01 So What 9:22
02 Générique (Bof Ascenseur Pour L'Echafaud) 2:48
03 'Round Midnight 5:57
04 Django (Instrumental) Michel Legrand 4:12
05 Summertime 3:19
06 Bye Bye Blackbird 7:56
07 Blue In Green 5:26
08 Autumn Leaves (2008 Digital Remaster) Cannonball Adderley 11:01

The 2013 compilation Autour de Minuit: Miles Davis brings together some of the legendary jazz trumpeter's recordings from the 1950s and 1960s. Loosely arranged around the theme of beauty, this single-disc collection is essentially a thumbnail overview of Davis' most accessible and relaxing recordings. Here we get such classics as "So What," "'Round Midnight," "Bye Bye Blackbird," "Blue in Green," and others. While there are more definitive Davis compilations, it's a pleasant listen, as with all of the discs in the Autour de Minuit series. ---Matt Collar, Rovi

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1 	Ray's Idea 	8:30
2 	A Night In Tunisia 	8:25
3 	Wee Dot 	10:50
4 	What's New 	7:28
5 	Perdido 	9:21
6 	All The Things You Are 	10:07
7 	Our Delight 	7:22
8 	Lady Bird 	6:42
9 	Oh Lady, Be Good 	4:20

Bass – Johnny Mixon
Drums – Oscar Oldham
Piano – Charles Fox
Tenor Saxophone – Jimmy Forrest
Trumpet – Miles Davis 

Recorded in performance at 'The Barrel', St. Louis, c. 1952. 

In 1992, Prestige/Fantasy combined both of Miles Davis' Live at the Barrel LPs on a 74-minute CD titled Our Delight. For hardcore collectors, the release of Our Delight was very good news. However, there are various reasons why this CD can hardly be called essential. The performances, which find Davis and tenor saxman Jimmy Forrest joining forces in a St. Louis club called the Barrel, are competent and likable but not mind-blowing. And the sound quality, although listenable, is not great (by early-'50s hi-fi standards). So when you add those things up, there is no way that Our Delight should be recommended to anyone who isn't a serious collector. Nonetheless, these performances are not without historic value. Davis and Forrest (who are joined by a St. Louis rhythm section that consists of pianist Charles Fox, bassist John Mixon, drummer Oscar Oldham, and an unknown percussionist) did not play together very much, and Our Delight gives listeners a rare chance to hear them playing side by side on familiar standards like "All the Things You Are," Tadd Dameron's "Our Delight," and Dizzy Gillespie's "A Night in Tunisia." The CD also contains a dusky performance of the ballad "What's New," although ballads are not a high priority. And the type of funky, groove-oriented soul-jazz and honker music that Forrest was famous for is excluded; the musicians don't perform "Night Train" (the saxman's biggest hit), and they stick to a bop/standards program. Our Delight certainly isn't bad, but it doesn't deserve five-star praise either (unlike much of the bop and cool work that Davis offered in the '50s). Even so, collectors will find Our Delight to be interesting -- shortcomings, flaws, and all. ---Alex Henderson, AllMusic Review

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* Two Bass Hit 
* Dear Old Stockholm 
* Bye Bye Blackbird 
* Round Midnight 
* Straight, No Chaser 
* Milestones 
* So What 
* Blue In Green 
* Someday My Prince Will Come

Musicians:
Miles Davis - Trumpet,
John Coltrane - Tenor Saxophone,
Hank Mobley - Tenor Saxophone (9) 
Red Garland (1-6),Bill Evans (7-8),Wynton Kelly (9) - Piano,
Paul Chambers - Bass,
Philly Joe Jones (1-6),Jimmy Cobb (7-9) - Drums.

Track 1-1955, 2-4 1956, 5&6 1958, 7&8 1959, 9-1961.

Perhaps one of the most significant contributions of Miles Davis to jazz was his introduction and establishment of a series offine instrumentalists through his live performances and recordings. This disc obviously features the work of John Coltrane in this context.

Coltrane had two main periods with Davis, the first being from 1955-56. In 1957 Coltrane worked almost exclusively in the quartet led by the pianist and composer Thelonious Monk. His second tenure with the Davis band was from 1958-59, although he performed and recorded with Miles on a more casual basis until 1961.

