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[Info]
Artist : Miles Davis
Album : The Bootleg Series, Vol. 7: That's What Happened 1982-1985
Label : Sony Music
Genre : Jazz
Street Date : 2022-09-16
Quality : 253 kbps / 44.1kHz / Joint Stereo
Encoder : Lame 3.100 -V0
Size : 395.70MB
Time : 206:21min
Url : http://allmusic.com/album/release/the-bootleg-series-vol-7-th
ats-what-happened-1982-1985-mr0005711256
[Tracks]
Disc 1/3
1. Santana 13:05
2. Minor Ninths (Part 1) 3:12
3. Minor Ninths (Part 2) 4:31
4. Celestial Blues (Part 1) 8:03
5. Celestial Blues (Part 2) 4:00
6. Celestial Blues (Part 3) 5:56
7. Remake of DBX Ballad 4:57
8. Remake of DBX Ballad (Full Studio Session) 7:15
9. Freak Deaky (Part 1) 9:49
10. Freak Deaky (Part 2) 5:25
Disc 2/3
1. Time After Time (Alternate) 5:53
2. Time After Time (Full Studio Session) 8:56
3. Theme From Jack Johnson (Right Off) / Intro 8:30
4. Never Loved Like This (Studio Session Demo) 5:00
5. Hopscotch (Slow) 5:34
6. Hopscotch (Fast) 7:00
7. What's Love Got To Do With It 4:21
8. Human Nature (Alternate) 6:00
9. Katia (Full Studio Session) 10:23
Disc 3/3
1. Speak (That's What Happened) 11:34
2. Star People 9:23
3. What It Is 5:54
4. It Gets Better 11:52
5. Hopscotch 7:18
6. Star On Cicely 9:11
7. Jean-Pierre 4:50
8. Code 3 9:27
9. Creepin' In 9:02
[Notes]
The seventh volume in Miles Davis' award-winning Bootleg Series is comprised
of unreleased material from the sessions for his final Columbia studio
albums -- Star People, Decoy, and You're Under Arrest -- that appeared
annually from 1983 to 1985. They reveal the profound influence that era's
pop music and MTV had on the trumpeter. The three-disc box assembles 19
alternates and outtakes, alongside the live What It Is: Montreal 7/7/83,
issued for Record Store Day. The booklet includes interviews with the
musicians and producer.
Eight of disc one's ten tracks are drawn from 1983's Star People sessions,
the last Davis recording, produced by Teo Macero. It opens with his bleating
synth intro to the 13-minute "Santana." A rumbling Marcus Miller bassline is
framed by Al Foster's drums, Mino Cinelu's urgent percussion, and the funky,
dissonant electric guitars of Mike Stern and John Scofield. The interplay
between Davis' muted horn and keyboards introduces Bill Evans' fluid soprano
sax halfway through. The choppy, repetitive horn vamps amid the jagged group
interplay recall Ornette Coleman & Prime Time in places. The other highlight
on disc one is the three-part "Celestial Blues." It's lithe and funky,
bathed in steamy grooves. Davis -- with and without mute -- freely engages
the guitarists as the rhythm section lays a deep cut. Evans' tenor solo in
part one is saturated in the influence of Ben Webster. It closes with two
unremarkable alternates of Decoy's "Freaky Deaky." Disc's two's highlights
include two wonderful alternates of Cyndi Lauper's "Time After Time" (from
1985's You're Under Arrest). The first is uptempo and funky; the latter is
three minutes longer with a slow, dubby, reggae processional. A jagged,
muscular read of "Theme from Jack Johnson (Right Off)/Intro" offers a killer
break from Scofield and punchy, athletic bass from Darryl Jones. In addition
to an emotionally poignant version of Michael Jackson's "Human Nature," the
disc includes a warm, lyrical, moving read of Tina Turner's "What's Love Got
to Do with It" that never made the album. The disc closes with a smoking
version of "Katia" featuring an incendiary performance by guitarist John
McLaughlin. Both discs are peppered with Davis' studio banter. The live disc
is riveting. The band -- Davis, Scofield, Jones, Evans, Foster, and Cinelu
-- open with a ramped-up, driving, 13-minute "Speak (That's What Happened)"
that sometimes recalls, the unruly voodoo funk on Agharta, albeit in more
polished form. Here, "Star People" is loose and airy, offering great solos
by guitarist, trumpeter, and saxophonist. "What It Is" offers fiery,
interlocking funk as Scofield, Foster, and Jones go head to head. Closer
"Code 3" is an excellent showcase for Evans and Cinelu.
There is no question that The Bootleg Series, Vol. 7: That's What Happened
1982-1985 will cause controversy among jazz fans. But it isn't for them.
It's for Miles Davis fans and presents an unvarnished taste of him -- from
the cutting room floor no less -- attempting to reinvent himself one last
time.