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| The Complete Miles Davis at Montreux 1973-1991 [ ÉLŐ ] |
| Miles Davis |
| első megjelenés éve: 2002 |
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| (2008)
[ LIMITED ]
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20 x CD |
| 64.137 Ft
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| 1. CD tartalma: |
| 1. | Miles in Montreux '73, No. 1
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| 2. | Miles in Montreux '73, No. 2
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| 2. CD tartalma: |
| 1. | Ife
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| 2. | Calypso Frelimo
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| 3. | Miles in Montreux '73, No. 3
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| 3. CD tartalma: |
| 1. | Speak; That's What Happened
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| 2. | Star People
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| 3. | What It Is
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| 4. | It Gets Better
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| 5. | Something's on Your Mind
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| 4. CD tartalma: |
| 1. | Time After Time
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| 2. | Hopscotch/Star on Cicely
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| 3. | Bass Solo
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| 4. | Jean-Pierre
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| 5. | Lake Geneva
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| 6. | Something's on Your Mind (Reprise)
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| 5. CD tartalma: |
| 1. | Speak/That's What Happened
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| 2. | Star People
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| 3. | What It Is
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| 4. | It Gets Better
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| 5. | Something's on Your Mind
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| 6. CD tartalma: |
| 1. | Time After Time
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| 2. | Hopscotch/Star on Cicely
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| 3. | Bass Solo
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| 4. | Jean-Pierre
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| 5. | Lake Geneva
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| 6. | Something's on Your Mind (Reprise)
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| 7. | Code M.D.
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| 7. CD tartalma: |
| 1. | Theme from Jack Johnson/One Phone Call/Street Scenes/That's What ...
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| 2. | Star People
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| 3. | Maze
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| 4. | Human Nature
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| 5. | MD1/Something's on Your Mind/MD2
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| 6. | Time After Time
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| 7. | Ms. Morrisine
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| 8. CD tartalma: |
| 1. | Code M.D.
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| 2. | Pacific Express
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| 3. | Katia
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| 4. | Hopscotch
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| 5. | You're Under Arrest
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| 6. | Jean-Pierre/You're Under Arrest/Then There Were None
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| 7. | Decoy
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| 9. CD tartalma: |
| 1. | Theme from Jack Johnson/One Phone Call/Street Scenes/That's What ...
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| 2. | Star People
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| 3. | Maze
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| 4. | Human Nature
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| 5. | MD1/Something's on Your Mind/MD2
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| 6. | Time After Time
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| 10. CD tartalma: |
| 1. | Ms. Morrisine
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| 2. | Code M.D.
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| 3. | Pacific Express
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| 4. | Katia
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| 5. | Hopscotch
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| 6. | You're Under Arrest
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| 7. | Jean-Pierre/You're Under Arrest/Then There Were None
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| 8. | Decoy
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| 11. CD tartalma: |
| 1. | Theme from Jack Johnson/One Phone Call/Street Scenes/That's What ...
