Note: This discography was updated in 2010, but does not include more recent acquisitions. It also includes some blues artists whose recordings are not included in this list, but appear on the Blues discography. This is a discography (list of recordings) of some of the Knight Library's Douglass Room jazz collection. Jazz, Ragtime & Blues in the Knight Library
Special thanks to our own Mike DeFabio, the Other Leading Brand, for editing, production, and original music, in addition to hosting this episode. Follow Discord & Rhyme on Twitter for news, updates, and other random stuff.
You can buy or stream Bitches Brew and other albums by Miles Davis at, your local record store, or the usual suspects such as Spotify, Apple Music, YouTube, and Amazon. Miles Davis - Spanish Key (this episode only) The Dukes of Stratosphear - What in the World?. “Discord & Rhyme (theme),” composed by the Other Leading Brand, contains elements of: Stan Tonkel – engineer (all other sessions) Juma Santos (credited as "Jim Riley") – shaker, congas (2, 4, 6), shaker only (1, 3), congas only (5) John McLaughlin – electric guitar (all tracks)ĭon Alias – congas (1–4, 6), drum set (5) Wayne Shorter – soprano saxophone (1–3, 5–6)Ĭhick Corea – electric piano (all tracks) Miles Davis – trumpet (all tracks except 5) The Grateful Dead - Playing in the Band (Live at Roosevelt Stadium, 8/6/74)įrank Sinatra - I Fall in Love Too Easily Music theory, explained with Oreos (classicfm)ĭiscord & Rhyme’s Bitches Brew playlist (Spotify) The Johnny Otis Show at Monterey, which got Mike obsessed with saxophones (Vimeo) Miles Davis and the Making of Bitches Brew (JazzTimes) Teo Macero’s Bitches Brew memo to Columbia Records (Dangerous Minds) This page also contains an illustration of Major, Minor, and Phrygian modes using Oreos. A link to a page illustrating this and some other forms is found below. There is an excellent image that provides a visual summary of sonata form using cookies. Still much less than in Phil’s collection!īack in the days when the Discord & Rhyme crew had time to write for a blog, John wrote his first post about getting into jazz in his late 20s and some general advice for people who might feel hesitant about listening to jazz. The amount of Miles Davis in John’s collection is about 55 hours.
MILES DAVIS DISCOGRAPHY DURAN FULL
Since recording this episode, the amount of Miles Davis in Mike’s collection has increased from 22 hours to a full 24. It also went on to become the third best-selling jazz album ever, underneath Miles’ own Kind of Blue and Dave Brubeck’s Time Out, both of which were also produced by Teo Macero. (The three albums above it on the Soul chart were The Isaac Hayes Movement, ABC by the Jackson 5, and The Last Poets.) A link to an image of this memo is found below.īitches Brew may not have been the sellout that jazz purists claimed it was, but it did do quite well commercially for an album so avant-garde, peaking at #35 on the Billboard 200 and #4 on the Soul LPs chart.
MILES DAVIS DISCOGRAPHY DURAN HOW TO
The inspiration for the teaser comes from an infamous internal CBS memo, in which Teo Macero informed the relevant people that Miles wanted to title the album as he did and asked how to proceed. In this episode, Mike leads a discussion (Phil moderating, John co-hosting) on this monster of a listening experience: an album that that gets labeled as jazz-rock but often sounds nothing like either jazz or rock an album that got dismissed by many contemporary jazz listeners and critics as a sell-out even though it's some of the least accessible music Davis ever made and an album where producer Teo Macero proved that extensive tape manipulation could work every bit as well in the jazz world as it could in the rock world. By the late 1960s, after taking acoustic jazz as far as he believed it could go, Miles chose to immerse himself in the world of electric jazz fusion, and his 1970 album Bitches Brew remains both one of the most famous jazz fusion albums and one of the most famous Miles Davis albums overall. The career of jazz trumpeter and composer Miles Davis from the late 1940s through his (temporary) retirement in 1975 largely doubles as a tour of every significant stylistic development in the jazz world during this time.