In Person Friday and Saturday Nights at the Blackhawk, Complete

Artist: Miles Davis
Label: Sony
Category: Music

Average customer rating:

Format: Box set
Media: Audio CD
Number Of Discs: 4

UPC: 696998710627
EAN: 0696998710627
ASIN: B00009KU7L

Release Date: 2003-06-03

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Listmania:

Miles Davis Box Sets -- get his entire career in box sets
Jazz box sets, from mild to wild
My Favorite Jazz Albums (Part II) No Paticular Order
Absolutely Must Have Jazz
Essential Miles Davis CDs (chronological order)
Collect some of the best LIVE jazz recordings (In no order)
Miles Davis Box Sets
Cool Jazz, the ultimate Jazz starter kit!
Live Tenors! From Birdland and Other Classic Joints
Cool Jazz with Warmth (since 1990)

Tracks:

Oleo
No Blues
Bye Bye (Theme)
If I Were A Bell
Fran Dance
On Green Dolphin Street
The Theme

Tracks:

All Of You
Neo
I Thought About You
Bye Bye Blackbird
Walkin'
Love, I Found You

Tracks:

If I were A Bell
So What
No BLues
On Green Dolphin Street
Walkin'
'Round Midnight
Well You Needn't
The Theme

Tracks:

Autumn Leaves
Neo
Two Bass Hit
Bye Bye (Theme)
Love, I've Found You
I Thought About You
Someday My Prince Will Come
Softly As In A Morning Sunrise

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Customer Reviews:

ONLY ONE WORD: MAGIC.......2007-02-02

First, sorry for my english. If you close your eyes , you can feel the ambiance of the Blackhawk.
Great the rythim section, Winton Kelly is the third leader. Hank Mobley is one of my favourites, but we can understand the legend of champions of middleweight's tenors. His sound i't's so sweat, don't have the power of Gordon, Coltrane, Shorter. And Miles, it's Miles, that's it's enough.
I recomand listen every record two o three times, every time put your attention in a different instrument of the song.

Mobley and Kelly play above themselves.......2006-11-30

I've known every note of the Friday Night version of "On Green Dolphin Street" since I was 15 years old -- except for the first part of Hank Mobley's solo, which was edited out for the Columbia anthology I bought. As I got to know the works of Miles Davis, I quickly realized that the song was recorded at the Blackhawk, but reissue after reissue left it out, and I cursed Columbia Records for being a bunch of idiots. But here it is, with Mobley's entire solo included, along with many other riches whose value will depend on the listener. For me, both versions of "If I were a Bell" are spectacular examples of a happiness one doesn't expect from Miles Davis (indeed, his last few notes on the Friday night version are suddenly sad, which makes a beautiful coda to the performance). The Saturday night version of "On Green Dolphin Street" is more mellow and less inspired, but the Friday version makes up for that. There is an almost menacing quality to the melody and to Miles Davis's solo, worlds apart from the luminous version recorded with Coltrane and Adderley and Bill Evans in 1958.
Above all, Hank Mobley and Wynton Kelly reached the peak of their careers that weekend. They were never as good before or after, and that is the doing of Miles Davis, who has been justly called the greatest LEADER in modern jazz. He goaded his musicians to play above themselves, and this is the prime example. For me, the best soloist on all four CDs is Kelly, who plays with a joy and confidence that are the hallmark of the set.

Let The Music Do The Talking.......2006-11-24

With the classic cover photo from the original 2-lp set intact, the four sets covering two nights at the legendary Blackhawk nightclub in San Francisco shows the potential of re-releasing live material by allowing the unedited tapes to let the music take the listener to great heights through a group that briefly backed Miles.

The April 21-22, 1961, gigs featured what some critics deemed a transitional band of Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d) and Hank Mobley (sax). Because the group followed the quintet with John Coltrane and preceeded the historical sessions with Wayne Shorter, the ensemble - in my opinion - does not get the acclaim it truly deserves.

To hear the sets without any editing shows how each song builds upon one another and subtly shape into a dynamic that truly makes for an experience of a lifetime on stage and in the audience. The leadership and playing of Miles is nothing short of spectacular as he pushes each musician to quickly create beautiful textures on a majestic tapestry.

It is not the time a group is together, but what each member does with the studio sessions and on stage, that defines brilliance. The Blackhawk sets are a reminder of the power Miles had in challenging musicians and the audience to redefine the art of jazz.

Get in your time machine, close the door, and shut your eyes...........2006-11-10

I'm going to make this short: buy this album--you won't regret it! Instead of studio re-takes, overdubs and an altered order of songs like you get with most live recordings, this is the way it went down that evening in 1961. And you are THERE, at a table near the stage, at the Blackhawk club as the players stroll out, set up the first song, count it in and blass off. Each of the four sets unfolds exactly as it happened that night---completely unedited. Miles in charge, as always, expecting the very best tonight from pianist Wynton Kelly, bassist Paul Chambers, tenor saxophonist Hank Mobley, and drummer Jimmy Cobb. And they repond, launching themselves higher and higher, through the stratosphere, up into the ether where Miles hangs out, circling him, trading punches with him, diving ducking and weaving with him. No one knows what's going to happen next-this is live jazz--live without a net. You can almost feel the chemistry between the players. Close your eyes and put on the headphones if you really want to get there. And hang on!

Like being there.......2006-03-19

Ladies and Gentlemen, even though Miles is heading this group, the real star of the show is none other than (fanfare)...THE Rhythm Section. That's all I hear...it's all I want to hear...and it's such a tight unit that I never think of any individual name standing out--they are One. It's that good. And I love the way it tools down the highway at a leisurely pace or at a breakneck speed without breaking into a sweat, all with the consummate perfection of a smooth-running, well-tuned Rolls Royce engine. For this I will sit through--forgive me--any sometimes slightly dull, boring or flat Hank Mobley solo and his unnecessary extra choruses, or listen to Miles take four or five stabs at it before he finally manages to hit the right high note, his gorgeous tone notwithstanding. (If Tony Williams had been in the group, he might have told Miles to practice.) Nevertheless, none of that matters. Here is simply one of the most wonderful, glorious, classic, live and swinging rhythm sections of all time, in a relaxed informal club setting, and I never get tired of hearing it wash over me in its uplifting, irrepressible way. Of course, without Miles in the driver's seat none of this would have happened--a tribute to his genius for inspiring musicians to play well beyond themselves as a unified whole. For the rhythm section alone, I've played this more often than any other album in my extensive Miles Davis collection.

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