Los Angeles Times

Another Miles Davis package? Great, but ...

- By Chris Barton christophe­r. barton@ latimes. com

My name is Chris, and I am getting tired of Miles Davis.

I recognize this is a little like a food critic declaring he is sick of tacos or— more specifical­ly— a rock writer claiming he’s had enough of the Beatles ( guilty on that front too, I’m afraid), but this is the knee- jerk response when another lushly packaged dip into the archives arrives on the release calendar, which continued on Friday with “The Bootleg Series Vol. 4: Miles Davis at Newport: 1955- 1975” ( Sony Legacy).

This isn’t a knock on Davis, of course, whose catalog by any measure is a station of the cross for anyone hoping to understand jazz or, indeed, American music. It’s more of a nagging sense that the constant repackagin­g and reappraisi­ng of artists whose work was released decades ago reinforces an idea that themusic’s best years are long gone.

As keyboardis­t Robert Glasper said in a 2012 interview, “I have to compete with Louis Armstrong every time I’m on charts.”

The reselling of history is something of an annual tradition in the industry, and that’s not entirely a bad thing— least of all fromthe perspectiv­e of a given label’s bottomline. Last year’s previously unreleased John Coltrane live album recorded at Temple University in 1966 burned with a creative fury that bordered on sacramenta­l, and the Sony Legacy “Bootleg Series” campaign that delivered this volume has also brought us remarkable documents of Davis’ Great Quintet in1967 and his breathless invention of a new kind of music entirely with his “lost band” in1969 ( Volumes 1 and 2, respective­ly).

And yet to be in the thrall of the music’s past— a natural, even unavoidabl­e reaction with these recordings— is to an extent to be imprisoned by it. Much like the ongoing efforts of Beatles Inc., you could set your watch to the concerts honoring Davis’ legacy in the recent past, and the future holds all kinds of landmark anniversar­ies to coincide with various albums and festival ensembles.

Even Newport, that coastal jewel of North American jazz festivals also celebrated here, will offer a comparativ­ely understate­d Davis tribute at this year’s installmen­t, with groups led by trumpeters Ambrose Akinmusire, Arturo Sandoval and others covering one Davis song during their sets ( the festival is July 31- Aug. 2).

“You can’t have a jazz festival without me,” Miles told Newport’s venerable founder, George Wein, before the1955 festival, a quote cited in this set’s liner notes. Hehad no idea how right he was.

That said, your need for this set depends on your standing as a Davis completist. Is there a case to bemade against a fan spending the $ 40- odd dollars to hear a1955 jam session that finds Davis in a group with Thelonious Monk and Gerry Mulligan on Disc1? There is not, particular­ly in a cover of Charlie Parker’s “Now’s the Time” highlighte­d by Monk’s clanging piano.

If you’re a devout explorer of Davis’ electric period, can you live without hearing the flamethrow­ing ventures through Disc 3, which contains a1973 set from Davis taken from Newport’s venture into Berlin?

Given the diabolical­ly propulsive rhythms and sheer overdrive of Davis’ “Dark Magus” era ( and some unholy work by the late Pete Cosey on “Turn around phrase”), probably not. That said, does the set’s disc- long sampling of the great quintet in full stride in ’ 66 and ’ 67 reach amore illuminati­ng level of greatness than the Bootleg Series’ first volume? Moments such as Herbie Hancock’s odd- angled counterpoi­nt to Davis’ trumpet in “Footprints” stand out, but your mileage will vary.

Like many such releases involving a titanicall­y influentia­l heritage act, the music is basically unassailab­le. The weird alchemy of the right moment in time, creative genius and awe- inspiring collaborat­ion yielded a period of invention that just might not be equaled, particular­ly for those fortunate enough to have been there while Davis and his charges rewrote the book on the fly every night. Itwas a revolution­ary time, and collection­s like these testify to it.

That said, if someone has only $ 40 or $ 50 to spend on jazz in a given year, I’m not sure this is the best use of it. I can recommend four or five CDs released this year— works from Kamasi Washington, Makaya McCraven and Vijay Iyer, just off the top of my head— that prove the revolution goes on.

 ?? Associated Press ?? MILES DAVIS in 1987. Sony Legacy has just released 1955- 75 performanc­es in “The Bootleg Series Vol. 4.”
Associated Press MILES DAVIS in 1987. Sony Legacy has just released 1955- 75 performanc­es in “The Bootleg Series Vol. 4.”

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