Of Miles Davis's many bands, none was more influential and popular than the quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Davis's muted ballads and medium-tempo standards endeared him to the public. The horns' searing exposition of classics like "Salt Peanuts" and "Well, You Needn't" captivated musicians. The searching, restless improvisations of Coltrane intrigued listeners who had a taste for adventure. The flawless rhythm section became a model for bands everywhere. Steamin' With The Miles Davis Quintet is, in many respects representative of the total work of the quintet, it affords an excellent opportunity to examine just what this remarkable music was and how it was made. Such chemistry is inexplicable, and so, apparently, is the personality of the man who generated it.
Oh Mercy was hailed as a comeback, not just because it had songs noticeably more meaningful than anything Bob Dylan had recently released, but because Daniel Lanois’ production gave it cohesion.
The quirky, orchestrated folk-rock of Nico's 1968 debut album, Chelsea Girl, in no way prepared listeners for the stark, almost avant-garde flavor of her 1969 follow-up, The Marble Index.
Features Szabo where he shone brightest — live. Good performances of reliable staples: “People,” “Stormy” and, of course, “Spellbinder.” “Sombrero Sam” features a brief, welcome reunion with Charles Lloyd. Not available on CD.
Three weeks after completing his meeting with Luiz Bonfá and only two days after the epochal Getz/Gilberto sessions, Stan Getz was back in the studio recording more bossa nova.
After Karma was issued and Sanders had established himself — to himself — as a musician who had something valuable and of use to say, he was on what this critic considers to be a divinely inspired tear.
This is a major set, “new” music from John Coltrane that was recorded February 15, 1967 (five months before his death) but not released for the first time until 1995.