Freedom Jazz Dance, written by Eddie Harris, is the second track on the B-side of the album Miles Smiles by Miles Davis Quintet.
Miles Smiles is an album by jazz musician Miles Davis, released in January 1967 on Columbia Records. It was recorded by Davis and his second quintet at Columbia 30th Street Studio in New York City on October 24 and October 25, 1966. It is the second of five albums recorded by Davis’s second great quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. [source]
Miles Davis – Trumpet
Wayne Shorter – Tenor Saxophone
Herbie Hancock – Piano
Ron Carter – Double Bass
Tony Williams – Drums
Two Bass Hit is from the album Miles & Monk at Newport. Miles Davis Sextet’s set recorded live at Newport Jazz Festival in 1958.
Miles & Monk at Newport was a combined album of a Miles Davis appearance at Newport with an appearance of Thelonious Monk, from the LP era. Despite the title, the two artists do not perform together on the LP, and they are represented on each side by separate live appearances at the Newport Jazz Festival. [source]
Line up : Miles Davis – Trumpet / Cannonball Adderley – Alto Saxophone / John Coltrane – Tenor Saxophone / Bill Evans – Piano / Paul Chambers – Bass / Jimmy Cobb – Drums
Line up :
Miles Davis – Trumpet
Cannonball Adderley – Alto Saxophone
John Coltrane – Tenor Saxophone
Bill Evans – Piano
Paul Chambers – Bass
Jimmy Cobb – Drums
On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released later that year on Columbia Records. It was scorned by critics at the time of its release and was one of Davis’s worst-selling recordings. Its critical standing has improved dramatically with the passage of time, as it is now seen as a strong forerunner of the musical techniques of post punk, hip hop, drum and bass, and electronic music. [source]
I didn’t discover that until ten years ago but I love the grooves on it and it’s interesting in that there’s no melodies. It’s sounds like electronic music, except it has the fortunate aspect of being played by humans. It’s influenced obviously by James Brown, one of my favourite artists. James Brown is like the Bach of modern music, a fantastic composer, so complicated and yet so much below the hips as well. I love On the Corner because it’s kind of abstract but also so compulsive. I guess it’s uncharacteristic for Miles, and it caused a lot of controversy at the time. I’m not so fond of, say, Bitches Brew, with the electric guitar, but I also love Sketches of Spain, with the great arranger, Gil Evans, who also did Out Of The Cool. I like really arranged and cinematic jazz. That’s enough on that one! [source]
All songs written by Miles Davis: A1, On the Corner; New York Girl; Thinkin’ One Thing and Doin’ Another; Vote for Miles – 20:02 / A2, Black Satin – 5:20 / B1, One and One” – 6:09 / B2, Helen Butte; Mr. Freedom X – 23:18
Musicians
Miles Davis – Electric Trumpet with wah-wah
Dave Liebman – Soprano Saxophone (A2)
Carlos Garnett – Soprano and Tenor Saxophone (B1, B2)
Chick Corea – Electric Piano (A1)
Herbie Hancock – Electric Piano, Synthesizer
Harold I. Williams – Organ, Synthesizer
Lonnie Liston Smith – Organ (B2)
David Creamer – Electric guitar (A2, B1, B2)
John McLaughlin – Electric Guitar (A1)
Michael Henderson – Electric Bass with Wah Wah
Collin Walcott – Electric Sitar (A1, B1, B2)
Khalil Balakrishna - Electric Sitar (A2)
Bennie Maupin – Bass Clarinet (B1)
Badal Roy – Tabla
Jack DeJohnette – Drums
Billy Cobham – Drums
Al Foster – Drums
Jabali Billy Hart – Drums, Bongos
James “Mtume” Foreman – Percussion
Don Alias – Percussion
Paul Buckmaster – Cello, Arrangements
What I Say is the first track on side B on the double album Live-Evil by Miles Davis. Much of the record (including What I Say) was recorded live at the Washington D. C. -based nightclub The Cellar Door, December, 1970 and the rest was recorded in Columbia´s Studio B, February, 1970.
Davis had originally intended the album to be a spiritual successor to Bitches Brew, but this idea was abandoned when it became obvious that Live-Evil was “something completely different”.[source]
This particular sextet was together for just under a year, from November 1970 to July 1971, when Moreira and DeJohnette left, and has until now been undocumented on official releases. It could hitherto only be heard on Davis’ classic 1971 album Live-Evil, but in altered form: guitarist John McLaughlin was added for the December 19, 1970, performance, which dramatically changed the sound of the band. [read more]
Relaxin’ with The Miles Davis Quintet is an album recorded in 1956 by Miles David. Two sessions on 11 May 1956 and 26 October in the same year resulted in four albums—this one, Steamin´with The Miles Davis Quintet, Workin´with The Miles Davis Quintet, Cookin´with The Miles Davis Quintet. These four albums are considered to be one of the best performances for the whole hard bop subgenre. The album was remastered by Rudy Van Gelder in 2005 for Prestige Records. This album includes dialogue snippets taken from the original master reel. It also emphasizes the Miles Davis’ concentrated ballad-style playing with his medium-register trumpet. [source]