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| 2. | New Blues
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| 3. | Maze
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| 4. | Human Nature
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| 5. | Wrinkle
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| 6. | Tutu
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| 7. | Splatch
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| 12. CD tartalma: |
| 1. | Time After Time
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| 2. | Al Jarreau
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| 3. | Carnival Time
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| 4. | Burn
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| 5. | Portia
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| 6. | Jean-Pierre
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| 13. CD tartalma: |
| 1. | In a Silent Way
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| 2. | Intruder
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| 3. | New Blues
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| 4. | Perfect Way
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| 5. | The Senate/Me and U
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| 6. | Human Nature
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| 7. | Wrinkle
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| 8. | Tutu
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| 9. | Time After Time
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| 14. CD tartalma: |
| 1. | Movie Star
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| 2. | Splatch
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| 3. | Heavy Metal Prelude
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| 4. | Heavy Metal
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| 5. | Don't Stop Me Now
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| 6. | Carnival Time
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| 7. | Jean-Pierre
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| 8. | Tomaas
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| 15. CD tartalma: |
| 1. | Intruder
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| 2. | New Blues
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| 3. | Perfect Way
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| 4. | Hannibal
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| 5. | Human Nature
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| 6. | Mr. Pastorius
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| 7. | Tutu
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| 16. CD tartalma: |
| 1. | Jilli
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| 2. | Time After Time
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| 3. | Jo-Jo
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| 4. | Amandla
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| 5. | The Senate/Me and U
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| 6. | Wrinkle
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| 7. | Portia
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| 17. CD tartalma: |
| 1. | Perfect Way
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| 2. | New Blues
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| 3. | Hannibal
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| 4. | The Senate/Me and U
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| 5. | In the Night
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| 6. | Human Nature
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| 7. | Time After Time
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| 18. CD tartalma: |
| 1. | Wrinkle
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| 2. | Tutu
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| 3. | Don't Stop Me Now
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| 4. | Carnival Time
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| 19. CD tartalma: |
| 1. | Introduction by Claude Nobs and Quincy Jones
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| 2. | Boplicity
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| 3. | Introduction to Miles Ahead Medley/Springsville
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| 4. | Maids of Cadiz
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| 5. | The Duke
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| 6. | My Ship
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| 7. | Miles Ahead
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| 8. | Blues for Pablo
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| 9. | Introduction to Porgy and Bess Medley
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| 10. | Orgone
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| 11. | Gone, Gone, Gone
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| 12. | Summertime
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| 13. | Here Come de Honey Man
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| 14. | Introduction to Sketches of Spain/The Pan Piper
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| 15. | Solea
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| 20. CD tartalma: |
| 1. | Perfect Way
