Miles Davis

The last major studio work/experiment/stylistic shift that Miles Davis embarked on. Again utilizing the studio as a science lab with producer Teo Macero, the resultant albums of the mid-'70s, On The Corner and Get Up With It, firmly closed the door on purist jazzbos paying mind to what was going on in Davis' head. Their loss then. Miles was aiming to stretch the funk all-our-lives long. The fact that this whole set sounds so inscrutably magnificent and continues to hold mystery within its elemental grooves more than 30 years later goes some way to establish that he achieved just that.

Fission — not fusion — is the right word to describe the music on these six CDs, at least
according to my dictionary: "a cleaving of parts; the splitting of an atomic nucleus resulting
in the release of large amounts of energy." Nothing in these recordings, made by Miles Davis
during his most radical, electric-funk era, from 1972 to 1975, moves in consort to a fixed
resolution: saxes, guitars, tumbling percussion; even Davis' commanding gales of... More >