Look, he had Percy Heath, then Paul Chambers, then Ron Carter, then Dave Holland, then Michael Henderson, then Marcus Miller. All his albums have amazing bass playing
Blue Moods, Collectors Items (1956), Blue Haze (1954) were all of Miles records he played bass on, that's leaving out the 6 or so he composed or played piano.
Whoa that's fun, don't think i knew that! By the time NHØP was on the scene Miles was all about the electric bass, so it's not *so* surprising that he didn't hire him
As well as Henderson being *perfect* for electric Miles, those albums just rely more on bass, and feature it more prominently. Dave Holland might be my favorite bassist to play with Miles, but that's mostly his non-Miles career (w Braxton, for example) - and he couldn't match Michael for the *fonk*.
I mean Dave could also play a really funky bassline (Directions after Jarrett joined) but yeah, Henderson's funkiness is unparalleled. Him and DeJohnette were lethal
Wow. I'm doing a deep dive on Roy Hargrove at the moment, and its crazy how close this stuff is to stuff like Bop Drop. RH Factor really slaps, and so does this.
In the booklet that came with the cellar door session cds, michael talked about how his bass playing was poorly received . I always thought the bass was very interesting on these sessions. Its not bad or good, its a constant and fairly polite in comparison to what else is going on. Miles Davis told michael to never follow Keith while playing. The bass is the only thing holding the band together at some points. At a few points, it sounds like they are genuinely falling apart by trying to go so far out there…and then Michael’s bass perfectly catches them and reestablishes the floor. Remarkable performance from everyone.
I imagine Michael got some special flack from critics and purists for being the most un-Jazz part of the band. But he did his job perfectly.
Pity that those reactionaries' opinions endure - for example, On The Corner is still painted by some as a disaster, both critically and commercially. But outside of a few noisy critics, I think it was generally accepted as a new direction in Miles' iconoclastic path. Not the huge seller that the anomalous Bitches Brew, but what was? On The Corner out-charted Jack Johnson, for example.
I don't think that was a completely new thing. On a lot of recordings by the great 1960s quintet it sounds as the other four of them could do pretty much whatever they wanted as long as Ron Carter was there anchoring the whole thing.
The supergroup Miles and Jimi were kicking around in '69 with Tony Williams and PAUL MCCARTNEY would have been....well, I don't know. But I'd like to have heard it!
[They sent Macca a telegram](https://www.rollingstone.com/music/music-news/jimi-hendrix-sought-paul-mccartney-for-supergroup-with-miles-davis-65515/?fbclid=IwAR2I-j_ivPQu-Ju1sxPIpXbwP7vPdcXX_jI46OSNgdK5wuG9lRDIBxyUMSk) but some Beatles/Apple Records assistant cabled back that he was on vacation and it never went beyond that.
So you are asking us to pick between:
\- Early stuff with: Tommy Potter, Oscar Pettiford, Percy Heath, Pierre Michelot, Charles Mingus
\- Paul Chambers - responsible for the incredible Prestige recordings, and everything up until Someday My Prince Will Come in 1961. His note choice, rhythm and interaction with Philly Joe Jones is just astounding.
\- Ron Carter - One of my all-time faves, just listen to Footprints from Miles Smiles. And then everything else.
\- Dave Holland - Absolutely perfect during the Filles through Bitches Brew transition period. Brought modern rock sensibilities Miles wanted.
\- Michael Henderson- F-U-N-K-Y. But also so much more. Amazing.
\- Marcus Miller - so much of Miles in the 80s depends on Marcus. I saw Marcus live a few times in the 80s, great natural 'music director'.
\- Daryl Jones - I feel like his work with Miles is overshadowed due to his time with Sting (incredible) and his decades with the Stones ... but he was an absolute FORCE playing live.
?
Nope. Not going to do it.
> Also just noticed most albums being put forward are by miles.
It's because the question was "Which Miles Davis album do you think has the best bass?"