Tracks 1-4 are interesting as they chart Coltrane's development from a neo-bopper to his arrival at what critic Ira Gitler refered to as his "sheets of sound" style. This was basically a method of cramming many substitute chord changes and derived scale patterns into his improvisations and playing them at great speed with astonishing clarity and dexterity. This is the style that has, in one way or another, influencedthe vast majority of subsequent jazz tenor players and indeed, to some degree, most performers on whatever their instrument. The later tracks on this disc illustrate this mmethod of playing at its full fruition-a newcomer to the music might well consider following this recording by listening to Coltrane's "Giant Steps". (Recorded in 1959)

Miles Davis was ceretainly at one of the peaks of his career throught the years of these performances. His playing, both muted and open, is a model of economy. His style here relies far more onthe careful and unsual placement of notes and on various tonal devices such as smearing and bending the pitch.

An extra bonus on many of the tracks is the presence of Cannonball Adderley on alto saxophone. He serves as an antidote to the intensity of Coltrane and to the dark broodings of Davis. His style is full of "bluesy" inflexions whilst still managing to convey the impression of joyous abandon and enthusiasm. I have always felt that Adderley was easily the equal of his contemporaries on these recordings. His solo on "Milestones" must rank highly on my list of all-time favourite moments in recorded jazz.

Another favourite player, Hank Mobley, is featured on "Someday My Prince Will Come". This is not Mobley at his most assured, but his performance is still well worth a listen. Mobley can be heard, with Coltrane, to far better advantage on his own disc "Tenor Conclave". (This recording also includes Al Cohn and Zoot Sims , but I feel Mobley outplays the others in terms of coherency of thought and execution!)

To anyone not over familiar with Miles Davis and John Coltrane this disc provides a fascinating introduction. The rhythm sections are superb and there some excellent piano solos throughout-particularly from the sadly almost forgotten Red Garland.

The remastering is first-rate and the presentation, complete with new liner notes and rare photographs, is excellent. ---Dick Stafford, musicweb-international.com

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01. Lost in Madrid, Pt. 1
02. Siesta - Kitt's kiss - Lost in Madrid, Pt. 2
03. Theme for Augustine - Wind - Seduction
04. Submission
05. Lost in Madrid, Pt. 3
06. Conchita - Lament
07. Lost in Madrid, Pt. 4 - Rat dance - The call
08. Claire - Lost in Madrid, Pt. 5
09. Afterglow
10. Los feliz

Personnel:
    Miles Davis - trumpet
    Marcus Miller - bass
    John Scofield - acoustic guitar on "Siesta"
    Omar Hakim - drums on "Siesta"
    Earl Klugh - classical guitar on "Claire"
    James Walker - flute on "Los Feliz"
    Jason Miles - synthesizer programming

This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for. ---Scott Yanow, All Music Guide

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1. Introduction 1:23
2.  Boplicity (Cleo Henry) 3:40
3.  Introduction To "Miles Ahead" Medley 0:08
4.  Springsville (John Carisi) 3:33
5.  Maids Of Cadiz (Gil Evans) 3:37
6.  The Duke (Dave Brubeck) 4:00
7.  My Ship (Kurt Weill) 4:10
8.  Miles Ahead (Gil Evans) 3:38
9.  Blues For Pablo (Gil Evans) 6:06
10.  Introduction To "Porgy And Bess" Medley (George Gershwin) 0:27
11.  Orgone  (Gil Evans) 4:08
12.  Gone, Gone, Gone (George Gershwin, Ira Gershwin, DuBose Heyward) 1:47
13.  Summertime (George Gershwin, Ira Gershwin, DuBose Heyward) 2:54
14.  Here Come De Honey Man (George Gershwin, Ira Gershwin, DuBose Heyward) 3:40
15.  The Pan Piper (Gil Evans) 1:40
16.  Solea (Gil Evans) 11:46

Personnel:
Miles Davis (Trumpet)
Quincy Jones (Conductor)
Gil Evans (Arranger)
George Adams (Tenor Saxophone, Flute)
Benny Bailey (Flugelhorn, Trumpet)
Carlos Benavent (Double Bass, Bass Guitar)
Alex Brofsky (French Hon)
Delmar Brown (Keyboards)
Julian Cawdry (Flute, Piccolo)
John D'earth (Trumpet, Flugelhorn)
Roland Dahinden (Trombone)
Kenwood Dennard (Drums and Percussion)
Xavier Duss (Oboe)
Reiner Erb (Bassoon)
Alex Foster (Alto and Soprano Saxophone, Flute)
Hans Peter Frehner (Bass Clarinet, Baritone Saxophone, Flute)
Kenny Garrett (Alto Saxophone)
Gil Goldstein (Keyboards)
George Gruntz (Piano)
Conrad Herwig (Trombone)
Howard Johnson (Tuba, Baritone Saxophone)
Bob Malach (Clarinet, Flute, Tenor Saxophone)
Tom Malone (Trombone, Trumpet)
Earl McIntyre (Euphonium, Trombone)
Anne O'Brian (Flute)
Claudio Pontiggia (French Horn)
Christian Rabe (Bassoon)
Mike Richmond (Double Bass)
John Riley (Drums and Percussion)
Wallace Rooney (Trumpet)
Roger Rosenberg (Bass Clarinet, Baritone Saxophone)
Xenia Schindler (Harp)
Lew Soloff (Trumpet)
Marvin Stamm (Trumpet, Flugelhorn)
Dave Bargeron (Euphonium, Trombone)
Dave Taylor (Bass Trombone)
Larry Schneider (Tenor Saxophone, Oboe, Flute, Clarinet)
Jerry Bergonzi (Tenor Saxophone)
Grady Tate (Drums)

