Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "Neo", "So What", "Fran Dance", and "Well You Needn't". CD

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader". CD

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader". LP, Vinyl record album

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader". CD

Extra material from the 1961 date at Carnegie Hall, an astounding live set that featured Miles in a transitional quintet with Hank Mobley, Wynton Kelly, Paul Chambers and Jimmy Cobb, and also with the Gil Evans Orchestra. The performance is rendered with a subtle grace, an excellent portrait of Miles at a pivotal point in his career, moving on from his early command of bop and explorations of the cool, but not yet exploding his sound altogether with the modal approach that he would soon adopt. Side one features "Concierto De Anranjuez", and side two features "Teo", 'Walkin" and "I Thought About You". CD

A nice little later album from Miles Davis – one that still has some sharp edges and interesting moments that refine the earlier electric sound of the 70s! Teo Macero's still producing here, and he gives the record a focus that really brings the best sound out of the tunes – and although there's not as much noise, funk, or raw energy as before, there's still a shimmeringly modern style that's quite different from most other electric jazz of the time – proof that Davis was still an innovator even in these years! Other instrumentation includes electric piano, guitar, and soprano sax – and titles include "Fat Time", "Aida", "The Man With The Horn", "Ursula", and "Back Seat Betty". LP, Vinyl record album

A nice little later album from Miles Davis – one that still has some sharp edges and interesting moments that refine the earlier electric sound of the 70s! Teo Macero's still producing here, and he gives the record a focus that really brings the best sound out of the tunes – and although there's not as much noise, funk, or raw energy as before, there's still a shimmeringly modern style that's quite different from most other electric jazz of the time – proof that Davis was still an innovator even in these years! Other instrumentation includes electric piano, guitar, and soprano sax – and titles include "Fat Time", "Aida", "The Man With The Horn", "Ursula", and "Back Seat Betty". CD

A masterful meeting of two 50s modern jazz talents – the trumpet of Miles Davis balanced with the arrangements of Gil Evans – with results that have made the album one of Miles' greatest ever! The sound here is completely sublime – as Davis gets all chromatic and spooky over Evans' edgey arrangements – shimmering nicely in a perfect blend of modernism and lighter, more lyrical touches. The record's filled with loads of the kind of solos that Miles brought to his smaller group records – but they almost flower even more amazingly here in the larger setting. Titles include "Springsville", "Blues For Pablo", "New Rhumba", "Lament", and "Miles Ahead". This is the record that your dad bought to prove that he was cool – so buy it from us and keep up the family tradition! CD

A masterful meeting of two 50s modern jazz talents – the trumpet of Miles Davis balanced with the arrangements of Gil Evans – with results that have made the album one of Miles' greatest ever! The sound here is completely sublime – as Davis gets all chromatic and spooky over Evans' edgey arrangements – shimmering nicely in a perfect blend of modernism and lighter, more lyrical touches. The record's filled with loads of the kind of solos that Miles brought to his smaller group records – but they almost flower even more amazingly here in the larger setting. Titles include "Springsville", "Blues For Pablo", "New Rhumba", "Lament", and "Miles Ahead". This is the record that your dad bought to prove that he was cool – so buy it from us and keep up the family tradition! LP, Vinyl record album

A strange mix of material – but some great work overall! Most of the record features Miles Davis recording with a quintet that includes Thelonious Monk on piano, Milt Jackson on vibes, Percy Heath on bass, and Kenny Clarke on drums – on longer versions of "The Man I Love" (in 2 takes), "Swing Spring", and "Bemsha Swing". These sides have a great bop/modern approach that's a nice extension of the styles that Jackson and Davis were playing on Blue Note in earlier years. Also added to the set is one number from 1956 – a version of "Round Midnight" recorded in early sessions with John Coltrane on tenor, and the Red Garland Trio on rhythm – different than the rest of the tracks, but still quite nice! LP, Vinyl record album

A 70s 2LP set that brings together the albums Cookin and Relaxin – both of them late 50s sessions cut with the Red Garland Trio and tenor work by John Coltrane! The sides are as classic as you can get for both Miles on Prestige and late 50s Trane – handled with an easy groove, and a sound that's both soulful and modern at the same instant. Tracks are classics all the way through – and titles include "Oleo", "Airegin", "Tune Up", "Woody N You", and "Blues By Five". LP, Vinyl record album

Includes "Round Midnight", "Milestones", "All Blues", "Walkin", "So What", "Seven Steps To Heaven", "ESP", and "Sorcerer". LP, Vinyl record album

A lost concert from Miles Davis, and one that would be one of his last as well – recorded in a style that begins with the electric groove of some of his albums from the late 80s, but which also opens up into some more old school modes as Davis is joined by an array of famous guests! The set begins with a group that has Kenny Garrett on alto and Deron Johnson on keyboards – working with Miles on "Human Nature", "New Blues", and "Perfect Way". But then things change up a fair bit – and move into a version of "All Blues" with Steve Grossman on tenor and Chick Corea on electric piano, a take on "In A Silent Way" by Wayne Shorter on soprano and Joe Zawinul on keyboards, a version of "Katia" with both John McLaughlin and John Scofield on guitars – and lots more surprises on following tracks – which even include work from Herbie Hancock on keyboards and Jackie McLean on alto sax. Additional titles include "Penetration", "Wrinkle", "Dig", "Watermelon Man", and "Jean Pierre". CD

