View allAll Photos Tagged MILESDAVIS
Oil on board. 16"x20". 1999. A very early musical work that my father just found in his basement. I had forgotten I even made this and was stoked when he revealed it.
Baker's Keyboard Lounge, the world's oldest running Jazz club, originally opened in 1934. Located on Livernois just South of 8 Mile Rd in Detroit. Artists who have performed here include Dave Brubeck, John Coltrane, Art Tatum, Oscar Peterson, Cab Calloway, Gene Krupa, Nat King Cole, Ella Fitzgerald, Charlie Parker, Pat Methany, Miles Davis, the list goes on and on. Liberace came into the club and saw the keyboard shaped bar and had to have one installed in his house! Anyone who is anyone in jazz has played here.
101, Avenue des Champs Elysées ~ Sunset Boulevard ~ Paris ~ MjYj
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The Durutti Column
CD :
Richard Chartier
Levels (Inverted)
Line
LINE_ED05
Sounds & Design . Richard Chartier
Limited Signed Numbered Edition . 160 / 250
Postcard :
Ascenseur Pour L' Échaffaud
Louis Malle
1958
Use Hearing Protection
GMA
Miles Davis: My Funny Valentine 1964
My Funny Valentine (Hart-Rogers) 14'54
All of You (Porter) 14'44
B-side
Stella By Starlight (Washington- Young)12'55
All Blues (Davis) 8'52
I Thought About You (Mercer-Van Heusen) 11'08
(total 62'35)
Miles Davis tp
George Coleman ts
Herbie Hancock p
Ron Carter b
Tony Williams dr
Prod. Teo, Columbia PC 9106
Photo Giorgio Molinari
Live In Concert 2/12/64 @ Lincoln Center
Bought the LP 29.7.1976 26,- Kavalkad Helsinki
Miles with the classics.
The Quintet is already nearly the 2nd classic, George Coleman left the band and Wayne Shorter joined in later 1964.
Recorded in the same evening as Four & More.
Miles Davis' classic recording, Kind of Blue, celebrates 50 years with a new Legacy Edition recording featuring previously unreleased tracks.
German postcard by Edition Tushita, no. B 985. Photo: Artwork Media GmbH.
American jazz trumpeter Miles Davis (1926-1991) was one of the most important and influential jazz musicians in history. Davis played various styles, including bop, cool jazz, modal jazz and jazz-rock fusion. His style is recognisable and original, and continues to influence jazz musicians decades after his death. His music for Louis Malle's Nouvelle Vague classic Ascenseur pour l'échafaud / Elevator to the Gallows (1957) is one of the greatest Jazz soundtracks in cinema history.
Miles Dewey Davis III was born in Alton, Illinois, in 1926. Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis. He grew up in the Black middle class of East St. Louis, having moved there shortly after his birth. His mother wanted him to learn to play the violin. Instead, his father gave him a trumpet for his thirteenth birthday, which he devoted himself to from then on. The family owned a ranch, where young Miles learned to ride horses. When Davis was 15, he played for audiences with bandleader Eddie Randall and studied under trumpeter Elwood Buchanan. Against the fashion of the time, Buchanan emphasised the importance of playing without vibrato. Davis retained this distinctive, clear tone throughout his career. William Ruhlmann at AllMusic: "At 17, he joined Eddie Randle's Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, which was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterised by fast, inventive soloing and dynamic rhythm variations." In 1945, Davis moved to New York, ostensibly to study at the Institute of Musical Art in New York City (renamed Juilliard) on a scholarship. In reality, he neglected his education and went in search of his heroes, such as Thelonious Monk and Coleman Hawkins. He regularly went out with Dizzy Gillespie, and they became good friends. By 1949, he had fulfilled his 'probation' as a fellow player, both on stage and on recordings. His own recording career subsequently flourished. That same year, Davis began collaborating with Gil Evans. This collaboration continued over the next 20 years for many of his major works. The records they made in the late 1940s were released on a limited basis for the first decade. Through New York's jazz clubs, Davis regularly came into contact with both users and sellers of illegal drugs. By 1950, he had a serious heroin addiction, possibly exacerbated by the lacklustre reception of his first personal recordings. In the early 1950s, the talent Davis possessed seemed to be lost. He played several gigs, but these were uninspired. Aware of this, Davis returned to East Saint Louis in 1954, where he tried to kick the habit with the help of his father. The latter mistakenly thought it had to do with his teeth. Davis closed himself off from society until he was free of his drug addiction. By 1954, he had overcome his heroin addiction, although he continued to use cocaine, among other things. Reborn, he returned to New York and founded the first major version of the Miles Davis Quintet. This band included the young John Coltrane and occasionally some other jazz artists known at the time, such as Sonny Rollins and Charles Mingus. Musically, the group continued where Davis left off in his sessions in the late 1940s. They avoided the rhythmic and harmonic complexity of the dominant bebop, and Davis was given the space to play long, legato and essentially melodic lines, in which he learned to make sense of modal music. This was a lifelong obsession for him.
