Miles Davis box - buy The Complete Columbia Studio Recordings

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buy from Amazon.com: The Complete Columbia Studio Recordings [BOX SET]

buy from Amazon.comThe Complete Columbia Recordings 1955-1961 John Coltrane, Miles Davis
Between 1955 and 1959, with occasional changes in personnel, trumpeter Miles Davis led a simply extraordinary small band that changed the course of jazz. This quintet/sextet primarily spotlighted tenor saxophonist John Coltrane but also included such greats as alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. The Complete Columbia Recordings of Miles Davis and John Coltrane comprise such fabled Davis albums as 'Round About Midnight, Milestones, Jazz at the Plaza, Volume 1, Someday My Prince Will Come, and the legendary Kind of Blue. Also included are the Davis-with-Coltrane selections that appeared on Miles and Monk at Newport, Jazz Track, Basic Miles, and Circle in the Round. In all, the set boasts 60 tracks, of which 18 are previously unreleased--14 of them complete takes.

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Complete in a Silent Way Sessions [BOX SET] Miles Davis
Miles Davis Audio CD (October 23, 2001)
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Recorded and released in 1969, In a Silent Way was one of Miles Davis's most mysterious and elusive efforts. That was not only because the album, boasting one long track on each side, was so austerely understated, but also because it stood apart from the music that preceded it, the music the trumpeter was performing in concert, and the revolution that followed--a.k.a. Bitches Brew. Making use of multiple keyboardists--Herbie Hancock and Chick Corea on electric piano and Joe Zawinul on organ--the trumpeter multiplies tones and melody lines and complicates textures. His mold-breaking band, also including Wayne Shorter on soprano saxophone, Tony Williams on drums, and John McLaughlin on guitar, dips into rock and R&B, gospel and classical, electronics and creative editing.

Kind of Blue Complete in a Silent Way Sessions Sketches of Spain,

By the late 1960s, Miles Davis and his jazz contemporaries were drying up before the combined forces of white rock and the Afro-American avant-garde. To counter this, Miles looked outside the immediate jazz tradition and by 1969 was systematically demolishing rock, jazz, African and Asian sounds to create something that pitched his music towards the outermost fringes of intelligibility.
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