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| Song Title | Time | Price | ||
|---|---|---|---|---|
| Play | 1. Bye Bye Blackbird - Part 1 | 6:10 | $0.99 |  |
| Play | 2. Scrapple From the Apple | 2:54 | $0.99 | |
| Play | 3. It Never Entered My Mind | 6:33 | $0.99 | |
| Play | 4. Dexterity | 3:04 | $0.99 | |
| Play | 5. Embraceable You | 3:23 | $0.99 | |
| Play | 6. Little Willie Leaps | 2:54 | $0.99 | |
| Play | 7. Milestones | 2:38 | $0.99 | |
| Play | 8. The Way You Look Tonight | 2:50 | $0.99 | |
| Play | 9. A Night in Tunisia | 2:57 | $0.99 | |
| Play | 10. How Deep Is the Ocean | 3:26 | $0.99 | |
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Customer Reviews
Most Helpful Customer Reviews
14 of 14 people found the following review helpful
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Anyone looking for Miles Davis' best or most famous or most important individual recordings should not buy this album. On the other hand, if you're just looking for some good bebop, this is a fine set. If they'd just titled it: "Miles Davis: 10 Decent Tunes" there'd be no confusion at all.
It contains some prominent tracks from his days with Charlie Parker, with the mediocre sound quality typical of the available technology at that time. (No doubt we'll be saying the same thing about our current technology in 50 yrs.) But these are by no means the best or most famous or most important tracks of Miles' career; there are many better compilations for someone looking for a compilation.
Of course, Miles' musical style evolved significantly over the course of his career, so a compilation will end up sounding very uneven if it really spans the breadth of his career. (It would be like putting "Love Me Do" and "A Day in the Life" on the same Beatles compilation.) So, IMHO, a first-time buyer would be better off getting one of his classic albums instead of a compilation.
Also, this release doesn't contain any information regarding when these sessions were recorded, and they don't seem to line up with Peter Losin's sessions database. Anyone know which sessions these are? That info would be greatly appreciated...
It contains some prominent tracks from his days with Charlie Parker, with the mediocre sound quality typical of the available technology at that time. (No doubt we'll be saying the same thing about our current technology in 50 yrs.) But these are by no means the best or most famous or most important tracks of Miles' career; there are many better compilations for someone looking for a compilation.
Of course, Miles' musical style evolved significantly over the course of his career, so a compilation will end up sounding very uneven if it really spans the breadth of his career. (It would be like putting "Love Me Do" and "A Day in the Life" on the same Beatles compilation.) So, IMHO, a first-time buyer would be better off getting one of his classic albums instead of a compilation.
Also, this release doesn't contain any information regarding when these sessions were recorded, and they don't seem to line up with Peter Losin's sessions database. Anyone know which sessions these are? That info would be greatly appreciated...
6 of 6 people found the following review helpful
By all appearances, this collection of mostly superb Charlie Parker 1940s recordings, which incidentally include a young, reserved and occasionally tentative Miles Davis as sideman, was assembled by a blatant opportunist. Not a single one of the tracks comes close to qualifying as a a "Miles Davis hit," and, moreover, as if it's not bad enough that the listener has no information with which to identify these classic performances by Bird, some of the tracks are mislabeled!
For example, the first track, designated as "Bye Bye Blackbird" is the jazz standard "Four" (which actually might qualify as a Miles hit). The Rodgers and Hart ballad "It Never Entered my Mind" (later recorded by Miles for Prestige in the '50s) is something else entirely--an up-tempo bebop number. "Milestones" is the title of a Davis composition and Columbia recording of the same title, but the version on this collection certainly isn't it.
All the same, the music itself would be 500 stars if the title weren't so offensively misleading (not to mention presumptuous if not downright ignorant) and if the track listings were accurate and included the essential information about the originals (personnel, dates, label). In fact, to the attentive, serious listener, there's sufficient evidence from Bird's necessarily brief solos (though Bird was not a fan of extended solos even when LP's replaced 78's) to support the longstanding claim that he was the best jazz improvisor of all time (though Coltrane appears to have replaced him in the minds of later-generation listeners--and, of course, there have always been those who would insist that if Bird was #1, it had to be an honor he shared with Miles' predecessor, Dizzy Gillespie).
