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Miles In Tokyo. Miles Davis Live In Concert [Original recording remastered, Live]

Miles Davis Audio CD
3.5 out of 5 stars  See all reviews (4 customer reviews)
Price: 5.04 & FREE Delivery in the UK on orders over 10. Details
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Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz ... Read more in Amazon's Miles Davis Store

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Miles In Tokyo. Miles Davis Live In Concert + Miles In Europe + 'Four' & More Recorded Live In Concert
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Product details

  • Audio CD (4 April 2005)
  • Number of Discs: 1
  • Format: Original recording remastered, Live
  • Label: Columbia Legacy
  • ASIN: B0007RO4YO
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 107,969 in Music (See Top 100 in Music)

1. Introduction by Teruo Isono
2. If I Were A Bell
3. My Funny Valentine
4. So What
5. Walkin'
6. All Of You
7. Go-Go (Theme And Announcement)

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
By Jazzrook TOP 500 REVIEWER
Format:Audio CD|Verified Purchase
When tenor saxophonist George Coleman left trumpeter Miles Davis Quintet in 1964, Sam Rivers was hired briefly as a replacement on the recommendation of Miles' drummer Tony Williams.
This quintet with Miles(trumpet); Rivers(tenor saxophone); Herbie Hancock(piano); Ron Carter(bass) & Tony Williams(drums) made a tour of Japan where the "concerts were a big success" according to Miles in his autobiography.
This album was recorded in Tokyo on July 14, 1964 in front of an enthusiastic audience. Davis is in great form on two originals and three standards including an enthralling 12-minute version of 'My Funny Valentine'.
Although Rivers is not the ideal saxophonist for Miles it's fascinating to hear his 'outside' playing in the quintet.
'Miles in Tokyo' is the sole recording of this quintet and is an unjustly overlooked album which deserves a place in any serious Miles Davis collection.
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1 of 1 people found the following review helpful
3.0 out of 5 stars Not a natural fit... 16 Sep 2012
By Nomad
Format:Audio CD|Verified Purchase
With some fine playing by Miles and his formidable regulars my reservations lie with the contribution made by Rivers - whose inclusion in the band was dictated more by necessity than preference. He's certainly different from his predecessor George Coleman, but the question is: does he gel or does he grate? For me it's more of the latter. His off-tone, at times raucous style may be individual and incisive but it seems at odds with the spirit of the music - detracting from rather than complimenting the overall performance. If as both Miles and Williams say 'he changed the sound of the band' (and let's face it: they should know!) it's not immediately obvious on this recording. As Richard Cook suggests in his highly recommended MD musical biography 'It's about that time': 'the sound of the band was changing anyway'....
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4.0 out of 5 stars More of the same but different. 21 Sep 2013
By Mr Bee
Format:Audio CD|Verified Purchase
There are so many live Miles albums from the early '60s. The USP of this one is it's the only recording with Sam Rivers playing in a short stint in the quintet. The recording is good quality but on some tracks the bass and piano are more prominent than trumpet and tenor. Performance-wise it's excellent: Rivers fits well on an Funny Valentine and All of You, he's clearly more experimental on the faster numbers but to me is preferable to Shorter on the Berlin set.
This is one for Miles collectors, after you've listened to My Funny Valentine and In Europe and want to hear more of the same but different.
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8 of 17 people found the following review helpful
3.0 out of 5 stars FOUR STARS!!!!1111 16 Oct 2007
By 77
Format:Audio CD
If there's a genre where live albums work best, it's surely gotta be jazz. It's essentially a live form of music anyway, even when aimed to be recorded, but the crowd noises and atmosphere seem to add a whole new dimension to the music, making it much easier to imagine yourself there in the hustle 'n' bustle of the audience. Here we find ourselves in Tokyo in July 1964, and Miles is joined by Sam Rivers, Herbie Hancock, Tony Williams and Ron Carter ("...is on the bass!") Again, I'll have to admit to my lack of jazz knowledge, but the playing seems very natural; I can't say I understand what people are referring to when they say Rivers is out of place, the group sounds great to me. All the tracks fly by nicely and we even get a reworking of the much-famed 'So What', which swings a hell of a lot more than the original. Ever find yourself wanting to smash through the speaker and watch it as it happened? For me, that's this album all over.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.5 out of 5 stars  17 reviews
41 of 50 people found the following review helpful
5.0 out of 5 stars The 1.75th Great Quartet DID exist 26 Mar 2005
By Marty Nickison II - Published on Amazon.com
Format:Audio CD
When we talk about the music of Miles Davis, there were many epiphanies that his music had. One was expressed in the album Birth of the Cool, where he broke away form a sound similar to Dizzy Gillespie to start his own distinct tone. The second major epiphany came about with first great quintet. With Red Garland, Paul Chambers, Philly Joe Jones and John Coltrane, Miles was able to extend his themes and developments into longer solos and also stretch the inert abilities of each piece they played. The third epiphany is expressed here on this album, Miles In Tokyo.

