By Jeremy Hallock
By James Khubiar
By Observer Staff
By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
As of April 11, there are 50 Miles Davis releases available from Columbia Records, a handful of which are multi-disc boxed sets celebrating his work with Gil Evans (including an entire disc of outtakes), the nights he played San Francisco's Plugged Nickel in 1965, and the sides he cut with his quintet (Wayne Shorter, Herbie Hancock, Tony Williams, and Ron Carter) from 1965 to 1968. And there's the entirety of Bitches Brew available for those with the patience and tolerance to sift through the dust to find the rare ounce of gold. That album alone both cemented Davis' importance to jazz and managed to defile his legacy; it paved the way to "Time After Time." You know no one who has listened to it all the way through, and anyone who insists the contrary is a liar, a saint, or a stoic.
That Columbia is releasing an entire box dedicated to the music Miles made with John Coltrane is simply inevitable; both men have been packaged and repackaged more often than Radio Shack stereo cables. (Next up: Columbia will release The Miles Davis Anthologies Anthology, a best of the best-ofs. Or not.) Their works together and apart have been rereleased, remastered, restored, and refined to the point where audiences can no longer discern the quality from the crap. For beginners, Columbia offers such warmed-over product as Love Songs and Acoustic; for advanced students, there are tin tombstones (the label has sense enough to do the packaging proud) such as the brand-"new" Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961, replete with outtakes, alternate takes, false starts, and even snippets of studio dialogue (most of which sound like nothing but nonsense, half-thoughts presented as though they're somehow revelatory). It would take months just to decipher this one collection: It clocks in at more than six hours and contains multiple versions of single songs (disc two features four takes, back to back, of "Sweet Sue, Just You" -- and just try to tell the difference).
To disparage such an offering is akin to pushing aside a table full of gourmet offerings; there is no such thing as gorging yourself on a good thing. But like all jazz boxed sets that wallow in the minutiae (say, Coltrane's Prestige box, which contains more outtakes than final takes), The Complete Columbia Recordings goes almost too far in deconstructing the legend. It's a far better thing to sit down with Kind of Blue -- otherwise known as the Led Zeppelin IV of jazz albums, a disc without which no record collection is complete -- than to listen to its handful of standards spread out, interrupted, broken up, and broken down. There are few thrills more visceral in this world than hearing "So What" kick off Kind of Blue; it's the most comforting and chilling piece of music Davis ever put on tape, a murmur that becomes a heart attack. And there are few pleasures more tangible than winding down with "All Blues" and "Flamenco Sketches." Kind of Blue will always remain among the handful of perfect albums ever made; then, how does one improve upon a sunrise?
But disc four of this box interrupts the flow, presenting the modal masterpiece Kind of Blue as a work-in-progress. Since the boxed set is arranged in chronological order (beginning with October 26, 1955, sessions for 'Round About Midnight and ending with 1961 recordings for Someday My Prince Will Come), it doesn't worry about such cumbersome things as structure, mood, and sensation. So instead, we get "Love for Sale," followed by a false-started "Freddie Freeloader" and, then, the real thing, succeeded by, in order, "So What," "Blue in Green," an alternate take of "Flamenco Sketches," some grumbled studio chatter from Miles himself, then another "Flamenco Sketches." Finally, the disc ends with the hypnotic album version of "All Blues." The whole affair is like reading a novel with the chapters out of order, footnotes rendered in large type, and editing marks left in the margins. It mutes the impact, softens the blow.
Perhaps that's all so much nitpicking; after all, the virgin can still purchase Kind of Blue or 'Round About Midnight or Someday My Prince Will Come intact, restored in recent years to sound better than they ever have (for years, Kind of Blue was being sold with whole tunes played at the wrong speed). But record labels' fascination with celebrating the dusty detritus found in vaults somehow elevates The Outtake to a sort of mythical status. It plays to our need to know the "whole story," to hear every misstep and miscue, as though such access grants us further insight. But the "Freddie Freeloader" false start on disc four reveals nothing but a mistake; at best, it's an echo of brilliance. Listening to such moments contained on this boxed set and so many others is no different from watching a blooper reel at the end of some movie. Be wary of anyone who arrives at your doorstep carrying cutting-room-floor trash while referring to it as "lost treasure."