Massive double-length Miles from the early 70s – some of his most inventive long form work of the time, and some of his funkiest too! The album stretches out with almost an improvised jamming sort of quality – tunes that begin sparely, then have the musicians stepping in as the groove builds up – an odd amalgam of electric sounds on sitar, keyboards, and guitar – mixed with earthier percussion and some great trumpet and sax – working at a level that has the edge of the Japanese recordings, but a lot less noise overall. Players include Carlos Garnett on tenor and soprano sax, Reggie Lucas on guitar, Khalil Balakrishna on electric sitar, Cedric Lawson on keyboards, Al Foster on drums, Badal Roy on tabla, and Mtume on percussion. Titles include the "Foot Fooler" tracks "Rated X", "Honky Tonk", "Theme From Jack Johnson", and "Black Satin/The Theme" – and the "Slickaphonics" tracks "Ife" and "Right Off/The Theme". LP, Vinyl record album

A wonderful live set from the Seven Steps-era Miles group – with rhythm by Herbie Hancock, Ron Carter, and Tony Williams – and tunes that are all in that transformative mode that really showed Miles hitting a new voice at the time! Tenorist George Coleman's playing with the group on the set – proving again that he's got a depth that few people ever seem to give him credit for – and that it wasn't just Wayne Shorter who made the 60s Davis quintet so great. Titles include "Autumn Leaves", "All Of You", "Walkin", and "Joshua". CD

Magically moody live sounds from Miles Davis – recorded in London at the end of the 60s, and with a group and a style that's very much in the best Bitches Brew mode! The recording was done for the BBC – who actually issued visual footage of the concert on TV – and the group has some especially incredible work from a young Chick Corea, who's making a hell of a lot of noise at times on a Fender Rhodes – a reminder that the instrument wasn't always just used for smooth and groovy jazz modes! The rest of the lineup is equally amazing – Miles on trumpet, of course – with Wayne Shorter on tenor and soprano, Dave Holland on bass, and Jack DeJohnette on drums – all rolling out with a wonderfully freely fluid sound. Titles include "No Blues", "Sanctuary", "This", "Bitches Brew", and "It's About That Time". LP, Vinyl record album

Much better than you'd guess from the "Lovers" title – as the set features classic Prestige material from Miles – with work from Red Garland and Horace Silver on piano, John Coltrane on tenor, Paul Chambers on bass, and Philly Joe Jones on drums! CD

Brilliant early work by Miles Davis – some of his first truly important sessions to appear under his own name – originally issued as singles or 10" LP recordings by Blue Note, and brought together here in a full length set that would help to define the early years of his career! This is work before Miles was able to stretch out on longer sessions for Prestige, but the material already showcases his unique contribution to jazz – shorter tracks that are perhaps more boppish, than you might expect from some of Miles' other 50s work – but in a way that still allows for many moments of lyrical beauty, and that brilliantly cool sound of his which forever changed the sound of jazz trumpet. The set features work from an assortment of players who vary from track to track – including Jimmy Heath on tenor, Jackie McLean on alto, JJ Johnson on trombone, Gil Coggins on piano, and either Kenny Clarke or Art Blakey on drums – on titles that include "Tempus Fugit", "Kelo", "Enigma", "Ray's Ida", and "CTA". LP, Vinyl record album

Volume 2 of a pair of LPs that brought together Miles Davis' early recordings for Blue Note – some excellent sessions recorded in 1952, 1953, and 1954, featuring Miles' young trumpet blowing in a wonderful mix of cool, bop, lyrical, and modern jazz. The style's a bit rougher than later years, but in a good way – one that shows that Miles' ideas were not accidents, or studio magic, but the brilliant expressions of a musician who was years ahead of his time. Titles include "Weirdo", "Take Off", "Ray's Idea", "Tempus Fugit (alt)", "The Leap", and "Wouldn'You". LP, Vinyl record album

Mostly a 1963 date with George Coleman on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but also features one rare track from a 1961 performance with Herbie on piano, Cleveland Eaton on bass, and Theodore Robinson on drums! LP, Vinyl record album

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD features 2 bonus alternate takes of "Black Comedy" and "Country Son". CD

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You". LP, Vinyl record album

One of our 50s favorites by Miles Davis – and a record that offers the same twin-sax sound as his classic Kind Of Blue – with both John Coltrane and Cannonball Adderley working alongside Miles in the group! Rhythm here is by the Prestige-era trio of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – but it's the two saxophonists who really help Davis shape the feel of the record, pushing things past the initial Coltrane/Davis groove with a really wonderful sense of space and sound! Titles include the classic "Milestones", plus "Two Bass Hit", "Dr Jeckyll", and "Sid's Ahead". LP, Vinyl record album

A beautiful little record by Miles Davis – oft overlooked next to some of the better-titled Prestige sessions of the 50s, but a great one nonetheless! The session features Miles working with trio backing from Red Garland on piano, Oscar Pettford on bass, and Philly Joe Jones on drums – often in a mellow mode that fits the "musings" in the title, but which also provides a wonderful showcase for Davis to further intensify his vision on a set of longer tracks. Most tunes are familiar, but they're really transformed here – and titles include "I Did", 'Will You Still Be Mine?", "Green Haze", "I See You Face Before Me", "A Night In Tunisia" and "A Gal In Calico". CD

