Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre."
Performance CreditsMiles Davis Primary Artist,Trumpet
Mike Stern Guitar
Bill Evans Soprano Saxophone
Mino Cinelu Percussion
Marcus Miller Bass,Guitar,Fender Jazz Bass
Technical CreditsGeorge Gershwin Composer
Hank Altman Engineer
George Butler Executive Producer
Ira Gershwin Composer
Teo Macero Producer
Don Puluse Remixing,Control Engineer
Ted Brosnan Engineer,Remixing
DuBose Heyward Composer
Yasuhisa Yoneda Cover Photo
Most Helpful Customer Reviews
We Want Miles based on 0 ratings. 2 reviews.
Miles played his heart out on all these cuts; his band was right with him and gave stellar performances, additionally. Originally released as a double-album, this live work by Miles put to rest rumors that "his chops are gone, Miles doesn't have it anymore." Rubbish! Miles shifts gears with grace and fire on "Back Seat Betty," Mike Stern plays magnificently on "Jean Pierre," and Stern and Bill Evans play the solos of their lives on "My Man's Gone Now." Note the surprise of the crowd on "My Man's Gone Now," when Miles leaps off Marcus Miller's brilliant bass introduction into a startling, poignant reindition of the melody; this is the first live recorded electric version of "My Man's Gone Now, " which Miles first played in the 1950s and which is on the "Porgy and Bess" album. All in all, "We Want Miles" is a deeply-moving work of art by a master who, thank God, returned to give us the gift of his music. In closing, I saw Miles when he played these cuts, at The Warner in Washington, D.C. He was everything I'd heard, and more (I was twenty-one and it was the first time I'd ever seen him, live). Evans and Stern both received embraces from Miles after their solos, in the middle of the concert, and Miles had women in the front row shouting bravos when he soloed on "Back Seat Betty." All the best, Mike Tucker
I would recommend this album to any person who wants to get into the music of Miles, but isn't sure where to look. this recording sees Miles combining straight-ahead jazz, rock and funk into a smoldering and irresistible affair; the telepathic rhythm section consisting of a young up-and-coming thumster Marcus Miller on bass, percussionist Mino Cinelu, the advanced harmonic heavy metal bebop exhaust of guitarist Mike Stern and the ultra funky batterie of Al Foster, meld into a fiery groove juggernaut that at times defies all categorization.Both Miles and his counterpart on saxes, Bill Evans, compliment each other beautifully with passionate, all-encompassing performances. A must buy for any lover of exiting music.