{"id":11814,"date":"2025-12-18T11:53:50","date_gmt":"2025-12-18T17:53:50","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11814"},"modified":"2025-12-19T11:40:04","modified_gmt":"2025-12-19T17:40:04","slug":"cellar-door-sessions-at-fifty-five-night-one","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-one\/","title":{"rendered":"The Cellar Door Sessions at Fifty-Five: December 16, 1970"},"content":{"rendered":"\n<p class=\"\"><em>Before diving in, a note on inspiration. This project is the child of a small-scale obsession. Last fall, I moved my collection of five thousand, six hundred and sixty-four CDs across town to a new home. I like to file them alphabetically by artist and then chronologically within each artist. Seventy-one of these are by Miles Davis; in all formats, he is the artist most represented in the collection. Fellow OCDers will appreciate the urgency. While arranging the Miles shelf last week, I noticed the recording dates of the Cellar Door Sessions 1970 (Columbia, 2005). I have a bit of history with this set, which some readers might find helpful to clarify. In the early aughts, I contributed to the late, lamented zine Signal To Noise and claimed this set for a review. Pete Gershon, my editor, sent me the six advance CDs\u2014no booklet, no release that I can recall. Before I could file my review, Pete told me that Columbia Records had put the release on hold, and this is the part I need help with. Does anyone recall this delay, or was it only known to recipients of the set? I never filed the review, and because of a change in my financial circumstances, never bought the Columbia box when it was eventually released in 2005. Though I eventually obtained the booklet when a kind obsessive on Reddit sent me image files\u2014sixty of them. Whoever you are, thank you! Now on to the music. Thanks to Ethan Iverson, whose format for his <a href=\"https:\/\/ethaniverson.com\/shades-of-jazz-keith-jarrett-charlie-haden-paul-motian-dewey-redman\/\" title=\"\">deep dive into the recordings of Keith Jarrett\u2019s American Quartet<\/a> I scraped for this.<\/em><\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>Wednesday, December 16, 1970<\/strong><\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_4FCKw5mNclI\"><div id=\"lyte_4FCKw5mNclI\" data-src=\"\/\/i.ytimg.com\/vi\/4FCKw5mNclI\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/4FCKw5mNclI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/4FCKw5mNclI\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>&#8211;Directions.<\/strong> Miles establishes the rules of engagement right from the jump. Joined in media res, Joe Zawinul\u2019s composition starts strong and bulls its way forward, thanks in large part to Jack DeJohnette\u2019s furious energy. This is the sound world of <em>Jack Johnson <\/em>(Columbia, 1970): loud, aggressive, even confrontational. Michael Henderson, to this author&#8217;s ears, is the decisive player across these sessions. Here, he, makes his presence heard and felt while Gary Bartz\u2019s blues and R&amp;B-oriented solo marks a break with the more Coltrane-oriented approach of his predecessor, Steve Grossman. Though \u201cDirections\u201d was recorded at a&nbsp; September 1968 session, it wasn\u2019t released until 1981 on a compilation of the same name. It entered Miles\u2019 band book immediately, often as a set opener.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_3t-c5HYQ_4c\"><div id=\"lyte_3t-c5HYQ_4c\" data-src=\"\/\/i.ytimg.com\/vi\/3t-c5HYQ_4c\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/3t-c5HYQ_4c\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/3t-c5HYQ_4c\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>&#8211;Yesternow.<\/strong> A little game of word association: what comes immediately to mind when you think of Michael Henderson\u2019s time with Miles? For me, the ostinato basslines and the bassline for \u201cYesternow,\u201d in B-flat, are pretty much the whole song. DeJohnette acknowledges this by doubling it early on, before Miles tiptoes into the picture like a sailor scanning the horizon. Jarrett engages him with a kind of duet over a vamp, Bartz has his say, and Jarrett, who consistently expressed a disdain for electric keyboards, embraced them two-handedly, organ with the left hand, Rhodes with the right.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_FhrRJGPc59k\"><div id=\"lyte_FhrRJGPc59k\" data-src=\"\/\/i.ytimg.com\/vi\/FhrRJGPc59k\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/FhrRJGPc59k\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/FhrRJGPc59k\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">&#8211;<strong>-What I Say.<\/strong> Miles made no secret of his desire to have a band that played like James Brown\u2019s, and on \u201cWhat I Say,\u201d his wish was fulfilled. This is the hardest of hard funk: pushy, urgent, and a little unruly. In fact, Brown himself might not have accepted playing this raw from the famously disciplined JBs. Where Brown\u2019s drummers, &#8220;Jabo&#8221; Starks and Clyde Stubblefield, were tight and controlled, DeJohnette is a firestorm of energy, pounding home his backbeats with a relentlessness that\u2019s a little scary. Henderson catches some of the energy, cranking up the distortion to flirt with fuzz-bass territory under Bartz\u2019s solo. If the two main rhythms of rock are the backbeat 4\/4 and the shuffle, \u201cWhat I Say\u201d and \u201cRight Off\u201d are their apotheoses in the Miles canon.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_6qF7PTPTX2E\"><div id=\"lyte_6qF7PTPTX2E\" data-src=\"\/\/i.ytimg.com\/vi\/6qF7PTPTX2E\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/6qF7PTPTX2E\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/6qF7PTPTX2E\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>&#8211;Improvisation #1. <\/strong>Keith Jarrett is having fun with electric keys. It sounds like noodling, really, the kind of thing Jarrett might have done in the showroom of a music store.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_3xOjQK6MQrY\"><div id=\"lyte_3xOjQK6MQrY\" data-src=\"\/\/i.ytimg.com\/vi\/3xOjQK6MQrY\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/3xOjQK6MQrY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/3xOjQK6MQrY\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>&#8211;Inamorata.