'Star People,' the blistering 1983 album from Miles Davis, is the VMP Classics Record of the Month for November 2022. It's here on 180g black audiophile vinyl pressed at RTI with AAA lacquers cut from tapes by Ryan Smith at Sterling Sound.

� These recordings, made during Sir Colin Davis' 'Indian summer' with the London Symphony Orchestra, are acknowledged amongst the finest recordings ever made of this repertoire, receiving numerous awards. � The symphonies were originally released between 2011 and 2013 and are now made available together for the first time as a splendidly packaged 3 SACD box set, including one Pure Audio Blu-ray disc. � Despite giving titles to the majority of his symphonies, Danish composer Carl Nielsen (1865-1931) was often vague about what influenced each work. � That fact notwithstanding, Neilsen was a master symphonist and his music is often mesmerizing, combining propulsive energy with lyrical invention. � 'Colin Davis establishes himself as a first-class Nielsenian on our pick of the week...' LSO0722 Symphonies Nos 2 & 3 (The Sunday Times) � Editor's Choice LSO0694 Symphonies 4 & 5 (Gramophone) � Disc of the Week LSO0715 Symphonies Nos 1 & 6 (BBC Radio 3)

Vinyl LP pressing including digital download. Showcasing the musical chemistry shared by Miles and Trane and let's fans experience the magic of both artists at the peak of their collective powers. Miles and Trane each implemented their own jazz revolutions at the time of these concerts and the electrifying sonic frisson produced by the sometimes competing/sometimes intertwining music visions of these artists perplexed contemporary jazz fans. As quoted by music historian Ashley Kahn, "it's not that the band members were so much apart, but rather that each were more themselves within the same unit - that divergence could co-exist and make music together". Focuses on the final chapter in the landmark collaboration between Davis and Coltrane - their last live performances together.

A foreshadowing of the area between rock and jazz that he would further explore with 1970's hypnotic Bitches Brew, this was Miles' first album to feature a full-blown electric approach. Incorporating elements of classical sonata form, both of the lengthy cuts featured here defy convention with 3 distinct "movements" in which harmony, rhythm and melody take a back seat to impressionistic texture. Listen closely, and you can hear the earliest inklings of modern-day fusion on Shhh/Peaceful and the equally spacey in a Silent Way/It's About That Time.

Few recordings maintain their power to utterly intoxicate for decades as Kind of Blue does. This 1959 all-time classic is one of the monuments of jazz: So What; Freddie Freeloader; Blue in Green; All Blues , and Flamenco Sketches . This vinyl release is the way to experience one of the greatest albums ever made.

180gm vinyl repressing of the mono edition of the Jazz legend's 1960 album. Sketches of Spain is considered by fans and critics alike to be one of the most accessible albums of Davis's career. Less improvisational than much of his other work, some of Davis' contemporaries suggested that Sketches of Spain was something other than jazz. Davis replied (according to Rolling Stone magazine), "It's music, and I like it".

SOMEDAY MY PRINCE WILL COME MILES DAVIS VINYL LP Someday My Prince Will Come is the seventh studio album by Miles Davis for Columbia Records, catalogue CL 1656 and CS 8456 in stereo, released in 1961. Recorded at Columbia's 30th Street Studio in Manhattan, it marked the only Miles Davis Quintet studio recording session to feature saxophonist Hank Mobley. Miles Davis - trumpet Hank Mobley - tenor saxophone on all tracks except "Teo" John Coltrane - tenor saxophone on "Someday My Prince Will Come" (master) and "Teo" Wynton Kelly - piano Paul Chambers - bass Jimmy Cobb - drums Philly Joe Jones - drums on "Blues No. 2" Frances Davis - cover model.