One of those key cases where Miles Davis took a familiar song and made it his own! The set's a live one, and features a famous 15 minute version of "My Funny Valentine" – played by Davis in a spacious, open sort of way – and one that has key hints of the modernism to come in his music, yet still rings out with some of his more easygoing late 50s appeal. The group here features George Coleman on tenor alongside the rhythm section of Herbie Hancock piano, Ron Carter bass, and Tony Williams on drums – all three of whom help Davis edge into darker territory, even when things are ostensibly sweet! Apart from the version of "My Funny Valentine", other titles include "All Blues", "All Of You", "I Thought About You", and "Stella By Starlight" CD

One of those key cases where Miles Davis took a familiar song and made it his own! The set's a live one, and features a famous 15 minute version of "My Funny Valentine" – played by Davis in a spacious, open sort of way – and one that has key hints of the modernism to come in his music, yet still rings out with some of his more easygoing late 50s appeal. The group here features George Coleman on tenor alongside the rhythm section of Herbie Hancock piano, Ron Carter bass, and Tony Williams on drums – all three of whom help Davis edge into darker territory, even when things are ostensibly sweet! Apart from the version of "My Funny Valentine", other titles include "All Blues", "All Of You", "I Thought About You", and "Stella By Starlight" LP, Vinyl record album

Dark genius from the always-amazing Miles Davis Quintet of the 60s – a set that's a bit more subtle than some of the group's other efforts, but no less powerful – and virtually a blueprint for countless changes to come in jazz during the next few decades! The interplay of Davis' trumpet, Wayne Shorter's tenor, and Herbie Hancock's piano is worth the price of admission alone – a force that seems to flow of its own direction, pulled three ways equally, but always emerging as a sound greater than its parts. And adding in the subtle pulse of Ron Carter on bass and nearly melodic drums of Tony Williams, the sound is even more incredible – a well-crafted and evocative sound that's far more than jazz! Titles include versions of Herbie's "Riot" and "Madness", Shorter's "Nefertiti" and "Pinocchio", and Williams' "Hand Jive". Plus, the CD reissue features 4 bonus alternate takes from the original session! CD

Dark genius from the always-amazing Miles Davis Quintet of the 60s – a set that's a bit more subtle than some of the group's other efforts, but no less powerful – and virtually a blueprint for countless changes to come in jazz during the next few decades! The interplay of Davis' trumpet, Wayne Shorter's tenor, and Herbie Hancock's piano is worth the price of admission alone – a force that seems to flow of its own direction, pulled three ways equally, but always emerging as a sound greater than its parts. And adding in the subtle pulse of Ron Carter on bass and nearly melodic drums of Tony Williams, the sound is even more incredible – a well-crafted and evocative sound that's far more than jazz! Titles include versions of Herbie's "Riot" and "Madness", Shorter's "Nefertiti" and "Pinocchio", and Williams' "Hand Jive". CD

Includes three tracks recorded in 1963 with George Coleman, Herbie Hancock, Ron Carter, and Tony Williams – plus three additional tracks from 1966 with Wayne Shorter in place of Coleman. CD

Recorded in Paris, July 11, 1973, with Dave Liebman, Pete Cosey, Reggie Lucas, Al Foster, Michael Henderson and Mtume. 3 lengthy tracks: "Medley : Turnaround Phrase/Tune In 5/Unidentified/Unidentified", "Ife" and "Unidentified". CD

A sublime bit of Miles Davis electric funk – one of the best-remembered electric sets from the 70s, and for good reason too! The tracks are long, the jams are hard, and the whole thing has a lot more funk than some of the noise you'd get on other Miles albums of the time – thanks to killer keyboards from Herbie Hancock and Chick Corea, guitar from John McLaughlin, and reeds from Dave Liebman – plus some standout drums from the legendary Jack DeJohnette – easily at the top of his powers here. These top-shelf players jam together beautifully – really cooking on the album's long tracks – "On The Corner" and "Helen Butte/Mr Freedom X" – and tightening up on the slightly shorter cuts "Black Satin" and "One & One". CD

Titles include "Out Of Nowhere", "Ornithology", "Embraceable You", "My Old Flame", "Scrapple From The Apple", "Bird Of Paradise", and more! LP, Vinyl record album

Way more than just a simple version of work from Porgy & Bess – and instead, a key collaboration between Miles Davis and Gil Evans – done with a sound that really transforms the tunes! True, the work here is all based on George Gershwin's original compositions – but through his inventively modern arrangements, Gil Evans really pushes the familiar numbers to a whole new place – and Miles glides over the top with some especially shimmering solos! Titles include "Summertime", "The Buzzard Song", "I Loves You, Porgy", and "Fishermen, Strawberry, & Devil Crab". CD

Way more than just a simple version of work from Porgy & Bess – and instead, a key collaboration between Miles Davis and Gil Evans – done with a sound that really transforms the tunes! True, the work here is all based on George Gershwin's original compositions – but through his inventively modern arrangements, Gil Evans really pushes the familiar numbers to a whole new place – and Miles glides over the top with some especially shimmering solos! Titles include "Summertime", "The Buzzard Song", "I Loves You, Porgy", and "Fishermen, Strawberry, & Devil Crab". LP, Vinyl record album

Moody magic from Miles Davis and Gil Evans – one of the pair's most perfectly poised albums together, and a set with a slight bossa nova undercurrent! Evans' shimmering horn patterns are in fine form here – complicated, but never in cold and too-modern ways – just the right sort of backdrop for Miles' muted solo work – blow with a great sense of space and care throughout! There's almost a soundtrack sort of depth to the record, but the solos still keep the jazz element nicely in focus – and titles include "Summer Night", "Wait Till You See Her", "Aos Pes Da Cruz", "Song #1", "Song #2", "Corcovado", and "Once Upon A Summertime". LP, Vinyl record album

