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"standard": "In the years between the dissolution of Miles Davis’ first great quintet and the formation of his second, the trumpet master ventured into something new in 1959—not knowing it would become one of jazz's biggest albums ever. Bassist Paul Chambers from the first quintet remained on board, as did John Coltrane, whom Davis had fired, then rehired after the tenor giant kicked his drug addiction and experienced a spiritual and creative rebirth.
\nBut Davis also added a third horn, alto saxophonist Julian “Cannonball” Adderley, making for richer group voicings and a bluesy, bebop-oriented soloing style that balanced Davis’ spare melodic approach and Coltrane’s restless, exploratory “sheets of sound” (coined by critic Ira Gitler). Pianist Bill Evans played close-voiced chords derived from modes, or specific types of scales—an approach that gave rise to the term “modal jazz”.
\nThe fast-moving progressions of bebop and much post-bop required improvisers to jump hurdles—something Davis knew all about as Dizzy Gillespie’s successor in the Charlie Parker Quintet. On Kind of Blue, there were longer durations between chords, opening up space in the music. The soloist had the option of taking a breath. But even as Miles brought the temperature down, he introduced new textures and tonal colours, drawing on the harmonic thinking of Gil Evans and George Russell, or even Debussy and Satie. In that sense the album was a continuation of Birth of the Cool, recorded 10 years earlier, and perhaps a harbinger of the ethereal In a Silent Way 10 years later.
\nPianist Wynton Kelly subbed in for Evans on “Freddie Freeloader”, and drummer Jimmy Cobb kept the music at a low-simmering boil throughout. Two years later, on Davis’ In Person at the Blackhawk recordings, however, one can hear Cobb, Chambers and Kelly taking “So What” at a much brighter tempo, heightening the impact of that hypnotic two-chord song. On “Four” & More from 1964, with Tony Williams on drums, “So What” is faster still. What started out slow and meditative helped form the basis of the more aggressive and abstract playing of the second quintet.
\nTwo striking ballads, “Blue in Green” and “Flamenco Sketches”, bear the compositional imprint of Bill Evans, though they’re co-credited to Davis. Both are key examples of Davis’ work with the Harmon mute, yielding a metallic and intimate sound that jazz trumpeters have emulated ever since. “Flamenco Sketches”, a modal chord cycle that shifts in mood like colours of the rainbow, took initial inspiration from Evans’ drone-like “Peace Piece”, heard on Everybody Digs Bill Evans (released in 1959 as well). Miles could pick pianists: Evans would soon be followed by Herbie Hancock, and Davis’ musical direction shifted yet again. But even though the Kind of Blue sextet was short-lived, it yielded what is now the most universally known example of Davis’ work.",
"short": "A harmonic experiment gives rise to a timeless expression of cool."
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"standard": "Restless innovator that he was, Miles Davis could also be quite accessible. It didn't take a jazz diehard to be seduced by the moody late-night atmosphere on \"So What,\" or by the majesty of his and John Coltrane's solos on \"Someday My Prince Will Come.\" Representing the fusion era is \"Miles Runs the Voodoo Down,\" with its slinky funk rhythms and John McLaughlin's daredevil guitar. Even his most pop-friendly track, a faithful take on Cyndi Lauper's \"Time After Time,\" features a haunting, romantic solo.",
"short": "Eleven career-spanning tracks designed to make you an instant Miles Davis fan."
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"standard": "This fast-moving compilation gives you the crash course in Miles. The coiled energy of \"Now's the Time,\" with quick and intense solos by Davis and Charlie Parker, hints at all the innovations to come. Gil Evans' ghostly strings on \"The Pan Piper,\" the '60s quintet in fearless full flight on the hyperkinetic \"E.S.P.,\" and the funky jazz-rock free-for-all on the clattering \"Black Satin\" fit perfectly together thanks to Davis' relentlessly questing spirit and detached, economical tone.",
"short": "Miles of Miles, from the birth of the cool to the explosion of fusion."
