{"id":9743,"date":"2021-05-09T16:06:12","date_gmt":"2021-05-09T20:06:12","guid":{"rendered":"https:\/\/www.mosaicrecords.com\/?p=9743"},"modified":"2021-09-06T05:11:31","modified_gmt":"2021-09-06T09:11:31","slug":"miles-davis-kind-of-blue-mosaic-records","status":"publish","type":"post","link":"https:\/\/www.mosaicrecords.com\/miles-davis-kind-of-blue-mosaic-records\/","title":{"rendered":"Miles Davis With John Coltrane Kind Of Blue"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9765″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

The Columbia Recordings Of Miles Davis With John Coltrane<\/h2>\n[\/vc_column_text][vc_zigzag el_width=”70″][vc_column_text]\n

Kind Of Blue Sessions<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

The Complete Columbia Recordings Of Miles Davis With John Coltrane<\/strong><\/p>\n

By Bob Blumenthal<\/strong>
\nThe Miles Davis Quintet that took shape in late 1955 was built primarily around the relationship between Davis and drummer Joseph Rudolph \u201cPhilly Joe\u201d Jones, a running buddy who often hit the road with Davis for gigs, while the rest of the band was drawn from local players. Paul Chambers, the young bass player from Detroit, had been recommended by Jackie McLean, who was working with Chambers at the time in pianist George Wallington\u2019s band; but it was Jones who had introduced Davis to pianist Red Garland in 1953 and Jones who ultimately suggested Coltrane.<\/p>\n

Miles Davis\u2019<\/span><\/a> knowledge regarding Coltrane at that point centered around a session several years earlier at the Audubon Ballroom, where the young saxophonist had been clearly outclassed by Rollins. Somebody had to fill the open slot, though, so Coltrane started to rehearse with the new group.<\/p>\n

For John Coltrane, this was the biggest break yet in what had been a low-profile career. Coltrane had started on alto sax, then switched to tenor in 1947 when he joined the band of blues singer and alto saxophonist Eddie \u201cCleanhead\u201d Vinson. Coltrane and his friend Jimmy Heath then joined Dizzy Gillespie\u2019s big band as alto players in 1949, though each returned to tenor in subsequent separate stays with Gillespie\u2019s small group.<\/p>\n

Coltrane was an undistinguished journeyman with what was generally considered an abrasive tone and odd, angular ideas. \u201cI wasn\u2019t excited,\u201d Davis admitted in his autobiography; yet, in the next breath, he reports, \u201cFaster than I could imagine, the music that we were playing together was just unbelievable.\u201d<\/p>\n

Miles Davis and John Coltrane<\/span><\/a> would continue to make unbelievable music together, on and off, for the rest of the decade. They did not hang out together after the gig\u2014\u201cAll Coltrane lived for was to play music,\u201d noted the far more worldly Davis. As a recovered addict, Davis also became so disgusted with the way drugs were affecting Coltrane that he fired the saxophonist at the end of 1956.<\/p>\n

Yet Davis was fascinated by Coltrane\u2019s daring conception, and recognized that his tenor provided the ideal contrast to his own playing. Coltrane for his part considered Davis a musical pioneer, and appreciated the freedom inherent in his boss\u2019 evolving approach. After confronting his drug problem the way Davis had, by going home and toughing it out with the support of his family, Coltrane ultimately returned to the band.<\/p>\n

Ambitious orchestral projects with Gil Evans were also part of Davis\u2019 creative life in this period, which explains why the Davis\/Coltrane team was heard on a relatively few Columbia albums. Their efforts yielded only three complete studio albums for the label\u2014 ‘Round About Midnight, Milestones and Kind Of Blue\u2014plus one side of Jazz Track and (in a reunion after Coltrane had formed his own band) two tracks on Someday My Prince Will Come. Forty years on, this is the music you find when you look up \u201cjazz\u201d in the dictionary.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Kind of Blue Sessions
\nMarch 2 and April 22, 1959<\/h2>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=zqNTltOGh5c” el_width=”70″ align=”center”][vc_column_text]March 2, 1959<\/strong>
\nKelly was the band\u2019s pianist when Kind Of Blue was recorded in March and April of 1959, yet he only plays on one of the five tracks. \u201cI had already planned that album around the piano playing of Bill Evans,\u201d explained Davis, who was eager to extend the modal explorations he had begun with Milestones. Prompted by Evans, Davis had investigated how European composers such as Ravel, Rachmaninoff and Khachaturian employed scales in their compositions.<\/p>\n

