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Betty DavisOne can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.
There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their "Lady Marmalade" for another year while Millie Jackson wasn't "Feelin' Bitchy" until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.
Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song "Uptown" for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew.'
But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.
In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.1. If I'm In Luck I Might Get Picked Up
2. Walkin Up The Road
3. Anti Love Song
4. Your Man My Man
5. Ooh Yeah
6. Steppin In Her I. Miller Shoes
7. Game Is My Middle Name
8. In The Meantime$20.99Vinyl LP - Sealed Buy Now
The Columbia Years 1968-1969All Tracks Previously Unreleased (Except Track B5/8)
Production By Miles Davis & Teo Macero
Featuring Performances From Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John Mclaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band Of Gypsys), Larry Young, And Members Of The Jazz Crusaders
Remastered From The Original Analog Master Tapes
New Interviews, Rare Photos, And Unseen Historical Documents From The Teo Macero Archive
One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song ''Uptown'' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix-personally inspiring the classic album, Bitches Brew.
Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions-never heard, never bootlegged-predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.
The vibe is intrinsically unique, fresh, and futuristic-jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.
Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders-including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.
This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela-the entire project overseen with Betty's full blessing.1. Hangin' Out
2. Politician Man
3. Down Home Girl
4. Born On The Bayou
5. I'm Ready, Willing & Able (Take 1)
6. I'm Ready, Willing & Able (Take 9)
7. It's My Life (Alternate Take)
8. Live, Love, Learn
9. My Soul Is Tired$25.99Vinyl LP - Sealed Buy Now
Bitches Brew: 40th Anniversary Collector's EditionThis 40th Anniversary Collector's Edition of Miles Davis Bitches Brew is housed in a 12 x 12 slipcase box, contains an audiophile 180g vinyl double-LP gatefold replication of the original album; two CDs with the original 94-plus minutes of music plus six bonus tracks and a third CD of a previously unissued performance at Tanglewood in August of 1970, with Keith Jarrett, Chick Corea, Dave Holland, Jack DeJohnette, Airto Moreira and Gary Barts; and a DVD of a previously unissued performance in Copenhagen in November of 1969, with Wayne Shorter, Corea, Holland and DeJohnette.
Also included is a 52 page full-color 12x12 book with a 500 word essay by journalist/author/producer/musician Greg Tate; producer's notes by Michael Cuscuna and Richard Seidel (the box's co-producers); and a Lenny White interview by author Ashley Kahn. The book features Mati Klarwein's painting Zonked (a psychedelic portrait of Miles Davis' wife, Betty, which also encodes a profile of Miles) on its cover, plus dozens of rare, unpublished photographs and record label memos.
In addition, a memorabilia envelope is also included containing a reproduction of the Miles Davis Rolling Stone cover story from December of 1969, a previously unseen correspondence from Teo Macero's archives, reproductions of three Fillmore West concert tickets from April of 1970, high quality photograph prints, and a foldout poster.LP 1:
1. Pharaoh's Dance
2. Bitches Brew
1. Spanish Key
2. John McLaughlin
3. Miles Runs the Voodoo Down
1. Pharaoh's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
1. Miles Runs the Voodoo Down
3. Spanish Key (alternate take)
4. John McLaughlin (alternate take)
5. Miles Runs the Voodoo Down (single edit)
6. Spanish Key (single edit)
7. Great Expectations (single edit)
8. Little Blue Frog (single edit)
CD 3 - Tanglewood Live 1970:
1. Bill Graham Intro
3. Bitches Brew
4. The Mask
5. It's About That Time
7. Spanish Key/The Theme
8. Miles Runs the Voodoo Down
9. Bill Graham Outro
DVD - Copenhagen Live 1969:
2. Miles Runs the Voodoo Down
3. Bitches Brew
5. I Fall In Love Too Easily
7. It's About That Time/The Theme$124.99180 Gram Audiophile Virgin Vinyl LP + 3 CD + DVD - 2 LPs Sealed Buy Now
BeingMozart's Sister - the solo project of Montreal's Caila Thompson-Hannant she started back in early 2011 - delights in making glittering, celebratory pop with an underlying strain of brittle, claustrophobic energy. By marrying the accessible with the decidedly off-kilter, she displays a similar vigor and charisma to female contemporaries Grimes and tUnE-yArDs, both of whom too learned their trade among the same fertile hometown scene as her.