Moody magic from Miles Davis and Gil Evans – one of the pair's most perfectly poised albums together, and a set with a slight bossa nova undercurrent! Evans' shimmering horn patterns are in fine form here – complicated, but never in cold and too-modern ways – just the right sort of backdrop for Miles' muted solo work – blow with a great sense of space and care throughout! There's almost a soundtrack sort of depth to the record, but the solos still keep the jazz element nicely in focus – and titles include "Summer Night", "Wait Till You See Her", "Aos Pes Da Cruz", "Song #1", "Song #2", "Corcovado", and "Once Upon A Summertime". CD also features the great bonus track "The Time Of The Barracudas" – a 12 minute tune that wasn't on the original album! CD

One of the classic early Miles Davis & John Coltrane sessions for Prestige – a well-crafted quintet album that shows Miles finding a stronger voice than ever, and Coltrane beginning to emerge as a key force on his own! Backing is subtle and soulful – handled by the trio of Red Garland, Paul Chambers, and Philly Joe Jones – and although the tracks are mostly ballads and standards, they're all nicely given the Davis treatment on the set, turned into beautiful new vehicles for jazz imagination and improvisation! Titles include "If I Were A Bell", "I Could Write A Book", "Oleo", and "Woody'n You". CD

Thelonious Monk may have written the title tune, but Miles Davis makes it all his own here – blowing with a subtle moody magic that makes the album one of his true treasures from the early Columbia Records years! John Coltrane's along on tenor sax – helping Davis expand the sound the pair first forged on Prestige – and also present is the rhythm trio of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – impeccably recorded here with a wonderful sense of space, and almost a bridge between older Miles modes, and the genius to come. Titles include Miles seminal take on "Round Midnight", plus "Tadd's Delight", "Dear Old Stockholm", "Bye Bye Blackbird", and "A Leu Cha". The first disc also features 4 bonus tracks too – "Sweet Sue", "Little Melonae", "Budo", and "Two Bass Hit". The second disc are live recordings from '55 and '56. CD

A key point in the development of the Miles Davis sound of the 60s – his first album to feature work from Herbie Hancock, Ron Carter, and Tony Williams – augmented by some equally nice work on other tracks from Victor Feldman and Frank Butler! The sound here is beautifully spare – a wonderful exploration of ideas that Miles had been putting forth on some other albums for Columbia, but crafted here with a vision that's apparent in the very first note – and which transforms both the tunes and the work of the players into a focused, near-perfect sound all the way through. Titles include "So Near So Far", "Seven Steps To Heaven", "I Fall In Love Too Easily", "Joshua", and "Basin Street Blues" – which even sounds great in this setting! CD

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea". CD

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea". LP, Vinyl record album

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea". LP, Vinyl record album

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". CD

Another bold new direction for the legendary Miles Davis Quintet of the 60s – a set that has some of the angular styles of earlier albums, but also a bit more of the flowing grace to come in the electric years! A key illustration of this is the leadoff track "Prince Of Darkness" – which has a fluid sensibility that still never fails to floor us, even all these many decades later! The rest of the tracks are equally great – even when subtle – and by this point, the group of Davis, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams were well earning their acclaim as one of the most groundbreaking groups in jazz. Titles include "Prince Of Darkness", "Masqualero", "The Sorcerer", "Pee Wee", and "Vonetta" – plus the odd inclusion of a vocal version of "Nothing Like You" – recorded 5 years before with singer Bob Dorough and arranger Gil Evans! The tune's an odd cap to this otherwise cohesive set – but we love it plenty too, and it somehow oddly fits! CD reissue features alternate takes of the tracks "Masqualero" and "Limbo"! CD

Another bold new direction for the legendary Miles Davis Quintet of the 60s – a set that has some of the angular styles of earlier albums, but also a bit more of the flowing grace to come in the electric years! A key illustration of this is the leadoff track "Prince Of Darkness" – which has a fluid sensibility that still never fails to floor us, even all these many decades later! The rest of the tracks are equally great – even when subtle – and by this point, the group of Davis, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams were well earning their acclaim as one of the most groundbreaking groups in jazz. Titles include "Prince Of Darkness", "Masqualero", "The Sorcerer", "Pee Wee", and "Vonetta" – plus the odd inclusion of a vocal version of "Nothing Like You" – recorded 5 years before with singer Bob Dorough and arranger Gil Evans! The tune's an odd cap to this otherwise cohesive set – but we love it plenty too, and it somehow oddly fits! CD reissue features alternate takes of the tracks "Masqualero" and "Limbo"! CD

Another bold new direction for the legendary Miles Davis Quintet of the 60s – a set that has some of the angular styles of earlier albums, but also a bit more of the flowing grace to come in the electric years! A key illustration of this is the leadoff track "Prince Of Darkness" – which has a fluid sensibility that still never fails to floor us, even all these many decades later! The rest of the tracks are equally great – even when subtle – and by this point, the group of Davis, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams were well earning their acclaim as one of the most groundbreaking groups in jazz. Titles include "Prince Of Darkness", "Masqualero", "The Sorcerer", "Pee Wee", and "Vonetta" – plus the odd inclusion of a vocal version of "Nothing Like You" – recorded 5 years before with singer Bob Dorough and arranger Gil Evans! The tune's an odd cap to this otherwise cohesive set – but we love it plenty too, and it somehow oddly fits! LP, Vinyl record album

