The Merry Month of Miles

This year, 2026, will be remembered for many things most of which we'll probably want to forget. However, one person's name will live on long after the centennial of his birth - Miles Davis (May 26, 1926 - Sept. 28, 1991).

So not only is this his year but May is also 'his month' and celebrations are taking place world wide. Venues large and small, magazines, blogs and record companies are unlocking their vaults. I don't think even Louis, Duke, Dizzy or Bird had quite this much attention devoted to them.

To celebrate the occasion two of his most influential and iconic recordings have been remastered.

Ascenseur pour l'Échafaud (Decca France - May 29^th, 2026)

This new edition of Davis’ pioneering soundtrack is the most complete and best-sounding restoration to date. Newly cut from the original analogue tapes and remastered at Abbey Road Studios, it brings together the original soundtrack with the complete surviving session takes. The release also includes previously unseen studio photography and new liner essays from Franck Bergerot and Ashley Kahn.

It will be available as a 180-gram LP, a 3×10” LP set, and a limited 2-CD edition.

Birth of the Cool (Blue Note - May 22^nd 2026)

Davis’ earliest masterpiece receives the Tone Poem treatment in a new audiophile vinyl edition from Blue Note Records. Produced by Joe Harley, the album is mastered by Kevin Gray directly from the original analogue phono reel master tapes, pressed on 180g vinyl at Record Technology Inc., and presented in a deluxe gatefold tip-on sleeve featuring session photography by William “PoPsie” Randolph.

The above album notes are from the press release and although I have yet to hear the end product I feel it in my bones that there will be a new dimension soundwise.

I first heard some of the Nonet tracks on Capital 10" 78rpms which inspired me to splash the cash when they became available on vinyl and later on CD. His earliest masterpiece? You betcha!

The soundtrack album is surely the perfect mix of jazz and film. The plaintive, compelling open horn on the first track reached out to me painting a picture that was both a thing of beauty and a thing of mournful sadness. Possibly the most poignant playing in the history of jazz. I don't think anyone but Miles could have captured those emotional moments. 

Then there is the fast, tightly muted passages that suggest a car chase. So much to absorb.

Without the music, even with the sub-titles, it is a good film. With the music it is a great film.

A King of Blue not withstanding I can't think of two better albums with which to mark this historic occasion. Lance