Jazz Articles about Miles Davis

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Thanks for Covering Every Corner

by Chris M. Slawecki
November 29, 2007

Dear Miles,

It's hard to believe that you've already been gone for sixteen years now. And I know you don't miss much from your perch up there, but I wanted to make sure that you knew what we've been doing with your music down here, in case you and Hendrix have been busy working out changes with Monk or something and missed it.

In August, Columbia/Legacy released Evolution of the Groove. Your nephew Vince Wilburn Jr. ...

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The Complete On The Corner Sessions

by John Kelman
November 28, 2007

Much has been written about what is perhaps trumpeter Miles Davis' most controversial album, On The Corner (Columbia, 1972). Already shaken from the electric onslaught of Bitches Brew (Columbia, 1969), A Tribute To Jack Johnson (Columbia, 1970), and a series of live or, in the case of Live-Evil (Columbia, 1970), largely live releases, it was the album that finally sent most jazz critics running for the hills, but not before weighing in with strong condemnation of what was universally considered ...

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Miles Davis: The Complete On The Corner Sessions

by Doug Collette
November 12, 2007

Encased and bound in metal, its colorful artwork raised on the surface of the outer box, The Complete On The Corner Sessions documents the final studio recordings of the late Miles Davis before he went on his hiatus from the mid-seventies to early eighties. This six-CD set depicts how skillfully the man with the horn expanded his skill as a bandleader and recording artist by drawing on the skills of others with complementary talent.

The garish hot pink and blue ...

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Miles Davis: Live at the 1963 Monterey Jazz Festival

by AAJ Italy Staff
November 6, 2007

Il concerto che si tenne il 20 settembre del 1963 ai Fairgrounds di Monterey, in una California alle prese con le prime avvisaglie dei nuovi fermenti che matureranno di lì a qualche anno, è una eccellente dimostrazione di come Miles sapesse guardarsi attorno e risolvere i problemi di formazione immettendo nel suo quintetto elementi giovanissimi di grande valore. Il caso esemplare è rappresentato da Tony Williams, il batterista allora diciassettenne che si apprestava a trasformare radicalmente l’approccio al suo strumento, ...

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The Complete On The Corner Sessions

by Greg Masters
October 31, 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 that trumpeter 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, Davis took the audacious ...

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Miles Davis: Miles Davis: Live at the 1963 Monterey Jazz Festival

by Samuel Chell
October 27, 2007

This recording is so fresh and alive sonically and so rich and rewarding musically that forty-five years literally melt away upon hearing it. One doesn't know whether to express gratitude to the producers for releasing a recorded event of such historic significance and rare beauty, or annoyance at those responsible for keeping it on ice for all these years. In any case, it's music that could have been recorded yesterday, assuming a cast like this one could be reassembled.

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Miles Davis: The Very Best of Miles Davis: The Warner Bros. Sessions 1985-1991

by John Kelman
April 14, 2007

Miles Davis' final decade was filled with controversy. Accusations of “sell-out became even more vehement in 1985 when, after thirty years with Columbia, the late trumpeter jumped ship and signed with Warner Bros. That said, he issued two highly successful studio albums, participated on two soundtracks, and hit the road hard with a series of must-see groups that were consistent only in their ever-shifting line-ups. Miles also did the unexpected by revisiting his '50s work with Gil Evans at the ...