He had another goal in mind with this album, a recreation of the rural black religious music that Davis heard as a child on visits to Arkansas. To the extent that Kind Of Blue does not convey this feeling, he felt the album less than a total success. Everyone else considers it one of the masterpieces of all recorded music.<\/p>\n

Each of the three tracks recorded on March 2 features distinct personnel. Freddie Freeloader, was by the then-current Sextet and gives Kelly great prominence. He plays fills around the spare, melancholy \u201camen\u201d theme and takes the first solo, working his way into a second chorus on the previously unissued false start before Davis stops the proceedings and asks Kelly to omit chords at a specific modulation.<\/p>\n

The melody, like Sid\u2019s Ahead, is an example of simplicity in the service of complex emotions; and Kelly\u2019s effervescent contributions convey an optimism that only highlights Evans\u2019 more brooding contributions elsewhere on the album. Davis had been a master of altered blues progressions at least since he recorded Sippin\u2019 At Bells in 1947, and he makes poetic use of the substitute changes at the end of each chorus. Coltrane and Adderley in their turn show how to make a saxophone cry while playing clich\u00e9-free blues. Both have gained richness in their tone and an even more refined balance to their lines since the band\u2019s last studio recording. Paul Chambers concludes the soloing, with perky goading from Kelly.<\/p>\n

Bill Evans takes over for So What, which remains the most influential track from this most influential album and one of only two that became a permanent part of the Miles Davis<\/span> <\/a>repertoire. It is a 32-bar, AABA structure, built on two Dorian modes rather than a more detailed chord sequence. Ahmad Jamal had included the same modal progression in his 1955 recording of Morton Gould\u2019s Pavanne, in support of a melodic line that later became Coltrane\u2019s Impressions. Jamal did not improvise on the modes, however. Once musicians grew accustomed to blowing over this open terrain, So What became the I Got Rhythm of modal jazz.<\/p>\n

It is introduced here by piano and bass, playing the only detailed written material employed at the session which has been attributed to both Gil Evans (the more likely source) and Bill Evans. Chambers states the melody, with responses by Evans and the horns. The two-note kicker is another \u201camen\u201d cadence that gets at the church-music echoes Davis wanted in the music, although the interval creates a far different feeling here than on Freddie Freeloader. Each soloist confronts the challenge of blowing over modes brilliantly; and each horn soloist draws distinct accompanying textures from Evans. The horns riff behind the piano solo, as Evans responds with complex chord voicings on the bridge of his chorus.<\/p>\n

As the original liner notes put it, \u201cJulian Adderley lays out on Blue In Green,\u201d the composition for which Evans specifically claimed a composing credit. As he explained to Conrad Silvert, \u201cOne day at Miles\u2019 apartment, he wrote on some manuscript paper the symbols for G-minor and A-augmented. And he said, \u2018What would you do with that?\u2019 I didn\u2019t really know, but I went home and wrote Blue In Green.\u201d The piece does recall ideas Evans used on the introduction to Alone Together from a Chet Baker session recorded two months earlier. Evans starts and ends Blue In Green, playing a four-bar introduction and bringing the track to a close with a restatement of the theme over bowed bass.<\/p>\n

In between is a unique structure that Evans described in the original liner notes as \u201ca ten-measure circular form…played by soloists in various augmentation and diminution of time values.\u201d The pyramid ordering of the solos is further enhanced by the way Evans suggests acceleration in his first full chorus, then plays in a more pronounced double-time before Davis returns. The eloquence of Evans, Coltrane and especially Davis on such challenging material yields a supremely beautiful musical statement.<\/p>\n

April 22, 1959<\/strong>
\nBack in the studio, the Sextet with Evans once again on piano recorded two more titles to complete Kind Of Blue.<\/p>\n

Flamenco Sketches was the most open and challenging form of the lot\u2014\u201ca series of five scales, each to be played as long as the soloist wishes until he has completed the series,\u201d as Evans explained in the original liner notes. While each was free to blow as long as he wished on the individual scales, the solos fall into the symmetries of four-bar and eight-bar inventions, although Davis tries to break the mold in his opening chorus when he pauses and then quickly modulates to the fourth scale in the middle of a four-bar phrase.<\/p>\n

