Compiled by the man largely responsible for the 'acid jazz' movement [a tongue in cheek answer to 'acid house'!], Jazz Juice was Gilles Peterson's first series of compilations made when he was still in his early twenties. The selections across these eight volumes were lovingly compiled and came to represent what was to be a resurgence of interest in all things 'cool' in jazz in the eighties, when jazz was brought to the club dancefloors via DJ sets for the first time and lost Afro-Cuban & Latin Jazz, rare grooves and Blue Note releases were keenly revived. Miles Davis, Art Blakey, Sergio Mendes, Jon Hendricks, Marcos Valle, Woody Herman, Dave Brubeck, and more..

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles…

Mixing the music of jazz icon Miles Davis with sounds and instruments from India, as producers Bob Belden and Yusuf Gandhi did on Miles from India, was far from an outrageous proposition. Davis set the precedent himself — not only with his use of Indian players like the tabla virtuoso Badal Roy in sessions issued on albums like Big Fun and Get Up with It, but also with his sinuous modal compositions stretching back to 1959's epochal Kind of Blue and continuing through his electric period of the '70s.

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session - featuring Thelonious Monk - which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed…

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both…

A beautiful way to experience the early work of Miles Davis - all 14 of his 50s albums for Prestige Records, presented in a special box that contains each album in a tiny replica LP-styled sleeve. The music here is the stuff of legend - trumpet material that really transformed the way the instrument was used in jazz - as Davis really comes into his own as a leader, after time spent recording with Charlie Parker, and doing a bit for Blue Note - then really taking off in the full length space offered by the album format on Prestige. Some of these sets feature classic collaborations with the young John Coltrane, and others include work with Sonny Rollins on tenor, Milt Jackson on vibes, and JJ Johnson on trombone - as well as the famous rhythm section of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums…

This rather streaky set of music features Miles Davis with keyboardist Robert Irving III (who has since slipped into obscurity) and guitarist John Scofield contributing most of the compositions and the other solos. There are some moments of interest (Branford Marsalis is heard on some cuts on soprano), but it is doubtful if anyone will be reviving "Robot 415," "Freaky Deaky," or "Code M.D." anytime soon.

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session - featuring Thelonious Monk - which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed…

Including sessions recorded the same day as those on Bags Groove, this album includes more classic performances from the date that matched together trumpeter Miles Davis, vibraphonist Milt Jackson, pianist Thelonious Monk, bassist Percy Heath, and drummer Kenny Clarke. Davis and Monk actually did not get along all that well, and the trumpeter did not want Monk playing behind his solos. Still, a great deal of brilliant music occurred on the day of their encounter, including "The Man I Love," "Bemsha Swing," and "Swing Spring."

This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for.

On this 1983 release, Miles Davis rediscovers the blues. He really stretches out on "Star People," making dramatic use of silence and placing each note carefully. "Come Get It" is also memorable although "U 'n' I" (which had the potential to catch on) is only heard in a truncated version. In general Davis is in fine form on this set and, although saxophonist Bill Evans is barely heard from (many of his solos were edited out), the contrasting guitars of Mike Stern and John Scofield hold one's interest.

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.
Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean…

In a Silent Way is a studio album by American jazz musician Miles Davis, released July 30, 1969 on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969 at CBS 30th Street Studio B in New York City. Incorporating elements of classical sonata form, Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances.

Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 - after Coltrane and Cannonball Adderley had left the band - Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art…

Given that 'Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, and debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album's release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year…