The Last Word - The Warner Bros. Years Miles Davis
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- 5Backyard Ritual04:50
- 6Perfect Way04:36
- 7Don't Lose Your Mind05:51
- 8Full Nelson05:06
- 9Lost In Madrid Part I01:49
- 10Siesta - Kitt's Kiss - Lost In Madrid Part II06:55
- 11Theme For Augustine - Wind - Seduction - Kiss06:34
- 13Lost In Madrid Part III00:50
- 14Conchita - Lament06:44
- 15Lost In Madrid Part IV - Rat Dance - The Call01:41
- 16Claire - Lost In Madrid Part V04:34
- 18Los Feliz04:35
- 21Big Time05:41
- 26Mr. Pastorius05:43
- 27Kimberley Trumpet02:30
- 28The Arrival02:07
- 29Concert On The Runway04:16
- 30The Departure01:59
- 31Dingo Howl00:41
- 32Letter As Hero01:23
- 33Trumpet Cleaning03:57
- 34The Dream03:50
- 35Paris Walking II02:04
- 36Paris Walking I03:17
- 37Kimberly Trumpet In Paris02:14
- 38The Music Room02:42
- 39Club Entrance04:24
- 40The Jam Session06:21
- 41Going Home02:12
- 44The Doo-Bop Song05:02
- 45Chocolate Chip04:41
- 46High Speed Chase04:41
- 50Duke Booty04:57
- 51Mystery (Reprise)01:27
- 52Introduction By Claude Nobs And Quincy Jones (Live at Montreux)01:25
- 53Boplicity (Live at Montreux)03:40
- 54Introduction To Miles Ahead Medley (Live at Montreux)00:09
- 55Springsville (Live at Montreux)03:33
- 56Maids Of Cadiz (Live at Montreux)03:38
- 57The Duke (Live at Montreux)04:00
- 58My Ship (Live at Montreux)04:11
- 59Miles Ahead (Live at Montreux)03:38
- 60Blues For Pablo (Live at Montreux)06:06
- 61Introduction To Porgy And Bess Medley (Live at Montreux)00:28
- 62Orgone (Live at Montreux)04:09
- 63Gone, Gone Gone (Live at Montreux)01:48
- 64Summertime (Live at Montreux)02:54
- 65Here Come De Honey Man (Live at Montreux)03:41
- 66The Pan Piper (Live at Montreux)01:40
- 67Solea (Live at Montreux)11:47
- 68In A Silent Way (Live at Indigo Blues Club 12/17/1988, New York, NY 2nd Show)01:50
- 69Intruder (Live at Indigo Blues Club, New York, NY 12/17/1988 2nd Show04:52
- 70New Blues (Live at Greek Theatre 8/14/1988 Los Angeles, CA05:35
- 71Human Nature (Live at Liebenauer Eishalle 11/1/1988 Graz, Austria)12:48
- 72Mr. Pastorius (Live at Le Zenith - Domaine de Grammond 04/12/89 Montpelier, France03:32
- 73Amandla (Live at Pallazo Della Civita 'The Steps' Rome, Italy, 07/26/198905:52
- 74Wrinkle (Live at Casino De Montreux, Montreux International Festival 07/20/90 Montreux, Switzerland07:17
- 75Tutu (Live at Casino De Montreux 07/20/9008:53
- 76Full Nelson (Live at Osaka Expo Live Under The Sky Festival,, Tokyo, Japan 08/7/8802:48
- 77Time After Time (Live at Chicago Theatre - JVC Jazz Festival Chicago, IL 6/9/8909:59
- 78Hannibal (Live)07:23
- 79Opening Medley ('Theme From Jack Johnson' / 'Speak' / That's What Happened')( Live at Nice Festival, France, July 1986)15:11
- 80New Blues (Live at Nice Festival, France, July 1986)05:21
- 81The Maze (Live at Nice Festival, France, July 1986)10:16
- 82Human Nature (Live at Nice Festival, France, July 1986)09:04
- 83Portia (Live from Nice Festival, France, July 1986)07:55
- 84Splatch (Live at Nice Festival, France, July 1986)17:11
- 85Time After Time (Live at Nice Festival, France, July 1986)07:23
- 86Carnival Time (Live at Nice Festival, France, July 1986)04:20
Info for The Last Word - The Warner Bros. Years
In 1985, Miles Davis shocked the music world by moving from Columbia to Warner Bros.. He immediately started working on an album called Perfect Way after a tune by Scritti Politti, later renamed Tutu by producer Tommy LiPuma. When Tutu (a tribute to Desmond Tutu) was released in 1986, it re-ignited Miles Davis’ career, crossing over into the rock and pop markets and winning him two Grammy Awards. A definitive collection of the later part of Miles Davis’ work, lavishly packaged and remastered, from the Warner Bros studio albums Tutu, Amandla and Doo-Bop, the Dingo and Siesta soundtracks, live recordings with Quincy Jones, and the likes of Kenny Garrett, Foley and Adam Holzman.
„Change isn't always welcome. As long as things are going okay, folks would just as soon leave things the way they are. But what's okay for one person or group may not be the same for others. So, when Miles Davis hit the 1970s and 1980s with a fusion of hip, electronic, synthesized and mainstream sounds in one tight package, some folks resisted. Some even complained. Even today, many feel that everything Davis did after 1969 isn't worth collecting.
There are some recordings from those years that are well worth collecting. This 4-CD collection contains all of Davis' Warner Bros. albums plus significant, previously unissued material. It's over five hours of modern jazz, some of which you may already own. Complete albums Tutu and Amandla provide an interesting look at what changes the veteran leader had in mind during this late period of his career.
