Davis,Miles - Jazz Monuments (Remastered 4LP Box Set) (Sealed) (LPBOX)

4-vinyl limited edition box set including a 33 x 33 8-page booklet featuring the biography of Miles Davis but also anecdotes and extracts from interviews over the entire period of the set. All the tracks included in this box have been remastered for the occasion: TRACKLISTING A1. Deception (Birth Of The Cool) A2. Move (Birth Of The Cool) A3. Jeru (Birth Of The Cool) A4. Godchild (Birth Of The Cool) A5. Moondreams (Birth Of The Cool) A6. Venus De Milo (Birth Of The Cool) A7. Boplicity (Birth Of The Cool) B1. Whispering (Walkin' 1954) B2. Walkin' (Walkin' 1954) B3. It Never Entered My Mind (Walkin' 1954) C1. Bags’ Groove (Miles Davis & Thelonious Monk) C2. The Man I Love (Miles Davis & Thelonious Monk) D1. Milestones (Miles Davis & John Coltrane) D2. Dear Old Stockholm (Miles Davis & John Coltrane) D3. Round Midnight (Miles Davis & John Coltrane) E1. Ascenseur Pour L’?chafaud - the me (Ascenseur Pour L’?chafaud 1957) E2. L’assassinat De Carala (Ascenseur Pour L’?chafaud 1957) E3. Florence Sur Les Champs Elys?es (Ascenseur Pour L’?chafaud 1957) E4. Autumn Leaves (Ascenseur Pour L’?chafaud 1957) F1. Summertime (Miles Davis & Gil Evans 1957 ~ 1961) F2. Concierto De Aranjuez (Miles Davis & Gil Evans 1957 ~ 1961) F3. New Rumba (Miles Davis & Gil Evans 1957 ~ 1961) G1. So What (Kind Of Blue 1959) G2. All Blues (Kind Of Blue 1959) H1. Neo (Live 1961) H2. Teo (Live 1961) LP FORMAT DETAILS: 4 x 12" (140g) Thirty years after his disappearance, Miles Davis, both the man and his character, is still a subject for debate and controversy. And haven’t we heard that before with all artists? But when it comes to the importance of his contribution to music in the 20th century there is only unanimity. Everyone says, sure, he was the greatest trumpeter. Other opinions are that he left the world of jazz behind him in 1965. It’s also said he was the catalyst of every decade from 1949 to 1989; that he revolutionised jazz, and brought it out of the ghetto; that he buried jazz; that he was the most important musician of his century... Each of those statements has its share of truth. Whichever way you look at him, he remains a major figure in jazz and in 20th century music overall. Miles surpassed (or at least equalled) the importance of both Louis Armstrong and Duke Ellington for the simple reason that he addressed not only the jazz world but all worlds of music, and that he created (among other things) a fusion of the spheres people knew as jazz, blues, rock and pop, and spoke to every audience, either in turn or collectively. There was a dinner at the White House during which a perfectly respectable lady, married to a politician no doubt, asked Miles what he did for a living. With some annoyance Miles replied, “Well I’ve changed music five or six times, so I guess that’s what I’ve done [...] now tell me what have you done of any importance, other than be white? [...] You tell me what your claim to fame is.” The provocative tone in Miles’ words lifted the veil over his refusal to be hassled, his revulsion against America’s treatment of Black people, and Miles’ awareness of his own importance in the world of music. Even when speaking, Miles maintained the art of synthesis. In the beginning – this was 1944 – there was a concert in St Louis, Missouri where Miles heard Charlie Parker and Dizzy Gillespie for the first time. “Man, that shit was terrible, I mean Dizzy Gillespie, Charlie ‘Yardbird' Parker, Buddy Anderson, Gene Ammons, Lucky Thompson and Art Blakey, all together in one band [...] that shit was all up in my body and that’s what I wanted to hear [...] and me up there playing with them.1” Miles was 18, he’d been playing trumpet for years and now he knew that this was what he wanted to play, and nothing else: to play with Bird! A year later he’d turned 19 and he was in New York, where he learned it all, up there alongside Bird and Dizzy.