash, SpuriousQ, Squalk25, Squandermania, StaticGull, StaticShock, Stephenb, Stephensuleeman, SteveHFish, Sthow, StillTrill, StuHarris, Sublimefan97, Sugar Bear, Sunray, Susvolans, Sven
Manguard, SwiftWings, Switcher, T. Anthony, TFBCT1, THEN WHO WAS PHONE?, TJRC, TJSwoboda, TOO, TUF-KAT, Taestell, Tapir Terrific, Tassedethe, TeNagaZaru, Teardrop
onthefire, Technopat, Ted Wilkes, Tedickey, Tedzsee, Tempodivalse, Terry1944, Terry2isback, Tetraedycal, Tforrrest, That Asian Guy, The Deviant, The Mighty Larch, The Thing That Should
Not Be, The wub, TheCVL, TheGrappler, TheRetroGuy, TheSkyHadABaby, Thebogusman, Thedarkestclear, Thehelpfulone, Thenewdeal87, Theo10011, Thingg, Thirdeyeopen33, Tide rolls,
Tifaaeris, Tinton5, Tlogmer, Tofilmfan, TomKing1980, Tommy2010, Tomte, Tony1, Tothebarricades.tk, Tp243, TreasuryTag, TreveX, Trevor MacInnis, Treybien, Tricadia, Tromboris,
Trontonian, Tvccs, Tweetsabird, Twiceasinferior, Ulric1313, Ultra megatron, VMS Mosaic, Valentinejoesmith, Varlaam, VasilievVV, Vegaswikian, Verbist, Versus22, Vytal, Warpozio, Wayne
Miller, Wenospeak, Wether B, Wiki libs, WikiLaurent, Wikiklrsc, Wikipelli, Winndm31, Witchwooder, Woohookitty, Wutschwlllm, Xavcam, Xricci, Yamaguchi, Yamamoto Ichiro,
Yekrats, Yggdrasil, Zabadinho, Zazaban, Zhou Yu, Zidonuke, Zoicon5, Zorba215, Zsasnow, Zujine, Zvika, 1763 anonymous edits
Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=408954276 Contributors: BassHistory, Carlos28, Cosprings, Derek R Bullamore, Ignatiuswiki, Mind meal, Ndorward,
PJtP, Philip Cross, Slysplace, Tassedethe, Twas Now, Xiaphias, ', 17 anonymous edits
Blue Period Source: http://en.wikipedia.org/w/index.php?oldid=429066449 Contributors: Ary29, Entoaggie09, ExplorerPlus, Explosius, Gareth E Kegg, GreatOrangePumpkin, Grk1011, Hu12,
Koavf, Rjwilmsi, Slysplace, Tassedethe, Waacstats, 5 anonymous edits
Dig Source: http://en.wikipedia.org/w/index.php?oldid=429068634 Contributors: Airproofing, AndrewHowse, Ary29, Dan56, ExplorerPlus, Explosius, Grk1011, Gyrofrog, Hu12, Jim62sch,
Koavf, Mattisse, PJtP, RaymanNL, Ricadus, Rjwilmsi, Slysplace, Tassedethe, TheoryOfPractice, Waacstats, 11 anonymous edits
Miles Davis and Horns Source: http://en.wikipedia.org/w/index.php?oldid=429068926 Contributors: AndrewHowse, Ary29, DISEman, Herwwiyal, Koavf, Sluzzelin, Stanlekub, Tassedethe, 11
anonymous edits
Blue Haze Source: http://en.wikipedia.org/w/index.php?oldid=429067373 Contributors: Airproofing, Alcuin, Andrew Norman, BRG, Bobo192, Crystallina, Dan56, Edward Tambling, Fritz
Saalfeld, I42, Jasonhorn13, Jogers, Jubella, KConWiki, Moe Epsilon, Pietaster, Rich Farmbrough, Slysplace, TrafficBenBoy, Waacstats, 13 anonymous edits
Walkin' Source: http://en.wikipedia.org/w/index.php?oldid=429069013 Contributors: Airproofing, Alcuin, Andrew Norman, Ary29, Californian Treehugger, Crystallina, Dissolve, Edward
Tambling, Engelbaet, Fred Bradstadt, Gareth E Kegg, Gyrofrog, JIMRH4, KConWiki, Koavf, Ludde23, Moe Epsilon, Pugetbill, Ricadus, Rich Farmbrough, ShelfSkewed, Slysplace, Technopat,
Twas Now, Waacstats, XxTimberlakexx, 14 anonymous edits
Collectors' Items Source: http://en.wikipedia.org/w/index.php?oldid=429068713 Contributors: ERK, Horselover Frost, Mild Bill Hiccup, OBNOXIUs, Ricadus, Rjwilmsi, SmokeyTheCat,
Tassedethe, Tkrepel, 8 anonymous edits
Bags' Groove Source: http://en.wikipedia.org/w/index.php?oldid=429069093 Contributors: Airproofing, Alien life form, Andrew Norman, Crystallina, Engelbaet, Gareth E Kegg,
InnocuousPseudonym, Jafeluv, Jogers, KConWiki, Moe Epsilon, Ricadus, Rich Farmbrough, Rjwilmsi, RodC, SJW1646, Slysplace, Squandermania, Stanlekub, Sugar Bear, Tcncv, Technopat,
Twas Now, Waacstats, 9 anonymous edits
Miles Davis and the Modern Jazz Giants Source: http://en.wikipedia.org/w/index.php?oldid=429069182 Contributors: Airproofing, Andrew Norman, Dan56, Edward Tambling, Engelbaet,
Grm wnr, Gyrofrog, Koavf, Moe Epsilon, Ricadus, Rich Farmbrough, Rjwilmsi, Slysplace, Tassedethe, Tp243, Waacstats, 8 anonymous edits
Musings of Miles Source: http://en.wikipedia.org/w/index.php?oldid=429068805 Contributors: Airproofing, Ary29, Edward Tambling, Fisherjs, KConWiki, Moe Epsilon, Pugetbill, Rich
Farmbrough, Rjwilmsi, Slysplace, Waacstats, 11 anonymous edits
Blue Moods Source: http://en.wikipedia.org/w/index.php?oldid=429068533 Contributors: Airproofing, Backtable, Cosprings, Edward Tambling, GreatOrangePumpkin, Hu12, Jafeluv, Jogers,
KConWiki, Moe Epsilon, Ricadus, Rich Farmbrough, Rjwilmsi, Sampm, Slysplace, Turunturun, Waacstats, 13 anonymous edits
Quintet / Sextet Source: http://en.wikipedia.org/w/index.php?oldid=429068593 Contributors: Airproofing, Andrew Norman, Crystallina, Edward Tambling, KConWiki, Koavf, Mattisse, Moe
Epsilon, Papa November, Playingviolin1, Rich Farmbrough, Rjwilmsi, Skier Dude, Slysplace, Tassedethe, Waacstats, 6 anonymous edits
Miles: The New Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429068477 Contributors: Airproofing, Andrew Norman, BassHistory, Dan56, Editor437, Edward
Tambling, Grm wnr, Jafeluv, KConWiki, Moe Epsilon, PJtP, Personman 4, Rich Farmbrough, Rjwilmsi, Slysplace, Vytal, Waacstats, 9 anonymous edits
Cookin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429265621 Contributors: Airproofing, Andrew Norman, Bubba hotep, Burzmali, Crystallina, Dan56,
Daniel Olsen, Editor437, Ferdinand Pienaar, Fuhghettaboutit, Gareth E Kegg, Hurricane111, Jogers, KConWiki, Kisch, Koavf, Lectonar, Lonk, Mahanga, Mahlered, Moe Epsilon, Paul Richter,
Paulgjackson, Rich Farmbrough, Rjwilmsi, Signalhead, Skapur, Slysplace, Someoneinmyheadbutit'snotme, Sweetalkinguy, TheVito, Twas Now, Vytal, Xezbeth, 33 anonymous edits
Relaxin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429228845 Contributors: Airproofing, Andrew Norman, Crystallina, Dan56, Daniel Olsen, Editor437,
Edward Tambling, Gareth E Kegg, GreatOrangePumpkin, Hankendi, Hurricane111, Jac16888, KConWiki, Kisch, Knucmo2, Koavf, Mahlered, Marcok, Personman 4, Rich Farmbrough,
Rjwilmsi, Rrmiracle, Slysplace, Sugar Bear, Sweetalkinguy, Tassedethe, Twas Now, Vytal, Waacstats, Xezbeth, 15 anonymous edits
Workin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429228106 Contributors: Airproofing, Allstarecho, Andrew Norman, Crystallina, Dan56, Editor437,
Edward Tambling, Ferdinand Pienaar, Gareth E Kegg, Hottratts, Hurricane111, KConWiki, Koavf, Personman 4, Pietaster, Ricadus, Rich Farmbrough, Rjwilmsi, Slysplace, Sweetalkinguy,
Tony1, Twas Now, Vytal, Waacstats, Xezbeth, 30 anonymous edits
Steamin' with the Miles Davis Quintet Source: http://en.wikipedia.org/w/index.php?oldid=429504827 Contributors: Airproofing, Andrew Norman, Crystallina, Dan56, Daniel Olsen, Editor437,
Edsuit, Edward Tambling, Ferdinand Pienaar, Hankendi, Hottratts, Hurricane111, KConWiki, Kisch, Koavf, Personman 4, Pinoy Pride, Rich Farmbrough, Rjwilmsi, Slickshooter001, Slysplace,
Sweetalkinguy, Tony1, Twas Now, Vytal, Waacstats, Wolfer68, Xezbeth, 16 anonymous edits
'Round About Midnight Source: http://en.wikipedia.org/w/index.php?oldid=429688629 Contributors: Andrew Norman, Anthony Appleyard, Ary29, Atavi, C1k3, Caulde, Cholmes75,
Cmdrjameson, Colonies Chris, Dan56, Dan8700, Daniel Olsen, Editor437, Edward Tambling, Erik9, Ettrig, Ferdinand Pienaar, Freekee, Fritz Saalfeld, Gamaliel, Gyrofrog, Hadal, J Milburn,
Jafeluv, Jobe6, Jogers, Joshk, Joth, Jubella, Julien Tuerlinckx, Jwy, Jyavner, Knucmo2, Koavf, Lightmouse, Lonk, Misteror, Mitchoyoshitaka, Night, PET, PJtP, Papa November, Phil Bordelon,
Quercus basaseachicensis, Rich Farmbrough, Rjwilmsi, Sannse, Seb35, Sholom, Slysplace, Squandermania, Swanrizla, Tassedethe, The silentist, Tp243, Trivialist, Twas Now, Viriditas,
Wikiklrsc, Will Beback, Woohookitty, Xezbeth, 43 anonymous edits
Miles Ahead Source: http://en.wikipedia.org/w/index.php?oldid=429228709 Contributors: 83d40m, Alien life form, Araucaria, ChrisCork, Colonies Chris, Cosprings, Dan56, Dan8700, Daniel
Olsen, Design, Edward Tambling, Engineer Bob, Fritz Saalfeld, Gavia immer, Guido Dimicelli, Gyrofrog, Jobe6, Jodeffes, Jogers, Jubella, Justlettersandnumbers, Kenagy, Koavf, KrakatoaKatie,
Mboverload, Mervyn, NIRVANA2764, Plasticup, Pugetbill, Qaddosh, RL0919, Rich Farmbrough, Sugar Bear, Tassedethe, Thismightbezach, Trivialist, Twas Now, Vytal, Whorepresents?,
Xezbeth, Zidane tribal, 32 anonymous edits
Milestones Source: http://en.wikipedia.org/w/index.php?oldid=429230314 Contributors: Alcuin, Alien life form, Andrew Norman, Ashadeofgrey, Brequinda, Brownlow6, Californian
Treehugger, DISEman, Dan56, Dan8700, Daniel Olsen, DerBorg, Editor437, Edward Tambling, Engelbaet, Ferdinand Pienaar, Fisherjs, Freakofnurture, Gareth E Kegg, Geniac, Grm wnr, Gub,
Hobophobe, Jafeluv, Jubella, Knucmo2, Koavf, Little Mountain 5, Mdeloia, MrFizyx, ShelfSkewed, Slysplace, SvNH, Swanrizla, Tassedethe, Thehebrewhammer, Tomlikesjazz, Traicye, Twas
Now, Varlaam, Wahoofive, Whorepresents?, WilliamDenton, Wolfehhgg, Xezbeth, 53 anonymous edits
Porgy and Bess Source: http://en.wikipedia.org/w/index.php?oldid=429230185 Contributors: Akriasas, Anger22, ArtPhotoLover, Ary29, Ave Caesar, BRG, BaronLarf, Bdiscoe, Dan56, Daniel
Olsen, DantheCowMan, DutchmanInDisguise, Edward Tambling, Fair Deal, FlorianB, Fritz Saalfeld, Gamaliel, Gareth E Kegg, Grm wnr, Gusmahler, Kenagy, Koavf, Lairor, Mind meal,
Missmarple, Peter Fleet, Rich Farmbrough, Rjwilmsi, Sugar Bear, Swanrizla, Tassedethe, Technopat, Theadorerex, Tp243, Trivialist, Tscarney, Twas Now, Ulric1313, Wikiklrsc, 62 anonymous
edits
1958 Miles Source: http://en.wikipedia.org/w/index.php?oldid=429368571 Contributors: Alansohn, Anger22, Arcfrk, Ave Caesar, Bdiscoe, Bluemask, Calliopejen1, CharlotteWebb, Dan56,
Drbreznjev, Efe, Fair Deal, Funeral, Gareth E Kegg, Jafeluv, Jeff G., Jgm, Juhachi, Justlettersandnumbers, Koavf, Mattisse, Moonriddengirl, Peter Fleet, Redirect fixer, Rjwilmsi, Rockk3r,
Swanrizla, Tassedethe, Theadorerex, Tony1, Twas Now, Ulric1313, Welsh, Wikiklrsc, Woohookitty, Yukida-R, , 41 anonymous edits
Kind of Blue Source: http://en.wikipedia.org/w/index.php?oldid=429578244 Contributors: ANW, Airproofing, Alcuin, Ali K, Alien life form, AllyD, Andrew Duffell, Andrew Norman,
Angular, Ashadeofgrey, Ave Caesar, Azgolfer, BD2412, Bad Wolf, Bdiscoe, Beetstra, Beyond My Ken, Bigfoot hunter, Bjosan, Can't sleep, clown will eat me, Chalktwo, Cholmes75,
Clement-Fiontain, Colin zr, CommonsDelinker, D bovair1988, D.M.N., DCEdwards1966, DISEman, Dan56, Dan8700, Daniel Olsen, DantheCowMan, DaveGorman, Deltabeignet, Derr84,
Dogru144, Doucetjazz, Dsicore, DutchmanInDisguise, Editor437, Edward Tambling, Emhoo, EoGuy, Ericd, Everyking, Ferdinand Pienaar, Firstmilast, Flamurai, FlorianB, Flowerparty, Four
One Five, Fredrik, Gamaliel, Gareth E Kegg, Gertie, Glassbreaker5791, Gotham30, Grstain, Hadal, Haquim, Hede2000, Improv, Isidore, J.delanoy, JForget, Jafeluv, Jamieli, Jayron32, Jeff peil,
Jgm, Jimthing, Joshk, Jpbowen, Jubella, Juesch, Julien Tuerlinckx, KConWiki, Kavise, Kisch, Koavf, Kuru, Kvng, Lairor, Larry333, LeaveSleaves, Ledcraft, Legoktm, Ling.Nut, Mako098765,
Malleus Fatuorum, Martpol, Mattbr, Mattisse, Mel Etitis, Melodia, Merphant, Michael Devore, Mindspillage, Moulinette, MrFunkster, Ncsaint, Nick123, Nigazblood, Nihiltres, NoVomit,
Notreallydavid, O Graeme Burns, Ohconfucius, Omdfg, PEJL, PJtP, Pagea, Papa November, Parmenione, Patches9713, Paul Magnussen, Paul Richter, Paulus 2, Pearce.duncan, Peter Fleet, Peter
Karlsen, PhilipR, Portillo, Q8-falcon, R Lowry, Rajneeshhegde, RalfiParpa, Recumbent DNA, Reisio, Rjwilmsi, RodC, ST47, ScudLee, Shortcipher, Skomorokh, Slrevare, Sluzzelin,
Soundgarden, Spalding, Sparklism, SparqMan, Spellcast, SpikeToronto, Spook`, Sstteevvee, Stevage, Steveholtje, Sugar Bear, Swanrizla, T-rex, TUF-KAT, Tassedethe, TenPoundHammer, The
Fwanksta, The Moving Finger Writes, The silentist, TheBME, Theadorerex, Thirdeyeopen33, Thom, Tide rolls, Tomtefarbror, Tony1, Tournesol, Tp243, Trivialist, Varlaam, Ventura, Viames,
Viriditas, VoluntarySlave, Vytal, Wasted Time R, WereSpielChequers, Whotookthatguy, Wikiklrsc, Williamnilly, Willy Skillets, Zabadinho, Zaslav, Zone46, 221 anonymous edits
Sketches of Spain Source: http://en.wikipedia.org/w/index.php?oldid=429230809 Contributors: AKGhetto, Aaronbrick, Across.The.Synapse, Alcuin, Andrew Norman, Angeliowa, Arcadian,
Ashadeofgrey, BD2412, C1k3, Chanchicto, Cholmes75, Dan56, Daniel Olsen, DantheCowMan, Design, Edward Tambling, Ferdinand Pienaar, Flowerparty, FordPrefect42, Gamaliel, Gareth E
Kegg, Geniac, Gidiav, Gregor zurowski, Guy Hatton, Ihateadvertising, Jaime Urquijo, Jubella, KConWiki, Koavf, Lairor, MER-C, Mairi, Martin-wiki, Mel Etitis, Missmarple, Olivier, Pachon,
Peruvianllama, Pie.er, Purslane, RLloydJohns, Red dwarf, Rjwilmsi, ST47, Salamurai, Settler14, Spydrfish, Squandermania, Sshdoc, Sugar Bear, Swanrizla, Technopat, Theladfromtheeast, Twas
Now, UniverSoul, W guice, Wellesradio, Wikiklrsc, Williamborg, Woohookitty, Xezbeth, Yosephus, 59 anonymous edits
Someday My Prince Will Come Source: http://en.wikipedia.org/w/index.php?oldid=429526451 Contributors: Acornembryo, Algabal, Andrew Norman, Anetode, Ary29, Brequinda,
Commodore64, Crystallina, DISEman, Dan56, Daniel Olsen, Editor437, Edward Tambling, Engelbaet, Erik9, Glassbreaker5791, Jafeluv, Kisch, Koavf, Ricadus, Rl, Seb35, Slysplace, Swanrizla,
Technopat, Twas Now, Vandermude, Varlaam, Waacstats, Whorepresents?, Wikiklrsc, Xezbeth, Zellin, 31 anonymous edits
Quiet Nights Source: http://en.wikipedia.org/w/index.php?oldid=429230728 Contributors: After Midnight, Airproofing, Andrew Norman, BRG, Black Condor, Bubba hotep, Crystallina, Daniel
Olsen, Edward Tambling, Gareth E Kegg, Geniac, Hankendi, Jafeluv, KConWiki, Koavf, Liffey, Mix321, Netrat, PSE teh 1nf0, Ricadus, Rjwilmsi, Seb35, Skomorokh, Swanrizla, Tassedethe,
Waacstats, Whorepresents?, Wikiklrsc, 16 anonymous edits
Seven Steps to Heaven Source: http://en.wikipedia.org/w/index.php?oldid=429230756 Contributors: Alan W, Amizzoni, Andrew Norman, Ary29, Ber06122, Boing! said Zebedee, Brequinda,
Bubba hotep, Dan56, Daniel Olsen, Edward Tambling, Ferdinand Pienaar, Jafeluv, Koavf, Majorly, Mind meal, Mtze, Pcg13, R'n'B, Ricadus, Slysplace, Sverigekillen, Swanrizla, Tassedethe,
Tp243, Twas Now, Utcursch, Whorepresents?, Wikiklrsc, Xezbeth, Yshrkwhr, 37 anonymous edits
E.S.P. Source: http://en.wikipedia.org/w/index.php?oldid=429231417 Contributors: Andrew Norman, Billyjanitsch, Bostart, Brequinda, Crystallina, Dan56, Daniel Olsen, David Be, ESkog,
Edward Tambling, Engelbaet, Ferdinand Pienaar, Geniac, Jafeluv, Jimakin, Jubella, Koavf, Lightmouse, LilHelpa, Mahanga, Nfvs, Rich Farmbrough, Rjwilmsi, Shii, SlubGlub, Slysplace,
Squandermania, Tp243, Whorepresents?, Xezbeth, Yshrkwhr, Zidane tribal, 24 anonymous edits
Miles Smiles Source: http://en.wikipedia.org/w/index.php?oldid=429819722 Contributors: Alcuin, Andrew Norman, Ashadeofgrey, Brequinda, Dan56, Daniel Olsen, Dissolve, Edward
Tambling, Ferdinand Pienaar, Grm wnr, Gyrofrog, Jubella, KConWiki, Karppinen, Kisch, Ludde23, Mardhil, Martpol, Rjwilmsi, Royboycrashfan, Senori, Slysplace, Sugar Bear, Taestell,
Tatoleon, Themisterbungle, Waacstats, Whatabout this, Xezbeth, Xic667, Yshrkwhr, 25 anonymous edits
Sorcerer Source: http://en.wikipedia.org/w/index.php?oldid=429232657 Contributors: Airproofing, Andrew Norman, Ary29, Brequinda, Cnwb, Crystallina, Dan56, Daniel Olsen, Edward
Tambling, Ferdinand Pienaar, Freakytim, Geniac, Geologik, Jolomo, Jubella, KConWiki, Koavf, Ludde23, Maestrosync, Owen, Rich Farmbrough, Sluzzelin, Slysplace, Taestell, Tassedethe,
Texas rsw, The Moving Finger Writes, Twas Now, Waacstats, Wikiklrsc, Xezbeth, 32 anonymous edits
Nefertiti Source: http://en.wikipedia.org/w/index.php?oldid=429232580 Contributors: Andrew Norman, Ary29, Backtable, Bobdc, Brequinda, Closedmouth, Cmdrjameson, Crystallina, Dan56,
Daniel Olsen, Econrad, Edward Tambling, Ferdinand Pienaar, Gyrofrog, Jafeluv, Jubella, Karppinen, Knucmo2, Koavf, Mahanga, Margach, MrFizyx, Rich Farmbrough, Slysplace, SvNH,
Taestell, Tassedethe, Waacstats, Wikiklrsc, Xezbeth, Zidane tribal, 26 anonymous edits
Miles in the Sky Source: http://en.wikipedia.org/w/index.php?oldid=429232574 Contributors: 842U, Andrew Norman, Brequinda, Bubba hotep, Dan56, Dirkbb, Edward Tambling, Ferdinand
Pienaar, Geniac, Grm wnr, Gyrofrog, Henry Flower, KConWiki, Koavf, Lightmouse, Owen, PJtP, Ricadus, S.Camus, Skier Dude, Slysplace, Sparklism, Tassedethe, TheAstonishingBadger,
Tiptoety, Waacstats, Whorepresents?, Xezbeth, Xic667, 31 anonymous edits
Water Babies Source: http://en.wikipedia.org/w/index.php?oldid=429233897 Contributors: Cassandraleo, Dabomb87, Deysian, Dougofborg, EoGuy, Ferdinand Pienaar, Koavf, S.Camus,
Sparklism, Sublimefan97, Tassedethe, Webb Traverse, Wiki libs, Wikiklrsc, 41 anonymous edits
Filles de Kilimanjaro Source: http://en.wikipedia.org/w/index.php?oldid=427611321 Contributors: Andrew Norman, Bellhalla, BenMech, Bob h, C1k3, Charles Matthews, Cheery21,
Cholmes75, Dan56, Daniel Olsen, DantheCowMan, Edward Tambling, Efe, EvanSeeds, Ferdinand Pienaar, Fisherjs, Gavia immer, Geniac, Grotepeter, Gyrofrog, Jubella, KConWiki, Koavf,
Leftfoot69, Mahanga, Mtze, Pigsonthewing, Rich Farmbrough, Sluzzelin, Slysplace, SteinbDJ, The silentist, Tractorkingsfan, Wikiklrsc, Woohookitty, Xezbeth, 42 anonymous edits
In a Silent Way Source: http://en.wikipedia.org/w/index.php?oldid=429430308 Contributors: 6, Aaron Schulz, Alex 101, Andrew Norman, Brequinda, Cholmes75, Crystallina, Dan56,
Dan8700, Daniel Olsen, DantheCowMan, Deltabeignet, Design, EoGuy, Ferdinand Pienaar, Flowerparty, Fritz Saalfeld, Gavia immer, Goody30, GreatOrangePumpkin, Gyrofrog, Havardj,
Hottscubbard, Igorrr, InnocuousPseudonym, Jlpspinto, Jogers, Jubella, KConWiki, Koavf, Mako098765, Martpol, MrFunkster, Nick, Nikai, Ottre, Pcg13, Picaroon, Rdsmith4, Rich Farmbrough,
Rift, Rjwilmsi, Sdornan, Squandermania, Stevepfau, Thebogusman, Trivialist, Twsx, Ulric1313, Usernodunno, Winkyland, WinterRabbit, Xezbeth, Yourmotherisanastronaut, Yunchie, 50
anonymous edits
Bitches Brew Source: http://en.wikipedia.org/w/index.php?oldid=416067703 Contributors: 6, Abenwoha, Akriasas, Alex Ex, Ammosh11, Andrzejbanas, Arcadian, Ashley Pomeroy, Austin
Hair, BabuBhatt, Bad Wolf, Beetstra, Bobo192, Brownstone999, Bwmodular, CanisRufus, Colchester121891, Commander Keane, DCEdwards1966, Dan56, Daniel Olsen, DantheCowMan,
Dogru144, ENeville, Elkman, Eloquence, Everyking, Ferdinand Pienaar, FlorianB, Frecklefoot, Fredrik, Freshacconci, Fritz Saalfeld, FuriousFreddy, Gareth Owen, Gavia immer,
