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DISCID=8610140a
DTITLE=Miles Davis / The Columbia Years 1955-1985 - Disc 1 of 4
DYEAR=
DGENRE=Jazz
TTITLE0=Generique
TTITLE1=All Blues
TTITLE2=Eighty-One
TTITLE3=Blues For Pablo
TTITLE4=Summertime
TTITLE5=Straight, No Chaser
TTITLE6=Footprints (Digital Remix)
TTITLE7=Florence Sur Les Champs Elysees
TTITLE8=I Thought About You (Mono - Previously Unreleased Live Version
TTITLE8=)
TTITLE9=Someday My Prince Will Come (Alternate Take)
EXTD=Originally Released December 6, 1988\nReconfigured CD-Sized Slipc
EXTD=ase Packaging Released August 2001\nReconfigured Book-Style Packa
EXTD=ging Released August 6, 2002\n\nAMG EXPERT REVIEW: This was the f
EXTD=irst real attempt by Columbia to make \nany comprehensive sense o
EXTD=f Miles Davis' colossal output for the label. \nThis set, then, w
EXTD=as bound to be controversial no matter how it turned \nout, but e
EXTD=ven so, Columbia could have done better with a strictly chronolog
EXTD=ical \napproach. Instead producer/compiler Jeff Rosen had the coc
EXTD=keyed notion \nof organizing each of the original five LPs around
EXTD= a single theme. Disc \none was called Blues, Disc two was devote
EXTD=d to Standards, Disc three had \nMiles Davis Originals, Disc four
EXTD= was something vaguely entitled Moods \nand all of the electric r
EXTD=ecordings were segregated on Disc five (the CDs \nnaturally screw
EXTD= up the "logic" with overlaps). Thus, the first four sections \nj
EXTD=am together all kinds of unrelated sessions from different eras a
EXTD=nd the \nlistener never gets any idea of how Miles' music evolved
EXTD= and changed over \nthe years. There are only four outtakes, thre
EXTD=e of which are gratuitous \nalternate takes, and the fourth is a 
EXTD=live version of "I Thought About \nYou." However, The Columbia Ye
EXTD=ars stands as a casual collage -- the only \nway, actually, to ac
EXTD=quire a bop-to-rock, fairly representative selection \nof Miles f
EXTD=rom those decades in one package. Also one must admit that the \n
EXTD=electric section, despite the chronological chaos, is put togethe
EXTD=r very \ncleverly, opening with precisely the hottest stretch of 
EXTD=music from Live-Evil \n(the opening 3-and-a-half-minutes of "Siva
EXTD=d") and closing with the long, \nswaggering "Miles Runs the Voodo
EXTD=o Down" from Bitches Brew. Nat Hentoff's \nbiographical essay mak
EXTD=es good reading -- and of course, along the way \nyou'll hear som
EXTD=e of the greatest music of the 20th century. -- Richard \nS. Gine
EXTD=ll\n\nHalf.com Album Notes\nContains 35 tracks on 4 CDs, many of 
EXTD=which are unreleased or out of print. \nThe discs are arranged by
EXTD= genre. \n\nPersonnel includes: Miles Davis (trumpet, flugelhorn)
EXTD=; Gary Bartz (soprano \n& alto saxophones); Bill Evans (soprano &
EXTD= tenor saxophones); Dave Leibman \n(soprano saxophone); Julian "C
EXTD=annonball" Adderly, Lee Konitz (alto saxophone); \nJohn Coltrane,
EXTD= Wayne Shorter, Hank Mobley, George Coleman (tenor saxophone); \n
EXTD=Bill Evans, Herbie Hancock, Red Garland, Wynton Kelly, Chick Core
EXTD=a, Joe \nZawinul, Keith Jarrett (piano); John McLaughlin, John Sc
EXTD=ofield, Mike Stern \n(guitar); Paul Chambers, Ron Carter, Dave Ho
EXTD=lland (bass); Jimmy Cobb, \nTony Williams, Kenny Clarke, Philly J
EXTD=oe Jones, Elvin Jones, Jack DeJohnette, \nBilly Cobham (drums); A
EXTD=irto Moreira, Don Alias (percussion).\n\nProducers include: Miles
EXTD= Davis, Irving Townsend, George Avakian, Teo Macero, \nCarl Lampl
EXTD=ey.\n\nCompilation producer: Jeff Rosen.\nRecorded between 1955 a
EXTD=nd 1985. Includes liner notes by Nat Hentoff.\n\nDigitally remast
EXTD=ered by Mark Wilder (CBS Records Studio, New York, New \nYork).\n
EXTD=\nWell, really, what can you say? Miles Davis's prolific output f
EXTD=or Columbia \nRecords may be the single greatest set of recording
EXTD=s one artist made for \none label. From his hard-bop-era label de
EXTD=but, 'ROUND ABOUT MIDNIGHT, to \nhis somewhat controversial 1985 
EXTD=recasting of Cyndi Lauper's "Time After \nTime" into a meditative
EXTD=, moody gem, Davis constantly pushed the boundaries \nof jazz. Al
EXTD=ong the way, he created Gil Evans-arranged masterpieces like \nSK
EXTD=ETCHES OF SPAIN and PORGY AND BESS, the career pinnacle KIND OF B
EXTD=LUE, \nand jazz-rock trailblazers like IN A SILENT WAY and BITCHE
EXTD=S BREW. \n\nArranging the set by theme (standards, blues, origina
EXTD=ls, moods, and electric) \ninstead of chronology makes it somewha
EXTD=t difficult to chart the progress \nof Miles' experiments, but it
EXTD= does make each CD a pleasurably coherent \nlisten. While it's im
EXTD=possible for four CDs to feature much beyond the \nvery best of D
EXTD=avis's Columbia years, this set is a handy introduction \nfor new
EXTD=comers
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