Classical Music

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that will be celebrated with the release of MILES DAVIS AT NEWPORT 1955-1975: THE BOOTLEG SERIES VOL. 4. The four-CD box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The newest entry in Columbia/Legacy Recordings' critically-acclaimed Miles Davis Bootleg Series, NEWPORT 1955-1975 clocks in at 296 minutes, nearly four hours of which is previously unreleased. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public perform¬ance of the '70s in 1975 (at Lincoln Center during NJF-NY, the singular "Mtume" named for Miles' favored percussion¬ist of that decade), the box set traces the ascendance of Miles' music as the ne plus ultra of jazz. The full-length concert performances alone of Miles' famed "Kind Of Blue" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

This four CD set presents four nights of historic performances at the legendary Fillmore East in New York. Presented in their complete unedited form for the first time, MILES LIVE AT THE FILLMORE : 1970 captures a moment in time and tells a compelling story through it's electrifying music, images and cultural impact!

The classic interpretation of Gershwin by Miles Davis (performing with a large ensemble) and Gil Evans (arranger and conductor). The great new sound heard here was retrieved from the 3-time Grammy nominated 6-CD set Miles Davis & Gil Evans: The Complete Studio Recordings, as well as 2 very rare bonus tracks (only available on the deluxe box set release). Packaging features great new liner notes (in addition to the original), plus commentary and lots of rare session photos.

The two most important modern jazz legends! The recordings that launched the careers of two giants and began Miles Davis' 30, year association with Columbia Records! Track listing includes "Two Bass Hit, " "Dear Old Stockholm, " "Bye Bye Blackbird, " plus lots more.

Rediscover the 1959 classic through this 20-bit remastered version with a bonus track: an alternate take of Flamenco Sketches. Recorded at Columbia 30th Street Studio, New York City on March 2, 1959 (tracks 1–3) and April 22, 1959 (tracks 4–6). Remixed from the original three-track tapes at Sony Music Studios, using a Presto all-tube, three-track recorder.

After the success of the 4-CD deluxe box set the Complete Bitches Brew Sessions, Legacy has expanded and improved upon the original 2-LP set in several ways. This release features the same 20-bit digitally remixed and remastered sources from the box set, and also boasts one rare bonus track, "Feio" by Wayne Shorter. Both original and new liners are included in the package, as well as a booklet filled with rare and/or unpublished photos. First 75,000 in limited edition slipcase!

Limited double vinyl LP pressing of this collection from the jazz legend. Spanning over 40 years (1945-86) and seven labels, this set captures Miles at every stage of his career, from his early recordings with Bird ('Now's the Time') through Miles' own triumphs ('Round About Midnight', 'Miles Runs the Voodoo Down') to his late recordings ('Time After Time'). Trumpeter and bandleader Miles Davis was a major catalyst for the evolution of modern music. This double vinyl release is an excellent sampler of his limitless creative genius. Davis's middle-register trumpet accommodated a myriad of styles, from the bebop classic "Now's the Time" to the Snow White waltz "Someday My Prince Will Come" to the modal masterpiece "So What" (from Kind of Blue).

Venue: La Grande Halle, La Villette, Paris, France - Date: 10th July 1991. Miles was renowned for never revisiting the past, even though many fans, critics and concert promoters always hoped that he would. Then, in July 1991, Miles went back, Miles arrived at Paris to play this special gig. It was simply advertised as "Miles and Friends" and neither the audience nor Miles' band had any idea on what they were about to witness. Playing with Miles was an amazing roll-call of past musical associates from the 1950s, 60s, 70s and 80s: Chick Corea, Bill Evans, Al Foster, Steve Grossman, Herbie Hancock, Dave Holland, Darryl Jones, John McLaughlin, Jackie McLean, John Scofield and Joe Zawinul. Miles' band members were Kenny Garrett, Foley, Deron Johnson, Richard Patterson and Ricky Wellman. This is the final volume of the Miles Davis "Lost" series (double CD). This time it's a lost concert he recorded in Paris just 3 months before he died.