Well, George Coleman's time to leave the band came. So, with amounted to a promissory note for Wayne Shorter from Art Blakey, Miles need a tenorist yesterday. Sam Rivers, newcomer to the scene, was selected and to Tokyo the band. Here, available in an American pressing for the first time ever, is the concert date at Kohseinerkin Hall on July 14, 1964.

The sound was different here than any other date Miles did.

The sound is the question, right? Well, if you listen to My Funny Valentine, Live At Plugged Nickel, Seven Steps To Heaven, or Live in Berlin; you know the sound of the early quintet. They are developmental, experimental, polyrhythmic, fluid and (the difference in the early performances) conservative. Everyone, including Miles, is using the musicality of space to enhance his motifs and thematic material. Herbie is, as always, turning the melody into a song length harmonic experiment. Ron Carter is following behind the group with some early elements that would become know as `funky'. `Ant' Williams (R.I.P.) makes the whole song his solo. Tony always had a way of developing his approach to the tempo through the entire piece.

One final note is the presence of Sam Rivers. Well, if you have any of his early works (Fuchsia, Fuchsia Swing; Countors, Inventions and Dimensions, Trio Live) then you already know what to expect. His playing is punchy, dynamic, employing much staccato and almost paying to attention no any time restrictions.

Any fans of the second quintet or Sam Rivers will love this album. Also, give a hard listen to the album Countors (Freddie Hubbard, Sam Rivers (lead), Herbie Hancock, Ron Carter, and Tony Williams).

Not for the novice, this is jazz as only Miles can do it.
22 of 27 people found the following review helpful
3.0 out of 5 stars An unusual recording. 3 Nov 2005
By Michael Stack - Published on Amazon.com
Format:Audio CD
One of the more bizarre recordings in the catalog of Miles Davis, "Miles in Tokyo" finds the trumpeter with only one missing piece in his "Second Great Quintet"-- the rhythm section of pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams was in place, but while Wayne Shorter was promised to join Davis on tenor sax, he was not yet available, and on the recommendation of Tony Williams, Sam Rivers was brought in for replacement.

Now, I love Rivers' work, but clearly this was not a match that Davis was ready for, and Rivers sounds out of place. The set in the summer of 1964 was largely unadventerous, Davis had not recorded regularly with his small group in several years (1963's "Seven Steps to Heaven" being the only date during between March 1961 and January 1965), and there was a lack of new material (attributed by Davis to having "nothing left" after recording "Sketches of Spain"). As a result, the music Davis was playing was rather tame compared to what the Ornette Colemans and the Cecil Taylors (and for that matter the Charles Minguses and John Coltranes) were doing by this point. While his young band was far more schooled in free jazz, Davis was not ready.

So what we have is Davis playing a bunch of tired pieces with a rhythm section that pushes the level of energy up-- Davis plays well enough, railing away agressively pretty much throughout, but he's nothing compared to Rivers. Rivers' soloing is explosive, fierce, energetic, and unpredictable, often eschewing standard time and rhythmic ideas ("So What"), and yet sometimes surprisingly lyrical ("If I Were a Bell"), so far beyond what the rest of the band was doing that he sometimes loses them. And certainly Davis was unhappy with him, not allowing him to state the themes.