Although Miles Davis did not live to participate in Gerry Mulligan's reunion recordings featuring the nonet that played on the famous late-'40s and early-'50s cool sessions, he participated in a reunion concert held at Montreux in 1991. This featured both the Gil Evans Orchestra and George Gruntz Concert Jazz Band, plus additional guests Benny Bailey, Grady Tate, Carlos Benavent and various European players teaming with a gravely ill Davis to perform Gil Evans' marvelous arrangements. Quincy Jones conducted and conceived the idea of using two orchestras, offering majestic surroundings for the solos of Davis, fellow trumpeter Wallace Roney and alto saxophonist Kenny Garrett. Not every moment is golden, but the overall session ranks just a bit below the majestic '50s and '60s dates featuring Davis' trumpet and Evans' arrangements. ---Ron Wynn, Rovi

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1	Rifftide	4:34
2	Good Bait	5:47
3	Don't Blame Me	4:19
4	Lady Bird	5:00
5	Wam-Hoo	5:33
6	Allen's Alley	4:26
7	Embraceable You	4:02
8	Ornithology	3:45
9	All The Things You Are	4:15

Bass – Barney Spieler
Drums – Kenny Clarke
Piano – Tadd Dameron
Tenor Saxophone – James Moody
Trumpet – Miles Davis

Miles Davis was best-known during the late '40s for offering an alternative approach to trumpeters Dizzy Gillespie and Fats Navarro, emphasizing his middle register, a softer tone and a more thoughtful approach. This concert performance, which was not released until nearly three decades later, shows that Davis was just as capable of playing hard-driving bebop as most of his contemporaries. In a quintet with tenor-saxophonist James Moody and pianist-composer Tadd Dameron, Davis confounded the French audience by playing very impressive high notes and displaying an extroverted personality. Never content to merely satisfy the expectations of his fans, he was already moving in surprising directions. This LP also gives one a very rare opportunity to hear Miles Davis verbally introducing songs in a voice not yet scarred. ---Scott Yanow, AllMusic Review

The radio crackles; the announcer praises the human spirit with the pomposity of a cultural attaché. But already the drummer rumbles in the background, and the trumpet cries out. The critic Maurice Cullaz takes the microphone, and with the terse enthusiasm of a sports commentator, introduces “the most modern form of jazz, the bebop style.”

We are hearing, live from Salle Pleyel, May 8, 1949, the Festival of Jazz in Paris, where Miles Davis landed the night before with Tadd Dameron. Four years earlier, someone had said that he had no technique—in spite of the fact that Miles had started out with Charlie Parker, and then learned the acrobatics of bop from the pianist’s compositions, and received the full backing of the genre’s master drummer Kenny Clarke. Miles had just founded a revolutionary nonet in New York, and he was elated after the welcome he had received in Paris. The return to American reality would, alas, be something else, and Miles would go through a long purgatory before recovering the critical acclaim he had received in Paris. Henri Renaud, who was then head of the jazz department at CBS France, released this recording for the first time in 1977. ---milesdavis.com

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CD 1
01. Introduction
02. Ah-Leu-Cha by The Miles Davis Sextet
03. Straight, No Chaser by Miles Davis
04. Fran-Dance by Miles Davis
05. Two Bass Hit by Miles Davis              play
06. Bye Bye Blackbird by Miles Davis
07. The Theme by Miles Davis Quintet

Personnel: 
Miles Davis (trumpet); 
Cannonball Adderley (alto saxophone); 
John Coltrane (tenor saxophone); 
Bill Evans (piano); Paul Chambers (bass); 
Jimmy Cobb (drums).
Live at the Newport Jazz Festival 1958

CD 2
01. Introduction by Willis Conover
02. Criss Cross by Thelonious Monk
03. Light Blue by Thelonious Monk
04. Nutty by Thelonious Monk
05. Blue Monk by Thelonious Monk
06. Epistrophy by Thelonious Monk     play

Personnel: 
Thelonious Monk (piano)
Pee Wee Russell (clarinet), 
Charlie Rouse (tenor sax), 
Butch Warren (bass) 
Frankie Dunlop (drums).
Live at the Newport Jazz Festival 1963

Though Miles Davis and Thelonious Monk did not perform together on the music in this double-album set, their work is given a wonderful showcase in this 1963 release.

