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The Man with the Horn


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Audio CD, May 22, 1984
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LIVE IN EUROPE 1969 THE BOOTLEG SERIES VOL. 2

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What is cool? At its very essence, cool is all about what’s happening next. In popular culture, what’s happening next is a kaleidoscope encompassing past, present and future: that which is about to happen may be cool, and that which happened in the distant past may also be cool. This timeless quality, when it applies to music, allows minimalist debate – with few ... Read more in Amazon's Miles Davis Store

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Product Details

  • Audio CD (May 22, 1984)
  • Number of Discs: 1
  • Label: SBME SPECIAL MKTS.
  • ASIN: B0012GN06W
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (32 customer reviews)
  • Amazon Best Sellers Rank: #35,909 in Music (See Top 100 in Music)

1. Fat Time
2. Back Seat Betty
3. Shout
4. Aida
5. The Man With the Horn
6. Ursula

Editorial Reviews

Customer Reviews

3.8 out of 5 stars

Most Helpful Customer Reviews

12 of 12 people found the following review helpful By Michael Stack VINE VOICE on December 9, 2008
Format: Audio CD
Having not performed or really played his horn since 1975, Miles Davis appeared to be done by 1981, when his 'comeback' album, "The Man With the Horn" materialized. Inspired by his nephew Vince Wilburn's band's recordings, Davis reemerged, recording first a pair of tracks with that band (Randy Hall on guitars and synths, Robert Irving III on keys, Felton Crews on bass and nephew Wilburn on the drums), then later jettisoning them for a new ensemble who recorded the majority of the record-- drummer Al Foster (the only holdover from his '70s band), percussionist Smamy Figueroa, reedman Bill Evans, then-barely-known-now-bass legend Marcus Miller and guitarist Barry Finnerty (replaced on one cut by Mike Stern). The results are, well, different from what came before.

Time, I think, has been a lot kinder to this record than both its initial reception and even feelings in the past decade-- Davis abandoned the deep funk vamps and fierceness of his mid-70s music for a brighter sound that anticipates the best of smooth jazz. With Foster and Miller serving as a quite capable anchor, the band hits a number of nice grooves-- openers "Fat Time" with its slinking rhythms and explosive "Back Seat Betty" both find the band hitting great grooves and while Davis' playing certainly isn't what it had been, he seems to take some inspiration in just playing again. Admittedly, Evans seems the more powerful and urgent of the horn players (his solo saves otherwise limp "Shout"), and certainly "Aida" is highlighted more by Miller's staggering bass playing than anything else (although Davis' manic solo is his best playing on the record)-- but this plays to Davis' strengths as a bandleader. He gets great performances out of people, in many cases better than they play anywhere else.
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9 of 9 people found the following review helpful By C Jones on March 26, 2007
Format: Audio CD Verified Purchase
I like it. I go back to this one as much as "Amandla" or "Tutu." Mike Stern sounds great, the compositions are varied and interesting, and the title track is not as bad as everyone makes it out to be. Cheesy, yes, but cool chord changes and nice synth tones round it out. The overall sound of the recording has a little more "gut," to me, than Miles' subsequent efforts in the 80s. That's not a good or bad thing, since I like all those ones, too, but it does make "Man with the Horn" stand out in one way.

Bottom Line: Perusing my iTunes collection of over 10,000 songs, many of the cuts from this album were among my most listened to. So, over the past year, I listened to this album more than any other Miles album I had.
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20 of 24 people found the following review helpful By Stuart A. Macniven on July 22, 2006
Format: Audio CD
If I rate Get Up With It a five, or maybe Live/Evil, or Big Fun, or On the Corner, fives, or maybe even Sketches of Spain, a five, or Kind of Blue, then I guess this is a three and a half, or a four, so I give it a four, as if this were American Bandstand. But it's a Miles Davis record. If it's Miles or Coltrane, or, oh I don't know, Poulenc, perhaps people could "check themselves" just a bit. Man With the Horn is a fine record, a bridge in some ways, if you will, between some of the pre-electric Miles, as "jazz," and the psychedelic fusion, and then the later fusion funk. Man With the Horn is precious to me, and not enough people appreciate it, in my opinion. Personally, I love the vocals on the title track, maybe for sentimental reasons, like why I love 10 CC's "I'm Not in Love," or even Brian Hyland's "Gypsy Woman," or Marvin Gaye's Mercy, Mercy, Me," if I catch them in the grocery store or on the street. If you can't dig that, well ... I was listening to Kind of Blue yesterday and loving the solos by Miles, Coltrane and Cannoball. I was listening to Aura while typing day before yesterday and thinking not enough people seem to have appreciated that very beautiful collection of abstract soundscapes. Even Miles Around the World deserves some serious attention and respect. I say it that way because the slap bass funk, even by the great Folly, isn't exactly my thing, but I was blessed to see that band live. I'll never forget it!! For me anyway, the song "The Man With the Horn," goes straight to my heart. Whatever else you say, Miles is gone. You won't see him perform again. Like Lester Young, Duke, Bird, or Trane, or even Sun Ra, or Elton Dean, like so many others, they're gone. But we have the magic of their music.Read more ›
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4 of 4 people found the following review helpful By A Customer on November 12, 1999
Format: Audio CD
This cd represents a different side of Miles, a less aggressive side of him. "Fat Time" is just that, a fat time. In understanding the art of music, in particular, Miles Davis, one can conclude that this trumpet master was a bit on edge pending his comeback. "Shout" is a nice cut in which he really let a few emotions fly. "Aida" and "Ursula" are normal Miles' tracks. The title track, "The Man With The Horn" written by Randy Hall, is simply outstanding. In order to really appreciate this cut, one must get inside this composition and look around to see what is actually going on. You have to go way beyond the solo itself, the melody, and the lyrics. I won't spoil it for those who may like it, but I am glad that I was able to catch the pure essence of "The Man With The Horn."
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