Walikota Bremen Resmikan Jazzahead 2009

Ini waktunya jazz - saatnya untuk menikmati, saatnya untuk berbisnis
Walikota Bremen, Jens Böhrnsen, membuka resmi acara jazzahead! 2009 di Bremen

Nama-nama besar datang dari utara: The American funk jazzers Defunkt, peraih nominasi Grammy Norma Winstone, pengelola Montreux Festival Claude Nobs, Universal Music, dan banyak lagi yang lain menyatakan kehormatannya dengan hadir di jazzahead! 2009. “jazzahead! merupakan acara yang unik. Ia tak hanya menajamkan posisi kota ini sebagai kota tempat berpameran, namun juga menumbuhkan Bremen sebagai kota metropolis penuh budaya“, ujar Jens Böhrnsen, sang walikota saat membuka edisi ke-4 jazzahead! tahun ini di Bremen Congress Centre tanggal 24 April 2009. “Pada saat yang bersamaan dengan integrasi Kulturzentrum Schlachthof dan Bremen College of Arts, jazzahead! membantu memperbaiki kualitas iklim jazz lokal. Bremen kini memainkan peran penting dalam hal pendidikan jazz dan itu terlihat dari hadirnya musisi-musisi muda berkualitas selama jazzahead! berlangsung.”

31 peserta pameran dari 18 negara ambil bagian dari eksebisi ini - labels, agency, event organiser, musisi, distributor, asosiasi, pembuat instrumen dan lainnya. Sisi bisnis yang lain, para peserta dan pengunjung dapat menikmati suasana jazz yang luas dengan hadirnya European Jazz Meeting, konser sore dan malam hari dan berbagai pertunjukan khusus. Bintang internasional maupun talenta muda dari Jerman juga turut mempertontonkan kebolehan mereka yang terbungkus dalam sekitar 40 konser. “Jerman jazz telah mencapai standard yang sangat tinggi dalam kurun 10 hingga 15 tahun terakhir”, kata Professor Ulrich Beckerhoff, yang bertindak selaku Artistic Director of jazzahead!. “Kami kini memiliki banyak musisi muda yang memainkan musik ambisius termasuk didalmnya memainkan berbagai gaya dalam jazz. Dengan kerjasama dengan negara eropa lainnyajazzahead! telah memastikan bahwa musisi-musisi ini dan Jazz di Germanmenjadi semakin dikenal diluar Jerman pula”

Pentingnya Jerman jazz ini telah diapresiasi oleh pemerintah federal. jazzahead! mendapat dukungan pendanaan dari Initiative Musik gGmbH, dalam konteks untuk kebutuhan struktural. Frank Dostal yang menjabat Supervisory Board Member dari Initiative Musik mengungkapkan “Konsen utama dalam jazzehead! adalah mengekspor jazz.Ada beberapa kelompok yang bagus dari Jerman. Para pengunjung internasional yang hadir dan turut berpartisipasi mendanai jazzahead! mendapatkan kesempatan untuk mendengar beberapa program terkemuka.
silakan kunjungi situs www.jazzahead.de

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Genre Jazz Rap

Jazz-Rap was an attempt to fuse African-American music of the past with a newly dominant form of the present, paying tribute to and reinvigorating the former while expanding the horizons of the latter. While the rhythms of jazz-rap came entirely from hip-hop, the samples and sonic textures were drawn mainly from cool jazz, soul-jazz, and hard bop. It was cooler and more cerebral than other styles of hip-hop, and many of its artists displayed an Afrocentric political consciousness, complementing the style's historical awareness. Given its more intellectual bent, it's not surprising that jazz-rap never really caught on as a street favorite, but then it wasn't meant to. Jazz-rap styled itself as a more positive alternative to the hardcore/gangsta movement taking over rap's mainstream at the dawn of the '90s, and concerned itself with spreading hip-hop to listeners unable to embrace or identify with the music's increasing inner-city aggression. As such, jazz-rap found its main audiences in places like college campuses, and was also embraced by a

number of critics and white alternative rock fans. Afrika Bambaataa's Native Tongues posse -- a loose collective of New York-based, Afrocentric rap groups -- was the most important force in jazz-rap, including groups like A Tribe Called Quest, De La Soul and the Jungle Brothers; Digable Planets and Gang Starr were other notable early artists. During the mid- to late '90s, as alternative rap moved into a wider-ranging eclecticism, jazz-rap was not often pursued as an exclusive end, although the Roots frequently incorporated it in their live-instrumentation hip-hop.

Related styles:

The music played by a generation raised on jazz as well as funk and hip-hop, Acid Jazz used elements of all three. Its existence as a percussion-heavy, primarily live music placed it closer to jazz and Afro-Cuban than any other dance style, but its insistence on keeping the groove allied it with funk, hip-hop, and dance music. The term itself first appeared in 1988 as both a record label and the title of a compilation series that reissued jazz-funk music from the '70s -- often called "rare groove" during a major mid-'80s resurgence. A variety of acid jazz artists emerged during the late '80s and early '90s, including either primarily live bands such as Stereo MC's, James Taylor Quartet, the Brand New Heavies, Groove Collective, Galliano, and Jamiroquai or studio projects like Palm Skin Productions, Mondo Grosso, Outside, and United Future Organization.

Brooklyn Funk Essentials is a soul/funk/acid jazz collective, featuring Groove Collective's trombonist Joshua Roseman, producer Bob "Sassy" Brockmann, DJ Jazzy Nice, and saxophonist Paul Shapiro. Surprisingly, Cool and Steady and Easy isn't at all schizophrenic in its tone -- it's a cohesive, smooth, and funky collection, standing as a testament to the talents of the musicians involved.

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Anthony Braxton

Since he released the completely solo For Alto in 1968, the accepted image of Anthony Braxton has been that he is more a theoretician and art music composer than a jazz musician. Therefore, it might seem strange that Mosaic Records is giving his Complete Arista Recordings one of their fabled box set treatments. But Braxton is both -- and much more. This set -- as well as the original Arista recordings -- were produced by Michael Cuscuna, Mosaic/Blue Note label head. The sheer scope of these recordings is staggering. What we get in this amazingly detailed collection is the weightiest argument yet for Braxton's range and depth of field as a musical thinker and his role as a pillar of modern jazz. The individual albums -- New York, Fall 1974; Five Pieces, 1975; Creative Orchestra Music, 1976; Duets, 1976; For Trio; The Montreux/Berlin Concerts; Alto Saxophone Improvisations, 1979; For Four Orchestras; For Two Pianos -- showcase him in a rainbow of

settings, from quintets and duets, to trios, quartets, and solo; as the leader of a big band, and as a playing conductor. The players are a who's who of the vanguard in both America and Europe: Muhal Richard Abrams, Leroy Jenkins, Kenny Wheeler, Dave Holland, Jerome Cooper, Leo Smith, Cecil Bridgewater, Roscoe Mitchell, George Lewis, Karl Berger, Ursula Oppens, Frederic Rzewski, Phillip Wilson, Henry Threadgill, and many more.

Given the wide variations in track times, sequencing this set to make it even remotely affordable must have been somewhat frustrating. Comparing the track list to the discographical notes, the full context of this is realized. The box is impeccably organized album by album to be sure, but not necessarily in the chronological order of release. An example: on discs one and two, the albums New York, Fall 1974, and its successor, Five Pieces, 1975 are successive, but then Duets, 1976 (with Abrams) was released after Creative Orchestra Music 1976. This is followed by the first four tracks from Alto Saxophone Improvisations, 1979, which continues and is completed on disc three, etc. That said, there is wonderful aesthetic and principled logic involved in the sound and dynamic of the organization of these discs. In other words, even if an original album is split by disc, it makes complete sense. For instance, while some records are split over various CDs, the decision to give For Four Orchestras its own disc (the final one) was a wise one. The package itself is typical Mosaic: high class presentation with an amazing track by track essay by Braxton's student and collaborator Mike Heffley, a brief reminiscence by Cuscuna, a boatload of killer session photographs, and exhaustive discographical and personnel information. The sound is literally pristine and full of warmth. One can hear no flaws from the source material even when A-B'ed against the original LPs; this is even true of the live Montreux/Berlin Concerts.

Most importantly, however, is that this music from Braxton sounds and feels so on time in the 21st century. This is not only true in its scope and vision, but also in what is realized in its execution. Where John Coltrane, and Ornette Coleman expanded the possibilities for new colors and sounds in jazz, less (or no) credit is given to West Coast players like Jimmy Giuffre and Warne Marsh, except in Braxton's sound worlds. His investigations in using the jazz tradition in order to unmake it in terms of tonality, sound, and texture, while preserving its sense of inventive rhythm, melody, harmonic structures, and even swing (check Creative Orchestra Music, 1976), do not feel remotely academic all these decades later. One can hear humor and warmth in the deep paradoxes of a brilliant mind wrestling with the issues of jazz and new music, challenging his own and accepted notions of their accepted places in the world of sonic architecture. Also, in his most direct exercises, there lies the deep expressiveness of his incessant effort to assimilate his discoveries into an ever-expanding organizational system of sound. This is heard, whether it's in his playing of jazz standards or his original compositions. It's there in the process of conception as well as technical articulation. Nothing here feels quaint or nostalgic. Instead, it's revelatory and engaging, inviting and still provocative. The historic reissue of this material adds yet another level if we wish to deepen our understanding of the myriad ways Braxton has enhanced and expanded each of the traditions he's involved himself with.

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Duke Ellington Biography

Edward Kennedy 'Duke' Ellington (Born: April 29, 1899 in Washington, DC.
Died: May 24, 1974 in New York City) was an American jazz composer, pianist and bandleader. He was awarded the Presidential Medal of Freedom in 1969 and in 1973, the Legion of Honor by France. Both are the highest civilian honors of each country. He was known as 'The Duke'.

