Details
Track Listing
1. Round Midnight
2. Stella by Starlight
3. Springsville
4. Summertime
5. So What
6. Someday My Prince Will Come
7. Seven Steps to Heaven
8. Walkin'
9. E.S.P.
Album Notes
Personnel: Miles Davis (trumpet, flugelhorn); Julian "Cannonball" Adderly (alto saxophone, saxophone); John Coltrane, Hank Mobley, George Coleman, Wayne Shorter (tenor saxophone); Daniel B. Banks (saxophone); Bernie Glow, Ernie Royal, Louis R. Mucci, John Coles (trumpet); Jimmy Cleveland, Joseph Bennett, Richard Hixon, Frank Rehak (trombone); Tom Mitchell (bass trombone); Willie Ruff, Julius B. Watkins, Gunther Schuller (French horn); John "Bill" Barber (tuba); Philip Bodner, Romeo M. Penque (flute); William "Red" Garland, Bill Evans, Wynton Kelly, Victor Feldman, Herbie Hancock (piano); Paul Chambers, Ron Carter (bass); Philly Joe Jones, Jimmy Cobb, Art Taylor, Tony Williams (drums).
Compilation producers: Steve Berkowitz, Kevin Gore, Mike Berniker.
Recorded between October 27, 1955 and January 2, 1965. Includes liner notes by Tom Piazza.
This is part of Legacy's THIS IS JAZZ series.
As James Isaacs's liner notes observe, Miles wasn't the first jazz musician to work with plugged in sounds, but his influence was such that once he did, it opened the floodgates. Soon everybody was investigating not just the literal sounds (Rhodes and Wurlitzer pianos, electric bass guitars, and rock guitar tones and techniques) but also whole new ways to think about the relationships between groove, improvisation and composition. Several of the key architects of 1970s fusion are here as sidemen, including Wayne Shorter and Joe Zawinul (who went on to form Weather Report), Chick Corea (part of Return to Forever) and John McLaughlin. This carefully notated and well presented compilation covers the years 1967 to 1984 and attempts to deliver a broad glimpse across almost two decades of one of jazz's most prolific performers, composers and bandleaders. The lion's share of the material actually comes from those first five heady years, 1967--1971 and it crackles with the energy of discovery, from the bent, shattered vamp of "Honky Tonk" to the skittering, thoughtful "Water On The Pond." The last three cuts are from the early 1980s, when Davis came out a five year, self--imposed hiatus.
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