The Albums of Miles Davis

Miles Davis reinvented himself on a regular basis and thus has many distinct periods, each of which he excelled in. Here are some highlights of his more traditional and easy-to-listen-to albums:

One early album to be aware of is “Birth of the Cool” (1949), a collection of 12 pieces performed by the Miles Davis nonet, with arrangements by Gil Evans. This modified bop is a precursor to the West Coast style of cool jazz, although perhaps a bit too up tempo. The very best of the early “cool” and slow-tempo/bluesy Miles Davis (including some of the nonet) has been released on the Blue Note album, “Ballads and Blues”. This is a great compilation, precursor to the classic “Kind of Blue” album. 

Next comes the Prestige recordings, some 93 of them which are in the 8-disc set “Miles Davis: Chronicle -- the Complete Prestige Recordings (1951-1956)”. A great set, but too expensive for most. However, you should try to get “Bag’s Groove” (1954), Davis with Milt Jackson and Thelonious Monk. Monk playing is incredible on the two takes of the title tune. Another great album from this time period is “Round about Midnight” (1955), with the Miles Davis Quintet with Red Garland on Piano and John Coltrane on sax. Here again is the luxurious slow blues-like material that reminds one of “Kind of Blue”. 

The four Prestige albums with the first Miles Davis Quintet that every Davis fan owns are “Cookin’” (1955), “Workin’” (1956), “Steamin’” (1956), and “Relaxin’” (1956). The beauty here is superb Davis horn playing set off against the hot young John Coltrane on sax in the process of finding his own stride. A little later album, “Milestones” (1958) with the Miles Davis Sextet has John Coltrane and alto sax player Cannoball Adderley -- another classic. One of the last really fine sessions with the original Miles Davis Quintet is “Live in Stockholm 1960”, recorded just before Coltrane left to form his own group. 

Those who appreciate the arranged sound that Gil Evans brings to the Davis groups will want to check out “Miles Ahead” (1957), “Porgy & Bess” (1958), and “Sketches of Spain” (1959).

The lovely modal sound of “Kind of Blue” makes it the key album for Miles Davis and probably the single most recommended album in jazz. Davis with John Coltrane and Cannonball Adderly on sax, plus Bill Evans on piano. 

Miles Davis’ second classic quintet with Wayne Shorter (sax), Herbie Hancock (p), Ron Carter (b), and Tony Williams (d) recorded a number of fine albums including “Sorceror” (1962), “Live at the Plugged Nichol” (1965), and “Miles Smiles” (1966). “Four & More” (1964) with George Coleman on sax and the rest of the group as given above is also excellent. Typically we find the quintet playing some of the classic Davis tunes but at greatly increased tempos. Another good album from this general period is “Seven Steps to Heaven” (1963)

We begin to see signs of early fusion with “Filles de Kilimanjaro” (1968), said to be Davis’ last jazz album. “In a Silent Way” (1969) marks the real beginning of his fusion period. It includes Wayne Shorter on sax, Chick Corea, and Herbie Hancock on keyboards, Dave Holland on bass, and Jack DeJohnette on drums. 

The 2-CD set “Bitches Brew” (1969) marks another Davis first, the advent of jazz-rock. A lot of sidemen here including Wayne Shorter, John McLaughlin, Larry Young, Chick Corea, and others. Not easy listening from here on out. Refer to the complete Miles Davis AMG discography for details on many other albums not mentioned here. 

As a Sideman: Miles Davis can be found on a number of Charlie Parker recordings. Also on occasion with Charles Mingus, Sonny Rollins, and Art Pepper. His collaboration on Cannonball Adderley’s “Somethin’ Else” is a classic.