This is an incomplete list which will never be able to satisfy particular standards for completeness as it excludes bootlegs, mix tapes and other minor records by independent labels and unofficial sources.
Very true! This blog entry, on the other hand, is simply my own way of seeing how much of Miles’ vast output I have.
For simplicities sake I’m trying to arrange my Miles Discography chronologically, using the year of first official commercial release. With an artist as prolific as Miles, this can often mean musuc was recorded much earlier, or on different occasions, only to be released quite a bit later.
Nice little montage.
So… here goes:
PRESTIGE (mostly!) The New Sounds, 1951 (Prestige) Young Man With a Horn, 1953 (Blue Note) Blue Period, 1953 (Pr) The Comps of Al Cohn, 1953 (Pr) Miles Davis vol 2, ‘53 (BN) Miles Davis vol 3, ‘54 (BN) Miles Davis Quartet, ‘53 (Pr) Miles Davis All Star Sextet, ‘54 (Pr) Miles Davis Quintet, ‘54 (Pr) MD w Sonny Rollins, ‘54 (Pr) MD All Stars, Vol 1, ‘54 (Pr) MD All Stars, Vol 2, ‘54 (Pr) Musings of Miles, ‘55 () Blue Moods, ‘55 (Debut) Dig, ‘56 (Pr) The new MD Quintet, ‘55 (Pr) ✓ MD & Horns, ‘56 (Pr) ✓ Quintet/Sextet, ‘56 (Pr) ✓ Blue Haze, ‘56 (Pr) ✓ Collectors Items, ‘56 (Pr) ✓ Walkin’, ‘57 (Pr) ✓ Cookin’, ‘57 (Pr) ✓ Bags’ Groove, ‘57 (Pr) ✓ Birth Of The Cool, ‘57 (Capitol) ✓ Ascenseur l’Échafaud, ‘57 (Fontana) ✓ Relaxin’, ‘58 (Pr) MD & Modern Jazz Giants’, ‘58 (Pr) ✓ Workin’, ‘60 (Pr) ✓ Steamin’ ‘61 (Pr) ✓ COLUMBIA (mostly) Round About Midnight, ‘57 (Co) Miles Ahead, ‘57 Milestones, ‘58 ✓ Jazz Track, ‘59 Porgy & Bess, ‘59 Kind of Blue, ‘59 ✓ Sketches o’ Spain Someday My Prince Seven Steps Quiet Nights E.S.P. ‘65 ✓ Miles Smiles ✓ Sorcerer ✓ Nefertiti ✓ In The Sky ✓ Filles de K ✓ In a Silent Way, ‘69 ✓ Bitches Brew, ‘70 ✓ Jack Johnson Live-Evil, ✓ On The Corner, ✓ Big Fun Get Up With It Water Babies Agharta, ‘75 ✓ Pangaea, ‘76 ✓ Circle In The Round, ‘79 ✓ COLUMBIA/WARNER (mostly!) The Man With… ‘81 ✓ Doo Bop, 1992 ✓ What I Say 1, ‘94 ✓ What I Say 2, ‘94 ✓ Panthalassa, ‘98 ✓
This programme starts with Toby Bunting getting busted, parked up in The Fens, not far from where we live, the night after – according to his rather dubious accounts – a chem-sex party.
Channel 4 describe this programme thus:
The inside track on a major covert operation against a Mexican drugs cartel who the police suspect are importing large quantities of methyl-amphetamine into Norfolk.
Daniel Fordham is charged.
Wow! So sad. So very, very sad. I’m thinking of the fate of Daniel Fordham, in particular. But I even feel similarly for Toby Bunting.
Daniel is a family man desperate for money. And in these times of ‘cost of living’ cost of Brexit/Toryism crises, one might sympathise with his ‘if you show a dog some meat’ line.
Fordham is quick to come clean. Hoping – in vain, it turns out – for clemency. Whereas Mexican importer Axel Cruz, and Fenland drug dealer Toby Bunting, try much harder to deny their guilt.
Toby Bunting.
It is interesting watching. If horribly sad. But, like a lot of ‘true crime’ stuff I’ve seen, it’s also very annoying and disappointing.
Annoying, because they ‘tease’ you with a lot of investigative footage. Suggesting they’re going to reveal something amazing. And there’s next to no information or exploration of the Mexican cartel Link (other than the tiny bit concerning Axel Cruz).