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| 2. | New Blues
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| 3. | Hannibal
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| 4. | Human Nature
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| 5. | Time After Time
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| 6. | Wrinkle
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Jazz
Recorded live at Montreux Jazz Festival, Montreux, Switzerland between 1973 & 1991
Miles Davis - Arranger, Artwork, Keyboards, Organ, Trumpet
Ack Van Rooyen - Flugelhorn, Trumpet
Al Foster - Drums
Alex Brofsky - French Horn
Alex Foster - Flute, Sax (Alto), Sax (Soprano)
Anne O'Brien - Flute
Benny Bailey - Flugelhorn, Trumpet
Benny Rietveld - Bass
Bob Berg - Keyboards, Saxophone
Bob Malach - Clarinet, Flute, Sax (Alto)
Carlos Benavent - Bass
Chaka Khan - Guest Appearance, Vocals
Christian Gavillet - Clarinet (Bass), Sax (Baritone)
Christian Rabe - Bassoon
Claudio Pontiggia - French Horn
Conrad Herwig - Trombone
Darryl Jones - Bass, Performer
Dave Bargeron - Euphonium, Trombone
Dave Seghezzo - Oboe
David Liebman - Flute, Sax (Soprano), Sax (Tenor)
David Sanborn - Guest Appearance, Saxophone
Delmar Brown - Keyboards
Deron Johnson - Keyboards
Earl McIntyre - Euphonium, Trombone
Erin Davis - Percussion
Felton Crews - Bass
Foley - Vocals
George Adams - Flute, Sax (Tenor)
George Duke - Guest Appearance, Synthesizer
George Gruntz - Leader, Piano
George Gruntz Concert Jazz Band
Gil Evans Orchestra
Gil Goldstein - Keyboards
Grady Tate - Drums
Hanspeter Frehner - Flute, Flute (Alto), Piccolo
Howard Johnson - Sax (Baritone), Tuba
Jack Walrath - Flugelhorn, Trumpet
James Mtume - Conga, Percussion, Synthesizer
Jerry Bergonzi - Sax (Tenor)
John Clark - French Horn
John D'earth - Flugelhorn, Trumpet
John Scofield - Guitar
Judith Wenziker - Oboe
Julian Cawdry - Flute, Flute (Alto), Piccolo
Kei Akagi - Keyboards
Kenny Garrett - Sax (Alto), Saxophone, Soloist
Kenwood Dennard - Drums, Percussion
Larry Schneider - Clarinet, Flute, Oboe, Sax (Tenor)
Lew Soloff - Trumpet
Manfred Schoof - Flugelhorn, Trumpet
Marilyn Mazur - Percussion
Marvin Stamm - Flugelhorn, Trumpet
Michael J. Henderson - Bass
Michel Weber - Clarinet
Mike Richmond - Bass
Miles Evans - Trumpet
Munyungo Jackson - Percussion
Pete Cosey - Guitar
Reggie Lucas - Guitar
Reiner Erb - Bassoon
Richard Patterson - Bass, Vocals
Rick Margitza - Sax (Tenor)
Ricky Wellman - Drums
Robben Ford - Guitar
Robert Irving III - Arranger, Keyboards
Roger Rosenberg - Clarinet (Bass), Sax (Baritone)
Roland Dahinden - Trombone
Sal Giorgianni - Sax (Alto)
Steve Thornton - Percussion
Tilman Zahn - Oboe
Tom "Bones" Malone - Trombone
Tom Varner - French Horn
Vince Wilburn, Jr. - Drums
Wallace Roney - Flugelhorn, Soloist, Trumpet
Xavier Duss - Oboe
Xenia Schindler - Harp
* Adam Holzman - Arranger, Keyboards, Liner Notes
* Andree Buchler - Coordination
* Claude Nobs - Assembly, Executive Producer, Liner Notes, Release Coordinator
* David Richards - Engineer, Live Mixing
* Giuseppe Pino - Photography
* Jean Ristori - Mastering
* Louise Velazquez - Executive Producer
* Quincy Jones - Conductor, Producer
Columbia Records has been diligent about going through Miles Davis' massive catalog, painstakingly remastering and reissuing his collected works in both handsome box sets sorted by period and actual releases annotated with extra material from their attendant sessions, but this gargantuan set marks a true departure for them. The Complete Miles Davis Live at Montreux 1973-1991 compiles 20 CDs documenting every performance by the trumpeter at the famed Swiss jazz festival in its entirety. What's more, 19 of these volumes have never before been issued in any form. Aside from disc 19, which features the Miles band playing acoustically in front of a large orchestra conducted by Quincy Jones in 1991 (which was released by Warner Bros.) and a few selected cuts tacked onto other recordings, none of this material has seen the light of day anywhere. There is a story told here, one that streams light into the darkened corners of Davis' final public period, and one that challenges evidentially virtually every jazz nerd's view that as a bandleader or as a creative improvisational force, Davis was finished after the release of On the Corner. Part of that story is the intuitive sense Davis had of the bandstand and what could be accomplished there. His uncanny ability to pick the finest musicians for the job at hand was illustrated by his stage direction. Another argument for this material is that, even if it doesn't vindicate the studio material of the time, which is rightfully thought of as inferior to his earlier work (with the possible exceptions of the Decoy and Tutu albums), it at least justifies it; these recordings can now be seen as piecemeal explorations of what might be possible in concert settings -- not as rehearsals, but as source material. Lastly, as documented here, Davis accomplished everything he set out to do, which was to take the sophistication of jazz, the accessibility of pop, and the sheer groove of R&B and funk, to create a new American music that was familiar and challenging. Also, that virtually everything here comes off as emotionally honest, even painstakingly so, is a testament to the heart of the musician and, yes, the man.