One challenge of this frustrating time has been finding methods to handle grief. The loss of loved ones, enforced isolation, and abounding uncertainty have only heightened anxiety and it's painful effects. Learning how to cope with grief and work through it is imperative for one's mental health. // Saxophonist and composer Caroline Davis has done much to try to allay her own emotions after the harsh period she dealt with in 2019. Davis lost her father early in the year and was trying to cope with this devastating event when the pandemic descended. She turned to research and creation to work herself out again. Her new recording, Portals, Volume 1: Mourning, is a culmination of a year of suffering, accepting, and channeling her mourning through a unique process to find equilibrium through composition and reflection. // Davis has always found ways to deepen her musical work by allowing her current preoccupations drive the generation of her art. When her father suddenly passed, Davis was stunned and needed to find a way to express her feelings. She read about grief and trauma, studying the work of Bessel van der Kolk, Mary Oliver, Resmaa Menakem, and Margaret Stroebe. K�bler-Ross's five stages of grief did not occur in a similar sequence for Davis, so she looked toward the self-help and mystical teachings her father expressed interest in, even up until his passing. // Looking back on her time with her father, Davis began to realize that she must deal not only with the immediate results of his passing but with the legacy of residual pain that he inflicted, intentionally or not. Living at a distance from one another, and his workaholic lifestyle, made things difficult in their relationship. Davis was still wrestling with this. // A welcome aid to Davis's recovery and work was a residency at the McDowell Artists' Colony in New Hampshire. At McDowell, she was able to begin sculpting what would become the pieces on Portals, Volume 1. A grant from the Jerome Foundation made it possible for her to complete the remainder of the compositions and recording in 2020. // Portals, Volume 1 is a collection of pieces that Davis wrote for her current quintet along with a string quartet, her first time orchestrating for this instrumentation. The quintet has been her regular group since 2019 and features trumpeter Marquis Hill, pianist Julian Shore, bassist Chris Tordini, and drummer Allan Mednard. For the string quartet, Davis knew that she desired string players who placed improvisation at the center of their practice. Having had the good fortune to work previously with a number of multi-talented players, she was able to recruit violinists Mazz Swift and Josh Henderson along with violist Joanna Mattrey and cellist Mariel Roberts. // The recording was made at Oktaven Audio in Mt. Vernon, New York during December 2020. The studio was a perfect environment for the musicians, and each had COVID tests prior to the dates. Engineer Ryan Streber offered advantageous assistance, helping with pacing and following the musical scores, insuring that every nuance was captured. // The experience of trauma is remembering, and reflecting on the past helps to consolidate, as feelings can be complicated and change over time. Examining her bodily reactions and re-drawing physical elements like heart rate, breathing, and eye movements, became a central part of Davis's practice. These strategies recognized the full scope of using her body as a portal in the process of healing.

One challenge of this frustrating time has been finding methods to handle grief. The loss of loved ones, enforced isolation, and abounding uncertainty have only heightened anxiety and it's painful effects. Learning how to cope with grief and work through it is imperative for one's mental health. // Saxophonist and composer Caroline Davis has done much to try to allay her own emotions after the harsh period she dealt with in 2019. Davis lost her father early in the year and was trying to cope with this devastating event when the pandemic descended. She turned to research and creation to work herself out again. Her new recording, Portals, Volume 1: Mourning, is a culmination of a year of suffering, accepting, and channeling her mourning through a unique process to find equilibrium through composition and reflection. // Davis has always found ways to deepen her musical work by allowing her current preoccupations drive the generation of her art. When her father suddenly passed, Davis was stunned and needed to find a way to express her feelings. She read about grief and trauma, studying the work of Bessel van der Kolk, Mary Oliver, Resmaa Menakem, and Margaret Stroebe. Kübler-Ross's five stages of grief did not occur in a similar sequence for Davis, so she looked toward the self-help and mystical teachings her father expressed interest in, even up until his passing. // Looking back on her time with her father, Davis began to realize that she must deal not only with the immediate results of his passing but with the legacy of residual pain that he inflicted, intentionally or not. Living at a distance from one another, and his workaholic lifestyle, made things difficult in their relationship. Davis was still wrestling with this. // A welcome aid to Davis's recovery and work was a residency at the McDowell Artists' Colony in New Hampshire. At McDowell, she was able to begin sculpting what would become the pieces on Portals, Volume 1. A grant from the Jerome Foundation made it possible for her to complete the remainder of the compositions and recording in 2020. // Portals, Volume 1 is a collection of pieces that Davis wrote for her current quintet along with a string quartet, her first time orchestrating for this instrumentation. The quintet has been her regular group since 2019 and features trumpeter Marquis Hill, pianist Julian Shore, bassist Chris Tordini, and drummer Allan Mednard. For the string quartet, Davis knew that she desired string players who placed improvisation at the center of their practice. Having had the good fortune to work previously with a number of multi-talented players, she was able to recruit violinists Mazz Swift and Josh Henderson along with violist Joanna Mattrey and cellist Mariel Roberts. // The recording was made at Oktaven Audio in Mt. Vernon, New York during December 2020. The studio was a perfect environment for the musicians, and each had COVID tests prior to the dates. Engineer Ryan Streber offered advantageous assistance, helping with pacing and following the musical scores, insuring that every nuance was captured. // The experience of trauma is remembering, and reflecting on the past helps to consolidate, as feelings can be complicated and change over time. Examining her bodily reactions and re-drawing physical elements like heart rate, breathing, and eye movements, became a central part of Davis's practice. These strategies recognized the full scope of using her body as a portal in the process of healing.

