Miles Davis

Miles Davis Someday My Prince Will Come https://t.co/Pb84SmogfM via @YouTube

More #Jazz & Pics https://t.co/qvCcsDuJx2

#MilesDavis #JohnColtrane #ChetBaker #BillEvans #SonnyRollins #BillieHoliday pic.twitter.com/39afJOfnp1

— jazzbreak (@JazzBreak1) April 17, 2019

Miles Davis recorded Kind of Blue

Miles Davis recorded Kind of Blue, the bestselling jazz record of all time, #onthisday in 1959. The iconic album was recorded for Columbia Records, and features performances by John Coltrane, Bill Evans, Wynton Kelly, Cannonball Adderley, Paul Chambers, and Jimmy Cobb. pic.twitter.com/VU73InSjam

— Jazz On This Day (@jazzonthisday) March 2, 2018

Miles Davis in his house

#Jazz #MilesDavis #JazzStage
Miles Davis in his house, West 77th Street, New York, 1971 - Photo by Anthony... https://t.co/aLBFHkE8Sq

— Peter McConnell (@jazzstagenet) 4 de março de 2017

video of a nonet playing

At JazzWax, video of a nonet playing Miles Davis's "Birth of the Cool" material. Thrilling to see and hear... https://t.co/4NMbypIQWT pic.twitter.com/Car902ZogO

— Marc Myers (@JazzWax) 3 de fevereiro de 2017

Herbie Hancock / Miles Davis - Watermelon Man

Published on Apr 11, 2015
Miles Davis-trumpet....
Herbie Hancock-keyboards....
Bill Evans-sax .....
Kenny Garrett-sax....
Foley-guitar....
Al Foster-drums....
Richard Patterson-bass....

#MilesDavis is number one

Miles Davis is number one in top 50 greatest jazz albums - AOL UK https://t.co/Ive1H4qVmt

— Jazz music view (@Jazzmusicview) 14 de novembro de 2016

“Blue in Green (Mono Version)”

“Blue in Green (Mono Version)” by Miles Davis, from the album The Original Mono Recordings pic.twitter.com/f1BODjDVzB

— theegg (@THEEGGONLINE) October 17, 2016

#MilesDavis Bootleg series

New JT Poll on Legacy's acclaimed Miles Davis Bootleg series. Scroll down to vote. https://t.co/soM4iMMl8D

— JazzTimes Magazine (@JazzTimes) October 6, 2016

#MilesDavis and #JohnColtrane recorded ....

Miles Davis and John Coltrane recorded "Round Midnight" 60 years ago today. #ThisDayInJazz #Miles #Trane pic.twitter.com/G0tXKV3rdJ

— JazzatLincolnCenter (@jazzdotorg) September 10, 2016

Why Miles Davis’s Kind of Blue ....

Why Miles Davis’s Kind of Blue is one of the greatest jazz albums of all time via @htTweets https://t.co/BM3UmKXEhC

— Orgetorix (@Orgetorix1) August 28, 2016

#MilesDavis

#jazz "I can tell whether a person can play just by the way he stands" Miles Davis • https://t.co/2uHl6S3ju3 • pic.twitter.com/UPUrBYlJXB

— A Passion for Jazz!® (@APassion4Jazz) August 19, 2016

Hear Miles Davis

Hear Miles Davis' Previously Unreleased Live version of "Footprints" http://t.co/C9g90KO9vN http://t.co/weJCnD7Hl6

— Jazz Crowd (@JazzCrowd) March 12, 2014

What drew jazz musicians like Miles Davis

#jazz #MilesDavis
The Life of a Song: ‘Someday My Prince Will Come’

What drew jazz musicians like Miles Davis... https://t.co/nm3EexST4C

— Peter McConnell (@jazzstagenet) July 10, 2016

What's your favourite Miles Davis record? https://t.co/u49B5Pdo80

— AddictedToJazz (@AddictedToJazz) June 13, 2016

Miles Davis: Musings of Miles

Reprinted from http://jazzwax.com

Admittedly, I'm a Miles Davis purist when it comes to his mid-1950s recordings. This means I'm not especially big on Davis in crowds. I find his sessions with vibes, trombones and saxophones unnecessarily choked and distracting from the essential beauty and lyricism of his horn. I even feel that John Coltrane's tenor saxophone is often overwrought and claustrophobic on these mid-1950s dates. It's as if you're listening to a dazzling party guest only to be interrupted by a humorless, ponderous third. That's true for almost any other instrumentalist on a Davis date. For me, perfection is Davis with just a trio.