Discs one and two from 1973 represent Miles' first and only appearance during that decade at Montreux -- represented by two full sets. The band was a stellar one: the Dark Magus band, featuring saxophonist Dave Liebman, guitarists Reggie Lucas and Pete Cosey, drummer Al Foster, new bassist Michael Henderson, and percussionist Mtume. The rest of the material picks up at the end of the infamous "silent years," exactly 11 years later in 1984, and moves through to the virtual end -- a bonus to the set is a concert in Nice just before the trumpeter died (there are a pair of California dates that are later, but these will be forthcoming at a later date). The 1973 date embodies the epitome of the dark, swirling funk of Davis' best '70s material. Here Henderson adds something new to the rhythm section in that he is not a jazz player, but a funk player swiped by Davis from the Stevie Wonder band. His long chunky repetitive riffs are exactly what Davis had been looking for since In a Silent Way. His shift was toward vamps and lines that drifted along into completely uncharted territory, without guidelines like changes or melodic frames. There is a deep bluesy feel to this band's brand of acid voodoo funk that is not only hypnotic, but intoxicating in its dynamic, with the musicians' ability to be frighteningly aggressive -- you can hear the audience's confusion -- or seductive and mysterious. This is all improvisation, all groove, all manner of rock, blues, jazz, and funk in an inseparable endless knot. The two discs are notated by three parts of "Miles in Montreux," the best take of "Ife" there is, and a gorgeously menacing "Calypso Frelimo."
But the real story actually begins with discs three and four (five and six are all part of the same day's shows -- there were four on July 8, two in the afternoon and two in the evening -- completely refuting the argument that Davis was lazy in his final decade). All members of the 1973 band except Foster had gone their own ways. The current lineup featured future Rolling Stones bassist Darryl Jones, guitarist John Scofield, saxophonist Bob Berg, keyboardist Robert Irving III, and percussionist Steve Thornton. With this band, Miles began his complete integration of popular music forms, most notably song, into his improvisational settings. Here, songs like "Star People" and the Eaves and Williams classic "Something's on Your Mind" were given an open treatment that allowed for maximum groove-ology, leading to minimal interference by the temptation to "make them jazz." This band began to sing, with Berg's strong, upfront tenor matching Miles' more spare and lyrical style. Scofield, with his roots in both Wes Montgomery and T-Bone Walker, provided a perfect foil for the rhythm section, which plotted the groove according to Miles' Zen-like live directions, his counterpoint so subtle and precise it would be impossible to separate him from the melodic body of the tune being played. Nowhere is the story of Miles or his band told more completely or nakedly than in disc four's version of Cyndi Lauper's "Time After Time." Needless to say, with so many shows being done each year (and, as noted, multiple shows in a single day), the set lists for a given year's performances (and for virtually the entire late '80s) vary only slightly. Performances, however, are another matter entirely. "Time After Time" is showcased on this set no less than nine times. Each version is truly compelling, of a different length, in a different place in the set, and of varying intensity. But nowhere does Davis express the depths of his soul more completely and nakedly than on the first track of disc four. This is Miles singing a kind of secret song. The lyricism is so harmonically elegant and the emotion in the melodic line and ensuing improvisation is so honest that they are heartbreakingly beautiful. Without exaggeration, listeners had never heard Miles Davis like this before. Here is the bandleader, composer, cultural icon, musician, and human being reduced to the purity of music. The fact that this moves off into "Hopscotch/Star on Cicely" reveals even more of its emotional honesty, because the band does an about-face and moves into equally lyrical but rhythmically more intense music for the rest of the set.
