Miles Davis (May 26, 1926 — September 28, 1991) was an American jazz trumpeter with a recording career that spanned nearly five decades.

In the late 1940s, Davis collaborated with Gil Evans and Gerry Mulligan on the nonet sessions that became the Birth of the Cool LP (1957). He later formed his first great quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. With this group, he recorded ‘Round About Midnight (1957), which featured a refined hard-bop sound. He also pursued further orchestral projects with Gil Evans on Miles Ahead (1957) and Porgy and Bess (1959). The quintet evolved into a sextet and released Milestones (1958).

Davis expanded his musical palette in the late 1950s. The modal jazz album Kind of Blue (1959) featured Julian “Cannonball” Adderley, John Coltrane, Bill Evans, and Wynton Kelly. He reunited with Gil Evans for the flamenco-inspired Sketches of Spain (1960). In 1965, he formed his second great quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. This group recorded a series of acclaimed albums, including E.S.P. (1965), Miles Smiles (1967), and Nefertiti (1968), which moved toward free improvisation.

By the late 1960s, Davis’s music embraced electric instruments and rock rhythms. He brought in guitarists John McLaughlin and Joe Zawinul for In a Silent Way (1969) and recorded the expansive double album Bitches Brew (1970). He released A Tribute to Jack Johnson (1971) and explored funk and urban sounds on On the Corner (1972). His touring septet, with guitarists Pete Cosey and Reggie Lucas and bassist Michael Henderson, documented its intense live performances on Agharta and Pangaea (1975).

Davis returned from a six-year retirement in 1981 with the album The Man with the Horn. He assembled a new band, with sidemen including Mike Stern and Marcus Miller, and transitioned to a more pop-oriented sound on albums like You’re Under Arrest (1985) and Tutu (1986). His final studio album, Amandla (1989), incorporated synthesized funk and soul music. Before his death, he performed at the Montreux Jazz Festival with Quincy Jones, a concert released as Miles & Quincy Jones Live at Montreux (1991). His final project, the posthumous hip-hop album Doo-Bop, was released in 1992.

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Early Life

Davis was born Miles Dewey Davis III on May 26, 1926, in Alton, Illinois. He was the middle child of Miles Dewey Davis Jr., an affluent dentist, and Cleota Mae Henry, a violinist and music teacher. The family lived in East St. Louis, where Davis took an early liking to blues, gospel, and big-band jazz.

At age nine, Davis received his first trumpet and took lessons from jazz musician Elwood Buchanan, who taught a vibrato-free, mid-range style of playing that bucked the era’s prevailing trends. By age thirteen, Davis partook in local jazz bands. In high school, he played in the marching band and taught himself music theory. Before his graduation, he served as the music director for the Rhumboogie Orchestra (aka Eddie Randle and his The Blue Devils).

In July 1944, Davis scored a gig behind touring jazz vocalist Billy Eckstine in a band that included drummer Art Blakey, trumpeter Dizzy Gillespie, and saxophonist Charlie Parker. After their two-week engagement at Club Riviera, Davis moved to New York City, where he studied music theory at the Juilliard School.

After relinking with Parker, Davis partook in nightly jam sessions at Milton’s Playhouse in Harlem alongside Kenny Clarke, Thelonious Monk, and Fats Navarro. On April 24, 1945, he made his recording debut in the backing band of saxophonist Herbie Fields. In the following months, he appeared on record behind Gillespie and Max Roach.

Davis premiered as a bandleader in August 1947 fronting the Miles Davis All Stars, featuring Parker, pianist John Lewis, and bassist Nelson Boyd. They cut three tracks: “Milestones,” “Half Nelson,” and “Sippin’ at Bells.” In the spring of 1948, Davis partook in the Jazz at the Philharmonic tour with an all-star ensemble. That fall, he assembled his first nonet, complete with French horn and tuba. They recorded a dozen tracks that were later compiled on the Capitol release Birth of the Cool (1957).

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1951 Sessions

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Blue Period

On January 17, 1951, Miles Davis recorded the Rodgers and Hart tune “Blue Room” at Apex Studios in New York City. He returned on October 5 and cut two originals, “Bluing” and “Out of the Blue.” The three tracks would constitute his third-released album, Blue Period, issued in 1953 on Prestige.

A1. “Bluing” (9:55) features the same lineup as B2: pianist Walter Bishop, Jr., contrabassist Tommy Potter, drummer Art Blakey, and saxophonists Jackie McLean (alto) and Sonny Rollins (tenor).

B1. “Blue Room” (2:48) features Rollins, pianist John Lewis, contrabassist Percy Heath, and drummer Roy Haynes.
B2. “Out of the Blue” (6:15)

Prestige founder Bob Weinstock produced Blue Period and most subsequent Miles titles for the label.

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The New Sounds

In late 1951, Prestige issued The New Sounds, the debut studio album by Miles Davis. It features four tracks — three covers and the Davis original “Dig?” — recorded at Apex on October 5, the same day as the second session later documented on Blue Period. Therefore, New Sounds features the Blue Period lineup: Bishop Jr., Potter, Blakey, Rollins, and (on “Dig” and “Conception”) McLean.

A1. “Conception” (4:03) is a composition by British big band pianist George Shearing.
A2. “Dig?” (7:33)

B1. “My Old Flame” (6:36) was composed by Sam Coslow for the 1934 Paramount Western film Belle of the Nineties starring Mae West.
B2. “It’s Only a Paper Moon” (5:23) is a composition by Harold Arlen for the 1932 Broadway play The Great Magoo; popularized in 1933 by violinist/bandleader Paul Whiteman.

During the October 5 Apex session, Miles cut one further original track, “Denial,” which first appeared on a 1954 7″ single. “Denial” reappeared with the four pre-released 10/5/51 tracks — “Bluing,” “Out of the Blue,” “Dig,” and “It’s Only a Paper Moon” — on Dig, released in January 1956 on Prestige.

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1952 Sessions

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Young Man With a Horn 

On May 9, 1952, Miles Davis entered New York’s WOR Studios with pianist Gil Coggins, bassist Oscar Pettiford, drummer Kenny Clarke, and producer Alfred Lion. They cut six tracks, including a “Dig” remake titled “Donna.”

In March 1953, Blue Note issued the tracks as Young Man With a Horn, his first of three 10″ albums for the label. Four tracks (excepting “Yesterdays”, “How Deep Is the Ocean?”) feature alto saxist Jackie McLean and trombonist Jay Jay Johnson.

A1. “Dear Old Stockholm” (4:12) is a tune by saxist Stan Getz, adapted from the 19th century Swedish traditional “Ack Värmeland, du sköna.”
A2. “Would’n You” (3:22) is a tune by Dizzy Gillespie.
A3. “Yesterdays” (3:42) is a tune by Jerome Kern, written for the 1933 comedic musical Roberta.

B1. “Chance It” (3:05) is a Davis-credited tune derived from Pettiford’s “Max Is Making Wax,” which Oscar recorded in 1944 with Charlie Parker.
B2. “Donna” (3:22) is Miles’ second version of “Dig,” a Davis-credited tune with chordal similarities to “Sweet Georgia Brown,” a 1925 jazz standard by Ben Bernie and Maceo Pinkard.
B3. “How Deep Is the Ocean?” (4:38) is a 1932 popular song by Irving Berlin, derived from his earlier song, “To My Mammy,” for the 1930 Al Jolson vehicle Mammy.

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1953 Sessions

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The Compositions of Al Cohn

On February 19, 1953, Miles entered New York’s Beltone Studios with trombonist Sonny Truitt, contrabassist Leonard Gaskinand, tenor saxophonists Zoot Simms and Al Cohn, and returning sidemen John Lewis and Kenny Clarke. They recorded four compositions by Cohn. That summer, Prestige issued the tracks as The Compositions of Al Cohn, Miles’ fourth-released album and third for Prestige.

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Miles Davis, Vol. 2

On April 20, 1953, Miles returned to WOR Studios with tenor saxist Jimmy Heath and returning sidemen Gil Coggins, Percy Heath, Art Blakey, and JJ Johnson. They laid six tracks, which constitute the October 1953 Blue Note release Miles Davis, Vol. 2, his fifth 10″ LP.

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Miles Davis Quartet

On May 19, 1953, Miles reentered WOR with John Lewis, Percy Heath, and drummer Max Roach. They recorded three tracks: two originals and a cover of “When Lights Are Low,” originally by swing saxophonist Benny Carter. Pianist Charles Mingus deputized Lewis on a fourth track, “Smooch,” a Davis/Mingus co-write.

Miles made no further studio recordings until March 1954, when (on the 15th) he revisited Beltone with Heath, Art Blakey, and pianist Horace Silver. They cut three tracks: two originals and the musical number “Old Devil Moon.”

The two sessions constitute the 1954 Prestige 10″ release Miles Davis Quartet. In October 1956, the seven tracks reappeared on Blue Haze, a Prestige 12″ LP with an eighth track, “I’ll Remember April,” recorded on April 3, 1954, at Van Gelder Studios in Hackensack, New Jersey.

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1954 Sessions

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Miles Davis, Vol. 3

On March 6, 1954, Miles first visited Van Gelder (nine days before the Beltone Quartet session) with Art Blakey, Percy Heath, and Horace Silver. They cut six tracks: four originals and covers of Thelonious Monk (“Well, You Needn’t”) and Rodgers & Hart (“It Never Entered My Mind”). Soon after, Blue Note issued the sessions as Miles Davis, Vol. 3, his third 10″ on the label.

