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. A great little set – never issued before, but recorded at the same time as Wilen's classic 1959 album Barney, caught live at the Club St-Germain with a group that includes Kenny Dorham on trumpet, Duke Jordan on piano, Paul Rovere on bass, and Daniel Humair on drums. Like the Barney album, these tracks are fantastic – some of the most open-ended playing that Wilen ever did in the 50s, and proof that his tenor work was some of the best jazz coming out of Europe in the postwar years! All tracks are long – and titles include "Reets & I", "The Best Things In Life Are Free", "All The Things You Are", "Round Midnight", and "Time On My Hands".
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.
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!
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.
Reissue with the latest 2015 remastering. Comes with liner notes. Nicely sharp sounds from the great JJ Johnson – a set that has the trombonist really honing his edge on a host of tight, short tracks – with a vibe that almost recalls his initial bop recordings on Blue Note and Prestige! The style here is a bit more sophisticated – definitely with an ear towards the modern directions that JJ was exploring in the 50s – but the sound is also nicely spontaneous, with more focus on improvisation between group members than larger arrangements – quite nice, given that the group features excellent tenor from Bobby Jaspar on tenor – and either Tommy Flanagan or Hank Jones on piano, Percy Heath or Wilbur Little on bass, and Elvin Jones on drums. Tracks are short, and titles include "Overdrive", "Cube Steak", "Chasin The Bird", and "Solar".
Reissue with the latest 2015 remastering. Comes with liner notes. One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label.