Jazz at the Plaza is a live album by Miles Davis. It was recorded in 1958 and released in 1973 by Columbia Records. A great lost live set – recorded in 1958 during that pivotal time when Miles was working with Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Philly Joe Jones. The whole thing's a great example of how the group could hold up the perfection of Kind Of Blue in a live setting – and the long tracks include "Straight, No Chaser", "If I Were A Bell", and "Oleo".
Reissue with latest 2014 DSD remastering. Comes with liner notes. Jazz at the Plaza Vol. II is a live album by American pianist, composer and bandleader Duke Ellington recorded in 1958 at a party for Columbia Records and released on the label in 1973. The Miles Davis Sextet was also recorded at the same event and released as the first volume of Jazz at the Plaza. An intimate live session from Duke Ellington and his great late 50s orchestra – presented here at a private party hosted by Columbia Records at the Plaza Hotel in New York – at a time when Ellington was making some of his best music for the label! The tracks here are every bit on a par with Duke's late 50s gems for Columbia – and have the orchestra stepping out strongly on short numbers that maybe have a bit more swing and a bit less overall concept – as the soloist shift, and shine nicely on each tune!
Special priced-down reissue available only for a limited period of time until December 21, 2015. Comes with liner notes. Finally, a non-bootleg issue of one of Miles Davis' greatest electric performances ever. In fact this is the very first of the Miles Davis Quintet's electric gigs – it was also one of the last four performances of this great band. Not just recorded, but performed. The band, consisting of Davis, Wayne Shorter on soprano and tenor, Chick Corea on Fender Rhodes, Dave Holland on both acoustic and electric bass, and Jack DeJohnette on drums. With percussionist Airto Moreira providing color and texture, the band became a sextet.
Back in 1958, Jazz at the Plaza was never meant to be a record; it was a Columbia party at the Plaza, a place jazz had never been played before. Also on the bill were Duke Ellington, Billie Holiday, and Jimmy Rushing. Despite the fine remastering job done by the Sony crew, Jazz at the Plaza remains more a curiosity piece than an essential recording by a remarkable band, strictly because of its dodgy recording quality. The 40-minute set is plagued by the problem of barely being able to hear Davis in places, particularly on the stellar opener, "If I Were a Bell," and Evans is all but absent on much of the record.
The creative vision of Miles Davis was at its most mercurial in the late '60s and early '70s. He advanced the language of jazz (and pop) not just … Full Descriptionwith each album, but practically with each gig. A perfect case in point is this live two-disc set. LIVE AT THE FILLMORE EAST is like manna from heaven for Miles fans, its nine cuts all previously unreleased performances from a formation of Miles's band that didn't stabilize long enough for a studio release. A considerably different version of this band had recorded the groundbreaking BITCHES BREW not much more than six months before this Fillmore appearance, but the record released as AT THE FILLMORE in 1971, featured yet another incarnation, sans Wayne Shorter, whose last gig with Miles is captured here.
Accordingly, this release finds Davis and cohorts in transition between the abstract jazz-rock of BITCHES BREW and the funkified, modal jams of subsequent recordings. The two sets documented here draw largely from BITCHES BREW, but the variations just a few months down the line are startling. Chick Corea's ring-modulated electric piano creates a Stockhausen-like maelstrom of sound, while Shorter plays some of the most daring, freewheeling solos of his career. Dave Holland splits the difference between funk, rock, and jazz, joining with Jack DeJohnette's roiling drums to forge a tumbling sonic carnival ride. The entire band blazes through every tune working on all cylinders, making a monstrously joyful noise by which the rest of us are still edified, even decades after the fact.
Some performances get talked about decades after they happened. It's all about "you had to be there" and if you would believe all the people who claimed to be present at such a show, the venue would have collapsed. Two of those shows are now released in full. Trumpet maestro Miles Davis performed at the Concertgebouw in Amsterdam on April 9 and October 15, 1960. John Coltrane was on sax in April and his replacement Sonny Stitt played in October. With Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Miles Davis was on fire both nights.
Cookin' is the first of four albums derived from the Miles Davis Quintet's fabled extended recording session on October 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player…