Glassbreaker5791, Globe199, GregKeyes, GregorB, Gwalla, Gwyon, Gyrofrog, HisSpaceResearch, Igorrr, JYolkowski, Jahsonic, Jared Hunt, Jkiang, JoeSmack, Jogers, John, Jolb, Jonesey95,
Joshk, JoshuaZ, Jubella, Julien Tuerlinckx, KConWiki, Koavf, Kosebamse, Koyaanis Qatsi, LeoDV, Lexor, Lightmouse, Lypheklub, MMBKG, Martinlc, Martpol, Matharvest, Matilda,
McCart42, Meelar, Melaen, Mike Rosoft, MisfitToys, Misteror, MistyMorn, Moonriddengirl, NMarkRoberts, Nick Sandwiches, Nick123, Notradical, OnBeyondZebrax, Ozgod, PEJL, Paul210,
Phil Boswell, Phildev, Philip Trueman, Pigman, Plasticup, Poccil, Quale, RalfiParpa, RandySavageFTW, Rdsmith4, Ric Metal Heart, Rich Farmbrough, RickK, Rockpiano, Rosencomet,
Rossami, Rothorpe, Russell E, Sam Hocevar, Sam Korn, Shirimasen, Sirtrebuchet, Sjorford, Skomorokh, SlubGlub, Sluzzelin, Sugar Bear, TUF-KAT, Technopat, Thatguyflint, The Guilty
Undertaker, The Phoenix, TheScotch, Thebanjohype, Tregoweth, Twas Now, Ultra megatron, Usernodunno, Varlaam, Wahoofive, Welsh, Wikiklrsc, Witchwooder, Woohookitty, Zetawoof, 229
anonymous edits
A Tribute to Jack Johnson Source: http://en.wikipedia.org/w/index.php?oldid=429233668 Contributors: Andrew Norman, Bartum72, Cholmes75, Cnwb, DISEman, Dan56, Daniel Olsen,
DantheCowMan, Edgarde, Ferdinand Pienaar, Gamaliel, Igorrr, Infamous30, InnocuousPseudonym, Jogers, Jubella, KConWiki, Koavf, Matharvest, Mdeloia, MrFunkster, Nikai, Otnorot, PJtP,
Pr7iDeS, PsychoticBump, Rdsmith4, Rich Farmbrough, Rothorpe, Sluzzelin, Slysplace, Thebogusman, Trombipulation!, WaldiR, Witchwooder, Xezbeth, 44 anonymous edits
Live-Evil|Live-Evil Source: http://en.wikipedia.org/w/index.php?oldid=429234003 Contributors: Airproofing, Alvestrand, C1k3, Colchester121891, DISEman, Dan56, Daniel Olsen, Dogru144,
Fisherjs, Hankendi, Harabanar, Jubella, JustAGal, Kernitou, Koavf, Lairor, LilHelpa, Maarten de Haan, Mdeloia, Mendali, Pcg13, Peace-nick, Rdsmith4, Rich Farmbrough, RodC, Rothorpe,
ShelfSkewed, Soundgarden, Sugar Bear, Sumscaler, Swanrizla, Szarka, Tabletop, Twas Now, WaldiR, Whorepresents?, 55 anonymous edits
On the Corner Source: http://en.wikipedia.org/w/index.php?oldid=429234221 Contributors: Adrianiu, Andrew Norman, Beckettwatt, BlackMath77, CanisRufus, Colchester121891, Crystallina,
Dan56, Danaimband, Daniel Olsen, DantheCowMan, Epigrammed, Ferdinand Pienaar, Flowerparty, Freshacconci, FuriousFreddy, Gyrofrog, Ian Rose, Igorrr, InnocuousPseudonym, Jubella,
KConWiki, Koavf, Kridian, Lebessis63, Mahanga, Matharvest, Mendali, Mikeblas, Moskvax, Nikai, Palomorado, Pcg13, Rich Farmbrough, Rjwilmsi, RodC, Scarian, ShelfSkewed, Sugar Bear,
That Guy, From That Show!, Wikiklrsc, 48 anonymous edits
Big Fun Source: http://en.wikipedia.org/w/index.php?oldid=429234530 Contributors: Andrew Norman, Andrwsc, Ary29, Blastmaster11, C1k3, Colchester121891, Crystallina, DISEman,
Dan56, Daniel Olsen, Dogru144, Freshacconci, Gazzaaa, Jubella, KConWiki, Koavf, MrFunkster, Nothingofwater, Pcg13, Ricadus, Rich Farmbrough, S.Camus, ShelfSkewed, Squandermania,
Sstteevvee, The Little Blue Frog, Twsx, Viktor Nilsson, Whorepresents?, 39 anonymous edits
Get Up with It Source: http://en.wikipedia.org/w/index.php?oldid=429234960 Contributors: Airproofing, Andrew Norman, C1k3, Charles Matthews, Colchester121891, Crystallina, Dan56,
Daniel Olsen, Dingy, Dylan Chambers, Editor437, Ferdinand Pienaar, Flowerparty, Freshacconci, Geniac, GreatOrangePumpkin, Gyrofrog, IHassel, IbLeo, KConWiki, Koavf, Lfh, M-le-mot-dit,
Maxxo, Mel Etitis, MrFunkster, Nick Sandwiches, Nikai, Pcg13, Peter, ShelfSkewed, Shotgunjoe, Sublimefan97, Sugar Bear, TJRC, Tassedethe, Waacstats, Whorepresents?, Wiki libs, 34
anonymous edits
The Man with the Horn Source: http://en.wikipedia.org/w/index.php?oldid=429428380 Contributors: Alcuin, Andrew Norman, Apocryphe, CarpetCrawler, Crystallina, Dan56, Daniel Olsen,
Daria Montella, Deltabeignet, Dissolve, Doctorfluffy, Dogru144, Flowerparty, GoingBatty, GreatOrangePumpkin, Harabanar, Jlpspinto, Jubella, Juliancolton Alternative, Jusdafax, Koavf, Korny
O'Near, Pearle, Rjwilmsi, Sjvarengo, Stuartjv, Sublimefan97, Sugar Bear, Swanrizla, TheAstonishingBadger, Waacstats, Wiki libs, Wolfer68, 21 anonymous edits
Star People Source: http://en.wikipedia.org/w/index.php?oldid=429428327 Contributors: Chairman S., CorbinSimpson, Crystallina, Dan56, Eep, GreatOrangePumpkin, Heightwatcher, Henry
Flower, KConWiki, KazakhPol, Papa November, Rpgman456, Sugar Bear, Theworld88, Waacstats, Woohookitty, 16 anonymous edits
Decoy Source: http://en.wikipedia.org/w/index.php?oldid=429429799 Contributors: Airproofing, Ary29, Crystallina, Dan56, Emeraude, Jubella, KConWiki, Koavf, Quelcrime, Rjwilmsi,
Rpgman456, Serein (renamed because of SUL), ShelfSkewed, Slysplace, Spacestoned, Sugar Bear, Waacstats, Yshrkwhr, 16 anonymous edits
You're Under Arrest Source: http://en.wikipedia.org/w/index.php?oldid=429429992 Contributors: Airproofing, Anthony Appleyard, Ary29, Blewit, Chris the speller, Colchester121891,
Colonies Chris, CorbinSimpson, Cosprings, Crystallina, Dan56, Danaimband, Daniel Olsen, David Koller, Deltabeignet, Dissolve, KConWiki, Keith Edkins, Koavf, Lairor, LarsMarius, Mamok,
Mick gold, Ominae, Papa November, Pcg13, Quelcrime, Rich Farmbrough, Rjwilmsi, Rothorpe, Rpgman456, Sluzzelin, Squandermania, Station1, Sublimefan97, Sugar Bear, Thomas279, Wiki
libs, Woohookitty, Yshrkwhr, 24 anonymous edits
Tutu Source: http://en.wikipedia.org/w/index.php?oldid=429429900 Contributors: Airproofing, Ashley Pomeroy, Cassan, Cmdrjameson, Colchester121891, Colonies Chris, Dan56,
Danaimband, Ferdinand Pienaar, Fisherjs, Geniac, George Burgess, Jubella, Koavf, Kthomsen, Leahtwosaints, Mahanga, Marcel flaubert, Matharvest, Olive10081980, Ottawa4ever, Pr7iDeS,
Quelcrime, RatMonkeyHybrid, Rich Farmbrough, Rjwilmsi, ScudLee, Slysplace, Sublimefan97, Taestell, Trivialist, Warpozio, Wiki libs, 35 anonymous edits
Amandla Source: http://en.wikipedia.org/w/index.php?oldid=429430387 Contributors: Appiani, Ashley Pomeroy, Bubba hotep, Cloudz679, Colonies Chris, Conscious, Design, Dissolve,
Fisherjs, Hurkummer, Jubella, Koavf, Nfvs, Rich Farmbrough, Rothorpe, Stanlekub, Sugar Bear, Super Rad!, UlrichAAB, Waacstats, 14 anonymous edits
Aura Source: http://en.wikipedia.org/w/index.php?oldid=429970701 Contributors: After Midnight, Airproofing, Bird4, Dan56, Grm wnr, HJensen, Hyacinth, Koavf, LuoShengli, MegX, Mind
meal, Mutt Lunker, Ramblersen, Rjwilmsi, ST47, Sluzzelin, Spacestoned, Stanlekub, Sugar Bear, UlrichAAB, Yshrkwhr, Zidane tribal, 20 anonymous edits
Doo-Bop Source: http://en.wikipedia.org/w/index.php?oldid=429971276 Contributors: Airproofing, Alansohn, Backtable, Brian Crawford, Colchester121891, Crystallina, Dan56, JFrankel8,
Jubella, Lradrama, MMBKG, MuzikJunky, Netrat, Pcg13, Rich Farmbrough, Rothorpe, Stanlekub, Sugar Bear, Tabletop, Taestell, Waacstats, Warpozio, Xihix, 28 anonymous edits
Miles Davis Quintet at Peacock Alley Source: http://en.wikipedia.org/w/index.php?oldid=429971635 Contributors: Aquatazman, Editor437, Fisherjs, Koavf, OBNOXIUs, Rjwilmsi,
Tassedethe, 1 anonymous edits
Amsterdam Concert Source: http://en.wikipedia.org/w/index.php?oldid=429972064 Contributors: CultureDrone, Fisherjs, Jafeluv, Jbattersby, Koavf, Metropolitan90, Mike Selinker,
OBNOXIUs, Tabletop, Tassedethe, Technopat, Tlgibbs, Waacstats, Wolfehhgg, 1 anonymous edits
Miles Davis at Newport 1958 Source: http://en.wikipedia.org/w/index.php?oldid=405476667 Contributors: AndrewHowse, Chinaski86, Gareth E Kegg, GreatOrangePumpkin, Koavf,
Mookiebomber, Rjwilmsi, 4 anonymous edits
In Europe Source: http://en.wikipedia.org/w/index.php?oldid=430128646 Contributors: Jafeluv, Koavf, R'n'B, Ricadus, SmokeyTheCat, Wolfehhgg, Wolfer68, 2 anonymous edits
My Funny Valentine Source: http://en.wikipedia.org/w/index.php?oldid=427459816 Contributors: Alansohn, Engelbaet, Jafeluv, Koavf, LilHelpa, RAlafriz, Rjwilmsi, Squids and Chips,
Swanrizla, Tassedethe, Thomjakobsen, Twas Now, Vytal, Wolfehhgg, Yshrkwhr, 9 anonymous edits
Four & More Source: http://en.wikipedia.org/w/index.php?oldid=428066414 Contributors: Alansohn, Cosprings, Jafeluv, Koavf, LilHelpa, OBNOXIUs, Ricadus, Rjwilmsi, Yshrkwhr, 1
anonymous edits
Miles in Tokyo Source: http://en.wikipedia.org/w/index.php?oldid=418630343 Contributors: Koavf, LilHelpa, Ricadus, Yshrkwhr, 3 anonymous edits
Miles in Berlin Source: http://en.wikipedia.org/w/index.php?oldid=418630289 Contributors: Edward Tambling, Fireplace, Jubella, Koavf, LilHelpa, Owen, Rich Farmbrough, Schleif,
Slysplace, Tassedethe, Waacstats, Yshrkwhr, 2 anonymous edits
The Complete Live at the Plugged Nickel 1965 Source: http://en.wikipedia.org/w/index.php?oldid=428289884 Contributors: Andrew Norman, Bgfay, Brequinda, Bubba hotep, Crystallina,
Engelbaet, Gamaliel, Garion96, GreatOrangePumpkin, Jafeluv, Justlettersandnumbers, Koavf, Mdeloia, OverDriv3, PJtP, Rich Farmbrough, Sirshane13, Slysplace, Tassedethe, Tony1, Waacstats,
14 anonymous edits
Live at the Fillmore East, March 7, 1970: It's About that Time Source: http://en.wikipedia.org/w/index.php?oldid=421153039 Contributors: Ary29, Dan56, Daria Montella, Dogru144, Guy
Hatton, Gyrofrog, KConWiki, Koavf, Lairor, Rothorpe, Strausszek, Terwilliger, Thomas279, Wolfcm, Yshrkwhr, 19 anonymous edits
Black Beauty: Live at the Fillmore West Source: http://en.wikipedia.org/w/index.php?oldid=421912913 Contributors: Airplaneman, Arevco, DISEman, Dabomb87, Dan56, Dogru144,
Fabrictramp, Fisherjs, Koavf, Obcrip, Rich Farmbrough, Rjwilmsi, Royalguard11, Tassedethe, Waacstats, Yshrkwhr, 41 anonymous edits
Miles Davis at Fillmore: Live at the Fillmore East Source: http://en.wikipedia.org/w/index.php?oldid=427668783 Contributors: Alcuin, Ary29, BNutzer, Dan56, Daria Montella,
GreatOrangePumpkin, KConWiki, Koavf, Mdeloia, Rich Farmbrough, Swanrizla, Thomas279, Twas Now, Waacstats, Walls bridges, Yshrkwhr, 30 anonymous edits
The Cellar Door Sessions Source: http://en.wikipedia.org/w/index.php?oldid=420313206 Contributors: Alvestrand, Cholmes75, Dan56, Deadcatmuseum, Doceddi, Dogru144, Dohaeng,
DrTchock, Gareth E Kegg, GreatOrangePumpkin, Grutness, Gyrofrog, Harabanar, Keith D, Koavf, Lairor, Mdeloia, Normanmy, Pcg13, Rich Farmbrough, Robdurbar 81, Salad Days,
SomeGuy11112, Swanrizla, Taestell, Xihix, Xymmax, 17 anonymous edits
In Concert: Live at Philharmonic Hall Source: http://en.wikipedia.org/w/index.php?oldid=416687384 Contributors: Alcuin, Chickyraptor, D6, Dan56, Dogru144, Fisherjs, Koavf, Pcg13,
Prizzle888, Rjwilmsi, Rothorpe, Slysplace, Swanrizla, Tassedethe, Waacstats, 23 anonymous edits
Jazz at the Plaza Source: http://en.wikipedia.org/w/index.php?oldid=429037032 Contributors: Airproofing, Doomsdayer520, J'onn J'onzz, Koavf, Rothorpe, Skier Dude, SmokeyTheCat,
Wolfer68, 11 anonymous edits
Dark Magus Source: http://en.wikipedia.org/w/index.php?oldid=416111733 Contributors: Cosprings, Dan56, Dissolve, Dj nix, Dogru144, Koavf, Lairor, PJtP, ShelfSkewed, Slysplace,
Swanrizla, Tassedethe, Waacstats, Wwagner, 33 anonymous edits
Agharta Source: http://en.wikipedia.org/w/index.php?oldid=429964522 Contributors: Ary29, C1k3, Chris the speller, CurlewCry, Dan56, Dj nix, Ferdinand Pienaar, Gyrofrog, J Milburn, JaGa,
Jubella, KConWiki, Koavf, Rich Farmbrough, Squalk25, Sugar Bear, Ultra megatron, Waacstats, War machine09, Xiawi, Yshrkwhr, 32 anonymous edits
Pangaea Source: http://en.wikipedia.org/w/index.php?oldid=421654045 Contributors: Bondegezou, Daria Montella, Gyrofrog, JaGa, KConWiki, Koavf, Ultra megatron, Waacstats, War
machine09, Xiawi, Yshrkwhr, 25 anonymous edits
Miles! Miles! Miles! Source: http://en.wikipedia.org/w/index.php?oldid=412505323 Contributors: DISEman, Dogru144, Koavf, Skomorokh, Waacstats, 12 anonymous edits
We Want Miles Source: http://en.wikipedia.org/w/index.php?oldid=417386826 Contributors: Drmies, Fisherjs, HJensen, KConWiki, Koavf, Pcg13, SethTisue, Tcncv, Waacstats, Yshrkwhr, 16
anonymous edits
The Complete Miles Davis at Montreux Source: http://en.wikipedia.org/w/index.php?oldid=427179018 Contributors: Blewit, Chickyraptor, Gareth E Kegg, Koavf, Sugar Bear, Tassedethe, 7
anonymous edits
Live Around the World Source: http://en.wikipedia.org/w/index.php?oldid=375486540 Contributors: Gidiav, Koavf, Skier Dude, 3 anonymous edits
Miles Davis Volume 1 Source: http://en.wikipedia.org/w/index.php?oldid=429067398 Contributors: Alcuin, Andrew Norman, DISEman, Dan56, Gyrofrog, Jafeluv, Jbattersby, Jubella,
KConWiki, Koavf, Moe Epsilon, Pietaster, Rich Farmbrough, ShelfSkewed, Slysplace, Tassedethe, 7 anonymous edits
Miles Davis Volume 2 Source: http://en.wikipedia.org/w/index.php?oldid=429139920 Contributors: Alcuin, Andrew Norman, DISEman, Dan56, Dickdock, Gyrofrog, Jbattersby, Jubella,
KConWiki, Koavf, Mahanga, Moe Epsilon, Pietaster, Pugetbill, Rich Farmbrough, Rjwilmsi, Slysplace, Tassedethe, Vitor Mazuco, 6 anonymous edits
Birth of the Cool Source: http://en.wikipedia.org/w/index.php?oldid=419362161 Contributors: (jarbarf), Alcuin, Andrew Norman, AndrewHollywood23, Ashadeofgrey, BRG, Backtable,
CJCurrie, Cprompt, Dan56, David Couch, Design, Dzwell, Editor437, Electrobird, Engelbaet, FlorianB, GreatOrangePumpkin, Grenavitar, Grm wnr, Gyrofrog, Ilse@, Infrogmation, JayJasper,
Jaysscholar, Jobe6, Jonathan.s.kt, JukeJohn, KConWiki, Kcordina, Kenyon, Koavf, Ksmalls8610, Lil-unique1, Mel Etitis, Mqduck, Organ scholar, PEJL, Philip Cross, Pigsonthewing, Portillo,
Raverdrew, Reisio, RepublicanJacobite, Rettetast, Rich Farmbrough, Rossj81, Rothorpe, Saltywood, Samwisep86, Slysplace, Sugar Bear, Szarka, Technopat, Tekmatic38, Tregoweth, Twas Now,
UniverSoul, Versus22, VillageGreen1215, Wikiklrsc, Wolfcm, 88 anonymous edits
Circle in the Round Source: http://en.wikipedia.org/w/index.php?oldid=428084573 Contributors: Dogru144, Drowswell, ENeville, Editor437, Fisherjs, Karppinen, Koavf, Personman 4, Pjoef,
Rothorpe, S.Camus, SethTisue, ShelfSkewed, Stanlekub, Sublimefan97, Zidane tribal, 20 anonymous edits
Basic Miles Source: http://en.wikipedia.org/w/index.php?oldid=402476708 Contributors: Editor437, Fisherjs, Gareth E Kegg, Huntster, InnocuousPseudonym, Jasbrian, Karppinen, Koavf,
Pjoef, Rich Farmbrough, Robina Fox, Waacstats, Woohookitty, Zidane tribal, 8 anonymous edits
Super Hits Source: http://en.wikipedia.org/w/index.php?oldid=415219757 Contributors: ArcAngel, Eric444, Imperatore, Jclemens, Koavf, Sluzzelin, TenPoundHammer, 2 anonymous edits
The Columbia Years 19551985 Source: http://en.wikipedia.org/w/index.php?oldid=410325136 Contributors: Andyman1125, Apocryphe, Jafeluv, Jogers, Karppinen, Koavf, Nightkey,
Pichpich, ZeroAsALimit, 5 anonymous edits
The Complete Studio Recordings of The Miles Davis Quintet 19651968 Source: http://en.wikipedia.org/w/index.php?oldid=414556747 Contributors: Bearcat, Cosprings, J04n, JaGa, Koavf,
Paulrkcz, Starcheerspeaksnewslostwars, Tassedethe, 8 anonymous edits
The Complete Bitches Brew Sessions Source: http://en.wikipedia.org/w/index.php?oldid=429437266 Contributors: Abenwoha, DISEman, Dan56, DantheCowMan, EoGuy, Fisherjs, Fritz
Saalfeld, Globe199, GreatOrangePumpkin, Gyrofrog, KConWiki, Koavf, Neier, Rich Farmbrough, ShelfSkewed, Sugar Bear, Swanrizla, Wikimart, Witchwooder, Xic667, 16 anonymous edits
The Complete Columbia Recordings of Miles Davis with John Coltrane Source: http://en.wikipedia.org/w/index.php?oldid=410325150 Contributors: Aztek888, Cpdilkus, Dan56, Dmforcier,
Editor437, Fisherjs, Koavf, Mdeloia, Spellcast, Tassedethe, Wolfer68, Zhinz, 8 anonymous edits
The Complete In a Silent Way Sessions Source: http://en.wikipedia.org/w/index.php?oldid=415876041 Contributors: Dohaeng, GreatOrangePumpkin, Koavf, Lairor, Langston JDCH, Mike
Selinker, MrFunkster, Skier Dude, Sugar Bear, Waacstats, 10 anonymous edits
In Person Friday and Saturday Nights at the Blackhawk, Complete Source: http://en.wikipedia.org/w/index.php?oldid=429972726 Contributors: Alansohn, Auntof6, D6, Dan56, J04n, Jafeluv,
Koavf, Mohrflies, Moonriddengirl, Philip Cross, Ricadus, Stananson, Tassedethe, Tleong, Vytal, 9 anonymous edits
The Complete Jack Johnson Sessions Source: http://en.wikipedia.org/w/index.php?oldid=417717365 Contributors: DISEman, Dan56, Dogru144, Dohaeng, Gareth E Kegg,
GreatOrangePumpkin, KConWiki, Koavf, Lairor, Mdeloia, Rich Farmbrough, Skier Dude, Waacstats, Witchwooder, 8 anonymous edits
Seven Steps: The Complete Columbia Recordings of Miles Davis 19631964 Source: http://en.wikipedia.org/w/index.php?oldid=415673907 Contributors: Bearcat, Cosprings, Dan56, Diannaa,
Doomsdayer520, GreatOrangePumpkin, Koavf, 1 anonymous edits
The Complete On the Corner Sessions Source: http://en.wikipedia.org/w/index.php?oldid=420990060 Contributors: Altzinn, Colonies Chris, Dan56, Daria Montella, Dogru144, EmanWilm,
Gyrofrog, J'onn J'onzz, Koavf, Lairor, Rothorpe, SethTisue, ShelfSkewed, Skier Dude, Sluzzelin, Slysplace, Swanrizla, Technopat, The JPS, Wikiklrsc, 19 anonymous edits
Miles Davis: The Complete Columbia Album Collection Source: http://en.wikipedia.org/w/index.php?oldid=423008560 Contributors: Airproofing, Dan56, Francesco Malipiero, Koavf, R'n'B,
RL0919, ShelfSkewed, Tassedethe, Yshrkwhr, Zepelin, 12 anonymous edits
Miles in Paris Source: http://en.wikipedia.org/w/index.php?oldid=392874680 Contributors: AndrewHowse, Bearcat, Elchavoseba, Koavf, Malcolma, Raven1977, Slysplace, Stepheng3,
Warpozio, 4 anonymous edits
Dingo Source: http://en.wikipedia.org/w/index.php?oldid=424051747 Contributors: Amxitsa, Aussiepete, Cooksey, Dl2000, Hoverfish, Jmlk17, Kwah-LeBaire, Longhair, Lugnuts, Matilda,
Orderinchaos, Sreejithk2000, Sugar Bear, The Wild West guy, Thedarkestclear, UpdArch, Verne Equinox, 2 anonymous edits
"Donna Lee" Source: http://en.wikipedia.org/w/index.php?oldid=429257593 Contributors: Alan Liefting, Alien life form, AllyD, Blyons3, Cielomobile, Cosprings, Dissolve, Ish ishwar, J. Van
Meter, Jafeluv, Jamieli, Josm, Katalaveno, Keithh, Kjell Knudde, Koavf, Kukini, Lemmie, Lph, Luigi30, Mike R, Mjgw, Moreschi, Ndorward, Nick Mahon, Patspam, Pugetbill, Remuel,
Squandermania, SummerWithMorons, Tastemyhouse, The FD, Theviper, Threeafterthree, 28 anonymous edits
"Solar" Source: http://en.wikipedia.org/w/index.php?oldid=427663666 Contributors: Bongwarrior, Cosprings, Dextrose, Dndn1011, Ehendricksisme, GlenPeterson, Jafeluv, Kisch,
Kwamikagami, MisterAngryBear, Pugetbill, Rich Farmbrough, SwisterTwister, Twas Now, Wolfer68, 11 anonymous edits