Another bold new direction for the legendary Miles Davis Quintet of the 60s – a set that has some of the angular styles of earlier albums, but also a bit more of the flowing grace to come in the electric years! A key illustration of this is the leadoff track "Prince Of Darkness" – which has a fluid sensibility that still never fails to floor us, even all these many decades later! The rest of the tracks are equally great – even when subtle – and by this point, the group of Davis, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams were well earning their acclaim as one of the most groundbreaking groups in jazz. Titles include "Prince Of Darkness", "Masqualero", "The Sorcerer", "Pee Wee", and "Vonetta" – plus the odd inclusion of a vocal version of "Nothing Like You" – recorded 5 years before with singer Bob Dorough and arranger Gil Evans! The tune's an odd cap to this otherwise cohesive set – but we love it plenty too, and it somehow oddly fits! CD reissue features alternate takes of the tracks "Masqualero" and "Limbo"! CD

Miles Davis in the early 80s – but still sounding pretty darn great, and somehow managing to take some of his best elements from the 70s and refine them into a slightly more focused groove! The tracks here are shorter than before – no side-long jams at all – but they definitely bristle with slight undercurrents of noise, and have some unbridled rhythms that make for a good sense of energy. Added to these are a few more (then) contemporary touches – a very slight update of Miles' older funk, but never in a slick or commercial way – and still cerebral enough to show the world that Davis wasn't selling out late in the day. Miles plays a bit of keyboards in addition to trumpet – and other players include Bill Evans on saxophones, John Scofield on guitar, Marcus Miller on bass, and Al Foster on drums. Titles include "Come Get It", "It Gets Better", "Speak", "Star People", "U N I", and "Star On Cicely". CD

An early pairing of Miles Davis & John Coltrane – one of the duo's mid 50s classics for Prestige, as you might guess from the verb in the title! And although "Steamin" might be a word that's a bit too firey to describe the action going on here, the album's got a tremendous sense of presence throughout – as Davis' cooler trumpet is matched with Trane's earthier solo work – all supported by Red Garland trio backing in a style that's as near-classic as it comes for 50s jazz. Titles include "Diane", "Something I Dreamed Last Night", "When I Fall In Love", and "Salt Peanuts". CD

An early pairing of Miles Davis & John Coltrane – one of the duo's mid 50s classics for Prestige, as you might guess from the verb in the title! And although "Steamin" might be a word that's a bit too firey to describe the action going on here, the album's got a tremendous sense of presence throughout – as Davis' cooler trumpet is matched with Trane's earthier solo work – all supported by Red Garland trio backing in a style that's as near-classic as it comes for 50s jazz. Titles include "Diane", "Something I Dreamed Last Night", "When I Fall In Love", and "Salt Peanuts". CD

Miles Davis, recorded in Stockholm – two different shows with only two years between them – but almost a lifetime of difference in the way the music is presented! The 1967 show has the Miles Davis group still hanging onto the greatness of its classic mid 60s lineup – with Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Anthony Williams on drums – making the special kind of quickly-creative magic that really graced Davis in a live setting at the time – as they soar over versions of "Gingerbread Boy", "Footprints", "Agitation", and "Round Midnight". The 1969 show has the more electric side of Miles starting to show – partly in the use of electric piano from Chick Corea in the group – but also in the longer form of some of the tracks, which have that more open vibe that would mark the start of the 70s for Davis. Other players include Wayne Shorter on tenor, Dave Holland on bass, and Jack DeJohnette on drums – and titles include "Bitches Brew", "Masqualero", "Nevertiti", and "Paraphernalia". CD

A great look at the fresh energy that Miles Davis was bringing to his music in the 80s – and a set that's nicely different than some of the other albums issued in the "bootleg" series – in that two thirds of the collection features unissued studio material from the dates in the title! Those tracks are great – numbers that were recorded in the same sessions that gave the world the records Decoy, Star People, and You're Under Arrest – with work from players who include John Scofield and Mike Stern on guitars, Robert Irving III on keyboards, Bill Evans on tenor and soprano saxes, and the great Al Foster on drums. Miles even plays a bit of keyboards himself, but is also really focusing strong energy on his trumpet lines – more tightness than some of his 70s material, but not in a way that's slick or commercial either – still plenty of bite throughout. Studio titles include "Celestial Blues", "Minor Ninths", "Santana", "Freaky Deaky", "Hopscotch", "Never Loved Like This", and some alternates of Miles' versions of "Human Nature" and "Time After Time". The third component of the set is the Montreal 7/7/83 performance – early 80s live work from Miles Davis – done at a level that's a nice change from some of his studio work of the time! If you've ever heard Miles in a live setting like this from the decade, you know that such recordings are a great reminder of the way he can really deliver an extended solo with plenty of spirit and imagination – stretching out here on long tracks with a group that also features lots of great work from John Scofield on guitar, and up and coming saxophonist Bill Evans – who plays soprano, tenor, and flute! Miles also plays a bit of keyboards, and the rest of the group features Darryl Jones on bass, Al Foster on drums, and Mino Cinelu on percussion – on titles that include "Star On Cicely", "Hopscotch", "What It Is", "It Gets Better", "Speak", "Code 3", "Jean Pierre", "Star People", and "Creepin In". CD

