February 2001

From the Inside Out
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By Chris M. Slawecki

Fans of the legendary Miles Davis would be wise to seek out the newly published Miles Davis Complete Discography, compiled and with an introduction by Davis scholar Yasuki Nakayama (Futabasha Publishing). Nakayama has previously published several other examinations of the mercurial, influential trumpet player, including Bitches Brew: All About Electric Miles and Miles Davis: Beyond Jazz, and has also served as Editor in Chief for “Swing Journal,” one of Japan’s leading periodicals.

Japan was among the first countries to remaster and reissue the classic Davis catalog (from Columbia via Sony Japan). In his 1989 autobiography Miles, Davis lists Japan among his favorite places to play and recalled, “They…treated me like a king. Man, I had a ball, and I have respected and loved the Japanese people ever since. Beautiful people. They have always treated me great.”

Complete seems to document every single recording session in which Davis participated, from his first date in April 1945 in the band supporting vocalist Rubberlegs Williams (originally issued as Rubberlegs Williams and His Orchestra but now available from Savoy as part of its First Miles compilation) through Davis’ last recorded performance, in August 1991 (“Hannibal,” included on Warner Brothers’ Live Around The World).

This reviewer cross-referenced the information in Complete against the information in Jack Chambers’ thorough, acclaimed study Milestones I: The Music and Times of Miles Davis to 1960, published in 1983 by the University of Toronto Press, for three random sessions: The marathon Workin’, Steamin’ and Relaxin’ quintet sessions on May 11, 1956 with John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones; a quartet date with Garland, Jones and Oscar Pettiford on June 7, 1955; and a March 6, 1954, date with Horace Silver, Percy Heath and Art Blakey. The information – personnel, song titles, and dates – seems consistent and therefore, one assumes, correct.

Though best employed as a reference guide, Complete also presents some interesting nuggets if you’re willing to dig for them. For example, “Selim,” “Little Church” and “Nem Un Talvez” were not part of the December Live-Evil live date at the Cellar Door in Washington, D.C. (1970) but were recorded six months previously at Columbia’s Studio B in early June. You can’t tell that from the original Live-Evil packaging.

As for presentation, Complete is strikingly crafted. The book is printed on very heavy paper, with metallic paper inner sleeves and crisp color photographs of all CD covers documented therein. Nakayama’s introduction seems to be composed in Japanese and translated into English; it’s slightly stiff but full of enthusiasm and appreciation for The Man With The Horn.

For more information about the Miles Davis Complete Discography, go to http://www.d-select.com/milesonline/.