"Milestones" Source: http://en.wikipedia.org/w/index.php?oldid=416780132 Contributors: Alex Batt, Bearcat, BirdAndDizzy, Blahm, Bruce1ee, Chris Capoccia, Crystallina, Fratrep,
GreatOrangePumpkin, Heidilaura, Jafeluv, Mabahj, Mick gold, Tassedethe, TheKid, Umfolosi, 17 anonymous edits
"All Blues" Source: http://en.wikipedia.org/w/index.php?oldid=429401913 Contributors: Ale jrb, Alex Batt, AllyD, Angr, Cosprings, Drumex, Edward Tambling, Glassbreaker5791, Hyacinth,
Jafeluv, Kisch, Leftfoot69, Paul Richter, Pegship, Silly dude11, Wolfer68, 14 anonymous edits
"Blue in Green" Source: http://en.wikipedia.org/w/index.php?oldid=429465244 Contributors: C1k3, Cari-Su, Cosprings, D77, DISEman, Design, Diloretojazz, Freshacconci, Fvasconcellos,
Gareth E Kegg, Jafeluv, Jazzeur, JoaquinMiralles, John Link, Killerdank, Kisch, Koavf, Lawrencekhoo, Leftfoot69, Mturi, O Graeme Burns, Raph79, Rich257, Skomorokh, SwisterTwister,
Viriditas, Wolfer68, Zone46, 16 anonymous edits
"Flamenco Sketches" Source: http://en.wikipedia.org/w/index.php?oldid=417951068 Contributors: Airproofing, Ary29, C1k3, Cosprings, DISEman, Diloretojazz, Ditc, Ezekielvictor, Feydey,
Jafeluv, JoJan, Leftfoot69, MisterOh, Nigazblood, R Lowry, Rich Farmbrough, Starbass, Viriditas, Wolfer68, 26 anonymous edits
"Freddie Freeloader" Source: http://en.wikipedia.org/w/index.php?oldid=423975473 Contributors: Brettalan, Cbangs, Cosprings, Crystallina, Edward Tambling, Fearlless leader, Gorpik,
Gyrofrog, Jafeluv, JeepdaySock, KConWiki, Khatru2, Leftfoot69, Mbrstooge, RedWolf, TJSwoboda, Technopat, Vsb, Wildthing61476, Wolfer68, Zone46, 24 anonymous edits
"So What" Source: http://en.wikipedia.org/w/index.php?oldid=412164112 Contributors: -=PhotoN=-, 1pezguy, Alien life form, Allstarecho, AllyD, Ary29, Bess1030, Blahm, Bridgecross,
Chris Capoccia, Cielomobile, CommonsDelinker, Cosprings, Cst17, Dan56, Deltabeignet, Edward Tambling, GregorB, Hyacinth, InnocuousPseudonym, Jafeluv, Khatru2, Kisch, Leftfoot69,
Mbrstooge, Melesse, Notreallydavid, PhilipR, Pugetbill, Rainwarrior, Shoejar, SwisterTwister, Tungstentoaster, Wolfer68, Zaslav, 21 anonymous edits
Ascenseur pour l'chafaud Source: http://en.wikipedia.org/w/index.php?oldid=429228875 Contributors: Belovedfreak, Dan56, Dpcohen1968, Ending Credits, Engelbaet, FjghdK,
GreatOrangePumpkin, Grunge6910, Igorrr, Kbdank71, Koavf, LeoNomis, Oda Mari, P. S. Burton, Philip Cross, Rich Farmbrough, Rothorpe, Sluzzelin, T-rex, Thismightbezach, Thomjakobsen,
Waacstats, Woodgnome, 15 anonymous edits
Music from Siesta Source: http://en.wikipedia.org/w/index.php?oldid=429430346 Contributors: Airproofing, Dan56, Design, Dissolve, Emayall, JHunterJ, Koavf, Rjwilmsi, Sugar Bear,
Waacstats, Warpozio, Woohookitty, 21 anonymous edits
Dingo Source: http://en.wikipedia.org/w/index.php?oldid=429971244 Contributors: -Nmd77950, Airproofing, Backtable, Bubba hotep, Crystallina, Dan56, Design, Jubella, Kingboyk, Koavf,
Sugar Bear, Super Rad!, Syrthiss, Technopat, Thedarkestclear, Xihix, 12 anonymous edits
The Hot Spot Source: http://en.wikipedia.org/w/index.php?oldid=428723963 Contributors: AN(Ger), Alex West, Altenmann, Bobet, Brainscar, CanisRufus, Chaoborus, CharlotteWebb,
Cliff1911, Colonies Chris, D6, DCGeist, David Gerard, Dinty121, Donmike10, Drhaggis, Ed Fitzgerald, Elf, Erianna, FMAFan1990, Flowerpotman, Frecklefoot, GentlemanJohnny, J.D., Jkelly,
Koavf, MJBurrage, Mikeblas, MisfitToys, Niteshift36, Noirish, NorthernThunder, Nv8200p, PHIFOU62, Pegship, Phoenixrising, Plasticspork, Rossami, SD6-Agent, Sannse, Sreejithk2000,
Stoshmaster, Template namespace initialisation script, The JPS, TheMovieBuff, Treybien, Wool Mintons, Xezbeth, 34 anonymous edits
"Billie's Bounce" Source: http://en.wikipedia.org/w/index.php?oldid=426074032 Contributors: Abrasivenut, Bts.smith, Chmurray, Colonies Chris, Jafeluv, Kjell Knudde, MomioBlues,
Trivialist, Wardog158, Welsh, Zidane tribal, 9 anonymous edits
Bird on 52nd St. Source: http://en.wikipedia.org/w/index.php?oldid=415263904 Contributors: Dan8700, JohnInDC, Koavf, Tassedethe
Cool Bird Source: http://en.wikipedia.org/w/index.php?oldid=430182099 Contributors: Cander0000, Editor437, Kenyon, Koavf, Philip Cross, Pjoef, RockfangSemi, Sting au, Tabletop,
Technopat, Zidane tribal, 4 anonymous edits
Conception Source: http://en.wikipedia.org/w/index.php?oldid=428657888 Contributors: Ary29, Dan8700, Explosius, GreatOrangePumpkin, Grk1011, Hu12, Koavf, Master-nate, Pangui, Pjoef,
Ricadus, Seb35, Tassedethe, Waacstats, Wiki libs, 12 anonymous edits
Somethin' Else Source: http://en.wikipedia.org/w/index.php?oldid=416388227 Contributors: "D", Airproofing, Ary29, B.Boylan, BRG, Crystallina, DISEman, Dan8700, Demian12358,
Depayens, E-Kartoffel, Edward Tambling, Ericd, FlorianB, Fritz Saalfeld, Gareth E Kegg, Gautam3, Gyrofrog, Jafeluv, Jogers, KConWiki, Kbdank71, Leftfoot69, Lkesteloot, MarkSweep,
Mattg82, Mind meal, Mindspillage, MrFizyx, Mtze, Papa November, Plasticup, Rich Farmbrough, ShelfSkewed, Sluzzelin, Susvolans, Swanrizla, T-rex, T. Anthony, Technopat, Twas Now,
Wasted Time R, 24 anonymous edits
Miles & Monk at Newport Source: http://en.wikipedia.org/w/index.php?oldid=430128624 Contributors: Airproofing, AndrewHowse, C1k3, Cosprings, Dogru144, Editor437, Gareth E Kegg,
Jafeluv, KConWiki, Koavf, Mike99999979, Mind meal, Muhandes, Pekaje, Philip Cross, Slysplace, Tassedethe, Technopat, Viriditas, Waacstats, Waltesmith, 13 anonymous edits
CK Source: http://en.wikipedia.org/w/index.php?oldid=412815804 Contributors: Dreamer.se, GoingBatty, JASPERLAW, Ketiltrout, Nelson58, Rich Farmbrough, Richhoncho, Slysplace,
Tassedethe, 9 anonymous edits
Back on the Block Source: http://en.wikipedia.org/w/index.php?oldid=429330078 Contributors: "D", 28bytes, Absolon, Airproofing, BigT2006, Bovineboy2008, Cmdrjameson, Cosprings,
Dan56, Dctite, Deehell, Dweller, EchetusXe, FlyHigh, GETONERD84, Gareth E Kegg, Jafeluv, Jagarin, Jerome Charles Potts, Jogers, Journalist, JustAGal, Kenshin, King ll, LilHelpa,
Matharvest, Mister Alcohol, Paul210, R&BFAN, Rich Farmbrough, Rodrigogomespaixao, Rothorpe, Satanface, SlubGlub, SmokeyTheCat, Smokiewight, Sugar Bear, Swanrizla,
SyncopatorSyncopator, Thingg, TonyTheTiger, VL2345, Vibem, Wantnot, Wolfer68, 37 anonymous edits
Miles & Quincy Live at Montreux Source: http://en.wikipedia.org/w/index.php?oldid=409549298 Contributors: Cmoons, Conradlingpinkinson, Design, Flyingidiot, Gareth E Kegg,
InnocuousPseudonym, JBellis, Koavf, Mabahj, Mike Selinker, Mister Alcohol, Rothorpe, Scapler, Technopat, UlrichAAB, Waacstats, Wolfer68, Woohookitty, Xihix, 15 anonymous edits
Miles Davis & Gil Evans: The Complete Columbia Studio Recordings Source: http://en.wikipedia.org/w/index.php?oldid=415182935 Contributors: Cosprings, Dmforcier, Erechtheus, Koavf,
Pcg13, Tassedethe, Thomas279, 6 anonymous edits
Cannonball Adderley Source: http://en.wikipedia.org/w/index.php?oldid=425729855 Contributors: "D", 2T, 79spirit, Alan W, Alansohn, Andrew Levine, Arnavs, Aspects, Athaenara,
Aviper2k7, BD2412, Bukaj, Cbustapeck, Ccson, Cgray4, CommonsDelinker, Cosprings, D6, DISEman, DeFaultRyan, Delicious carbuncle, Deltabeignet, Dimadick, Dogru144, Dr. Shaggeman,
E-Kartoffel, Eastfrisian, Edward Tambling, Ehburrus, Flamurai, Flubbit, Folajimi, Fratrep, Gareth E Kegg, Garion96, Gautam3, Gigbrown, Gmarsden, Graham87, Guy Hatton, Hede2000,
HornColumbia, IcedNut, Infrogmation, Jazzeur, Jcarkeys, Jobe6, John, Joshk, Jppigott, Jrousso, Jusdafax, Justi521, Justin Eiler, Karaboom, Kelson, Kether83, Kevyn, Klondek, KnightRider,
Knucmo2, Lanceistheman, MacGyverMagic, Mailer diablo, Mani1, Marchije, Mario Duff, Martin.1573, Mayumashu, McNoddy, Meco, Metropolitan90, Mhking, Mike R, Mind meal,
Moonriddengirl, Muriel Gottrop, Mtze, Noles1984, Obradovic Goran, Philip Cross, RandysRodeodotcom, Raumka, RepublicanJacobite, Rethunk, Rettetast, ReyBrujo, Rlschles, RodC, RogDel,
Rothorpe, Rwilliams, SHIMONSHA, SaxTeacher, Saxman7, SchuminWeb, Sir Nicholas de Mimsy-Porpington, Sluzzelin, Spalding, Squash, Sriharip, Stephen, Storkk, Strawberryfire, StrifeXo6,
T. Anthony, Tassedethe, Technopat, Ted Wilkes, Terariser6, Topbanana, Tournesol, TronTonian, Trontonian, Viriditas, Wizardman, Xtifr, Yabbadab, Zone46, Zytsef, 145 anonymous edits
Kei Akagi Source: http://en.wikipedia.org/w/index.php?oldid=420524152 Contributors: Cosprings, DAJF, EEMIV, EricValley, Fisherjs, Myasuda, Pgilman, SMasters, Spankypoo, Sweet kate,
T. Anthony, Trick9999, Waacstats, Yas, 11 anonymous edits
Don Alias Source: http://en.wikipedia.org/w/index.php?oldid=429998022 Contributors: Badagnani, Cap.fwiffo, Cosprings, D6, DISEman, David A. Victor, Drumsac, Ephraim33, Hi878, J. Van
Meter, Kate, Kelson, Kenneth Shabby, Lairor, Leahtwosaints, Light current, Marchije, Mindspillage, Moshi809, Munci, Nadworks, Opus88888, Pjoef, Uryah, Waacstats, Wahoofive, Weirdo12,
Williamb, thelwold, 23 anonymous edits
John Beasley Source: http://en.wikipedia.org/w/index.php?oldid=417084162 Contributors: Artistryinjazzpiano, BNutzer, Beas, Beasleymusic, BlueAzure, Bobblehead, Chris the speller,
Colonies Chris, David Gerard, Dissolve, Eurodog, Falcon8765, Fisherjs, Maarten de Haan, Master&Expert, Mobleybob, Pinkadelica, Pohick2, Slysplace, Timeineurope, 7 anonymous edits
Bob Berg Source: http://en.wikipedia.org/w/index.php?oldid=424553443 Contributors: Carlos28, CheekyMonkey, Chris the speller, Cosprings, DISEman, Diplo.sor, Dissolve, Drumsac,
Egrabczewski, Fosterfreed275, Gurch, Iceberg68, J. Van Meter, Jumplong, Mind meal, Nono64, Pegship, Phe, Quelcrime, Robina Fox, Rothorpe, SaxTeacher, Tassedethe, Technopat, Vulturell,
Whatsawikidiki, Yid613, Zdv, Zenzee, 23 anonymous edits
Elwood Buchanan Source: http://en.wikipedia.org/w/index.php?oldid=362692703 Contributors: (aeropagitica), AllyD, Balcer, Bender235, Highnotes4ever, Mel Etitis, Mind meal, Muchness,
Naja Haje, Perodicticus, Rewster, T. Anthony, 2 anonymous edits
Ron Carter Source: http://en.wikipedia.org/w/index.php?oldid=428755773 Contributors: 217.162.96.xxx, 2T, Airproofing, Alansohn, Andersjallen, Andrew Norman, Andy M. Wang,
Archanamiya, Aspects, Badagnani, BaronLarf, Beau1957, Bib, Brookingsbook, Bvoppen, C1k3, Can't sleep, clown will eat me, CapitalLetterBeginning, Carbuncle, Clicketyclack, Conversion
script, CookipediaChef, Cosprings, Cribcage, Crimsun, D6, DISEman, David Gerard, Devilkha, Dissolve, Dogru144, Drumsac, DutchDevil, Echidnae, Emperorbma, Ethan Iverson, Everyking,
Ferdinand Pienaar, Fjurden, Genisock2, Greekimpala, Gyrofrog, J. Van Meter, J25barn, JFA2009, Jafeluv, James Epstein, Jean-Pol HIERNAUX, Jeffropica, Jlawrencenewyork, Joetheintern,
Juost, Karaboom, Koavf, Kram676, Leahtwosaints, Leithp, Llywrch, Magioladitis, Mardhil, Maximus Rex, Maxxam84, Mayumashu, McKinley211, McYaballow, Mind meal, MisterAngryBear,
Morefun, Mosca, MovieMadness, MrFunkster, Mudwater, Musicmatt41, Nivix, Nostalgic34, Nubiatech, Nubio.revoredo, PTSE, Paul A, Philip Cross, ProfesserWheatleyOBE, ProperFraction,
ProveIt, RL0919, RandySavageFTW, Raul Amador, RegGoodwin, Roachgod, Rothorpe, Rozth, Rudall80, Samjoneslover1960, Shinobi sniper, Snottily, Super Rad!, TAnthony, Tassedethe,
Technopat, TheGrappler, TheParanoidOne, Tinton5, Tp243, Treerex, Trombipulation!, TronTonian, Ulric1313, Uwaine, Vina, Wikiklrsc, YigitDemirbas, 104 anonymous edits
Paul Chambers Source: http://en.wikipedia.org/w/index.php?oldid=429806564 Contributors: 2T, Airproofing, BassHistory, Bassist Benny, Big Bird, Biji san, Bill (who is cool!), Biscuitking,
Carlosguitar, Ch10023, Conical Johnson, Cosprings, D6, DISEman, Dan8700, Derek R Bullamore, Dickdock, Diloretojazz, Dissolve, Drumsac, Edward Tambling, Everyking, Funandtrvl, Gabbe,
Gareth E Kegg, Gareth Owen, Gimmetrow, Greg58, HornColumbia, IceCreamAntisocial, Jazzzguy, JoeKearney, Knucmo2, Koavf, Ldavis2, Leahtwosaints, MONGO, Mako098765, Mary Read,
Mel Etitis, Mild Bill Hiccup, Mind meal, NSH001, Non-sequitur, NuclearWarfare, OddMNilsen, OnBeyondZebrax, PJtP, Paul A, Pepperjack, Philip Cross, Powelldinho, ProperFraction, ProveIt,
Pugetbill, R'n'B, Rift, Rjwilmsi, Robina Fox, Rowenkariya, Seaaron, ShelfSkewed, Slamdunk23, Sluzzelin, Steve Abrahall, Stinnettmusic, Tassedethe, Technopat, Terrierguy, TheRealAntonius,
TheoryOfPractice, TronTonian, Viriditas, Vystrix Nexoth, Vytal, Wimt, Zone46, 117 anonymous edits
Jimmy Cobb Source: http://en.wikipedia.org/w/index.php?oldid=427108953 Contributors: Adam Bishop, Alai, AndrewHowse, Auntof6, Balloonguy, Bender235, Bostonian22, Bunchofgrapes,
Caerwine, D6, DISEman, Disavian, Drumsac, Drumsoloartist, Eastfrisian, Edward Tambling, Grm wnr, Guaca, Hstoffels, Japanesejazz, Jni, KConWiki, Kakofonous, KingTT, Koavf, Korg,
Michael Devore, Mind meal, Peces, Sander99, Skarebo, Sluzzelin, Slysplace, Taestell, Technopat, The.rosh.man, Tnxman307, Ulric1313, Uwe Gille, Vaterpercussion, WilliamThweatt, Yanksox,
Zone46, Zpb52, 48 anonymous edits
George Coleman Source: http://en.wikipedia.org/w/index.php?oldid=415241918 Contributors: Abzs2k, Alvestrand, Andrew Norman, BD2412, Bearian, Boleyn, Carlos28, Cosprings, D6,
DISEman, Drumsac, Ebruchez, Edward Tambling, Garion96, Garould, Gene Nygaard, J. Van Meter, Jafeluv, Meegs, Mind meal, Rjwilmsi, Tassedethe, Technopat, TheParanoidOne,
Timeineurope, Vytal, Whitejay251, Wysinger, 32 anonymous edits
John Coltrane Source: http://en.wikipedia.org/w/index.php?oldid=430061648 Contributors: 1exec1, 1nic, 2T, 72Dino, Aaronbrick, Abie the Fish Peddler, Acather96, Afterwriting, Aheard07,
Alan W, Alansohn, Alex Batt, Alex contributing, Alex.gosselin, Alex63, Alexshmalex, Allansutherland, AllyD, Almita, Alpha 4615, Amog, Amphytrite, Andrew Norman, Anger22, Angular,
Antandrus, Anthony, Anthonylombardi, Aomarks, Aspensequence, AxelBoldt, BKlafehn, Bad Wolf, Badagnani, Barte, BartholomewBud, Basel15, Basilicofresco, Bassthought, Bbsrock, Bebopx,
BeefCake, Belovedfreak, Ben-Zin, Berasategui, Betacommand, Bigjimr, BillFlis, Billlyons, Birdyboops, Bobcat7, Bobo192, Bochum, BodachMor, Boothy443, BostonMA, Brian.Gersch, Brtom1,
Bruno Ishiai, Bubuka, Bwoodacre, Byrial, CIreland, CJCurrie, Calabraxthis, CambridgeBayWeather, CanadianLinuxUser, Canderson7, Chachka, Chanlyn, Cheshirecat575, Chimino, Cholmes75,
Cjmarsicano, Coby1bs, Colinclarksmith, Colonies Chris, CommonsDelinker, Comrade Tux, Conchubhar McNally, Converge, Cosprings, Cp.tirm, Ctjf83, D soup, D6, DH85868993, Dan56,
Danny, DarkFalls, Datasplat, Davidb928, Deacondukes, Dekimasu, Deltabeignet, DerHexer, Derek R Bullamore, DingirXul, Diotti, Dissolve, Djdaedalus, Djordjes, Dog dead, Dogru144,
Dosadiver, Dostal, Drumsac, East718, Echuck215, Ed Poor, Editor437, Edward Tambling, Elkman, Ember of Light, Emhoo, Entropybydesign, ErikNY, Evrik, Excirial, Eyeball kid, Farmerdell,
Fawcett5, FayssalF, Ferdinand Pienaar, Fordmadoxfraud, Foriamunusal, Fredrik, Freependulum, Fu-dj, Func, Funderballz, Funkjazz, GTBacchus, Gaius Cornelius, Gareth E Kegg, Gareth Owen,
Ged UK, Gene93k, Geremia, Godwallop, Good Olfactory, Graftonacrylic, GreatOrangePumpkin, Greggonzalezcomposer, Grondemar, GrouchyDan, Grstain, Gurch, Guy Hatton, Gyrofrog,
Haunted summer, Haveronjones, Hearfourmewesique, Heemstrabj, Hekerui, Hierarchitectitiptitoploftical, Hobartimus, Homagetocatalonia, Hornandsoccer, Hyacinth, IRuinedThisPage21,
Ignatiuswiki, Immunize, Inferno, Lord of Penguins, Infrogmation, IrisKawling, Istanbuljohnm, J-boogie, J.smith, J04n, JIMRH4, JackHearne, Jan Lapre, Jashiin, JayJasper, JazzFan70, Jazzeur,
Jazzpoet251, Jazzzguy, Jcarkeys, JeffreyN, Jerjazmus6, Jerome Kohl, Jessiejames, Jjjjani, Jleon, Joe snail, Joek Roex, John, Jon Harald Sby, Joncaire, Joonasl, Joshk, Josiah Rowe, Julien
Tuerlinckx, Jusdafax, Jvgarcia, Jwy, KConWiki, Kaini, Kardy, Karol Langner, Kedaniels34, Kevin McE, KhanVic, Kibiusa, Killing Vector, Kingpin13, Kisch, Kmeisterling, Knucmo2, Koavf,
Krowten01, Kumioko, Kuru, Kyle UNC Law, KyleFL3, LaForge, Lairor, Lalli, Lebessis63, Leepaxton, LiberalViews, LightSpectra, Lizard121314, Los besos, Lowriekid, Luismondragon,
Lumper5, Lupinoid, Luudi1, Lyuokdea, MER-C, Magister Mathematicae, Mako098765, Manuel Trujillo Berges, Manway, Mappase, Marcus2, Mareino, Master Jay, Matthew Fennell,
Maugieman, Mayumashu, Mboverload, Mccormackmusic, Metallothionein, Micheletb, Mike R, MikeCapone, Mikec513, Mind meal, Misheu, Ml67, Mlsutton, Modernist, Modulatum, Mona,
Moulinette, Ms ArtGeek, Msja101, Mturi, Mvgorski, Mxdxcxnx, Mynameinc, Mtze, Nabokov, NawlinWiki, Nbaxley, Ndorward, NewEnglandYankee, Nigholith, NighthawkJ, Ninly, Nivix,
Nobunaga24, Nostrom, Novemberbytes, Nposs, Oda Mari, Oenie, Onorem, Optigan13, Overtoncg, PJtP, Pakokonka, Papa November, Paster, Pb30, Peter Fleet, Philg88, Philip Cross, Piano non
troppo, Pietro, Pigsonthewing, Pilotguy, Politepunk, Poo man shoe, Portillo, Postcard Cathy, Prickus, Proofreader77, Purslane, Quaeler, Quantumobserver, Quercusrobur, Questia123, Qwfp, Qxz,
RFerreira, Rajah, Raul654, Raynolongerishere, Razorflame, Reach Out to the Truth, Reisio, Remember the dot, RepublicanJacobite, RexNL, Ribamar, Rich Farmbrough, Rich4a1, Rickooom, Rl,
RobLa, RodC, Rothorpe, Rplone, Rtcpenguin, RubyQ, RustySpear, Ruy Pugliesi, RyanGerbil10, Saltywood, Sanya, Saposcat, SaxTeacher, Saxman7, SchuminWeb, Scott Paeth,
Scottandrewhutchins, SeanO, Shanes, Shoeofdeath, Shploo, Siroxo, Skawave, Skotoseme, Slo, Sluzzelin, Smallcoffee, Smilesfozwood, SmokeyTheFatCat, Solidpoint, Sonjaaa, SouthernNights,
Spartaz, Special-T, Spellcast, Squash, Stephane Simard, SummerPhD, Superbiate, Surferboy4, Sweetmangolover, Swiftmogul, Sylvain1972, TCNSV, TUF-KAT, Tassedethe, Taz Manchester,
Tcncv, Technopat, Tedius Zanarukando, Telewis, Temporaluser, Teneriff, Terry1944, The Thing That Should Not Be, The silentist, TheJazzDalek, Thebogusman, Theindianreincarnated,
Theoldanarchist, TheoryOfPractice, Thezacman, Throatybeard, Thuen, Tide rolls, Tinkwig, Tinton5, Tl523, Tombomp, Tornvmax, Tp243, Trontonian, Tubby, Twirk88, UhOhFeeling, Uncle
Dick, Unclepea, Unyoyega, Uriah is Boss, Varlaam, Viames, Vinne Oliveira, Viriditas, Vudujava, Vytal, Wacaw Szamotulczyk, WadeSimMiser, Walking the blues, Wars, Wasted Time R,
Wdrazo, Welsh, Wether B, Whorepresents?, Wiki libs, Will Beback, Willthacheerleader18, Wjvanb, Wtmitchell, Xricci, Yachtsman1, Yathosho, Yellowpencil1, ZX81, ZootX, Zsinj, Zwilson14,
925 anonymous edits
Chick Corea Source: http://en.wikipedia.org/w/index.php?oldid=430183384 Contributors: 2T, Alextwa, AllyD, Alton, Andrew Norman, Angr, Anonusuponus, Antaeus Feldspar, Artrush,
