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Miles Davis

Jazz Rock/Fusion

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Miles Davis Live At Montreux (with Quincy Jones) album cover
3.94 | 15 ratings | 1 reviews | 20% 5 stars

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Live, released in 1993

Songs / Tracks Listing

1. Introduction (1:23)
2. Boplicity (3:40)
3. Introduction to Miles Ahead Medley (0:09)
4. Springsville (3:34)
5. Maids of Cadiz (3:37)
6. The Duke (4:01)
7. My Ship (4:11)
8. Miles Ahead (3:39)
9. Blues for Pablo (6:06)
10. Introduction to Porgy and Bess Medley (4:09)
11. Orgone (4:09)
12. Gone, Gone, Gone (1:48)
13. Summertime (2:54)
14. Here Come de Honey Man (3:41)
15. The Pan Piper (1:40)
16. Solea (11:44)

Total Time 60:25

Line-up / Musicians

- Miles davis / trumpet
- Quincy Jones / conductor
- Kenny Garrett / alto saxophone
- Wallace Roney / trumpet, flugelhorn
- The Gil Evans Orchestra
- The George Grunz Concert Jazz Band

Releases information

CD Warner Bros. 45221-2
2005 CD Warner Bros. 8122732092

Thanks to Evolver for the addition
and to snobb for the last updates
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MILES DAVIS Live At Montreux (with Quincy Jones) ratings distribution

(15 ratings)
Essential: a masterpiece of progressive rock music(20%)
Excellent addition to any prog rock music collection(53%)
Good, but non-essential (20%)
Collectors/fans only (7%)
Poor. Only for completionists (0%)

MILES DAVIS Live At Montreux (with Quincy Jones) reviews

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Collaborators/Experts Reviews

Review by Evolver
SPECIAL COLLABORATOR Crossover & JR/F/Canterbury Teams
4 stars This concert was recorded just a few months before Miles' death in 1991. While his passing was a tragedy for the music world, it's good to know that near the end he was still able to perform music of this stature so well.

The majority of the compositions here are from three of Miles Davis' classic jazz albums, "Miles Ahead", "Porgy & Bess" and "Sketches From Spain". Therefore, this is all jazz. No fusion. No prog. But despite Miles' failing health, the performance is great. Sloppy at times, but great. To assist, Wallace Roney also plays solo trumpet, as well as flugelhorn during this concert, but his tone and style are easily discernable from Davis'.

The recording is crisp and clear, and the enormous orchestra is lush and tight.

Four starts only because there is no prog here.

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