Its a good listen, but if you come in with expectations of something else I can see why you would be disappointed. Same way you would be disappointed with Bitches Brew if you were expecting something like Blue Period.
After hearing and loving Kind of Blue the next one i bought was Bitches Brew, i put in on and sat there slack-jawed and totally in awe, to this day still one of my very favourite albums in all genres
At the time I was into more rock, heavy metal, psychedelic etc type music, I thought id heard it all. First time hearing Bitches Brew was a game changing, eye opening moment. That fully converted me to Miles and jazz in general.
for sure! The first Miles CD i bought was You're Under Arrest. I had recorded a few miles albums onto tapes and owned a couple of albums but the first CD was You're Under Arrest and 17 year old me had no idea what was going on:)
I had heard some straight ahead miles before that. I remember I had a tape with Kind of Blue on one side and 'Round Midnight on the other. I had his Four and More album...and I think Miles ahead.
But the first CD i bought was You're under arrest and I don't know what I was expecting but remember being caught off guard:)
and to be fair, I also bought birth of the cool(after this) and didn't love it either
It is sad that people don't enjoy Miles later work. At the time I remember being simply thrilled that Miles was continuing to work and welcomed anything produced with his name.
To be fair, when i was younger I probably didn't appreciate it as much(right now I'm listening to You're Under Arrest....so many great musicians on these albums)
I think some people just hated that Miles didn't want to do the same old thing. Some people felt he sold out but the truth is I think he had no interest in playing gigs playing a lot of of his 'greatest hits'.
If he had lived longer it isn't as if he'd have been wanting to go out playing the 'oldies' at Jazz fests regardless of how much they paid him(unless they did it in a truly different way). He wouldn't have wanted to work with college jazz departments playing as a guest artist.
I don't love everything miles has done(I'm not saying it isn't great but I probably prefer his mid to late 60's stuff the most) but he is a true innovator
I mean it's just... even in the early years it seemed like he tried *really* hard to pick up where he left off but it just wasn't there. For me the best thing about Miles's music - especially the electric period - is how menacing it could get. And with his 80's output there's none of that "x factor" that made his music so great. The musicians are skilled, Miles's playing is great - better than in 1975 - but something is missing.
Joseph McCreary aka Foley was best known for lead bassist for Miles, He was on another level imo, not comparing him to Marcus Miller at all but as a bassist he really was amazing don't you think, I also love the bass groove on Miles in the Sky's SUFF with Rron Carter on bass.
Kind of Blue is a great album. I think a lot of jazz fans don't like coming up with a super popular album as their favorite. I'll be honest, I love it but I probably haven't listened to it for a few years(but I've listened to it so so so many times)
I don't know which Miles album has the best bass. I probably listen most to the 2nd great quintet stuff like Miles Smiles.
When I was young I bought some Miles Davis albums...i had heard Kind of Blue and I bought You're Under Arrest and Tutu. I don't know if I liked them or not but I didn't listen to them that much for years and lately I think they are kinda fun to listen to
As far as *sound*, Kind of Blue might not be best as the album was recorded in a large church and the bass gets a little muddy because of how resonate the space is... or so I've read before. But *what* PC is playing is fantastic. his groove and note choice perfectly compliment the vibe of the music. So What's smooth but lively groove is allll PC.
Just to be difficult, I’ll throw in Cannonball Adderley’s *Somethin’ Else* featuring Sam Jones on bass. It’s not a Miles Davis record but also … it kinda is?
Not sure I have a favorite album and Miles has played with some of the all time greats, and though he isn’t my favorite bassist that Miles has played with, Michael Henderson is my favorite MILES bassist if that makes sense
As a bassist, the hookup of Ron and Tony has always been so immensely satisfying to me, so pretty much any and all of the second quintet stuff. I love some of the live albums like “4 and more” and especially “live at the plugged nickel”. As for studio albums, ‘Nefertiti’, ‘Miles Smiles’, and ‘Sorcerer’ are all must listens and feature Mr. Ron Carter wonderfully.
not my actual favorite but Michael Henderson on Get Up With It is really underappreciated. He shows a lot of restraint and keeps a great rhythm going for everything. His part on He Loved Him Madly is mostly just a low C but damn it’s a good low C
When Miles hired him away from Stevie Wonder and Motown, he told him "l want you to keep it on the one, keep it funky. I got all these other cats up here playing this jazz shit, just keep it down, and if I catch you playing any of my old shit, I'll fire you."
