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2024 0-9 z y x w v u t s r q p o n m l k j i h g f e d c b a

Miles Davis - Miles Davis Hits and Rarities '2022

Miles Davis Hits and Rarities
ArtistMiles Davis Related artists
Album name Miles Davis Hits and Rarities
Country
Date 2022
GenreJazz
Play time 2:47:44
Format / Bitrate Stereo 1420 Kbps / 44.1 kHz
MP3 320 Kbps
Media CD
Size 755 / 392 MB
PriceDownload $6.95
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Tracks list

Tracklist:

01. Deception (Remastered)
02. Boplicity
03. Chance It (Remastered 1998)
04. Kelo
05. Blackmail (The Hot Spot/Soundtrack Version)
06. Rocker
07. Israel (Remastered)
08. Budo
09. Move
10. Godchild (Remastered)
11. Moon Dreams
12. Venus De Milo
13. Rouge
14. Jeru
15. Donna
16. Jeru (Remastered)
17. Ray's Idea
18. Woody 'N You (Alternate Take)
19. Budo (Hallucinations) (Live At The Royal Rooster, New York, September 4,
1948 / Remastered)
20. C.T.A.
21. Enigma
22. Darn That Dream (Remastered)
23. Lazy Susan (Remastered 1998)
24. Gloria's Story (The Hot Spot/Soundtrack Version)
25. I Waited For You (Rudy Van Gelder Edition/Remastered 1998)
26. Why Do I Love You (Live At The Royal Rooster, New York, September 4, 1948 /
Remastered)
27. Tempus Fugit
28. Take Off
29. Yesterdays
30. It Never Entered My Mind
31. Dear Old Stockholm
32. S'il Vous Plait (Live At The Royal Rooster, New York, September 4, 1948 /
Remastered)
33. How Deep Is The Ocean
34. Weirdo
35. The Leap
36. Well You Needn't
37. Out Of The Blue (Live / Remastered)
38. Lady Bird (Live / Remastered)
39. End Credits/The Hot Spot (The Hot Spot/Soundtrack Version)
40. Down (Live At Birdland)
41. Half Nelson (Live At Birdland)
42. Somethin' Else


 moreBorn 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 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, 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 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 and 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 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.

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. 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.

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 best-seller 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
'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.

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. 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 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 music's 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 Everything's 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
Nelson's documentary Miles Davis: Birth of the Cool, which showcased music from
throughout Davis' career. Also included on the documentary's soundtrack was a
newly produced track, "Hail to the Real Chief," constructed out of previously
unreleased Davis recordings by the trumpeter's fusion-era bandmates drummer
Lenny White and drummer (and nephew) Vince Wilburn, Jr. ~ William Ruhlmann

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