Since attracting a ton of buzz for her entrancing live shows and for first EP Hello, Mozart's Sister (aka Caila Thompson-Hannant) has been head-down in her bedroom writing her debut album. For anyone who's been following her work - and for new listeners - Being is Mozart's Sister expressing macrocosmic ideas about life with panache and abundant hooks.
Inspired by Discovery-era Daft Punk, Post-era Bjork, and Betty Davis, Caila produced, recorded and wrote the album using a cheap sound card and Ableton software, approaching it with a do-it-all-by-my-self ideology.
Being is fundamentally a pop record. But if you're looking to catalog her music more than that, you're going to have a hard time; Caila describes Being as an intentionally fractured album. "It was far reaching. Things didn't always connect, but that was part of the whole idea," she says. Which is representative of the best music, and maybe the best of life: looking for order in chaos, not always finding it, and living with whatever happens next.1. Good Thing Bad Thing
4. Lone Wolf
5. A Move
6. Bow a Kiss
7. Salty Tear
8. Do It to Myself (Run Run)
9. Don't Leave It to Me
10. My House Is Wild
11. Chained Together$16.99Vinyl LP - Sealed Buy Now
They Say I'm Different (Out Of Stock)Betty Davis' 1974 sophomore album They Say I'm Different features a worthy-of-framing futuristic cover challenging David Bowie's science fiction funk with real rocking soul-fire, kicked off with the savagely sexual ''Shoo-B-Doop and Cop Him'' (later sampled by Ice Cube). Her follow up is full of classic cuts like ''Don't Call Her No Tramp'' and the hilarious, hard, deep funk of ''He Was A Big Freak.''
Deluxe vinyl pressing housed in old school tip-on gatefold jacket1. Shoo-B-Doop and Cop Him
2. He Was a Big Freak
3. Your Mama Wants Ya Back
4. Don't Call Her No Tramp
5. Git In There
6. They Say I'm Different
7. 70's Blues
8. Special People$20.99Vinyl LP - Sealed Temporarily out of stock
Legrand Jazz (Out Of Stock)Numbered Limited Edition 100% Analog 180-Gram Vinyl LP!
Limited To Only 3000 Numbered Copies!
Features Performances By John Coltrane, Miles Davis, Herbie Mann, Bill Evans & More!
In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.
Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards (Django, Don't Get Around Much Anymore, Night in Tunisia, etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.
The sound of Impex's all-analog LP preserves the wide soundstage of late 50's Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.
Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.
Michel Legrand, Conductor, Arranger (All Songs)
For The Jitterbug Waltz, Django, Wild Man Blues & 'Round Midnight - Recorded June 25, 1958:
Paul Chambers (bass)
John Coltrane (tenor sax)
Eddie Costa (vibes)
Miles Davis (trumpet)
Kenny Dennis (drums)
Bill Evans (piano)
Barry Galbraith (guitar)
Betty Glamann (harp)
Herbie Mann (flute)
Jerome Richardson (baritone sax, bass clarinet)
Phil Woods (alto sax)
For Nuages, Blue And Sentimental, Rosetta & Don't Get Around Much Anymore - Recorded June 27, 1958:
Eddie Bert (trombone)
Billy Byers (trombone)
Jimmy Cleveland (trombone)
George Duvivier (bass)
Major Holly (bass, tuba)
Hank Jones (piano)
Don Lamond (drums)
Herbie Mann (flute)
Frank Rehak (trombone)
Ben Webster (tenor sax)
For Night In Tunisia, Stompin' At The Savoy & In A Mist - Recorded June 30, 1958:
James Buffington (french horns)
Donald Byrd (trumpet)
Jimmy Cleveland (trombone)
Don Elliot (vibes)
Art Farmer (trumpet)
Milt Hinton (bass)
Osie Johnson (drums)
Teo Macero (baritone sax)
Nat Pierce (piano)
Seldon Powell (tenor sax)
Gene Quill (alto sax)
Frank Rehak (trombone)
Ernie Royal (trumpet)
Joe Wilder (trumpet)
Phil Woods (alto sax)
This title is not eligible for discount1. The Jitterbug Waltz (Fats Waller)
2. Nuages (Django Reinhardt)
3. Night In Tunisia (Dizzy Gillespie)
4. Blue and Sentimental (Count Basie)
5. Stompin' At the Savoy (Benny Goodman)
6. Django (John Lewis)
7. Wild Man Blues (Jelly Roll Morton)
8. Rosetta (Earl Hines)
9. 'Round Midnight (Thelonious Monk)
10. Don't Get Around Much Anymore (Duke Ellington)
11. In A Mist (Bix Beiderbecke)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock