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The Miles Davis Virtual Museum

Updated: 2016-09-08T06:38:12.911+02:00


Happy New Year



My Lunch with Miles


It was around this time 38 years ago that Irvin Kolodin called me and asked if I would like to write a cover story for the Saturday Review. Well, who wouldn't? "It's on Miles Davis," Kolodin continued, in a tone of voice that one might use if bringing someone bad news. I understood that, because it was no secret that Miles could be difficult, but I was up for the challenge. After all, I had met him on several occasions, mostly in the hallways of Columbia's studios at 52nd Street, where we had a nodding relationship, but also at a couple of press parties, where I saw him smile, and on the beach during a Columbia Records Convention in the Bahamas the year before.I had a relatively generous deadline, so I waited a couple of days before giving Miles a call, hoping to catch him in a friendly mood. I was in luck, he told me to come right over. Well, I hadn't expected it to go that smoothly or with such immediacy, but he seemed to be in a good mood. Moments later, small cassette machine in hand, I was ringing his bell at West 77th Street, where he owned a house.Miles opened the door wide and led me to a fairly large room with a bar in one end and gestured for me to have a seat by the coffee table in a cozy corner at the other end. "I hope you didn't have lunch," he said in that low, raspy voice of his. Lunch? that was certainly unexpected. "No," I replied, placing my recorder on the table and noticing that Miles seemed to eye it with a hint of curiosity. It was not until several days later that Teo Macero, his producer, informed me that Miles did not like to be interviewed on tape. It's a good thing that I didn't know that earlier. At the first Ida Cox session, ten years earlier, I had watched admiringly as Whitney Balliett took notes in what seemed to be shorthand and got every word and breath right. With Miles, a tape recorder was an absolute necessity, and not only did he not balk at seeing it, there were a couple of occasions when he walked over to the bar and carried my recorder with him so that I wouldn't miss a word.The only discomfort came when lunch was served. It was some kind of fish, which is something I got completely turned off to in Iceland. There,everything was fish, even beef had a fishy taste, and when the wind blew in a certain direction, it brought with it a generous whiff from the edge of town, where racks of fish were hung out to dry. So, I probably had not eaten fish in twenty years, but this was one time when I felt that I had to. However, I could only go so far, so I pushed the skin to the edge of my plate—discreetly, I thought—but it did not escape Miles' attention."You don't like the skin?," he asked."No.""Well, we shan't waste it," he said, picking it from my plate with his fork.The interview went well and the article has since been reprinted in a couple of books, but here it is, anyway.Saturday Review cover story - November 27, 1971.THE UNMASKING OF MILES DAVISWhen Miles Davis returns from a six week tour of Europe and takes his quintet into Philharmonic Hall this week, chances are that a good percentage of his audience will consist of young black people. This is not a writer's prediction based on a typical Miles Davis following—no one has determined just what that might be—but a request Miles made in a phone call from Paris four weeks ago: Jack Whittemore, his agent, was to take half of Miles’ fee, purchase tickets for the concert, and hand them out to young black people who otherwise could not afford to attend. “Miles has never done anything like this before, but nothing he does surprises me,” says Whittemore, admitting that he doesn’t quite know how to go about distributing over $2,000 worth of free tickets to the right people.Such unusual gestures are as typical of Miles as they are atypical of most performing artists; they come as a surprise only to those who know the enigmatic trumpet player from a distance. Since his first appearance on the music scene some twenty-six years ago, Miles Davis has ben the subject of controversy; endearing with his musi[...]

Electric Miles Davis Columbia recordings


The database contains entries for most of Miles Davis's Columbia 'Electric period' recordings. Included are the original monaural LPs (CL series);
original stereo reissues (CS series);
one or two subsequent reissues (e.g. the PC series in the mid-1970s);
the most recent LP reissues (CJ series: many of these are based on digital re-masters).

Davis's Columbia records began appearing in Japan in the late 1950s on the Nippon Columbia label. In 1969 CBS/Sony took over and began reissuing the Davis catalog in a more systematic way.

The listing for Japanese CDs includes several series. In the case of most titles, there are by now five or six issued CD versions:
The original CBS/Sony CDs (35DP series) were released in 1983.
Another series (with 32DP / 50DP catalog numbers) was issued in 1985-1986; this series reissued all of the 35DP titles and added most of the remaining titles from Davis's Columbia years.
The CBS/Sony CSCS series in the late 1980s reissued most of these recordings.
The Sony SRCS 5000 series in the early 1990s reissued most of them again (including several not reissued in the CSCS series).
The Sony "Master Sound" series (SRCS 91xx and 93xx), released beginning in early 1997, used 20-bit masters incorporating Super Bit Mapping. A few of the titles had bonus material not included in previous releases. The initial releases were housed in paper LP-style sleeves.
A subsequent "Master Sound" series (SRCS 97xx), released beginning in mid-2000, incorporated one-bit "Direct Stream Digital" mastering. Several of these titles included bonus material, some of which first appeared on the boxed sets of Miles Davis's recordings that began to appear in the late 1990s. The initial releases had paper LP-style sleeves.
Sony released the first "Super Audio CD" versions of Miles Davis (SRGS 45xx) in mid-1999. These were also based on the one-bit DSD masters. Again, several titles included bonus tracks.

The download link is:
Thanks to MilesAhead

Miles Davis live at Sartory Festsaal, Cologne, November 12, 1971


Miles Davis (tpt)
Gary Bartz (ss, as)
Keith Jarrett (el-p, org)
Michael Henderson (el-b)
Ndugu Leon Chancler (d)
Charles Don Alias (cga, perc)
James Mtume Foreman (cga, perc)

Directions (J. Zawinul)
Honky Tonk (M. Davis)
What I Say (M. Davis) (part)
It's About That Time (M. Davis) (part)
Yesternow (M. Davis)
Funky Tonk (M. Davis) / Sanctuary (W. Shorter-M. Davis)

Westdeutscher Radio (WDR) radio broadcast, including spoken intermission

Info Only

Miles Davis rare French/Czech documentary


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French TV, rare, in Czech language with rare footage scenes

Miles davis live at Berkshire Music Center, Tanglewood, August 18, 1970



August 18, 1970
Berkshire Music Center, Tanglewood MA

Miles Davis (tpt); Gary Bartz (ss, as); Chick Corea (el-p); Keith Jarrett (org); Dave Holland (b, el-b); Jack De Johnette (d); Airto Moreira (perc)

Directions (J. Zawinul) 9:13
Bitches Brew (M. Davis) 9:34
The Mask (M. Davis) 3:42
It's About That Time (M. Davis) 7:41
Sanctuary (W. Shorter-M. Davis) 1:35
Spanish Key (M. Davis) 5:35
The Theme (M. Davis) 2:07
Miles Runs the Voodoo Down (M. Davis) 3:58
The Theme (M. Davis) 1:01

Miles @ 45 rpm


The famous Miles Davis short tracks from "Miles at Isle of Wight" Lp. The tracks were used for 7" promo singles Davis did throughout the 70s'

Great Expectations (2:42)
The Little Blue Frog (2:32)
Molester (Part I) (3:04)
Molester (Part II) (2:10)
Holly-Wuud (2:52)
Big Fun (2:30)

Miles Davis (tp, org)
Dave Liebman (ss, fl)
Reggie Lucas (el-g)
Pete Cosey (el-g, per)
Michael Henderson (el-b)
Al Foster (d) Mtume (per)
Columbia Studios, NYC, July 26, 1973


Miles' last interview


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I Remember Miles - Part 1


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This is a World Premiere Sneak Preview of the upcoming documentary, I Remember Miles, by internationally known Producer/Director Malcolm W. Adams for Totown Digital Media, a company of Totown Communications Group Japan.

I Remember Miles - part 2


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I Remember Miles - Part 3


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(image) In the Spring and Summer of 1970 Miles was promoting Bitches Brew. This led him to appear in a variety of rock environments. The story goes that the Grateful Dead musicians watched
Miles and his musicians from the wings, feeling utterly in awe and intimidated. Miles's live double album Black Beauty was culled from the April 10 night...
© Free Rare Mp3 Music Downloads

Teo Macero on producing Miles Davis


Transcript from the Miles Davis Conference, May 10-11, 1996, Washington University in St. Louis. Here Macero speaks about his work with Miles Davis. ... And talk about the, how the records were made. I met Miles several years before, I think at Birdland, when in 1954 and 1955, they had projects to do with Leonard Bernstein and I'd get a lot of samples for the album. I had written something for the very end, and Lenny didn't like it, he said it was too lugubrious, so we had to get somebody like Miles to swing this particular tune. But they did ask me to write a couple of introductions, so they got Miles, they got his group with Coltrane, and they came to the session and we became friends. I wrote a couple of introductions and picked one, and that was it. And then about a year and a half later I became his producer.Because I joined CBS, my first record date was in 1955. It was a marvelous experience with Miles. I'd like to just play something that you're never gonna hear, ever again. I mean these tracks, I put together for CBS Sony recently are not coming out the way we had proposed them [plays music samples].Later on, with Miles' music, I must say, you could do anything with it. He said to me, "Do whatever you want." I say, "Oh yeah, okay, I'll take care of it." So you could use the front in the back, the back in the front, the middle somewhere else, or you didn't have to use any of that. Many times when I was working on a Miles album, and editing it, I would take everything from the very beginning of the session, any little fragment, I would mix it down and put it all together. And then finally (I'd) cut the material and put it all together using the three-machine splice technique with a lot of reverb machines and all kinds of techniques that we had at that time. One guy said he was going to take a record back because he heard the music going back and forth, left and right. Well, we had a machine that did that with Miles. I mean, if you listen to some of the tracks, you hear the shifting. You say 'what the hell is going on?'You know, even on Bitches Brew and all that stuff, that was all mechanically done in the editing room. All subject to Miles' approval. He came to the session, I mean the editing room, about six times in his lifetime while I was with him at CBS. And the one time that he did come when we were doing In a Silent Way, and everybody says that's a classic record. Sure it is a classic record. I said, "Look at it, I've mixed everything now on this particular record, I think you'd better get your ass down here because," I said, "I'm really bewildered, because I've got 30, 35 reels of quarter-in masters, and I said, I gotta cut it down to two, an A side and a B side." And I said, "If you don't come, I'm gonna make the cuts anyway." He said, "Aw, shit, I'll be right down." So he came down, and he stayed with me most of the day, and what happened was that he, we, cut out everything down to two reels of tape with eight and a half minutes on each side, and then he started to leave. I said, "Where the hell you going?" He said, "That's my record." I said, "Wait a minute, you can't do this. They're going to skin you alive, they'll do me in." They wanted to do me in anyway, because we were kind of rebels at the time.And I said... "give me a couple days and I'll see what I can figure out," because we've got these two reels with one eight and a half, nine minutes on one side, and something on the other side. So what I did, I copied little excerpts of the very, if you listen to it very carefully, you'll hear a lot of repeats, but you don't know that they're repeats, because it sounds like a continuous song, and a continuous performance. I bridged... I made 18 minutes... I me[...]



Lot 128, Martin Committee Model, 1957, trumpet, used by Miles Davis

(image) Trumpets have an allure that is hard to describe, even when they are silent. When they are as gorgeous as the 1957 Martin Committee Model , Lot 128, that once belonged to Miles Davis, they are even more irresistible. With a blue-green finish, keys inlaid with mother-of-pearl, a separate mouthpiece, accompanied by a document concerning its provenance, the only thing missing is the genius that once played it. The lot has an estimate of $15,000 to $25,000. It failed to sell.

The document states that in 1966 the trumpet was given by Miles Davis, a huge boxing fan, to Ray Robinson II, son of the boxing legend Sugar Ray Robinson. Davis, a special fan of the boxing superstar, was instrumental in encouraging his retirement after his final fight with Joey Archer in 1965: "Sugar, it's time man" was all he had to say. Robinson retired the next day. This trumpet could only have complemented a man who was not only a jazz legend in his own lifetime, but also extremely handsome. Christie's catalog offers some history:

"The Martin Committee Model was originally designed in the late 1930s for the Martin Band Instrument Company by a "committee" which included brass instrument makers Renold Schilke, Vincent Bach, Elden Benge, and Foster Reynolds. Miles Davis played custom made Committees throughout his career." It is easy to see why.

Lot 125, five of 25 sketches by Miles Davis, circa 1980

(image) As if being a musical genius was not enough, Miles Davis was also a wonderful artist, and some of his vibrant sketches including a sketchbook with 25 sketches, Lot 125, that has an estimate of $6,000 to $8,000. It sold for $6,600.
© Free Rare Mp3 Music Downloads

Miles Davis live at the Isle of Wight Festival August 29, 1970


Miles Davis (tpt)
Gary Bartz (ss, as)
Chick Corea (el-p)
Keith Jarrett (org)
Dave Holland (b, el-b)
Jack DeJohnette (d)
Airto Moreira (perc)

1. Call It Anything:
Directions / Bitches Brew / It's About That Time / Sanctuary / Spanish Key / The Theme

Miles Davis at the Isle Of Wight Festival 1970


On August 29, 1970, Miles gave a brief but stunning performance at the Isle of Wight Festival in Great Britain. A year earlier he had still been playing in jazz clubs for audiences of 30-40, but now he was on the same bill as the likes of Jimi Hendrix, The Who, Joni Mitchell, and The Doors, playing to a crowd of 600,000. Excerpts from this concert have been previously released on Isle of Wight compilation albums, and were titled, 'Call it Anythin'' and 'Call it Anything.' With the release in November 2004 of the DVD Miles Electric: A Different Kind of Blue, Miles's entire 38-minute performance at the Isle of Wight is finally available to the public. Acadamy Award winning director Murray Lerner beautifully presents all the power and dynamism of the music, as played by Miles and an all-star band consisting of Keith Jarrett, Chick Corea, Gary Bartz, Dave Holland, Jack DeJohnette, and Airto Moreira. The footage is in glorious full-color detail, featuring a healthy-looking Miles without sunglasses (as can be seen from the screen grabs below), and the sound quality is excellent.In addition, Lerner also interviews all the above mentioned sidemen, plus Herbie Hancock, Mtume, Pete Cosey, Carlos Santana, Joni Mitchell, and Bob Belden. These interviews form a 45-minute introduction to the concert that clarifies a lot of what goes on musically. © Free Rare Mp3 Music Downloads[...]

Miles Davis - Isle of Wight (1970)


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"Call it anything" (intro).
© Free Rare Mp3 Music Downloads

Miles Davis - Isle of Wight (1970)


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(image) Miles sharing the bill in August with some legendary colleagues.
© Free Rare Mp3 Music Downloads

B. B. King and Miles Davis (Barcelona, 1973)


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Miles Davis Honda Scooter Ad


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When ads say the truth...


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Miles 1970


(image) Central Park, New York, July 6, 1970

Miles Davis - Sanctuary


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