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"standard": "Between May of 1957 and March of 1960, Miles Davis collaborated with the composer and arranger Gil Evans to create a trilogy of masterpieces for large jazz ensemble. Sketches of Spain, the last of the three, is a dazzling work, not only for the glowing, magisterial orchestrations, but for the stunning solo work by Davis, among his most expressive and affecting. The centrepiece of the album is a November 1959 recording of the adagio from “Concierto de Aranjuez,” a 20th century Spanish composition by Joaquin Rodrigo. The band plays with beauty and splendour, content to stick closely to the score. The remaining tracks were recorded in March of the following year. “Will O’ the Wisp” comes from a Manuel de Falla ballet while “The Pan Piper” is based on a mystical Peruvian Indian folk melody. The final two tracks are adaptations of old Andalusian flamenco. “Saeta” is a religious march tune that quiets in the middle to allow Davis’ mournful, wailing horn the spotlight. “Solea” builds slowly atop the lightly prancing percussion of Jimmy Cobb, Elvin Jones and crew, a blend of Latin polyrhythms and modal jazz. Davis’ inspired improvisations on these two tracks are on another plane, smouldering with emotion."
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"name": "Sketches of Spain (50th Anniversary Legacy Edition)",
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"standard": "A decade after their partnership on Birth of the Cool, Miles and arranger Gil Evans connected again for this ambitious album based on Spanish folk themes. On the adagio from composer Joaquín Rodrigo’s “Concierto de Aranjuez,” Miles adapts the guitar part for his flügelhorn, resulting in some of his most lyrical playing. The blend of jazz and classical arrangements—known as “Third Stream”—had already been in the air for a few years, but this album gave the aesthetic new prominence.",
"short": "Spanish folk themes meet ambitious symphonic jazz arrangements."
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"standard": "The year 1955 was significant for Miles Davis. His memorable performance at that year's Newport Jazz Festival heralded his return to form. He also formed his legendary first quintet,with John Coltrane (tenor), Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums), one of the great working bands in jazz annals. Davis's star was in ascendance, so his celebrated contract with giant Columbia, catalyzed by his Newport performance, came as no surprise, a coup for both artist and label. However, Davis had already signed to the independent Prestige label, and the quintet would record a series of five acclaimed albums for the smaller outfit. While fulfilling his obligation to Prestige, Davis and company also waxed a pair of sessions for Columbia - one in October of 1955, the other in June of '56 - the glorious results of which emerged in 1957 on Round About Midnight, his renowned label debut. It was Davis's smoky, muted take on Thelonious Monk's \"'Round Midnight\" that so delighted the Newport crowd in '55, and the stunning studio version found here is worthy of a time capsule. The luminous \"Bye Bye Blackbird\" displays the band's deft touch with midtempo ballads- their signature - while Charlie Parker's \"Ah-Leu-Cha\" returns them to burning bop territory."
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"standard": "In the years between the dissolution of Miles Davis’ first great quintet and the formation of his second, the trumpet master ventured into something new in 1959—not knowing it would become one of jazz's biggest albums ever. Bassist Paul Chambers from the first quintet remained on board, as did John Coltrane, whom Davis had fired, then rehired after the tenor giant kicked his drug addiction and experienced a spiritual and creative rebirth.
\nBut Davis also added a third horn, alto saxophonist Julian “Cannonball” Adderley, making for richer group voicings and a bluesy, bebop-oriented soloing style that balanced Davis’ spare melodic approach and Coltrane’s restless, exploratory “sheets of sound” (coined by critic Ira Gitler). Pianist Bill Evans played close-voiced chords derived from modes, or specific types of scales—an approach that gave rise to the term “modal jazz”.
\nThe fast-moving progressions of bebop and much post-bop required improvisers to jump hurdles—something Davis knew all about as Dizzy Gillespie’s successor in the Charlie Parker Quintet. On Kind of Blue, there were longer durations between chords, opening up space in the music. The soloist had the option of taking a breath. But even as Miles brought the temperature down, he introduced new textures and tonal colours, drawing on the harmonic thinking of Gil Evans and George Russell, or even Debussy and Satie. In that sense the album was a continuation of Birth of the Cool, recorded 10 years earlier, and perhaps a harbinger of the ethereal In a Silent Way 10 years later.
