| | Miles Davis Milestones CD Miles Davis Discography of CDs
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This CD is a compilation of early Miles Davis tracks and is NOT the Columbia album called MILESTONES released in 1958.
The title does not refer to the trumpeter's composition from his first recording date but is an acknowledgement of this session's visceral impact. Tenor saxophonist John Coltrane had left the trumpeter in the spring of 1957 to join Thelonious Monk for his engagement at New York's Five Spot, and was replaced by a rising star on alto saxophone, Julian "Cannonball" Adderley. When he returned, Davis had a formidable three-horn front line to go with "The Rhythm Section."
MILESTONES is a bracing rhythmic tonic, coming after the refined ballad moods and lush orchestral pastels of MILES AHEAD. And from the furious, adults-only hyper-drive of the opening "Dr. Jekyll" (with its thrilling tenor/alto battle and daredevil drum breaks), through a dazzling Dizzy Gillespie/John Lewis bebop anthem ("Two Bass Hit") to the bright dancing groove of "Straight, No Chaser," MILESTONES is an epic historical event--even by Miles' standards.
The slow, bluesy "Sid's Ahead" first appeared as "Weirdo" on Miles' March 1954 Blue Note session, and offers tantalizing portraits of the horns. Coltrane attacks his line like a blues guitarist, in short bursts of vocal cries and loping syncopated tangents; Miles comes out jabbing, slow and purposeful, feinting and fading behind the beat with lovely long tones and bends; Cannonball comes out all agitated and excitable, with little quicksilver runs and sing-songy asides (such as "Skip to my lou my darling"). Pianist Red Garland's famous feature on the traditional "Billy Boy" highlights his mastery of a two handed orchestral style, his brilliant use of space in blues phrasing, and his interplay with the driving young Paul Chambers (with his enormous beat and impeccable bow work) and the fiery Philly Joe Jones (whose complex melodic variations transcend the technical limitations of the drums).
Recorded between 1945 and 1947.
Personnel includes: Miles Davis, Dizzy Gillespie (trumpet); Charlie Parker (alto saxophone); Lucky Thompson (tenor saxophone); J.J. Johnson (trombone); Bud Powell, John Lewis (piano); Max Roach (drums).
Personnel: Miles Davis (trumpet); Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Red Garland (piano); Philly Joe Jones (drums).
Audio Mixer: Mark Wilder.
Audio Remasterer: Mark Wilder.
Audio Remixers: Teo Macero; Tim Geelan.
Liner Note Authors: Charles Edward Smith; Bob Blumenthal.
Recording information: Columbia 30th Street Studio, New York, NY (04/02/1958-04/03/1958).
Photographers: Don Hunstein; Dennis Stock; Aram Avakian; Chuck Stewart.
Unknown Contributor Roles: John Coltrane; Paul Chambers; Philly Joe Jones; Red Garland; Cannonball Adderley. Milestones Music | List Price | $7.98 (You save $0.13) | | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Bebop, Trumpet | | Label | Legacy | | Orig Year | 1958 | | All Time Sales Rank |  3918  | | CD Universe Part number | 1086415 | | Catalog number | 85203 | | Discs | 1 | | Release Date | Apr 17, 2001 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | George Avakian; Teo Macero; Michael Cuscuna (Reissue); Bob Belden (Reissue) | | Engineer | Harold Chapman | | Recording Time | 47 minutes | | Personnel | Miles Davis - trumpet
Also: John Coltrane, Paul Chambers, Philly Joe Jones, Max Roach, J.J. Johnson, Dizzy Gillespie, Red Garland, Julian "Cannonball" Adderley, Charlie Parker, John Lewis, John Lewis, Lucky Thompson, Bud Powell | | Additional Info | Remastered |
Miles Davis Milestones Songs Purchase Milestones CD To buy, Click on price to add to cart | Miles Davis Kind Of Blue CD (1959) Bonus Track; Remastered
Milestones album
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With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout ...
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Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
Miles Davis' restless curiosity would never allow him to look back, and as a result, he sought out new blood and fresh challenges over the course of six decades of innovation. When modernists such as Ornette Coleman, Cecil Taylor and John Coltrane began stretching the parameters of form and improvisation in the early '60s, Davis was leery, even hostile at first.
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With the release of the spectral title tune, and the efforts of the Columbia marketing and publicity departments behind him, a thirty-year old Miles Davis entered into a period of extraordinary artistic maturity and growth. And Miles instinctively knew how to cultivate his star quality. Looming behind those shades, was the diffident, sensitive anti-hero--proud and defiant--who only spoke to his audience through his horn, and turned his back on them when the other soloists were blowing.
The combination of attitude and intellect was irresistible. Beginning with ROUND ABOUT MIDNIGHT ...
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Let Go is a revelation. 12 literate songs of consumptive love lives, full of big melodies. Nada Surf has consistently produced worthy tunes, but Let Go is a near-perfect record to hold onto with all the might you can muster. Heavenly. 2004.
A funny thing happened to Nada Surf on the way to sure-fire late-'90s alt-rock stardom. Despite obtaining a decent amount of MTV exposure, their sardonic first single, "Popular," ultimately arrived just moments too late to capitalize on the era's short-lived mainstream fancy with geek rock. And with no quality second hit in sight, neither 1996's moderately successful High/Low nor its forgettable 1998 follow-up, The Proximity Effect, gained much traction outside the indie rock underground -- seemingly consigning the trio to the dreaded one-hit-wonder bin. Subsequently dropped by Elektra, Nada Surf settled into a prolonged state of hibernation (only drummer Ira Elliot was heard from, thanks to his regular session work), so that even committed fans would have to be forgiven for washing their hands of the group ...
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Oliver Lake had just celebrated his 61st birthday when, in September 2003, he finished recording Dat Love -- not exactly in his adolescence, but thankfully time hasn't robbed the saxophonist of either his chops or his risk-taking spirit. Lake is still open to trying new things, and this CD finds him leading an unusual group that has been billed as the Oliver Lake Steel Quartet since its formation in 1998. The group is so-named because it includes a steel pan player; the lineup consists of Lake on alto and soprano sax, Lyndon Achee on steel pan, Reggie Washington on electric bass, and Damon Duewhite on drums -- an unlikely combination of instruments, certainly, but one that yields fresh-sounding results on Lake's own compositions as well as arrangements of Oliver Nelson's "Stolen Moments," Horace Silver's "Señor Blues," and the Mary J. Blige/Stevie Wonder song "Time" (which works nicely as instrumental jazz and underscores ...
| | Hillstomp One Word CD (2005)
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Some folks say these two tired souls crawled out the portland shanghai tunnels, back to repay the city's watering holes with sweet odes to sin and salvation, breathing the melodies that have always been sung, releasing others that always will be sung, in other words...In the spring of 2001, Hillstomp was born in a basement in SE Portland, OR. It was the bastard child of Henry Kammerer and John Johnson's mutual need to make music and drink beer. Within a few weeks the Guitar/"Drum" duo played their first open mic at the green room in Portland to a rousing and slightly scary response. Unfortunately, John's drumset (cardboard box, plastic bucket and weber grill lid) didn't survive the ordeal so the pair went back under the basement stairs to build some new drums and practice.In June of 2002 Hillstomp emerged from the dust and dark with a raucous brand of hill country blues rock stomp. It is a visceral music that makes you want to stomp your feet, shake your ass and love your neighbor. After releasing two E. P's in 2003, Hillstomp released their first full-length album "One Word" to a sold out and nearly rabid crowd at the White Eagle in Portland. Hillstomp is tending a fire that has ...
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The '90s weren't too kind to the Ramones. Longtime label ...
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