A1. “Take Off” (3:39)
A2. “It Never Entered My Mind” (4:00)
A3. “Well, You Needn’t” (5:21)

B1. “Lazy Susan” (4:01)
B2. “Weirdo” (4:42)
B3. “The Leap” (4:30)

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Miles Davis Quintet 

On April 3, 1954, when Miles entered Van Gelder and recorded “I’ll Remember April,” he cut two additional numbers: the Davis original “Solar” and the showtune “You Don’t Know What Love Is.” Soon after, the three tracks made their first appearance on Miles Davis Quintet, a 10″ LP on Prestige, which later dispersed the contents on Blue Haze (“April”) and Miles’ 1957 album Walkin’.

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Miles Davis with Sonny Rollins 

On June 29, 1954, Miles entered Van Gelder with Sonny Rollins. Soon after, Prestige released their session as a 10″ LP with four tracks: three Rollins originals and the George Gershwin standard “But Not for Me.”

A1. “Airegin” (5:01)
A2. “Oleo” (5:14)

B1. “But Not for Me” (5:45)
B2. “Doxy” (4:55)

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Miles Davis All Stars, Volume 1 and Volume 2

On December 24, 1954, Miles entered Van Gelder with Thelonious Monk and vibraphonist Milt Jackson. The fruits of their session constitutes the 1955 Prestige records Miles Davis All Stars, Volume 1 and Volume 2, a pair of 10″ LPs with compositions by Jackson (“Bags’ Groove”), Davis (“Swing Spring”), Monk (“Bemsha Swing”), and Gershwin (“The Man I Love”).

In December 1957, Prestige placed two takes of Jackson’s number on Bags’ Groove, a 12″ LP that also contains the four tracks from Miles Davis with Sonny Rollins.

The remaining All Stars tracks (including two takes of Gershwin’s number) appear on the May 1959 Prestige title Miles Davis and the Modern Jazz Giants, which also contains a rendition of Monk’s standard “‘Round Midnight” from an October 26, 1956, Van Gelder session.

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1955 Sessions

Miles Davis recorded four-and-a-half albums in 1955: three date from Van Gelder sessions in June, August, and November. The last of those produced Miles, the debut album by the New Miles Davis Quartet with saxophonist John Coltrane, pianist Red Gardland, bassist Paul Chambers, and drummer Philly Joe Jones.

In early July, Miles cut Blue Moods with Charles Mingus. One week later, he performed at the second annual Newport Jazz Festival as part of an all-star jam with Thelonious Monk and the Modern Jazz Quartet. His trumpet solo on Monk’s “‘Round Midnight” impressed Columbia Records producer George Avakian, who signed Davis.

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The Musings of Miles

On June 7, 1955, Miles entered Van Gelder with Red Garland, Oscar Pettiford, and Philly Joe Jones. They cut six tracks: two Davis originals (“I Didn’t,” “Green Haze”) and covers of Dizzy Gillespie (“A Night in Tunisia”), Tommy Dorsey (“Will You Still Be Mine?”), and the Arthur Schwartz compositions “I See Your Face Before Me” and “A Gal in Calico.” In September 1955, Prestige issued the session as his first 12″ LP, The Musings of Miles.

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Blue Moods

On July 9, 1955, Miles dropped by Van Gelder for a debt-payback session with contrabassist Charles Mingus, who produced the session with backing by trombonist Britt Woodman, vibraphonist Teddy Charles, and drummer Elvin Jones.

They recorded four covers: two 1930s jazz standards (“Alone Together,” “Easy Living”) and songs popularized by Frank Sinatra (“There’s No You”) and Nat King Cole (“Nature Boy”). The four songs appeared on Blue Moods, a 1955 release on Debut Records, a label co-owned by Mingus, his wife Celia, and drummer Max Roach.

A1. “Nature Boy” (6:14)
A2. “Alone Together” (7:17)

B1. “There’s No You” (8:06)
B2. “Easy Living” (5:03)

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Quintet/Sextet

On August 5, 1955, Miles Davis and Milt Jackson entered Van Gelder with pianist Ray Bryant, bassist Percy Heath, and drummer Art Taylor. They recorded Bryant’s “Changes” and the Thad Jones cover “Bitty Ditty.” Alto saxophonist Jackie McLean appeared as a sixth player on two original contributions, “Dr. Jackle” and “Minor March.”

In August 1956, Prestige issued the session as Quintet/Sextet, co-billed to Miles Davis (large type) and Milt Jackson (small).

A1. “Dr. Jackle” (8:55)
A2. “Bitty Ditty” (6:37)

B1. “Minor March” (8:18)
B2. “Changes” (7:11)

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Miles: The New Miles Davis Quintet

On November 16, 1955, Miles entered Van Gelder with John Coltrane, Red Garland, Philly Joe Jones, and bassist Paul Chambers. They cut one Davis original (“The Theme”) and covers of Duke Ellington (“Just Squeeze Me”), Isham Jones (“There Is No Greater Love”), Benny Golson (“Stablemates”), Andy Razaf (“S’posin”’), and poet Dorothy Parker (“How Am I to Know?”).

In April 1956, Prestige released the six tracks on Miles, the debut album by the Miles Davis Quintet (colloquially appended to the title).

The music on Miles is tempered and soulful, moving with the quiet contemplation of a glacier. Miles plays with an assuredness he had not previously matched, using a muted trumpet that creates a brooding and lonely atmosphere on ballads like “There Is No Greater Love.”

On Miles, Davis uses muted trumpet on the brooding ballads “There Is No Greater Love” and exudes cool nonchalance through mid-tempo cuts (“Just Squeeze Me”) and faster numbers (“How Am I to Know?”). Chambers plays with gusto as Joe Jones’ drumming ranges from quiet to blistering. Coltrane’s solos are athletic and soulful, showcasing a lower register than his predecessor Charlie Parker. 

A1. “Just Squeeze Me” (7:27)
A2. “There Is No Greater Love” (5:19)
A3. “How Am I to Know?” (4:39)

B1. “S’posin'” (5:15)
B2. “The Theme” (5:49)
B3. “Stablemates” (5:18)

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‘Round About Midnight

On October 26, 1955, the Miles Davis Quintet cut their first session at Columbia Studios on 30th St. in New York City. They recorded Charlie Parker’s “Ah-Leu-Cha” and four shelved songs.

Miles’ Quintet returned on June 5, 1956, and cut three songs: covers of Stan Getz (“Dear Old Stockholm”), Tadd Dameron (“Tadd’s Delight”), and the 1920s standard “Bye Bye Blackbird.” Their third visit on September 10 produced covers of Cole Porter’s “All of You” and Monk’s “‘Round Midnight.”

On March 4, 1957, Columbia issued the six aforementioned cuts on ‘Round About Midnight, Miles’ first album for the label.

A1. “‘Round Midnight” (5:58)
A2. “Ah-Leu-Cha” (5:53)
A3. “All of You” (7:03)

B1. “Bye Bye Blackbird” (7:57)
B2. “Tadd’s Delight” (4:29)
B3. “Dear Old Stockholm” (7:52)

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1956 Sessions

In 1956, the Miles Davis Quintet (Davis, Coltrane, Garland, Chambers, Joe Jones) dropped by Van Gelder on two dates: May 11 and October 26. Between 1957 and 1961, Prestige released the sessions across four albums, each titled with a verb affixed to the group name.

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Cookin’ with the Miles Davis Quintet

In July 1957, Presige issued Cookin’ with the Miles Davis Quintet, comprised of four tracks from the October 26, 1966, sessions. Cookin’ features covers of Sonny Rollins (“Airegin”), Rogers & Hart (“My Funny Valentine”), and two Davis originals: “Blues by Five” and “Tune Up,” the latter joined in a medley with Benny Carter’s When “Lights Are Low.” Coltrane plays on all apart from “Valentine.”

A1. “My Funny Valentine” (6:04)
A2. “Blues by Five” (10:23)

B1. “Airegin” (4:26)
B2. “Tune Up / When Lights Are Low” (13:09)

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Relaxin’ with the Miles Davis Quintet

In March 1958, Prestige issued Relaxin’ with the Miles Davis Quintet, comprised of six 1956 Van Gelder recordings. From October 26, Relaxin’ contains Miles’ take on Sonny Rollins’ “Oleo” and covers of showtunes by Frank Loesser (“If I Were a Bell”), Harry Warren (“You’re My Everything”), and Rogers & Hart ( “I Could Write a Book”). Side B features May 11 covers of Dizzy Gillespie (“Woody ‘n’ You”) and Jimmy Van Heusen (“It Could Happen to You”).

A1. “If I Were a Bell” (8:15)
A2. “You’re My Everything” (5:18)
A3. “I Could Write a Book” (5:09)

B1. “Oleo” (6:18)
B2. “It Could Happen to You” (6:37)
B3. “Woody ‘n’ You” (5:02)

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Workin’ with the Miles Davis Quintet

In January 1960, Prestige issued Workin’ with the Miles Davis Quintet, comprised of seven cuts from the May 11, 1956, session and one (“Half Nelson,” a Davis original) from October 26.

Workin’ features four Davis originals (including “Four” and two takes of “The Theme”) and covers of Ahmad Jamal (“Ahmad’s Blues”) and Dave Brubeck (“In Your Own Sweet Way”). Coltrane composed “Trane’s Blues” (aka “Vierd Blues”) and played on everything apart from “It Never Entered My Mind,” another Rogers & Hart showtune.

A1. “It Never Entered My Mind” (5:26)
A2. “Four” (7:15)
A3. “In Your Own Sweet Way” (5:45)
A4. “The Theme” (Take 1) (2:01)

B1. “Trane’s Blues” (a.k.a. “Vierd Blues”) (8:35)
B2. “Ahmad’s Blues” (7:26)
B3. “Half Nelson” (4:48)
B4. “The Theme” (Take 2) (1:03)

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Steamin’ with the Miles Davis Quintet

In July 1961, Prestige issued Steamin’ with the Miles Davis Quintet, which gathers five covers from the May 11, 1956, session and one (Thelonious Monk’s “Well, You Needn’t”) from October 26.