Ashley Y, Aspects, Atlasman2, Atsirk20, BNutzer, Benitoelbonito, Berkir, Bkirsh, Bobo192, Bondegezou, Bovineboy2008, C1k3, Calvin Limuel, Cdl obelix, Cdlilie, Cgilbert76, Chase me
ladies, I'm the Cavalry, Cirt, Classicalgenius, Colonies Chris, Conn Of Hundred Battles, Corpx, Cosprings, Courcelles, Cribcage, Cricket02, CryptoDerk, Cultural, CyborgTosser, D6, DISEman,
Dadude3320, Danaimband, DavidMarty, DirectorG, Dogru144, Dominic R., Donangelo, Dr.lars, Drumsac, Entheta, Euphrosyne, Evil Monkey, Explosius, Fanoftheworld, Favonian, Ferdinand
Pienaar, Fernyherny, Fisherjs, FotoPhest, Fred Bradstadt, Fredrijo, Fredrik, Fru1tbat, Furrykef, Gareth Owen, GentlemanGhost, Gringo300, Gub, Gumruch, HOT L Baltimore, Halaqah,
Hearfourmewesique, Hiimbrady, Hmrox, ILaw, J.R. Hercules, J.delanoy, Jabal bob, Jafeluv, Japanese Searobin, Jarkka Saariluoma, Jeandr du Toit, Jessiejames, Joao Xavier, Joelton, John, John
Cardinal, Jollyjoegiant, Jolsonmhd, Jonathan.s.kt, Joyous!, JustAGal, Kbdank71, Korny O'Near, Krash, Leahtwosaints, Lpgeffen, Lypheklub, Maarten de Haan, Mab987, Mani1, Marcoscm,
MarkBuckles, MarkSweep, Maurice Lelaix, Mike R, Mind meal, Mindspillage, MinorContributor, Moonriddengirl, Munci, Mycomp, Mygen89, Mtze, Neil916, Neilc, Newbiepedian, Niayre,
NickCT, Oda Mari, Outside Editor, PRL42, Paul210, Pavel Vozenilek, Peoplefromarizona, Pgeffen, Phil Boswell, Ponydepression, Primarycontrol, Privatemusings, Psuter, Pugetbill, Ragesoss,
Rbrwr, Rdudle, Redgolpe, Refsworldlee, Rjwilmsi, Rmwrites, S. M. Sullivan, Sam McPherson, Sammy8912, Sannse, Satan165, SirushoPR, Slakr, SlubGlub, Sluzzelin, Slysplace, Soundgarden,
Splash, Sprecher, Starvinsky, Stefanomione, Strideman, T-Bjrn, T. Anthony, Taestell, TamYum, Tassedethe, Ten of Swords, Tetratek, TheGrappler, Thedarkestclear, TonyW, Tregoweth,
Treybien, TruthinQuest, Tvccs, UhOhFeeling, Un chien andalou, Unc1242, Viames, Vivaldi, Vollers, Vudujava, Vytal, Wayland, Wayne Miller, WereSpielChequers, Weyes, WhisperToMe,
WichitaQ, Wik, Wikidemon, Wikipediatrix, Will Beback, Witchwooder, WolfgangFaber, WuSchell, Yaninass2, Yms, YourLinesEngaged, Zeke (usurped), 237 anonymous edits
Betty Davis Source: http://en.wikipedia.org/w/index.php?oldid=425989476 Contributors: Acalamari, After Midnight, Al.locke, Arminius, B Touch, Bearcat, Boing! said Zebedee, Boleyn,
Brianbowie, Britte, BrothaTimothy, Carmeld1, Coolschmool, Crystallina, D6, DanKassem, DavidLevinson, Diamond2, Dissolve, Drumsac, EchetusXe, Engineer Bob, Ethanz, Ferdinand Pienaar,
Garion96, Ghmyrtle, J.delanoy, Jaqen, Jiy, KAVEBEAR, Kostisl, Lizardkween, MER-C, MK, Marchije, Maximus Rex, MegX, Nickcarr, Optimale, Ottowaltz, Profoss, RalfiParpa, RedWolf,
Richardcavell, Rjwilmsi, RoyBoy, Salamurai, Sambson, Section2b, Shakeer, ShelfSkewed, Souldier77, Srleffler, Stevekeiretsu, The Moving Finger Writes, Two Hearted River, Usukbutirok,
Ventur, WikHead, Wmahan, 68 anonymous edits
Bill Evans (pianist) Source: http://en.wikipedia.org/w/index.php?oldid=430138573 Contributors: 2T, AVM, Aaaaalias, Accor19, Adashiel, Agnamaracs, Airproofing, Alansohn, Alexius08,
Algae, Allenstone, AllyD, Alma Pater, Andrew Norman, AnnaP, Aomarks, ArboniusUnt, Aspensequence, Aussie Ausborn, Bagatellen, Bassface, Bbpen, Benatar.6, Bestcat321, Billgrabbe, Black
Falcon, Bobblewik, Bobbysmith007, Boleyn2, Brianga, Captain panda, Captinhippie, Cdg1072, Cholmes75, CommonsDelinker, Conqueror100, Cosprings, Cribcage, D6, DISEman,
Danfreedman, Daveman 84, Dbtjazz, Diloretojazz, Dina, DooDooNation, Dr Notes, Dr. Shaggeman, Drmies, Drumsac, Dt20009, Dunks58, Echolvd, Edward Tambling, Eidtnc, Emhoo, Emil76,
Epolk, Ewagner1, FF2010, Fatass69, Fdssdf, Ferdinand Pienaar, FloydRTurbo, Fmrnt, Fratrep, Fred Bradstadt, Fredfickle, Gabbe, Galo1969X, Gareth E Kegg, Gareth Owen, Gesmer,
Glassbreaker5791, GraemeL, Gratford, HamburgerRadio, Helga76, Hello cello, Herbythyme, Hgldrn, Hthrkrns, Ian Pitchford, JAStewart, Jafeluv, Jak86, Jamespeach, Jazzenthusiast, Jazzeur,
Jessiejames, Jkiang, Jmrowland, John, John Link, Johndburger, Jpgordon, Jppigott, Jpzank, Jrousso, Kariemitchell, Karol Langner, Kelly Martin, Kimchi.sg, Kippenburger, Knucmo2, Koavf,
Komentatorr, Kuzzer, Laurie108, Leahtwosaints, Leifbk, Lkesteloot, Llamatv, Llwitt, Lugnuts, Mahanga, Mandarax, Marco Guzman, Jr, Marek69, Martin H., Mehldau, Merphant, Michael David,
Mind meal, Mitch3000, Monegasque, Morphinea, Moulinette, Mrbass727, MusiCitizen, Mynameissamdelgado, Mysloop, NathanBeach, Ncc1701zzz, Ndorward, NoVomit, Omaudio, PL290,
Pdxpinano, Peter pooter, Petershank, Philip Cross, Pladask, Preost, Prodego, Professor marginalia, Przemyslaw Pawelczak, Quadell, Ragtagjazz, Ralphscheider42, Rich Farmbrough, Robrijn,
Ronaldomundo, Rothorpe, Rudowsky, Samchell, Samsara, SchuminWeb, Schuym1, Sean Whitton, Sean759, Shadowhillway, Slpknt2, Sluzzelin, SonzTwin, Special-T, Spellmaster,
Squandermania, Ssg263, Steveshelokhonov, SuburbaniteFury, Swierhake, T. Anthony, Tassedethe, Telsa, Tetratek, TheCVL, TheKid, Thebogusman, Theloniouszen, Timothybb, Tjmayerinsf,
Travelbird, Tristanf, Tvccs, UDScott, Urhixidur, Vanieter, Viames, Viriditas, Vkgfx, Vsb, Werldwayd, Wik, Woohookitty, Xricci, Ybk33, Zone46, Zscout370, 295 anonymous edits
Bill Evans (saxophonist) Source: http://en.wikipedia.org/w/index.php?oldid=427313223 Contributors: "D", Al Pereira, Alexander Z., B3t, Badbilltucker, Buldoer, Bunnyhop11, Cosprings,
Crohnie, DISEman, Dissolve, Dmws, Drumsac, Eurodog, Eversovery, Funandtrvl, GirasoleDE, J04n, Kenyon, Kranar drogin, Leahtwosaints, Lilac Soul, Luokehao, Malber, Mind meal,
Monegasque, Morphinea, Pegship, Rdrozd, Rlandis, Rothorpe, Shadowhillway, Sluzzelin, SpK, T. Anthony, Technopat, 16 anonymous edits
Gil Evans Source: http://en.wikipedia.org/w/index.php?oldid=426297888 Contributors: 2T, Alan W, Allenstone, Aranel, Arcaterra, Aussie Ausborn, BD2412, Bearcat, Boothman123,
Chochopk, Cosprings, D6, DISEman, Docu, Drumsac, Edward Tambling, Everyking, Ferdinand Pienaar, Foxandpotatoes, Fpittui, Fred Bradstadt, Fred the Oyster, Gareth E Kegg, Gareth Owen,
Gidiav, Gyrofrog, Haldraper, Infrogmation, J. Van Meter, Japanese Searobin, Jazzeur, Jerjazmus6, Jmeltzer, Jobe6, Jwanders, Karaboom, Karenjc, Karol Langner, Kevin McE, Lockley, Marco
Thomas, MartyHeyman, Mel Etitis, Mind meal, Moxy, Msja101, Mysloop, OboeCrack, Omicronpersei8, Owen, Philip Cross, Pinball22, Pkgiovanni, Pollythewasp, Redf0x, Rich Farmbrough,
Richjenkins, Rjwilmsi, Rock8888, RodC, Rothorpe, Rt66lt, S vatev, Sam Hocevar, Scholasticus, SchuminWeb, Sluzzelin, Steenth, T. Anthony, Tassedethe, TheGrappler, Tvccs, Twas Now,
Usernodunno, Viames, Visor, Vytal, Zazaban, 68 anonymous edits
Foley Source: http://en.wikipedia.org/w/index.php?oldid=408020484 Contributors: Affablyunmanageable, AlphaPyro, AndrewHowse, BD2412, Carabinieri, Chercheur, Dissolve, Drumsac,
Falsesetto, Gavri, Gyrofrog, J Milburn, JaGa, JamesBurns, Jevansen, Joyous!, Koavf, Marokwitz, Musicgenius89, Paul A, ProveIt, R'n'B, Rjwilmsi, Stophating, Tassedethe, TheArguer,
UlrichAAB, WereSpielChequers, Woffie, Woohookitty, 15 anonymous edits
Sonny Fortune Source: http://en.wikipedia.org/w/index.php?oldid=425855301 Contributors: ArnoldMichele, Bencherlite, Bowlingblogger, Cosprings, D6, DISEman, Dissolve, DjScrawl,
Dogru144, Drumsac, Eastfrisian, Engelbaet, Estiv, Fabiform, HarmonicSphere, Hitrish, J. Van Meter, Jetman, JohnOwens, Kbdank71, Mind meal, Neofacist, Psantora, Rothorpe, ShelfSkewed,
Stan Shebs, T. Anthony, Technopat, Ultra megatron, Zoicon5, 12 anonymous edits
Al Foster Source: http://en.wikipedia.org/w/index.php?oldid=426920064 Contributors: AllyD, Bsalad, Cbies, Cosprings, D6, DISEman, Dissolve, Ferdinand Pienaar, Henrygb, JaGa, Jesse1960,
Mind meal, Piano non troppo, Popopp, Quelcrime, Rholton, Semper malus, ShelfSkewed, Sluzzelin, TR404, TheGrappler, ToddBishop, Unara, Wolf530, Zoicon5, Zytsef, 27 anonymous edits
Red Garland Source: http://en.wikipedia.org/w/index.php?oldid=426985583 Contributors: Ankitruva, Berg835, Boptimism, Cdg1072, Cgray4, Cosprings, D6, Dan8700, Dargodon, Drumsac,
Edward Tambling, Emoll, Fang Aili, Fawcett5, Gbeeker, Glassbreaker5791, GoingBatty, Homegrown Democrat, JPatSea, Jafeluv, Knucmo2, Maxbelz, Mind meal, Mtze, Nb71, PBrain,
Reddgarland, Retired and loving it, Revth, Rms125a@hotmail.com, Roeeyaron, SidP, SlubGlub, Sluzzelin, T. Anthony, Tassedethe, Technopat, Template namespace initialisation script,
TheGrappler, TronTonian, Trontonian, Vytal, W guice, Zoicon5, 52 anonymous edits
Kenny Garrett Source: http://en.wikipedia.org/w/index.php?oldid=428857227 Contributors: 97198, AgentPeppermint, Alai, AllyD, Bender235, Bjones, CWesling, Caerwine, Ceyockey,
Chuckjav, Cosprings, Cribcage, D6, Dfrankow, Dissolve, Drumsac, FotoPhest, Gitosz, Grutness, Hede2000, Hywc, Ixy200, JB5980, Janikus24, Joelotz, Leahtwosaints, Magicwoman7, Mind
meal, Ndaisley, Qualario, Rich Farmbrough, Rjwilmsi, Rpaulo, Sayydah, ShelfSkewed, Sluzzelin, Spalding, Supact80, Tarheel95, TotalSpaceshipGuy3, Ulric1313, UlrichAAB, Vytal, 64
anonymous edits
Herbie Hancock Source: http://en.wikipedia.org/w/index.php?oldid=429490481 Contributors: "D", 151.24.191.xxx, 17Drew, 2T, 428CobraJet, Aaton77, Abie the Fish Peddler, Acalamari,
Accurizer, Aitias, Alextwa, Algae, Alison, AlistairMcMillan, All Hallow's Wraith, AllyD, Ammosh11, Andrew Norman, Andrzejbanas, Andyebon, Another Believer, Aomarks, ArnoldMichele,
Arthena, Artiquities, Aspects, Avoided, Azriphael, Benjiboi, BesselDekker, Betacommand, BigrTex, Binary TSO, Bookbrad, Boss1000, Boycevibe, Bsterbakov, Butsushin, Bwmodular,
Charlieax8114, Chicheley, Chris the speller, Christian75, Clicketyclack, Closedmouth, ClydeC, Cmart514, Colonies Chris, Contributor777, Cosprings, Count de Ville, Countedx58, D6,
DISEman, DJBullfish, Dan56, Danaimband, Danmcq13, DanyaRomulus, Dar-Ape, Darev, Deckard3001, Dekkanar, Deltabeignet, Denovoid, Derek R Bullamore, Design, Dfan, Diloretojazz,
Dissolve, Djmutex, Dogru144, Dondeestamimente, Dotcom703489, Download, Downwards, Dralwik, Drpgleeson, Drumsac, Dureo, Dycedarg, E-Kartoffel, EWS23, Eclecticology, Edward
Tambling, Elagatis, Emhoo, Ericorbit, Esprit15d, Estevoaei, Evanreyes, Everyking, Famitsudc, Ferdinand Pienaar, Figureground, Flutefreek, Fragglet, FrickFrack, Fru1tbat, Gadfium, Gareth
Owen, Garion96, Gcb in perth, Geach, Gidiav, Gimmetrow, Globe199, Gogo Dodo, Good Olfactory, Gthelleloid, Gzornenplatz, Harold Wienstein, Hatto, Heroin pete, Hhbruun, Hornbuckle, Hot
& Cold, Hungery deer, Hyacinth, Ian Pitchford, Icarus of old, Ittan, Itxia, Jacofan, Jafeluv, Jamieli, Janejellyroll, Jazz77, Jazzeur, Jbossbarr, Jesse1960, Jessiejames, Jlawrencenewyork,
Jmrowland, Jogers, John, Johnpacklambert, Jolomo, Joshk, Julien Tuerlinckx, KAMiKAZOW, KConWiki, Kaptain amerika, Karenjc, Kintetsubuffalo, Klutzy, KnowledgeOfSelf, Knucmo2,
Koavf, Kotuku33, Kukini, Lame Name, Leahtwosaints, Lexor, Lockley, Lupinoid, MMike, Ma'ame Michu, Maarten de Haan, Mackensen, Mandtplatt, Marcus Brute, Mark Dingemanse,
Markdeo, Martin451, Matt.kaner, Mattbr, Mboverload, Mbrewer, Mechanicsc, MegX, MegaMergatroid, MeltBanana, Mendomedia, Merknorton, Merphant, Mfitzhenry, Middleriver, Mind meal,
MistaTee, Mmalis, Monni1995, MrFunkster, MrShamrock, Msikma, Muhandes, Mygen89, Mystache, N8chz, Nabokov, NadaPlissken, Nbailey13, Nicholasethan7690, Nick123, Nikoffm,
Niteowlneils, Notreallydavid, Nsmartinsfm, Nubile Servant, Oda Mari, Ojingoh, Oman9978, Open2universe, Orangemike, Orphan Wiki, P toolan, Philip Cross, Philip Trueman, Phyllis1753,
Pianoman1189, Pigsonthewing, PinkCornflake, Pladask, Plaidfury, Polly, Popolon, Profoss, ProhibitOnions, Pugetbill, Purples, Quercusrobur, Qwyrxian, RFGS, RadicalBender, Rajah,
RazerCrane, Rbifan, Reach Out to the Truth, Res2216firestar, Ricegator, Rich Farmbrough, Robert Moore, Robinbanter, Rrburke, RyanCross, Sadishdhakal, SaintGunner, Sam Hocevar,
Sambson, Sanguinity, Saverivers, Schoenberg129, SchuminWeb, Scowling, Scriberius, Seaaron, Shadowjams, Shaq91, ShoeflyDBM, Shoemortgage, Sin-man, Skaltavista, Sluzzelin, Smartiger,
SnapSnap, Softlavender, Soulfulscience, Spalding, Spellcast, Spellmaster, Sprecher, StAnselm, Stevekeiretsu, Stewartadcock, Stonedonald1994, Stoogeyp, Sugar Bear, Superastig, TOO,
TUF-KAT, Taestell, Tango, Tangotango, Tassedethe, Tbhotch, Teiladnam, Tejas81, Tema, Tghe-retford, The-G-Unit-Boss, Thedarkestclear, Thingg, Thomasgl, Tiddly Tom, Timc, Tobias
Bergemann, Tobias Conradi, Tombonet, TonyTheTiger, Topbanana, Torenko, Totnesmartin, Trevor MacInnis, Twsx, VanPelt101, Violncello, Viriditas, Vonbontee, Vudujava, Vytal, W guice,
WPisFascist, Warpozio, Wavelength, Wayne Miller, Wenospeak, Wickethewok, Wikibofh, Wikizen, Wildhartlivie, William Avery, Woohookitty, Wwagner, Yawaraey, Zagmac, Zazaban,
Zazil991, Zimbabweed, Zoicon5, 536 anonymous edits
Jimmy Heath Source: http://en.wikipedia.org/w/index.php?oldid=420108857 Contributors: 6, AgentPeppermint, Alai, Alansohn, BassHistory, Bubba hotep, Caerwine, Cosprings, D6,
DISEman, Dissolve, Drumsac, Edward Tambling, Giftednumber10, Gyrofrog, John FitzGerald, Mailer diablo, Mike R, Mind meal, Musicpvm, Oo7565, Pattonre, Renlok, Rich Farmbrough,
Simonandsimon, Spalding, T. Anthony, Tahoerabbit, Technopat, Twas Now, 22 anonymous edits
Dave Holland Source: http://en.wikipedia.org/w/index.php?oldid=425353714 Contributors: Andonic, Andrew Norman, B3t, BD2412, BNutzer, Ben Tibbetts, Betacommand, Chicheley,
Cosprings, Cribcage, D6, DISEman, Dan56, Dan8700, Diloretojazz, Dogru144, Drumsac, Dunsta, DustsuckerX, Dysprosia, E-Kartoffel, El C, Ferdinand Pienaar, Fernando S. Aldado,
Fingerpuppet, Fratrep, Frcwolf, Fred132, Gareth E Kegg, Garrettshelton, Gary Cziko, Gillbrotha, Giraffedata, GoingBatty, Gripweed, Guy Hatton, Gyrofrog, Hqb, Ignatiuswiki, JamesAM,
Jessiejames, Jlawrencenewyork, JoaquinMiralles, Joek Roex, Jotamide, Julius.kusuma, JustAGal, LH0214, Leahtwosaints, Local yokel, Lpgeffen, Mabm, Magioladitis, MarkSweep, Mind meal,
Moulinette, MrSocks78, Mwbeatty, Ndorward, Neburzaragoza, Ositafeliks, Pangui, Pjahr, ProveIt, Quercusrobur, Rjwilmsi, Robert Turner, Rosenzweig, Rothorpe, ShelfSkewed, Skronksonic,
Slysplace, Special-T, Stavboy, Sylenius, TearJohnDown, TheGrappler, Tomtheman5, Trident13, TronTonian, Unclenickers, Vytal, Welsh, WikHead, 77 anonymous edits
Robert Irving III Source: http://en.wikipedia.org/w/index.php?oldid=426907639 Contributors: After Midnight, Butseriouslyfolks, Cosprings, David Koller, DuncanHill, Ebyabe, Engelbaet,
Musicpainter, Rjwilmsi, Roomsixhu, Sonicportraits, Speciate, Steven J. Anderson, Studerby, TeNagaZaru, Ydnalor, 6 anonymous edits
Keith Jarrett Source: http://en.wikipedia.org/w/index.php?oldid=429810679 Contributors: A good brew, A314268, Abie the Fish Peddler, Abmac, Ael 2, Afterwriting, Aja-Oki, Alansohn,
Albrecht1, AllyD, Anastrophe, Andrew Norman, Antandrus, Antissimo, Automatedaj, BD2412, BNutzer, Badagnani, Bearcat, Bender05, Benna, Boothy443, Boris Barowski, BrianTung,
Camembert, Charles Alvarez, CommonsDelinker, Cosprings, Craigz, Crddjd, D6, DISEman, DMG413, Dan56, Dan8700, Danaimband, Dasondas, David Gerard, Derek R Bullamore,
Diloretojazz, Dissolve, Dogru144, Dot Hook, Ds13, Dylan Hsu, Elpincha, Emerson7, Epmi, Ethan Iverson, Fanoftheworld, FePe, Ferdinand Pienaar, Fisherjs, Folajimi, Frankenab, Fred
Bradstadt, Fueled, Fungus McUgo, Gabbe, Gaius Cornelius, Gareth E Kegg, Gareth Owen, Gdr, Georg Scholz, Georgeny1, Guidominujen, Gwaur, Gyrofrog, HJensen, HOT L Baltimore,
Huberman, Hyacinth, Infrogmation, Iridescent, Jack O'Lantern, Jack Tiramani, Jmcfs, Joek Roex, Joelr31, John Vandenberg, Joncaire, Jujimufu, Julius.kusuma, K1Bond007, Kaffi, Karljoos,
Kimse, KittenKlub, Kleinzach, Kusma, Lacatosias, Landbamirum, Lasunncty, LeoNomis, Ligeti42, Lion-hearted II, Lipilee, LorenzoB, Lpgeffen, M-le-mot-dit, M7, Martinevans123,
Mattingly23, Mav, Mayumashu, Mbonetti, Mel Etitis, Mendali, Mind meal, Missmarple, MisterAngryBear, Moleskiner, Moonriddengirl, Munci, MuzikJunky, Nbarth, Nkour, NuclearWarfare,
Obradovic Goran, Offenbach, PAWiki, Paradise coyote, Paul210, Pequod76, Peximus, Philip Cross, Piccadilly, Pigsonthewing, Pjoef, Pladask, Polly, Porcher, Pptudela, Ralphscheider42,
RedActor61, Renosecond, Rich Farmbrough, Rjwilmsi, Rothorpe, S vatev, Salimi, SarekOfVulcan, Secret, Secretlondon, Shanghainese.ua, Shell Kinney, Shubinator, Signinstranger, Skorpan,
Sluzzelin, Slysplace, Special-T, Srikeit, Strausszek, Super-Magician, Sylenius, THD3, Tassedethe, TerryE, Tfcamp85, Thedarkestclear, Thefellswooper, Tjmayerinsf, Tregoweth, Ventris Arden,
Viennese Waltz, Village Explainer, Vudujava, Vytal, WikHead, Woohookitty, Wormsgetsold, Xricci, Yeager-90, Yuriz, Zerkalox, 360 anonymous edits
Darryl Jones Source: http://en.wikipedia.org/w/index.php?oldid=425024350 Contributors: 96T, AstroZombieDC, Aurola, Berolina, Bjones, Bobdc, Catgut, D6, Design, Dissolve, Dmws,
Encyclopedist, Fabrictramp, Fredrik, Irishninja1980, JamesBHunt, Jan1nad, Jnestorius, Kenmayer, Kingjan00, Leahtwosaints, Maniac18, Niteowlneils, Orphan Wiki, Paul A, Pawnkingthree,
Phl3djo, Piniricc65, Piriczki, ProhibitOnions, Quelcrime, Rjwilmsi, Robascher, Sgt Pinback, SilkTork, Stratovarious, Technopat, TenPoundHammer, TheRetroGuy, TomGreen, Urashimataro,
Usgnus, 33 anonymous edits
Philly Joe Jones Source: http://en.wikipedia.org/w/index.php?oldid=418534135 Contributors: Airproofing, Anna, Bellhalla, CommonsDelinker, Cosprings, D6, DISEman, Deb, Dissolve,
DrLeonP, Drumsac, DynamoDegsy, Edward Tambling, Everyking, Fawcett5, Fizgit, Glassbreaker5791, GuitarMan65, IRP, Infrogmation, Jafeluv, Japanese Searobin, Kakofonous, Michael
David, Mind meal, Moulinette, NawlinWiki, Philip Cross, Rjwilmsi, Tassedethe, Technopat, TheActuary, TheGrappler, ToddBishop, TronTonian, Trontonian, Vytal, Zsasnow, thelwold, 43
anonymous edits
Wynton Kelly Source: http://en.wikipedia.org/w/index.php?oldid=426120696 Contributors: 2T, Airproofing, Alien life form, Andrew Norman, Cosprings, Csharif27, DISEman,
Davidjohncross@hotmail.com, Derek R Bullamore, Donfbreed, Drumsac, Duffdaddy, Edward Tambling, Fjk98, Friday2day, Godwallop, Hailey C. Shannon, J. Van Meter, Jafeluv, Jazz+,
Jazzzie, Jet500, Kellywfan, KikiPost, Mind meal, OS2Warp, PDD, PJtP, Paradise coyote, Philip Cross, Piccadilly, Ppntori, Rdgambola, Sluzzelin, Spyroninja, T. Anthony, Tassedethe, The Rogue
Penguin, TheActuary, Treybien, Vytal, Wimmer, Zariane, Zokian, Zone46, Zzuuzz, 37 anonymous edits
Lee Konitz Source: http://en.wikipedia.org/w/index.php?oldid=424289425 Contributors: Airproofing, All Hallow's Wraith, AnonUser, Aspects, Bmaiani, Bunnyhop11, Carlos28, Cosprings,
