《迈尔斯戴维斯·泛蓝调调》是20世纪顶尖爵士乐手最完美的一次经典录音，透过重新数位制作呈献细腻感动的质素；也是认识史上最伟大爵士巨人Miles Davis的入门推荐，与爵士乐迷收藏的必备经典！

素有“黑暗王子”之称的小号巨擘 Miles Davis （1929-91）是一位奠定50年代酷派（Cool School）冷调风格，开创60年代末期Jazz-Rock 融合（Fusion）新乐风的先锋；受到波普（Bop）时期最具代表性萨克斯风大师Charlie Parker提携，Miles Davis由纽约52街的酒吧表演跨入大乐团，而后自组五重奏的历程，不仅绽放个人深刻色彩，更跨越肤色藩篱成就后起之秀。这张专辑除了获得企鹅爵士五星最高评价，也是各家乐评一致推荐的世纪不朽作品；自1959年发行至今届满四十周年，美国当地销售超越七十万张，全球销售高达两百万张。

“Kind Of Blue”谱写酷派爵士时期，调式爵士（modal）经典代表；由Miles Davis与作曲及钢琴家Bill Evans共同蕴织出主要行进线，以贯穿整张专辑的概念为主轴，藉着其他乐手的加入而渲染蔓延转化层次分明的无际空间。参与本专辑的乐手们在日后皆成为爵士乐界要角，而“Kind Of Blue”也是 Miles Davis五重奏巅峰时期的专辑，每一位乐手表现超高水准。中音萨克风手John Coltrane与Miles共有的灵巧思绪以纯熟的默契化作柔畅的旋律，在最具代表性曲目“So What”中，可以发现两人即兴演奏的精彩绝伦。而高音萨克斯风手“Connonball” Adderley、贝斯名将Paul Chambers和鼓手James Cobb在Miles穿针引线的前导带领，凝聚演绎技巧绝妙境界的最高张力。只出现在“Flamenco Sketches”一曲的钢琴大师Wynton Kelly，同样跟乐手们演出完美契合的对话，专辑还有未曾在黑胶唱片时收录的版本！

01 那又如何 So What
02 不速之客弗莱迪Freddie Freeloader
03 绿中蓝Blue in Green
04 绝对布鲁斯All Blues
05 弗拉门高素描Flamenco Sketches
06 弗拉门高素描（黑胶唱片未收录版本）

Recorded in New York, December 24, 1954 • Digitally Remastered 2020
MILES DAVIS and the Modern Jazz Giants
Miles Davis - trumpet
Milt Jackson - vibraphone
Thelonious Monk - piano
Percy Heath - bass
Kenny Clarke - drums

Big Fun is a double album by American jazz recording artist Miles Davis, released April 19, 1974, on Columbia Records. It contains tracks recorded between 1969 and 1972 by Davis. Largely ignored on its original release, it was reissued on August 1, 2000 by Columbia and Legacy Records with additional material, which led to a belated critical reevaluation.

Given that Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album's release, Davis had already broken up the band, which reformed with Cannonball Adderleya year later as a sextet, but it was a tense year. Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz -- both cool jazz and hard bop -- and was beginning to move in another direction here that wouldn't be defined for another two years. Besides the obvious lyrical and harmonic beauty of "Round About Midnight" that is arguably its definitive version even over Monk's own, there are the edges of Charlie Parker's "Au Leu-Cha" with its Bluesology leaping from every chord change in Red Garland's left hand. Coltrane's solo here too is notable for its stark contrast to Davis' own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter's "All of You" has Davis quoting from Louis Armstrong's "Basin Street Blues" in his solo that takes out the tune, and Coltranehas never respected a melody so much. But it's in "Bye-Bye Blackbird" that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Garlandis doing more than comping in the background; he's slipping chord shapes into those interval cracks and shifting them as the rhythm section keeps "soft time." When Coltranemoves in for his break, rather than Davis' spare method, he smatters notes quickly all though the melodic body of the tune and Garlandhas to compensate harmonically, moving the mode and tempo up a notch until his own solo can bring it back down again. Which he does with a gorgeous all-blues read of the tune utilizing first one hand and then both hands to create fat harmonic chords to bring Davis back in to close it out. It's breathtaking how seamless it all is. There's little else to say except that Round About Midnight is among the most essential of Davis' Columbia recordings.

Workin' with the Miles Davis Quintet is an album by the Miles Davis Quintet, released in January 1960 by Prestige Records. It was recorded in two sessions on May 11 and October 26, 1956, that produced four albums: this one, Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet and Cookin' with the Miles Davis Quintet.

Track 2 is a composition written for Davis by Eddie Vinson (see Blue Haze for more details). "Trane's Blues" (also known as "Vierd Blues", a tongue-in-cheek reference to Blue Note founder Francis Wolff's heavily accented verdict on it), also credited to Davis, is in fact a John Coltrane composition (originally titled "John Paul Jones", and from an earlier session led by bassist Paul Chambers; before the closing statement of theme, Coltrane and Davis play a bit of Charlie Parker's "The Hymn").

Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

Release Date: Jul 30, 1969
Recording Period: Feb 1969
Label: Columbia Records

Miles Davis, Trumpet
Wayne Shorter, Soprano Saxophone
John McLaughlin, Electric Guitar
Herbie Hancock, Electric Piano
Chick Corea, Electric Piano
Joe Zawinul, Organ
Dave Holland, Bass
Tony Williams, Drums
Teo Macero, Producer
Stan Tonkel, Engineer

12th Annual GRAMMY Awards, Mar 11, 1970
Nominated for Best Instrumental Jazz Performance, Small Group Or Soloist With Small Group

GRAMMY Hall of Fame Inductee, Feb 21, 2001

Some covers have a subtitle "Directions In Music By Miles Davis" printed on front cover bottom right.

Bitches Brew is a studio double album by jazz musician Miles Davis, released in June of 1970 on Columbia Records.[1] Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August of 1969. The album continued Davis' experimentation of electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.
Often cited as one of Davis' best-selling albums and masterpieces, Bitches Brew marked a turning point in modern jazz. Upon release, it received mixed criticism from fans and critics, alike, due to the album's unconventional style and revolutionary sound. Later on, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians.[2] In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc box set that included the original album as well as ensuing studio sessions through February 1970.

Release Date: Jul 22, 1968
Recorded January 16 and May 15-17, 1968 at Columbia 52nd Street Studios, New York City.
Label: Columbia Records

Miles Davis, Trumpet
Wayne Shorter, Tenor Saxophone
Herbie Hancock, Piano, Electric Piano
Ron Carter, Bass
Tony Williams, Drums
George Benson, Electric Guitar
Teo Macero, Producer
Frank Laico, Engineer

11th Annual GRAMMY Awards, Mar 12, 1969
Nominated for Best Instrumental Jazz Performance, Small Group Or Soloist With Small Group