<\/strong> The term \u201cjazz-rock\u201d has the anachronistic whiff of patchouli and Mexican weed about it. But it does suggest a unity. The ground truth of the jazz zeitgeist in 1970 meant that you were either on one side or the other. With an invocation of Deep Purple in its portentous, fanfare-like opening, and a near-quote of Band of Gypsys\u2019 \u201cPower To Love,\u201d Miles declares his allegiance to rock conclusively. Henderson, the man of the moment, gleefully follows his leader into the fray with joyous octave leaps around the ostinato, this time in E-flat minor.&nbsp; The 2005 release of this material was a marked improvement over the muzzy sonics heard on the <em>Live-Evil <\/em>(Columbia, 1971) cuts, and Henderson is rightly prominent in the mix. Bartz triangulates between post-Coltrane modal excursions and Maceo Parker R&amp;B declamation in his solo while DeJohnette keeps the temperature on a simmer. This is the most overtly rockish composition on the Cellar Door setlist, and even discounting for this writer&#8217;s abhorrence of rock and roll hagiography, it\u2019s a little . . . boring. If Miles\u2019 music is about anything, it\u2019s a blazing, almost defiant allegiance to originality. Miles borrowed from other artists all the time, but never quite so artlessly as with \u201cInamorata,\u201d which doesn\u2019t alchemize the lead of early \u201870s rock into gold. It idolizes it. That would soon change.<\/p>\n\n\n\n<p class=\"\"><strong><em><a href=\"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-one\/\" title=\"\">Next: A breakdown of the Thursday, December 17 set.<\/a><\/em><\/strong><\/p>\n\n\n\n<p class=\"\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Before diving in, a note on inspiration. This project is the child of a small-scale obsession. Last fall, I moved my collection of five thousand, six hundred and sixty-four CDs across town to a new home. I like to file them alphabetically by artist and then chronologically within each artist. Seventy-one of these are by [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":11800,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":81,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[561,1452],"tags":[],"class_list":["post-11814","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-series","category-the-cellar-door-sessions-at-fifty-five"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-34y","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11798,"url":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","url_meta":{"origin":11814,"position":0},"title":"The Cellar Door Sessions at Fifty-Five: An Introduction","author":"John Chacona","date":"December 17, 2025","format":false,"excerpt":"Fifty-five years ago this week, Miles Davis brought a new-ish band into Washington D.C.\u2019s Cellar Door club for a four-night engagement. Columbia Records, perhaps hoping to catch lightning in a bottle, sent a crew and two eight-track tape machines to record the ten sets. https:\/\/youtu.be\/d4dtGbrYKLs?si=uaLubwdtr11eKZ4P Edited versions of material from\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11843,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-three\/","url_meta":{"origin":11814,"position":1},"title":"The Cellar Door Sessions at Fifty-Five: December 18, 1970","author":"John Chacona","date":"December 22, 2025","format":false,"excerpt":"Friday, December 18, 1970 When The Cellar Door Sessions 1970 (Columbia, 2005) recordings were made, none of the members of Miles\u2019 band had yet reached age thirty. The leader himself was only forty-four. But even at their younger ages, the intense physicality of the playing for three sets a night,\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11848,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-four\/","url_meta":{"origin":11814,"position":2},"title":"The Cellar Door Sessions at Fifty-Five: December 19, 1970","author":"John Chacona","date":"December 22, 2025","format":false,"excerpt":"Saturday, December 19, 1970 For first-time listeners to The Cellar Door Sessions 1970 (Columbia, 1970), the first four discs can be like a side trip to unfamiliar neighborhoods of a well-known place. The language is the same, the architecture familiar, but the details are new and delightfully alive. Arriving at\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11821,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-two\/","url_meta":{"origin":11814,"position":3},"title":"The Cellar Door Sessions at Fifty-Five: December 17, 1970","author":"John Chacona","date":"December 19, 2025","format":false,"excerpt":"Thursday, December 17, 1970 https:\/\/youtu.be\/vvPgGwVNgJU?si=z1v0v57ieh_rhnLF --What I Say. With \u201cWhat I Say,\u201d Miles Davis and his band answered the bell for Round two at the Cellar Door like a boxer bursting off his stool to land a volley of combinations before his opponent has even reached the center of the\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4126,"url":"https:\/\/postgenre.org\/staging\/4567\/do-right-anderson\/","url_meta":{"origin":11814,"position":4},"title":"Trying to Do Right by the Music: Selected Recordings with Jim Anderson","author":"Rob Shepherd","date":"March 14, 2022","format":false,"excerpt":"We continue our conversation with Jim Anderson (click here for our prior discussion with him and Ulrike Schwarz on immersive audio) by covering some of his prior recordings. Our selections show that while Anderson defines most of his work within the jazz tradition, that category is broad. Its breadth encompasses\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":3297,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-revisited-introduction\/","url_meta":{"origin":11814,"position":5},"title":"Miles Davis: The Final Decade Revisited, Introduction","author":"Rob Shepherd","date":"September 28, 2021","format":false,"excerpt":"On September 28, 1991, the world lost a musical giant. An artist who, by his own estimation, changed the face of music five or six times. Miles Davis.\u00a0 During the mid-1940s, Miles was a sideman for one of history\u2019s great compositional innovators, Charlie Parker. 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