D6, DISEman, Dan8700, Dfl0ajh, Drud, Drumsac, Ethan Iverson, Favonian, Ferdinand Pienaar, FotoPhest, Fred Bradstadt, GRoe, Guitardevil87, InnocuousPseudonym, Jbening, Jetman, John,
John FitzGerald, Joncaire, Kku, Klakadak, Leuliett, Lexo, Loupizzuti, LuoShengli, Maximus Rex, Me2NiK, Mind meal, MovieMadness, PBP, Philipblack, Philopedia, Porterhse, Purgatory
Fubar, Redthoreau, Rjwilmsi, RodC, Spalding, Spindrifterwiki, Spongevob, T. Anthony, Technopat, TheGrappler, Vardion, Vulturell, Yid613, 65 anonymous edits
Azar Lawrence Source: http://en.wikipedia.org/w/index.php?oldid=427714443 Contributors: Cosprings, DISEman, Eric Cornejo, Eugene-elgato, Fmjazz, Mlaffs, Pigboywiki, Pjoef, Rdcjaz,
TreasuryTag, 5 anonymous edits
Dave Liebman Source: http://en.wikipedia.org/w/index.php?oldid=426884153 Contributors: AgentPeppermint, Alai, Andrew Norman, ArnoldMichele, Bencherlite, Bender235, Caerwine,
Colonies Chris, Cosprings, Coyets, Cribcage, D6, DISEman, Drumsac, Gyrofrog, Harro, Hullaballoo Wolfowitz, JustAGal, La Parka Your Car, Leahtwosaints, Lentes, Mind meal,
NEAPublicAffairs, Plastikspork, Rothorpe, Seaphoto, Smalagodi, Squandermania, T. Anthony, Tcncv, TheGrappler, Volunteeredslavery, Zelkie, ^demon, 36 anonymous edits
Teo Macero Source: http://en.wikipedia.org/w/index.php?oldid=430116176 Contributors: ANW, Agronner, Ammosh11, Atavi, Badagnani, Balthazarduju, Catalpa, Cosprings, D6, DISEman,
Dissolve, Dogru144, Dr Zen, Drumsac, Engelbaet, Filmerbob, GoingBatty, Gyrofrog, Heinzmeier, HisSpaceResearch, Indianaandre, J. Van Meter, J04n, Jetman, John, KConWiki, Kosboot,
Lentes, Martinchill, Mateusz Opasiski, MegX, Mind meal, Philip Cross, Quadell, Reedmanwiki, Rjwilmsi, RodC, Salamurai, Scwlong, Steveholtje, Tassedethe, TheParanoidOne, Thebogusman,
Timonanthropos, Tjmayerinsf, Twas Now, Utcursch, 32 anonymous edits
Al McKibbon Source: http://en.wikipedia.org/w/index.php?oldid=426006303 Contributors: Bornintheguz, Capitalistroadster, Cmdrjameson, D6, DISEman, DVD R W, Dissolve, Engelbaet,
FPAtl, Gyrofrog, John FitzGerald, Kingboyk, Mind meal, Paradise coyote, Paul A, Philip Cross, TheGrappler, Victuallers, Worm That Turned, , 7 anonymous edits
John McLaughlin Source: http://en.wikipedia.org/w/index.php?oldid=422933541 Contributors: 2T, A. B., Adrian 1001, Aeternus, Alanberman, Alansohn, Alec.N, Angela, Anger22,
Applemeister, Architeuthis, Armins, Arvind Raghav, AstralliS, B3ssf3n, BD2412, BNutzer, Bad Wolf, Badbilltucker, Bakasuprman, Benwildeboer, BirdsOfFire, Black888, BodachMor,
Bohemianroots, Bruce1ee, Bryan Ford, Bwotte, Ckatz, Colonies Chris, CommonsDelinker, Confusedmiked, Cosmic.strut, Cosprings, Cunningham, D6, DStoykov, Dale Arnett,
DaltreyEntwistleMoonTownshend, Dan56, Danorton, Danretegan, Dantesque1, DavidJameson, Deltabeignet, Derek R Bullamore, Design, Dissolve, DocteurCosmos, Dogru144, Donfbreed,
Dougher, Dr bab, Drmies, Drparticle, Ebakunin, Edusto, Eglazier, Ekabhishek, El C, Elf, Elpincha, Encephalon, Esprit15d, Explosius, Fair Deal, Fawcett5, Fendersmasher, Ferdinand Pienaar,
Flasunco, FotoPhest, Fpittui, Fusionoid, Gareth Owen, Garrisonjazz, Gaudio, General chi, Gintautasm, GoingBatty, Good Olfactory, Grammarmonger, GringoBuckewheat, Guitarchile,
Gzornenplatz, HJensen, Happy quack, Havardj, Henry Flower, Hoplon, Hsbrent, Hgsippe Cormier, ILike2BeAnonymous, Iliank, Imnotminkus, Inhumer, Innerproduct, InnocuousPseudonym,
Iw2mln, J.smith, J04n, JBUK, Jafeluv, Japanese Searobin, Java7837, Jkiang, Jnc, Joechuck, John Link, JohnInDC, Joonasl, Joshk, Juntas, JustAGal, Jxg, KHerbst, Kernel Saunters, KerryO77,
KittenKlub, Koavf, Kubigula, Kudret abi, Kyleflan, LeRoytheKing, Leahtwosaints, Lew19, LilHelpa, Louison, Luokehao, Macholl, MahavishnuChris, Mandarax, Mariner133, Maurice Lelaix,
Mehmetcy, Michael Snow, Mike R, Mind meal, Minesweeper, MisterAngryBear, Mjgw, Mkaycomputer, Montrealais, Mr. Brain, Musicindia1, Musikman316, Mtze, NapoliRoma, Ndaisley,
Nostalgic34, Notnotnot, Npbierbrier, ONEder Boy, OnBeyondZebrax, Orsoni, Pablo X, Piccadilly, Plastikspork, Quercusrobur, RFGS, Raketenmensch, Ren Vincent Jansen, Restecp, RexNL,
Rjwilmsi, Robert.halberg, RodC, Rodericksilly, Roger Pilgham, Rothorpe, SAMiracle, Sarodiya, Scieberking, Screeching Halt, Sduraybito, Seti451, ShelfSkewed, Shoplifter, Smably, Snowolf,
Spacejunkk, Sparklism, Sprecher, Srittau, Stassats, Stonewhite, Superunknown373, T. Anthony, Tapedave, Technopat, Tejas81, Thaddeus Slamp, The Fwanksta, Thegn, Thomas279, Tom Duff,
Tothebarricades.tk, Totoperu, Truejustice, Twsx, Ulric1313, Underyourskindvd, Verklempt, Viriditas, Wenospeak, Whotookthatguy, Wiki libs, Winkyland, Woohookitty, Wurdnurd, Yerauy, 261
anonymous edits
Jackie McLean Source: http://en.wikipedia.org/w/index.php?oldid=427187808 Contributors: 2T, AbsolutDan, Alias Flood, Andrew Norman, Anthony22, Arun237, Aspects, Atsirk20, Banazir,
Bbsrock, Bpolhemus, Byrial, Classicalexis, Cosprings, D6, DISEman, Dc 160, Derek R Bullamore, Dissolve, Dogru144, Drumsac, DynamoDegsy, Elipongo, Everyking, Gareth Owen, HOT L
Baltimore, Iridescent, J Milburn, J04n, JIP, Jazzeur, Jfitzg, Jivecat, John FitzGerald, Knucmo2, Kumioko, Lightmouse, Listeriea, Lugnuts, Mandarax, Margach, Mathiaskh, Mcn10912, Mike R,
Mikemoto, Mind meal, Nabokov, Ndorward, Notheruser, PJtP, Philip Cross, Polly, RedRose333, Rjwilmsi, Rplone, Singingdaisies, Spalding, T. Anthony, Tassedethe, Technopat, TheGrappler,
TheoryOfPractice, Tlooth, Tp243, TronTonian, Trontonian, Turbokoala, Vytal, WordUp, 76 anonymous edits
Bennie Maupin Source: http://en.wikipedia.org/w/index.php?oldid=415819370 Contributors: Andreas D.C., Arpingstone, BNutzer, Badagnani, Barte, Bencherlite, Blusic, CLARKPEST, Cdl
obelix, Chicheley, Cosprings, Curtjazz, DISEman, Davidarnay, Drumsac, Earwig23, Everyking, Fist 187, Gperrin, Gyrofrog, J. Van Meter, Japanese Searobin, Jazzstage, Johnpacklambert, Joy,
Kakofonous, Kbdank71, Knucmo2, Leahtwosaints, Mohrflies, PoisonedPigeon, RFGS, Rsholmes, Runawaydog, ShelfSkewed, SnapSnap, Stan Shebs, Stevekeiretsu, Tassedethe, The Winter
Wolf, 38 anonymous edits
Palle Mikkelborg Source: http://en.wikipedia.org/w/index.php?oldid=408122261 Contributors: Deb, HJensen, Michl, Mind meal, Pegship, Philip Cross, Ramblersen, Ulric1313, Waacstats,
Yonkie, 3 anonymous edits
Marcus Miller Source: http://en.wikipedia.org/w/index.php?oldid=429820562 Contributors: Acakewouldbenice, Accotink, Adiospantalones, Aegis Maelstrom, Aeternus, All Hallow's Wraith,
Andrija.b, Andros 1337, Anom8trw8, Architeuthis, Aspects, Awesomebasser, BD2412, BNutzer, Badagnani, BassistofNC, Bencherlite (AWB), Bibig007, Bobdc, Bovineboy2008, Caldorwards4,
Calvin Limuel, Carmaker1, Cassan, ClementSeveillac, CraftyDeano87, CyberSkull, D6, Dajjl, Derek R Bullamore, Dissolve, Doctorteddynewman, Drmies, EdGl, Ejlarsonstratford, El C,
Englcmsc, EspenSkoglund, Fabrictramp, Falsehopesgg, Fisherjs, Fru1tbat, Gabbe, Gadfium, Gaius Cornelius, Gareth Owen, GentlemanGhost, GoingBatty, Gtrmp, Halaqah, Hede2000, Ilse@,
J.gagan, Jackalka, Jessiejames, Jetman, JimmyTheSaint, JoanneB, Justinbassist, Jyleichman, Kakofonous, Kbdank71, Koavf, Kosebamse, Leahtwosaints, LiniShu, MK8, Mattbr, Mattgirling,
Michael Devore, Mike Garcia, Mild Bill Hiccup, Mjgw, My5stringwillkillyou, Nfvs, Nostalgic34, Nyikita, Odysseus1138, Ohconfucius, Onemarathon, PMDrive1061, Paul A, Piano non troppo,
Prashanthns, Qxz, Raul Amador, Retaggio, Richhoncho, Rockfan231, RossPatterson, Rrburke, Ryulong, Sam Ferry, Sbrouse, ShelfSkewed, Sluzzelin, Socapex, Someoneinmyheadbutit'snotme,
Spitfire, Steven Russell, Stratovarious, Tassedethe, Teklund, Tghe-retford, Thaurisil, TheGrappler, Thedukeofno, Timc, TronTonian, Tunedguitar, Victor Wooten, Vunzmstr, Wiki libs,
Witchwooder, Wmahan, Y.Demirbas, thelwold, 171 anonymous edits
Airto Moreira Source: http://en.wikipedia.org/w/index.php?oldid=426671119 Contributors: Aspects, Audiori, BirgitteSB, Cdl obelix, Cosprings, D6, DISEman, David Gerard, Drumsac,
Emcrawford, Escaper7, Ferdinand Pienaar, Fisherjs, GBYork, Istanbuljohnm, JazzTokyo2005, Jlawrencenewyork, Jmlk17, Johanna-Hypatia, Loatharofthehillpeople, LorrSG, Mattisse, Maxmaz,
Mike R, Mind meal, Mlaffs, Mudwater, Munci, Neelix, Nostalgic34, Opus88888, Paul A, Pearle, Peter G Werner, Petronas, Pharos, Pigman, Pjoef, Rich Farmbrough, Rjwilmsi, Roman Spinner,
Rosencomet, Rothorpe, Rtdrury, Salat-for-allah, Sgcook, SimonP, T. Anthony, Ufinne, Ugur Basak, Victor Lopes, Woohookitty, Zytsef, 36 anonymous edits
Hermeto Pascoal Source: http://en.wikipedia.org/w/index.php?oldid=406800275 Contributors: After Midnight, Aspects, Aurola, Bender235, Bmborges, C1k3, CSWarren, Cihan,
Closedmouth, CommonsDelinker, Cosprings, D6, Dan56, David Gerard, Exlibris, Exshpos, Fredrik, Gareth Owen, Gyrofrog, Istanbuljohnm, Kleinzach, Mind meal, Moulinette, Mufka, N.
Harmonik, Ohms law, Pmyatt, Porcher, Ralphscheider42, Rjwilmsi, RobyWayne, RodC, Rothorpe, SMcCandlish, Scoutey, Squids and Chips, SteinbDJ, Studiotan, Uwaine, Victor Lopes, Victor
Silveira, 54 anonymous edits
Sam Rivers Source: http://en.wikipedia.org/w/index.php?oldid=427533743 Contributors: 2T, Ahoerstemeier, Aiko, Applegigs, Aspects, Badagnani, Bradanywhere, Cosprings, Cribcage, D6,
DISEman, Daikaili, Dogru144, Drumsac, Engelbaet, FAURA, Ferdinand Pienaar, Filterking, Genisock2, Gwalla, Gyrofrog, JazzAlbums, Jeansnow, Jetman, JoaquinMiralles, JustAGal, Karl
Naylor, Knucmo2, MarkSweep, Mear, Michael Hardy, Mind meal, Monegasque, Ndorward, Nightkey, Nrswanson, Omnipaedista, Paradise coyote, Philip Cross, RatMonkeyHybrid, Rdgambola,
Ricadus, Rjwilmsi, RobertAuclair, SethTisue, Squandermania, Stan Shebs, TheGrappler, Theresa knott, Ulric1313, Wlrube, Wrightjack, Wysinger, 42 anonymous edits
Badal Roy Source: http://en.wikipedia.org/w/index.php?oldid=416747107 Contributors: 999, A Ramachandran, Al-minar, Alansohn, Badagnani, Bakasuprman, BostonMA, Caerwine,
Carabinieri, Carnildo, Cosprings, D6, ENeville, Ekajati, Esurnir, Ferdinand Pienaar, Gapinto, Hanuman Das, HexaChord, Mattisse, Pandelver, Quadell, Ragib, Rich Farmbrough, Rjwilmsi,
Rosencomet, ShelfSkewed, Shmitra, Tassedethe, Timmy12, 23 anonymous edits
John Scofield Source: http://en.wikipedia.org/w/index.php?oldid=429683882 Contributors: Airumel, Alexius08, Andros 1337, Anger22, Aspects, BRG, Blahm, BrOnXbOmBr21, Brendantsui,
Chanlyn, Cosprings, D6, DISEman, Danny, Deb, Deville, Dougher, Drewheasman, Drummer070, Drumsac, Edwardito, Esprit15d, Ferdinand Pienaar, Fred Bradstadt, FredHoffman, Garion96,
GorgeCustersSabre, Grm wnr, Gyrofrog, Henry W. Schmitt, Henrywgc, Iowercourtcase, Isdasalt, JamesAM, Japanese Searobin, Jason.grossman, Johnpacklambert, Jotamide, Kameejl, Koavf,
Kudret abi, Lcarsdata, Lensovet, Littlemo, Malber, Marcia Wright, Marek69, Martin Monkman, Maurice Lelaix, MegX, Michl, Mike Garcia, Mike R, Mind meal, Mr. Brain, Mrgone78, Munci,
Neburzaragoza, Nv8200p, Obradovic Goran, Odie5533, Paul20070, Piccadilly, PirateLoriate, Pollo poulet, Pyd1948, Quelcrime, Rodhullandemu, Rothorpe, Rpgman456, Rrburke, Rrsmac, Sam
Hocevar, Sannse, Sbisolo, Seekae, ShakespeareFan00, Slysplace, Sprecher, Stinkykid, Sylenius, Taestell, Technopat, Thegearhead, Theover, Tommaso456, Tractorkingsfan, Weetoddid, Welsh,
Werldwayd, Wiki libs, Xavy33, Yabanc, Zargb5, , 154 anonymous edits
Wayne Shorter Source: http://en.wikipedia.org/w/index.php?oldid=427838195 Contributors: 2T, Aeigner, Afterwriting, Alansohn, Alfio, Andrew Norman, Andropod, Anetode, Arag0rn, Ben
Tibbetts, Betacommand, Bunnyhop11, Butsushin, CambridgeBayWeather, Canterbury Tail, Capricorn42, CatherineMunro, Cgilbert76, Chickyraptor, ClockworkLunch, Conrad Toivo, Cosprings,
D6, DISEman, Dan8700, Danaimband, Daniel Case, Danny, David Gerard, David Shay, Derek R Bullamore, Deysian, Dgolson999, Dhartung, Diloretojazz, Dissolve, Dixie normus212,
Dogru144, Dr. Shaggeman, Drumsac, Edward Tambling, Eyeball kid, Fero Pakevi, Fusion is the future, Gaius Cornelius, Gareth Owen, Gyrofrog, HenkeB, Henry Flower, Infrogmation,
InnocuousPseudonym, Istanbuljohnm, Jakz34, Japanese Searobin, Jason Quinn, Jazzeur, Jessiejames, Jetman, John, Jonathan.s.kt, Jun Nijo, Kevin, KittenKlub, Knucmo2, LWGillan,
Leahtwosaints, Magioladitis, Malcolmxl5, Maltese otter, Manfo, Mattia Luigi Nappi, Mayumashu, MegX, Mel Etitis, Merovingian, Mike R, MikeCapone, Mind meal, Modernjazz1, Mswarren,
Munci, Nabokov, Nostalgic34, Ohconfucius, Paul210, Petesmiles, Pjoef, Polly, Qirex, Rande M Sefowt, Rdudle, Rjwilmsi, RodC, Rothorpe, Saocarlos, Shadowhillway, Sir Dagon, Siryendor,
Skawave, Sluzzelin, Some jerk on the Internet, Special-T, Squandermania, Taariq hassan, Taestell, Tassedethe, The Master of Mayhem, Theda, Tide rolls, Tp243, Trontonian, Txomin,
UlrichAAB, Vunzmstr, Vytal, Wiki libs, Xricci, 128 anonymous edits
Sonny Stitt Source: http://en.wikipedia.org/w/index.php?oldid=426113870 Contributors: Alansohn, Cdg1072, Chendrickson, Coffee, Cosprings, CrazyElk, D6, Dissolve, Drumsac, Echidnae,
Edward Tambling, Ejkelleher3, Ferdinand Pienaar, Fvasconcellos, Gareth E Kegg, Haldraper, Heiko, Jamoche, John FitzGerald, Josh Parris, Knucmo2, Littenberg, Lonely Jones, Michael
cuscuna, Mike R, Mind meal, Moulinette, Oedipalwreck, Philip Cross, R'n'B, Reidjazz, Rich Farmbrough, RodC, Ronsax, SaxTeacher, Spalding, Squandermania, Tassedethe, Technopat,
TheCVL, Thirdeyeopen33, Thuresson, Ulric1313, Wrightjack, ', 37 anonymous edits
Gary Thomas Source: http://en.wikipedia.org/w/index.php?oldid=416977271 Contributors: CLW, Cosprings, DISEman, Diannaa, Engelbaet, Gyrofrog, JustAGal, KittenKlub, Martarius,
Mellery, Mind meal, NekoDaemon, Pigman, Rdgambola, RobertG, Royblumy, Rpgman456, TUF-KAT, 32 anonymous edits
Tony Williams Source: http://en.wikipedia.org/w/index.php?oldid=428853751 Contributors: 2T, A good brew, AllyD, Andrew Norman, BNutzer, Badagnani, Basstastic, Bobglickman,
Bovineboy2008, Chickyraptor, Chris the speller, Chris93, Cosprings, Courcelles, D6, DD Dub, DISEman, DLM, DanMS, Danaimband, Deanchristesen, Deeceevoice, Derek R Bullamore,
Dismas, Dogru144, Downwards, Drumsac, DutchDevil, Elkman, Emeraude, FayssalF, Ferdinand Pienaar, Fisherjs, Francs2000, Gareth E Kegg, Godwallop, Griot, Gzornenplatz, Herbiefoster,
HexaChord, InnocuousPseudonym, Jafeluv, Jazzeur, Jkiang, Jmn100, Jpgordon, JuergenL, Kakofonous, Karaboom, Lugnuts, Lupin, Mav, Michael David, Mind meal, Miranda, MisfitToys,
Motherday, Nem1yan, Nostalgic34, OBNOXIUs, Philip Cross, Punk jazzer, Pylonman, Qirex, Radavenport, RedRose333, Rich Farmbrough, Rjwilmsi, Room429, Rothorpe, Sannse, Savio mit
electronics, Shadowhillway, Sluzzelin, Sperr, Stick5aman, Stoogeyp, SucklingBill, T. Anthony, Taestell, Tassedethe, TheGrappler, Timrem, Tinton5, ToddBishop, Tricadia, TronTonian,
Ulric1313, Vytal, Wikielwikingo, Wikiwa, Wtmitchell, Yonkie, Zhou Yu, Zzzuppermen, thelwold, ', 121 anonymous edits
Joe Zawinul Source: http://en.wikipedia.org/w/index.php?oldid=420290731 Contributors: "D", "alyosha", Airproofing, Ak47mustang, Alex Ex, Alexemanuel, Angela, Another Believer,
Aspects, Atavi, Atty1chgo, Backtable, Badagnani, Bender235, Bluemoose, Blutfink, Bobo192, Byrial, CPMcE, CambridgeBayWeather, Canadian Paul, Chanlyn, Cherchez le femme, Chochopk,
Christian Plattner, Cosprings, Cyan22, Cyril Zhang, D6, DISEman, Dan56, Danaimband, DarthVader, David Martland, Dedmaan, Deeceevoice, Deineka, Deltabeignet, Djmckee1, DogTwo,
Dogru144, Dr. Shaggeman, El C, Ferdinand Pienaar, Fpittui, Fratrep, Gargaj, Gidiav, Good Olfactory, Grubber, Guy Peters, HJensen, HenkeB, HenkvD, HisSpaceResearch, Idoodit2, Impy4ever,
IrisKawling, J Milburn, JCSantos, Jafeluv, Japanese Searobin, Jkiang, Jlittlet, John L Walters, Jotamide, Jugglars, KF, Keraunoscopia, Lambmeat, Lasix, Leahtwosaints, Lee M, Lilac Soul,
LuoShengli, Lypheklub, Malber, Metropolitan90, Michael Bednarek, Mind meal, Mitchan, MusicTree3, Mtze, Nabokov, Neorunner, NickPenguin, Nv8200p, Oneiros, Ornaldo, Otisjimmy1,
Oxymoron83, Paul Richter, Paul210, Pjoef, Rje, Rjwilmsi, Rl, Robsavoie, Rothorpe, SUPedia, SaltyPig, ShelfSkewed, Sheynhertz-Unbayg, Sir Paul, Sluzzelin, Someoneinmyheadbutit'snotme,
Srnec, Tabletop, Technopat, TheGrappler, Tobyc75, TronTonian, Tvccs, Twitchingwalrus, Twsx, Veritmaster, Viames, Vlad, Vytal, Weissmann, Wenospeak, Woohookitty, 169 anonymous
edits
Directions in Music: Live at Massey Hall Source: http://en.wikipedia.org/w/index.php?oldid=395833338 Contributors: Asparagus, Cosprings, Cribcage, Danaimband, Gareth E Kegg, Koavf,
LuciferMorgan, Slysplace, Tassedethe, Zidane tribal, 3 anonymous edits
5892 Milesdavis Source: http://en.wikipedia.org/w/index.php?oldid=424058719 Contributors: Anypodetos, KConWiki, Mandarax, Merovingian, Ospalh, Rich Farmbrough, Waacstats
Selim Sivad: A Tribute to Miles Davis Source: http://en.wikipedia.org/w/index.php?oldid=400548265 Contributors: Cosprings, DISEman, Gyrofrog, Koavf
So Near, So Far (Musings for Miles) Source: http://en.wikipedia.org/w/index.php?oldid=405899990 Contributors: Cosprings, Koavf, Nostalgic34, Technopat, Tjarrett, 5 anonymous edits
A Tribute to Miles Source: http://en.wikipedia.org/w/index.php?oldid=353761312 Contributors: AndrewHowse, Danaimband, Koavf, Lightlowemon, Moonriddengirl, Skier Dude, Slysplace,
SnapSnap, Taestell, Technopat, UlrichAAB, Waacstats, 10 anonymous edits
Discography Source: http://en.wikipedia.org/w/index.php?oldid=430020597 Contributors: "D", A930913, Andrew Norman, AndrewKepert, Badagnani, BaronLarf, Bobnorwal, Brewing b*tch,
ClamDip, Cosprings, D bovair1988, DISEman, Dan56, DantheCowMan, Daria Montella, Deltabeignet, Dickdock, Dmforcier, Dogru144, Doomsdayer520, Duyntje3, E-Kartoffel, E2v, Editor437,
Edward Tambling, ExplorerPlus, Filterking, Fisherjs, FlorianB, Francesco Malipiero, Gaius Cornelius, Gareth E Kegg, Globe199, GreatOrangePumpkin, HJensen, Harabanar, Harro,
Horseman16, Hottratts, Igorrr, JIMRH4, Jazzzie, JeremyAR, JoaquinMiralles, Johmbolaya, John of Reading, Ketiltrout, Kingpin13, Klapauzius, Koavf, LaForge, Larry333, LeRoytheKing,
Lebessis63, Lfstevens, Mahanga, Marcus Brute, MartinAchard, Moonriddengirl, Nb71, Oneiros, Outsidethewall, PJtP, Papa November, Patches9713, Pr7iDeS, Quelcrime, Rdsmith4,
RepublicanJacobite, Rettetast, Rich Farmbrough, Ritchiem4812, Robert Sharp, Rothorpe, Sarz, Sceptre, Shadow007, ShelfSkewed, Sugar Bear, Taestell, Tassedethe, Technopat, Terry1944,
Thomas279, Thomjakobsen, Timo Metzemakers, Webb Traverse, Wikiklrsc, Wolfer68, Woohookitty, Yshrkwhr, Zazaban, ZeroAsALimit, 160 anonymous edits
Image Sources, Licenses and Contributors

