Jazz Monuments - Miles Davis - Limited Edition Vinyl

Tracklist

1
Side A
1.
Deception (Birth of the Cool)
Miles Davis - March 9, 1950, Miles Davis (tp), J. J. Johnson (tb), Gunther Schuller (F.Hrn), Bill Barber (tba), Lee Konitz (as), Gerry Mulligan (bs), John Lewis (p), Al McKibbon (b), Max Roach (d)
02:49
2.
Move (Birth of the Cool)
Denzil Best
02:35
3.
Jeru (Birth of the Cool)
Gerry Mulligan
03:14
4.
Godchild (Birth of the Cool)
George Wallington - January 21, 1949, Miles Davis (tp), Kai Winding (tb), Junior Collins (F.Hrn), Bill Barber (tba), Lee Konitz (as), Gerry Mulligan (bs), Al Haig (p), Joe Shulman (b), Max Roach (d)
03:11
5.
Moondreams (Birth of the Cool)
Chummy McGregor, Johnny Mercer - March 9, 1950, Miles Davis (tp), J. J. Johnson (tb), Gunther Schuller (F.Hrn), Bill Barber (tba), Lee Konitz (as), Gerry Mulligan (bs), John Lewis (p), Al McKibbon (b), Max Roach (d)
03:21
6.
Venus de Milo (Birth of the Cool)
Gerry Mulligan
03:14
7.
Boplicity (Birth of the Cool)
Cleo Henry - April 22, 1949, Miles Davis (tp), J. J. Johnson (tb), Sandy Siegelstein (F.Hrn), Bill Barber (tba), Lee Konitz (as), Gerry Mulligan (bs), John Lewis (p), Nelson Boyd (b), Kenny Clarke (d)
03:03
Side B
1.
Whispering (Walking 1954)
John Schonburger - January 17, 1951, Miles Davis (tp), Bennie Green (tb), Sonny Rollins (ts), John Lewis (p), Percy Heath (b), Roy Haynes (d)
03:02
2.
Walking (Walking 1954)
Richard Carpenter - April 29, 1954, Miles Davis (tp), Jay Jay Johnson (tb), Lucky Thompson (ts), Horace Silver (p), Percy Heath (b), Kenny Clarke (d)
13:28
3.
It Never Entered My Mind (Walking 1954)
Richard Rogers - March 6, 1954, Miles Davis (tp), Horace Silver (p), Percy Heath (b), Art Blakey (d)
04:04
2
Side C
1.
Bags’ Groove (Miles Davis & Thelonious Monk)
Milt Jackson
11:23
2.
The Man I Love (Miles Davis & Thelonious Monk)
George Gershwin - December 24, 1954, The Miles Davis All Stars : Miles Davis (tp), Milt Jackson (vib), Thelonious Monk (p), Percy Heath (b), Kenny Clarke (d)
08:05
Side D
1.
Milestones (Miles Davis & John Coltrane)
Miles Davis - February 4, 1958, The Miles Davis Sextet : Miles Davis (tp), Julian “Cannonball” Adderley (as), John Coltrane (ts), Red Garland (p), Paul Chambers (b), Philly Joe Jones (d)
05:46
2.
Dear Old Stockholm (Miles Davis & John Coltrane)
trad, arr. Stan Getz - June 5, 1956, The Miles Davis Quintet : Miles Davis (tp), John Coltrane (ts), Red Garland (p), Paul Chambers (b), Philly Jo Jones (d)
07:51
3.
Round Midnight (Miles Davis & John Coltrane)
Thelonious Monk - September 10, 1956, The Miles Davis Quintet : Miles Davis (tp), John Coltrane (ts), Red Garland (p), Paul Chambers (b), Philly Jo Jones (d)
