Miles Davis has been on the wrong side of the grass now for a couple of years, but Columbia is promoting his work as well as - if not better than - when he was alive through the company's Jazz Masterpiece series.
Included among the current re-releases is "Miles Ahead (+19)" (CD CK 35225), an album I bought 36 years ago on LP. It remains one of my favorite albums, and it was one of Davis' favorites, too, thanks to arranger Gil Evans."I loved working with Gil because he was meticulous and creative, and I trusted his musical arrangements completely," Davis said in his autobiography. "We had always been a great musical team and I really realized it this time when we did `Miles Ahead'; Gil and I were something special together musically."
After the album was released in 1957, Dizzy Gilespie asked Davis for another copy of the record because he had played it so much within three weeks he had worn it out, saying, "It was the greatest." "Man," said Davis, "that was one of the greatest compliments I've ever had, for someone like Dizzy to say that about something I've done."
No jazz collection is complete without this one.
Columbia has also re-released "Sorcerer," which was originally recorded in 1967 (CD CK 52974) and "Miles in the Sky" (CD CK 48954), which came out a year later. This was a fertile time of Davis' career, as his group was one of his best: Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter. On the cover of "Sorcerer" is actress Cicely Tyson, who was Davis' main squeeze at the time.
There are only four cuts on "Miles in the Sky," including Shorter's "Paraphernalia," which featured a young guitarist named George Benson.
It was the first time Davis had ever used a guitar in his group.
And, in a surprise move, Columbia has re-issued "On the Corner" (CD CK 53579).
Why a surprise?
"On the Corner" was a controversial record for Davis, who did not flinch when it came time to try something new. Davis said he geared the album toward the young black listener, but he blamed the record company for marketing it like any other record. "On the Corner" was delivered to the traditional jazz radio stations for play, stations the young blacks ignored. The older folks who did listen hated it. All that electric guitar and synthesizers.
The critics were brutal, writing, "His new music is pure arrogance" and "repetitious boredom" and "Nameless, faceless go-go music" and "an insult to the intellect of the people."
Even Stan Getz, during a Downbeat blindfold test, said, "That music is worthless. It means nothing. There is no form, no content and it barely swings."
Compared to some of today's garbage directed toward the young listener, "On the Corner" is tame.