By the master, which is noted as Take 6 on the session logs, the tempo has grown firmer, Chambers is taking a more decorative approach, and the soloists have gained enough confidence to extend different scales in their improvisations. The tolling, see-saw motion of the master recalls the classic Evans improvisation Peace Piece from the pianist\u2019s December 1958 album Everybody Digs Bill Evans, although the mood of Flamenco Sketches is decidedly more optimistic.<\/p>\n

All Blues, which would acquire an effective lyric by Oscar Brown, Jr., is a blues that Davis originally conceived in 4\/4, then turned into a waltz at the studio. It is one of the most dramatic performances in his discography, with a simple, yet startling, arrangement that begins with Cobb\u2019s brushes, a bass vamp from Chambers, trills from Evans, a harmonized saxophone riff that recalls the melody of Milestones, and the leader\u2019s Harmon-muted horn playing melody over and then through the saxes.<\/p>\n

Tension is heightened rather than resolved as Davis removes his mute, with Cobb switching to sticks and Evans beginning a track-long expansion of the sax riff behind the soloists, and the entire performance sustains suspense as the rhythm section adjusts to each soloist. Cobb, typically masterful without calling attention to himself, sounds like a thoroughbred waiting for the starting gun as he anticipates Coltrane<\/span><\/a>\u2019s entrance. His rim-shots behind Evans connect the atmospheric piano solo to many of Red Garland\u2019s more groove-oriented statements.<\/p>\n

Each of the four soloists is at his best, bringing deep emotion to their statements without shattering the tender mood. This piece stayed in the Davis book for several years, although it (and So What) grew faster over time.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Discography<\/h2>\n

Because of the voluminous amount of reissues and compilations using this material, only the first issue of each master is given.
\n________________________________________________________________
\n(A) Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass), Philly Joe Jones (drums).
\nWednesday, October 26, 1955 (3:30 to 8:30 pm)
\nColumbia Studio D, NYC
\nProducer: George Avakian. Recording engineer: Frank Laico<\/p>\n

co54129-1 Two Bass Hit (alternate take) previously unissued
\nco54129-2\/5 Two Bass Hit KC2-36278
\n(take 2 through most of tenor solo, then take 5)
\nco54130-1 Ah-Leu-Cha (alternate take) previously unissued
\nco54130-5\/4 Ah-Leu-Cha CL 949
\n(take 5 to middle of trumpet solo, then take 4)
\nco54130-5 Ah-Leu-Cha (alternate take) previously unissued
\nco54132-2\/3 Little Melonae C 32025
\n(take 2 to middle of trumpet solo, then take 3 to end)
\nco54133-1 Budo (alternate take) C5X-45000
\nco54133-8 Budo CL 1020
\n(take 8 includes some theme ensemble edits from take 1 or 2)<\/p>\n

Note: Most discographies and album credits date this session as October 27, but it took place the day before. An unissued version of “Billy Boy” (co54131) from this session does not include Davis or Coltrane and is not included here.
\n________________________________________________________________
\n(B) Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass), Philly Joe Jones (drums).
\nTuesday, June 5, 1956 (5 to 9 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: George Avakian. Recording engineer: Frank Laico<\/p>\n

co56090-1 Dear Old Stockholm CL 949
\nco56091-1 Bye Bye Blackbird (alternate take) previously unissued
\nco56091-3 Bye Bye Blackbird CL 949
\nco56092-2 Tadd’s Delight CL 949
\nco56092-5 Tadd’s Delight (alternate take) previously unissued
\nco56090-5 Dear Old Stockholm (alternate take) previously unissued
\n_________________________________________________________________
\n(C) Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass), Philly Joe Jones (drums).
\nMonday, September 10, 1956 (5 to 8 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: George Avakian. Recording engineer: Frank Laico<\/p>\n

co56584-1 All Of You (alternate take) previously unissued
\nco56584-2 All Of You CL 949
\nco56585-1 Sweet Sue, Just You (first version) previously unissued
\nco56585-3 Sweet Sue, Just You (false start with discussion
\nbetween Leonard Bernstein and Miles Davis) previously unissued
\nco56585-5 Sweet Sue, Just You (alternate take) previously unissued
\nco56585-8 Sweet Sue, Just You CL 919
\nMiles Davis comments previously unissued
\nco56586-1 ‘Round Midnight CL 949<\/p>\n