File:Miles Davis by Palumbo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_by_Palumbo.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors:
Tom Palumbo from New York City, USA
File:Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach (Gottlieb 06851).jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Charlie_Parker,_Tommy_Potter,_Miles_Davis,_Duke_Jordan,_Max_Roach_(Gottlieb_06851).jpg License: unknown Contributors: Cherubino,
Ras67
File:Coleman Hawkins, Miles Davis (Gottlieb 04001).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Coleman_Hawkins,_Miles_Davis_(Gottlieb_04001).jpg License: unknown
Contributors: Cherubino, Ras67
File:Howard McGhee, Brick Fleagle and Miles Davis, ca September 1947 (Gottlieb).jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Howard_McGhee,_Brick_Fleagle_and_Miles_Davis,_ca_September_1947_(Gottlieb).jpg License: unknown Contributors: Cherubino, Freimut
Bahlo, Ras67
File:Miles Davis 24.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_24.jpg License: Creative Commons Attribution 2.0 Contributors: Oliver Nurock @ ohjaygee
Johannesburg/ Cape Town, South Africa
File:Miles Davis 22.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_22.jpg License: Creative Commons Attribution 2.0 Contributors: Peter Buitelaar
File:Miles Davis 1984.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_1984.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Kai Kowalewski
Original uploader was Kowa at de.wikipedia Later version(s) were uploaded by EvaK at de.wikipedia.
File:Pomnik Milesa Davisa Kielce 01 ssj 20060304.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Pomnik_Milesa_Davisa_Kielce_01_ssj_20060304.jpg License: GNU Free
Documentation License Contributors: User:Staszek_Szybki_Jest
File:Blue period.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Blue_period.jpg License: unknown Contributors: Entoaggie09
File:Star full.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_full.svg License: Public Domain Contributors: User:Conti, User:RedHotHeat
File:Star empty.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_empty.svg License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Conti, User:RedHotHeat
File:Dig_MilesDavis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Dig_MilesDavis.jpg License: unknown Contributors: Ricadus
File:Miles Davis with horns Cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_with_horns_Cover.jpg License: unknown Contributors: Herwwiyal, Ricadus, Skier
Dude, 3 anonymous edits
File:Blue_haze.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Blue_haze.JPG License: unknown Contributors: Ricadus, Skier Dude, TrafficBenBoy
File:Walkin_Miles_Davis_AllStars.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Walkin_Miles_Davis_AllStars.jpg License: unknown Contributors: Pugetbill, Ricadus
File:Star half.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_half.svg License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Conti
File:CollectorsItems_MilesDavis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:CollectorsItems_MilesDavis.jpg License: unknown Contributors: Ricadus
File:Image-bagsgroove.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Image-bagsgroove.jpg License: unknown Contributors: Ricadus
File:MilesDavisAndTheModernJazzGiants.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisAndTheModernJazzGiants.jpg License: unknown Contributors: Ricadus
File:TheMusingsOfMiles_Davis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:TheMusingsOfMiles_Davis.jpg License: unknown Contributors: Pugetbill, Ricadus
File:Blue Moods (Miles Davis album).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Blue_Moods_(Miles_Davis_album).jpg License: unknown Contributors: Ricadus, Sampm
File:Quintet Sextet.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Quintet_Sextet.jpg License: unknown Contributors: Ricadus, Skier Dude
File:Miles_Davis_New_Miles_Davis_Quintet.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_New_Miles_Davis_Quintet.png License: unknown Contributors:
Andrew Norman, Ricadus, Spellcast
File:Miles Davis - Cookin' with the Miles Davis Quintet.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Cookin'_with_the_Miles_Davis_Quintet.jpg License:
unknown Contributors: Bubba hotep, Jogers, Ricadus, Spellcast
File:Miles_Davis_relaxin.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_relaxin.png License: unknown Contributors: Andrew Norman, Ricadus, Spellcast
File:MilesDavis Workin.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_Workin.jpg License: unknown Contributors: Ricadus
File:Miles_Davis_steamin.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_steamin.png License: unknown Contributors: Andrew Norman, Spellcast
File:RoundAboutMidnightMilesDavis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:RoundAboutMidnightMilesDavis.jpg License: unknown Contributors: Dan56, Jafeluv,
Ricadus
File:MilesAhead original.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesAhead_original.jpg License: unknown Contributors: Dan56, Ricadus
file:Miles Ahead.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Ahead.jpg License: unknown Contributors: Dan56, Ricadus
File:Porgy and Bess (Miles Davis).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Porgy_and_Bess_(Miles_Davis).jpg License: unknown Contributors: BaronLarf, Ricadus, Skier
Dude
file:Porgy&bess UKrelease.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Porgy&bess_UKrelease.jpg License: unknown Contributors: Dan56
File:Miles Davis - 1958 Miles album cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_1958_Miles_album_cover.jpg License: unknown Contributors:
Admrboltz, Amalthea, Dan56, Marco Perticarini
file:Miles Davis - 1958 Miles reissue cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_1958_Miles_reissue_cover.jpg License: unknown Contributors:
AWeenieMan, CWii, Dan56, Koavf, MBisanz, Marco Perticarini
File:MilesDavisKindofBlue.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisKindofBlue.jpg License: unknown Contributors: User:Kaiba
File:Coltrane, Adderley, Davis and Evans.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Coltrane,_Adderley,_Davis_and_Evans.jpg License: unknown Contributors: User:Dan56
File:Kind of Blue 50.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kind_of_Blue_50.jpg License: unknown Contributors: Dan56
File:KindofBlue JM.jpg Source: http://en.wikipedia.org/w/index.php?title=File:KindofBlue_JM.jpg License: unknown Contributors: Dan56, TenPoundHammer
File:Sketches of Spain - Miles_Davis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sketches_of_Spain_-_Miles_Davis.jpg License: unknown Contributors: Mel Etitis, Ricadus,
Spellcast
File:MileDavis_QuietNights.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MileDavis_QuietNights.jpg License: unknown Contributors: Ricadus, Tassedethe
File:Seven Steps to Heaven cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Seven_Steps_to_Heaven_cover.jpg License: unknown Contributors: Tp243
File:E.S.P. cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:E.S.P._cover.jpg License: unknown Contributors: Ricadus, Tp243
File:Miles Davis Sorcerer.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Sorcerer.jpg License: unknown Contributors: Cnwb, Ricadus, Skier Dude
File:Miles Davis - Nefertiti.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Nefertiti.jpg License: unknown Contributors: Karppinen, Ricadus, Tassedethe
File:MilesDavis_MilesInTheSky.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_MilesInTheSky.jpg License: unknown Contributors: Melesse, Ricadus
File:water_babies_for_teo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Water_babies_for_teo.jpg License: unknown Contributors: Rm w a vu, Webb Traverse
File:Miles Davis-Filles de Kilimanjaro (album cover).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis-Filles_de_Kilimanjaro_(album_cover).jpg License: unknown
Contributors: User:Gyrofrog
File:Miles-davis-in-a-silent-way.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles-davis-in-a-silent-way.jpg License: unknown Contributors: AKeen, Dan56, Ricadus, Rift,
Skier Dude
File:bitches_brew.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bitches_brew.jpg License: unknown Contributors: Anetode, Skier Dude
Image:BitchesBrewGatefold.jpg Source: http://en.wikipedia.org/w/index.php?title=File:BitchesBrewGatefold.jpg License: unknown Contributors: Anetode, Gyrofrog
File:Tribute To Jack Johnson.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Tribute_To_Jack_Johnson.jpg License: unknown Contributors: Cnwb, Dan56, Jaysscholar, Skier
Dude
File:Miles Davis Live-Evil.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Live-Evil.jpg License: unknown Contributors: Dan56, Rdsmith4, Skier Dude
file:Miles Davis Live-Evil Back.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Live-Evil_Back.jpg License: unknown Contributors: Kernitou
File:Miles Davis On The Corner.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_On_The_Corner.jpg License: unknown Contributors: Sugar Bear
File:Big Fun.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Big_Fun.jpg License: unknown Contributors: Dan56
File:Miles_Davis_get_up_with_it.png Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_get_up_with_it.png License: unknown Contributors: Andrew Norman, Gyrofrog
File:Miles Davis The Man With The Horn.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_The_Man_With_The_Horn.jpg License: unknown Contributors: Sugar
Bear
File:Miles Davis Star People.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Star_People.jpg License: unknown Contributors: Sugar Bear
File:Decoy_Miles_Davis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Decoy_Miles_Davis.jpg License: unknown Contributors: Chrislk02, Rpgman456
File:Miles Davis You're Under Arrest front.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_You're_Under_Arrest_front.jpg License: unknown Contributors:
Melesse, Quelcrime, Skier Dude, Sugar Bear
File:Miles Davis-Tutu (album cover).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis-Tutu_(album_cover).jpg License: unknown Contributors: John, Mahanga, Sugar
Bear, Tony fusi
File:Amandla (album).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Amandla_(album).jpg License: unknown Contributors: Cloudz679, Skier Dude
File:MilesDavisAura.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisAura.jpg License: unknown Contributors: HJensen, Skier Dude, Sugar Bear
File:Doo-Bop front.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Doo-Bop_front.jpg License: unknown Contributors: Riana, Sugar Bear
File:Miles Davis at Newport 1958.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_at_Newport_1958.jpg License: unknown Contributors: GreatOrangePumpkin
File:MilesDavisInEurope.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisInEurope.jpg License: unknown Contributors: Ricadus
File:MilesDavisMyFunnyValentine.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavisMyFunnyValentine.jpg License: unknown Contributors: Ricadus, Thomjakobsen
File:MilesDavis_FourAndMore.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_FourAndMore.jpg License: unknown Contributors: Ricadus
File:MilesDavis_MilesInTokyo1960s.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_MilesInTokyo1960s.jpg License: unknown Contributors: Ricadus
file:MilesInTokyo1970s.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesInTokyo1970s.jpg License: unknown Contributors: Ricadus
File:Miles_in_berlin.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_in_berlin.jpg License: unknown Contributors: Schleif, Skier Dude
File:Miles Davis The Complete Live at the Plugged Nickel 1965.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_The_Complete_Live_at_the_Plugged_Nickel_1965.jpg License: unknown Contributors: GreatOrangePumpkin
File:Milesdavis aboutthattime cd.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Milesdavis_aboutthattime_cd.jpg License: unknown Contributors: Gyrofrog
File:Black star.svg Source: http://en.wikipedia.org/w/index.php?title=File:Black_star.svg License: Public Domain Contributors: User:Estoy Aqu
File:Black Beauty Miles Davis at Fillmore West.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Black_Beauty_Miles_Davis_at_Fillmore_West.jpg License: unknown
Contributors: DISEman
File:Miles Davis-At Fillmore-cbs.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis-At_Fillmore-cbs.jpg License: unknown Contributors: BNutzer, Skier Dude
File:thecellardoorsessions.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Thecellardoorsessions.jpg License: unknown Contributors: Gareth E Kegg, Skier Dude
File:Miles_Davis_Plaza.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Plaza.jpg License: unknown Contributors: Doomsdayer520
File:MilesDavis_DarkMagus.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_DarkMagus.jpg License: unknown Contributors: Dj nix
File:Miles Davis - Agharta.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Agharta.jpg License: unknown Contributors: ExplicitImplicity, Skier Dude, Ultra
megatron
file:MilesDavis Agartha designbyTadanoriYokoo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesDavis_Agartha_designbyTadanoriYokoo.jpg License: unknown
Contributors: Dj nix
File:DavisPangaea.jpg Source: http://en.wikipedia.org/w/index.php?title=File:DavisPangaea.jpg License: unknown Contributors: User:Hoary
File:Miles! Miles! Miles!.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles!_Miles!_Miles!.jpg License: unknown Contributors: DISEman
File:WeWantMiles.jpg Source: http://en.wikipedia.org/w/index.php?title=File:WeWantMiles.jpg License: unknown Contributors: HJensen, Skier Dude
File:Miles Davis Volume 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Volume_1.jpg License: unknown Contributors: DISEman, Ricadus, 1 anonymous edits
file:Miles Davis Volume 1 alt.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Volume_1_alt.jpg License: unknown Contributors: DISEman, Ricadus
File:miles Davis Volume 2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Volume_2.jpg License: unknown Contributors: DISEman, Ricadus
file:Miles Davis Volume 2 alt.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Volume_2_alt.jpg License: unknown Contributors: DISEman, Ricadus
File:Birth of the Cool.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Birth_of_the_Cool.jpg License: unknown Contributors: FlorianB, Ilse@, Ricadus
File:Miles Davis - Circle in the Round.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Circle_in_the_Round.jpg License: unknown Contributors: Karppinen,
Ricadus
File:Miles Davis - Basic Miles.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Basic_Miles.jpg License: unknown Contributors: Karppinen
File:Miles Davis - Super Hits.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Super_Hits.jpg License: unknown Contributors: Koavf, Skier Dude
file:Miles Davis - Super Hits 2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Super_Hits_2.jpg License: unknown Contributors: Koavf, Skier Dude
File:Miles Davis - The Columbia Years.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_The_Columbia_Years.jpg License: unknown Contributors: Karppinen
File:The Complete Studio Recordings of The Miles Davis Quintet 19651968.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:The_Complete_Studio_Recordings_of_The_Miles_Davis_Quintet_19651968.jpg License: unknown Contributors: J04n
File:CompleteBitchesBrewBoxSetReissue.jpg Source: http://en.wikipedia.org/w/index.php?title=File:CompleteBitchesBrewBoxSetReissue.jpg License: unknown Contributors:
AWeenieMan, Globe199
Image:CompleteBitchesBrewSessionsCover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:CompleteBitchesBrewSessionsCover.jpg License: unknown Contributors:
User:Gyrofrog
File:Milesdavisjohncoltranebox2000.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Milesdavisjohncoltranebox2000.JPG License: unknown Contributors: Cpdilkus
File:Ipblackhawkcomplete.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ipblackhawkcomplete.jpg License: unknown Contributors: User:Moonriddengirl
File:Friday_Blackhawk.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Friday_Blackhawk.jpg License: unknown Contributors: User:Moonriddengirl
File:The Complete Jack Johnson Sessions.jpg Source: http://en.wikipedia.org/w/index.php?title=File:The_Complete_Jack_Johnson_Sessions.jpg License: unknown Contributors:
GreatOrangePumpkin
File:Miles_Davis_Seven_Steps_Box.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_Seven_Steps_Box.jpg License: unknown Contributors: Doomsdayer520
File:Cornerbox front.png Source: http://en.wikipedia.org/w/index.php?title=File:Cornerbox_front.png License: unknown Contributors: Kingcrimson1973, Skier Dude
File:AscenseurMilesCover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:AscenseurMilesCover.jpg License: unknown Contributors: P. S. Burton, Ricadus
File:Music from Siesta.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Music_from_Siesta.jpg License: unknown Contributors: Sugar Bear
File:Miles Davis with Michel LeGrand Dingo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_with_Michel_LeGrand_Dingo.jpg License: unknown Contributors:
Sugar Bear
File:The Hot Spot.jpg Source: http://en.wikipedia.org/w/index.php?title=File:The_Hot_Spot.jpg License: unknown Contributors: Diora, Melesse, Nehrams2020, Noirish, Skier Dude
File:Bird52nd.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bird52nd.jpg License: unknown Contributors: Dan8700
File:Miles Davis - Conception.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_Davis_-_Conception.jpg License: unknown Contributors: Melesse, Pangui, Ricadus
File:Somethin' Else-jpg.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Somethin'_Else-jpg.jpg License: unknown Contributors: E-Kartoffel, FlorianB, Ianalexandermartin, Skier
Dude
File:MilesAndMonkAtNewport400.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MilesAndMonkAtNewport400.jpg License: unknown Contributors: Skier Dude, Waltesmith
File:Chaka Khan - C.K..jpg Source: http://en.wikipedia.org/w/index.php?title=File:Chaka_Khan_-_C.K..jpg License: unknown Contributors: Dreamer.se
File:Quincy_Jones_-_Back_On_The_Block-front.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Quincy_Jones_-_Back_On_The_Block-front.jpg License: unknown