Thanks to the research that went into the box set The Complete Miles Davis/John Coltrane Sessions there's a the definitive Newport 1958 date that features the debut live performances to the Miles Davis Sextet's two newest members: drummer Jimmy Cobb and pianist Bill Evans. The gig was part of a festival tribute to Duke Ellington, but that didn't stop Davis from showing off -- aggressively -- what his new band was capable of (six months later he would show the world when the band went to record Kind of Blue). This is a revelatory performance for fans of Evans. When Cobb kicks off into Charlie Parker's "Au-Leu-Cha," the tempo is breakneck. Davis' solo is all fire, pure heat, and inspiration. The melody goes by in a blink, and Cobb and Chambers carry the dictum to go faster as Davis gives way first to Coltrane, already moving his angular lines to the harmonic breaking point and doing them not in scales but in modes, fast and footloose. He's down in the groove before giving it to Cannonball Adderley to show off his bebop chops -- which he possesses in spades. He's out of the Bird book to be sure, but his tone is stunning and he's loose, free as a bird as he leaps from one idea to the next before the melody shifts the tune back to Earth for only a second. The sextet doesn't stop when it literally rocks through Thelonious Monk's "Straight No Chaser." Evans' harmonic invention on the tune couldn't be further from the composer's, but it hardly matters. His melodic fire and ability to move tonal mountains in the harmonic intervals is near effortless. Coltrane's solo is notable in that he's squeaking and squawking for the first time on record, and Adderley's for how rich and melodic it is. By the time Evans gets to his solo, he's down in Monk's blues all right, but they're so ornate and beautiful, they swing, sway, and are full of color, as nuanced as they come. There is no academia in his approach -- it's all emotion and sophistication. The rest of the set follows suit: "Fran-Dance," "Two Bass Hit," "Bye Bye Blackbird" (which has never sounded like this before or since), and the blistering "The Theme" all burn with white heat. It's obvious Davis was pulling out all the stops for this audience, bringing down the house, and perhaps realizing himself just what this band was capable of musically. Who knows? It doesn't matter, fans can finally have an accurate record of this performance that has been scattered over other issues, misdated, miscredited, and badly mastered. This volume finally sets straight what happened on that afternoon in 1958 at the Newport Jazz Festival. ~ Thom Jurek

This CD is masterful. A wonderful opportunity for those who already know Miles and Monk to hear more of the kind of sound you love. Two giants at their best in a live recording. If you are unfamiliar with the music of these two greats, this CD is a fantastic introduction to their sound. One word of caution, however, though this is a great CD recording of Miles and Monk together, it is by no means the last word, or note, on the kind of music the artists are, or were, capable of. This CD only demonstrates a tiny facet of the broad repertoires of Miles and Monk. In fact, I wouldn't even say that the CD is typical, if there is such a thing when speaking of these two, of their sound. For a great CD which will give the listener the essence of Thelonius Monk, stripped down to his essentials, listen to Solo Monk. This is Monk's solo album, consisting of songs chosen by the artist, each selection recorded in rarely more than one take. For the essence of Miles, listen to Kind of Blue. This CD also was recorded in rarely more than one take per song, with no rehearsals--incredible when one realizes that Miles brought in one composition each morning of the recording session and presented it on the spot to the tremendous ensemble gathered together. A word of criticism about the CD that has nothing to do with the musicians: The CD is nothing, and inferior, when compared to the original LP (That's another word for a vinyl disc for those of you who are too young to know. But if you are to oung to have known that and yet interested in this CD, you are an unusual music lover, indeed.). If you are ever fortunate enough to listen to the original LP you will know what I mean. –Steve Parker

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1. Right Off - 26:53 
2. Yesternow - 25:34

The first track and about half of the second track were recorded
 on 7 April 1970 by this group:
Miles Davis - Trumpet
Steve Grossman - Soprano saxophone
John McLaughlin - Electric guitar
Herbie Hancock - Organ
Michael Henderson - Electric bass
Billy Cobham - Drums

