[.ca] Complete Studio Recordings

From Amazon.com:
By 1965 Miles Davis had gone through a handful of stages, from the Birth of the Cool nonet's multihued orchestrations to the development of a hard-bop sound keeled on Davis's midregister wooziness and the band's driving backbone in the "first" great quintet (featuring John Coltrane), to the modal freedom of Kind of Blue. So when the solidly established Davis convened a new quintet, known as his "second" great one, and hired youngsters Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, it seemed a skewed move. These six CDs show just how creatively and intelligently skewed the move really was. The material here, which has also been reissued on expanded single CDs of the main full-length original LPs (E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky), is immediately and unceasingly startling. Davis & Co. were quickly discarding their live performance practice of playing loads of standards and were further discarding traditional melodic structures for more rigorous harmonic exercises. Shorter in particular, at times the most prolific composer in the band, was advancing his tunes and his solos in equal proportion. The tunes are increasingly sharp-edged and, with Williams driving the band with a categorical balance of abandon and control, loopily energized. Miles blows with tighter and tighter control of his tone even while the band seems to be finding all kinds of expressive freedoms that easily elongate into lengthier studies. Toward the end of this box, you'll hear the seeds of the Miles that went on to unloose Bitches Brew. Even though the roots of the aggressively electric Miles are in these sessions, there are uncategorizable points of beauty strewn all over the tunes. --Andrew Bartlett

Un Essentiel amazon.fr:
Six CD, sept heures vingt et une minutes de musique, vingt-sept séances en studio, cinquante-six plages remixées parmi lesquelles huit secondes prises inédites et quatre répétitions d'orchestre soit l'une des périodes les plus créatives de Miles Davis sur un plan strictement musical. Wayne Shorter a rejoint son nouveau quintette en septembre 1964 pour enregistrer E.S.P., Miles Smiles, Sorcerer et Nefertiti, inoubliables chefs-d'oeuvre. Wayne apporte ses propres compositions. Miles les arrange et les joue avec son groupe - Herbie Hancock, Ron Carter et Tony Williams en sont les autres musiciens -, invente un jazz modal et libre, une musique abstraite et nouvelle. En septembre 1967, Miles réunit son équipe pour une séance expérimentale, la première de son futur parcours électrique. À la guitare, Joe Beck. Hancock joue du célesta. Les magnétophones tournent plus d'une demi-heure, gardent en mémoire "Circle In The Round", pour la première fois publié ici dans sa version complète, une pièce plus simple sur le plan de la forme, un long ostinato mis en boucle. Miles va peu à peu changer la couleur de sa musique, les instruments électriques lui apporter d'autres sonorités. En 1968 commencent ainsi les séances d'un nouvel album, Filles de Kilimanjaro. Au cours de l'enregistrement Ron Carter et Herbie Hancock quittent le quintette. Dave Holland et Chick Corea les remplacent pour d'autres aventures. --Pierre de Chocqueuse

the Maverick that was Miles Davis:
after having the kind of Run Miles had in the 50's nobody would have held it against Him for playing it safe in the 60's.but Miles Davis was never a Cat to rest on what He did.He was always trying to find new ways to expand on what he had already done.He Sounds like a whole different person from His 50's Output & that is the best sign of Musical growth.His Band during this time Period were some of the Baddest Players on the Planet then as is now.Ron Carter on bass,Herbie Hancock on Keys,Wayne Shorter handling things on Sax & Tony Williams on Drums.just thinking of those Cats as Solo Artists alone is Scary but to combine that with Miles Davis still blows the Mind.these Discs Cover Tracks that didn't make the Cut also Tracks that are Extended & Simply Highlight a Band that had no Limits & were on top of there Game.Miles Davis you can sense was planning even more.to Hear Him leading the Direction & allowing the Spacing that He was known for makes this Set even more of a Treasure.Miles always got the Best Cats to Play & He also Brought the Best out of Cats as well.Enjoy.

Stick with the Remastered Albums:
From AMG.com--"There's no question that this material is necessary for any jazz collection, BUT this may not necessarily be the best way to acquire it. The strict chronological sequencing is according to session order, which means the sequencing of the original albums - which was quite effective in conveying the combo's ideas - is thrown out of line, and the long stretches where alternates and master takes are back to back may be tedious to some listeners. Also, packaging all the discs within cardboard mock-record sleeves in a bound booklet may look attractive, but it's impractical and not designed for heavy listening."

Please send the reviewer below back to elementary school!!:
To give 1 star for including the chronological order of the tracks is childish!! Think of Mosaic Records, they do the same and we reap the rewards of newly discovered Classic Jazz. To go further- would you prefer the treatment Columbia gave Dave Brubeck w/ his new box, "Timeless"? 5 cd's, and no new tracks or liner notes: How's that for treatment? As for the reviewer below, he can dust off his old sing/along Raffi album's for comfort. cheers- jb

Now THIS IS JAZZ !!!:
Like another reviewer had posted - this is Miles' best box set. This is also my favorite backing he had with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. It is that period where Davis goes from acoustic Jazz to electric jazz (which starts to appear at the end of CD 5 and into 6) with the addition of electric bass and fender rhodes and other assorted keys. This is definately THE STUFF!!! Get it!

Cannot replace the iconic value of the originals:
As in most things, personal taste is crucial. If you are coming to Miles Davis for the first time, this is an expensive way to do it. If you are coming to him after a lifetime of listening, then the original recordings, with their original sequence of tracks, remain irreplaceable. Additionally, the later work of this band is less to my taste than the work on ESP.

	Custom Search