In February 1957, Capitol finally issued the 1949 recordings, together on an LP called 'Birth of the Cool'. He also recorded 'Relaxin' with the Miles Davis Quintet'. These albums defined the sound of cool jazz, one of the dominant trends in music for the next decade and beyond. In December 1957, Miles Davis returned to Paris, where he improvised the background music for the film Ascenseur pour l'échafaud / Elevator to the Gallows (Louis Malle, 1957) with Jeanne Moreau and Maurice Ronet. Davis recorded the music in a single recording session while he watched a screening. He composed it while watching a rough cut and then invited a quartet of French and US musicians in from 11 pm to 5 am one night, improvising each number and allegedly sipping champagne with Jeanne Moreau and Louis Malle. Claudio Carvalho at IMDb: "The soundtrack with the music of Miles Davis gives a touch of class to this little masterpiece. The result is one of the best thrillers entwined with comedy of errors that I have ever seen." While the rest of the music establishment was still trying to accept Miles Davis' innovations, he himself was further along. Reunited with Gil Evans, he recorded a series of albums of great variety and complexity, demonstrating his mastery of his instrument in almost every musical context. On the first album, 'Miles Ahead' (1957), he played with a traditional jazz big band. This had a driven brass section arranged by Gil Evans. In addition to jazz numbers (including Dave Brubeck's 'The Duke'), the two took on Léo Delibes' 'Les Filles de Cadix'. This was the first time Davis recorded European classical music. 'Milestones' (1958) captured the sound of his current sextet, which now consisted of Davis, John Coltrane, Julian "Cannonball" Adderley (alto sax), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums). Musically, this album encompassed both the past and future of jazz. Davis showed he could play blues and bebop (accompanied by Garland), but the centrepiece is the title track, a composition by Davis around the Dorian and Aeolian modes and with the free improvisational modal style Davis made his own. This modal style flourished on 'Kind of Blue' (1959), an album that became a landmark in modern jazz and the most popular album of Davis' career. It eventually sold over two million copies, a phenomenal success for a jazz record. The sextet improvised on short modal themes that had not been rehearsed beforehand. In the group, Bill Evans took over the piano, bringing classical influences to the group. On one of the tracks, Wynton Kelly played piano. He later became a permanent member of the group. After 'Kind of Blue', the group broke up. Coltrane, Evans and Adderley continued as bandleaders. Miles Davis found less inspiration, and his group changed line-ups regularly.
In 1964, Miles Davis formed his second major quintet. Herbie Hancock on piano, Wayne Shorter on saxophone, Ron Carter on bass and the still young Tony Williams on drums. Davis stated, "You have to know the rules first to then be able to break them." Jazz standards were played live, pushing the boundaries of tradition. Long improvisations with much emphasis on harmonic boundaries and tight group playing allowed him to play with texture more than before. Live, he played standards and in the studio new work, especially compositions by his saxophonist Wayne Shorter. The limits were reached on 'Live at Plugged Nickel'. It formed a counterpoint to the free jazz of Ornette Coleman, whom Davis revered in his autobiography. In June 1970, Miles Davis, Chick Corea, Keith Jarrett, Dave Holland, Jack DeJohnette and John McLaughlin, among others, met for four nights at the modest nightclub The Cellar Door in Washington, D.C. A six-song CD of those performances was released in 2006. In the late 1960s, Davis went electric with an electric piano, electric bass and an electric guitar. The 'groove' became important. After Davis heard 'Machine Gun' by Jimi Hendrix at the Isle of Wight Festival, Davis immediately wanted to start a band with him. "It's that goddamned motherfucking 'Machine Gun'," Miles replied when asked what he thought of Hendrix's music. Due to Hendrix's death, it never took place. In the 1970s, he tried to reach black youth by putting funk influences in his music. As heard on the revolutionary album 'On The Corner'. 'Bitches Brew' (1970) became a landmark for emerging jazz fusion music. In late 1975, Davis withdrew from music and no longer wanted to play the trumpet. He again struggled with addiction, this time to cocaine and alcohol. Poor health, partly caused by years of excessive drug use, led to a radio silence of almost six years. Miles Davis returned to music anyway. His style changed more to a pop style. He recorded new, intriguing albums such as electronic-driven Tutu or Amandla, as well as Spanish-flavoured music for the film Siesta (Mary Lambert, 1987) with Ellen Barkin and Gabriel Byrne. Miles Davis died in Santa Monica, California, in 1991. He was 65. Already in a coma, he died of pneumonia following a severe stroke and was buried next to Duke Ellington at Woodlawn Cemetery in The Bronx, New York. Davis was married to Frances Taylor (1958-1968), Betty Mabry (1968-1969) and actress Cicely Tyson (1981-1988). He had four children: Cheryl (1944), Gregory (1946), Miles IV (1950) and Erin (1970). Twenty-four years after Davis' death, he was the subject of Miles Ahead (2015), a biopic co-written and directed by Don Cheadle, who also portrayed him. Its soundtrack functioned as a career overview with additional music provided by pianist Robert Glasper and associates. In 2020, the trumpeter was also the focus of director Stanley Nelson's documentary Miles Davis: Birth of the Cool, which showcased music from throughout Davis's career.
Sources: William Ruhlmann (AllMusic), Piotr Strzyzowski (IMDb), Claudio Carvalho (IMDb), Wikipedia (Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
Made this wallpaper one day after downloading a bunch of CD covers for my itunes. Then made it bigger.
Mural painting in progress on the side of the Keystone Korner, San Francisco's "bona fide psychedelic Jazz club". Located on Vallejo St. and Emery Alley in the storefront that now houses the Little Garden Chinese restaurant. The Keystone Korner was SF's premier small jazz venue that featured some of the greats of the 1970's era including Miles Davis, Chet Baker, Stan Getz, Dexter Gordon, Art Blakely, and Horace Silver. The Keystone closed in 1983.
Photograph taken 1981
I had another 'Feeling Blue' shot planned but this guy had other ideas.
He does have some blue colouring (amongst the green) so will claim him for the theme anyway...!!
For the 'Feeling Blue' weekly theme in the 365 2013 Edition group.
Cuando las fiestas se vuelven encuentros...
When partys become meetings...
Part of Art parts & miles de prats series
boston, mass
october 1973
miles davis septet in concert
paul's mall / jazz workshop
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Hollywood Jazz: 1945-1972, also known as the Capitol Records Jazz Mural, adorning the south wall of the Capitol Records Building, at 1750 Vine Street, was originally painted by artist Richard Wyatt in 1990. Funded by the Los Angeles Endowment for the Arts and sponsored by the Los Angeles Jazz Society, Wyatt's mural depicts jazz legends Chet Baker, Gerry Mulligan, Charlie Parker, Tito Puente, Miles Davis, Ella Fitzgerald, Shelly Manne, Dizzy Gillespie, Billy Holiday, Duke Ellington, Nat ‘King’ Cole. After the mural had fallen into disrepair, with fading and chipped paint, Capitol Records and Wyatt remade the Hollywood icon in mosaic form in 2013.
Miles Davis
Bitches Brew
Columbia Records (1970)
Double album
Gatefold sleeve.
Double cassette version.
