Miles Davis

Полное имя: Miles Dewey Davis III
Дата рожд.: 26 мая 1926 (1926-05-26)
Место рожд.: Элтон, Иллиинойс, США
Дата смерти: 28 сентября 1991(1991-09-28) (65 лет)
Место смерти: Санта-Моника, Калифорния, США
Страна: США
Профессии: трубач, автор песен
Инструменты: труба

Майлз Дьюи Дэвис (англ. Miles Dewey Davis III; 1926-1991) - американский джазовый трубач и бэнд-лидер, оказавший значительнейшее влияние на развитие джазовой музыки XX века. Дэвис стоял у истоков множества стилей и направлений в джазе, таких как модальный джаз (modal jazz), прохладный джаз (cool jazz) и фьюжн (fusion). Около 50 лет работы Дэвиса определили звучание джаза для трёх поколений слушателей. Записи Дэвиса позволяют проследить развитие современного джаза от бибопа конца сороковых до современных экспериментальных направлений. В отличие от многих других джазменов, Дэвис никогда не был ограничен каким-то одним джазовым стилем.

В 2002 году одна из работ Майлза Дэвиса, альбом «In a Silent Way» была включена в рейтинг «The 25 Most Influential Ambient Albums Of All Time» (25 главных эмбиент альбомов всех времён).

С 1981 по 1988 год был женат на американской актрисе Сисели Тайсон.

Среди его главных достижений можно упомянуть:
[img=right]http://s47.radikal.ru/i118/1003/cd/75bea65f03d1.jpg[/img]
- создание оригинального стиля игры на трубе, который впервые проявился в записях, сделанных Дэвисом с Чарли Паркером в середине 1940-х годов и который оказал влияние на огромное количество трубачей, играющих в стиле бибоп и кул;
значительное развитие стиля игры в 1960-е годы.
- запись основополагающих альбомов для т. н. прохладного джаза - «Birth of the Cool» (1949), модального джаза - «Kind of Blue» (1959), стиля джаз-фьюжн - «In a Silent Way» и «Bitches Brew» (оба записаны в 1969 году).

Последний Выпуск
22 сентября 2009
Закончен и выпущен комплект «Columbia Albums Collection».

«Columbia - Legacy» представляет Майлза Дэвиса. Это полная коллекция альбомов от «Columbia», ограниченный выпуск роскошной ретроспективы музыки изобретательного Майлза Дэвиса, созданной и записанной им в течение 30 лет на «Columbia Records». Этот изящный пакет, состоящий из 70 компакт-дисков и 1 DVD, содержит все 52 записи Майлза на «Columbia Records» в японско-стилизованных Mini-LP паетах, и включает книгу на 250 страниц с биографией, полностью датируемой дискографией, полным списком песен и редкими фотографиями. Плюс ранее невыпущенный в Европе аудио «Live-DVD '67» и впервые выпущена полная аудио версия фестивальной работы «Wight 1970».

Выражаю искреннюю благодарность HallaH за предоставленную информацию.
(1973) What strikes me is how focused this performance is: you get the unique electronic textures characteristic of Davis' post-ON THE CORNER `70s music, but also a parade of solos (Davis, Dave Liebman, Pete Cosey, and James Mtume) that further overturn the already-inaccurate cliche that this period deemphasized individual expression in favor of a collective approach. After an aggressive first set (which provokes boos from the audience), Davis wins the crowd over with a more subtle second set. Miles' playing is probably the strongest I've heard him in the 1973-75 period (I also noticed that he seems to use the wah-wah pedal a bit more sparingly than usual, to good effect). IMO, this performance is so much better in all respects--including sound quality--than DARK MAGUS and IN CONCERT that there's no comparison. I'd place this with AGHARTA/PANGAEA as the best officially-released documents of this group in a live setting.
(1984 - 1986) A lot happened with Miles in the interim, but by 1984 Davis' trumpet-playing was back in prime shape. Furthermore, he had assembled a fine ensemble that has backed off from the previous decade's cutting edge, offering fiery, inspired playing in a somewhat more conventional yet still bold context, including always provocative solos by Davis and John Scofield. Additionally, the tunes performed show considerable variety, from aggressive funk/jazz to more subtle gems like PACIFIC EXPRESS. In 1985 he performs the YOU'RE UNDER ARREST album with a sense of daring and passion missing from that disc. The 1986 concert is a good set, but the bar is raised so high by the 1984-85 performances that it seems a bit less interesting in comparison. Davis' playing on both 1984 and the second 1985 set is remarkably strong. I hear talk of 1980s-era Davis being past his prime blah blah blah, but I don't recall any other musician in any genre playing with this consistent level of strength, invention, endurance, and relevance at Davis' age (late 50s at the time of these concerts).

(1988-1990) The core group lineup for Davis' final ensemble is set (Kenny Garrett, Ricky Wellman, Foley). With the extraordinary percussionist Marilyn Mazur on board, and the keyboardists Robert Irving III and Adam Holzman at their peak in giving the music rich, unique textures, 1988 is the best of the three concerts (very similar to the recent LIVE IN MUNICH DVD). 1989 does have some AMANDLA cuts added into the setlist, but for once the group doesn't seem to have much to add to the studio versions, except for HANNIBAL. In fact, there seems to be a bit of predictability setting in that fortunately is compensated by continued fine soloing by Davis (albeit not in the forefront on every tune as before), Garrett (or Rick Margitza in 1989), and Foley. To be fair, even these concerts push the envelope further than most of Miles' peers--if this is Davis' version of "smooth jazz" thankfully it has way too many rough edges (who else had a group nearly this distinctive and flexible?). Possibly the relative lack of fresh, challenging material is the culprit in keeping the 1989-90 dates from realizing their fullest potential (and the prime reason that they fall short of other Davis eras).

(1991) The performance with Quincy Jones of the Miles & Gil classics has already been issued: Davis plays well considering he hadn't touched this material in three decades. Although fresh accounts in the SO WHAT bio indicate Davis' health was declining, he nonetheless was sounding revitalized, particularly in the Summer 1991 concerts with his regular working group. I've already heard an outstanding performance from Hamburg, and the one issued here from Nice is just as invigorating. The occasional crowd-pleasing tactics of the prior two years is absent (e.g., the simply-there tunes, his call-and-response toying with the audience, etc.). Here Davis and his group just focuses on playing some dynamic music, and in the process even such well-worn material as HUMAN NATURE and TIME AFTER TIME are given new life. Sometimes one group member can make a difference: in 1988 it was Mazur, and in 1991 the presence of keyboardist Deron Johnson helps to push an already a fine group over the top. After hearing this concert Davis' death seems even more tragic: I hear tons of potential that sadly was prevented from being pursued when he passed shortly afterward.

The importance of the boxed set in understanding Davis' last decade cannot be overstated. Furthermore, Davis really seemed to be inspired by playing at Montreux: without exception his own playing is in top form, relative to other concerts performed surrounding these dates that I've heard. Certainly Davis didn't perform at this high level every time he walked on stage (I saw Davis in concert ten times between 1981-90 and his playing only reached these heights maybe 3-4 times), but that fact makes this box even more essential. I hesitate to recommend any 20-CD boxed set to non-collectors. Yet if you've been exposed to 1980s-vintage Miles (via records or concerts) and like what you've heard, I can't imagine you being disappointed with the music heard here. If you don't have the money to pay and/or the time to listen, the best alternatives are the DVDs LIVE IN MONTREAL (1985) and LIVE IN MUNICH (1988).