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Miles Davis - Greatest Hits of Miles Davis '2021

Greatest Hits of Miles Davis
ArtistMiles Davis Related artists
Album name Greatest Hits of Miles Davis
Country
Date 2021
GenreJazz
Play time 3:45:10
Format / Bitrate Stereo 1420 Kbps / 44.1 kHz
MP3 320 Kbps
Media CD
Size 1.4 GB / 520 MB
PriceDownload $8.95
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Tracks list

Tracklist:

01. Blue in Green
02. Round Midnight
03. Bye, Bye, Blackbird
04. Dear Old Stockholm
05. Flamenco Sketches
06. Freddie Freeloader
07. So What
08. All Blues
09. All of You
10. Tadds Delight
11. If I Were a Bell
12. Ah-Leu-Cha
13. Woodyn You
14. Youre My Everything
15. Oleo
16. Springsville
17. I Could Write a Book
18. It Could Happen to You
19. Au bar du petit Bac
20. My Ship
21. Miles Ahead
22. The Maids of Cadiz
23. The Duke
24. New Rhumba
25. Lament
26. Sur lautoroute
27. Blues for Pablo
28. Chez le photographe du motel
29. Julien dans lascenseur
30. The Meaning of the Blues
31. Dîner au motel
32. It Never Entered My Mind
33. Evasion de Julien
34. I Dont Wanna Be Kissed (By Anyone but You)
35. In Your Own Sweet Way
36. Tranes Blues
37. Four
38. Half Nelson
39. Ahmads Blues
40. Florence sur les Champs-Élysées
41. The Theme (Take 1)
42. Lassassinat de Carala
43. Visite du Vigile
44. The Theme (Take 2)
45. Générique


 Read Full BiographyBorn in 1926, Davis was the son of dental surgeon, Dr.
Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis, and 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
got jobs playing in local bars and at 16 was playing gigs out of town on
weekends. At 17, he joined Eddie Randles 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 Eckstines big
band, which 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 Parkers 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 Carters band and making his first recordings as a sideman. He
played with Eckstine in 1946-1947 and was a member of Parkers 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 and produced 12 tracks that attracted little attention at first. The
bands 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.)

Round About MidnightDavis, 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 trumpeters 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 major-label
Columbia 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.

The New Miles Davis QuintetAs 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.

Ascenseur pour lÉchafaud [Original Motion Picture Soundtrack]In December
1957, Davis returned to Paris, where he improvised the background music for the
film LAscenseur pour lEchafaud. 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, which recorded 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 album 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.

Someday My Prince Will ComeBy 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 best-seller lists by the Davis quintets 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.

Miles Davis and Gil Evans: The Complete Columbia Studio RecordingsIn 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.

E.S.P.By September 1964, the final member of the classic Miles Davis Quintet of
the 60s 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 bandmembers themselves, 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.

Miles Davis at Fillmore: Live at the Fillmore EastBitches 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.

We Want MilesBy 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 Youre Under Arrest. In 1986, after 30 years with Columbia, he
switched to Warner Bros. and released Tutu, which won him his fourth Grammy for
Best Jazz Instrumental Performance.

AuraAura, 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.

Everythings BeautifulMiles Davis took an all-inclusive, constantly restless
approach to jazz that won him accolades and earned him controversy during his
lifetime. It was hard to recognize the bebop acolyte of Charlie Parker in the
flamboyantly dressed leader 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
started. 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. He is a reminder of the musics essential quality of boundless
invention, using all available means. Twenty-four years after Davis death, he
was the subject of Miles Ahead, a biopic co-written and directed by Don Cheadle,
who also portrayed him. Its soundtrack functioned as a career overview with
additional music provided by pianist Robert Glasper and associates.
Additionally, Glasper enlisted many of his collaborators to help record
Everythings Beautiful, a separate release that incorporated Davis master
recordings and outtakes into new compositions. In 2020, the trumpeter was also
the focus of director Stanley Nelsons documentary Miles Davis: Birth of the
Cool, which showcased music from throughout Davis career. Also included on the
documentarys soundtrack was a newly produced track, Hail to the Real Chief,
constructed out of previously unreleased Davis recordings by the trumpeters
fusion-era bandmates drummer Lenny White and drummer (and nephew) Vince Wilburn,
Jr. ~ William Ruhlmann

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