Duke Ellington was a major force in jazz from the 1920s through the 1960s and his work continues to be influential today. He is considered by many to be the greatest American composer. He had many hits including Take the A Train (words and music by Billy Strayhorn), Satin Doll, Rockin' in Rhythm, Mood Indigo, Caravan and Sophisticated Lady. Throughout the 1920s and 30s, Ellington often shared composer credit with his manager Irving Mills until they had a falling out in the late 1930s. Billy Strayhorn became Ellington's collaborator (not always credited) from 1940 until Strayhorn's death in the mid 1960s.

His works were always tailored to the talents of the musicians in his band, including Johnny Hodges, Bubber Miley, Joe 'Tricky Sam' Nanton, Barney Bigard, Ben Webster, Harry Carney, Sonny Greer, Otto Hardwicke, and Wellman Braud. Many musicians stayed with him for decades.

Ellington started playing around Washington D.C. in his teens, then formed a band 'The Washingtonians', which he moved to New York City in 1923. Ellington & The Washingtonians played at various New York Clubs and toured New England as a dance band until they got their first big break in 1927. When the then much better known Joe 'King' Oliver held out for more money at the prestigious Cotton Club, the job as house band was offered to Ellington. This was the best known of the Harlem clubs, and 'Duke Ellington and his Jungle Band' became well known nationally thanks to the regular radio broadcasts from the Cotton Club.

In this setting Ellington had a chance to write music in a variety of styles for dance theater acts as well as extended specialties for the band. These appearances featured many experiments in tonality, with trumpet screams and wah-wah, and growling saxophones. When Ellington left the Cotton Club in 1931 he was one of the best known African-American celebrities, recording regularly for several record companies and featured in motion pictures. Ellington continued to tour with his band around the United States and Europe, plus a tour of much of the rest of the world in the 1960s.

He was a musical experimenter all his life, recording with John Coltrane and Charles Mingus as well as with his own highly skilled orchestra. The band reached a creative peak in the 1940s, when he wrote for an orchestra of distinctive voices and tremendous creativity. Some of these musicians, such as Jimmy Blanton, transformed jazz during the short time they played with him.

But even as players left and the popularity of swing diminished, Ellington continued to find new outlets, new forms and new sidemen. He frequently composed in longer forms modelled on classical music, such as his Black, Brown and Beige (1943), and Such Sweet Thunder (1957), based on Shakespeare. His Diminuendo and Crescendo in Blue with a rocking saxophone interval by Paul Gonsalves in 1956 at the Newport Jazz Festival greatly increased his fame and drawing power.

He also wrote for films, starting with Black and Tan Fantasy in 1929, but also Anatomy of a Murder (1959) with James Stewart, in which he appeared as a bandleader, and Paris Blues (1961), which featured Paul Newman and Sidney Poitier as jazz musicians.

Ellington was nominated for a Pulitzer Prize in 1965, but was turned down. His reaction: 'Fate is being kind to me. Fate doesn't want me to be famous too young.'

Duke Ellington died on May 24, 1974 and was interred in the Woodlawn Cemetery, The Bronx, New York. A large memorial to Duke Ellington created by sculptor Robert Graham was dedicated in 1997 in New York's Central Park near Fifth Avenue and 110th Street, an intersection named Duke Ellington Circle.

Duke Ellington CDs :

The very best of Duke ellington.
Masterpieces by Ellington.
The Best of Duke Ellington: 1932-1939.
Ellington At Newport 1956.
The Essential Duke Ellington.
Piano Reflections.
Blues in Orbit.
Three Suites.
Never No Lament: The Blanton-Webster Band.
Jazz Icons: Duke Ellington Live in '58.

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Al Jarreau

* Born: March 12, 1940 in Milwaukee, WI
* Years Active: 1976-2006
* Genre: World & Reggae
* Influenced by: Mel Tormé, Johnny Mathis
Genre: World & Reggae
Biography: The only vocalist in history to net Grammy Awards in three different categories (jazz, pop, and R&B,

* Followed By: Duncan Millar, Yana Purim, Toni Braxton,
Gretchen Parlato,Kem
* Similar Artists: Natalie Cole, Randy Crawford, James Ingram,
Bill Withers, George Benson, Michael Franks, Bobby McFerrin,
Dianne Reeves, Gino Vannelli, Stevie Wonder

The only vocalist in history to net Grammy Awards in three different categories (jazz, pop, and R&B, respectively), Al Jarreau was born in Milwaukee, WI, on March 12, 1940. The son of a vicar, he earned his first performing experience singing in the church choir. After receiving his master's degree in psychology, Jarreau pursued a career as a social worker, but eventually he decided to relocate to Los Angeles and try his hand in show business, playing small clubs throughout the West Coast.

He recorded an LP in the mid-'60s, but largely remained an unknown, not reentering the studio for another decade. Upon signing to Reprise, Jarreau resurfaced in 1975 with We Got By, earning acclaim for his sophisticated brand of vocalese and winning positive comparison to the likes of Billy Eckstine and Johnny Mathis. After 1976's Glow, Jarreau issued the following year's Look to the Rainbow, a two-disc live set that reached the Top 50 on the U.S. album charts. With 1981's Breakin' Away, he entered the Top Ten, scoring a pair of hits with "We're in This Love Together" and the title track. After recording 1986's L Is for Lover with producer Nile Rodgers, Jarreau scored a hit with the theme to the popular television program Moonlighting, but his mainstream pop success was on the wane, and subsequent efforts like 1992's Heaven and Earth and 1994's Tenderness found greater success with adult contemporary audiences.

A string of budget compilations and original albums hit the shelves at the end of the decade, but into the turn of the century his original output slowed down. That was until he signed with the Verve/GRP label in 1998 and reunited with producer Tommy LiPuma. LiPuma had produced Jarreau's ostensible 1975 debut, We Got By, and the pairing seemed to reinvigorate Jarreau, who went on to release three stellar albums under LiPuma's guidance, including 2000's Tomorrow Today, 2002's All I Got, and 2004's Accentuate the Positive. Givin' It Up, recorded with George Benson and released in 2006, was nominated for three Grammy Awards -- each one for a different song. Jarreau returned with his first ever full-length holiday-themed album, Christmas, in 2008. ~ Jason Ankeny, All Music Guide

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Dionne Warwick - famous jazz singer

Dionne Warwick has, over an illustrious four-decade career, established herself as an international musical legend. Her reputation as a hit maker has been firmly etched into public consciousness, thanks to nearly sixty charted hits since "Don't Make Me Over" began its climb up the charts in December 1962. As a performer, she has charmed and entertained audiences on every continent, amassing a worldwide audience. There are a few important "firsts" that make Dionne Warwick a true pioneer.

Dionne Warwick received her first Grammy Award in 1968 (for the classic "Do You Know The Way to San Jose?"), and in so doing became the first African-American solo female artist of her generation to win the prestigious award for Best Contemporary Female Vocal Performance. This award has only been awarded to one other female African-American legend, Ella Fitzgerald.

Other African-American female recording artists certainly racked up their share of crossover pop and R&B hits during the 1960's. However, Dionne Warwick preceded the mainstream success of some of her musical peers by becoming the first such artist to rack up a dozen consecutive Top 100 hit singles from 1963 to 1966.

Dionne Warwick's performance at the Olympia Theater in Paris, during a 1963 concert starring the legendary Marlene Dietrich, rocketed her to international stardom. As she was establishing herself as a major force in American contemporary music, she steadily gained in popularity among European audiences. Hits like "Anyone Who Had A Heart" and "Walk On By" brought successively larger visibility and success around the world. In 1968 she became the first African-American female performer to appear before the Queen of England at a Royal Command Performance. Since then, Dionne has performed before numerous kings, queens, presidents, and heads of state.

Her recordings of songs like "A House Is Not A home," "Alfie," "(Theme From) The Valley Of The Dolls," and "The April Fools" made Dionne Warwick a pioneer as one of the first female artists to popularize classic movie themes. In 1968 Dionne made her own film debut in the movie "Slaves". This marked the first time, since Lena Horne, that a contemporary African-American female recording artist achieved such a goal.

In recent years, Dionne's pioneering efforts have focused on leading the music industry in the fight against AIDS. Her Grammy-winning, chart topping, single "That's What Friends Are For," lead the way by raising, literally, millions of dollars for AIDS research. Throughout the world, Dionne has devoted countless hours to a wide range of humanitarian causes, serving as the U.S. Ambassador for Health throughout the Eighties. On October 16, 2002 she was named a global Ambassador for the United Nations' Food and Agriculture Organization (FAO), based in Rome, Italy. Dionne has spearheaded the long overdue development and production of a history book that will detail African and African-American history for use in schools, libraries, and bookstores throughout the world. She continues her work as a socially conscious and concerned global citizen.

With a legacy of accomplishments and achievements, Dionne Warwick is proudly celebrating her 40th year in the recording industry. She is planning a new 2003 release CD composed of duets with her peers entitled My Friends And Me. Dionne says, "This is one of the most exciting recording projects for me and I am looking forward to getting it out as soon as possible for everyone to enjoy." This new album can trace its roots to the very earliest years of her amazing musical career.

Dionne began singing during her childhood years in East Orange, New Jersey, initially in church. Occasionally she sang as a soloist and fill-in voice for the renowned Drinkard Singers, a group comprised of her mother Lee along with her aunts and uncles. During her teens, Dionne and sister Dee Dee started their own gospel group, The Gospelaires. It was while visiting the Drinkard Singers at the famed Apollo Theater in Harlem that Dionne was asked to sing backup during a session for saxophonist Sam "The Man" Taylor. In February 1998, The Apollo Theater paid tribute to Dionne in a special event highlighting her constant support for the venue and her work as a music trailblazer.

While attending The Hartt College Of Music in Hartford, Connecticut, Dionne began making trips to do regular session work in New York. She sang behind many of the biggest starts of the 1960's including Dinah Washington, Brook Benton, Chuck Jackson, and Solomon Burke to name a few. Once Burt Bacharach, composer, arranger, and producer heard her singing during a session for The Drifters, he asked her to sing on demos of songs he was writing with new partner Hal David. In 1962, Bacharach & David presented one such demo to Scepter Records. The label President, Florence Greenberg, did not want the song; she did, however, want the voice and Dionne began a hit-filled, twelve-year, association with the New York label.

In all, Dionne, Burt, and Hal racked up thirty hit singles, and close to twenty best-selling albums, during their first decade together. Songs like "Do You Know The Way To San Jose," "Message To Michael," "This Girl's In Love With You," "I'll Never Fall In Love Again," and "Reach Out For Me," established Dionne Warwick as a consummate artist and performer. Known as the artist who "bridged the gap," Dionne's soulful blend of pop, gospel and R&B music transcended race, culture, and musical boundaries.

In 1970, Dionne received her second Grammy Award for the best-selling album I'll Never Fall In Love Again and she began her second decade of hits by signing with Warner Brothers Records. Dionne recorded half-a-dozen albums, working with top producers like Thom Bell, Holland-Dozier-Holland, Jerry Ragavoy, Steve Barri, and Michael Omartian. In 1974 she hit the top of the charts for the first time with "Then Came You," a million-selling duet with The Spinners. Three years later, she teamed up with Isaac Hayes for a highly successful World Tour, "A Man And A Woman."

In 1976, fresh from earning a Master's Degree in Music from her alma mater (The Hartt College of Music), Dionne signed with Arista Records, beginning a third decade of hit-making. Label-mate Barry Manilow produced her first Platinum-selling album, Dionne. The album included these back-to-back hits; "I'll Never Love This Way Again," and "Déjà Vu." Both recordings earned Grammy Awards, making Dionne the first female artist to win the Best Female Pop, and Best Female R&B Performance, Award. Hot on the heels of her phenomenal success, Dionne began her first stint as host for the highly successful television show "Solid Gold."

Further milestones marked Dionne's tenure with Arista. Her 1982 album, Heartbreaker, co-produced by Barry Gibb and The Bee Gees, became an international chart-topper. In 1985, Dionne reunited with producer Burt Bacharach, and longtime friends Gladys Knight, Stevie Wonder, and Elton John to record the classic "That's What Friends Are For." Profits from the sale of that song were donated to the American Foundation for AIDS Research (AmFAR). In 1990 she joined forces with a number of Arista label-mates to raise over $2.5 Million for various AIDS organizations during the star-studded "That's What Friends Are For" Benefit at New York's Radio City Music Hall.

Dionne's album Friends achieved Gold status. Throughout the Eighties she collaborated with many of her musical peers, including Johnny Mathis, Smokey Robinson, Luther Vandross and others. Dionne worked with Stevie Wonder as music coordinator for the film and Academy Award winning soundtrack album The Woman In Red. She was one of the key participants in the all-star charity single "We Are The World" and, in 1984 she performed at "Live Aid".

In addition to co-hosting and helping to launch "The Soul Train Music Awards", she also starred in her own show, "Dionne And Friends." She was co-executive producer of "Celebrate The Soul Of American Music" which honored and recognized many of her fellow musical pioneers. Throughout the 1980's and 1990's, Dionne toured extensively with Burt Bacharach. The show won rave reviews from fans and press alike for reinforcing the timeless musical legacy of the Bacharach, David and Warwick team. Her recent musical achievements have included performances as part of the "National Symphony With The Divas," and, in Tokyo, performances with The National Opera Company of Japan; yes, Dionne even sings classical music.

Dionne's recent activities have included the creation of Carr/Todd/Warwick Production, Inc. The goal of the organization is to produce television and film projects. For the past fifteen years she has worked tirelessly as the co-founder of the Dionne Warwick Design Group, Inc. With partner Bruce Garrick, Dionne has been responsible for designing numerous international projects ranging from private estates to world-class hotels which, she notes, are "all affordable!" In 2002 Dionne was featured on a Home & Garden Network show highlighting the Palm Desert home designed by her and her partner Bruce.

Dionne now divides her time equally between Brazil and the United States, and has made the design of her Brazilian home a special project. In 1994, Dionne's final album for Arista was the critically acclaimed Aquarela Do Brasil (Watercolor of Brazil) that showcased her long-term love affair with the people and music of Brazil.

Dionne's status as a musical icon and humanitarian is legendary. With her own star on the Hollywood Walk of Fame, she continues to work tirelessly with various organizations dedicated to empowering and inspiring others. In 1997 she was awarded the "Luminary Award" by the American Society of Young Musicians. That same year she joined General Colin Powell in celebrating the tenth anniversary of the "Best Friends" Program, an abstinence and character-building program for young women. Dionne's East Orange New Jersey Elementary School, Lincoln Elementary, honored her by renaming it "The Dionne Warwick Institute of Economics and Entrepreneurship." Displaying her own business skills, Dionne plans to reactivate her skin care regimen and fragrance in 2003.

In early 1998, the National Association of Record Merchandisers (NARM) gave Dionne the Chairman's Award for Sustained Creative Achievement. In November 2001, the History Makers Organization of Chicago named her "History Maker". 2002 was a special year for Dionne; she was honored by the American Red Ribbon AIDS Foundation; in October she was named FAO Ambassador of the United Nations; in December she was honored by The Recording Academy with the 2002 New York Chapter's Heroes Award and she appeared (for the fourth time) on the Vatican's Christmas Concert. In 2003, she received a lifetime achievement award from the R&B Foundation, and she was selected as one of the 2003 Top Faces of Black History.

As she looks forward to another decade of great music, Dionne Warwick says that she still has some important personal goals; "As I've said over the years, I still want the Tony, Oscar, and Emmy!" Nothing seems impossible to Dionne, a woman who has inspired and empowered millions through her music, her performances, and her work as a humanitarian. In a recent interview she reflected on the words imparted to her by her grandfather; "If you think it, you can do it!" With a life filled with accomplishment and achievement, Dionne Warwick can proudly say that she has always believed in, and lived by, those words of wisdom.

In 2003, Dionne wrote her first book. "My Point of View" is a collection of Dionne's own "pearls of wisdom" that she has gathered through the years. She provides her own thoughts and wisdom on various subjects, all highlighted by personal and rare photographs of her journey.

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Tatsuro yamashita

* Name: Tatsuro Yamashita
* Decades Active: 1980,1990,2000
* Genre: Rock jazz
* Styles: Japanese Pop
Tatsuro Yamashita (February 4, 1953) is a musician and producer; and in a long running system for ranking musical achievements compiled by industry professionals from around the world for HMV. Tatsuro has been listed as the worlds 74th most influential musician . He is also ranked at No.1 in a list of Japan’s top 30 singers , and was listed at No.6 in a list of Japan’s top 100 musicians. After the hit single “Ride on Time” which was released in 1980, all of his records have reached the top five on the Japanese music chart. His most well-known song is “Christmas Eve”. It first appeared on his album Melodies in 1983, and was later released as a single In 1986, when it became the standard Japanese Christmas song.”

1. Tatsuro Yamashita - Mermaid (4:22)
2. Tatsuro Yamashita - Your Eyes (3:14)
3. Tatsuro Yamashita - Morning Glory (3:51)
4. Tatsuro Yamashita - Sparkle (4:15)
5. Tatsuro Yamashita - Futari (5:45)
6. Tatsuro Yamashita - Loveland,Island (4:29)
7. Tatsuro Yamashita - Rainy Walk (5:09)
8. Tatsuro Yamashita - Funky Flushin’ (5:39)
9. Tatsuro Yamashita - Ride On Time (4:24)
10. Tatsuro Yamashita - Touch Me Lightly (4:24)
11. Tatsuro Yamashita - Why Do Fools Fall In Love (1:51)
12. Tatsuro Yamashita - My Sugar Babe (4:12)

windy Lady

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The Crusaders

Randy Crawford : street life (the Crusader)

t’s time to gear up again,” says Joe Sample, the brilliant keyboardist who, nearly a half-century after the birth of The Crusaders, is leading the charge for the group’s renewal. “It’s time to revisit and revitalize the tradition that gave us purpose and identity. We’re looking back to our beginnings for our strength—back to that healing feeling when the music first got all over us

This reunion was long in coming,” he continues, as he listens to the final mix of Rural Renewal, the first new album from The Crusaders — featuring Sample, saxist Wilton Felder, and drummer Stix Hooper—in over 20 years. “More than ever, I missed playing essential Crusaders music. I needed renewal, and I knew that reassembling the team, with [producer] Stewart Levine at our side, was something I had to do.”

Although a reunion of these bandmates, who first joined together in Houston in the fifties with the formation of The Swingsters, would be special enough, Sample invited a few guests to the party. Chart topping contemporary gospel vocalist Donnie McClurkin contributes soulfully heartfelt renditions of “A Healing Coming On” and “Sing the Song”. Eric Clapton’s tasty string acoustic gives the title track its extra lift. Clapton also electrifies “Creepin’,” one of the album’s patented Sample smoothed-out funk grooves. The presence of stalwarts Arthur Adams, Lenny Castro and Dean Parks, veterans of past crusades, is keenly felt. Freddie Washington and Ray Parker, Jr., geniuses of the Cosmic Groove, groove hard and long, brothers of the heart with Joe, Wilton and Stix.

Ultimately, Joe, Wilton, and Stix are the renewers and the renewed. They’ve never sounded better—Sample’s boldly percussive piano, Hooper’s deep-pocket drums, Felder’s full-cry tenor. They wrote all the songs; they fashioned the charts; they reinforce their signature sound with a sweet maturity that nourishes our souls. The titles—“Heartland,” “Greasy Spoon," “Viva de Funk,” “Shotgun House Groove”—are self-descriptive pieces of poetry all pointing in the same direction.

“The renewal,” adds Stix, “is in the rapport. And the rhythmic rapport between us is downright magical. It’s innate. It’s a bonding of more than musical sensibilities. The bonding is spiritual.”

In that vein, The Crusaders create some inspiring gospel sounds on Rural Renewal. “The source of `A Healing Coming On’ was an Oprah Winfrey show that came on a couple of weeks after 9/11,” explains Sample. “She had Donnie McClurkin and The Winans as guests. Donnie said the words, `A healing’s coming on.’ I was certain he was referring to a song he was about to sing. Instead he sang his hit `Stand,’ which brought down the house. But the words stuck, and Will Jennings and I wrote to that theme. Then we asked the mighty Sounds of Blackness to provide the choral background and Donnie to sing lead. He said he was honored—so honored, in fact, he hung around to sing another story of quiet grace, `Sing the Song.’”

The group’s embracing of many different musical styles starts where it normally does, at the beginning. “Because we came up on the streets and not in the studios,” says Felder, “our music was live. The Texas streets were rich with the blues of Lightnin’ Hopkins. We grew up on all the deep country sounds. We ate them for breakfast, lunch and dinner. At the same time, we had ears for modern jazz—Miles and Monk—and never saw a contradiction between the old and new.”

It’s no surprise, then, that once in senior high, The Swingsters became The Modern Jazz Sextet, a group that continued through their college years at Texas Southern University. Before graduation, though, the call of the road was irresistible, and they were off to L.A.

Two years later, in 1960, the group was signed to Pacific Jazz Records and re-christened The Jazz Crusaders. Their trombone/sax frontline sound was unique, their bop chops impeccable. In a series of superlative albums, The Jazz Crusaders built a national reputation, surviving a decade in which the popularity of jazz was in extreme decline. On one hand, the British Invasion and Motown dominated the youth market; on the other, the jazz avant-garde alienated scores of fans.

“We were caught in the middle,” says Stix. “We heard what visionaries like John Coltrane were doing—and we loved it. But we also loved the music of Marvin Gaye.”

“The era of soul music,” Wilton explains, “was perfectly akin to our own roots. At the same time, we were put in a jazz box and couldn’t break out.”

By 1968, The Jazz Crusaders were limping. “The last straw was somewhere back East,” Joe says. “I had to play on an old broken-down jazz organ and back a strip show. The jazz world was on the verge of collapse, and we were about to go down with it. I told my colleagues, `Man, this crusade is about over.’”

Ironically, it was just about to begin. Enter Stewart Levine, a musician-turned-producer who, like Sample, had grown disillusioned with the spacey jazz of the late sixties. His vision for the group matched Joe’s: a blending of the basics—inventive jazz and get-down rhythm-and-blues.

By 1971, “Jazz” was dropped and The Crusaders marched into new territory, unencumbered by category. The march continued through the seventies, culminating at decade’s end with the remarkable worldwide hit “Street Life.”

In the following years, The Crusaders worked both together and individually in the studios, backing everyone from Marvin Gaye to Steely Dan to Joni Mitchell. Meanwhile, The Crusaders’ oeuvre expanded into one of the great jazz/soul collections of the modern era. Their landmark albums—The Second Crusade, Unsung Heroes, Southern Comfort, Chain Reaction, and Those Southern Knights—took on iconic status in more ways than one. The Crusaders catalogue has become perhaps the most sampled in the world. The infectious grooves and licks from those songs are a veritable backbone of today’s neo-soul, rap and hip hop music. Artists that have sampled Crusaders tracks include 2Pac, Queen Latifah, Ice Cube, Tyrese, Destiny’s Child, De la Soul, Lil Bow Wow, Blackstreet, Masta Ace, US3 and Dave Hollister, to name a few.

==========
In 1961, four fellows from Houston transplanted themselves to Los Angeles and added more distinctly bluesy elements to the soul jazz style with an ear-grabbing album called The Freedom Sound on the Pacific Jazz label. The band, which had been known in turn as the Swingsters, the Modern Jazz Sextet, and the Nighthawks, was now named the Jazz Crusaders. Its four co-leaders were trombonist Wayne Henderson, tenor saxophonist (and occasional bassist) Wilton Felder, pianist Joe Sample, and drummer Nesbert "Stix" Hooper.

The Jazz Crusaders sound caught on big time, and their subsequent Pacific Jazz albums rewarded them with a good deal of exposure. The band performed regularly and got plenty of airplay. One of its signature pieces, the rollickingly fast "Young Rabbits," was even used as the musical background for a Ford Mustang TV commercial.

But as times changed, so did the Jazz Crusaders. In the late Sixties, they placed such popular numbers as the Beatles’ "Eleanor Rigby" and "Get Back" in their repertoire, and firm backbeats began to bolster many a selection. By 1971, they decided that the word "jazz" kept them from attracting a wider listener base, and so they emerged anew with The Crusaders, Vol. 1 (Chisa), an album that openly infused jazz with pop, soul, and r&b elements.

If the Jazz Crusaders had achieved some degree of popularity, it was nothing like the crossover success that greeted the Crusaders. Such albums as Scratch, Southern Comfort, Chain Reaction, Those Southern Knights, Free as the Wind, Images, Street Life, and Royal Jam (recorded variously for the Chisa, ABC Blue Thumb, and MCA labels) sold well and brought in a deluge of new fans. Street Life’s title track provided the Crusaders with a Billboard top forty hit, reaching no. 36 in 1979.

The Crusaders’ popularity started to fade in the early Eighties, prompted by Henderson’s departure. Hooper then left as well, and by the early Nineties Sample and Felder had disbanded the group. A few years later, Henderson and Felder began performing together, first as the New Crusaders and, more recently, as the Jazz Crusaders.

Excerpted from The Crusaders’ Finest Hour 314 543 762-2

Zan Stewart.

Zan Stewart writes on jazz for Stereophile, Down Beat, and the Los Angeles Times.

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Brandford Marsalis

See video Branford Marsalis

World-renowned saxophonist Branford Marsalis, born in 1960, has always been a man of numerous musical interests. The three-time Grammy winner has continued to exercise and expand his skills as an instrumentalist, a composer, and the head of Marsalis Music, the label he founded in 2002 that has allowed him to produce both his own projects and those of the jazz world’s most promising new and established artists.

The New Orleans native was born into one of the city’s most distinguished musical families, which includes patriarch/pianist/educator Ellis and Branford’s siblings Wynton, Delfeayo and Jason. Branford gained initial acclaim through his work with Art Blakey’s Jazz Messengers and his brother Wynton’s quintet in the early 1980s before forming his own ensemble. He has also performed and recorded with a who’s-who of jazz giants including Miles Davis, Dizzy Gillespie, Herbie Hancock and Sonny Rollins.

Known for his innovative spirit and broad musical scope, Branford is equally at home on the stages of the world’s greatest clubs and concert halls, where he has performed jazz with his Quartet, one of the leading small ensembles of the past two decades; classical music as a guest soloist with numerous chamber and symphony orchestras; and his own unique musical approach to contemporary popular music with his band Buckshot LeFonque. His nearly two dozen recordings in these various styles have received numerous accolades, with his most recent CD, the Grammy-nominated Braggtown, acknowledged as his quartet’s greatest recorded achievement to date. Marsalis’ previous disc, Eternal, also received a Grammy nomination as well as virtually universal inclusion in lists and polls for the best jazz recording of 2004. Marsalis’ playing on the DVD Coltrane's `A Love Supreme' Live in Amsterdam also received a Grammy nomination for best instrumental jazz solo, while the disc received awards for music and video excellence from the DVD Association.

Marsalis is also dedicated to changing the future of jazz in the classroom. He has shared his knowledge at such universities as Michigan State, San Francisco State, Stanford and North Carolina Central, with his full quartet participating in an innovative extended residency at the latter campus. Beyond these efforts, he is also bringing a new approach to jazz education to jazz students and jazz listeners in colleges and high schools through Marsalis Jams, an interactive program in which leading jazz ensembles present concert/jam sessions in mini-residencies that have visited campuses in the Northeast, Mid-Atlantic, Southeast and Southwest.

Branford’s diverse interests are also reflected in his other activities. He spent two years touring and recording with Sting, and was the musical director of The Tonight Show with Jay Leno for two years in the 1990s. He has collaborated with the Grateful Dead and Bruce Hornsby, acted in films including Throw Mama from the Train and School Daze, provided music for Mo’ Better Blues and other films and hosted National Public Radio’s syndicated program Jazz Set.

Among the most socially conscious voices in the arts, Marsalis quickly immersed himself in relief efforts following the devastation of Hurricane Katrina. He is the honorary chair of the New Orleans Habitat for Humanity effort to rebuild the city, and together with his friend Harry Connick, Jr. conceived the Habitat Musicians' Village currently under construction in the city's historic Ninth Ward.

Whether on the stage, in the recording studio, in the classroom or in the community, Branford Marsalis represents a commitment to musical excellence and a determination to keep music at the forefront.

Photo Credits: Palma Kolansky

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CASIOPEA

Casiopea was a Japanese jazz fusion band that was formed in 1976 by guitarist Issei Noro and bassist Tetsuo Sakurai. In 1977, keyboardist Minoru Mukaiya and drummer Takashi Sasaki joined the group. The group debuted with the album Casiopea in 1979, and 30 albums or more have since been released. In 1980, the drummer seat is replaced by Akira Jimbo.

The album Eyes of the Mind was released in the United States in 1981. They then released the album Mint Jams in 1982, followed by Four by Four in the same year, which is a collaborative album with some of Fourplay members including Lee Ritenour, Harvey Mason, Nathan East and Don Grusin. Their first foreign concert was held in the United Kingdom in 1983. The group has toured Europe, South America, Australia, and Southeast Asia.

CASIOPEA - FREAK JACK

In 1989, Akira Jimbo and Tetsuo Sakurai left the band following several years of musical differences. They named their own band, Jimsaku. For the replacement, the group chose Yoshihiro Naruse (bass) and Masaaki Hiyama (drums).

