Miles Ahead - Original Motion Picture Soundtrack (Columbia/Legacy) 2016. There is some extremely loose use of biographical reference points but it is, otherwise, complete fantasy. It was wise to separate most of these new sounds from Davis' sides, making the album a double portrait: One of the artist and another of how he contributed to the future. Of course Miles's career was so prolific and diverse that It's impossible to cover so much ground on just one disc. Disabling it will result in some disabled or missing features. Many tracks are interspersed with snippets of… The vinyl is ok, side one was not perfect, the other sides were pressed ok. An excellent soundtrack for an excellent movie. The album also includes the brief "Taylor Made" by pianist Taylor Eigsti. Davis was also expected to carry the album as its only soloist, and manage not to get lost among a cast of supporting musicians that included a huge horn section. Titled for Davis' first wife and muse Frances Taylor, it briefly recontextualizes several important themes in the trumpeter's fakebook. In presenting such a wide selection of Davis' music for a cinema audience, judicious editing was often necessitated: "Solea," "Seven Steps to Heaven," "Nefertiti," "Duran (Take 6)," "Black Satin," and "Back Seat Betty" are all presented this way. Many Miles fans will be thinking there is little value to yet another compilation but there are some original pieces included on this disc that may make you think again. Reviewed in the United Kingdom on 3 August 2016, Reviewed in the United Kingdom on 22 May 2016. Interspersed are bits of dialogue by Cheadle (as Davis) and others. That's a fine explanation for what is compiled here. Framed in the film as a live concert piece, it places Glasper's Rhodes in the company of Harrold (using a mute), Hancock, Wayne Shorter, Esperanza Spalding (on electric bass), Antonio Sanchez, and guitarist Gary Clark, Jr. A loose jam based on vamps, it weaves Davis' bluesy lyricism with spacy elements of fusion, harder psychedelic funk grooves, and even the tender soul pop notions from later years. Dialogue: "Listen, You Talk Too Goddam Much...", Dialogue: "Sometimes You Have These Thoughts...", Dialogue: "Be Musical About This Shit...", Dialogue: "I Don't Like the Word Jazz...". Robert glasper adds a couple of excellent contemporary tracks that sit nicely alongside the film. Miles Ahead is not a complete representation of Davis, and that's fine. Your recently viewed items and featured recommendations, Select the department you want to search in, Reviewed in the United Kingdom on 1 July 2016. Prime members enjoy fast & free shipping, unlimited streaming of movies and TV shows with Prime Video and many more exclusive benefits. I already had most of the songs on my other Miles albums. Evans' arrangements in particular are well-suited to the format, and he and Davis formed a deep and close partnership where ideas were swapped back and forth, nurtured, and developed long before they were expressed in the studio. This page works best with JavaScript. Very good soundtrack of a underrated movie. Eleven of these tunes were selected from Davis' catalog, beginning with the title track cut for Prestige in 1953. However I received the cd and played it in my car and really liked the mix. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. There are also four new compositions written or co-written by Robert Glasper. Strickland's brushed drums, and Elena Pinderhughes' flute. The funky "Junior's Jam" features saxophonist Marcus Strickland, trumpeter Keyon Harrold, drummer Kendrick Scott, and bassist Burniss Earl Travis. Davis gets off to a great start, with the hyper-kinetic "Springsville," which seems to almost perfectly embody Evans' and Davis' partnership with its light, flexible exchanges between soloist and orchestra. There are stops all along the way to 1981's "Back Seat Betty." All the reviews here are of Miles Davis's original album with the same title as this film sound track, so are not relevant. Find helpful customer reviews and review ratings for Miles Ahead (Original Motion Picture Soundtrack) at Amazon.com. This movie is nothing more than a Don Cheadle vanity project; it tells us nothing about Miles as a man or as an artist. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. Approved third parties also use these tools in connection with our display of ads. Read honest and unbiased product reviews from our users. Miles Ahead (Original Motion Picture Soundtrack), See all details for Miles Ahead (Original Motion Picture Soundtrack), © 1996-2020, Amazon.com, Inc. or its affiliates. 2" are presented in full. The upbeat "I Don't Want to Be Kissed (By Anyone but You)" is another strong song, but shows the weakness of the format as Davis intersperses a charming, bright, technically challenging solo with a blasting horn section that occasionally buries him. Okay so there was some good music in the movie but in the same way that you might hear one of your favourite pieces of music used to advertise junk food or life insurance. Sorry, there was a problem saving your cookie preferences. To a large extent, he succeeds. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future (because of Davis' contractual obligations with Prestige). I went to see the film yesterday. While fans may take issue with the entire idea of edits, they serve a proper purpose inside the soundtrack concept. At the end of Don Cheadle's liner essay for Miles Ahead, the soundtrack for his expressionist Miles Davis biopic, he quotes Herbie Hancock from a documentary about the trumpeter's electric years: "...I couldn't pick a piece.. Because Miles is all of the pieces." I then bought the vinyl version. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn't worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. [11] Of Davis' flugelhorn, Kevin Whitehead of Cadence wrote that it "seemed to suit [Davis] better than trumpet: more full-bodied, less shrill, it glosses over his technical deficiencies." About three-quarters of the Miles Ahead soundtrack belongs to Davis himself. There's a problem loading this menu at the moment. I have followed Miles for many years, have most of his recordings and many books on his life. AllMusic Review by Stacia Proefrock [+] This album is perhaps most significant for the process it set in motion -- the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two of Davis ' best albums. The tunes in the movies are way above being sullied in their original form but this album is nothing short of a travesty. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn't worked … Wonderful soundtrack, cool tunes, old as well as new. It also analyses reviews to verify trustworthiness. The guy in the film didn't resemble the Legend much, but Francis Taylor must be pleased her name was mentioned a few times, but she is the executive producer! Maybe this will make more sense. I was unsure about this movies but thought I'd better give it a chance. I rate the music 5 stars, the vinyl pressing 3.5 stars. For new and future fans, MILES AHEAD - Original Motion Soundtrack provides an ideal introduction to the music of Miles Davis. Glasper, who plays Rhodes, perfectly captures the spirit of Davis' early electric era, with riff-like basslines, funky drums, and eerie electric pianos, while the frontline horns engage and disengage from rhythm and vamp. The real highlight is "What's Wrong with That?" He is strongest on the ballads, though, where his subdued and wistful tone rises high above the hushed accompaniment, especially on "Miles Ahead" and "Blues for Pablo" (which foreshadows the bluesy, Latin-tinged sound of Sketches of Spain). For seasoned aficionados of the influential 20th century musical pioneer, the album and film provide fresh perspectives and new insights into Miles… I really like the mix, however the non-Mile Davis not as much - but it is an ideal overview. Reviewed in the United Kingdom on 16 April 2016. I Don't Wanna Be Kissed (By Anyone But You). Of the 11 tracks selected from the great Miles Davis back catalog, … Reviewed in the United Kingdom on 19 September 2016. What it does accomplish is to offer an impression of essence as an artist who changed everything by his example. "Francessence" is a lilting theme piece with Vicente Archer's upright bass, E.J. Find album reviews, stream songs, credits and award information for Miles Ahead [Original Motion Picture Soundtrack] - Miles Davis on AllMusic - 2016 - At the end of Don Cheadle's liner essay for Miles… They are so short they don't distract. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Great music from Miles - can't wait to see the movie. Miles Ahead is the original motion picture soundtrack of the 2015 film of the same … You can still see all customer reviews for the product. Try again. It is a fine end, however, to an album that gave a hint of the greatness that would come as Evans and Davis fine-tuned their partnership over the course of the next several years. What a waste of time. I was unsure about this movies but thought I'd better give it a chance, Reviewed in the United Kingdom on 18 June 2016. I really like the mix, however the non-Mile Davis not as much - but it is an ideal overview. Love the record. Colonna sonora di un film sulla vita di Miles Davis che chissà quando (e se) arriverà mai sui nostri schermi. While I concede that film's narrative almost-impressionistic and collage-style structure may lose viewers uninitiated to the life of Miles, the score is not only one of the best laid down but also gives listeners a more linear travelogue of the man's work. I generally like to buy audiophile versions (Speakers Corner, Tone Poet and so on) - this is not at that same caliber but it is ok. The album closes with "Gone," a hip-hop tune with Pharoahe Monch rapping over a bumping bassline, slippery snare, and hi-hat beats (Dilla style), adorned by a sampled brass section, gospel piano chords, and Harrold's soaring, muted trumpet solo. Love it, and love the film .

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