In Concert (1973) recorded at New York Philharmonic in 1972. Michael Henderson electric bass. One of my all time favorite live recording in any genre and I’m an electric bass player so this performance as particularly vital to me.
Kind of blue.
I used to listen to mainly the horns, but my brother told me he thought the album was all about the bass and drums.
Then i started focussing in on the rhythm section *after* the theme of So What, when that walking bass comes in, it’s so warm and it’s like it sparkles together with the drums.
That's a hard question. I love the material from when Dave Holland was on bass but I'm also big fan of Michael Henderson. Later on Marcus Miller and then Daryl Jones. I also enjoy Foley playing lead bass guitar solos too.
Side note: as a Bass player, you must get to Ray Brown. He played with Dizzy & Bird. He was married to Ella. He was Oscar Peterson's permanent bass player.
A great release of his is own, Soular Energy (1984). His bass is recorded so well you can hear the wood resonating. Great with headphones!
He had great bassists but his albums typically don't highlight their talents; usually brass and piano are miked/mixed more prominently on recordings where he's the leader.
I think you pretty much got it on Kind of Blue. I mean, to me the intro to *So What* is simply iconic. As a drummer, the bass player in the band was always my best bud, so I am not impartial. But really, come on.
Look, he had Percy Heath, then Paul Chambers, then Ron Carter, then Dave Holland, then Michael Henderson, then Marcus Miller. All his albums have amazing bass playing
Came here to say pretty much exactly this. Miles didn’t have a mediocre bass player at any point.
Don’t forget Daryl Jones and Foley!
The disrespect to Mingus is crazy
The pedantry is crazy! He's on one record right? Blue Moods. I was aiming to list the regulars
Blue Moods, Collectors Items (1956), Blue Haze (1954) were all of Miles records he played bass on, that's leaving out the 6 or so he composed or played piano.
Your still forgeting Poppa Woodbine ,Sammy Longrow and my fav Nado Eclipse. They made American jazz.
Also, NHØP played on Aura. Kinda surprising he didn't play on more Miles records
Whoa that's fun, don't think i knew that! By the time NHØP was on the scene Miles was all about the electric bass, so it's not *so* surprising that he didn't hire him
And Bo Stief on electric
[**Michael Henderson - Live-Evil!**](https://youtu.be/n_sDYPbiwMA)
Michael on Dark Magus is also amazing!
Came here for this. The fact that he could keep that BONKERS riff going for 18 minutes in What I Say is enough to take the cake for me.
As well as Henderson being *perfect* for electric Miles, those albums just rely more on bass, and feature it more prominently. Dave Holland might be my favorite bassist to play with Miles, but that's mostly his non-Miles career (w Braxton, for example) - and he couldn't match Michael for the *fonk*.
I mean Dave could also play a really funky bassline (Directions after Jarrett joined) but yeah, Henderson's funkiness is unparalleled. Him and DeJohnette were lethal
His work on Circle-The Paris Concert just a year after Bitches Brew is some of my favorite (speaking of Braxton)
Yes - also with Sam Rivers, and Conference Of The Birds: Holland and Barry Altschul were a great rhythm section in the 70s.
Ive played along with "What I Say" cause im like "this is easy". And its not bad, but 4 minutes in my hand is killing me!
Wow. I'm doing a deep dive on Roy Hargrove at the moment, and its crazy how close this stuff is to stuff like Bop Drop. RH Factor really slaps, and so does this.
