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Miles Davis – Agharta (Full Album) 19751972 After he was told it was Miles Davis, he replied that he thought he'd probably got that album. In 1995 in an interview with the Wire magazine, Peel couldn't recognise a Miles Davis tune from the Rated X album, that was played to him by the interviewer. In 1992, Peel played tracks from trumpeter, Terry Edwards' Miles Davis cover EP called Terry Edwards Executes Miles Davis Numbers. He continued to be a cult figure for later generations of musicians, including a few who did Peel sessions. He had a wider following than most of his contemporaries from the late 1950s to his death, and his work, ranging from his earlier recordings to his latest releases, was regularly played on the BBC jazz shows of Humphrey Lyttelton and Peter Clayton. "Miles", as he was known, was one of the few jazz musicians with pop star charisma.
Miles davis discography wiki series#
(Carr wrote a book on Davis and presented a six-part series devoted to the trumpeter's career on BBC Radio 3 his own style was deeply infuenced by Miles's playing). By doing so he inspired many of the jazz-rock bands who were heard on Peel shows in the early 1970s, such as fellow trumpeter Ian Carr's group Nucleus and former Davis sideman John McLaughlin's Mahavishnu Orchestra. He also played to rock audiences at venues such as New York's Fillmore Auditorium (alongside the likes of the Steve Miller Band and the Grateful Dead) and at the 1970 Isle Of Wight Festival. Nevertheless, the DJ would occasionally play tracks by contemporary jazz artists, even playing an entire side of Miles Davis' Agharta album in 1975.ĭavis was a highly influentail figure at this time, having broadened his appeal by changing his style of small-group jazz to incorporate electric instruments and the inlluence of late 1960s rock and soul musicians such as Jimi Hendrix and James Brown. (read more on wikipedia)Īlthough modern jazz never played a major role in John Peel's programmes, his producer John Walters was a trumpeter with a keen interest in contemporary jazz, unlike Peel, who preferred older styles of the music. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz.
Miles davis discography wiki professional#
Born and raised in Illinois, Davis left to study at the Juilliard School in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz. He is among the most influential and acclaimed figures in the history of jazz and 20th century music.
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Miles Davis (tpt) Ernie Royal (tpt) Bernie Glow (tpt) Louis Mucci (tpt) Harold “Shorty” Baker (tpt) J.J.Miles Dewey Davis III (– September 28, 1991) was an American jazz trumpeter, bandleader, and composer. Original issue: Columbia LP CS 8906 on December 16, 1963 “What stupid thing do they want me to play? ‘White Christmas’?” Miles supposedly asked the singer who suggested a meaningful “Blue Xmas.” This CD also includes “The Time Of The Barracudas,” a piece written by Gil Evans for a play of the same name. This extremely short album is here extended through pieces recorded at the same period with Bob Dorough with the idea of making a compilation of Christmas songs. Furious, Miles did not speak to Macero again until 1966.
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The project reached a dead end, and Teo Macero, resorting to editing and the addition of a piece from a provisional version of a quintet that had been recorded on the West Coast (see Seven Steps To Heaven N☁8), only completed and released it at the end of 1963. “Songs N☁” and “N☂” were inspired by South American folklore, and the American standard (“Wait Till You See Her”) and a French song (“La Valse Des Lilas,” alias “Once Upon A Summertime”) were then added. On July 27, “Corcovado” was still unfinished, and the piece would be completed with an alternative take of the long coda of “Aos Pes Da Cruz.” The recording of the rest of the album stretched out until November. When in June 1962 Stan Getz launched the vogue for bossa nova with “Desafinado,” the time was ripe to take advantage of Gil Evans’ pre-existing interest in South America.