Steamin’ features Miles’ takes on the Dizzy Gillespie be-pop standard “Salt Peanuts” and showtunes by Rogers & Hammerstein (“Surrey with the Fringe on Top”) and Lew Pollack (“Diane”). Coltrane played on everything apart from Davis’s covers of Sammy Fain (“Something I Dreamed Last Night”) and Victor Young (“When I Fall in Love”).

A1. “Surrey with the Fringe on Top” (9:05)
A2. “Salt Peanuts” (6:09)
A3. “Something I Dreamed Last Night” (6:15)

B1. “Diane” (7:49)
B2. “Well, You Needn’t” (6:19)
B3. “When I Fall in Love” (4:23)

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1957 Sessions

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Miles Ahead

In May 1957, Miles Davis rendezvoused with Paul Chambers, drummer Art Taylor, and pianist Wynton Kelly at Columbia 30 St. Studios, where they recorded ten cuts with Birth of the Cool arranger Gil Evans, who conducted an eighteen-piece brass-and-woodwinds section that included alto saxist Lee Konitz. After one additional session on August 22, the music appeared on Miles Ahead, released on October 21, 1957, on Columbia.

A1. “Springsville” (3:27)
A2. “The Maids of Cadiz” (3:53)
A3. “The Duke” (3:35)
A4. “My Ship” (4:28)
A5. “Miles Ahead” (3:29)

B1. “Blues for Pablo” (5:18)
B2. “New Rhumba” (4:37)
B3. Medley Pt. 1: “The Meaning of the Blues” (2:48)
B4. Medley Pt. 2: “Lament” (2:14)
B5. “I Don’t Wanna Be Kissed (By Anyone but You)” (3:05)

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Ascenseur pour l’échafaud

On December 4–5, 1957, Miles jammed in Paris with tenor saxist Barney Wilen, pianist René Urtreger, bassist Pierre Michelot, and drummer Kenny Clarke. At Le Poste Parisien Studios, they recorded soundtrack music for Ascenseur pour l’échafaud (Elevator to the Gallows), a crime thriller by French New Wave film director Louis Malle; starring Jeanne Moreau and Maurice Ronet. The soundtrack appeared in 1958 on Fontana.

The Parisian sessions produce a minimalist soundtrack that uses stark riffs and repeating chord sequences. The music is a departure from pure jazz, with some motifs recalling Ravel and Satie. Tracks can be divided into distinct categories: the brooding ballads, the pure noir pieces, and the eccentric, fast bop pieces. “Générique” sets a late-night urban scene, while “L’Assassinat de Carala” and “Julien dans L’Ascenseur” are masterpieces of tension achieved through repeated bass and piano strikes with a shuffling percussive rhythm. Ascenseur also contains fast-paced numbers like “Sur L’Autoroute” and “Dîner au Motel” that trade the piano for frenetic solo turns.

A1. “Générique” (2:45)
A2. “L’ Assassinat de Carala” (2:10)
A3. “Sur L’Autoroute” (2:15)
A4. “Julien dans L’Ascenseur” (2:07)
A5. “Florence sur les Champs Élysées” (2:50)

B1. “Dîner au Motel” (3:58)
B2. “Évasion de Julien” (0:53)
B3. “Visite du Vigile” (2:00)
B4. “Au Bar du Petit Bac” (2:50)
B5. “Chez le Photographe du Motel” (3:50)

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1958 Sessions

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Milestones

On February 4, Miles entered Columbia Studios with Coltrane, Garland, Chambers, Joe Jones, and alto saxist Julian “Cannonball” Adderley. They recorded tunes by Dizzy Gillespie (“Two Bass Hit”), Ahmad Jamal (“Billy Boy”), Thelonious Monk (“Straight, No Chaser”), and the Davis original “Miles.”

Their next visit (March 4) produced two additional tracks: the Jackie McLean cover “Dr. Jekyll” and the Davis original “Sid’s Ahead.” On September 2, 1958, Columbia issued the six cuts on Milestones. Davis plays flugelhorn on the title track and deputized Garland on “Sid’s Ahead.”

A1. “Dr. Jekyll” (5:55)
A2. “Sid’s Ahead” (13:13)
A3. “Two Bass Hit” (5:19)

B1. “Miles” (5:49)
B2. “Billy Boy” (7:19)
B3. “Straight, No Chaser” (10:41)

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Porgy and Bess

Between July 22 and August 4, 1958, Miles thrice entered Columbia 30 St. with Adderley, Chambers, Joe Jones, and arranger Gil Evans. They recorded one Evans piece (“Gone”) and eleven numbers from George Gershwin’s 1935 folk opera Porgy & Bess, adopted from author DuBose Heyward’s 1925 novel Porgy, about a crippled beggar (Porgy) who pursues a troubled young lady (Bess) in the slums of Charleston, South Carolina.

On August 18, Miles and Evans completed one final number, Gershwin’s “I Wants to Stay Here (a.k.a. I Loves You, Porgy).” Producer Cal Lampley oversaw the sessions, which constitute the Davis studio album Porgy and Bess, released on March 9, 1959, on Columbia.

A1. “Buzzard Song” (4:07)
A2. “Bess, You Is My Woman Now” (5:10)
A3. “Gone” (3:37)
A4. “Gone, Gone, Gone” (2:03)
A5. “Summertime” (3:17)
A6. “Oh Bess, Oh Where’s My Bess” (4:18)

B1. “Prayer (Oh Doctor Jesus)” (4:39)
B2. “Fisherman, Strawberry and Devil Crab” (4:06)
B3. “My Man’s Gone Now” (6:14)
B4. “It Ain’t Necessarily So” (4:23)
B5. “Here Come de Honey Man” (1:18)
B6. “I Wants to Stay Here (a.k.a. I Loves You, Porgy)” (3:39)
B7. “There’s a Boat That’s Leaving Soon for New York” (3:23)

Porgy and Bess received its most famous musical adaptation by jazz legends Louis Armstrong and Ella Fitzgerald, whose 1957 swing/vocal recording appeared as a 1958 double-album on Verve.

Miles’ adaptation of Gershwin’s opera coincided with director Otto Preminger’s 1959 film starring Sidney Poitier and Dorothy Dandridge. Jazz adaptations of Porgy and Bess were also made in 1958/59 by guitarist Mundell Lowe, cornetist Rex Stewart, and pianists Hank Jones, Bill Potts, and Oscar Peterson.

Concurrently, singers Harry Belafonte and Lena Horne recorded an orchestral big band adaptation of Porgy and Bess for RCA Victor. Actor/singer Sammy Davis Jr. (who appeared in the film in a non-singing role) recorded an orchestral version with jazz singer Carmen McRae. The soundtrack itself (billed to the film’s producer, Samuel Goldwyn) appeared on Columbia Masterworks Records.

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1959–1960

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Kind of Blue

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Sketches of Spain 

Miles Davis released his sixth studio album, Sketches of Spain, on July 18, 1960, by Columbia Records.

This album is a landmark of what musicologists call Third Stream, a genre that blends jazz improvisation with European classical music and world music. The album is a full-scale collaboration between Davis and composer/arranger Gil Evans, who orchestrate a program of compositions largely derived from the Spanish folk tradition. The result is a sound that is both lush and meditative, with an emphasis on texture and tone.

Gil Evans arranged and composed the material for the album, which includes works by Spanish composers Joaquín Rodrigo and Manuel de Falla. The album also features three compositions arranged by Evans from traditional folk themes.

The album’s centerpiece, “Concierto de Aranjuez,” takes up almost half the record. It is an extended arrangement of the adagio movement of Rodrigo’s guitar concerto. The piece is built on a quiet melody, introduced by a cor anglais and later by Davis’s trumpet. The track is notable for its spacious, almost symphonic feel and for its deliberate lack of a driving jazz rhythm. The music is characterized by a feeling of quiet regret and builds to a powerful climax before resolving back into a calm arpeggio. “Will o’ the Wisp” is a vibrant piece with a dancing feel. It is drawn from Manuel de Falla’s ballet El amor brujo. The remaining three tracks, “The Pan Piper,” “Saeta,” and “Solea,” are arrangements of Spanish folk songs, each capturing a distinct regional sound and feel, from the celebratory rhythm of “The Pan Piper” to the dark, religious feel of “Saeta.”

A1. “Concierto de Aranjuez (Adagio)” (16:19)
A2. “Will o’ the Wisp” (3:47)

B1. “The Pan Piper (Alborada de Vigo)” (3:52)
B2. “Saeta” (5:06)
B3. “Solea” (12:15)

Sessions for Sketches of Spain occurred in New York City at Columbia 30th Street Studio on November 15 and 20, 1959, and March 10, 1960. Teo Macero produced the album, which features Davis backed by bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and a 21-piece horn section that includes Miles Ahead players Frank Rehak (trombone), James Buffington (French horn), Danny Bank (bass clarinet), Bill Barber (tuba), and trumpeters Ernie Royal and Bernie Glow.

Sketches of Spain charted on the Billboard Top Pop Albums chart, reaching No. 19. The album received a Grammy Award for Best Jazz Composition of More Than Five Minutes Duration

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1961–1963

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Someday My Prince Will Come 

Miles Davis released his seventh studio album, Someday My Prince Will Come, on December 11, 1961, by Columbia Records.

This album presents a mix of original compositions and pop standards, bridging the modal explorations of Kind of Blue with a more traditional hard-bop framework. It is a key transitional album for Davis, showcasing a solidified quintet lineup that included saxophonist Hank Mobley, pianist Wynton Kelly, and the Sketches rhythm section. 

The album features three original compositions by Miles Davis: “Pfrancing,” “Drad-Dog,” and “Teo.” The remaining three tracks are popular standards, including the title track from the 1937 Disney film Snow White and the Seven Dwarfs.