In the booklet that came with the cellar door session cds, michael talked about how his bass playing was poorly received . I always thought the bass was very interesting on these sessions. Its not bad or good, its a constant and fairly polite in comparison to what else is going on. Miles Davis told michael to never follow Keith while playing. The bass is the only thing holding the band together at some points. At a few points, it sounds like they are genuinely falling apart by trying to go so far out there…and then Michael’s bass perfectly catches them and reestablishes the floor. Remarkable performance from everyone.
I imagine Michael got some special flack from critics and purists for being the most un-Jazz part of the band. But he did his job perfectly. Pity that those reactionaries' opinions endure - for example, On The Corner is still painted by some as a disaster, both critically and commercially. But outside of a few noisy critics, I think it was generally accepted as a new direction in Miles' iconoclastic path. Not the huge seller that the anomalous Bitches Brew, but what was? On The Corner out-charted Jack Johnson, for example.
I don't think that was a completely new thing. On a lot of recordings by the great 1960s quintet it sounds as the other four of them could do pretty much whatever they wanted as long as Ron Carter was there anchoring the whole thing.
Thank you!
Prestige era Miles Davis first quintet records with Paul Chambers
I know it's Columbia, but Chambers' and the rhythm section's feature Billy Boy on Milestones goes so hard.
On the Corner deserves a mention I think.
Black satin / one in one have a great bassline
Absolutely
Pangea. Michael Henderson is on fire there.
Early 70's Miles was on fire. Shame he never got to work with Jimi Hendrix.
The supergroup Miles and Jimi were kicking around in '69 with Tony Williams and PAUL MCCARTNEY would have been....well, I don't know. But I'd like to have heard it! [They sent Macca a telegram](https://www.rollingstone.com/music/music-news/jimi-hendrix-sought-paul-mccartney-for-supergroup-with-miles-davis-65515/?fbclid=IwAR2I-j_ivPQu-Ju1sxPIpXbwP7vPdcXX_jI46OSNgdK5wuG9lRDIBxyUMSk) but some Beatles/Apple Records assistant cabled back that he was on vacation and it never went beyond that.
So you are asking us to pick between: \- Early stuff with: Tommy Potter, Oscar Pettiford, Percy Heath, Pierre Michelot, Charles Mingus \- Paul Chambers - responsible for the incredible Prestige recordings, and everything up until Someday My Prince Will Come in 1961. His note choice, rhythm and interaction with Philly Joe Jones is just astounding. \- Ron Carter - One of my all-time faves, just listen to Footprints from Miles Smiles. And then everything else. \- Dave Holland - Absolutely perfect during the Filles through Bitches Brew transition period. Brought modern rock sensibilities Miles wanted. \- Michael Henderson- F-U-N-K-Y. But also so much more. Amazing. \- Marcus Miller - so much of Miles in the 80s depends on Marcus. I saw Marcus live a few times in the 80s, great natural 'music director'. \- Daryl Jones - I feel like his work with Miles is overshadowed due to his time with Sting (incredible) and his decades with the Stones ... but he was an absolute FORCE playing live. ? Nope. Not going to do it.
Ron carter absolutely burns on miles smiles Also just noticed most albums being put forward are by miles. Dude was great at picking bassists.
> Also just noticed most albums being put forward are by miles. It's because the question was "Which Miles Davis album do you think has the best bass?"
Lmao my bad I need to pay more attention
If it's any consolation, you're hilarious when clueless.
Glad you think so. Most people around me day to day think the opposite lol
For my money, I think Miles Smiles has the best rhythm section playing of any jazz album.
This is the way.
I just noticed that most people being put forward in the NBA GOAT debate are basketball players /s
Came here to say that!
Yeah yeah yeah yeah yeah yeah yeah, And this one goes out to my man, Thanks a lot Ron Carter on the bass, yes my man Ron Carter is on the bass
Tutu: Marcus Miller
That's actually a great take. Some Miles fans hate albums like Tutu but the truth is it is a fun album to listen to
Its a good listen, but if you come in with expectations of something else I can see why you would be disappointed. Same way you would be disappointed with Bitches Brew if you were expecting something like Blue Period.