05:58
3
Side E
1.
Ascenseur pour l’échafaud - thème (Ascenseur pour l’échafaud 1957)
Miles Davis - December 4, 1957, Miles Davis (tp), Barney Wilen (ts), René Urtreger (p), Pierre Michelot (b), Kenny Clark (d), from the movie Ascenseur Pour L’échafaud
02:51
2.
L’assassinat de Carala (Ascenseur pour l’échafaud 1957)
Miles Davis - December 4, 1957, Miles Davis (tp), Barney Wilen (ts), René Urtreger (p), Pierre Michelot (b), Kenny Clark (d), from the movie Ascenseur Pour L’échafaud
02:12
3.
Florence sur les Champs Elysées (Ascenseur pour l’échafaud 1957)
Miles Davis - December 4, 1957, Miles Davis (tp), Barney Wilen (ts), René Urtreger (p), Pierre Michelot (b), Kenny Clark (d), from the movie Ascenseur Pour L’échafaud
02:54
4.
Autumn Leaves (Ascenseur pour l’échafaud 1957)
Joseph Kosma, Johnny Mercer - March 9, 1958, Miles Davis (tp), Julian “Cannonball” Adderley (as), Hank Jones (p), Sam Jones (b), Art Blakey (d)
10:59
Side F
1.
Summertime (Miles Davis & Gil Evans 1957 ~ 1961)
George Gershwin - August 4, 1958, Gil Evans (arr, cond); Miles Davis (bgl), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (tp), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (tb), Willie Ruff, Julius Watkins, Gunther Schuller (cor), Bill Bar
03:21
2.
Concierto de Aranjuez (Miles Davis & Gil Evans 1957 ~ 1961)
Joaquin Rodrigo - November 20, 1959, Gil Evans (arr, cond); Miles Davis (bgl, tp), Ernie Royal, Bernie Glow, Louis Mucci, Taft Jordan (tp), Dick Hixon, Frank Rehak (tb), Jimmy Buffington, John Barrows, Earl Chapin (cor), Jimmy McAllister (tu), Al Block, E
16:22
3.
New Rumba (Miles Davis & Gil Evans 1957 ~ 1961)
Ahmad Jamal - May 23, 1957, Gil Evans (arr, cond); Miles Davis (bgl), Ernie Royal, Bernie Glow, Louis Mucci, Taft Jordan, Johnny Carisi (tp), Frank Rehak, Jimmy Cleveland, Joe Bennett (tb), Tom Mitchell (b, tb), Willie Ruff, Jimmy Buffington (cor), Bill B
04:36
4
Side G
1.
So What (Kind of Blue 1959)
Miles Davis - March 2, 1959, Miles Davis (tp), Julian “Cannonball” Adderley (as), John Coltrane (as), Bill Evans (p), Paul Chambers (b), Jimmy Cobb (d)
09:25
2.
All Blues (Kind of Blue 1959)
Miles Davis - April 22, 1959, Miles Davis (tp), Julian “Cannonball” Adderley (as), John Coltrane (as), Bill Evans (p), Paul Chambers (b), Jimmy Cobb (d)
11:36
Side H
1.
Neo (Live 1961)
Miles Davis - April 22, 1961, at the Black Hawk Club, San Francisco, Miles Davis (tp), Hank Mobley (ts), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d)
12:42
2.
Teo (Live 1961)
Miles Davis - May 19, 1961, at Carnegie Hall, The Miles Davis Quintet : Miles Davis (tp), Hank Mobley (ts), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d)
09:16

