Steve Turre has made a career out of creating and realizing projects that are firmly grounded in the jazz traditions, even when he's playing his conch shells. The Bones of Art may indeed be a first for jazz. Back in 1954, trombonists J.J. Johnson (Turre's greatest influence on the instrument) and Kai Winding recorded the first of five albums with a bone duo in the frontline. Here, Turre goes one better and features three in the frontline – with no other horns. His companions are the last three trombonists to play in Art Blakey's Jazz Messengers: Robin Eubanks (on three tracks) Frank Lacy, and Peter Washington.
Intermediate/Advanced. 8 jazz originals written by Miles Davis, many recorded twice with one slower track for easier learning, and another track at a common performance tempo. A unique way to learn 8 of the most popular songs of the 50s. Most are considered jazz classics because most musicians have learned them, and all are interesting vehicles for improvising. The interesting chord changes, altered bridges, and logical melodies have been quoted in many compositions throughout the music world. Gain an insight into early Miles and gain an understanding of the transitional bop to post-bop period.
A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more. Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).