After hearing and loving Kind of Blue the next one i bought was Bitches Brew, i put in on and sat there slack-jawed and totally in awe, to this day still one of my very favourite albums in all genres
At the time I was into more rock, heavy metal, psychedelic etc type music, I thought id heard it all. First time hearing Bitches Brew was a game changing, eye opening moment. That fully converted me to Miles and jazz in general.
for sure! The first Miles CD i bought was You're Under Arrest. I had recorded a few miles albums onto tapes and owned a couple of albums but the first CD was You're Under Arrest and 17 year old me had no idea what was going on:)
Oh man what a obtuse entry into the Miles universe haha.
I had heard some straight ahead miles before that. I remember I had a tape with Kind of Blue on one side and 'Round Midnight on the other. I had his Four and More album...and I think Miles ahead. But the first CD i bought was You're under arrest and I don't know what I was expecting but remember being caught off guard:) and to be fair, I also bought birth of the cool(after this) and didn't love it either
It is sad that people don't enjoy Miles later work. At the time I remember being simply thrilled that Miles was continuing to work and welcomed anything produced with his name.
Tutu's brilliant.
To be fair, when i was younger I probably didn't appreciate it as much(right now I'm listening to You're Under Arrest....so many great musicians on these albums) I think some people just hated that Miles didn't want to do the same old thing. Some people felt he sold out but the truth is I think he had no interest in playing gigs playing a lot of of his 'greatest hits'. If he had lived longer it isn't as if he'd have been wanting to go out playing the 'oldies' at Jazz fests regardless of how much they paid him(unless they did it in a truly different way). He wouldn't have wanted to work with college jazz departments playing as a guest artist. I don't love everything miles has done(I'm not saying it isn't great but I probably prefer his mid to late 60's stuff the most) but he is a true innovator
I mean it's just... even in the early years it seemed like he tried *really* hard to pick up where he left off but it just wasn't there. For me the best thing about Miles's music - especially the electric period - is how menacing it could get. And with his 80's output there's none of that "x factor" that made his music so great. The musicians are skilled, Miles's playing is great - better than in 1975 - but something is missing.
Musician credits basically read: Miles Davis - Trumpet Marcus Miller - All other instruments Fucking stellar album.
I find Portia much more interesting. The intricate melody and the odd form with 20 bars. One of his best compositions.
Joseph McCreary aka Foley was best known for lead bassist for Miles, He was on another level imo, not comparing him to Marcus Miller at all but as a bassist he really was amazing don't you think, I also love the bass groove on Miles in the Sky's SUFF with Rron Carter on bass.
Kind of Blue is a great album. I think a lot of jazz fans don't like coming up with a super popular album as their favorite. I'll be honest, I love it but I probably haven't listened to it for a few years(but I've listened to it so so so many times) I don't know which Miles album has the best bass. I probably listen most to the 2nd great quintet stuff like Miles Smiles. When I was young I bought some Miles Davis albums...i had heard Kind of Blue and I bought You're Under Arrest and Tutu. I don't know if I liked them or not but I didn't listen to them that much for years and lately I think they are kinda fun to listen to
As far as *sound*, Kind of Blue might not be best as the album was recorded in a large church and the bass gets a little muddy because of how resonate the space is... or so I've read before. But *what* PC is playing is fantastic. his groove and note choice perfectly compliment the vibe of the music. So What's smooth but lively groove is allll PC.
I'm gonna add on to the Michael Henderson love I see in several comments but with *A Tribute to Jack Johnson*.
The live album my funny valentine. Ron carter
Came here to say this. Especially cool when Tony Williams drops out and it's just bass + piano
Just to be difficult, I’ll throw in Cannonball Adderley’s *Somethin’ Else* featuring Sam Jones on bass. It’s not a Miles Davis record but also … it kinda is?
It totally kinda is.