Information


  • Artist : Miles Davis
  • Format : 4 x 12" (140g)
  • CountryFrance
  • GenresJazz
  • Estimated delivery dateJuly 2021

Description

mockup-Miles-4-pochettes-front mockup-miles-coffret mockup-Miles-4-pochettes-back

4-vinyl limited edition box set including a 33 x 33 8-page booklet featuring the biography of Miles Davis but also anecdotes and extracts from interviews over the entire period of the set. All the tracks included in this box have been remastered for the occasion:

  • Vinyl 1

Side A - BIRTH OF THE COOL
Side B - WALKING 1954

  • Vinyl 2

Side C - MILES DAVIS & THELONIOUS MONK
Side D - MILES DAVIS & JOHN COLTRANE

  • Vinyl 3

Side E - ASCENSEUR POUR L’ÉCHAFAUD 1957
Side F - MILES DAVIS & GIL EVANS 1957 ~ 1961

  • Vinyl 4

Side G - KIND OF BLUE 1959
Side H - LIVE 1961

~

Thirty years after his disappearance, Miles Davis, both the man and his character, is still a subject for debate and controversy. And haven’t we heard that before with all artists? But when it comes to the importance of his contribution to music in the 20th century there is only unanimity.

Everyone says, sure, he was the greatest trumpeter. Other opinions are that he left the world of jazz behind him in 1965. It’s also said he was the catalyst of every decade from 1949 to 1989; that he revolutionised jazz, and brought it out of the ghetto; that he buried jazz; that he was the most important musician of his century... Each of those statements has its share of truth. Whichever way you look at him, he remains a major figure in jazz and in 20th century music overall. Miles surpassed (or at least equalled) the importance of both Louis Armstrong and Duke Ellington for the simple reason that he addressed not only the jazz world but all worlds of music, and that he created (among other things) a fusion of the spheres people knew as jazz, blues, rock and pop, and spoke to every audience, either in turn or collectively.

There was a dinner at the White House during which a perfectly respectable lady, married to a politician no doubt, asked Miles what he did for a living. With some annoyance Miles replied, “Well I’ve changed music five or six times, so I guess that’s what I’ve done [...] now tell me what have you done of any importance, other than be white? [...] You tell me what your claim to fame is.” The provocative tone in Miles’ words lifted the veil over his refusal to be hassled, his revulsion against America’s treatment of Black people, and Miles’ awareness of his own importance in the world of music. Even when speaking, Miles maintained the art of synthesis.

In the beginning – this was 1944 – there was a concert in St Louis, Missouri where Miles heard Charlie Parker and Dizzy Gillespie for the first time. “Man, that shit was terrible, I mean Dizzy Gillespie, Charlie ‘Yardbird' Parker, Buddy Anderson, Gene Ammons, Lucky Thompson and Art Blakey, all together in one band [...] that shit was all up in my body and that’s what I wanted to hear [...] and me up there playing with them.1” Miles was 18, he’d been playing trumpet for years and now he knew that this was what he wanted to play, and nothing else: to play with Bird! A year later he’d turned 19 and he was in New York, where he learned it all, up there alongside Bird and Dizzy.

EN : It is the fusion of Gospel, Blues and Jazz that gives birth to new rhythms during the 50’s in the United States. Black artists are the first ones to associate upbeat tempo with jazz and blues. But it is a revolution of the minds that gives to the 50’s its frenetic momentum that rocks the old world into the modern world. Every single area is touched by the revolution : music and painting, obviously, but also and maybe mainly society at large, ways of consuming, the new industrial era, urban life, advertising, marketing and design. The movement develops in every dimension. Rock’n’Roll is the permanent mark left by the youth of that time, embracing the new world and giving it the rhythm that fits.
The Masters of Rock collection traces back the history of these great Rock’n’Roll figures without whom Rock and music in general would not be what they are today. And just like a natural phenomenon, Rock was born at the same time as the LP, absolute revolution in the music world which marked every generation since 1950 and until today. The world could not go round without the collection that pays homage to Vinyl Records and Rock’nRoll : Masters of Rock

The Essential Works of Masters of Rock gathers every founding creation of today’s music.

FR : C’est la fusion du Gospel, du Blues et du Jazz qui donne naissance à de nouveaux rythmes au cours des années cinquante aux Etats Unis. Ce sont les artistes noirs qui les premiers associent des rythmes up tempo au jazz et au blues. Mais c’est une révolution des esprits qui donne aux années 50 cette frénésie qui fait basculer le monde ancien dans le monde moderne. Tous les domaines sont touchés par la révolution : la musique et la peinture bien sûr, mais aussi et peut être même en premier, la société, la consommation, la nouvelle ère industrielle, la vie urbaine, la publicité, le marketing, le design. Le mouvement se développe dans toutes les dimensions. Le Rock’n’Roll est la trace indélébile laissée par la jeunesse de cette période, qui embrasse le nouveau monde et lui donne le rythme qui lui sied. Masters of Rock retrace le parcours des grandes figures du Rock’n’Roll sans lesquelles le Rock et la musique d’aujourd’hui ne seraient pas ce qu’ils sont. Et comme un phénomène naturel, le Rock est né en même temps que le microsillon, révolution absolue dans le domaine musicale, qui a marqué toutes les générations de 1950 à 2000. Le monde ne pouvait plus tourner rond sans la collection qui rend hommage au Vinyl et au Rock’n’Roll : Masters of Rock

The Essential Works of Masters of Rock réunissent les créations fondatrices de la musique d’aujourd’hui.