www.miles-davis.com / www.columbiarecords.com

Miles Davis
The Complete Jack Johnson Sessions
Columbia/Legacy 2003

The Jack Johnson recording sessions, named after the turn-of-the-century boxing champ, began two weeks after Miles completed his work for the groundbreaking Bitches Brew in early 1970. That album was panned as much as it was praised—rockers loved that a heavyweight like Davis had entered the jazz-fusion movement, while purists decried his defection.

The controversy continues with the release of this five-disc box set, which features hours of mostly unheard alternate takes. The original disc’s producer, Teo Macero, has been quoted in regard to the set in the British paper Guardian Unlimited as saying, “I think it’s a bunch of shit. It has destroyed Miles and made him sound like an idiot.” To the contrary, because if anything, it highlights Davis’ generosity as he allows his band of all-stars to experiment with the arrangements. No less than six versions of “Willie Nelson” appear, some with psychedelic guitar solos from John McLaughlin, and all with relentlessly funky bass from Dave Holland. Sonny Sharrock completely takes over one version with a wall of echoplex guitar; it’s fascinating to hear, but also easy to understand why it was left unreleased until now. For the most part, Davis takes a back seat on Disc One, which also includes improvisation from Chick Corea, Jack DeJohnette and Bennie Maupin. Davis comes back to the forefront for a somber version of “Go Ahead John,” but then the band goes decidedly off-kilter; four subsequent takes are better. “Little High People” is the most fun cut of the lot, Miles wildly flapping his mute while Steve Grossman honks and Keith Jarrett and Herbie Hancock duel on electric pianos. Three versions of the classic “Yesternow” are included, which are the best opportunities to hear Davis’ trumpet. This compilation achieves its goal of affording the listener an extremely intimate connection with the late jazz master. The box includes an extensive booklet, which includes Davis’ original liner notes and commentary by jazz writer Bill Milkowski.

—Kevin Wierzbicki 

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