In 1993, the group once again change its members. Noriaki Kumagai came to replace Masaaki. Then from 1997 Akira Jimbo returned to Casiopea, this time as a part-time member, recording more albums and again contributing some of the compositions.

In 2006, Issei Noro, the group’s leader, decided to freeze all activities of the band until further notice.
Edited by Nedmund

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Ramsey Lewis Trio

Back when jazz had a chance at cracking the Top 40, Ramsey Lewis had a string of radio hits (“The In Crowd,” “Wade in the Water,” “Hang On Sloopy,” “A Hard Day’s Night”). With very few exceptions, he hasn’t played clubs in decades, and I had never seen him perform live until he came to the Ted Mann Concert Hall last Saturday as part of the 2007–2008 Northrop Jazz Season.

The NEA jazz master and three-time Grammy winner brought his trio—bassist Larry Gray and drummer Leon Joyce—and two more performers with gospel roots: organist William Kilgore and vocalist Eleanor Hampton.

Lewis has been on tour since January 2007, appearing solo, with his trio, with Dave Brubeck, Nancy Wilson, and the Joffrey Ballet Company in various venues from New York to California. Minneapolis and Wisconsin appear to be the only places he brought his gospel show, although he also performed with a gospel choir in Strathmore, Maryland.

The first half of the performance featured the trio and music from “To Know Her...,” Lewis's collaboration with the Joffrey. They did a beautiful cover of the Beatles’ “In My Life,” with bowed bass from Gray and big drums from Royce. After a lengthy solo of music from the Joffrey work, Lewis announced, “It’s time to go to church.” The crowd cheered.

Hampton came out singing “Amazing Grace,” and Kilgore took his place behind a tiny keyboard. He was supposed to have a Hammond B-3, “but someone didn’t get the memo,” Lewis explained. Kilgore was robbed and so were we. After a few robust organ-like chords, the keyboard seemed to fail entirely, and Kilgore’s considerable talents (he plays organ on Lewis’s award-winning gospel album With One Voice) were wasted.

We heard “Precious Lord,” Ellington’s “Come Sunday,” “Wade in the Water,” “Pass Me Not, O Gentle Savior” (one I didn’t know; maybe Lutherans don’t sing it?), and “This Little Light of Mine,” some sung, some instrumental. This wasn’t pure church gospel, it was jazz gospel, with quotes and improvisation. And it wasn’t a gospel revival show like the Blind Boys deliver, although Hampton tried more than once to get us clapping along with the music. For encores, they gave us “The In Crowd” (still a good tune) and “Oh Happy Day.”

I’m glad I had the opportunity to see Ramsey Lewis live, but the evening seemed like two separate performances with an awkward segue. There was no intermission, which would have helped effect a transition. We wondered later if the whole program might have been gospel, or included more gospel, had it not been for the organ failure.

Season subscribers were invited to a meet-and-greet reception following the show. We spoke with Kilgore, who was wearing a very fine suit, with Hampton, who was charming, and with Joyce, who spent much of his music career with Marine Corps bands

Billy Taylor and Ramsey Lewis - I've Got Rhythm

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The Blues and the Development of Personalized Song

Definition: It is believed that the blues emerged sometime in the 1890s. It is not certain where the music originated, but it has been claimed that it began in the Mississippi Delta. The blues was forged from the same musical repertory and traditions as field hollers and calls.

A blues stanza typically consists of eight to twelve bars; however, there are many variations. The blues sound comes from the flattened third and seventh notes that are called “blue notes.”

Because of its personalized form, the popularity of blues music among blacks marked a unique period in the history of secular African American song. Prior to the emergence of the blues sometime in the 1890s, solo music was atypical. Such individualized song had never been the main ingredient of black music. Prior songs consisted of field hollers, which communication among plantation workers, and work songs, which were used by slaves to keep time with a task. While field hollers and work songs had elements of personalized song, they had never truly developed as solo songs.
Despite the blues uniqueness from hollers and songs, it was forged from the same musical repertory and traditions. The call and response form of expression remained, but instead of incorporating a response from another participant, the blues singer responded to himself or herself. Thus, it was not created from a new type of music, but from a new perception about oneself.


Blues music reflected the new status of blacks. Slaves newly acquired freedom, Booker T. Washington’s teachings, and the Horatio Alger model, which asserted that the individual molds his own destiny, influenced this form of personalized music. According to historian Lawrence Levine, "there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington's teachings, and the rise of the blues. Psychologically, socially, and economically, Negroes were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did." (Levine, Lawrence W., Black Culture and Black Consciousness) As a consequence, it was the emphasis on the individual that influenced the blues personalized form of song.

The Emergence of the Blues

The blues was first sung by men at leisure and was called the folk blues. W.C. Handy, a composer, musician, and bandleader of the Mahara Minstrels, came across the blues in a Tutwiler, Mississippi train station in 1903. According to Handy, while he was waiting for the train he heard the unforgettable sound of a man running a knife against the strings of his guitar while he sang, “Goin’ where the Southern cross the Dog.” Handy was struck by the music, and never forgot it. Not long after, in 1912 Handy published “Memphis Blues,” making him the third person in a few months to publish a song with the name “blues.”

The first recording of the blues was in 1895. George W. Johnson's "Laughing Song" was the first blues song recorded. Thereafter, blues songs began to appear in music rolls. The 1906 series of Music for the Aedian Grand, listed one blues title among the forty-nine music rolls.

The Rising Popularity of the Blues
As folk singers migrated north in the early 20th century, they brought the blues with them. Joining them from New Orleans were “black-butt” pianists who played in honky-tonks; Texas, Louisiana, and Arkansas gave way to the “Fast Western” pianists who sang as they played, imitating the sounds of southern guitarists. Country singers joined the New Orleans and “Fast Western” pianists’ migration, and brought their style to Chicago, Detroit, Cleveland, and New York, where the classic blues singers united with these musicians and introduced their blues style in clubs, theaters, and dance halls. Classic blues singers brought a professional quality to it, and constructed the foundation for the classic blues.


The Classic Blues Era

The classic blues style, the style that was popularized by female singers, was popular among newly arrived blacks in the cities. The migration of many blacks to the cities gave them a new freedom from the church and community that had not been experienced in rural areas. Blacks demanded entertainment, and black theaters, dance halls, and clubs were opened. Women stopped singing in their churches and schools, and began to perform in theaters, clubs, dance halls, and vaudeville shows.

The blues entered the forefront in 1920, when Mamie Smith's recording of "Crazy Blues" became popular and opened the doors to other classic blues singers. The record was priced at one dollar and sold 75,000 copies the first month of release.

The market for the recorded blues was almost entirely black during the 1920s and 1930s, and the records became known as "race records." Record companies advertised exclusively to blacks and only black stores sold the records. As a result of Smith's success, record companies seized the opportunity to make a profit in the new market. Companies searched for talented blues artists; classic blues singers such as Bessie Smith, Ma Rainey, Alberta Hunter, and Ethel Waters became popular blues artists.

The Rise of the Country Blues

The popularity of the classic blues, however, began to decline. At the same time, male blues singers were on the rise. Record companies, such as Columbia, Paramount, and Okeh, made field trips into the South in search of talented blues singers. Record representatives recorded artists either with their mobile recording unit or arranged for them to travel north to Chicago or New York to record.

The rise of the country blues was marked by the recordings of Blind Lemon Jefferson in early 1926. It was his May release of “Long Lonesome Blues” that set the stage for a new era of the blues. This time it was marked by male singers, including Blind Willie McTell, Barbecue Bob, and Charley Patton.

The Blues Hiatus & Its Revival

When the Depression hit the U.S. in 1929, many blues singers found it difficult to make a living. Record sales slumped and record companies tapered back on recording the blues. Nevertheless, the early blues was instrumental in influencing later blues singers like Muddy Waters. During the 1960s, white musicians from the U.S. and England discovered the old recordings of the early bluesmen and this lead the way to a blues revival. Today, the blues is recognized for its influence on other genres of music, such as rock and roll, rhythm and blues, and rap.

This article was written on November 6, 2000, and revised on May 13, 2008
about.com

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MILES DAVIS's biography

(Pictured Left-to-Right):
Vince Wilburn, Jr.; Erin Davis; Nell Mulderry, Product Director, Kind of Blue 50th Anniversary Collector’s Edition; Jimmy Cobb; Steve Berkowitz, SVP of A&R Legacy Recordings; Cheryl Davis and Adam Block, SVP, General Manager Legacy Recordings.
Photo credit: Daniel Root.
Still The Best Selling Jazz Album. Ever.
MILES DAVIS PROPERTIES, LLC & COLUMBIA/LEGACY CELEBRATE THE R.I.A.A. CERTIFICATION 4X PLATINUM OF KIND OF BLUE AND RELEASE OF THE 50TH ANNIVERSARY COLLECTOR’S EDITION – KIND OF BLUE.


(NEW YORK) – Miles Davis Properties, LLC and Columbia/Legacy recently celebrated the R.I.A.A. certification 4X platinum of landmark jazz album KIND OF BLUE , and the release of the 50th Anniversary Collector’s Edition – KIND OF BLUE – with a cocktail party at the Beekman Hotel Penthouse (Top of the Tower), that was attended by key Davis alums Jimmy Cobb, Lenny White, Wallace Roney and producer George Avakian among others.