Disappointing, because the ‘reveal’ isn’t in the same vein – e.g. further interviews with suspects, but instead just a bit of captioning, in an abrupt and unenlightening ending.
Cocaine and/or crystal meth, arrive in Norfolk.
Several things, aside from the ‘narco cartels invade UK’ theme (and local to us, at that), really hit me. And – having has a very unpleasant experience involving the police myself not too long ago (not drug related) – they concern what I regard as unnecessarily heavy-handed ‘law enforcement’.
Much (but not all) of which coalesce around the hapless ‘bottom of the hierarchy’ figure of Daniel Fordham. Why, for example, are the police smashing down doors, late at night, when there are children at the suspect’s address?
Surely law enforcement shouldn’t be such a brutally blunt instrument? Potentially doing nearly as much damage as any criminal activity. What about the trauma that the raid and having his family effectively destroyed will cause to Fordham, his wife and kid(s)?
We don’t yet have the kind of crystal meth epidemic that blights the US (and other places), here in the UK. But it looks, worryingly, like that might be changing.
Bunting, Cruz and Fordham.
Another thing that really struck me… how come none of the suspects/criminals object to being filmed? Are they even aware they’re being filmed? One would’ve thought that such folk might be camera shy? At least as far as those times when the police are around!
Considering the infamously horrific brutality of the narco cartels in the countries where these drugs originate, surely such people don’t want their mugs all over national (and potentially worldwide) media? There could be awful repercussions…
I bought a copy of Santana’s Welcome album in my mid to late teens. and I’ve always adored it. It’s Santana and co at their peak – along with Caravanserai, Lotus, and Borboletta – with the perfect blending of latin, rock, blues, funk, soul, pop, and lashings of cosmic jazz.
And I love that Santana collaborated with Alice Coltrane, both here and elsewhere (Illuminations). The version of Going Home on Welcome is credited to Alice. But surely it also owes something to Dvořák’s piece of the same name, from his New World Symphony?
Here are two other readings of the Dvořák piece:
The above is by US Army musicians! And is a more conventional and minimal interpretation. Very beautiful.
And then there’s this expanded male voice choir arrangement. Which is pretty wonderful and powerful.
An email this evening alerted me to the imminent arrival of more musical goodness from Japan. A bunch of ‘Groove’ Holmes stuff:
Sadly they didn’t have the McGriff/Holmes Giants disc. So they’ve refunded me for that. But this consignment still totals five juicy new albums of Grooves’ groovy goodness.
Well, obviously I’m not going to be sharing my personal financial info. But it’s that time of year again. My annual last minute panic to do my self-assessment.
I’m pretty sure that in the last year or two I must’ve got some stuff very wrong. I reckon I’ve overpaid a good deal of money. Will I be able to rectum-fry that, I wonder?
And will I do any better this year? We shall see, I guess…
Looks like it was either a gatefold record, or had a leaflet; the galleries above and below, are from those inner sleeve ‘pages’.
There was quite a lot of hype around the group, esp’ in the hip experimental NY scene. They did quite a lot of gigs.
The duo perform for the press.
Just five months after their debut came out, they released the follow up, Contact. Rather tragically, the cover art work would prove to be their undoing.
It was this image, above, that was their undoing. It seems rather odd, in retrospect. It doesn’t look that much like anything specific. At least to my eyes. Apparently it’s the wreckage of a plane crash. And that freaked out Pan Am, who went to war with the group and their label, Kapp.
If I’m honest, I find a lot of Silver Apples’ music very borderline, between fascinating and grating. It’s certainly not easy listening!
But I also find them captivatingly interesting. A duo of just drums and synths!? And way back in ‘68!?
This is a pretty good film. And the premise, of America going back to Civil War, no longer seems that far fetched. Particularly after Trump’s riotous mob-rule near-coup, not all that long ago.
One of the key things this movie does well, is bring all that global terrorism and proxy war business, which were all so familiar with imagery of, on TVs, computers, tablets and phones, right on home to roost. Back I n the good ol’ US of A.
And so it is that two of our key protagonists – the world-weary elder photojournalist, Lee Miller (Kirsten Dunst) and the younger aspiring photographer, Jessie (Cailly Spaeny) – meet at a scene of urban rioting, when a flag bearing suicide bomber charges into the melee.
Young hotness meets old n’ busted.
The film manages to stay almost completely neutral, most of the time, to such an extent it becomes – as is so often the case in real war – almost impossible to tell who’s who. Indeed, there’s a sniper scene, which heavily underscores this exact point, in case you weren’t getting the subtler cues.
It also points up the ways in which all ‘sides’ quickly descend into barbarism, during war time. Simultaneously both celebrating and yet shining an uncomfortable light on the detached-professionalism ideal, of the press. Or the press as it once was?
Nick Offerman, as the near orange POTUS.
Ultimately the film becomes a road trip: a group of journalists attempt to get to Washington DC, hoping for the gigantic ‘scoop’ of a presidential interview.
Besieged in D.C. the third term POTUS has not been interviewed – the movie opens with him rehearsing a chest-beatingly upbeat and patriotic to-camera soliloquy – in over a year.
Aspiring photojournalist, Jessie.
Jessie is just a kid. But also along for the ride is the elderly and morbidly obese Sammy, a veteran NY Times scribe. With two strong female leads, the yin to their yang is provided by Wagner Moura, as Joel, Lee’s writing partner, who’s cynical, and overly fond of booze and weed.
The sense of terror and chaos alternating with normality and tranquility features quite a lot. Sometimes in contrasting sections of the narrative, and at others, almost simultaneously; as during the sniper firefight, when natures’ flowers, in all their small delicate beauty, are blooming, regardless of human strife and folly.
An interesting moment…
The sound design was a bit ham-fisted, in places. At least to my mind. Shoe-horning some questionable musical choices into the movie, none-too delicately. And the use of occasional ‘deafening silence’, whilst as effective as ever, was a bit overplayed.
A WF encampment, near D.C.
This apparently had an humongous budget. And you see where the money’s gone. But it also looks like extensive use was made of very slick CGI. Nowadays that’s generally so good – hyper-real, almost? – that you really can’t tell where reality and CGI end or meet.
Perhaps the most powerful and disturbing scene is that in which an unnamed soldier (or we assume he’s a soldier, as he and his cronies are in battle dress), played by Jesse Plemons*, terrorises the group of journos, who have encountered some old friends/colleagues on the road.
This scene is kind of the fulcrum of the movie.
*Kirsten Dunst’s real-life spouse, and – or so I’ve read – a last minute replacement for the actor originally cast in the role.
In this short and grim episode, we get a glimpse of the horrifically brutal simple-mindedness that underlies so much human conflict, in the form of racism.
Sammy, played by Stephen McKinley Henderson.
In the end, against seemingly hopeless or insuperable odds, the journos – or some of them – reach the Whitehouse, just as the WF storm it, massacring a cavalcade of fleeing spooks and aides, mistakenly thought to be the fleeing POTUS.
And here the film reaches its rather grim denouement. What’s it all mean? Well, aside from the Babi Yar style massacre pit scene, the production team resolutely strive for neutrality, of opacity.
Troops pose with Presidential corpse.
But there are some cards on the table: the President is a third term despot. Racism is part of the ‘what kind of American are you’ conundrum. And our faces are rubbed in the extreme inhumanity, or perhaps I should just say brutality? Of war, which, despite the film’s themes/title, is never very civil, if you follow?
There’s a couple of very good reviews of the film here, and here, that are both well worth a read.
Silver Apples, c. 1968.
FOOTNOTE: Music
The first very prominent bit of pop-culture OST programming, that slaps you in the face, is the rather brilliantly quirky ‘Lovefingers’, by Silver Apples. It’s an amazing piece. Esp’ so given it was released in 1968! But I’m not entirely sure it’s the best choice for that particular moment in the film. But maybe I’m wrong. Whatever! What I am glad of is that it’s there at all. Reminding me I need to check out Silver Apples in more depth.
Whilst digging all this groovy music from back in the day, I’ve also been cogitating on the funky sartorial thide of sings.
Collar up is good!Uh-oh… have I lost it?
Or have I found it? What is IT? Poss’ my ‘mojo’? I decided, tempus fuckit, n’ all that, so let’s have a bit of fun. This is to be my special muso-funk outfit. Not for quotidian normality. But for musical fun only. And, very importantly, to be kept spotlessly clean n’ white!
I might will be addbig to this outfit. A polo/roll/turtle neck sweater. Some long beady necklaces, and a white or very pale cream sports jacket. What fun!
I’m not normally one for selfies. Images of me often disappoint and upset. Ah… vanity! I’m taking these partly ‘cause I feel less afflicted that way, and partly ‘cause I want to record sideburn progress and glasses repairs.
Pre-shaveAfter-shave… Brut!Wake up face.Daytime face.
As well as documenting face fuzz furtherance, note the last of the four above photos; my glasses are quite a lot closer to horizontal/parallel with ye eyebrows. As opposed to the first two pics in this little gallery, where they’re really on the wonk!
Wow! What an amazing film. I love this so much, that part way through this viewing, I upped and ordered the 50th anniversary reissue DVD.
It’s a bit proto-Jaws – hence the clever homage image below – with an evil truck/trucker chasing down a hapless ‘ordinary Joe’. You barely see the driver: a quick glimpse, as vehicles pass; a hand, on the wheel; cowboy boots, as he walks behind the truck, kicking the tyres…
It’s the ol’ mystery multiplies menace gambit. And it works a treat. Playing on the minds of both the victimised car driver, and the viewer.
This is a clever and fun tribute!
It starts with a realistic enough scenario, one driver – salesman Davis Mann (Dennis Weaver), in his Red Plymouth Valiant – overtakes another; the dirty ol’ smoke belching truck. The overtaker thereby dissing the gruntle of the overtakee… if you follow? And follow is exactly what the ne’erdowell truck/trucker does.
However, this plausible quotidian scenario rapidly escalates into something more akin to Greek Myth. Mann is Odysseus, who just wants to get home, and the Peterbilt 281 big-rig is the Cyclops, or Minotaur, Harpy, or whatever, that just won’t let up.
Dennis Weaver, as David Mann.
Dennis Weaver is absolutely pitch-perfect as the ‘70s Everyman… literally; David Mann. Initially just baffled, he soon gets properly discombobulated.
His name and circumstances also make the movie a study in Mann-hood. He’s had an argument with his wife; he needs to score a contract for work; and now? He’s suddenly in a life and death fight:
‘… all the ropes that kept you hanging in there get cut loose. And it’s like there you are, right back in the jungle again.’
In this battle to reclaim his manhood, I love the way everyday commonplace scenarios – a stop at petrol station, a Diner, trying to help a broken down school bus – all suddenly become extremely sinister and menacing. It really is great.
The truck, a Peterbilt 281.
Spielberg’s eye for detail is phenomenal. The truck a – Peterbilt 281, so I’ve read – is phenomenal as an embodiment of unrelenting malevolence and evil. The red Plymouth is spot on – although I’ve read Spielberg actually didn’t care what make/type the car was, as long as it was red! – as the underpowered Everyman’s ride.
Mann’s Plymouth Valiant.
Every single location, from subarban garage, to city, arid landscape, diner, and so on, is right on the money. Spielberg displays a Hitchockian attribute; a natural seeming ability to weave everything together just so. The right look, the right location, the right camera angle, and so on.
Chuck’s Café.
From a strictly real-world logical point of view, aspects of the movie might not hold up to forensic analysis. But that would be to miss the point – or the magic – entirely.
Okay, Spielberg does gamely attempt to address such matters, for example during the diner scenes, with Mann’s internal monologues, etc. Or when he stops at the lizard lady’s place and attempts to call the police.
But really this is a film that’s much more like a mythical poem than humdrum kitchen sink reality. It only needs to hold together on its own terms. And it does. Beautifully.
Nowadays we have terms such as ‘road rage’, to describe similar (if usually more mundane, altho’ not necessarily less terrifying) scenarios. And, with depressing frequency, since 9/11, we read of planes, boats, trains, cars, trucks, buses, whatever, being repurposed as instruments of lethal execution.
Seeking refuge…
But back to the film… the landscapes and the music are also part of the overall magic.* And Spielberg’s masterful decision not to have the truck full of flammable material explode? The mark of a master at work.
A young Steven Spielberg.
Originally limited to 75 minutes, due to its made for TV constraints, an extended 90 minute version was created, ‘toot-sweet’, for theatrical release. Such was the popularity of the TV show.
I’m not sure which format attained the distinction, but Duel won the 1972 Emmy for‘Outstanding Achievement in Film Sound Editing.’ And you can hear why.
An unusually good review, marking the 50th anniversary of this film, can be read here.
Spielberg did this very soon after directing the superb Columbo episode Murder By The Book. He was already a master of directorial sleight of hand. Or should I say smoke and mirrors? There are plenty of those here:
