On The Crest Of The Airwaves (2011) - Miles Davis

On The Crest Of The Airwaves (2011) - Miles Davis

Containing 3 rare and previously unreleased concerts from San Francisco 1970, England 1970 and Melbourne Australia 1988. These concerts highlight the genius that was Miles Davies and are also an important piece of jazz history. All discs have been digitally remastered for superior sound quality .The iconic artwork and in dept sleeve notes make this a must have release for all true jazz fans. Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-’40s to the early ’90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that…

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…jazz stopped evolving when Davis wasn’t there to push it forward. Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis, and thus grew up in the black middle class of east St. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons. While still in high school, he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends. At 17, he joined Eddie Randle’s Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine’s big band, who was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterized by fast, inventive soloing and dynamic rhythm variations. It is striking that Davis fell so completely under Gillespie and Parker’s spell, since his own slower and less flashy style never really compared to theirs. But bebop was the new sound of the day, and the young trumpeter was bound to follow it. He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944. Shortly after his arrival in Manhattan, he was playing in clubs with Parker, and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician, initially joining Benny Carter’s band and making his first recordings as a sideman. He played with Eckstine in 1946-1947 and was a member of Parker’s group in 1947-1948, making his recording debut as a leader on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson Boyd, and drummer Max Roach. This was an isolated date, however, and Davis spent most of his time playing and recording behind Parker.

CD 1 – Live At The Berkshire Music Center Tanglewood (18.8.1970)
1.Directions
2.Bitches Brew
3.It’s All About That Time
4.Sanctuary
5.Spanish Key/The Theme
6.Miles Runs The Voodoo Down

CD 2 – Live At The Fillmore West, San Francisco, (15.10.1970)
1.Honky Tonk
2.What I Say
3.Sanctuary
4.Yesternow
5.Bitches Brew
6.Funky Tonk/The Theme

CD 3 – Live At The Concert Hall, Melbourne, (2.5.1988)
1.In A Silent Way – Intruder
2.New Blues (Star People)
3.Perfect Way
4.The Senate – You And Me
5.Human Nature
6.Wrinkle
7.Tutu
8.Movie Star
9.Splatch

CD 4 – Live At The Concert Hall , Melbourne
1.Time After Time
2.Heavy Metal
3.Don’t Stop Me Now
4.Carnival Time
5.Tomaas
6.Burn
7.Portia