Miles Davis was one of the greatest visionaries and most important figures in jazz history. He was born in a well-to-do family in East St. Louis. He became a local phenom and toured locally with Billy Eckstine's band while he was in high school. He moved to New York under the guise of attending the Julliard School of Music. However, his real intentions were to hook up with Charlie Parker and Dizzy Gillespie. He quickly climbed up the ranks while learning from Bird and Diz and became the trumpet player for Charlie Parker's group for nearly 3 years. His first attempt at leading a group came in 1949 and was the first of many occurrences in which he would take jazz in a new direction. Along with arranger Gil Evans, he created a nonet (9 members) that used non-traditional instruments in a jazz setting, such as French horn and Tuba. He invented a more subtle, yet still challenging style that became known as "cool jazz." This style influenced a large group of musicians who played primarily on the west coast and further explored this style. The recordings of the nonet were packaged by Capitol records and released under the name The Birth of the Cool. The group featured Lee Konitz, Gerry Mulligan, and Max Roach, among others. This was one of the first instances in which Miles demonstrated a recurring move that angered some: he brought in musicians

regardless of race. He once said he'd give a guy with green skin and "polka-dotted breath" a job, as long as they could play sax as well as Lee Konitz. After spending 4 years fighting a heroin addiction, he conquered it, inspired by the discipline of the boxer Sugar Ray Robinson.
After a triumphant performance of Thelonious Monk's classic 'Round Midnight at the 1955 Newport Jazz Festival, Miles became a hot commodity. He put together a permanent quintet that featured John Coltrane, Red Garland, "Philly Joe" Jones, and Paul Chambers. Miles had a gift for hearing the music in his head, and putting together a band of incredible musicians whose contrasting styles could result in meeting the end result he was looking for. He later added a 6th member, Cannonball Adderly and replaced Jones and Garland with Jimmy Cobb and Bill Evans. In the late 50s, his groups popularized modal jazz and changed the direction of jazz again. He made 2 more classics with the Sextet during this time, Milestones and Kind of Blue. After this time, most of his group left to form their own groups. This was a constant during Miles' career--he brought in the best up-and-coming musicians and after playing in his band and getting established, they formed their own groups. Among the bandleaders to have come from Miles band include: John Coltrane, Cannonball Adderly, Red Garland, "Philly" Jo Jones, Bill Evans, Wayne Shorter, Joe Zawinul, (Shorter and Zawinul would go on to form the fusion group Weather Report) Keith Jarrett, Tony Williams, Herbie Hancock, John McGlaughlin, Chick Corea, John Scofield, Kenny Garrett, Mike Stern, and Bob Berg.

During this time, Miles and Gil Evans collaborated again and made another unique record, Sketches of Spain, in which Miles plays Spanish Flamenco music backed by an orchestra. His tone is so beautiful and clear, it almost sounds like his trumpet is singing. After experimenting with different groups for 3 years, Miles, who was in his late 30s (old by jazz standards), fused his group with young players in order to bring in fresh ideas. In 1963, he put together his 2nd legendary quintet: Wayne Shorter, Herbie Hancock, Ron Carter, and 16 year old drumming protege Tony Williams. For 5 years, this group pushed the limits of freedom and made some fiery jazz! In 1968, Miles brought in Joe Zawinul as a 2nd keyboardist and around this time, started experimenting with electric instruments. He made the classic In a Silent Way and a year later, he added British guitarist John McGloughlin and replaced Tony Williams (who left to form his own band) with Jack DeJohnette, and he took jazz in yet a whole new direction with the record Bitches Brew, in which he fused Rock Music with jazz and went heavily into electric music. This record fired the first shot in the fusion revolution which took jazz to a whole new level of popularity.
n the early 1970s, Miles kept experimenting with the electric instruments and fusing more funk into his music. In 1976, a combination of bad health, cocaine use, and lack of inspiration caused Miles to go into a 5-year retirement. He conquered his cocaine habit, received new inspiration and returned in 1981 and made a series of records that I haven't heard. He did keep pushing music, as he was not one to rest on his laurels and play his old music. He started experimenting more with synthesizers and using studio techniques in his recordings. He won a series of Grammy Awards during this decade and continued turning out sidemen, such as Garrett, Stern, and Berg, listed above. Miles Davis died in 1991.


The Miles Davis Discography
1945 (The age of 19)

* Miles Davis - First Miles (Savoy SJL 1196)
* Charlie Parker Story (Savoy MG 12079)
* Charlie Parker Memorial, Vol. 2 (Savoy MG 12009)
* The Immortal Charlie Parker (Savoy MG 12001)

1946 (The age of 20)

* Charlie Parker - Yardbird in Lotus Land (Spotlite (E) SPJ 123)
* Charlie Parker on Dial, Vol. 1 (Spotlite (E) SPJ 101)
* Charlie Parker - Alternate Masters, Vol. 2 (Dial LP 905)
* Charles Mingus - The Young Rebel (Swingtime (E) ST 1010)
* Baron Mingus - God's Portrait c/w unknown title (not released) (Fentone 2001)
* V.A. - Jazz Off the Air, Vol. 3 (Spotlite (E) SPJ 148)
* V.A. - Boning Up the 'Bones (EmArcy MG 36038)
* Billy Eckstine - Mr. B and the Band (Savoy SJL 2214)
* Billy Eckstine - The Love Songs of Mr. "B" (EmArcy MG 36030)
* Billy Eckstine - I Surrender, Dear (EmArcy MG 36010)
* Billy Eckstine - Blues for Sale (EmArcy MG 36029)
* Miles Davis - Boppin' the Blues (Black Lion (E) BLP 60102)

1947

* Illinois Jacquet and his Tenor Sax (Aladdin AL 803)
* Charlie Parker - Encores (Savoy SJL 1107)
* The Genius of Charlie Parker (Savoy MG 12014)
* Charlie Parker Memorial, Vol. 1 (Savoy MG 12000)
* Coleman Hawkins/Howard McGhee/Lester Young - A Date with Greatness (Imperial LP 9188-A)
* Charlie Parker - The Complete Savoy Studio Sessions (Savoy SJL 5500)
* Charlie Parker on Dial, Vol. 4 (Spotlite (E) SPJ 104)
* Charlie Parker - The Bird Blows the Blues (Dial LP 901)
* Charlie Parker - Alternate Masters, Vol. 1 (Dial LP 904)
* Charlie Parker on Dial, Vol. 5 (Spotlite (E) SPJ 105)
* Charlie Parker on Dial, Vol. 6 (Spotlite (E) SPJ 106)
* Charlie Parker - Crazeology c/w Crazeology, II: 3 Ways of Playing a Chorus (Dial 1034)
* Charlie Parker, Vol. 4 (Dial LP 207)

1948

* Gene Roland Band featuring Charlie Parker - The Band That Never Was (Spotlite (E) SPJ 141)
* Charlie Parker - Bird's Eyes, Vol. 6 (Philology (It) 214W 29)
* Charlie Parker - Bird on 52nd St. (Jazz Workshop JWS 501)
* Charlie Parker (Prestige PR 24009)
* Charlie Parker - Bird at the Roost, Vol. 1 (Savoy Jazz ZDS 4411/12)
* Newly Discovered Sides by Charlie Parker (Savoy MG 12186)
* Charlie Parker - The 'Bird' Returns (Savoy MG 12179)
* Miles Davis - Nonet 1948 - Jam 1949 (Royal Jazz (D) RJD 514)
* Charlie Parker - Miles Davis - Lee Konitz (Ozone 2)
* The Persuasively Coherent Miles Davis (Alto AL 701)
* Hooray for Miles Davis, Vol. 1 (Session Disc 101)
* Charlie Parker - Bird's Eyes, Vol. 1 (Philology (It) 214W 5)
* Charlie Parker - Live Performances (ESP-Disk' ESP 3000)
* Charlie Parker on the Air, Vol. 1 (Everest FS 214)

1949

* The Metronome All Stars - From Swing to Be-Bop (RCA Camden CAL 426)
* Miles Davis - Birth of the Cool (Capitol T 792)
* Miles Davis - The Complete Birth of the Cool (Capitol M 11026)
* V.A. - Tadd Dameron Big 10 and Royal Roost Jam (Beppo (E) BEP 503)
* Charlie Parker - Rara Avis Avis, Rare Bird (Stash STCD 21)
* V.A. - Strictly Be-Bop: Capitol Jazz Classics, Vol. 13 "Be Bop Professors" (Capitol (J) 5C 052 851)
* The Miles Davis/Tadd Dameron Quintet in Paris Festival International de Jazz, May, 1949 (Columbia JC 34804)
* Miles Davis/Tadd Dameron - Sensation '49: A Document from the Paris Jazz Festival 1949 (Phontastic (Swd) PHONT 7602)
* Charlie Parker - Bird in Paris (Bird in Paris CP 3)
* V.A. - Stars of Modern Jazz Concert at Carnegie Hall (IAJRC 20)

1950

* Charlie Parker - Birth of the Bebop: Bird on Tenor 1943 (Stash ST 260)
* Miles Davis - Dick Hyman - Sonny Stitt (Ozone 1)
* Here Are Stan Getz and Miles Davis (Kings of Jazz (It) KLJ 20013)
* Sarah Vaughan in Hi-Fi (Columbia CL 745)
* Miles Davis All Stars and Gil Evans (Beppo (E) BEP 502)
* Hooray for Miles Davis, Vol. 2 (Session Disc 102)

1951 (The age of 25)

* Miles Davis and Horns (Prestige PRLP 7025)
* Miles Davis - Early Miles (Prestige PR 7674)
* Sonny Rollins with the Modern Jazz Quartet, Art Blakey, Kenny Drew (Prestige PRLP 7029)
* The Genius of Charlie Parker, #8 - Swedish Schnapps (Verve MGV 8010)
* The Magnificent Charlie Parker (Clef MGC 646)
* The Metronome All Stars - All Star Sessions (Capitol M 11031)
* V.A. - Conception (Prestige PRLP 7013)
* Miles Davis - Eddie 'Lockjaw' Davis - Art Blakey (Ozone 7)
* Miles Davis - Dig (Prestige PRLP 7012)

