Track Listing

Disc 1:

1. If I Were a Bell
2. Stella by Starlight
3. Walkin'
4. I Fall in Love Too Easily
5. Theme

Disc 2:

1. My Funny Valentine
2. Four
3. When I Fall in Love

Disc 3:

1. Agitation
2. 'Round About Midnight
3. Milestones
4. Theme

Disc 4:

1. All of You
2. Oleo
3. I Fall in Love Too Easily
4. No Blues
5. I Thought About You
6. Theme

Disc 5:

1. If I Were a Bell
2. Stella by Starlight
3. Walkin'
4. I Fall in Love Too Easily
5. Theme

Disc 6:

1. All of You
2. Agitation
3. My Funny Valentine
4. On Green Dolphin Street
5. So What
6. Theme

Disc 7:

1. When I Fall in Love
2. Milestones
3. I Fall in Love Too Easily
4. No Blues
5. Theme

Disc 8:

1. Stella by Starlight
2. All Blues
3. Yesterdays
4. Theme

Product Details

• Amazon Sales Rank: #160427 in Music
• Released on: 1995-07-18
• Number of discs: 8
• Formats: Box set, Live

Amazon.com
This eight-CD set captures Miles Davis's second great quintet at its fiercest, loose with both the blossoming of familiarity between the players and the broadness of its attacks on the mostly well known tunes the group called during two nights at Chicago's Plugged Nickel in 1965. And you can hear it all, from "The Theme" that closed the quintet's sets to multiple, radically different takes of several tunes. Davis formed this band with just its heated potential in mind, opting for youth in Wayne Shorter's tenor sax, Herbie Hancock's piano, Ron Carter's bass, and, especially, Tony Williams's unlocked rhythmic energy. It does the mind good when listening to these takes on "If I Were a Bell," "Stella by Starlight," and the polarizing "All Blues" and "No Blues" that Williams was under 20 when punching this group's forward motion. These live shows make clear that Davis was a savvy cat, sticking to the tried 'n' true when playing live and then indulging new tunes that eschewed formulaic jazz structures on the string of his new quintet's explosive studio recordings that began months earlier with E.S.P. (all of them found on the Grammy-winning Complete Columbia Studio Sessions, 1965-'68 box set). But the Plugged Nickel tunes show that familiar or not, these tunes are platforms for scrappy creative apexes when played live. Davis's trumpet is typically midrange, except when he deconstructs even his own range limitations with squawks and artful miscues. Shorter braves convolutions that tear into his tone, taking his solos far afield from the harmony and melodies at hand only to reshape the tunes. As live jazz, this collection is possibly some of the best in recorded history, adventurous without leaving the ears boxed and powerfully enlightening about where Miles Davis would go in the 1960s. --Andrew Bartlett

Customer Reviews

I Don't Know Jazz...But I Know What I Like...
I'm a rock and roll obsessed teenager - look at my reviews, and you'll see me gushing about Radiohead, Bob Dylan, The Clash, R.E.M., and Elvis Costello. Which means that I feel somewhat out of my depth trying to recommend The Complete Live At The Plugged Nickel 1965 to anyone - I know very little about jazz, and my (growing) collection would look psychotic to anyone who does: I must surely be one of the only people in the world who owns Plugged Nickel and has never heard a lick of Kind Of Blue. So this is more in the spirit of a testimonial than a straight review; I have little context to work with, and I apologize in advance. All I can write about is what I hear.

And what I hear is the sound of a GROUP of soloists, not five SOLOISTS in a group. I don't suppose that makes too much sense to anyone, but what I mean is that despite the long, harmonically amazing spotlights given to Wayne Shorter and Miles Davis, the focus (as I hear it) seems to be on the group dynamic - how they liquidly shift time, tempo, and tone around whoever is up front. I'm just amazed at the sixth-sense feeling of these performances, how drummer Tony Williams will toy with the beat while Ron Carter falls in naturally behind him without missing a single note, with Herbie Hancock keeping pace all the time with piano interjections that are more rhythmic than melodic. Speaking of Williams, I normally don't give two sticks about drummers and drumming, but...wow, he's something special, isn't he? Apparently a prodigy in his own day (how old was he when this was recorded, EIGHTEEN?), he cuts up the beat in all sorts of unpredictable ways sometimes, totally flying free, yet he never, ever, ONCE loses the underlying pulse of the song. Furthermore, although he's playing jazz rhythms, when gets loud he sounds almost like (blasphemy, I know) a ROCK drummer to me, pure physicality and muscularity. (I'm talking especially about tracks like "Four" and "Agitation.")

The music itself is both wonderfully quirky and breathtakingly melodic, usually in the same performance - Shorter tends towards jagged, strangely accented bursts of sound which resolve themselves only by implication into "lines" (I think of "Agitation," on the second set of the second night), while Davis takes off on soaringly lyrical runs which are all seduction one moment and pure aggro-fueled energy the next. As for the fact that most of the songs on Plugged Nickel are duplicated two or even three times in the course of the set, it's an absolutely moot point because for all intents and purposes these might as well be 39 different pieces. Except for little fragments of the original melodies here and there, every song on Plugged Nickel seems to be a unique entity to itself, although of course I'm sure there's much that I can't pick up yet.

One thing in particular that I love about Plugged Nickel that I guess most of you jazzers take as a given is the AMBIENCE of the whole thing. Live albums in rock (my realm of expertise) are usually messy, cavernous stadium affairs; the Plugged Nickel is of course a club, and the marvelous production picks up all sorts of wonderful ambient noises that physically transport me to Chicago on a cold, windy pre-Christmas night. Cash registers *ching!*, phones ring, and there are even hecklers of a sort (I agree with whoever wrote that the fellow who keeps on shouting out during Ron Carter's bass solo on "When I Fall In Love" deserves a bop on the head). Even better is the way you can hear the club steadily grow more and more swingin' as the sets progress - by the end of the first night, you can hear a real crowd has gathered. All of this makes the box incredibly intimate; turn down the lights, open the windows, turn up the music, and I defy you to tell me that you're not THERE in front of the Quintet as they play, sipping on expensive liquor, smoking unfiltered Pall Malls, and wishing you could toss a chair at the jerk in front of you who won't shut up.

