Great Britain's Proper imprint has been releasing terrific multi-disc boxed collections by many major artists in the genres of jazz, blues, and country since the 1990s. On occasion, they've also issued double-disc retrospectives. These offerings have been long on detail in terms of not only volume, but great sound, accurate discographical information, and best of all, they retail at a very attractive price point. Which brings us to their single-disc series, "Proper Introduction To..." In this case, it's Miles Davis. The ...
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Great Britain's Proper imprint has been releasing terrific multi-disc boxed collections by many major artists in the genres of jazz, blues, and country since the 1990s. On occasion, they've also issued double-disc retrospectives. These offerings have been long on detail in terms of not only volume, but great sound, accurate discographical information, and best of all, they retail at a very attractive price point. Which brings us to their single-disc series, "Proper Introduction To..." In this case, it's Miles Davis. The bottom line is that any single-disc collection attempting to offer a righteous introduction to the work of Miles is going to fall somewhat short. That makes sense since he was not only at the forefront of so many different periods in jazz, but he also either created them or was a founding father, at the very least. This 16-cut set showcases Miles mainly in his early days as a leader, recorded for Prestige, though there are a couple of sides he cut for Blue Note and one with his first real boss, Charlie Parker. Brilliant artists such as Sonny Rollins, Walter Bishop, Jr., Jackie McLean, Jimmy and Percy Heath, Max Roach, Tommy Potter, Art Blakey, Oscar Pettiford, and Kenny Clarke all accompany Davis here in various places. The music is either solid bebop or early hard bop, and all of it is pre-Coltrane or Gil Evans. That said, while this isn't any kind of a definitive collection, all of the sides here, if you don't already have them, make excellent cases for investigating this early period more deeply, since there is nary a track of music during the Prestige years that isn't worth hearing. This is all inspired, most of it quite fiery, and brilliantly executed not just by the soloists, but by the various ensembles as well. ~ Thom Jurek, Rovi
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