The Last Miles

  • intro
  • albums
  • dvd
  • singles
  • other audio
  • books
  • gigs
  • cd
  • interviews
  • profiles
  • bands
  • memorabilia
  • photos
  • art
  • about

Live in Switzerland 1985

It is no exaggeration to say that 1985 was a highly significant year for Miles. During the summer, he left Columbia Records after a thirty-year association and signed to Warner Bros. At the beginning of the year, he recorded two albums: You’re Under Arrest and Aura, and at the end, he started work on another, Rubberband. As a result, the concert set-list for this album is very diverse, encompassing music from several past studio albums plus a planned album, as well as several songs that so far, haven’t appeared on any Miles Davis studio album.

Miles Davis Live in Switzerland 1985 album front cover.
Album front cover.

By the end of October 1985, Miles’s band had expanded into a nonet – his largest of this period. It was a relatively short-lived band, playing just eleven gigs between 24th October and 8th November 1985. What’s more, all of the gigs were on mainland Europe: this nonet never played in the US, UK or Japan – three of Miles’s biggest markets. Miles formed another nonet in March 1986, but with a new bassist and a radically altered set-list, so this recording documents a rare period of Miles’s 1980’s era.

The band and the set-list are the same as those from the Miles gig from the previous night, on 1 November in Berlin, Germany. Note that this recording is NOT the same concert!

Miles Davis Live in Switzerland 1985 album back cover.
Album back cover.

The band had two specialist keyboard players, Robert Irving III and Adam Holzman, and two percussionists – Steve Thornton and Marilyn Mazur. Miles played trumpet and synthesiser. Bob Berg played tenor sax, soprano sax and synthesiser, and Mike Stern was on guitar. The rhythm section was bassist Angus Thomas and drummer Vince Wilburn Jr. The band varied enormously in experience. Mike Stern had played with Miles from 1981-83, and returned in the summer of 1985, replacing John Scofield. Robert Irving III joined Miles’s band in August 1983. Bob Berg and Steve Thornton had been with Miles for more than a year. Vince Wilburn Jr joined the band in March 1985, while Angus Thomas and Marilyn Mazur made their debut on 17 August 1985. Second specialist keyboardist Adam Holzman played his first gig on 24 October 1985.

The source for this recording is a Swiss radio broadcast and this release is one of those grey market releases found in Europe. Sound quality is good and the full concert, which lasts 2 hours and 15 minutes, is on two CD discs. The album is packaged in an A5-sized digipak, which opens up to reveal two CDs. The cover photograph is from a concert Miles played in Japan in the summer of 1985. The image is used on both CD labels. Oddly, the inside cover has a shot of Miles taken during his mid-1970s period, and bassist Michael Henderson can be seen in the background. The back photograph is of Miles playing live in summer 1991. The short liner notes contain little information and the band credits on the back cover omit Robert Irving III and Marilyn Mazur.

The first disc features a handful of songs from You’re Under Arrest – ‘Opening Medley’ (the alternate name for ‘One Phone Call/Street Scenes’), ‘Something On Your Mind,’ ‘Human Nature,’ Ms Morrisine,’ and ‘Time After Time.’ On ‘Something’s On Your Mind,’ Mike Stern lets loose with a scorching guitar solo, followed by a long, blistering solo on tenor sax from Bob Berg. ‘Human Nature’ has a different arrangement from the album version, and now featured the band playing a one-chord vamp based on the old Miles tune ‘Milestones,’ near the coda, over which both Berg and Stern play alternate solos.

Miles Davis Live in Switzerland 1985 CD digipak with two CDs and liner notes.
The Digipak opens to reveal two CDs and brief liner notes.

Miles was arguably at his peak in terms of health, stamina and technique during this period, and his playing on the ballads ‘Star People,’ and ‘Time After Time,’ is long, sustained and moving. The band also plays the uptempo jazz-funk number ‘Maze,’ which Miles started playing live in April 1985. This band (minus Adam Holzman) recorded a nine-minute studio version on 23 September 1985 at Record Plant studios in Los Angeles, although this recording wasn’t officially released until 2011 by Warner Music France on the boxed set Miles Davis – 1986-1991 The Warner Years. The live version is punchy and energetic, featuring more powerful tenor sax playing by Bob Berg.

Disc 2 features an interesting mix of songs, and at the time these songs were performed, only ‘Code MD’ from the Decoy album had featured on a Miles Davis album. ‘Pacific Express,’ was written by John McLaughlin and featured on the 1984 album Mahavishnu, with a reformed Mahavishnu Orchestra band that included two Miles alumni, saxophonist Bill Evans and drummer Billy Cobham. The band plays a long (13-minute) atmospheric version, with bassist Angus Thomas playing a slow repeating pulse.