The album’s sound is defined by its mix of styles. The tracks composed by Davis, particularly “Pfrancing” and “Drad-Dog,” are fast-paced and adventurous, featuring a driving rhythm. The album’s standards, “Someday My Prince Will Come” and “Old Folks,” provide a lyrical contrast, with a more spacious and contouring feel. The album is also notable for the presence of two tenor saxophonists; Hank Mobley is featured on most tracks, with John Coltrane making a guest appearance on “Someday My Prince Will Come” and “Teo.”

A1. “Someday My Prince Will Come” (9:02)
A2. “Old Folks” (5:14)
A3. “Pfrancing” (8:30)

B1. “Drad-Dog” (4:49)
B2. “Teo” (9:33)
B3. “I Thought About You” (4:52)

Sessions occurred at Columbia 30th Street Studio in New York City on March 7, 20, and 21, 1961. The album was produced by Teo Macero, with engineering by Fred Plaut and Frank Laico. The 3/21 session produced an outtake, “Blues No. 2,” with earlier Davis drummer Philly Joe Jones.

Someday My Prince Will Come features cover art by Bob Cato, which depicts a photograph of Davis’s wife, Frances Taylor.

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Seven Steps to Heaven

Miles Davis released his eighth studio album, Seven Steps to Heaven, on July 15, 1963, by Columbia Records.

Seven Steps to Heaven is a transitional album, capturing Davis’s band in flux as he moves away from the musicians of the Kind of Blue era towards the group that would become his Second Great Quintet. The album’s sessions feature two different lineups, with the New York recordings introducing pianist Herbie Hancock and the rhythm section of bassist Ron Carter and teenage drummer Tony Williams, who would define Davis’s sound for the next five years.

The album features two original compositions by pianist Victor Feldman, “Seven Steps to Heaven” and “Joshua,” the former co-written with Davis. The remaining four tracks are traditional standards.

The album is a mix of styles and sounds. The older material, recorded with pianist Victor Feldman and drummer Frank Butler, feels like a continuation of Davis’s past work. “Basin Street Blues” is a quartet performance with Davis’s muted horn playing a high, forward part, supported by a gentle, late-night feel. “Baby Won’t You Please Come Home” is a slow swing song with a shifting pace.

In contrast, the newer material, recorded with the budding Second Great Quintet, is more modern and adventurous. “Seven Steps to Heaven” is a fun tune with a clean, clear sound. “So Near, So Far” is a progressive piece where each musician works in his own universe while weaving together a complex sonic tapestry. “Joshua” is an adventurous, spirited tune that gives the musicians a short leash to explore.

A1. “Basin Street Blues” (10:29) originated as a 1928 Dixieland song by pianist Spencer Williams, popularized by Louise Armstrong.
A2. “Seven Steps to Heaven” (6:26) Davis co-wrote this with his LA pianist, Victor Feldman, but recorded it in New York with Hancock.
A3. “I Fall in Love Too Easily” (6:46)is a Frank Sinatra number from the 1945 film Anchors Aweigh, written by Jule Styne and Sammy Cahn (the team behind the yuletide standard “Let It Snow”).

B1. “So Near, So Far” (6:59) was co-written by English jazzmen Benny Green and Tony Crombie, who knew Feldman.
B2. “Baby Won’t You Please Come Home” (8:28) is an early blues and jazz standard co-credited to pianist Clarence Williams and popularized in 1923 by Bessie Smith.
B3. “Joshua” (7:00) another Feldman compositions recorded in New York with Hancock.

Sessions for the album occurred at Columbia Studios in Los Angeles on April 16 and 17, 1963, and at Columbia’s 30th Street Studio in New York City on May 14, 1963. The album was produced by Teo Macero.

Upon its release, Seven Steps to Heaven was a success on the Billboard pop LPs chart, peaking at No. 62.

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Quiet Nights 

Miles Davis released his ninth studio album, Quiet Nights, on December 16, 1963, by Columbia Records.

Quiet Nights is a quiet, meditative album that marks Davis’s fourth and final collaboration with arranger Gil Evans. The album is a collection of compositions that explore the sensibilities of Brazilian music, but in a unique style that mixes jazz with a more ethereal, orchestral texture. Davis and Evans completed the album in chunks amid business obstacles.

The material on Quiet Nights includes compositions by a variety of songwriters, including Antônio Carlos Jobim (“Corcovado”), Rodgers & Hart (“Wait till You See Her”), and the jazz-pop standard “Once Upon a Summertime.” Evans arranged and conducted all the tracks; he and Davis co-wrote “Song #1” and “Song #2.”

The album’s sound is a mix of quiet ballads and orchestral numbers. Most tracks showcase Gil’s lavish orchestration and Miles’ knack for introspective, heartfelt solos. The trumpet is mixed at a high volume, standing front and center, a few steps ahead of the orchestra and the percussion. “Summer Night” is a bonus track added to complete the album, and it’s a departure from the rest of the album’s sound.

A1. “Song #2” (1:40)
A2. “Once Upon a Summertime” (3:27) is the English title to “La valse des lilas,” a French jazz-pop standard.
A3. “Aos pés da cruz” [“At the Foot of the Cross”] (4:18)
A4. “Song No. 1” (4:37)

B1. “Wait till You See Her” (4:06) first appeared in the 1942 musical play By Jupiter.
B2. “Corcovado” (2:45) also known as “Quiet Nights of Quiet Stars,” the title “Corcovado” (Portuguese for “hunchback”) refers to Corcovado Mountain in Rio de Janeiro.
B3. “Summer Night” (6:04) is a 1936 tune by 42nd Street composers Harry Warren and Al Dubin.

Sessions for the album occurred at Columbia’s 30th Street Studio in New York City on July 27, 1962, and from August 13 to November 6, 1962. Additional material, including “Summer Night,” was recorded at CBS Columbia Square in Hollywood on April 17, 1963. The album was produced by Teo Macero.

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1965–1966

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E.S.P.

Miles Davis released his tenth studio album, E.S.P., on August 16, 1965, by Columbia Records. 

E.S.P. is the debut studio album by Davis’s Second Great Quintet. This marks the first time this specific lineup—Davis, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams—recorded together in the studio. The album is a departure from his previous work, a collection of group originals with no standards or ballads, and a defining example of the adventurous post-bop that would characterize the quintet’s sound. The title, an abbreviation for “extrasensory perception,” alludes to the near-telepathic communication between the musicians.

Every member of the quintet contributes to the album’s songwriting. Wayne Shorter is credited with two compositions, the title track and “Iris.” Ron Carter wrote “R.J.” and co-wrote “Eighty-One” and “Mood” with Miles Davis. Herbie Hancock contributed “Little One,” and Miles Davis wrote “Agitation.”

The material on E.S.P. can be divided into two main categories: up-tempo pieces and more melancholy arrangements. The faster tracks, like “Eighty-One,” “Iris,” and the title track, are built on a bedrock of rhythms that allow the soloists to freely improvise. There is a sense of comfort and ease from the outset, as if the band members can read each other’s minds. The quieter tracks, such as “Little One” and “Mood,” have a more spacious quality, where every note and beat stands out. “Agitation” is a Davis-penned track where the rhythm section works together to create a trance-like, mesmerizing motif. “R.J.” fuses both approaches. The compositions challenge traditional 32-measure forms, using odd bar lengths to create a sound that pushes the boundaries of jazz.

A1. “E.S.P.” (5:27)
A2. “Eighty-One” (6:11)
A3. “Little One” (7:21)
A4. “R.J.” (3:56)

B1. “Agitation” (7:46)
B2. “Iris” (8:29)
B3. “Mood” (8:50)

Sessions occurred at Columbia Studios in Hollywood, California, on January 20-22, 1965. The album was produced by Irving Townsend and engineered by Harold Chapman.

The album’s cover features a photograph of Davis’s then-wife, Frances Taylor. It was the last album to do so, as the couple separated later in 1965.

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Miles Smiles 

Miles Davis released his eleventh studio album, Miles Smiles, on February 16, 1967, by Columbia Records. 

Miles Smiles is the second studio album by Davis’s influential Second Great Quintet and a defining work of the post-bop subgenre. The album showcases the quintet’s cohesive chemistry and their deeper exploration of modal performance with looser structures and shifting rhythms. The music is highly disciplined, yet it teeters on the edge of the avant-garde.

The album features three compositions by Wayne Shorter, “Orbits,” “Footprints,” and “Dolores.” The remaining three tracks are written by Miles Davis (“Circle”), Eddie Harris (“Freedom Jazz Dance”), and Jimmy Heath (“Ginger Bread Boy”). The quintet reinterprets each piece, often changing its structure or pace.

Miles Smiles starts with the abstract melody of “Orbits,” with a burst of sound from Davis, Shorter, and Williams. The solos often veer toward atonality before reining in with familiar hard bop riffs. “Circle” is the album’s only ballad, a softer piece with Davis on muted trumpet and Herbie Hancock providing lush piano voicings. “Footprints” is a highlight, exploring the interplay between African-based cross-rhythms and 4/4 time. Drummer Tony Williams and bassist Ron Carter playfully switch between different meters, with Williams freely moving from swing to a three-over-two cross-rhythm. The second side of the album features three more high-energy tracks, including “Freedom Jazz Dance,” a piece that showcases the band’s interactive improvisational style.

A1. “Orbits” (4:37)
A2. “Circle” (5:52)
A3. “Footprints” (9:46)

B1. “Dolores” (6:20)
B2. “Freedom Jazz Dance” (7:13)
B3. “Ginger Bread Boy” (7:43)

Sessions occurred at Columbia 30th Street Studio in New York City on October 24 and 25, 1966. The album was produced by Teo Macero and engineered by Frank Laico.

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1967

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Sorcerer 

Miles Davis released his twelfth studio album, Sorcerer, on October 23, 1967, by Columbia Records.