\nPianist Wynton Kelly subbed in for Evans on “Freddie Freeloader”, and drummer Jimmy Cobb kept the music at a low-simmering boil throughout. Two years later, on Davis’ In Person at the Blackhawk recordings, however, one can hear Cobb, Chambers and Kelly taking “So What” at a much brighter tempo, heightening the impact of that hypnotic two-chord song. On “Four” & More from 1964, with Tony Williams on drums, “So What” is faster still. What started out slow and meditative helped form the basis of the more aggressive and abstract playing of the second quintet.
\nTwo striking ballads, “Blue in Green” and “Flamenco Sketches”, bear the compositional imprint of Bill Evans, though they’re co-credited to Davis. Both are key examples of Davis’ work with the Harmon mute, yielding a metallic and intimate sound that jazz trumpeters have emulated ever since. “Flamenco Sketches”, a modal chord cycle that shifts in mood like colours of the rainbow, took initial inspiration from Evans’ drone-like “Peace Piece”, heard on Everybody Digs Bill Evans (released in 1959 as well). Miles could pick pianists: Evans would soon be followed by Herbie Hancock, and Davis’ musical direction shifted yet again. But even though the Kind of Blue sextet was short-lived, it yielded what is now the most universally known example of Davis’ work.",
"short": "A harmonic experiment gives rise to a timeless expression of cool."
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"standard": "Rubberband is the record that would have kicked off Miles Davis’ late-career stint on Warner Bros., had the plug not been pulled before it was finished. Instead, Davis and his bassist/chief collaborator Marcus Miller issued Tutu, and Rubberband was all but lost to history. What we hear now is not exactly what was left in the vaults: It’s been “finished”—brought into the 21st century by the original producers, namely Attala Zane Giles, drummer Vince Wilburn, Jr. (Miles’ nephew), and guitarist Randy Hall. Vocalists Ledisi and Lalah Hathaway, among others, lend their feature spots a contemporary vibe. But the atmosphere of dance beats and R&B vamps, synth textures and rock-tinged guitars, with that legendary trumpet sound weaving in and out through it all, is solidly in the wheelhouse of post-comeback Davis. Shelving it and going with Tutu might have been the right call, yet Rubberband yields some great moments, like the sophisticated chord licks on the romantic ballad “So Emotional”, or the tight fusion guitar/soprano sax unison lines of Mike Stern and Bob Berg on “Maze”, which recalls the flavour of Stern’s solo work from this period. (Stern returns to wail with bebop fluency on the closing title track.) The two-part “Echoes in Time / The Wrinkle”, an out-of-tempo trumpet/synth intro leading into extended party-time funk, seems to encapsulate a lot of what Davis was after at this stage.",
"short": "Buried for decades, an unfinished album sheds light on ’80s Miles."
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"standard": "Miles got saxophonist John Coltrane to drop by his studio one last time for this album, even though Trane was plenty busy leading his own ensembles and recording sessions by the early ‘60s. The tenor giant solos on “Teo” and the title track—which features a motif plucked from Disney’s Snow White and the Seven Dwarfs—and Miles explores a fresh repertoire with new collaborators, finding a soulful rapport with saxophonist Hank Mobley on the original tune “Pfrancing.”",
"short": "Mixing new compositions with pop-culture touchstones."
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"short": "Burnished tones and bright swing from the first great quintet."
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"standard": "Miles Davis took a turn away from hard bop with Bitches Brew, and its mysterious fusion vibes still reverberate throughout jazz music. Psychedelic guitar lines cavort with funky percussion on “Pharaoh’s Dance,” while the title track manifests the album’s surreal atmospheres with stark trumpet blasts, bobbing bass, and wild bursts of percussion. And despite its abrasiveness, a chilled-out character emerges on opus “Miles Runs the Voodoo Down.” Arguably Davis’ most intense work, this masterpiece firmly cements his name in the jazz-rock pantheon.",
"short": "Miles detours into psychedelic jazz-rock."
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"standard": "The trumpeter’s second great quintet created an exalted sense of mystery on this 1968 recording. During the title track, the melody loops around and around, suggesting infinity—but as drummer Tony Williams muscles in some frenzied rhythmic variations, it takes on a new life. Hard-bopping tracks like “Madness” and “Riot” (written by pianist Herbie Hancock) provide brisk energy, but the album’s secret weapon is the group’s ability to weave in and out of the themes.",
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