Digitally remastered direct from the original analog tapes.
Columbia Jazz Masterpieces (1987)
Compact disc version.
20-Bit digitally remastered.
Columbia Jazz (1999)
Includes 28-page booklet & O-Card Slip-Case
Artwork (cover painting) : Mati Klarwein
Design: John Berg
The AR 3a was one of the dream speakers of the era, top of the heap, king of the hill, the epitome of the New England sound
www.youtube.com/watch?v=PPHtQn1t1n4
Cannonball Adderly featuring Miles Davis - Autumn Leaves
Doug is a jazz lover photographer computer scientist who hails from Chicago ...
Usually I choose sexy colored autumn leaves to make a point or to get attention
This time after I listened to this song which I posted on Doug's 2nd to last upload
I found these to be more subdued
Therefore more appropriate
It is not always glamour that hits the right notes
Hope you enjoy the combination
Guy
Montreal
(Word is a series of designs for books of the Bible. This is Joshua (Blue Note). Find out more about Word.)
One thing I've tried to do through my Word project is to train myself to re-imagine Bible stories as I read them. What if David and Goliath was a boxing match in the 1930s? What if Song of Solomon was a romance novel? What if Meshach did a hand plant in the fiery furnace? This time I wondered, what if the story of Joshua and the walls of Jericho was a Blue Note album from the 1950s?
Kicking it Old (Testament) School
Yeah, I thought I was done with the Old Testament too, but there are still a few concepts like this one that just won't let me go until I create them. It's also quite possible that a talking donkey may make an appearance down the road.
This design is a square, not a rectangle. For the next one could you make a three dimensional rhombus?
Yeah, not only did I make a Bakulaic quantum leap back in the Bible, but I also made this one a different dimension than my other Word designs. The reason I did that is because it's based on the Blue Note album covers from the 1950s, all of which are square. For those of you who may not know, Blue Note is a record company mainly known for releasing jazz albums. In the 50s and 60s they helped launch the careers of jazz greats like Thelonious Monk, Kenny Burrell and Miles Davis. Their album covers (many created by designer Reid Miles) were as cool and unique as the music found inside them.
The photo I used is of the late great Miles Davis and was taken by William P. Gottlieb. When Gottlieb died in 2006, all his images were put into the public domain.
And no, I won't be doing and rhombuses. (Or is it rhombi?)
Are you gonna get your John on next week?
As I've been working through the gospels, there has been one event that has been calling to my design brain more than any other... Jesus' death and resurrection. With Easter approaching (and Ash Wednesday coming up this week) I figured I'd do a set of designs based on those events. So over the next seven weeks that is what we'll be Wording on.
Miles Davis, Paul Chambers, Randall's Island Jazz Festival, 1958. Archival pigment print. MOAD #milesdavis
miles davis
kind of blue (tape)
columbia records (1987)
cbs 460603 4
miles davis
kind of blue (cd)
columbia / legacy (1997)
triple fold-out digipak with booklet
col 494853 2
miles davis
kind of blue (vinyl lp)
columbia records (1962)
cl 1355
photography : jay maisel
design : randall martin
Made this wallpaper one day after downloading a bunch of CD covers for my itunes. Then made it bigger.
Miles Davis: Star People 1983
1. Come Get It (11'22)
2. It Gets Better (9'47)
3. Speak (8'24)
4. Star People (18'44)
5. U'n'l (5'55)
6. Star On Cicely (4'23)
(total: 58'35)
Miles: tp, keyb (Oberheim), composer, drawings on the cover
Bill Evans ts, ss - John Scofield g (solo 2, 3)
Mike Stern g (solo 1, 4)
Marcus Miller b - Tom Barney b
Al Foster dr - Mino Chinelu prc.
Teo Macero prod. - Gil Evans adviser
CBS FC 38657
LP 18.4.1985 40,- Ladyland H:ki
One of the Miles' forgotten records - on LP, maybe that's why.
And finally now in 2006 got it digitalized into my computer.
Strongly blues-influenced with two guitar heroes: Stern & Scofield.
And the legendary arranger Gil Evans is there too...