Disc 11 marks another turn in the live band saga, in that Robben Ford replaces Scofield and Adam Holzman is added as a second keyboardist, with Felton Crews replacing Jones on bass. This band is significant in that it allowed Davis to begin to experiment more with textures, even in the older material -- the first set from 1986 begins with the "Theme From Jack Johnson" that kicks off a medley including "One Phone Call/Street Scenes" and "That's What Happened." The rhythmic atmosphere is more lush but no less funky, thanks in no small part to Ford's fiery guitar artistry and the entwining of Berg's and Davis' styles now developed to a symbiotic intensity. As the set closes with "Tutu" and "Splatch," listeners can already heard the advent of the gorgeous sonic tapestries that Miles would usher in when he added two bass players a short time later. Moving up through disc 18 and on to disc 20, the twin basslineup of Joe "Foley" McReary on lead bass and Benny Rietveld on bass proper is heard. Also, it should be noted that while tenor saxophonist Rick Margitza plays on half of the performances from this period, and with a great strength, agility, and verve never displayed in his own recordings, it is Kenny Garrett who offered Davis more in terms of pure expression and the willingness to let the boundaries fall. In fact, Garrett actually offered Davis more musical adventure and tonal expansion than any saxophonist who played with him since John Coltrane. While the band was taking its funk stride to new levels -- so much so that Al Foster, a longtime Miles drummer, finally left and was replaced by Vincent Wilburn Jr. -- Garrett kept the jazz experimentalism and improvisational power that the band was capable of front and center. Check his solos on "Jean-Pierre," Prince's "Movie Star," and "Tomaas" on disc 14 for references. The previously issued orchestral disc 19 was intended to re-create the Miles DavisGil Evans collaborations. It is a necessary inclusion here since it took place at Montreux, but it is a Quincy Jones outing more than anything else. On it, Wallace Roney instead of Davis played some of the sight-read parts, and while the music is certainly competent and dynamically rich, it feels overblown and, well, staged. The final disc of the set was not from Montreux at all but from a concert in Nice, France, 11 days after the JonesDavis event. This featured a new kind of Davis band, stripped of its percussionist and guitarist. Garrett is there with Miles leading the band through very intricate, moving, and ultimately sad material. The twin basses carry the spirit of the music into the no man's land of groove while the keyboards and drums punch through the winsome and wistful horn parts.
Ultimately, not every performance of every tune here is stellar. How could they be? Some years are stronger than others, but none are throwaways by a long shot. Each gig has moments that are truly magical and frightening in their intensity and with astonishing communication between Davis and his band. And Davis' memory does not have an editor to thank here, in that these performances are completely unedited and are not messed with in any way -- the original mixes were used for release. The only truly annoying thing is that whoever was recording the shows would switch the deck off between tunes, and therefore some of the magic at the end of a track, when the audience absorbs it completely, is lost. But this is a very small complaint for a very large box set. The liner notes are reminiscences by Montreux founder and director Claude Nobs with production and musical annotations by German jazz journalist Nick Liebman. The design is beautiful but a bit impractical, since the only way to know what is playing on what disc is to use the enclosed book -- the CDs are divided up into two booklets of ten. It's true, it will really appeal most to those fans of Davis who have to have everything and to those who are completely enamored with his electric period. But it should be of interest to every rock fan who holds the jam band aesthetic high, to die-hard fans of '70s and '80s acid funk, and to those who have been desperately looking for proof that Miles was not only not artistically bankrupt during the last 20 years of his life, but had finally succeeded in accomplishing his goal of total integration of the musical forms that obsessed him.
---Thom Jurek, All Music Guide
Miles Davis
Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: May 26, 1926 in Alton, IL
Died: Sep 28, 1991 in Santa Monica, CA
Genre: Jazz
Styles: Bop, Cool, Fusion, Hard Bop, Jazz-Funk, Jazz-Rock, Modal Music, Post-Bop
Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.
Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis, and thus grew up in the black middle class of east St. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons. While still in high school, he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends. At 17, he joined Eddie Randle's Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, who was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterized by fast, inventive soloing and dynamic rhythm variations. It is striking that Davis fell so completely under Gillespie and Parker's spell, since his own slower and less flashy style never really compared to theirs. But bebop was the new sound of the day, and the young trumpeter was bound to follow it. He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944. Shortly after his arrival in Manhattan, he was playing in clubs with Parker, and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician, initially joining Benny Carter's band and making his first recordings as a sideman. He played with Eckstine in 1946-1947 and was a member of Parker's group in 1947-1948, making his recording debut as a leader on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson Boyd, and drummer Max Roach. This was an isolated date, however, and Davis spent most of his time playing and recording behind Parker. But in the summer of 1948, he organized a nine-piece band with an unusual horn section. In addition to himself, it featured an alto saxophone, a baritone saxophone, a trombone, a French horn, and a tuba. This nonet, employing arrangements by Gil Evans and others, played for two weeks at the Royal Roost in New York in September. Earning a contract with Capitol Records, the band went into the studio in January 1949 for the first of three sessions which produced 12 tracks that attracted little attention at first. The band's relaxed sound, however, affected the musicians who played it, among them Kai Winding, Lee Konitz, Gerry Mulligan, John Lewis, J.J. Johnson, and Kenny Clarke, and it had a profound influence on the development of the cool jazz style on the West Coast. In February 1957, Capitol finally issued the tracks together on an LP called Birth of the Cool. Davis, meanwhile, had moved on to co-leading a band with pianist Tadd Dameron in 1949, and the group took him out of the country for an appearance at the Paris Jazz Festival in May. But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s. His performances and recordings became more haphazard, but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years. He managed to kick his habit by the middle of the decade, and he made a strong impression playing "'Round Midnight" at the Newport Jazz Festival in July 1955, a performance that led the major label Columbia Records to sign him. The prestigious contract allowed him to put together a permanent band, and he organized a quintet featuring saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones who began recording his Columbia debut, 'Round About Midnight, in October. As it happened, however, he had a remaining five albums on his Prestige contract, and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment. The latter resulted in the Prestige albums The New Miles Davis Quintet, Cookin', Workin', Relaxin', and Steamin', making Davis' first quintet one of his better-documented outfits. In May 1957, just three months after Capitol released the Birth of the Cool LP, Davis again teamed with arranger Gil Evans for his second Columbia LP, Miles Ahead. Playing flügelhorn, Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones. Released in 1958, the album was later inducted into the Grammy Hall of Fame, intended to honor recordings made before the Grammy Awards were instituted in 1959. In December 1957, Davis returned to Paris, where he improvised the background music for the film L'Ascenseur pour l'Echafaud (Escalator to the Gallows). Jazz Track, an album containing this music, earned him a 1960 Grammy nomination for Best Jazz Performance, Solo, or Small Group. He added saxophonist Cannonball Adderley to his group, creating the Miles Davis Sextet, who recorded the album Milestones in April 1958. Shortly after this recording, Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums. In July, Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess. Back in the sextet, Davis began to experiment with modal playing, basing his improvisations on scales rather than chord changes. This led to his next band recording, Kind of Blue, in March and April 1959, an album that became a landmark in modern jazz and the most popular disc of Davis' career, eventually selling over two million copies, a phenomenal success for a jazz record. In sessions held in November 1959 and March 1960, Davis again followed his pattern of alternating band releases and collaborations with Gil Evans, recording Sketches of Spain, containing traditional Spanish music and original compositions in that style. The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance, Large Group, and Best Jazz Composition, More Than 5 minutes; they won in the latter category.