1952

* Jimmy Forrest and Miles Davis Live at the Barrel (Prestige PR 7858)
* Miles Davis/Jimmy Forrest - Lady Bird (Jazz Showcase LP 5004)
* Miles Davis - Rare Unreleased Broadcasts (Yadeon (J) 502)
* V.A. - Woman in Jazz, Vol. 3 (Stash ST 113)
* Miles Davis and his All Stars (Ozone 8)
* Miles Davis, Vol. 1 (Blue Note BLP 1501)
* Miles Davis - Complete 1st and 3rd Sessions on Blue Note (Blue Note CDP 7 81501-2)
* Miles Davis, Vol. 2 (Blue Note BLP 1502)

1953

* Miles Davis - Collector's Items (Prestige PRLP 7044)
* Miles Davis - Hi-Hat All Stars Recorded Live at Hi-Hat, Boston 1955 (Fresh Sound (Sp) FSR 302)
* Miles Davis - Complete 2nd Session on Blue Note (Blue Note CDP 7 81502-2)
* Miles Davis - Blue Haze (Prestige PRLP 7054)
* Charlie Parker - Bird Meets Birks (Mark Gardner (E) MG 102)
* Miles Davis and the Lighthouse All-Stars - At Last! (Contemporary C 7645)

1954

* Miles Davis - Walkin' (Prestige PRLP 7076)
* Miles Davis - Bags' Groove (Prestige PRLP 7109)
* Miles Davis and the Modern Jazz Giants (Prestige PRLP 7150)

1955

* Miles Davis - The Musings of Miles (Prestige PRLP 7007)
* Miles Davis - Blue Moods (Debut DEB 120)
* Miles Davis - Miscellaneous Davis 1955-1957 (Jazz Unlimited (Swd) JUCD 2050)
* Miles Davis and Milt Jackson Quintet/Sextet (Prestige PRLP 7034)
* Miles Davis - The Legendary Prestige Quintet Sessions (Prestige 4PRCD 4444-2)
* The Complete Columbia Recordings of Miles Davis with John Coltrane (Mosaic MQ9 191)
* Miles Davis - Circle in the Round (Columbia KC2 36278)
* Miles Davis - 'Round About Midnight (Columbia CL 949)
* Miles Davis - Basic Miles (Columbia C 32025)
* Miles Davis - The Columbia Years 1955-1985 (Columbia C5X 45000)
* V.A. - Jazz Omnibus (Columbia CL 1020)
* Miles Davis - Miles (Prestige PRLP 7014)

1956 (The age of 30)

* Workin' with the Miles Davis Quintet (Prestige PRLP 7166)
* Steamin' with the Miles Davis Quintet (Prestige PRLP 7200)
* Relaxin' with the Miles Davis Quintet (Prestige PRLP 7129)
* Miles Davis Quintet at Peacock Alley (VGM/Soulard VGM-SOU 1997)
* Leonard Bernstein - What Is Jazz (Columbia CL 919)
* The Brass Ensembles of the Jazz and Classical Music Society - Music for Brass (Columbia CL 941)
* Cookin' with the Miles Davis Quintet (Prestige PRLP 7094)
* Lester Young Meets Miles, M.J.Q. and the Jack Teagarden All Stars (Unique Jazz UJ 014)
* Miles Davis/Bud Powell/Art Tatum - Unreleased Performances (Teppa 76)

1957

* Miles Davis - Miles Ahead (Columbia CL 1041)
* Miles Davis - Miles Ahead (stereo) (Columbia/Legacy CK 40784)
* Miles Davis - John Coltrane - Sonny Rollins (Ozone 18)
* Miles Davis - Makin' Wax (Chakra (It) TH 100 MD)
* Rene Urtreger en Concerts (Carlyne Music (F) CAR 006)
* Miles Davis - Ascenseur pour L'echafaud (Fontana (F) 662 213-TR)
* Miles Davis - Ascenseur pour L'echafaud: Complete Recordings (Fontana (F) 836 305-2)
* Miles Davis - The Complete Amsterdam Concert 1957 (Celluloid (It) 668 232)

1958

* Miles Davis - Milestones (Columbia CL 1193)
* Cannonball Adderley - Somethin' Else (Blue Note BLP 1595)
* Cannonball Adderley - Alison's Uncle, Autumn Leaves (Blue Note (J) BNJ 27001)
* V.A. - The Other Side Blue Note 1500 Series (Blue Note (J) BNJ 61008/10)
* Miles Davis All Stars featuring John Coltrane and Bill Evans (Jazz Band (E) EB 418)
* Miles Davis - Jazz Tracks (Columbia CL 1268)
* Miles Davis - '58 Sessions (Columbia/Legacy CJ 47835)
* Miles Davis - Black Giants (Columbia PG 33402)
* Michel Legrand - Legrand Jazz (Columbia CL 1250)
* Miles Davis/Thelonious Monk - Miles and Monk at Newport (Columbia CL 2178)
* V.A. - Newport Jazz Festival 1958-59 (FDC (It) 1024)
* Miles Davis - Porgy and Bess (Columbia CL 1274)
* Miles Davis - Jazz at Plaza, Vol. 1 (Columbia C 32470)
* Miles Davis All Stars featuring John Coltrane with Cannonball Adderley (Jazz Band (E) EB 409)

1959

* Miles Davis - Kind of Blue (Columbia CL 1355)
* The Sound of Miles Davis (Toei Video (J) TE M576)
* The Complete Miles Davis-Gil Evans Studio Recordings (Columbia/Legacy CXK 67397)
* Miles Davis - Sketches of Spain (Columbia CL 1480)

1960

* Miles Davis - Directions (Columbia KC2 36472)
* Miles Davis en Concert avec Europe 1 (Trema (F) 710455)
* Miles Davis and John Coltrane Live in Stockholm 1960 (Dragon (Swd) DRLP 90/91)
* John Coltrane - Bird Note (Bird Note (Swd) no number)
* Miles Davis/John Coltrane - Copenhagen 1960 (Royal Jazz (D) RJD 501)
* Miles Davis Quintet Live in Zurich 1960 (Jazz Unlimited (Swd) JUCD 2031)
* Miles Davis/John Coltrane - Miles and Coltrane Quintet Live, First Time on Records (Unique Jazz UJ 019)
* Miles Davis - Free Trade Hall, Vol. 1 (Magnetic (Luxe) MRCD 102)
* Miles Davis Quintet Live in Europe (Jazz Up (It) JU 320)
* Miles Davis - Free Trade Hall, Vol. 2 (Magnetic (Luxe) MRCD 103)
* Miles Davis/Sonny Stitt - Stockholm 1960 (Royal Jazz (D) RJD 509)
* Miles Davis and Sonny Stitt Live in Stockholm 1960 (Dragon (Swd) DRLP 129/30)

1961 (The age of 35)

* Miles Davis - Someday My Prince Will Come (Columbia CL 1656)
* Miles Davis in Person, Vol. 2 - Saturday Night at the Blackhawk (Columbia CL 1670)
* Miles Davis in Person, Vol. 1 - Friday Night at the Blackhawk (Columbia CL 1669)
* Miles Davis - The Complete Blackhawk Sessions (Mosaic Q6 220)
* V.A. - Who's Who in Jazz (Columbia CL 1765)
* Miles Davis - Transition (Magnetic (Luxe) MRCD 125)
* Miles Davis - Circle in the Round (CBS/Sony (J) 36AP 1409/10)
* Miles Davis at Carnegie Hall (Columbia CL 1812)
* Miles Davis - Live Miles: More Music from the Legendary Carnegie Hall Concert (Columbia CL 40609)

1962

* Miles Davis - Quiet Nights (Columbia CL 2106)
* V.A. - Jingle Bell Jazz (Columbia CL 1893)
* Miles Davis - Sorcerer (Columbia CL 2732)
* Miles Davis - Facets, Vol. 1 (Columbia (F) 21070)

1963

* Miles Davis - The Complete 63-64 Columbia Recordings (Mosaic Q10 226)
* Miles Davis - Seven Steps to Heaven (Columbia CL 2051)
* Miles Davis - Miles in St. Louis (VGM 0003)
* IXXI. Miles Davis Quintet Live in St. Louis and Paris 1963 (The Golden Age of Jazz (It) JZCD 371)
* Miles Davis - Cote Blues (Jazz Music Yesterday (It) JMY 1010-2)
* Miles Davis in Europe (Columbia CL 2183)
* Miles Davis at Monterey 1963 Complete (So What! (J) SW 042)

1964

* Miles Davis - 'Four' & More (Columbia CL 2453)
* Miles Davis - My Funny Valentine (Columbia CL 2306)
* Miles Davis - Miles in Tokyo (CBS/Sony (J) SONX 60064)
* Miles Davis - Miles in Berlin (CBS (G) SBPG 62976)
* Miles Davis - Paris, France (Heart Note HN 004)
* Miles Davis - The Complete Copenhagen Concert 1964 (Magnetic (Luxe) MRCD 117)
* Miles Davis - Davisiana (Moon (It) MCD 033-2)
* Miles Davis - All Blues (Musica Jazz (It) MJCD 1090-2)
* IXXII. Miles Davis Quintet Live in Sindelfingen 1964 (The Golden Age of Jazz (It) JZCD 372)
* Miles Davis - Seven Steps to Heaven (Jazz Door (It) JD 1225)

1965

* Miles Davis - E.S.P. (Columbia CL 2350)
* Miles Davis - Cookin' at the Plugged Nickel (Columbia CJ 40645)
* Miles Davis - Complete Live at Plugged Nickel 1965 (CBS/Sony (J) SRCS 5766/72)
* Miles Davis at Plugged Nickel, Chicago, Vol. 2 (CBS/Sony (J) 23AP 2568)
* Miles Davis at Plugged Nickel, Chicago, Vol. 1 (CBS/Sony (J) 23AP 2567)

1966 (The age of 40)

* Miles Davis - Gingerbread Boy, At Portland State College (Stone OE 66201)
* Miles Davis - Miles Smiles (Columbia CL 2601)

