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For the Artists: Critical Writing, Volume 2

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Miles Davis: The Complete On the Corner Sessions Sony-Legacy Music, October 2007 “There is no architecture and no build-up. Just a vivid, uninterrupted succession of colors, rhythms and moods." --Arnold Schoenberg, describing his Five Pieces for Orchestra in a letter to Richard Strauss, 1909, quoted in The Rest is Noise, Alex Ross (Farrar, Straus and Giroux, 2007) The music Miles Davis forged in the first half of the 1970s, his so-called “electric period," is not jazz. In a determined effort to keep his sound fresh, he took the audacious step of leaving behind all ...


Jazz Life: A Journey for Jazz Across America in 1960

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Jazz Life: A Journey for Jazz Across America in 1960 William Claxton and Joachim E. Berendt 552 ISBN: 3836544687 Taschen 2013 A single photograph can say and convene more than a thousand words. Although music itself can't be photographed, only a handful of photographers ever got closer to pulling it off than photographers such as Herman Leonard, William P. Gottlieb or William Claxton, to name but a few, whose photographs have captured music's inexplicable quality. Musicians and music photographers have always engaged in a special kind of dance mainly because they need ...


Miles Davis, Volume 1 and 2 -- Blue Note 1501 and 1502

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Miles Davis didn't record much for Blue Note Records, just three sessions in three years. So it's odd that the very first two CDs in Blue Note's classic 1500 series--the 100 albums from the 1950s that made Blue Note the top label in hard bop--are from Miles Davis. They're not bad records, but they're not essential Miles Davis. This isn't classic muted Miles, or modal Miles, or Miles with orchestra. And, of course, it's many years before classic fusion Miles. lists six definitive Miles Davis CDs, which you probably know by heart, and this isn't one of ...


Miles Davis: The Collected Artwork

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Miles Davis: The Collected Artwork Scott Gutterman 204 ISBN: 978-1608872237 Insight Editions 2013 Few are the musicians in any era that accurately inhabit the word “superstar" in the sense that artist Andy Warhol used it. He defined a “superstar" as a person of style, influence and panache, a figure of endless charisma and on whom one's attention falls and rarely wanders. It could be said with certainty that trumpeter Miles Davis fits into that rare breed of superstars. He was a man of impeccable style and taste, and just like no ...


Miles at the Fillmore - Miles Davis 1970: The Bootleg Series Vol. 3

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It would have been inconceivable for Miles Davis in his post-sabbatical, 1980s reincarnation to have been billed as “an extra added attraction" on any festival or concert hall billing, but that's how it was when the trumpeter--already a legend--played his first ever gigs at the Filmore East, supporting Neil Young & Crazy Horse and the Steve Miller Band in March 1970. The initiative to stage Davis at the hallowed rock venue came from CBS President Clive Davis, no doubt with an eye to matching the enormous sales enjoyed by guitarist Carlos Santana in the aftermath of Woodstock. ...


Miles Davis: Miles at the Fillmore - Miles Davis 1970: The Bootleg Series Vol. 3

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Intensely intoxicating as much as it is wholly hypnotic, Miles Davis Live at the Fillmore becomes increasingly so through the course of its four compact discs. More than doubling the playing time of the original four-sided vinyl release, The Bootleg Series Vol. 3 posits an argument the band(s) of this era were among the finest ever led by the man with the horn. If that sounds hyperbolic, it's difficult not to rhapsodize about this archive series in general and this edition in specific, The similarities in the setlists evolve into an asset as the only slight rotation of ...


Miles Davis: We Want Miles (Bonus Track Version)

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The audaciously titled We Want Miles has one of the more interesting histories in the catalog of trumpeter Miles Davis. Originally released by Columbia Records in 1982, it was not made widely available outside of Japan where it was recorded live in 1981. For those who managed to find it, it was both celebrated and vilified. This new reissue (with additional material) illuminates that debate. We Want Miles was the first live recording of Davis' return to music following a five-year health related sabbatical. His previous release, The Man with The Horn (Columbia, 1981), with un-Miles like pop orientation, was ...

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