Miles Davis hated repeating himself. “I have to change, it’s like a curse”, he once said. Leaving aside the albums of the ‘60s where he seemed to play ‘live’ the same tunes (e.g. ‘All Blues’ and ‘So What’) he’d recorded years earlier; on albums such as “At The Blackhawk” or “Live At Carnegie Hall”, he succeeded in doing just that. His experiments with electric instruments led to jazz-rock and fusion, genres which have pretty much been dismissed by purists over the years, but he pointed the way for such as Weather Report, the many incarnations of the Herbie Hancock band and others too numerous to mention.
Inactive for several years after a lengthy bout of ill-health, during which he took up painting, he started to record again in 1978 and 1980, tracks which were alas never issued. He also played and rehearsed for a bit with the band his nephew, Vince Wilburn was in. Leading on from that, he first recorded with Marcus Miller, then aged 22, the polymath musician who plays just about everything (and is mainly responsible for the content of the first three albums listed here) for the 1981 album “Man With The Horn”, using two tracks from the Wilburn band sessions and supplemented with new additions. Even more convincing as proof that Davis had returned was the album “We Want Miles”, an album of live performances which included Marcus Miller, Mike Stern, Bill Evans (the saxophonist) and drummer Al Foster.