1967

* The Studio Recordings of Miles Davis Quintet 65-68 (Mosaic Q10 177)
* Miles Davis - Water Babies (Columbia C 34396)
* Miles Davis - Nefertiti (Columbia CS 9594)
* Miles Davis - His Greatest Concert Ever (Jazzman JM 11742)
* Miles Davis - Tempo di Jazz (Tempo di Jazz (It) CDTJ 703)
* Miles Davis - No Blues (Jazz Music Yesterday (It) JMY 1003-2)

1968

* Miles Davis - Miles in the Sky (Columbia CS 9628)
* Miles Davis - Filles de Kilimanjaro (Columbia CS 9750)
* Miles Davis - The Complete in a Silent Way Sessions (Mosaic Q5 209)

1969

* Miles Davis - In a Silent Way (Columbia CS 9875)
* Miles Davis - 1969 Miles: Festiva de Juan Pins (CBS/Sony (J) SRCS 6843)
* The Selected Works of Chick Corea - Music Forever and Beyond (GRP GRD 5-9819)
* Miles Davis Interview, 4 Aug., 1969 (Columbia)
* Miles Davis - Bitches Brew (Columbia GP 26)
* Miles Davis - Double Image (Moon (It) MCD 010/11-2)
* IXXIII. Miles Davis Quintets: Bitches Brew Live (The Golden Age of Jazz (It) JZCD 373)
* Miles Davis - Spanish Key (Lunch for Your Ears (E) LFYE 001)
* Miles Davis - Paraphernalia (Jazz Music Yesterday (It) JMY 1013-2)
* Miles Davis - Big Fun (Columbia PG 32866)
* Miles Davis - The Complete Bitches Brew Sessions (Mosaic MQ6 183)

1970

* Miles Davis - Live/Evil (Columbia G 30954)
* Miles Davis - A Tribute to Jack Johnson (Columbia S 30455)
* Miles Davis - Hill Auditorium, 2/21/'70 (Jazz Masters (G) JM 006)
* Miles Davis - It's About That Time: Live at the Fillmore East, March 7, 1970 (Columbia/Legacy C2K 85191)
* Miles Davis at Fillmore West - Black Beauty (CBS/Sony (J) 28AP 2155/56)
* Miles Davis - Get Up with It (Columbia KG 33236)
* Miles Davis at Fillmore (Columbia G 30038)
* V.A. - The First Great Rock Festivals of the Seventies - Isle of Wight - Atlanta Pop Festival (Columbia G3X 30805)
* Miles Davis - Fillmore West, 10/17/'70 (Jazz Masters (G) JM 007)

1971 (The age of 45)

* Miles Davis - Lennies on the Turnpike '71 (Jazz Masters (G) JM 001/02)
* IXXIV. Miles Davis Band: Miles Davis + Keith Jarrett Live (The Golden Age of Jazz (It) JZCD 374)
* Miles Davis - Neue Stadthalle, Switzerland, 10/22/'71 (Jazz Masters (G) JM 008/09)
* Miles Davis - Another Bitches Brew (Jazz Door (It) JD 1284/85)
* Miles Davis - Two Miles Live (Discurious (It) DIS 201)
* Miles Davis - Berlin and Beyond (Lunch for Your Ears (E) LFYE 006/07)
* Miles Davis in Sweden 1971 (Miles MD 1)
* Hooray for Miles Davis, Vol. 3 (Session Disc 123)

1972

* Miles Davis - On the Corner (Columbia KC 31906)
* Miles Davis in Concert (Columbia KG 32092)

1973

* Miles Davis - Black Satin (Jazz Masters (G) JM 011/12)
* Miles Davis - More Live Evil (Zipperdeke (J) ZIP 009)
* Miles Davis - Ife (Lunch for Your Ears (E) LFYE 002)
* Miles Davis - "Isle of Wight" (Columbia (F) 450472 1)
* Miles Davis - Unknown Sessions 1973-1976, Vol. 1 (Kind of Blue (J) KOB 001)
* Miles Davis - Call It What It Is (Jazz Music Yesterday (It) ME 6403)
* Miles Davis - Berlin '73 (Jazz Masters (G) JM 003)
* Miles Davis - Palais des Sports, Paris 1973 (Jazz Masters (G) JM 016)

1974

* Miles Davis - Dark Magus (CBS/Sony (J) 28AP 2165/66)

1975

* Miles Davis - Agharta (CBS/Sony (J) 28AP 2167/68)
* Miles Davis - Pangaea (CBS/Sony (J) 28AP 2169/70)
* Miles Davis - New York Bottom Line 1975 (Jazz Masters (G) JM 017/18)

1980 (The age of 54)

* Miles Davis - The Man with the Horn (Columbia FC 36790)

1981 (The age of 55)

* Miles Davis - Shout (12 inch maxi single) (Columbia AS 1274)
* Miles Davis - We Want Miles (Columbia C2 38005)
* V.A. - Jazz Beau Coup. (Columbia Sampler)
* Miles Davis - Miles! Miles! Miles!: Live in Japan '81 (CBS/Sony (J) SRCS 6513/14)

1982

* Miles Davis - Moonlight Shadows (Megadisc)
* Miles Davis - Spring (Paradise (It) P 1020-2)
* Miles Davis - The Second Spring (Paradise (It) P 1030)
* Miles Davis - Star People (Columbia FC 38657)
* Miles Davis - Forum, N.Y., 12/31/82 (Jazz Masters (G) JM 024)

1983

* Miles Davis - In the West (Jazz Masters (G) JM 022/23)
* Miles Davis - Atmosphere (Four Beat Sounds (It) FBMD 83058/59)
* Miles Davis - Decoy (Columbia FC 38991)
* Miles Davis in Warsaw '83 (Poli Jazz (Poland) PSJ X 001)

1984

* Miles Davis - You're Under Arrest (Columbia FC 40023)
* Miles Davis - This Is Miles!, Vol. 2 (CBS/Sony (J))

1985

* Miles Davis - Aura (Columbia C2X 45332)
* Miles Davis - Miles Under Arrest: Live 1985 (Gema)
* Miles Davis - Human Nature (Jazz File JF 1001)
* Miles Davis - The King of Priests (Flashback 07 93 0211)
* Miles Davis - Pacific Express (Jazz Masters (G) JM 019/20)
* V.A. - Sun City (Manhattan MHS 91149)
* V.A. - Sun City (12 inch maxi single) (Manhattan S14 123)
* Miles Davis - Unissued '85 (On Stage CD/ON 2230)

1986 (The age of 60)

* TOTO - Fahrenheit (Columbia FC 40273)
* Miles Davis - Tutu (Warner Bros. 25490)
* Miles Davis - Backyard Ritual (Warner Bros.)
* Prince - Crucial (H.T.B. Entertainment Group CD 038001)
* Miles Davis - Full Nelson (12 inch maxi single) (Warner Bros.)
* Miles Davis - Social Music (Tiki Records (It) TR 02)
* Miles Davis - Maze (Lunch for Your Ears (E) LFYE 008/09)
* Miles Davis - Time After Time (Tiki Records (It) TR 03)
* Miles Davis - High-Energy - Rhythm Attack (M.D. 86)
* Miles Davis - Street Scenes (Lunch for Your Ears (E) LFYE 010/11)

1987

* Miles Davis/Marcus Miller - Siesta (Warner Bros. 25655)
* Miles Davis - Greek Theater '88 (Jazz Masters (G) JM 004/05)
* Miles Davis - Scrooged: Original Motion Picture Soundtrack (A&M SP 3291)
* Miles Davis - Antwerp Agitation (no label no number)
* Prince - Grosse Freiheit 36: Driving to Midnight Mess (Savarage)
* Scritti Politti - Oh, Patti (Virgin VST 1006)

1988

* Cameo - Machismo (Mercury 836 002-2)
* Miles Davis in Concert '88, Pt. 1 (Jazz Concert MDCD 101)
* Miles Davis in Concert '88, Pt. 2 (Jazz Concert MDCD 102)
* Chaka Khan - C.K. (Warner Bros. 25707)
* Miles Davis Live Around the World (Warner Bros. (J) WPCR 0443)
* Miles Davis in Warsaw '88 (Poli Jazz (Poland) PSJ X 003)
* Miles Davis - Amandla (Warner Bros. 25873)

1989

* Kenny Garrett - Prisoner of Love (Atlantic 82046)
* Quincy Jones - Back on the Block (Warner Bros. 26020)
* Marcus Miller - The Sun Don't Lie (PRA)
* Miles Davis - Time After Time (Jazz Door (It) JD 1256/57)
* Miles Davis Band Live Tutu (The Golden Age of Jazz (It) JZCD 375)
* Miles Davis - Miles in Montreux (Jazz Door (It) JD 1235)
* Miles Davis Live at Montreux Jazz Festival (Jazz Door (It) JD 1287/88)
* Miles Davis - Miles in Paris (Four Aces FAR 006)

1990

* Miles Davis/Michel Legrand - Dingo (Warner Bros. 26438-2)
* Miles Davis - The Hot Spot: Original Motion Picture Soundtrack (Antilles 442 846 813-2)
* Paolo Rustichelli - Capri (Verve-Forecast 314 517 206-2)
* Paolo Rustichelli - Mystic Man (Island/Guts & Grace 161 531 065-2)
* Miles Davis - Sing in Singen (Regency REG 027)
* Shirley Horn - You Won't Forget Me (Verve 847 482-2)

1991 (The age of 65)

* Miles Davis - Doo-Bop (Warner Bros. 9 26938-2)
* Miles Davis - Blow/Fantasy (Warner Bros.)
* Miles Davis - The Doo-Bop Song EP (Warner Bros. (J) WPCP 5066)
* Miles Davis - Miles and Quincy Live at Montreux (Warner Bros. 2 45221)
* Miles Davis - Black Devil (Beech Marten (It) BM 053/2)

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