For whatever reason, Davis recorded only three sessions in the early and mid-1950s with just a trio: Blue Haze with John Lewis (p), Percy Heath (b) and Max Roach (d) in 1953 and a quartet session for Blue Note with Horace Silver (p), Percy Heath (b) and Art Blakey (d) in 1954. But the finest expression of the quartet format was The Musings of Miles, which featured Garland with Oscar Pettiford (b) and Philly Joe Jones (d). The album was recorded on June 7, 1955 and it was was Davis's first 12-inch LP (the others had been 10-inch pressings).

Davis's horn on Musings of Miles is precious and pure, like a crystal clear day or a carafe of cold spring water. Garland is equally exquisite and delicate, framing Davis's every idea. Garland, of course, was a bluesy exponent of Ahmad Jamal's spare approach on the keyboard, favoring the upper register for improvised lines and block chord in the middle to make bold statements. [Photo above of Miles Davis leaning over pianist Red Garland, with drummer Philly Joe Jones and bassist Paul Chambers in the background during the Cookin’sessions in New York on May 11, 1956. Michael Ochs Archives/ Getty Images]

Davis employed Garland when he failed to persuade Jamal to join his band in 1955. As Ahmad told me, both were leaders back then and it didn't seem to make much sense for him to join Davis's group when Davis could just as well join his trio. If only Miles had joined the Ahmad Jamal Trio for a year in the early 1950s. Can you imagine the results if they had recorded? Pure bliss. Keep in mind, on Musings of Miles—which was, in fact, Garland's first album with Davis—Will You Still Be Mine and Gal in Calico were purposeful lifts of Jamal's approach on both songs. [Photo above of Ahmad Jamal]

The Musings of Miles is a sensitive, regal album expressing Davis's emerging beauty and keen sense of taste and discretion. Like Garland, Davis understood the balance between sound and space. He also understood that sensuality mattered more than sheer power—or sheets of sound. [Photo above of Miles Davis in 1955 listening to a studio playback]

JazzWax clip: Pour yourself a cup of coffee or tea, sit back and listen to the entire Musings of Miles. Dig what Garland is doing as Davis plays. His chord voicings are so pretty...

Used with permission by Marc Myers

Miles Davis: 1951-54

Reprinted from http://jazzwax.com

After Miles Davis's bebop years with Charlie Parker (1945-1949) and his cool nonet experiments between 1948 and 1950, the trumpeter set to work developing his solo sound as the leader of potent ensembles. Davis's recordings made between 1951 and '54 are noteworthy for listeners who want to experience his approach prior to 1955, when he signed with Columbia Records and became jazz's first modernist superstar. During his 10-inch LP era in the early '50s, Davis was both ferocious and sensitive, confident and curious, brashly dissonant and joyfully melodic. No matter the mood, Davis was always gorgeous and sculptural, similar in many ways not to Frank Sinatra, with whom he's often compared, but to Gene Kelly. Davis, as you can hear, was really a modern dancer, expressing himself in staccato taps or in flowing, expressive legato. His ballads could be romantic and decadent, and the hot stuff sizzled, like a drill bit eating into stone.

During this transition period, Davis recorded largely for Prestige, with a clutch of sessions for Blue Note. Yesterday, I spent the day listening in-depth to his recordings during these four years. Rather than get into the nitty-gritty of all the dates, I simply want to share five remarkable tracks that you may not be familiar with or have overlooked. No matter how nasty Davis is portrayed in films and books, it should never be forgotten how exceptional an artist he was and what made him so extraordinary. [Photo above of Miles Davis by Esmond Edwards/CTSImages]

Here's Bluing, from October 1951, featuring Miles Davis (tp), Jackie McLean (as), Sonny Rollins (ts), Walter Bishop, Jr. (p), Tommy Potter (b) and Art Blakey (d)...