The one track that apparently is NOT one of the Dial or Savoy tracks featuring Bird with Miles is "The Way You Look Tonight." It may require a bit of extra research to come up with the necessary information about that particular performance.
[Later: "The Way You Look Tonight" has Miles in the company of the "Coleman Hawkins All-Stars" (give credit to a preceding reviewer for recognizing Hawk), a group including Kai Winding, Hank Jones, Curly Russell and Max Roach. Two of the tunes are the subject of jazz criticism that's as detailed, meticulous, thorough and intense as you're apt to see anywhere: "Night in Tunisia" (Bird's storied "naked" break ahead of the improvised chorus) and "Embraceable You" (Bird's most admired ballad solo). Whether the versions on this particular recording are the subjects of the essays in question is another matter (it seems to me that Bird's most complex, most analyzed 4-bar break on "Night in Tunisia" is the Carnegie Hall Concert date with Diz, not Miles. The audio (non)-quality notwithstanding, it's that version that remains unequaled, even by its originator.]
For example, the first track, designated as "Bye Bye Blackbird" is the jazz standard "Four" (which actually might qualify as a Miles hit). The Rodgers and Hart ballad "It Never Entered my Mind" (later recorded by Miles for Prestige in the '50s) is something else entirely--an up-tempo bebop number. "Milestones" is the title of a Davis composition and Columbia recording of the same title, but the version on this collection certainly isn't it.
All the same, the music itself would be 500 stars if the title weren't so offensively misleading (not to mention presumptuous if not downright ignorant) and if the track listings were accurate and included the essential information about the originals (personnel, dates, label). In fact, to the attentive, serious listener, there's sufficient evidence from Bird's necessarily brief solos (though Bird was not a fan of extended solos even when LP's replaced 78's) to support the longstanding claim that he was the best jazz improvisor of all time (though Coltrane appears to have replaced him in the minds of later-generation listeners--and, of course, there have always been those who would insist that if Bird was #1, it had to be an honor he shared with Miles' predecessor, Dizzy Gillespie).
The one track that apparently is NOT one of the Dial or Savoy tracks featuring Bird with Miles is "The Way You Look Tonight." It may require a bit of extra research to come up with the necessary information about that particular performance.
[Later: "The Way You Look Tonight" has Miles in the company of the "Coleman Hawkins All-Stars" (give credit to a preceding reviewer for recognizing Hawk), a group including Kai Winding, Hank Jones, Curly Russell and Max Roach. Two of the tunes are the subject of jazz criticism that's as detailed, meticulous, thorough and intense as you're apt to see anywhere: "Night in Tunisia" (Bird's storied "naked" break ahead of the improvised chorus) and "Embraceable You" (Bird's most admired ballad solo). Whether the versions on this particular recording are the subjects of the essays in question is another matter (it seems to me that Bird's most complex, most analyzed 4-bar break on "Night in Tunisia" is the Carnegie Hall Concert date with Diz, not Miles. The audio (non)-quality notwithstanding, it's that version that remains unequaled, even by its originator.]
2 of 2 people found the following review helpful
I fully agree with the reviewer who said that these are by no means his "greatest hits" but should be called "10 decent tunes". I disagree that the bad quality is a reflection of the recording equipment at the time - the quality of these tracks is significantly worse than other recordings of the same songs. Stay away!
Most Recent Customer Reviews
Five stars for value despite misrepresentation
I read the reviews, nearly all of which warned off prospective buyers because this album contains neither Miles' greatest hits, nor is Miles even the leader. Read more
Published 18 days ago by Mike Tarrani
Songs mislabeled. Miles is awesome but don't buy this one.
I find it totally unacceptable and incomprehensible how these songs could be mislabeled. That just screams "I don't care" from whoever put this album together. Read more
Published 2 months ago by Michael Nichols
Very Early Miles Davis
The label on this collection is misleading. These tracks were not especially popular when they were first released, nor are they the key recordings by which Miles Davis is... Read more
Published 16 months ago by Dennis G. Voss Jr.
Strictly Subjective
So what are Miles Davis' "10 Greatest Hits"? It's all strictly subjective. But for $2.79, how can you go wrong? Some people are just too picky I think. Read more
Published 17 months ago by Old Hippie
jazz
i play this all the time,also the price is perfect. thanks again for the music.
Published 24 months ago by Charlotte E. Schuster
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