The second part of the second track (starting at about 12:55) was recorded
 on 18 February 1970 by a different and uncredited lineup:
Miles Davis - Trumpet
Bennie Maupin - Bass clarinet
John McLaughlin - Electric guitar
Sonny Sharrock - Electric guitar
Chick Corea - Electric piano
Dave Holland - Electric bass
Jack DeJohnette – Drums

None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Miles; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Miles rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. There is this groove that gets nastier and nastier as the track carries on, and never quits, though there are insertions by Macero of two Miles takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Miles, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Miles' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero. ---Thom Jurek, allmusic.com

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1. 	"Nuit Sur Les Champs-Élysées (take 1)"   	2:25
2. 	"Nuit Sur Les Champs-Élysées (take 2)"   	5:20
3. 	"Nuit Sur Les Champs-Élysées (take 3)"   	2:47
4. 	"Nuit Sur Les Champs-Élysées (take 4)"   	2:59
5. 	"Assassinat (take 1)"   	2:02		play
6. 	"Assassinat (take 2)"   	2:10
7. 	"Assassinat (take 3)"   	2:10
8. 	"Motel"   	3:56
9. 	"Final (take 1)"   	3:05
10. 	"Final (take 2)"   	3:00
11. 	"Final (take 3)"   	4:04
12. 	"Ascenseur"   	1:57
13. 	"Le Petit Bal (take 1)"   	2:40
14. 	"Le Petit Bal (take 2)"   	2:53
15. 	"Séquence Voiture (take 1)"   	2:56
16. 	"Séquence Voiture (take 2)"   	2:16
17. 	"Générique"   	2:45
18. 	"L' Assassinat de Carala"   	2:10		play
19. 	"Sur L'Autoroute"   	2:15
20. 	"Julien Dans L'Ascenseur"   	2:07
21. 	"Florence Sur Les Champs Élysées"   	2:50
22. 	"Diner au Motel"   	3:58
23. 	"Évasion De Julien"   	0:53
24. 	"Visite Du Vigile"   	2:00
25. 	"Au Bar du Petit Bac"   	2:50
26. 	"Chez Le Photographe Du Motel"   	3:50

Personnel
    Miles Davis – trumpet
    Barney Wilen – tenor saxophone
    René Urtreger – piano
    Pierre Michelot – bass
    Kenny Clarke – drums

Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords. Michelot is as important a figure as the trumpeter because he sets the tone, as on the stalking "Visite du Vigile." While the mood of the soundtrack is generally dour and somber, the group collectively picks up the pace exponentially on "Diner au Motel." At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs, as on "Generique" or "L'Assassinat de Carala," respectively. Clarke is his usual marvelous self, and listeners should pay close attention to the able Urtreger, by no means a virtuoso but a capable and flexible accompanist. This recording can stand proudly alongside Duke Ellington's music from Anatomy of a Murder and the soundtrack of Play Misty for Me as great achievements of artistic excellence in fusing dramatic scenes with equally compelling modern jazz music. --- Michael G. Nastos, AMG

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CD1
01. Walkin' (Richard Carpenter) [11:06]
02. Agitation (Miles Davis) [11:03]
03. On Green Dolphin Street (Ned Washington, Bronislaw Kaper) [13:05]
04. So What (Miles Davis) [13:36]
05. The Theme (Miles Davis) [03:34]

CD2
01. 'Round Midnight (Bernie Hanighen, Cootie Williams, Thelonious Monk) [08:45]
02. Stella by Starlight (Ned Washington, Victor Young) [13:11]
03. All Blues (Miles Davis) [12:24]
04. Yesterdays (Jerome Kern, Otto Harbach) [15:05]
05. The Theme (Miles Davis) [03:34]

Miles Davis - Trumpet
Wayne Shorter - Tenor saxophone
Herbie Hancock - Piano
Ron Carter - Bass
Tony Williams – Drums

Recorded Live At Plugged Nickel, Chicago, December 22 and 23, 1965.

Near the end of a tour in 1965, one date to go, the Miles Davis Quintet cooked up a berserk idea: Everything people expects us to play, we'll play the opposite. When the band (Davis with saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams) got to the Chicago club, they discovered label reps setting up to record the stand. This amazing 8-CD package captures every note over two nights of anti-music, jazz upended and shot through with quiet. At first trumpeter Davis is tentative, but by the end he's leagues ahead at the band's own game. "When I heard those guys dropping the bottom out from under me, I knew it was 'Go for it' time!" Shorter recalled. "I'd been in the band for a little over a year, and the next thing I knew we were way out there. It was like…this is what freedom means." ---RJ Smith, rollingstone.com

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