Then, there's Doo-Bop. Completed posthumously, the album rivals the Dingo soundtrack album for the honor of being Davis' worst ever: not for style, but for the uneven trumpet work he displayed at that time.
Guest appearances Davis made on albums by Shirley Horn, Paolo Rustichelli, Kenny Garrett, Cameo and Toto are included in the collection. Each provides a suitable reminder of why the trumpeter remained so influential all those years. Pieces from film soundtracks, some of it previously unissued, feature Davis' trumpet in a variety of settings. Music from the films Street Smart, Siesta, Scrooged , The Hot Spot and Dingo reveal how natural it was to have Davis sit in just about anywhere. The creative music from Siesta recalls Davis' collaboration with Gil Evans on Sketches of Spain. The swinging piece from Scrooged pairs the trumpeter with David Sanborn, Paul Shaffer, Larry Carlton and a crew of merry hipsters. The blues themes from The Hot Spot pair him with John Lee Hooker and Taj Mahal.
Previously unissued material includes 'Maze with Bob Berg, Mike Stern and others, 'Rubber Band with Stern, a reflective 'See I See with Stern and Adam Holzman and an up-tempo 'Digg That with John Bigham and Jeff Lorber. The pieces include some hip-hop and some of the same synth/vocal effects found on Doo-Bop. Two stellar excursions from the 1986 Nice Jazz Festival and three selections from a 1989 appearance on the NBC television series Night Music , with David Sanborn, Kenny Garrett, Marcus Miller and others, make you wonder why they were never released before. Well, they're her now; in stores already, and listing for a fair price. It's bound to make many collectors happy, and, hopefully, it will open some ears to the positive aspects of the work from Miles Davis' last years.“ (Jim Santella, AllAboutJazz)
Trumpeter Miles Davis grew up in East St. Louis, Illinois, just across the river from St. Louis, Missouri. His parents were affluent, and had the means to support his musical studies as a boy. He began playing the cornet at age nine, and received his first trumpet at around twelve or thirteen. He studied classical technique, and focused mainly on using a rich, clear tone, something that helped define his sound in later years.
As a teenager, he played in various bands in St. Louis, which was rich with jazz, as big bands often stopped there on tours throughout the Midwest and southern states. The most important experience he had was when he was asked to play in the Billy Eckstine band for a week as a substitute. The group included Charlie Parker, Dizzy Gillespie, and Sara Vaughan. After playing with these stars, Davis knew he had to move to New York to be at the heart of the jazz scene.
In Pursuit of Parker:
In 1944 Davis moved to New York City where he had earned a scholarship to study trumpet at the Juilliard School of Music. Upon arriving however, he sought after Charlie Parker, and meanwhile spent all of his time in jazz clubs listening to bebop. He was transfixed on the music, and grew utterly bored with his classical studies. After less than a year at Juilliard, he dropped out and tried his hand at performing jazz. Although not particularly stunning, his playing was good enough to finally attract Charlie Parker, and Davis joined his quintet in 1945. He was often criticized for sounding inexperienced, and was compared unfavorably to Dizzy Gillespie and Fats Navarro, who were the leading trumpeters at the time. Both boasted stellar technique and range, neither of which Davis possessed. In spite of this, he made a lasting impression on those who heard him, and his career was soon set aloft.
Cool Jazz and a Rise to Fame:
Encouraged by composer and arranger Gil Evans, Davis formed a group in 1949 that consisted of nine musicians, including Lee Konitz and Gerry Mulligan. The group was larger than most bebop ensembles, and featured more detailed arrangements. The music was characterized by a more subdued mood than earlier styles, and came to be known as cool jazz. In 1949 Davis released the album Birth of the Cool (Captiol Records). Change of artistic direction became central to Davis’ long and increasingly influential career. After dabbling in hard bop as a leader on four Prestige recordings featuring John Coltrane, he signed with Columbia records and made albums that featured Gil Evans’ arrangements for 19-piece orchestra. These were Miles Ahead, Porgy and Bess, Sketches of Spain, and Quiet Nights. He rose in popularity with these recordings, in part due to his signature sound, which he often enhanced by using a Harmon mute.
Kind of Blue and Beyond:
In 1959 Davis made his pivotal recording, Kind of Blue. It was a departure from all of his previous projects, abandoning complicated melodies for tunes that were sometimes only composed of two chords. This style became known as modal jazz, and it allows the soloist expressive freedom since he does not have to negotiate complex harmonies. Kind of Blue also featured John Coltrane, Cannonball Adderley, and Bill Evans. The album is one of the most influential in jazz, and is Columbia Records’ best-selling jazz record of all time. In the mid 1960s Davis changed directions again, forming a group with Herbie Hancock, Wayne Shorter, Tony Williams, and Ron Carter. This group was known for the excellence of each individual member, and also for its unique performance approach. Each night the tunes would sound different, as the musicians would sometimes only loosely adhere to the song structures, and often transition from one right into the next. Each player was given the chance to develop his solos extensively. Like all of Davis’ previous groups, this quintet was highly influential.
Despite health problems, drug addiction, and strained personal relationships, Davis continued to play, changing his approach with each new project. In the late 60s and 70s, he began to experiment with electronic instruments, and grooves that were tinged with rock and funk music. Two famous recordings from this period are In a Silent Way and Bitches Brew. By the time the 1980s rolled around, Davis was not only a jazz legacy, but a pop icon, whose music, persona, and fashion style were legendary. Davis died in 1991, as perhaps the most influential jazz artist ever. His vast body of work continues to be a source of inspiration for today’s musicians. (Jacob Teichroew, About.com Guide)
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