Contributors: Skier Dude, Vorash
File:Miles & Quincy Live at Montreux cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Miles_&_Quincy_Live_at_Montreux_cover.jpg License: unknown Contributors:
Scapler
file:DavisEvansSetSmall.jpg Source: http://en.wikipedia.org/w/index.php?title=File:DavisEvansSetSmall.jpg License: unknown Contributors: Dmforcier, Skier Dude
File:Ron Carter photo 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ron_Carter_photo_1.jpg License: Creative Commons Attribution 2.0 Contributors: Laura Manchinu (aka
La Manch)
Image:Ron plays.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Ron_plays.JPG License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Kku
Image:Ron Carter.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Ron_Carter.JPG License: Creative Commons Attribution-Sharealike 2.5 Contributors: Original uploader was
Devilkha at en.wikipedia
Image:Jimmy Cobb.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Jimmy_Cobb.jpg License: Creative Commons Attribution 2.0 Contributors: Tom Beetz @
http://home.hetnet.nl/~tbeetz/index.html
File:Flag of the United States.svg Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_the_United_States.svg License: Public Domain Contributors: User:Dbenbenn,
User:Indolences, User:Jacobolus, User:Technion, User:Zscout370
File:Flag of the United Kingdom.svg Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_the_United_Kingdom.svg License: Public Domain Contributors: User:Zscout370
File:U.S. Naval Reserve portrait of Johnny Coltrane.jpg Source: http://en.wikipedia.org/w/index.php?title=File:U.S._Naval_Reserve_portrait_of_Johnny_Coltrane.jpg License: Public
Domain Contributors: U.S. Naval Reserve photographer
File:Coltrane for lovers sleeve.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Coltrane_for_lovers_sleeve.jpg License: unknown Contributors: Dan56
File:ColtraneH.jpg Source: http://en.wikipedia.org/w/index.php?title=File:ColtraneH.jpg License: unknown Contributors: Photocaption not digtized
File:JohnColtraneWiki.jpg Source: http://en.wikipedia.org/w/index.php?title=File:JohnColtraneWiki.jpg License: unknown Contributors: Calmer Waters, Deacondukes, We hope, 3
anonymous edits
File:Chick_Corea_in_2009.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Chick_Corea_in_2009.jpg License: Creative Commons Attribution 3.0 Contributors:
User:Anonusuponus
File:Chick Corea.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Chick_Corea.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Fanoftheworld, 1
anonymous edits
File:Bobby McFerrin and Chick Corea.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bobby_McFerrin_and_Chick_Corea.jpg License: Creative Commons Attribution 2.0
Contributors: Daniele Marcucci
Image:Bla Fleck and Chick Corea 2, March 1, 2008.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bla_Fleck_and_Chick_Corea_2,_March_1,_2008.jpg License: GNU Free
Documentation License Contributors: User:Ragesoss
File:Bill Evans.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bill_Evans.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Brianmcmillen
File:Bill Evans (saxophonist) 2004-07-24.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bill_Evans_(saxophonist)_2004-07-24.jpg License: Creative Commons Attribution 2.5
Contributors: Robert Drzd
File:Ryo-gil.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ryo-gil.jpg License: unknown Contributors: Mind meal, Tsalsa
Image:Sonny Fortune photo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sonny_Fortune_photo.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors:
Dmitry Scherbie New York
File:Al_Foster.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Al_Foster.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Giacomo Petronio Trieste, Italy
File:Kenny_Garrett.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kenny_Garrett.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Daniel Shen Taipei,
Taiwan
File:Five Peace Band.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Five_Peace_Band.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Pierre C.
File:Herbie Hancock 2010 by Guillaume Laurent.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Herbie_Hancock_2010_by_Guillaume_Laurent.jpg License: Creative Commons
Attribution-Sharealike 2.0 Contributors: Guillaume Laurent
File:Herbie Hancock.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Herbie_Hancock.jpg License: Creative Commons Attribution 2.0 Contributors: pixgremlin:
http://www.aworan.com c/o Pix Gremlin
File:Herbie Hancock 2006.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Herbie_Hancock_2006.jpg License: Creative Commons Attribution 2.0 Contributors: Werner Nieke
File:Herbie Hancock-Chameleon Live.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Herbie_Hancock-Chameleon_Live.jpg License: Creative Commons Attribution 2.0
Contributors: Marco Fedele (http://www.flickr.com/photos/marcofedele/)
File:Herbie Hancock 2005.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Herbie_Hancock_2005.JPG License: GNU Free Documentation License Contributors: Saverivers
File:DHnobasspurpleshirt.jpg Source: http://en.wikipedia.org/w/index.php?title=File:DHnobasspurpleshirt.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors:
User:Mark Higishino
File:BobbyIrving.jpg Source: http://en.wikipedia.org/w/index.php?title=File:BobbyIrving.jpg License: GNU Free Documentation License Contributors:
http://en.wikipedia.org/wiki/User:Sonicportraits
File:Konitz Lee Koeln altes pfandhaus 201207.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Konitz_Lee_Koeln_altes_pfandhaus_201207.jpg License: Creative Commons
Attribution 3.0 Contributors: Hans Peter Schaefer, http://www.reserv-a-rt.de
File:Teo_Macero.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Teo_Macero.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Catherine Rankovic
File:Johnmclcrop2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Johnmclcrop2.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Henry Flower
File:JohnMcLaughlin.jpg Source: http://en.wikipedia.org/w/index.php?title=File:JohnMcLaughlin.jpg License: Public Domain Contributors: User:Sduraybito
File:John McLaughlin 20010720.JPG Source: http://en.wikipedia.org/w/index.php?title=File:John_McLaughlin_20010720.JPG License: Public Domain Contributors: User:Sven.petersen
File:Tres GUITARRISTAS (as, con maysculas).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Tres_GUITARRISTAS_(as,_con_maysculas).jpg License: Creative Commons
Attribution 2.0 Contributors: Stoned59
File:JohnMcLaughinCrossroads2007.jpg Source: http://en.wikipedia.org/w/index.php?title=File:JohnMcLaughinCrossroads2007.jpg License: Creative Commons Attribution-Sharealike 2.5
Contributors: User:Truejustice
File:Palle Mikkelborg 05N1162.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Palle_Mikkelborg_05N1162.jpg License: Creative Commons Attribution-Sharealike 3.0
Contributors: User:Nomo
Image:PalleMikkelborg1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:PalleMikkelborg1.jpg License: unknown Contributors: HJensen
File:Marcus Miller Ancienne 2007.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Marcus_Miller_Ancienne_2007.jpg License: Creative Commons Attribution-Sharealike 2.0
Contributors: Erinc Salor from Amsterdam, Netherlands
Image:MarcusMillerParadiso.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MarcusMillerParadiso.jpg License: Creative Commons Attribution 3.0 Contributors:
User:Markhandels
File:Airto_Moreira.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Airto_Moreira.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Daniel Shen Taipei,
Taiwan
File:Hermeto_Pascoal_2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Hermeto_Pascoal_2.jpg License: Creative Commons Attribution 2.0 Contributors: Tom Beetz @
File:Sam Rivers & Joe Daley.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sam_Rivers_&_Joe_Daley.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors:
Tom Marcello Webster, New York, USA
Image:Sam Rivers 2007.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sam_Rivers_2007.jpg License: GNU Free Documentation License Contributors: RobertAuclair
(talk)Robert Auclair. Original uploader was RobertAuclair at en.wikipedia
Image:Sam Rivers 02232008.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sam_Rivers_02232008.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors:
Original uploader was RobertAuclair at en.wikipedia
File:John-scofield.jpg Source: http://en.wikipedia.org/w/index.php?title=File:John-scofield.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: user:nomo
Image:John Scofield International Jazz Festival Enschede.jpg Source: http://en.wikipedia.org/w/index.php?title=File:John_Scofield_International_Jazz_Festival_Enschede.jpg License:
Creative Commons Attribution-Sharealike 2.0 Contributors: Willem van Bergen from Rotterdam, The Netherlands
Image:John scofield 2004-07-23.jpg Source: http://en.wikipedia.org/w/index.php?title=File:John_scofield_2004-07-23.jpg License: Creative Commons Attribution-Sharealike 2.5
Contributors: User:Rdrozd
File:Weather Report (Wayne Shorter).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Weather_Report_(Wayne_Shorter).jpg License: Creative Commons Attribution-Sharealike
2.0 Contributors: Jean-Luc
File:Wayne-Shorter in Amsterdam, 1980.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Wayne-Shorter_in_Amsterdam,_1980.jpg License: Creative Commons Attribution 2.0
Contributors: Chris Hakkens
File:Wayne Shorter.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Wayne_Shorter.jpg License: Creative Commons Attribution 2.0 Contributors: Tom Beetz @
File:Wayne Shorter quartet.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Wayne_Shorter_quartet.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors:
User:Mattia Luigi Nappi
File:Sonny_Stitt.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sonny_Stitt.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Tom Marcello Webster, New
York, USA
Image:Gary Thomas Munich 2002.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Gary_Thomas_Munich_2002.JPG License: Public Domain Contributors: User:Sven.petersen
File:Tony Williams.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Tony_Williams.jpg License: unknown Contributors: Gobonobo
File:Joe zawinul 2007-03-28 live in freiburg.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Joe_zawinul_2007-03-28_live_in_freiburg.jpg License: Creative Commons Attribution
2.5 Contributors: myself
File:JoeZawinul.jpg Source: http://en.wikipedia.org/w/index.php?title=File:JoeZawinul.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Jean-Luc Ourlin
File:Directions_in_Music.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Directions_in_Music.jpg License: unknown Contributors: User:LuciferMorgan
File:Selim Sivad a Tribute to Miles Davis.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Selim_Sivad_a_Tribute_to_Miles_Davis.jpg License: unknown Contributors: DISEman
File:So_near_so_far.jpg Source: http://en.wikipedia.org/w/index.php?title=File:So_near_so_far.jpg License: unknown Contributors: Nostalgic34
File:A Tribute to Miles.jpg Source: http://en.wikipedia.org/w/index.php?title=File:A_Tribute_to_Miles.jpg License: unknown Contributors: User:SkierRMH
License 599
License
Creative Commons Attribution-Share Alike 3.0 Unported
http:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/

