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Miles Davis: The Last Word: The Warner Bros. Years [Box]

Track List

>Tutu
>Tomaas
>Portia
>Splatch
>Backyard Ritual
>Perfect Way
>Don't Lose Your Mind
>Full Nelson
>Lost in Madrid, Pt. 1
>Siesta/Kitt's Kiss/Lost in Madrid, Pt.2
>Theme for Augustine/Wind/Seduction/Kiss
>Submission
>Lost in Madrid, Pt.3
>Conchita/Lament
>Lost in Madrid, Pt.4/Rat Dance/The Call
>Claire/Lost in Madrid, Pt.5
>Afterglow
>Feliz, Los
>Catémbe
>Cobra
>Big Time
>Hannibal
>Jo-Jo
>Amandla
>Jilli
>Mr. Pastorius
>Kimberley Trumpet
>Arrival, The
>Concert on the Runway
>Departure, The
>Dingo Howl
>Letter as Hero
>Trumpet Cleaning
>Dream, The
>Paris Walking, Pt. 2
>Paris Walking, Pt. 1
>Kimberly Trumpet in Paris
>Music Room, The
>Club Entrance
>Jam Session, The
>Going Home
>Surprise!
>Mystery
>Doo-Bop Song, The
>Chocolate Chip
>High Speed Chase
>Blow
>Sonya
>Fantasy
>Duke Booty
>Mystery (Reprise)
>Introduction by Claude Nobs And Quincy Jones [Live at Montreux]
>Boplicity [Live at Montreux]
>Introduction to Miles Ahead Medley [Live at Montreux]
>Springsville [Live at Montreux]
>Maids of Cadiz [Live at Montreux]
>Duke [Live at Montreux], The
>My Ship [Live at Montreux]
>Miles Ahead
>Blues for Pablo
>Introduction to Porgy and Bess Medley
>Orgone
>Gone, Gone Gone
>Summertime
>Here Come De Honey Man
>Pan Piper, The
>Solea
>In a Silent Way [Live at Indigo Blues Club 12/17/1988, New York, NY 2nd Show]
>Intruder [Live at Indigo Blues Club, New York, NY 12/17/1988 2nd Show]
>New Blues [Live at Greek Theatre 8/14/1988 Los Angeles, CA]
>Human Nature [Live at Liebenauer Eishalle 11/1/1988 Graz, Austria]
>Mr. Pastorius [Live at Le Zenith Domaine de Grammond 04/12/89 Montpelier, France]
>Amandla [Live at Pallazo Della Civita 'The Steps' Rome, Italy, 07/26/1989]
>Wrinkle [Live at Casino de Montreux, Montreux International Festival 07/20/90 Montreux, Switzerland]
>Tutu [Live at Casino de Montreux 07/20/90]
>Full Nelson [Live at Osaka Expo Live Under the Sky Festival,, Tokyo, Japan 08/7/88]
>Time After Time [Live at Chicago Theatre - JVC Jazz Festival Chicago, IL 6/9/89]
>Hannibal [Live]
>Opening Medley: Theme from Jack Johnson/Speak/That's What Happened [Live at Nice Festival, France, July 1986]
>New Blues [Live at Nice Festival, France, July 1986]
>Maze [Live at Nice Festival, France, July 1986], The
>Human Nature [Live at Nice Festival, France, July 1986]
>Portia [Live from Nice Festival, France, July 1986]
>Splatch [Live at Nice Festival, France, July 1986]
>Time After Time [Live at Nice Festival, France, July 1986]
>Carnival Time [Live at Nice Festival, France, July 1986]

Album Remarks & Appraisals:

