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专辑名称: That's What Happened 1982-1985: The Bootleg Series, Vol. 7
创作艺人: [Miles Davis]
音乐流派: Jazz|爵士
专辑规格: 3碟28首
出品公司: Columbia – Legacy
发行时间: 2022/9/16
官方标价: £15.49 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Santana
Minor Ninths, Part 1
Minor Ninths, Part 2
Celestial Blues, Part 1
Celestial Blues, Part 2
Celestial Blues, Part 3
Remake Of OBX Ballad
Remake Of OBX Ballad (Full Studio Session)
Freaky Deaky, Part 1
Freaky Deaky, Part 2
Time After Time (Alternate)
Time After Time (Full Studio Session)
Theme From Jack Johnson (Right Off) / Intro
Never Loved Like This (Studio Session Demo)
Hopscotch (Slow)
Hopscotch (Fast)
What's Love Got To Do With It
Human Nature (Alternate)
Katia (Full Studio Session)
Speak (That's What Happened) (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
Star People (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
What It Is (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
It Gets Better (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
Hopscotch (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
Star On Cicely (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
Jean-Pierre (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
Code 3 (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
Creepin' In (Jam) (Live at Theatre St-Denis, Montreal, Canada – July 7, 1983)
详细介绍:
Few musicians generated as much hate and love as Miles Davis. Every time this serial re-inventor changed musical directions, fans howled or grudgingly followed. If you loved his cool jazz, you hated his bop. Fans of his bop period despised his turn to fusion. And even the fusion lovers were baffled by his leap into funk. This set explores Davis%27 final studio recordings for Columbia Records—the label he signed with in the 1950s—when he was still searching for new sounds and unwilling to be anything less than a moving target despite his powers on the trumpet being much reduced. It also provides clues to several still-controversial Miles mysteries: Did he have anything important left to say after 1975? Are the albums Davis made after his return to music in 1980 just a noodley, disappointing anti-climactic finale to a brilliant career? And when in 1985, he covered a Michael Jackson hit on the You%27re Under Arrest album was it a travesty or a bold artistic risk?
In 1975 after a run of increasingly raw and aggressive live albums, Davis dropped out of music altogether and holed up in his apartment on Manhattan%27s Upper West Side, going on something of a five-year binge. After several tentative steps that included The Man with the Horn (1981), the live Grammy-winning set We Want Miles (1982), Davis (now married to model-turned-actress Cicely Tyson, who helped pull him out of his half-decade bender) recorded Star People (1983) and Decoy (1984). On those records, Davis was again changing his music, this time leaning not only into Jackson, Cyndi Lauper, and other pop music of the time but also the emerging electronics and software revolution that continues to this day. According to an interview from that era quoted in the liner notes Davis said, I like strong melodies, broken rhythm, and colors from the synthesizers. That sums up much of the content on these unreleased outtakes from his 1980s recording sessions.
Captured during the Star People sessions, the mix of the previously unreleased tune Santana is the template for much later Miles: muscular funk rhythms over which he, saxophonist Bill Evans, and guitarist Mike Stern solo. The two-part Minor Ninths from the same sessions is an interesting duo combination of trombonist J.J. Johnson and Miles on keyboards. Another unreleased Star People track, Remake of OBX Ballad, heard in two versions here, also features Davis playing only the Oberheim synthesizer. In the much-derided pop tunes from You%27re Under Arrest (Time After Time and Human Nature), which undoubtedly brought Davis to an entirely new audience, he mirrors the song%27s well-known vocal parts on trumpet. Taken at a leisurely tempo, the unreleased version of Tina Turner%27s What%27s Love Got to Do with It from those sessions with Bob Berg on soprano sax is a minor revelation. A particularly wonderful touch sprinkled in among the studio material are the snatches of Davis%27 inimitable whispery voice left in at the end of tracks. Also included is a 1983 performance recorded live in Montreal at the Théâtre St. Denis by Guy Charbonneau/Le Studio Mobile Montreal, much of which confirms Davis was still committed to his discovery of the late %2770s, namely darting his trumpet in and out over rumbling funk grooves. Besides Evans, guitarist John Scofield, who first made a name for himself as a Davis%27 sideman, is featured on tracks like the upbeat, What It Is. Davis%27 rendition of Star People belies the oft-heard complaint that by the 1980s he no longer had the desire nor the chops to dig in and play. Equally adored and misunderstood, Davis%27 restless creativity always provoked questions. Asked in the 1980s why he changed his music so many times, he replied You don%27t change music, music changes you.’ © Robert Baird/Qobuz