A great look at the fresh energy that Miles Davis was bringing to his music in the 80s – and a set that's nicely different than some of the other albums issued in the "bootleg" series – in that two thirds of the collection features unissued studio material from the dates in the title! Those tracks are great – numbers that were recorded in the same sessions that gave the world the records Decoy, Star People, and You're Under Arrest – with work from players who include John Scofield and Mike Stern on guitars, Robert Irving III on keyboards, Bill Evans on tenor and soprano saxes, and the great Al Foster on drums. Miles even plays a bit of keyboards himself, but is also really focusing strong energy on his trumpet lines – more tightness than some of his 70s material, but not in a way that's slick or commercial either – still plenty of bite throughout. Studio titles include "Celestial Blues, Part 2", "Minor Ninths, Part 2", "Santana", "Freaky Deaky (Vinyl Edit)", "Hopscotch (Fast)", "Never Loved Like This (Studio Session Demo", and some alternates of Miles' versions of "Human Nature" and "Time After Time". LP, Vinyl record album

A nice collaboration between Miles and Marcus Miller from the latter part of Miles career. As much of the recording here is overdubbed, with many multiple instruments played by Miller, it doesn't have the improvised vibe of Miles' classic performances, but the songwriting and arrangements are head and shoulders above much of the contemporary jazz being recorded at the time, Miles is in great form, and the glossy production sits better with us now than ever before. Paulinho DaCosta, George Duke, Michael Urbaniak and Bernard Wright all make guest appearances. 8 tracks in all: "Tutu", "Tomaas", "Portia", "Splatch", "Backyard Ritual", "Perfect Way", Don't Lose Your Mind" and "Full Nelson". CD

Miles in four different live dates – three in Italy and one in New York – that really show his evolution during this period and features amazing work by Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Keith Jarrett, and Gary Bartz. Titles include "Miles Runs The Voodoo Down", "Hush", "Shhh/Peaceful", and "Footprints". CD

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group! The core quintet of Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums handles the first half of the set – but the group's then expanded to include Chick Corea on electric piano along with Herbie on keys – and Ron Carter steps out so that Dave Holland can bring some more modern tones to the bass. Tracks are all somewhat long, and titles include "Capricorn", "Water Babies", "Sweet Pea", and "Two Faced". CD

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group! The core quintet of Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums handles the first half of the set – but the group's then expanded to include Chick Corea on electric piano along with Herbie on keys – and Ron Carter steps out so that Dave Holland can bring some more modern tones to the bass. Tracks are all somewhat long, and titles include "Capricorn", "Water Babies", "Sweet Pea", and "Two Faced". CD includes bonus track "Splash". CD

Early 80s live work from Miles Davis – done at a level that's a nice change from some of his studio work of the time! If you've ever heard Miles in a live setting like this from the decade, you know that such recordings are a great reminder of the way he can really deliver an extended solo with plenty of spirit and imagination – stretching out here on long tracks with a group that also features lots of great work from John Scofield on guitar, and up and coming saxophonist Bill Evans – who plays soprano, tenor, and flute! Miles also plays a bit of keyboards, and the rest of the group features Darryl Jones on bass, Al Foster on drums, and Mino Cinelu on percussion – on titles that include "Star On Cicely", "Hopscotch", "What It Is", "It Gets Better", "Speak", "Code 3", "Jean Pierre", "Star People", and "Creepin In". LP, Vinyl record album

A record that hardly seems like workin at all, given the ease with which the group lays down the music – especially trumpeter Miles Davis, whose work here is like magic – and tenorist John Coltrane, who was really coming into his own with this recording! The set's one of a handful from this famous pair, and features superb rhythm accompaniment from Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – a standard-setting group who know how to come in when needed, then lay back and let Miles and Trane run in their own directions The album's got well-deserved classic status in modern jazz – and titles include two takes on the group's famous "The Theme", plus "It Never Entered My Mind", "Four", "In Your Own Sweet Way", "Trane's Blues", "Ahmad's Blues", and "Half Nelson". LP, Vinyl record album

Heavenly sounds from these two musical masters – all their classic albums, and lots of bonus material too! CD

Loads of material from this famous pair – issued on albums that include Jazz Track, Round Midnight, Milestones, Kind Of Blue, Someday My Prince Will Come, Miles & Monk At Newport – and lots of other obscure compilation tracks and unissued numbers! CD

Incredible stuff – and a rare meeting of two giant jazz talents you'd never thought would appear on the same stage! The album features a 1960 concert in Sweden – Miles and Sonny upfront, with backing by the trio of Wyton Kelly, Paul Chambers, and Jimmy Cobb. Tracks are long, fiery, and a bit dirty (if we can say that in mixed company!) – and titles include "No Blues", "If I Were A Bell", "Walkin", "All Of You", and "On Green Dolphin Street". LP, Vinyl record album

A classic Miles Davis group – captured here in 1960 with incredible sound! The format is wonderful – as the tracks are quite long, and allow for lots of space for long trumpet solos from Miles, and tenor from John Coltrane – both supported beautifully by the trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! Coltrane's definitely in fine form – and has this commanding way of playing that almost blows away Davis – especially since Miles usually starts out most numbers here on his own, then lets Coltrane come in second – a move that almost makes the trumpet dim by comparison. Titles include "Fran Dance", "So What", "All Blues/Bye Bye", and "If I Were A Bell". CD