It's really an interesting record, and certainly everyone plays well enough, but Rivers was a square peg and it shows.
9 of 10 people found the following review helpful
5.0 out of 5 stars Miles Meets The New Thing - An IMPORTANT Recording for Students of Miles 28 Dec 2008
By Mark - Published on Amazon.com
Format:Audio CD
Those who study Miles' career know that he was in something of a creative rut in the early 60's. The departure of Coltrane and later the Kelly, Chambers & Cobb rhythm section left Miles looking for a new creative pool of ideas and expression. The arrival of Carter, Hancock, Williams, and Coleman gave him a working band and while the music these guys made was exceedingly good, there was nothing extraordinarily new and exciting really happening. When Coleman vacated the tenor sax chair, Miles once again tried and failed to secure Wayne Shorter - the man Coltrane recommended to Miles when he departed. Enter Sam Rivers for a stint that lasted but a few weeks.

Rivers was recommended by the young Tony Williams. Note that Tony had also recommended Eric Dolphy but Miles was having none of that. What's interesting is Rivers and Dolphy, while they sound nothing alike and don't even play the same horn, approach the sax in much the same way. Both have a very expressive way of playing each and every note.

While it's true that Rivers wasn't the player Miles was looking for, it is clear that his presence changed the way Miles' band listened to one another and played. Just listen to the version of "So What" on Tokyo and compare it to the recording made in Berlin a couple of months later with Wayne Shorter on sax. It's as if Miles made a giant leap forward on Tokyo and then took a step back. The rhythm section on Tokyo sounds much closer to what we hear on ESP than the first recording with Shorter (Berlin). Rivers is positively outrageous on So What, you've never heard a Miles Davis band that sounds like THAT.

Another good reason for purchasing Tokyo is that is includes what biographer Chambers calls the essential performance of Funny Valentine. I have to agree with that assessment.

Rivers might not have been the sax player Miles had in mind but it's clear that Rivers is the person who managed to nudge open the door to a much more flexible sound for Miles' 2nd great quartet.

This is great stuff! Buy it!
2 of 2 people found the following review helpful
5.0 out of 5 stars sam rivers.shaw nuff 11 July 2010
By monks time - Published on Amazon.com
Format:Audio CD
Incredible recording.Have almost all of Miles.Buy this for Sam.His solo on "If I were a bell" remains raw, soulful, original, and clear as a bell-every time I listen.One of my favorite solos in jazz record history.Up there with all the solos that everyone who reads this already knows about, going back to Louis.Both pushed the rhythmic envelope and their sound come from the belly.Just a grand recording.Nothing needs to be said about the rhythm section.Flawless as usual.
1 of 1 people found the following review helpful
4.0 out of 5 stars What might have been a mediocre live date is transfigured by the single appearance of an unusual saxophonist 15 Nov 2012
By Christopher Culver - Published on Amazon.com
Format:Audio CD
The early 1960s were a low point in Miles Davis's career. The jazz trumpeter's early quintet had fallen apart with the departure of John Coltrane, plus Davis couldn't come up with innovative material, instead rehashing his late 1950s style. Things eventually changed, however, and by the time of this Tokyo date, July 14, 1964, the jazz trumpeter had brought on three young musicians who would stay with him for the next several years with acclamied results: pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams. Only a satisfactory saxophonist still eluded him. This concert is the only recorded document of Sam Rivers (on tenor saxophone) with Davis.

Sam Rivers' playing style is perhaps the most adventurous of any saxophonist who ever worked with Miles Davis, and Rivers' first appearance on "If I Were a Bell" will prove jarring after Davis's lulling introduction. When you hear his solo later on "So What", you might mistake it for something Coltrane recorded a year later. Indeed, Rivers began playing unabashed free jazz once he left this short-lived Davis quintet. MILES IN TOKYO is therefore something of a glimpse of what might have been, had Davis too moved toward free jazz instead of sacking Rivers for Wayne Shorter, not just a saxophonist but also a composer of finely crafted bop.

With the exception of Rivers' appearance, MILES IN TOKYO is not an especially great entry in the huge Miles Davis discography. It's a fairly short performance and consists of repertoire that Davis had already recorded a number of times before and sounds bored with. I wish I could say that the other, fairly new musicians were already showing off their talents, but only Williams managed to really shine (especially on "So What"). Still, the concert is entertaining enough, and the sound is great for a 1960s live recording. I'd recommend this to Miles Davis fans who have already collected the studio recordings on both sides of the 1964 date, and who will therefore understand the transitional (and tantalizing) nature of this lineup.
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