Sorcerer is the third album from Davis’s Second Great Quintet. The record is a showcase for the band’s collective energy and creativity, and its sound is defined by the tight, synergistic interplay between the musicians. It is the last of Davis’s albums to feature the Second Great Quintet’s all-acoustic format.

The album’s material is primarily composed by Wayne Shorter, who wrote “Prince of Darkness,” “Masqualero,” “Limbo,” and “Vonetta.” Tony Williams wrote “Pee Wee,” and Herbie Hancock wrote “The Sorcerer.” The closing track, “Nothing Like You,” is a song by Bob Dorough and Fran Landesman from a much earlier session.

Sorcerer intermixes dynamic, up-tempo pieces and more somber, contemplative numbers. Tracks like “Prince of Darkness” showcase the quintet at its finest, with the musicians in sync and feeding off one another’s energy. “Masqualero” features a reactive, almost predatory interplay between Miles Davis and Tony Williams, a tension that carries through the solos of the other members. “The Sorcerer” is a fast-paced track where Miles Davis and Herbie Hancock have quick, cool exchanges. “Pee Wee” is a slower, more docile piece, while “Vonetta” is a beautiful, late-night composition with a contemplative mood.

A1. “Prince of Darkness” (6:37)
A2. “Pee Wee” (4:49)
A3. “Masqualero” (8:53)
A4. “The Sorcerer” (5:10)

B1. “Limbo” (7:13)
B2. “Vonetta” (5:36)
B3. “Nothing Like You” (1:55)

Sessions for the album occurred at Columbia’s 30th Street Studio in New York City on May 16, 17, and 24, 1967. The album was produced by Teo Macero.

The album’s cover features a profile photograph of actress Cicely Tyson, who was Davis’s girlfriend at the time.

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Nefertiti 

Miles Davis released his thirteenth studio album, Nefertiti, in March 1968 by Columbia Records.

Nefertiti is the final fully acoustic album of Miles Davis’s career and the fourth from his Second Great Quintet. The album is a testament to the band’s collective artistry and their willingness to stretch the boundaries of conventional jazz. It is best known for the title track, which subverts the traditional jazz format by having the horns repeat the melody while the rhythm section takes on the improvisational role.

The album’s compositions are all penned by members of the band, with no songs by Davis himself. Wayne Shorter wrote three of the six tracks—the title track, “Fall,” and “Pinocchio”—while Herbie Hancock wrote “Madness” and “Riot.” Tony Williams contributed “Hand Jive.”

The album presents a series of highly original takes on post-bop. The title track, “Nefertiti,” is an abstract, repeating melody where Miles Davis and Wayne Shorter play the theme over and over while the rhythm section of Hancock, Carter, and Williams creates a dynamic, improvisational backdrop. “Fall” features somber horn colors that come and go, with the rhythms of Williams constantly shifting. The rest of the album is filled with more aggressive, free-ranging hard bop. “Hand Jive” is a high-speed piece with a frantic feel, while “Madness” shifts from a fast tempo to a section where everyone drops out except for Hancock, who delivers a solo that sounds more like a modern composition than jazz.

A1. “Nefertiti” (7:52)
A2. “Fall” (6:39)
A3. “Hand Jive” (8:54)

B1. “Madness” (7:31)
B2. “Riot” (3:04)
B3. “Pinocchio” (5:08)

Sessions occurred at Columbia’s 30th Street Studio in New York City over four dates between June 7 and July 19, 1967. The album was produced by Teo Macero and Howard Roberts and engineered by Fred Plaut and Ray Moore.

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1968

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Miles in the Sky 

Miles Davis released his fourteenth studio album, Miles in the Sky, on July 22, 1968, by Columbia Records.

Miles in the Sky is the final full-length studio album by the Second Great Quintet. The record marks a decisive shift in Davis’s music toward jazz fusion, featuring electric piano and electric bass for the first time on a studio release. The compositions are extended and lean into a direct rhythmic approach that draws from rock.

The material on the album includes compositions by Miles Davis, Wayne Shorter, and Tony Williams. Miles Davis wrote “Stuff” and “Country Son.” Wayne Shorter wrote “Paraphernalia” with guest guitarist George Benson. Tony Williams wrote “Black Comedy.”

The album opens with “Stuff,” a track where the band incorporates electric instruments. Williams lays down a consistent rock beat, and Herbie Hancock uses a Fender Rhodes piano, playing with an R&B feel. On “Paraphernalia,” they’re joined by Benson, whose rhythmic accents support Williams’ driving rhythm and Ron Carter’s exploratory bass. “Black Comedy” is a high-energy post-bop number that is the most “straight” jazz piece on the album. The album’s final track, “Country Son,” is the most ambitious. The song shifts between R&B passages and floating ambient segments.

A1. “Stuff” (17:00)
A2. “Paraphernalia” (12:38)

B1. “Black Comedy” (7:26)
B2. “Country Son” (13:52)

Sessions occurred at Columbia Studio B in New York City on January 16 and May 15-17, 1968. The album was produced by Teo Macero.

The album’s title is an homage to The Beatles‘ song “Lucy in the Sky with Diamonds.”

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Filles de Kilimanjaro

Miles Davis released his fifteenth studio album, Filles de Kilimanjaro, on February 5, 1969, by Columbia Records. The title is French for “Girls of Kilimanjaro.”

Filles de Kilimanjaro is a transitional album, marking the final recordings of the Second Great Quintet and the beginning of Davis’s shift toward jazz fusion. The album’s sound is an early exploration of static musical forms and textures, drawing on influences from funk and African music. It is also notable for the introduction of new members to the Davis lineup: pianist Chick Corea and bassist Dave Holland.

Davis claimed all writing credits but reunited with Gil Evans (uncredited) for “Petits Machins (Little Stuff)” (later covered by Evans as “Eleven”). “Mademoiselle Mabry (Miss Mabry)” is a reinterpretation of “The Wind Cries Mary” Jimi Hendrix.

The album’s sound is characterized by a mix of styles, with some tracks being a clear departure from post-bop. “Frelon Brun (Brown Hornet)” is a funky R&B jam where Tony Williams’ drumming pushes the track into a more abstract space. “Tout de Suite (Right Away)” is a loose jam that at times sounds like a Williams concerto with a shifting, unsteady rhythmic feel. The title track is an exception, with a more familiar, definite rhythm. The final track, “Mademoiselle Mabry (Miss Mabry),” uses a static compositional tool, with sections that repeat and circle back without moving toward a traditional resolution.

A1. “Frelon Brun” (Brown Hornet) (5:39)
A2. “Tout de Suite” (Right Away) (14:07)
A3. “Petits Machins” (Little Stuff) (8:07)

B1. “Filles de Kilimanjaro” (Girls of Kilimanjaro) (12:03)
B2. “Mademoiselle Mabry” (Miss Mabry) (16:32)

Sessions occurred at Columbia 30th Street Studio in Manhattan on June 19-21 and September 24, 1968. The album was produced by Teo Macero and engineered by Frank Laico and Arthur Kendy.

The cover features a photograph of Davis’s second wife, Betty Mabry, a model who recorded five Seventies funk albums as Betty Davis.

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Electric Period 1969–1975

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In a Silent Way

Miles Davis released his sixteenth studio album, In a Silent Way, on July 30, 1969, on Columbia Records.

In a Silent Way is Miles Davis’s first full-blown fusion album and marks the beginning of his “electric” period. The album’s sound is quiet, ambient, and peaceful, with a subtle build and a sense of stillness. It is also the first of Davis’s albums to be heavily constructed and arranged through post-production editing.

The album features only two compositions. Miles Davis wrote “Shhh/Peaceful.” The second track, “In a Silent Way/It’s About That Time,” is based on Joe Zawinul’s “In a Silent Way” and a composition by Miles Davis, who wrote “It’s About That Time.”

The music on the album is characterized by its tranquil atmosphere and a focus on mood and texture rather than traditional solos. The first piece, “Shhh/Peaceful,” begins with a wash of keyboards before Miles Davis, Wayne Shorter, and guitarist John McLaughlin deliver measured solos over a persistent, constant rhythmic pace from Tony Williams. The second piece, “In a Silent Way/It’s About That Time,” is more accessible, with a repeating, contoured theme that weaves in and out. The album is a collaborative effort, with the musicians “channeling something from another dimension” and exploring an emotional landscape rather than following a standard solo format.

A. “Shhh”/”Peaceful” (18:16)

B. “In a Silent Way”/”It’s About That Time” (19:52)

Sessions occurred at CBS 30th Street Studio in New York City on February 18, 1969. The album was produced and arranged by Teo Macero.

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Bitches Brew

Miles Davis released his seventeenth studio album, Bitches Brew, on March 30, 1970, on Columbia Records.

Bitches Brew is Davis’s second full-blown fusion album, recorded with a large ensemble that included multiple drummers, keyboardists, and bassists. The album moves away from traditional jazz rhythms in favor of a loose, improvisational style with a rock-influenced feel. The record’s final form was heavily shaped by extensive post-production editing.

The album features compositions by Miles Davis, Wayne Shorter, and Joe Zawinul. Joe Zawinul wrote “Pharaoh’s Dance,” and Wayne Shorter wrote “Sanctuary.”

The songs on Bitches Brew are long, open-ended improvisational suites. “Pharaoh’s Dance” has a meandering and abstract opening that develops slowly. The title track is more dynamic, with frequent stops and starts. “Spanish Key” has a distinct rock-oriented rhythmic pace that drives the playing of the electric keyboards and guitars. The track “Miles Runs the Voodoo Down” has a bluesy, R&B feel. On “Sanctuary,” the musicians play with a subdued approach before the band gels into a more solid form.

A. “Pharaoh’s Dance” (20:07)

B. “Bitches Brew” (27:00)

C1. “Spanish Key” (17:30)
C2. “John McLaughlin” (4:23)

D1. “Miles Runs the Voodoo Down” (14:03)
D2. “Sanctuary” (10:54)

Sessions occurred at Columbia’s Studio B in New York City from August 19-21, 1969. The album was produced by Teo Macero, who used editing techniques like splicing, looping, and micro-edits.

The album’s artwork was created by Mati Klarwein. The image depicts several surreal, fantastical figures and a celestial landscape.

Bitches Brew peaked at No. 35 on the U.S. Billboard 200, making it Davis’s highest-charting album. The album won a Grammy Award for Best Large Jazz Ensemble Album in 1971.

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Black Beauty: Miles Davis at Fillmore West

On April 10, 1970, Miles Davis performed at the Fillmore West in San Francisco, an event documented on Black Beauty: Miles Davis at Fillmore West, released in 1973 on Japanese CBS/Sony.

The four LP sides, each presented as side-long pieces titled “Black Beauty” (I–IV), interpolate themes by Davis and his sidemen: saxophonist Steve Grossman, keyboardist Joe Zawinul, keyboardist Chick Corea (Fender Rhodes), bassist Dave Holland, drummer Jack DeJohnette, and percussionist Airto Moreira.

Across the original double-album (79:20 duration), the band’s improvisations center around vamps intermixed with Silent Way and Bitches Brew passages, including harder-edged versions of “Miles Runs the Voodoo Down” and “It’s About That Time,” as well as a Latin-flavored “Masqualero.”

A. “Black Beauty Part I” (23:46)

B. “Black Beauty Part II” (18:22)

C. “Black Beauty Part III” (17:15)

D. “Black Beauty Part IV” (21:28)

The album’s cover was designed by Teruhisa Tajima and Shuichi Yoshida, with a front cover photo by Tadayuki Naitoh.

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Miles Davis at Fillmore 

On October 28, 1970, Columbia Records released Miles Davis at Fillmore, a two-record document of his June 17–20 sets at the Fillmore East in New York City.

Each night, Miles and his band performed for 25-odd minutes as the opening act for singer/songwriter Laura Nyro. Davis performed on Harmon-muted trumpet, backed by five players from the earlier Fillmore West show plus Keith Jarrett, who joined right beforehand as Miles’ live keyboardist.

Despite the tracklist of the four LP sides — each comprised of side-long pieces titled after the performance night (“Wednesday Miles,” “Thursday Miles,” etc.) — they improvised around themes interpolated from prior studio albums. Davis conceived everything apart from numbers by the two absentees now in Weather Report: Joe Zawinul (“Directions”) and Wayne Shorter (“Sanctuary”). On the second two nights, they interpolate “I Fall in Love Too Easily,” the Sinatra number from Seven Steps to Heaven.

The music has a frenzied, clangorous approach, with aggressive rhythms and dissonant electronic keyboard sounds. The improvisations range from rock-influenced jams to avant-garde chaos. Each night ends with a quiet, tense moment.

Jarrett (Fender Contempo organ) and Chick Corea (Fender Rhodes electric piano) enhance their sound with delay/fuzz pedals and ring modulators. Dave Holland plays electric bass through a wah-wah pedal. Moreira’s sundries include whistle, kazoo, shakers, bells, woodblock, tambourine, flute, and the cuica, a Brazilian friction drum.

A. “Wednesday Miles” (24:14) interpolates “Directions” / “Bitches Brew” / “The Mask” / “It’s About That Time” / “Bitches Brew/The Theme”

B. “Thursday Miles” (26:55) interpolates “Directions” / “The Mask” / “It’s About That Time”

C. “Friday Miles” (27:57) interpolates “It’s About That Time” / “I Fall in Love Too Easily” / “Sanctuary” / “Bitches Brew/The Theme”

D. “Saturday Miles” (22:20) interpolates “It’s About That Time” / “I Fall in Love Too Easily” / “Sanctuary” / “Bitches Brew” / “Willie Nelson/The Theme”

Producer Teo Macero edited the performances into the pieces contained on the two LPs.

The album’s cover is a collage that includes a photo of Marguerite Eskridge, Davis’s girlfriend at the time.

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A Tribute to Jack Johnson

Miles Davis released his eighteenth studio album, A Tribute to Jack Johnson, on February 24, 1971, on Columbia Records. The title honors the Jim Crow-era African-American boxer whose 1910 defeat of former World Heavyweight Champion James Jeffries was dubbed the “fight of the century.”

The album is Davis’s most direct foray into rock music. It moves away from the sprawling, ambient textures of Bitches Brew and instead features a hard-edged sound with elements of blues-rock and funk. The two long tracks were constructed from a number of different takes and sessions.

All compositions on the album are by Miles Davis. The track “Right Off” contains a riff based on Sly and the Family Stone’s “Sing a Simple Song.” “Yesternow” is built around a modified bassline from James Brown’s “Say It Loud – I’m Black and I’m Proud.”

The album’s two tracks, “Right Off” and “Yesternow,” are each over 25 minutes long. “Right Off” is a series of improvisations based on a B♭ chord that shifts to an E chord. It is built around a steady boogie rhythm from the rhythm section, with a particularly inventive guitar performance from John McLaughlin. “Yesternow” is a sparse, hypnotic piece that borders on static music, but its jam sections provide moments of intensity. It includes an excerpt from a different recording, “Willie Nelson,” featuring Sonny Sharrock and Chick Corea using ring modulators and echo feedback. The album concludes with a voiceover by actor Brock Peters.

A. “Right Off” (26:53)

B. “Yesternow” (25:34)

Sessions occurred at 30th Street Studio in New York City on February 18 and April 7, 1970. The album was produced by Teo Macero.

The original album artwork features a 1920s-style illustration of Jack Johnson in his car, but a monochrome performance photograph of Miles Davis was used on subsequent reissues.

A Tribute to Jack Johnson reached number 4 on the Billboard Jazz Albums chart and number 47 on the Billboard R&B chart.

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Live-Evil 

On November 17, 1971, Miles Davis released Live-Evil, a two-record combination of live and studio material on Columbia Records.

Live-Evil is a hybrid of studio cuts and live numbers from a December 19, 1970, concert at the Cellar Door in Washington DC. The live pieces are edited into long jazz-rock jams, while the studio recordings are shorter, ballad-like pieces. The album is a kinetic blend of funk, rock, and free jazz.

The live recordings feature Davis on wah-filtered electric trumpet, backed by saxophonist Gary Bartz, guitarist John McLaughlin, keyboardist Keith Jarrett (electric piano, organ), electric bassist Michael Henderson, drummer Jack DeJohnette, and percussionist Airto Moreira. These long, hard-rocking jams are “Sivad,” “What I Say,” “Funky Tonk,” and “Inamorata.”

The studio recordings are mostly renditions of songs by Brazilian musician Hermeto Pascoal, who also plays drums, whistling, and vocals on the tracks. These shorter, more atmospheric songs include “Little Church,” “Nem Um Talvez,” and “Selim,” recorded on June 3-4, 1970, at Columbia Studio B in New York City. Joe Zawinul and Miles Davis are credited with “Medley: Gemini/Double Image,” which features an electric sitar and dates from a February 6, 1970, Columbia session.

The live tracks are dense jams that range from funk to free jazz. “What I Say” is a burner with soul- and gospel-inflected extended solos from Davis and Bartz, with a “face-melting” drum solo by DeJohnette. “Sivad” begins with a hard pace before transitioning into a more relaxed, spacey jam. “Funky Tonk” is propelled by DeJohnette’s energetic drums and Jarrett’s trippy keyboards, while “Inamorata” is a hard-rocking piece that features a funk bass line. In contrast, the shorter studio pieces are somber, quiet, and impressionistic.

A1. “Sivad” (15:16)
A2. “Little Church” (3:17)
A3. “Medley: Gemini/Double Image” (5:56)

B1. “What I Say” (21:12)
B2. “Nem Um Talvez” (4:03)

C1. “Selim” (2:15)
C2. “Funky Tonk” (23:28) 

D1. “Inamorata and Narration by Conrad Roberts” (26:29) 

The album was produced Teo Macero produced the studio tracks and edited the live performance into the pieces contained here. “Sivad” contains inter-spliced passages from a May 19, 1970, Studio B session.

The album cover was illustrated by Mati Klarwein. The front cover depicts a pregnant woman, while the back cover, at Davis’s suggestion, features a toad-like image.

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On the Corner

Miles Davis released his nineteenth studio album, On the Corner, on October 11, 1972, on Columbia Records.

On the Corner continues Davis’s exploration of jazz fusion by leaning into a sound that draws on funk, Indian music, and avant-garde composition. The album is built on repetitive, complex rhythmic structures, with a dense mix of electronic and acoustic instruments. It is a work of post-production editing, with producer Teo Macero splicing together different takes into finished compositions.

The album consists of four extended Davis originals. The music has two distinct layers: a rhythmic thicket with a strong pulse created by players like drummers Billy Hart, Jack DeJohnette, and Don Alias, percussionists James Mtume and Badal Roy, bassist Michael Henderson, and guitarists John McLaughlin and Dave Creamer; and a separate layer of horns and keyboards on top.

The title suite, “On the Corner,” begins with a funk rhythm before shifting into a raga with the introduction of sitars played by Collin Walcott (of Oregon) and Khalil Balakrishna and tabla drums played by Badal Roy. “Black Satin” carries on this influence but also incorporates a Spanish element. Davis filters electric trumpet through a wah-wah pedal, counted by saxophonists Carlos Garnett and Dave Liebman, clarinetist Bennie Maupin, electric cellist Paul Buckmaster, and multiple keyboardists, including Herbie Hancock, Chick Corea, Harold Ivory Williams, Jr., and Cedric Lawson.

A1. “On the Corner” / “New York Girl” / “Thinkin’ One Thing and Doin’ Another” / “Vote for Miles” (19:54)
A2. “Black Satin” (5:16)

B1. “One and One” (6:09)
B2. “Helen Butte” / “Mr. Freedom X” (16:07)

Sessions occurred at Columbia 52nd Street in New York City in June and July 1972. The album was produced by Teo Macero.