7 tracks in all, 4 tracks by Davis including "Tune Up", "How High The Moon", "Lester Leaps In", "What's New", and 3 by Getz "Baubles, Bangles, & Beads", "Where Do You Go", and "Airegin". CD

A slightly misleading record – but a great one nonetheless! From the title and cover, you might imagine that Thelonious Monk and Miles Davis were sharing the stage together at the Newport Jazz Festival – but instead, the album actually features separate performances by each artist – actually even recorded 5 years apart! The Miles Davis recording is from 1958 – a great year that has John Coltrane working with the group, alongside Wynton Kelly on piano, Cannonball Adderley on alto, Paul Chambers on bass, and Jimmy Cobb on drums – performing lively versions of "Ah Leu Cha", "Straight No Chaser", "Fran Dance" and "Two Bass Hit". The Monk material is even more unique – recorded in 1963, with Monk's usual quartet of Charlie Rouse on tenor, Butch Warren on bass, and Frankie Dunlop on drums – joined by the legendary Pee Wee Russell on clarinet – recently revived in jazz at the time, and displaying surprisingly modernist tendencies! Both Monk tracks are long – and include versions of "Nutty" and "Blue Monk". LP, Vinyl record album

One of our favorite-ever Miles Davis albums – even if it is a soundtrack that he recorded in France! The CD issue of this material features a whopping 20 minutes of extra material, for a total of 26 moody jazz tracks that were originally recorded for the French film Ascenseur Pour L'Echafaud (Elevator To The Gallows). Miles recorded this material during late-night post-gig sessions with a great group that includes French players Barney Wilen, Rene Urtreger, and Pierre Michelot, plus American ex-patriot Kenny Clarke. Wilen's playing is fantastic, and it's great to hear him and Miles together on the score's spooky meandering passages. Titles include "Nuit Sur Les Champs-Elysees", "Assassinat", "Le Petit Bal", and "Au Bar Du Petit Bac". Great stuff, and one of the best jazz soundtracks ever! CD

Classic Miles Davis from that pivotal year of 1954 – featuring work from 2 different sessions, both of them great! The title track on the album is a key reading of "Bag's Groove", presented here in two versions, both recorded by a quintet that includes Milt "Bags" Jackson on vibes, Thelonious Monk on piano, Percy Heath on bass, and Kenny Clarke on drums – carving out the tune in a nicely modern idiom. The rest of the set features work by Miles in a quintet with Sonny Rollins and Horace Silver – again with support from Heath and Clarke – on tunes that include 2 versions of "But Not For Me", plus early recordings of Sonny Rollins' standards "Oleo", "Airegin", and "Doxy". LP, Vinyl record album

Legendary early work from trumpeter Miles Davis – late 40s sessions for Capitol Records that are completely different than the bop material he was cutting with Charlie Parker and on his own! Instead, these sides have Miles working with a complex, more arranged style – built up with a young Gil Evans, in a mode that prefaces the later famous recordings the pair would make in the late 50s for Columbia. Here, the tracks are shorter, but beautifully blend bop ideas with fuller arrangements – and Davis blows alongside other key young modernists in a variety of larger groups – with work from Lee Konitz on alto, Gerry Mulligan on baritone sax, JJ Johnson and Kai Winding on trombones, Al Haig and John Lewis on piano, and Kenny Clarke and Max Roach on drums. Mulligan contributed plenty, too – his ideas on an overall sound definitely helped shape these sides – and the record's go on to legendary status – even though it's very different than most other Miles Davis from the time. Titles include "Godchild", "Jeru", "Move", "Venus De Milo", "Budo", and "Deception". CD

Includes the albums Birth Of The Cool, Miles Davis Vols 1 & 2, and Cannonball Adderley's Somethin' Else. CD

Some of Miles noisiest, freest playing from the 70s – recorded live at Carnegie Hall in 1974, and originally issued only in Japan – most likely because the album was so darn noisy, Columbia was scared to release it to the American market! As with other Davis gems from this time, the group is as adventurous as Miles himself – a really great lineup with Dave Liebman and Azar Lawrence on reeds, plus rhythm from Michael Henderson on bass, Al Foster on drums, and Mtume on percussion – all matched by three searing electric guitarists – Reggie Lucas, Pete Cosey, and Dominique Gaumont – who duel back and forth in monster solos that run all over the place during the set! Titles include "Moja", "Wili", "Tatu", and "Nine". CD

Miles Davis' last studio session before a few years of seclusion – and a really monumental effort, probably the baddest of the electric period! The album does a great job of capturing the energy of the frenzied live sets from that time, and matching it with Teo Macero's cut and paste editing, and wizardry at the mixing console. The side long piece "He Loved Him Madly" is a minimalist epic, while "Calypso Frelimo" alternates between mad afro-percussion driven jams and spacey wah-wah trumpet interludes. The rest of the album is divided up into more succinct shorter funky pieces, like classic "Rated X", with Miles basically just leaning on an electric organ over a hyper funk beat, and the bluesy "Honky Tonk" which opens with an incredibly funky burping electric piano break! CD