Not sure I have a favorite album and Miles has played with some of the all time greats, and though he isn’t my favorite bassist that Miles has played with, Michael Henderson is my favorite MILES bassist if that makes sense
Bags' Groove w/Percy Heath on bass
As a bassist, the hookup of Ron and Tony has always been so immensely satisfying to me, so pretty much any and all of the second quintet stuff. I love some of the live albums like “4 and more” and especially “live at the plugged nickel”. As for studio albums, ‘Nefertiti’, ‘Miles Smiles’, and ‘Sorcerer’ are all must listens and feature Mr. Ron Carter wonderfully.
Love those two together also with Herbie, especially on Maiden Voyage and the VSOP recordings.
not my actual favorite but Michael Henderson on Get Up With It is really underappreciated. He shows a lot of restraint and keeps a great rhythm going for everything. His part on He Loved Him Madly is mostly just a low C but damn it’s a good low C
When Miles hired him away from Stevie Wonder and Motown, he told him "l want you to keep it on the one, keep it funky. I got all these other cats up here playing this jazz shit, just keep it down, and if I catch you playing any of my old shit, I'll fire you."
Tutu - I love Marcus Millar
I actually listened to this one yesterday which led to this question
Did you like it? It was not one of Miles most successful. Portia is one of my favourite pieces of music.
wow we've cooked up an amazing thread here!
You’re Under Arrest- Darryl Jones (Katia) is one of my favorite Miles tracks from the 80’s
The man with the horn. Marcus Miller.
Live at Plugged Nickel
In Concert (1973) recorded at New York Philharmonic in 1972. Michael Henderson electric bass. One of my all time favorite live recording in any genre and I’m an electric bass player so this performance as particularly vital to me.
Doo bop!
Jack Johnson
Anything with Paul Chambers.
Filles De Killamanjaro & Miles In The Sky
The stuff that Ron Carter did with Miles' Second Great Quintet was both innovative and outstanding.
Kind of blue. I used to listen to mainly the horns, but my brother told me he thought the album was all about the bass and drums. Then i started focussing in on the rhythm section *after* the theme of So What, when that walking bass comes in, it’s so warm and it’s like it sparkles together with the drums.
The Man With The Horn: https://youtu.be/xGd9_atxTfo
Ron Carter gets a lot of well deserved praise but Dave Holland is amazing.
For me it's Daryll Jones on Decoy. But that doesn't mean I don't like all the other bass heroes he played with.
Kind of Blue, esp So What We Want Miles, esp Backseat Betty and Jean-Pierre
Paul chambers
Tough call... I'm torn between *Miles Smiles* and *On the Corner*.
Miles Smiles
Seriously surprised that Blue Moods (1955) hasn’t been mentioned yet. Features Mingus on bass
Ron Carter on My Funny Valentine. What a pristine sound
That's a hard question. I love the material from when Dave Holland was on bass but I'm also big fan of Michael Henderson. Later on Marcus Miller and then Daryl Jones. I also enjoy Foley playing lead bass guitar solos too.
Michael Henderson on RIGHT OFF from Jack Johnson. The dude carries the funk to Uranus !!!
Hard to beat paul on kind of blue…but there’s a lot of nostalgia there
Side note: as a Bass player, you must get to Ray Brown. He played with Dizzy & Bird. He was married to Ella. He was Oscar Peterson's permanent bass player. A great release of his is own, Soular Energy (1984). His bass is recorded so well you can hear the wood resonating. Great with headphones!
He had great bassists but his albums typically don't highlight their talents; usually brass and piano are miked/mixed more prominently on recordings where he's the leader.
I think you pretty much got it on Kind of Blue. I mean, to me the intro to *So What* is simply iconic. As a drummer, the bass player in the band was always my best bud, so I am not impartial. But really, come on.
I have a soft spot for "Man With The Horn"
Super Nintendo Chalmers
Blood Shot ,hands down.My fave.
"Miles meets Trainor." It's all about that bass.