The album’s cover features cartoon art by Corky McCoy depicting urban African-American characters. The original release did not credit any of the musicians.

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In Concert

In May 1973, Miles Davis released In Concert, a two-record document of his September 29, 1972, show at Philharmonic Hall in New York City. 

The music focuses on rhythm and collective energy rather than melody or individual solos. It features a dense, rhythmic wall of sound that fuses post-psychedelic experimentation with elements of African and Indian music.

Davis plays wah-filted electric trumpet, backed by saxophonist Carlos Garnett, electric pianist Cedric Lawson, guitarist Reggie Lucas, bassist Michael Henderson, and drummer Al Foster. Badal Roy appears on tablas and James Mtume on percussion, with Khalil Balakrishna on electric sitar.

The album’s two continuous performances are a showcase of dense funk. The first set, titled “Foot Fooler,” features “Rated X,” a dense, swampy piece of electronic music, and “Black Satin.” The second set, “Slickaphonics,” includes “Ife,” a long, churning track. The band’s uneasy weave of instruments creates static rhythmic textures with raw, primitive, shifting sounds.

Record One: Foot Fooler – contains a front/back carryover of “Honky Tonk” (9:18)

A. “Miles Davis in Concert” (20:45) = “Rated X” (12:16) + “Honky Tonk” (cut)

B. “Miles Davis in Concert” (25:23) = “Theme from Jack Johnson” (10:12) + “Black Satin/The Theme” (14:14)

Record Two: Slickaphonics – contains a front/back carryover of “Ife” (27:53)

C. “Miles Davis in Concert” (18:12) = “Ife” (cut)

D. “Miles Davis in Concert” (20:21) = “Ife (cont.) + “Right Off/The Theme” (10:30)

The original release of In Concert did not include personnel or track listings. The album appeared in a gatefold with caricatured partygoers illustrated by Corky McCoy.

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Dark Magus

On March 30, 1974, Miles Davis held a showcase at New York’s Carnegie Hall, documented on the 1977 Columbia double-album Dark Magus.

The album captures the raw, unrehearsed energy of Davis’s live band. It is a monolithic funk-rock album that features a dense, layered sound. The music is characterized by long, improvised movements rather than conventional songs, with rhythms and textures that shift at will.

The album features a large ensemble with Miles Davis on electric trumpet and organ. The three-guitar lineup includes Reggie Lucas, Pete Cosey, and Dominique Gaumont. On saxophones, Dave Liebman is joined by guest Azar Lawrence. The rhythmic section features Michael Henderson on electric bass, Al Foster on drums, and James Mtume on percussion. All compositions are credited to Miles Davis, though the album interpolates themes from his earlier works.

The two-disc set presents four continuous, two-part compositions titled after Swahili numerals. “Moja” is a dense sonic onslaught distinguished by a long ballad sequence. “Wili” and “Tatu” showcase a powerful funk-rock sound driven by the rhythmic section. The music on the second disc is more tense due to the addition of Gaumont and Lawrence. The album’s aesthetic is an amalgam of free jazz and funk, with Cosey’s “wall-paper shredding” and Gaumont’s “Hendrix-derived” guitar tones.

A. “Dark Magus – Moja” (25:24)

B. “Dark Magus – Wili” (25:08)

C. “Dark Magus – Tatu” (25:20)

D. “Dark Magus – Nne” (25:32)

The album’s title, suggested by Tatsu Nosaki, is a reference to a Zoroastrian Magus. The cover art is an enigma, with an image of abstract shapes and colors.

Dark Magus was not released in the United States until its 1997 reissue. It was originally issued exclusively in Japan by CBS/Sony in 1977, as Columbia Records was ambivalent about its release in the U.S.

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Big Fun

On April 19, 1974, Miles Davis released Big Fun, a two-record compilation of unreleased 1969–72 studio tracks.

Big Fun is a compilation album that presents music from various phases of Davis’s early electric period. The music features a more lean, less busy sound than Bitches Brew and incorporates Indian instruments such as sitar and tabla. It also marks the return of Davis playing trumpet with a Harmon mute. Davis wrote all four compositions on the album.

The album’s four tracks are a mix of styles from Davis’s electric era. “Great Expectations” is a three-part suite that begins with a psychedelic rhythm over which Miles Davis and Bennie Maupin play a Gregorian-like melody. The middle section is a slow ambient piece with a “morning prayer” feel, and the final section is a mellow Afro-Brazilian rhythm. “Ife” is a jam that features a start-stop bass line, with the rhythm section’s pace shifting between fast and slow.

“Go Ahead John” is a riff-based, trance-like track with a steady, droning bass line from Dave Holland and a start-stop, abstract drum sound from Jack DeJohnette created through post-production effects. The track features a blues motif with John McLaughlin’s wah-wah guitar and a double-tracked, overdubbed trumpet solo from Davis. The album closes with “Lonely Fire,” a piece with a unique, ancient-sounding melody played over a relaxed rhythm.

A. “Great Expectations” / “Mulher Laranja” (27:23) November 19, 1969, recorded after (but before the release of) Bitches Brew. “Mulher Laranja” is Portuguese for “Orange Lady,” a title since used by Weather Report on their 1971 debut album.

B. “Ife” (21:34) June 12, 1972, On the Corner outtake.

C. “Go Ahead John” (28:27) March 3, 1970, recorded between the two Jack Johnson sides.

D. “Lonely Fire” (21:21) January 27, 1970

Recording sessions occurred at Columbia Studios in New York City between November 19, 1969, and June 12, 1972. The album was produced by Teo Macero, who used extensive post-production techniques like overdubbing and tape manipulation.

Big Fun reached number 179 on the U.S. Billboard Top LPs chart and number 6 on Billboard‘s Top Jazz LPs chart.

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Get Up With It

Miles Davis released his twentieth studio album, Get Up With It, on November 22, 1974, on Columbia Records.

Get Up With It is a compilation of unreleased studio recordings made between 1970 and 1974. The album’s sound is a psychedelic blend of jazz fusion, funk, and avant-garde music. It features a diverse range of sounds, from slow, patient ambient music to chaotic, polyrhythmic jams.

Three tracks — the side-long “He Loved Him Madly” and the half-siders “Maiysha” and “Mtume” (62:13 combined duration) — date from summer/fall 1974 sessions and thereby constitute a new studio release. Another three tracks, including the side-long “Calypso Frelimo,” date from a ten-month 1972–73 gap between the releases of On the Corner and In Concert. Only the two shortest tracks (“Honky Tonk” and “Red China Blues”) date from the earlier gap between Jack Johnson and Corner.

The album’s four extended tracks and four shorter ones explore different aspects of Davis’s electric period. The opening track, “He Loved Him Madly,” is a long, patient, ambient improvisation with a slow pace that influenced later ambient music. “Maiysha” begins with a lounge-like Latin rhythm that becomes menacing before dissolving into a slow-paced blues jam. “Honky Tonk” stretches common funk riffs into an abstract style by slowing the pace and creating space between the instruments. On “Rated X,” the music becomes a wall of polyrhythmic sound with wah-wah guitars, percussion, and distorted organ, creating a futuristic psychedelic African sound. “Calypso Frelimo” winds through different sections before concluding with a chaotic, high-paced African jam.

A. “He Loved Him Madly” (32:13) recorded June 19, 1974, one of three contemporary tracks.

B1. “Maiysha” (14:52) recorded October 7, 1974
B2. “Honky Tonk” (5:54) recorded May 19, 1970, one month after Jack Johnson.
B3. “Rated X” (6:50) recorded September 6, 1972, two months after On the Corner. 

C. “Calypso Frelimo” (32:07) recorded September 17, 1973

D1. “Red China Blues” (4:10) recorded March 9, 1972, three months prior to On the Corner.
D2. “Mtume” (15:08) recorded October 7, 1974, and titled after On the Corner percussionist James Mtume.
D3. “Billy Preston” (12:35) recorded December 8, 1972, five months after On the Corner. Named in honor of the keyboardist.

Recording sessions took place at Columbia Studio E with producer Teo Macero.

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Agharta

In August 1975, CBS/Sony (Japan) issued Agharta, a two-record document of the afternoon set by Miles Davis on February 1 at the Festival Hall in Osaka. The release appeared one month into his six-year retirement from music. In 1976, Columbia Records issued Agharta in North America with alternate cover art.

Agharta captures the final iteration of Davis’s electric septet, a band that toured tirelessly for two years. The music is a culmination of his electric period, focusing on dense funk-rock and free improvisation. The album is an unrehearsed exploration of rhythm and soundscape, with the band alternating between quiet passages and intense climaxes.

Davis leads on wah-filted trumpet and organ, surrounded by Sonny Fortune on saxophone and flute, and a dual-guitar attack from Pete Cosey and Reggie Lucas. The rhythmic section features Michael Henderson on electric bass, Al Foster on drums, and James Mtume on percussion. All compositions were credited to Miles Davis, but the performances were structured improvisations around themes from his earlier work.

The music is a dynamic display of cathartic playing, with a sense of melancholy and exhaustion hanging over the performance. Cosey’s guitar work is a blistering and aggressive blend of Hendrix and free jazz, while Fortune’s solos are graceful and reverie-like. The band’s interplay is a web of poly-rhythmic and atonal sounds, building a tense, unsettling atmosphere that occasionally dissolves into entropy.

A. “Prelude (Part 1)” (22:34)

B. “Prelude (Part 2)” (23:01)

C. “Interlude” (26:17)

D. “Theme from Jack Johnson” (25:59)

Producer Teo Macero abstained from cut edits on Agharta, which Tamoo Suzuki engineered with Takaaki Amano and Mitsuru Kasai.