Although not actually a proper album – this is still one of the greatest Miles Davis albums of all time! Side one features 10 tracks from Miles' amazing soundtrack to the film Ascenseur Pour L'Echafaud – with excellent work by French players Barney Wilen, Rene Urtreger, and Pierre Michelot, on haunting moody tracks like "Generique", "Lassassinat De Carala", "Au Bar Du Petit Bac", and "Dinner Au Motel". Great stuff – and with a wonderful sound that's like no other Miles album! Side 2 is equally great – as it features 3 classic sextet tunes – "On Green Dolphin Street", "Put Your Little Foot Right Out", and "Stella By Starlight" –peformed with Coltrane, Cannonball Adderley, and Bill Evans in that amazing Kind Of Blue mode of perfection. Truly one of our favorite albums of all time! CD

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader". LP, Vinyl record album

A beautiful overview of some of the most legendary material in the catalog of both Miles Davis and John Coltrane – quintet collaborations for Prestige Records from the late 50s, presented here with all master and alternate takes, plus a full bonus CD of unreleased material! The original tracks were issued on a groundbreaking run of albums that include the classics Cookin, Relaxin, Steamin, and Workin With The Miles Davis Quintet – all with Davis on trumpet, Coltrane on tenor, and rhythm from the trio of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. But in addition to the 32 tracks of studio material from the group – presented on the first 3 CDs in the set – the package also features 8 more live numbers, recorded for the Tonight Show in 1955, and live at the Blue Note in Philly in 1956 and at Cafe Bohemia in 1958! Original studio tunes include "Stablemates", "The Theme", "How Am I To Know", "Four", "Salt Peanuts", "Woody'n You", "Ahmad's Blues", "Well You Needn't", "Half Nelson", "Oleo", "Tune Up", and "Blues By Five". Unreleased live tunes include "Tune Up", "Walkin", "Max Is Making Wax", "Four", "Bye Bye Blackbird", and "Two Bass Hit". Added bonuses include 5 solo transcriptions, a 40 page booklet, and original cover art by Miles! CD

A beautiful live representation of the energy of the Bitches Brew years – one that has Miles Davis and the group really letting loose with free-flowing, modally-inspired lines – cooking up an incredible blend of acoustic and electric sounds at once! There's a bit of funk here, but not much – and although guitar is sometimes used strongly, it's often not as noisy as in later live sides. Instead, the whole group gels together beautifully – an unlikely assortment of players that includes Gary Bartz and Steve Grossman on reeds, John McLaughlin on guitar, Herbie Hancock on keyboards, Hermeto Pascoal on percussion, Dave Holland on bass, and Jack DeJohnette on drums – all given new focus, direction, and inspiration by Miles! Titles include "What I Say", "Sivad", "Selim", "Funky Tonk", and a great medley of "Gemini/Double Image". CD

A beautiful live representation of the energy of the Bitches Brew years – one that has Miles Davis and the group really letting loose with free-flowing, modally-inspired lines – cooking up an incredible blend of acoustic and electric sounds at once! There's a bit of funk here, but not much – and although guitar is sometimes used strongly, it's often not as noisy as in later live sides. Instead, the whole group gels together beautifully – an unlikely assortment of players that includes Gary Bartz and Steve Grossman on reeds, John McLaughlin on guitar, Herbie Hancock on keyboards, Hermeto Pascoal on percussion, Dave Holland on bass, and Jack DeJohnette on drums – all given new focus, direction, and inspiration by Miles! Titles include "What I Say", "Sivad", "Selim", "Funky Tonk", and a great medley of "Gemini/Double Image". LP, Vinyl record album

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! 2CD set features the full concert in one package – including material issued on the More From Carnegie Hall record – 11 tracks in all. CD

The full story of Miles Davis at the Newport Jazz Festival in 1958 – an album that expands out the original half-album release of this material from the set that Miles shared with Thelonious Monk! The first half of the record features the three tracks that appeared on Miles & Monk At Newport – and the remaining material joins it here for the first time in one date – making for a well-rounded package that finally tells the whole tale of the group's performance on July 3, 1958! The lineup here is right in the Kind Of Blue mode – Cannonball Adderley on alto, John Coltrane on tenor, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums – but the overall sound is a bit looser and freer, much more turned towards the solo spotlight focus that often characterized Miles Davis' live work. Coltrane's solos alone are worth the price of admission – nicely sharp-edged, with a sound that he didn't always show on his own albums until the 60s – and titles include "Ah Leu Cha", "Straight No Chaser", "Fran Dance", "Two Bass Hit", "Bye Bye Blackbird", and "The Theme". CD

Amazing live documents of Miles Davis and his incredible mid-to-late 60s quintet – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – complete concert recordings from Antwerp, Copenhagen and Paris on 3CDs seeing release for the first time ever, plus a DVD featuring the only known video footage of this group from the period! CD 1 features material from 10/28/68 in Antwerp, CD 2 on 11/2/67 in Copenhagen and 11/6/67 in Paris, with the latter concert continued on CD 3. This is landmark stuff here – a surprisingly rare opportunity to hear first rate live recordings of legendary material from the ESP, Miles Smiles, Sorcerer and Nefertiti albums – as well as brilliant revisits of vital earlier material. Includes live takes on "Agitation", "Foot Prints", "No Blues", "Gingerbread Boy", "On Green Dolphin Street", "The Theme", "Footprints", "Masqualero", "I Fall In Love Too Easily", "Walkin'" and more. The DVD starts with five numbers recorded on 11/7/67 in Karlzruhe, Germany: "Agitation", "Footprints", "I Fall In Love Too Easily", "Gingerbread Boy" and "The Theme". It concludes with material in Stockholm on 10/31/67: "Agitation", "Footprints", "'Round Midnight", "Gingerbread Boy" and "The Theme". CD