A Miles masterpiece as the artist transitions from old to new! Frelon Brun; Tout de Suite; Petits Machins; Mademoiselle Mabry, and Filles de Kilimanjaro.

Limited vinyl LP pressing. This aptly named 1957 album by jazz icon Miles Davis includes three sessions originally recorded between 1949 and 1950. What would go on to become known as cool jazz, these recordings were complex in arrangement, with just the right touch of restraint from Davis and the rest of his ensemble. Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title implies, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long. Forever hip and innovative, this vinyl reissue is a timeless classic for any jazz collection.

SOMEDAY MY PRINCE WILL COME

Remastered 180-gram vinyl. The wonderful Post-Bop album Miles Smiles (1967) was recorded by Davis's second great quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. The album showcases Davis' deeper exploration of modal performance with looser forms, tempos, and meters. Although it did not follow the conventions of Bop, the album did not follow the formlessness of Free Jazz.

This 1956 recording features Miles' first recording of My Funny Valentine.

Unavailable in the U.S.! Miles Davis' moody, evocative music for the Louis Malle movie (translation: The Lift to the Scaffold) comes in two different forms on this reissue. There is a chronological sketch pad of tracks which didn't appear in the original release, or appeared in altered form, and tracks 16-26, which comprise the body of the original release, complete with the odd dollop of post-production echo to italicize the film's dramatic content. Recorded on December 4-5, 1957, the music for the film has an elegant, romantic air to it. In the company of such French jazzmen as Pierre Michelot and tenor saxophonist Barney Wilen, this soundtrack is something of a throwback to the feel of Miles' early '50s Blue Note recordings with drummer Kenny Clarke. Rarely has Miles' open tone been more poignant, and that bittersweet quality probably owes something to Miles' ongoing affair with the film's leading lady, Jeanne Moreau.

More than 30 years ago Miles Davis recorded this music in the company of such other giants as Milt Jackson, Thelonious Monk, Kenny Clarke, Percy Heath, Sonny Rollins, and Horace Silver. Today the music they made is regarded as classic. "Bags' Groove," in two versions, is a perfect illustration of the improvisatory process, and the various delights that can develop from take to take; the date with Rollins reveals his development toward major status. It is hard to believe that having heard these 1954 recordings, the critics could have called Davis's triumph at the Newport Jazz Festival in 1955 a "comeback." with Milt Jackson, Thelonious Monk, Percy Heath, Kenny Clarke, Sonny Rollins, Horace Silver. Tracks: Bags' Groove (2 takes), Airegin, Oleo, But Not for Me (2 takes), Doxy.