By the time Davis returned to the studio to make his next band album in March 1961, Adderley had departed, Wynton Kelly had replaced Bill Evans at the piano, and John Coltrane had left to begin his successful solo career, being replaced by saxophonist Hank Mobley (following the brief tenure of Sonny Stitt). Nevertheless, Coltrane guested on a couple of tracks of the album, called Someday My Prince Will Come. The record made the pop charts in March 1962, but it was preceded into the bestseller lists by the Davis quintet's next recording, the two-LP set Miles Davis in Person (Friday & Saturday Nights at the Blackhawk, San Francisco), recorded in April. The following month, Davis recorded another live show, as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May. The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts, and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group, Instrumental. Davis and Evans teamed up again in 1962 for what became their final collaboration, Quiet Nights. The album was not issued until 1964, when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group. In 1996, Columbia Records released a six-CD box set, Miles Davis & Gil Evans: The Complete Columbia Studio Recordings, that won the Grammy for Best Historical Album. Quiet Nights was preceded into the marketplace by Davis' next band effort, Seven Steps to Heaven, recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler. During the sessions, Feldman was replaced by Herbie Hancock and Butler by Tony Williams. The album found Davis making a transition to his next great group, of which Carter, Hancock, and Williams would be members. It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group. The quintet followed with two live albums, Miles Davis in Europe, recorded in July 1963, which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group, and My Funny Valentine, recorded in February 1964 and released in 1965, when it reached the pop charts. By September 1964, the final member of the classic Miles Davis Quintet of the 1960s was in place with the addition of saxophonist Wayne Shorter to the team of Davis, Carter, Hancock, and Williams. While continuing to play standards in concert, this unit embarked on a series of albums of original compositions contributed by the band members, starting in January 1965 with E.S.P., followed by Miles Smiles (1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group [7 or Fewer]), Sorcerer, Nefertiti, Miles in the Sky (1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group), and Filles de Kilimanjaro. By the time of Miles in the Sky, the group had begun to turn to electric instruments, presaging Davis' next stylistic turn. By the final sessions for Filles de Kilimanjaro in September 1968, Hancock had been replaced by Chick Corea and Carter by Dave Holland. But Hancock, along with pianist Joe Zawinul and guitarist John McLaughlin, participated on Davis' next album, In a Silent Way (1969), which returned the trumpeter to the pop charts for the first time in four years and earned him another small-group jazz performance Grammy nomination. With his next album, Bitches Brew, Davis turned more overtly to a jazz-rock style. Though certainly not conventional rock music, Davis' electrified sound attracted a young, non-jazz audience while putting off traditional jazz fans. Bitches Brew, released in March 1970, reached the pop Top 40 and became Davis' first album to be certified gold. It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for large-group jazz performance. He followed it with such similar efforts as Miles Davis at Fillmore East (1971 Grammy nomination for Best Jazz Performance by a Group), A Tribute to Jack Johnson, Live-Evil, On the Corner, and In Concert, all of which reached the pop charts. Meanwhile, Davis' former sidemen became his disciples in a series of fusion groups: Corea formed Return to Forever, Shorter and Zawinul led Weather Report, and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra. Starting in October 1972, when he broke his ankles in a car accident, Davis became less active in the early '70s, and in 1975 he gave up recording entirely due to illness, undergoing surgery for hip replacement later in the year. Five years passed before he returned to action by recording The Man With the Horn in 1980 and going back to touring in 1981. By now, he was an elder statesman of jazz, and his innovations had been incorporated into the music, at least by those who supported his eclectic approach. He was also a celebrity whose appeal extended far beyond the basic jazz audience. He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts, including We Want Miles (1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist), Star People, Decoy, and You're Under Arrest. In 1986, after 30 years with Columbia, he switched to Warner Bros. Records and released Tutu, which won him his fourth Grammy for Best Jazz Instrumental Performance. Aura, an album he had recorded in 1984, was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist (on a Jazz Recording). Davis surprised jazz fans when, on July 8, 1991, he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans; he had never previously looked back at an aspect of his career. He died of pneumonia, respiratory failure, and a stroke within months. Doo-Bop, his last studio album, appeared in 1992. It was a collaboration with rapper Easy Mo Bee, and it won a Grammy for Best Rhythm & Blues Instrumental Performance, with the track "Fantasy" nominated for Best Jazz Instrumental Solo. Released in 1993, Miles & Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble Performance.
Miles Davis took an all-inclusive, constantly restless approach to jazz that had begun to fall out of favor by the time of his death, even as it earned him controversy during his lifetime. It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader with the hair extensions who seemed to keep one foot on a wah-wah pedal and one hand on an electric keyboard in his later years. But he did much to popularize jazz, reversing the trend away from commercial appeal that bebop began. And whatever the fripperies and explorations, he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition. At a time when jazz is inclining toward academia and repertory orchestras rather than moving forward, he is a reminder of the music's essential quality of boundless invention, using all available means.
---William Ruhlmann, All Music Guide |
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