note: The introduction to “Sweet Sue, Just You” was arranged by Teo Macero. “‘Round Midnight” was most likely arranged by Gil Evans.
\n__________________________________________________________________
\n(D) Miles Davis (trumpet), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass), Philly Joe Jones (drums).
\nTuesday, February 4, 1958 (2 to 6:30 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: George Avakian. Recording engineer: Harold Chapman<\/p>\n

co60199-1 Two Bass Hit (alternate take) previously unissued
\nco60199-2 Two Bass Hit CL 1193
\nco60200-1 Billy Boy (trio only) CL 1193
\nco60201-1 Straight No Chaser (alternate take) previously unissued
\nco60201-2 Straight No Chaser CL 1193
\ncl60202-2 Milestones (alternate take) previously unissued
\nco60202-3 Milestones CL 1193<\/p>\n

note: “Milestones” appeared as “Miles” on CL 1193.
\n__________________________________________________________________
\n(E) Miles Davis (trumpet), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass), Philly Joe Jones (drums).
\nTuesday, March 4, 1958 (7 to 10 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: George Avakian. Recording engineer: Harold Chapman<\/p>\n

co60204-1 Sid’s Ahead CL 1193
\nremake-3 Little Melonae (omit Adderley) previously unissued
\nco60203-2 Dr. Jackle CL 1193<\/p>\n

note: Davis plays piano on portions of “Sid’s Ahead”. Red Garland who arrived late appears only on “Dr. Jackle” which was misidentified as “Dr. Jeckyll” on its original release.
\nThe Japanese album “1958-Miles” includes the 1955 version of “Little Melonae”.
\n________________________________________________________________
\n(F) Miles Davis (trumpet), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Bill Evans (piano), Paul Chambers (bass), Jimmy Cobb (drums).
\nMonday, May 26, 1958 (7 to 10 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: Cal Lampley. Recording engineer: Harold Chapman<\/p>\n

co61165-3 On Green Dolphin Street CL 1268
\nco61166-1 Fran-Dance (alternate take) previously unissued
\nco61166-2 Fran-Dance CL 1268
\nco61167-3\/7 Stella By Starlight (omit Adderley) CL 1268
\n(take 3 up to tenor solo, then take 7)
\nco61168-1 Love For Sale PG 33402<\/p>\n

note: “Fran-Dance” is Miles’s arrangement of the traditional “Put Your Little Foot Right Out”. On the original release (CL 1268), the tune bore Miles’s title on the LP label and the original title on the album jacket.
\n“Stella By Starlight” on the LP and CD release “’58 Sessions” (CJ\/CK 47835) inadvertantly use the complete take 7 with a different (and inferior) intro and melody statement than the known composite master. It was decided not to repeat the mistake on this set.
\n________________________________________________________________
\n(G) Miles Davis (trumpet), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Bill Evans (piano), Paul Chambers (bass), Jimmy Cobb (drums).
\nThursday, July 3, 1958
\nNewport Jazz Festival, Newport, Rhode Island
\nRecording supervised by George Avakian. Original release produced by Teo Macero.
\nRecording engineers: Adjutor Theroux and Buddy Graham<\/p>\n

co81844 Ah-Leu-Cha CL 2178
\nco81845 Straight No Chaser CL 2178
\nco81846 Fran-Dance CL 2178
\nco81847 Two Bass Hit CL 2178
\nBye Bye Blackbird (omit Adderley) C2-38262
\nThe Theme faded on C2-38262<\/p>\n

note: The original LP issue misidentifies the pianist as Wynton Kelly.
\n________________________________________________________________
\n(H) Miles Davis (trumpet), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Bill Evans (piano), Paul Chambers (bass),Jimmy Cobb (drums).
\nTuesday, September 9, 1958 (6 to 7 pm)
\nPersian Room, Plaza Hotel, New York City
\nProduced by Teo Macero and Irving Townsend. Recording engineer: George Kneurr<\/p>\n

co93314 If I Were A Bell (omit Adderley) PC32470
\nco93317 Oleo PC32470
\nMy Funny Valentine (omit saxes) PC32470
\nStraight No Chaser PC32470<\/p>\n

note: The original LP misidentifies the tune “Straight No Chaser” as “Jazz At The Plaza”, the drummer as Philly Joe Jones and the location as The Edwardian Room.
\n_________________________________________________________________
\n(I) Miles Davis (trumpet), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Wynton Kelly-1, Bill Evans-2 (piano), Paul Chambers (bass), Jimmy Cobb (drums).
\nMonday, March 2, 1959 (2:30 to 5:30 and 7 to 10 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: Irving Townsend. Recording engineer: Fred Plaut<\/p>\n

co62290-3 Freddie Freeloader-1 (false start) previously unissued
\nco62290-4 Freddie Freeloader-1 CL1355
\nco62291-3 So What-2 CL1355
\nco62292-5 Blue In Green-2 (omit Adderley) CL1355<\/p>\n

note: One of the three-track machines at this session was running slightly slow. The original album was mixed from the tape on that machine causing the originally issued masters to be slightly sharp. This was first corrected for the gold Mastersound CD edition of this album.
\n_________________________________________________________________
\n(J) Miles Davis (trumpet), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Bill Evans (piano), Paul Chambers (bass),Jimmy Cobb (drums).
\nWednesday, April 22, 1959 (2:30 to 5:30 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: Irving Townsend. Recording engineer: Fred Plaut<\/p>\n

co62293-1 Flamenco Sketches (alternate take) C5X45000
\nMiles Davis comments previously unissued
\nco62293-6 Flamenco Sketches CL1355
\nco62294-1 All Blues CL1355
\n_________________________________________________________________
\n(K) Miles Davis (trumpet), Hank Mobley, John Coltrane (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass),Jimmy Cobb (drums).
\nMonday, March 20, 1961 (3 to 5:30 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: Teo Macero. Recording engineer: Frank Laico.<\/p>\n

co66500-15 Someday My Prince Will Come CL 1656<\/p>\n

note: John Coltrane does not appear on any other tunes from this session.
\n__________________________________________________________________
\n(L) Miles Davis (trumpet), John Coltrane (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass),Jimmy Cobb (drums).
\nTuesday, March 21, 1961 (2:30 to 5:30 pm)
\nColumbia 30th Street Studio, NYC
\nProducer: Teo Macero. Recording engineer: Frank Laico.<\/p>\n

co66505-9 Teo CL 1656<\/p>\n

note: John Coltrane does not appear on any other tunes from this session.
\n__________________________________________________________________<\/p>\n

Album Index
\nCL 919 What Is Jazz (rel. 10-15-56)
\nCL 949 Round About Midnight (rel. 3-4-57)
\nCL 1020 Jazz Omnibus (rel. 9-3-57)
\nCL 1193 Milestones (rel. 9-2-58)
\nCS 9428 Milestones (fake stereo – rel. 6-19-67)
\nCS 8649 Round About Midnight (fake stereo – rel. 8-13-62)
\nCL 1355\/CS 8163 Kind Of Blue (rel. 8-17-59)
\nCL 1268 Jazz Track (rel. 10-19-59)
\nCL 1656\/CS 8456 Someday My Prince Will Come (rel. 12-11-61)
\nCL 2178\/CS 8978 Miles And Monk At Newport (rel. 5-11-64)
\nC 32025 Basic Miles (mono tracks in fake stereo, rel. 8-24-73)
\nC 32470 Jazz At The Plaza, Vol.1 (rel 9-28-73)
\nPG 33402 Black Giants (rel. 5-75)
\nKC2 36278 Circle In The Round (rel 11-79)
\nC2-38262 Newport Jazz Festival Live (rel. 10-82)
\nC5X45000 The Columbia Years 1955-1985 (rel. 1988)<\/p>\n

Box set produced by Michael Cuscuna and Bob Belden
\nExecutive producer: Charlie Lourie
\nSessions A-C transferred from the original mono tapes and sessions D-L remixed from the original three-track tapes by Mark Wilder
\nMastered by Kevin Hodge, Master Cutting Room<\/p>\n

Special thanks to John Naatches, Jan Lohmann, Yasuhiro Fujioka, David Weiss, Dan Morganstern and the Institute Of Jazz Studies.<\/p>\n

Design direction: Richard Mantel
\nDesign production: InkWell, Inc.<\/p>\n

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