Here's For Adults Only in February 1953, featuring Miles Davis (tp), Al Cohn (ts,arr), Zoot Sims (ts), John Lewis (p), Leonard Gaskin (b) and Kenny Clarke (d). It sounds like Sims takes the first tenor saxophone solo followed by Cohn...

Here's Kelo from April 1953, featuring Miles Davis (tp), J.J. Johnson (tb), Jimmy Heath (ts), Gil Coggins (p), Percy Heath (b) and Art Blakey (d)...

Here's Miles Ahead from May 1953, featuring Miles Davis (tp), John Lewis (p), Percy Heath (b) and Max Roach (d)...

And here's Lazy Susan from March 1954, featuring Miles Davis (tp), Horace Silver (p), Percy Heath (b) and Art Blakey (d)...

Used with permission by Marc Myers

6 Miles Davis Albums That Changed Music

Hulton Archive/Getty Images

March 26, 20165:36 PM ET
NPR STAFF

Miles Davis died in 1991, but his influence on music is still being felt. The new film Miles Ahead, produced, co-written, directed by and starring Don Cheadle, is giving a new audience a fresh take on one period in the musician's career.

Davis himself wasn't the most humble about his musical sway. At a White House dinner in 1987, the jazz musician was asked what he'd done to deserve to be there. Davis wrote in his autobiography that he replied, "Well, I've changed music five or six times."

Davis' career spanned more than 50 years and encompassed everything from bebop to avant-garde to hip-hop. Professor Sean Jones of the Berklee College of Music in Boston teaches a class on Miles Davis.

"It's kind of controversial," he tells NPR's Michel Martin about Davis' claim to have changed the face of music. "You can make the argument that he indeed did change music a few times, five or six times. But you could also state that he was at the forefront of the change, by putting together bands that were a part of the movements that were going on. And I tend to subscribe to that notion.

"He, having such a unique voice, he was able to superimpose his sound on that change, making it seem as if he were the change agent."

NPR asked Jones to compile some of his favorite Miles Davis songs and albums that showcase how Davis changed — or helped change — musical tastes.


This list is sure to be debated. If you think we missed something, let us know in the comments section.

read more: http://www.npr.org/2016/03/26/471892355/6-miles-davis-albums-that-changed-music

Miles Davis. Dark Magus

Willi (cut track). Dark Magus is a live album by jazz artist Miles Davis recorded at Carnegie Hall in New York City on March 30, 1974.
Miles Davis organ,
electric trumpet with Wah Wah.

JazzDoc: Miles Davis

Reprinted from http://jazzwax.com
It's easy to forget how influential, poetic and blistering Miles Davis was as a jazz artist and larger-than-life personality. Here's a terrific British documentary on the trumpeter [photo above by Herb Snitzer]...

Used with permission by Marc Myers

In Honor Of Miles Davis’ Birthday ....

No one claims the title of "cool" better than Miles Dewey Davis III: the composer, trumpeter and international jazz icon best known as Miles Davis.

Though not inducted into the Rock and Roll Hall of Fame until 2006, Davis' contributions to jazz and its various sub-genres—jazz-funk, bebop, cool jazz, etc.—made a profound impact on 20th century music, as well as to the betterment of countless music lovers' lives. 

This Sunday, May 26, marks the musician's 87th birthday. In honor of this special occasion,Legacy Recordings is featuring Davis as their current "Artist of the Month."

To continue this celebration, one lucky jazz aficionado will win a prize pack containing Kind of Blue 50th Anniversary Collector’s Edition; The Complete Bitches Brew Sessions(October 1998): a 4-CD boxed set that won the Grammy for "Best Boxed Recording Package"; Miles Davis Quintet 1965-’68: The Complete Columbia Studio Recordings (February 1998), which is the 6-CD box set that won the Grammy Award for "Best Album Notes"; and Live In Europe 1969.

Read more: http://filtermagazine.com/index.php/contests/entry/in_honor_of_miles_davis_birthday_this_sunday_win_a_prize_pack_of_collectors/