“Many people have come to me in the past about how the "last miles” bands had been overlooked and ignored by journalists. A lot of people didn’t pay attention to this and I’m glad that George Cole took the time to focus on these final years of Miles’s life.” Easy Mo Bee, co-producer of Doo-Bop It’s a very detailed look at a certain part of the career and life of Miles Davis. “As with any good musical biography, Cole had made me think again about those albums such as Siesta, You’re Under Arrest, The Man with the Horn, that are now stashed in my attic.” John Bungey, The Times “Cole’s certainly produced a fascinating book.” Chris Ingham, Mojo
“GREATFUCKINJOBWITDABOOK” Foley, Miles’s lead bassist 1987-1991 I think you did a great job on covering Miles’s life and legacy.” Sid Reynolds, hip-hop producer And Davis’s vanity would surely have loved that.” Kevin Le Gendre, Independent on Sunday
It should be the first rather than the last word on an intriguing chapter of the life an extraordinarily complex artist. “Cole’s analysis has a meticulous, forensic character… is able to bring a wealth of new information to light…. “Cole does for Miles’ late work what Ian Macdonald’s ‘Revolution In The Head’ does for The Beatles, examining each album in meticulous detail.” John Lewis, Time Out “There are large chunks of fresh material here… Fill in quite a few gaps and dismisses blanket condemnations of pop phase.” Stephen Graham, Jazzwise “The most immediate impact that this book had on me was to make me listen again to Miles’ later recordings with a completely regenerated ear and this really is the reason why this book works so well and is an essential read for any true Miles Davis appreciator… you will be hard pressed to find a more inspirational read, written by a man who quite simply loves Miles Davis’ music.” Mike Chadwick, Ejazz.fm “It is truly an excellent body of work that literally takes a reader from hearing rumours to realising truths about the Chicago group and our collective take on the Miles Davis comeback.” Glenn Burris, co-writer of "Shout" A brilliant job!” Patrick Murray, who worked on the road with Miles from 1986-1990 and was Miles’s concert sound mixer from 1988-1990 “I have to say that you did a marvellous job! It brought back strong memories of that time periodand answered a number of questions I had, especially the chapter on the Rubberband sessions. Congratulations for your very important contribution to the historical documentation of many who would otherwise have been overlooked!!!!” Robert Irving III Miles’s musical director 1983-1988 But it was very cool to see that era of Miles treated with the same respect as every other… someone gets it!” Benny Rietveld, Miles's bassist 1988-1990 “Wonderful job, congratulations! An immense amount of work must have gone into it, I can't even imagine. Thank you for capturing what was going on, the mood, everything.” Adam Holzman, Miles’s keyboardist and musical director 1985-1989 Finally, something that really gets it right. “George Cole’s writing, his choice of references, his descriptions of many incidents – it is all so clear and respectful, and shows a deep understanding.” Palle Mikkelborg, composer, arranger and producer of the ‘Aura’ album “Very moving, emotional material.” Gordon Meltzer, Miles’s last road manager and executive producer of the ‘Doo-Bop’ album “An important book.” Brian Priestley, co-author of ‘The Rough Guide to Jazz’, jazz pianist, critic and reviewer “The best Miles Davis book ever.” Randy Hall, singer/guitarist/producer, who worked with Miles in the 1980s But Stern could also play the blues and bebop licks – and Miles clearly loved his playing. Stern on Miles: “Miles was always after attitude rather than specific things…He wanted cats to feel like they could jam, they could just play, so solos were stretched out.”Ĭomments: Stern came under intense criticism, not least because Miles often wanted him to play loud rock chords. Tracks worth checking out: “Fat Time,” “Jean-Pierre,” “Come Get It,” “Star People.” Official albums and DVDs featured on: The Man With The Horn, We Want Miles, Star People, Miles! Miles! Miles! (Japan-only release), Rubberband, Complete Columbia Album Collection, The Perfect Miles Davis Collection, Miles Davis 1986-1991: The Warner Years. Stern played on “Fat Time.” (named after him) and Miles then asked Stern to tour with him. How he got the Miles gig: After Miles fired Barry Finnerty during The Man With The Horn sessions, saxophonist Bill Evans (who had gigged with Stern around Boston) recommended Stern. Photo courtesy Roy Hollandīackground before joining Miles: Played with Blood, Sweat & Tears, Billy Cobham, Tiger Okoshi and Jerry Bergonzi. Photo by George Lange © Mike Stern website.
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