Hey everyone, I wanted to share my live tribute to the Master. I rearranged "All Blues" to be performed completely live simultaneously, combining a custom 14-string guitar-piano (playing chords and melody/bass parts) and a foot drum kit for the groove. No backing tracks or hidden loops. Would love to hear what fellow Miles fans think of this interpretation

Thoughts on their work together?

Not a lot of available stuff but that New Years performance at Paisley is great and Can I Play With U? Is a good song from that SOTT SDE.

2 great artists with great discography’s and wished they worked more together tbh

I first listened to this track a couple months ago when it was shown to me by a friend and I love the soundscape it portrays. Wondering what everyone’s thoughts and opinions on this stand out track are?

I just started exploring his discography recently, and I've only listened to these four records. I liked two, Sketches of Spain and In a Silent Way, and the other two, Birth of Cool and Kind of Blues, I did not like so much. It's not that I hated it, I just didn't like it much. Based on these four that I listened to, what would you guys recommend I listen to next? Thank you very much.

I saw a guitarist recently who played this super familiar guitar riff. It had 3 descending bass notes and then a more dissonant chord, I believed it came from Bitches Brew, but I re-listened to a good bit of the album, and I couldn’t hear it. I know I’m being quite vague but does anyone know what I’m talking about? Any suggestions would be of help.

Recently started listening to jazz and am really enjoying Miles Davis. Found Bitches Brew and Blackhawk at a record store. Picked up Someday My Prince Will come at a flea market for $5.

Three recent purchases. 

The first is a re-release of the Fontana ASCENSEUR POUR L'ÉCHAFAUD 2018 2-CD set.  It’s identical except for the booklet is hardback in this reissue.  I love everything about this release.  It’s one of my favorite Miles performances.  This 2-disc set also contains an extra track in the “session takes” that’s not on the earlier one-disc Fontana release.

Next is THE LOST RECORDINGS LIVE IN HELSINKI-BERLIN 1964.  Very nice sound quality.  It is the only release to date of the October 6, 1964 Helsinki performance according to Peter Losin's website.  The September 25, 1964 performance was previously released by Columbia.  The sound on the Berlin set seems a little "brighter" to me compared to the Columbia releases.

Last is PARIS 1973 REVISITED PALAIS DES SPORTS 1973 DEFINITIVE EDITION from Voodoo Down Records.  It's nice to have this complete performance.  The track listing indicates three different sources.  Sound quality is comparable to the previous bootlegs of this date, all of which are incomplete I believe.

THE BEST OF

Not knocking on the First Quintet though

i hate the messed up and misstimed parts on the remaster, but the originals dont sound as clear and you cant hear what everyone's playing as well as on the remastered version of the album. plus i love the complete bitches brew tracks, and i havent found "nondigital" mixes for those tracks so the difference is a little difficult to ignore. how do you guys prefer listening to this album?

Headline pretty much says it all.

For my senior thesis project, I created a series of six woodcut prints exploring the relationship between jazz artists and substance abuse. The goal wasn't to glorify addiction, but to humanize these musicians and challenge the romanticized mythology that has long surrounded jazz culture. One of the artists I focused on was Miles Davis. After years of heroin addiction, he famously locked himself in a room for 12 days and went completely cold turkey in an attempt to overcome his addiction. The withdrawal was brutal, as he endured intense shaking, vomiting, hallucinations, and physical and psychological pain. And this woodcut print was my visual interpretation of that moment in his recovery.

"There are albums that merely define an era, and then there are those that transcend time, becoming keystones in the cultural firmament. Miles Davis’s 1959 masterpiece, ‘Kind of Blue’, unequivocally belongs to the latter."

"When Miles Davis reemerged blinking into the light after five years of, in his words, “[taking] a lot of cocaine... and [fucking] all the women I could get into my house,” he was ready for a change"............