Instrumental in the development of jazz, Miles Davis is considered one of the top musicians of his era. Born in Illinois in 1926, he traveled at age 18 to New York City to pursue music. Throughout his life, he was at the helm of a changing concept of jazz.In carrying out what always seemed like a mission, Miles Dewey Davis III - musician, composer, arranger, producer, and band leader - was always in the right place at the right time, another defining aspect ofcool. Born in Alton, Illinois, and raised in East St. Louis, where his father was a dentist, Miles was given his first trumpet at age 13. A child prodigy, his mastery of the instrument accelerated as he came under the spell of older jazzmen Clark Terry, Charlie Parker, Dizzy Gillespie, Billy Eckstine, and others who passed through. He accepted admission to the Juilliard School in 1944, but it was a ruse to get to New York and hook up with Bird and Diz. Miles was 18.Cool.Within a year, he accomplished his goal. He can be heard on sessions led by Parker that were released on Savoy in 1945 (with Max Roach), '46 (with Bud Powell), '47 (with Duke Jordan and J.J. Johnson), and '48 (with John Lewis). In 1947, the Miles Davis All-Stars (with Bird, Roach, Lewis, and Nelson Boyd) debuted on Savoy. His years on 52nd Street during the last half of the 1940s brought him into the bop orbit of musicians whose legends he would share before he was 25 years old.At the turn of the decade into 1950, as Miles led his first small groups, an association with Gerry Mulligan and arranger Gil Evans ushered in The Birth of the Cool (Capitol), a movement that challenged the dominance of bebop and hard-bop. Miles' subsequent record dates as leader in the early '50s (on Blue Note, then Prestige) helped introduce Sonny Rollins, Jackie McLean, Horace Silver, and Percy Heath, among many others, establishing Miles' role as the premier jazz talent scout for the rest of his career.An historic set at the Newport Jazz Festival in 1955 resulted in George Avakian signing Miles to Columbia Records, and led to the formation of his so-called "first great quintet," featuring John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones (the'Round About Midnightsessions). Miles' 30 years at Columbia was one of the longest exclusive signings in the history of jazz, and one that spanned at least a half-dozen distinct generations of changes in the music - virtually all of which were anticipated or led by Miles or his former sidemen.Over the course of those 30 years, service with Miles became animprimaturfor the Who's Who of jazzmen.Kind Of Blue, undisputedly thecoolestjazz album ever recorded, was done in 1959 with the second edition of Miles' "first great quintet" - principally Coltrane, Chambers, Cannonball Adderley, Bill Evans, and Jimmy Cobb - who stayed together until 1961.After several intermediate groups (which featured such giants as Hank Mobley, Wynton Kelly, Victor Feldman, and George Coleman), Miles' "second great quintet" slowly coalesced over 1963-64, into the lineup of Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams (who was 17 years old when he joined Miles). They recorded with producer Teo Macero and toured around the world together until 1968, achieving artistic and commercial success that was unprecedented in modern jazz.1968 was a cataclysmic year of sea change for Miles and for America, a year of upheaval - the escalation of the war in southeast Asia, the assassinations of Martin Luther King and Robert Kennedy, and the rise of the Black Power movement were among the factors that pushed Miles' music toward a more insistent electric (amplified) pulse. At the same time, Miles dug the triple-whammy he heard in the music of James Brown, Jimi Hendrix, and Sly Stone. What began in 1968 with Miles' quintet quietly adopting.

Album Notes

Liner Note Author: Ashley Kahn.

Photographer: Richard Rothman.

Perhaps even more so than his '70s fusion period, trumpeter Miles Davis' recordings for Warner Bros. from the '80s sharply divided audiences. If 1970's Bitches Brew forced jazz fans to take sides in the debate over what qualifies as jazz, albums like 1986's Tutu and 1989's Amandla were dismissed outright by the jazz police as over-produced pop albums that bore little if any resemblance to Davis' classic recordings of the '50s and '60s. Despite such backlash from the elite, Tutu earned Davis a Grammy Award, and his records from this era often sold better than his previous, more reverent albums. Long in gestation, the 2015 eight-disc Miles Davis box set The Last Word: The Warner Bros. Years brings together all of the albums the trumpeter recorded for Warner Bros. from 1986 to 1991, plus various live recordings. Originally planned for release as far back as 2001, issues with the Davis estate meant the collection went unreleased. Instead, the label released several similar collections, including 2010's Perfect Way and 2011's 1986-1991: The Warner Years. While those sets offered useful thumbnail-sketch versions of Davis' career with Warner, they are not the complete picture that is The Last Word. Choosing for various reasons to part ways with his longtime label Columbia, Davis signed with Warner Bros. in 1985. Coming out of the tail end of his electric fusion period of the '70s and early '80s, Davis embarked on what would be his final creative period, recording and performing right up until his death in September 1991. A fruitful time for Davis, albums included here like Tutu, Amandla, and Doo-Bop found him utilizing modern technology such as computerized loops and overdubs. Working with a bevy of talented younger musicians including bassist Marcus Miller and guitarist John Scofield, Davis continued to embrace a cross-genre aesthetic, delving further into funk and hip-hop, and even collaborating with post-punk outfits like Scritti Politti (whose "Perfect Way" he covered on Tutu). Also included are Davis' soundtracks for the films Siesta and Dingo, the latter of which found him reuniting with composer Michel Legrand. Davis' Warner years also found him at the apex of his return to the stage, and to that end, this collection includes three discs of live recordings, the most notable being the storied 1991 Montreux concert with Quincy Jones in which he revisited his classic Gil Evans arrangements. Recorded months before his death, the Montreux concert impossibly brought Davis' relentlessly forward-thinking career full circle. Ultimately, while Davis' Warner years will probably never appeal to the jazz police, they reveal an artist who remained a maverick until the end. ~ Matt Collar



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