The original Japanese release features artwork by Tadanori Yokoo, whose design depicts a futuristic, subterranean city with themes of Afrofuturism, Eastern subterranean myths, and UFOs. An alternate cover was designed by John Berg for the North American release.

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Pangaea

In early 1976, CBS/Sony (Japan) issued Pangaea, a two-record document of the evening set by Miles Davis at the February 1975 Festival Hall event.

Pangaea captures the final performance by Miles Davis’s electric septet, a band that explored static music and layered rhythms. The album’s long, unrehearsed performances use riffs and fragments as a basis for semi-improvised suites, showcasing a powerful funk-rock sound that fuses elements of psychedelia with jazz and funk.

The septet features Miles Davis on electric trumpet and organ, with a dual-guitar lineup of Pete Cosey and Reggie Lucas. The rhythmic section features Michael Henderson on electric bass, Al Foster on drums, and James Mtume on percussion. Sonny Fortune appears on soprano saxophone, alto saxophone, and flute. 

The album’s music is split into two long tracks. “Zimbabwe” is a ferocious funk-rock onslaught with scorching solos, while “Gondwana” opens with a haunting solo flute before transitioning into a more open, swinging jam. The band’s performance shows moments of disorganization and fatigue, particularly on the second half, with Davis’s playing described as the cry of a wounded spirit.

A. “Zimbabwe” (Part 1) (20:25)

B. “Zimbabwe” (Part 2) (21:13)

C. “Gondwana” (Part 1) (23:23)

D. “Gondwana” (Part 2) (23:57)

The album’s title is a reference to the ancient supercontinent. The original Japanese release features artwork by Teruhisa Tajima.

Pangaea was released exclusively in Japan by CBS/Sony and was not released in the United States until 1990.

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Water Babies

In November 1976, Columbia Records issued Water Babies, a collection of unearthed 1967–68 Miles Davis studio tracks.

The album is a compilation of two distinct sessions that document Davis’s transition from acoustic post-bop to electric fusion. The first half features the Second Great Quintet playing in an exploratory, acoustic style, while the second half introduces electric instruments and a larger ensemble, anticipating the sound of In a Silent Way.

The first three tracks feature Miles Davis on trumpet, Wayne Shorter on saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. The final tracks replace Carter with Dave Holland and add Chick Corea on electric piano, with Hancock also on electric piano. Wayne Shorter wrote all three of the compositions on the first side, while Miles Davis and Tony Williams co-wrote “Dual Mr. Tillman Anthony.”

Side A fuses hard-bop with elements of free jazz. “Water Babies” is a strange, mournful tune with a static piano part. “Sweet Pea” is a relaxed and mysterious piece where the band sounds like a chamber ensemble. The final two tracks on the original LP are longer and more progressive, with a focus on start-stop rhythms and repetitious structures. “Two Faced” features a bizarre, angular melody and abstract interactions between the two electric pianists, while “Dual Mr. Tillman Anthony” is a fun and upbeat number that uses a soul-jazz progression.

A1. “Water Babies” (5:06)
A2. “Capricorn” (8:27)
A3. “Sweet Pea” (7:59)

B1. “Two Faced” (18:01)
B2. “Dual Mr. Tillman Anthony” (13:18)

Sessions occurred at Columbia 30th Street and Columbia 52nd Street Studios in New York City with producer Teo Macero. The tracks were recorded on June 7, 13, and 23, 1967, and on November 11–12, 1968.

Wayne Shorter named the title-track after the 1863 children’s novel The Water-Babies, A Fairy Tale for a Land Baby by English author Charles Kingsley.

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The Man With the Horn

Miles Davis released his 21st studio album, The Man With the Horn, in July 1981 on Columbia Records.

This album marked Miles Davis’s return to music after a six-year retirement. The album blends 1980s pop, rock, and R&B with funk and fusion elements. It is primarily a guitarist’s album, with several notable performances by Mike Stern and Barry Finnerty.

Miles Davis wrote four of the six compositions on the album. Keyboardist and vocalist Randy Hall co-wrote the title track with Robert Irving III. Irving III also co-wrote the track “Shout” with Glenn Burris and Hall.

The album’s music ranges from funk and fusion to pop-influenced R&B. The opener, “Fat Time,” is a funky instrumental with a cool rhythm from bassist Marcus Miller and drummer Al Foster. It features a distorted guitar solo from Mike Stern. “Back Seat Betty” is a slow-burn funk track with a lowdown rhythm reminiscent of Davis’s mid-1970s work. “Shout” is a smooth, pop-influenced track. The title track, “The Man With the Horn,” is an R&B slow jam with vocals by Randy Hall.

A1. “Fat Time” (9:53)
A2. “Back Seat Betty” (11:15)

B1. “Shout” (5:52)
B2. “Aïda” (8:10)
B3. “The Man With the Horn” (6:32)
B4. “Ursula” (10:50)

Recording and mastering occurred at CBS Recording Studios in New York City between June 1980 and May 1981. The album was produced by Teo Macero and executive produced by George Butler.

The album reached No. 7 on the Billboard Jazz Albums chart and No. 37 on the Billboard Soul Albums chart.

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Star People

Miles Davis released his 22nd studio album, Star People, in April 1983 on Columbia Records.

The album is the second studio recording following Davis’s six-year hiatus and the last produced by long-time collaborator Teo Macero. It contains six Davis originals that cross his 1970s jazz fusion style with new elements, including the introduction of guitarist John Scofield.

Three of the tracks are up-tempo jazz-funk numbers. “Come Get It” is a fast-paced funk track. “Speak” is a wild jam that combines a funk rhythm with a be-bop melody marked by Scofield’s presence. The two blues numbers, “Star People” and “It Gets Better,” are slow-paced. The most unique track is “U’n’I,” a pop tune with a laid-back, shuffling hip-hop rhythm.

A1. “Come Get It” (11:22)
A2. “It Gets Better” (9:47)
A3. “Speak” (8:24)

B1. “Star People” (18:44)
B2. “U’n’I” (5:55)
B3. “Star on Cicely” (4:23)

Sessions occurred at Columbia Studio B and Record Plant Studio in New York City between August 1982 and February 1983. The album was produced by Teo Macero and executive produced by George Butler.

The cover design is by Janet Perr, and the artwork and “color concepts” are by Miles Davis.

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Tutu

Miles Davis released his 25th studio album, Tutu, on September 29, 1986, on Warner Bros.

This album is a tribute to Archbishop Desmond Tutu. It is Davis’s first album to use a drum machine and synthesizers. The compositions are primarily by Marcus Miller, with a sound strongly inspired by mid-1980s R&B and funk.

Marcus Miller wrote and arranged seven of the eight songs on the album. Miles Davis co-wrote “Tomaas” with Miller. George Duke wrote and co-produced “Backyard Ritual,” and the English art-pop group Scritti Politti charted the prior year with “Perfect Way.” Miller performed the bulk of the instrumentation, including bass, synthesizers, drum machines, bass clarinet, and soprano saxophone.

The album’s pieces are a mix of pop, funk, and jazz. The title track, “Tutu,” features a stately theme with powerful synth accents and a Weather Report-esque sound. “Tomaas” has a subtle funk pulse. “Portia” features a deep, ambient sound, and “Splatch” has a harder funk foundation with a playful vibe. “Backyard Ritual” is a change of pace, with a mysterious beginning that leads to a rock rhythm with funky overtones. “Perfect Way” takes an R&B attitude and creates a crisp, clean track. “Don’t Lose Your Mind” offers a slight Jamaican rhythm. The album closes with “Full Nelson,” a tribute to Nelson Mandela, with a bouncy, funk drive and a Sly Stone-inspired feel.

A1. “Tutu” (5:15)
A2. “Tomaas” (5:38)
A3. “Portia” (6:18)
A4. “Splatch” (4:46)

B1. “Backyard Ritual” (4:49)
B2. “Perfect Way” (4:35)
B3. “Don’t Lose Your Mind” (5:49)
B4. “Full Nelson” (5:06)

Sessions occurred at Capitol Studios, Ocean Way Recording, and Le Gonks in Hollywood, California, and at Clinton Recording Studios and Atlantic Studios in New York City. The album was produced by Tommy LiPuma and Marcus Miller, with George Duke co-producing “Backyard Ritual.”

The album’s cover was designed by Eiko Ishioka and features a photograph of Davis by Irving Penn.

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Selective discography:

• Young Man With a Horn (1953)
  
• Blue Moods (1955)
• The Musings of Miles (1955)
• Miles (1966)
  
• ‘Round About Midnight (1957)
• Cookin’ With the Miles Davis Quintet (1957)
  
• Ascenseur pour l’échafaud (1958)
• Milestones (1958)
• Relaxin’ With the Miles Davis Quintet (1958)
  
• A Kind of Blue (1959)
• Workin’ With the Miles Davis Quintet (1959)
  
• Sketches of Spain (1960)
• Steamin’ With the Miles Davis Quintet (1961)
• Seven Steps to Heaven (1963)
  
• E.S.P. (1965)
  
• Miles Smiles (1967)
• Sorcerer (1967)
• Nefertiti (1968)
• Miles in the Sky (1968)
• Filles de Kilimanjaro (1969)
• In a Silent Way (1969)
• Bitches Brew (1970)
• A Tribute to Jack Johnson (1971)
• On the Corner (1972)
• Big Fun (1974 — recorded 1969–72)
  
• Get Up With It (1974)
• Water Babies (1977 — recorded 1967)
• The Man With the Horn (1981)
• Star People (1983)
  
• Tutu (1986)

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Sources:

• Discogs: Miles Davis
• RYM: Miles Davis
• 45worlds: Miles Davis
• JazzDisco: Miles Davis
• JazzMusicArchives: Miles Davis
• MusicBrainz: Miles Davis
• SecondHandSongs: Miles Davis