Miles Davis The Complete Guide PDF

Enviado por

Dados do documento

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Miles Davis The Complete Guide PDF

Enviado por

Direitos autorais:

Formatos disponíveis

Miles Davis

The Complete Guide

Live albums 166

Compilation albums 222

Box sets 240

Videos and films 279

As sideman and collaboration recordings 305

Related biographies 333

Related articles and tributes 546

Discography and lists 555

Photo of Davis in 1955 taken by Tom Palumbo

Birth name Miles Dewey Davis III

Born May 26, 1926Alton, Illinois, United States

Died September 28, 1991 (aged65)Santa Monica, California,

Genres [1] [2]

Occupations Bandleader, composer, trumpeter, artist

Instruments Trumpet, flugelhorn, piano, organ, vocals

Years active 19441975, 19801991

Early life (192644)

New York and the bebop years begin (194448)

Coleman Hawkins and Miles Davis, ca. September

The relationships within the quintet, however, were growing tense.

Miles Davis on piano with Howard McGhee and Brick

Hard bop and the "Blue Period" (195054)

First great quintet and sextet (195558)

Recordings with Gil Evans (195763)

Kind of Blue (195964)

Second great quintet (196468)

Electric Miles (196875)

Last decade (198191)

The initial large band was eventually abandoned in favor of a smaller

By late 1982, Davis' band included French percussionist Mino Cinelu

You're Under Arrest also proved to be Davis' final album for

Davis grew irritated at Columbia's delay releasing Aura. The breaking

Davis favorably compared Lydon's singing voice to his trumpet

Legacy and influence

As an innovative bandleader and composer, Miles Davis has

[31] Ibid., pp. 2930, 74.

Miles Davis Quintet

Studio album by Miles Davis

Recorded January 17 and October 5, 1951 at Apex Studio, New York

Producer Bob Weinstock

Miles Davis chronology

Conception Blue Dig

Studio album by Miles Davis

Released 1951 (12 inch: 1956)

Recorded October 5, 1951 at Apex Studio, New York

Length 34:45 (Original 10" Format)

Producer Bob Weinstock

Miles Davis chronology

Blue Dig Miles Davis with

12" LP/CD reissue

Miles Davis and Horns

Studio album by Miles Davis

Recorded January 17, 1951 at Apex Studio, New York,

Miles Davis chronology

Dig Miles Davis and Miles Davis Volume

Studio album by Miles Davis

Recorded May 19, 1953 at WOR Studio, New York;

Miles Davis chronology

Miles Davis Volume Blue Walkin'

Track Song Title Written by Time

Studio album by Miles Davis