Another observation: I don't simply see 8 CD's of stunning music, I see a complete package which contributes to the atmosphere. The box, the visual layout, the look of the discs themselves - everything is superb. The thorough, track-for-track liner notes (the content of which remains, sadly, partially inaccessible to me; I don't have the necessary background to appreciate what a "Wynton Kelly groove zone" means in reference to "No Blues," for example) are complemented by the spectacular visual imagery of the jewel case art: all stark blacks and whites, light and shadow. The photograph of that martini glass on the cover of disc 6 alone is work of art.

So that's why Plugged Nickel gets five stars from me, an ignorant and unrepentant rocker. I'm sure as I my ears develop and my sense of history is refined I'll come back and be bowled over by the significance of all of this in terms of the future of jazz, but for now what I am swept away by is the music and EXPERIENCE of hearing it. Music to fly to, music to cry to, intellectual and forceful, gentle and brutal, made by a group of five self-effacing leaders - sweet paradoxes, each and every one. Nothing gets old, nothing gets repetitive, and you get the impression that this is a well they could have drawn water from over and over again without running dry, if they had only felt like it.

I could say that after hearing The Complete Live At The Plugged Nickel I'm going to go out and buy all of the Miles Davis Quintet's albums tomorrow, but that would be a lie.

Because, don'tcha know, I already did.

Not to be missed. Beg, borrow or steal, but buy this set.
Go without espresso for a month. Pack your own sandwich, make your own soup. have your kid pay his/her own tuition. Save your money anyway you wish but buy this set. This is such an extraordinary document of one of the very greatest groups in all of music one would be remiss in not including it in one's collection.

Recorded over two nights at the Plugged Nickle nightclub in Chicago during 1965 this includes all of the music (approx. 6 hours) played during six sets over a two evening engagement. Frankly, it doesn't get any better than this. Captured at a peak level this band was pushing the boundaries and creating a group approach to the music that current musicians still are using as a road map. Incredibly influential at the time, the availability of this recording demonstrates how fresh and absolutely contemporary the Miles Davis Quintet's music remains 30+ years later.

Interestingly, the 6 or so hours of music consists of only twenty tunes. Some are played a number of times and some appear only once. "The Theme" appears in versions ranging from 22 seconds to 10 minutes 29 seconds. And in no small part that is what makes this set so extraordinary. By adhering to a relatively limited list of tunes over the two nights of performance the group demonstrates an astonishing ability to make the commonplace absolutely of the moment. "Stella By Starlight", for example, appears in three rather different incarnations, each unique from the other and each taking a 'standard' and making something else entirely of it. The tunes become the structure for incredible harmonic invention and rhythmic originality. Avoiding repeated patterns while finding absolute encouragement and support within the group itself each tune is it's own adventure. And after all, that is the goal of improvised music. Few groups have ever achieved this level of accomplishment, fewer still have left such a worthy document of those efforts.

Very important music.

Look beyond the flaws... this box set is the essence of jazz
If I were to recommend one Miles album, I'd still stick to Kind of Blue, Miles Smiles or one his fusion albums. However, if you wanted an in depth exposure to Miles' music or jazz in general, you couldn't go wrong with the Complete Plugged Nickel set. 1) Music is ultimately about concepts, combined with skill. While Miles' technique was subpar on this recording - lots of cracked notes, for example, the concepts were all there. For example, Tony Williams is constantly juggling the rhythm and changing meters. Ron Carter re-energizes old jazz standards with funky, modern bass lines. The entire group took old tunes and completely re-worked them so they had an exciting new feel - and it works. If that isn't jazz, then what is? 2) The individual players: Each player went on further affect jazz and the music beyond jazz. If you want to see Wayne Shorter stretching out and applying his new ideas to old tunes, then listen to these recordings. Miles approach to the band was precursor to the heady, atmospheric sound of his fusion albums. Even with the squawked notes from Miles, every jazz instrumentalist can learn something by listening to the individuals on this album. Wayne and Hancock's harmonic ideas, Williams stunning cymbal work and even Miles' celebrated sense of space are all worth listening to. 3) The group sound: the feel of this group is nothing short of wonderful. There really isn't another group that pulled it off in quite the same way. For example, the Art Blakey group sound revolved around tight arrangements and driving rhythms. Coltrane quartet was built on repeating modal vamps - free based on simplicity. The Miles group was something else - complete felxibility organized around highly abstract harmonic sequences. You can hear it in all of the Miles recordings of the mid 1960's of the mid-1969's. Here you see it done with jazz standards, rather than the original compositions found on ESP, Nefrititi and Miles Smiles. Overall, you get something that is very rare in the history of art - five virtuosos at or near the peak of their abilities experimenting, having fun and holding no punches but still retaining the beauty and structure of the material they're working with. What really makes the whole thing click is that you see the process unfolding over eight hours. Would you pay ... to hear Melville discuss his novels with Hawthorne? or Diego Rivera and Frida Kahlo chat about painting? That's what you get here. A few drawbacks, small in the big picture, but it might be an issue for some buyers. First, Miles clams a lot of notes. As the box set progresses, he intentionally twists notes but some of it is just a plain screw up. Second, you have to turn the stereo up to really hear Herbie Hancock - the sound mix is less than perfect. Third, the audience is loud. You can hear hear everything. But what can I say? It's still great music.