‘Burn,’ an uptempo jazz-rock tune, is a throwback to The Man With The Horn sessions. It was recorded around 1980 by the Chicago band, led by Miles’s nephew Vince Wilburn Jr as a possible track on Miles’s comeback album, but it was never released. Miles didn’t start playing ‘Burn’ live until October 1985 and it seems that he considered including it on his debut Warner Bros. album. The track includes lots of fiery guitar playing from Stern.

Miles Davis Live in Switzerland 1985 CD labels.
The two CD disc labels are printed with the cover shot.

In contrast, the next number is a ballad, ‘Stronger Than Before,’ co-written by Burt Bacharach, and covered by Chaka Khan on her 1984 album I Feel For You. Miles plays a beautiful rendition of the song, which has a lovely melody. Mike Stern also solos, but instead of his trademark explosive guitar sound, his playing is light and melodic. ‘Hopscotch’ was recorded during the You’re Under Arrest sessions, but the studio version wasn’t released until the That’s What Happened Bootleg series boxed set in 2022. It’s a tour de force version that includes some hyperactive soloing by percussionists Steve Thornton and Marilyn Mazur. The band plays ‘Hopscotch’ with lots of energy, but its performance of the same tune in Berlin the night before has more fire to it.

Miles had only recorded the song ‘Rubberband’ on 17 October, and at the time of this concert, the song was a contender for the title track of Miles’s first Warner Bros. album. But the Rubberband album was shelved and wouldn’t be released until 2019. This concert features a lively percussive version, with a long, stirring Mike Stern solo, and Miles switching between open and muted horn.

The encore was the Mr Mister pop hit ‘Broken Wings.’ The band (again without Holzman) had recorded a studio version on 24 September 1985, which so far, remains unreleased. This was only the second time the band played the tune live and in fact, Miles would only play it a further three times before dropping it from future set-lists, so this number is a rarity.

Angus Thomas starts things off with a thumbed riff, before the band joins in and Miles’s plays the vocalist’s part on muted trumpet. It’s a sweet rendition and a shame that Miles didn’t keep it for longer in his set-list – I would have liked to have seen him play it live. I’d also have loved to have seen this nonet in action, so it’s good to have this full concert from the band available on disc.

Buy Live in Switzerland 1985 online from Amazon UK and Amazon US

The Man With The Horn
The Man With The Horn
We Want Miles
We Want Miles
Star People
Star People
Decoy
Decoy
You're Under Arrest
You're Under Arrest
Aura
Aura
Rubber Band
Rubberband
Tutu
Tutu
Siesta
Siesta
Amandla
Amandla
Dingo
Dingo
The Hot Spot
The Hot Spot
Doo-Bop
Doo-Bop
Live Around The World
Live Around The World
Montreux 1973 - 1981
Montreux 1973 - 1991
Miles Alive
miles alive
Miles Davis Trilogy
Miles Davis Trilogy
Time After Time
Time After Time
Miles Davis Perfect Way
Perfect Way
Miles Davis Hollywood Bowl 1981
Hollywood Bowl 1981
Miles Davis Original Classics
Original Classics
Miles Davis Complete Columbia Collection
Complete Columbia Collection
Tutu Deluxe Edition
Tutu Deluxe Edition
Montreal Concert
Montreal Concert
miles-davis-1986-1991-the-warner-years-3d-promo-100
1986 - 1991 Warner Years
the-perfect-miles-davis-collection-100
Perfect Miles Collection
otc-1-100
On The Crest Of The Airwaves
miles-davis-the-last-word-box-set-cover-100
The Last World
tutu-d1-100
Tutu Deluxe LP
The Rubberband Album
Rubberband
Music Inspired by Birth of the Cool
Music from Birth of the Cool
Miles Davis Original Album Series
Original Album Series
Miles Davis Merci Miles CD
Merci Miles! Live at Vienne
See also
  • Miles 80s Music Collections - a round up of various Miles compilations from the 1980s
  • The Man With The Horn Album Primer - An Introduction To Miles’ 80s album
  • We Want Miles Album Primer - An Introduction To Miles’ live album from 1982
  • Star People Album Primer - An Introduction To Miles’ album from 1983
  • Decoy Album Primer - An Introduction To Miles’ album from 1984
  • You’re Under Arrest Album Primer - An Introduction To Miles’ album from 1985
  • Tutu Album Primer - An Introduction To Miles’ album from 1986
  • Aura Album Primer - An Introduction To Miles’ album from 1989
  • Miles Live - a round up of the various Miles live albums from the 1980s
The Last Miles: The Music Of Miles Davis 1980-1991: UK editionUK edition

The Last Miles:
The Music of Miles Davis
1980-1991

A Book by George Cole

The Last Miles is published by Equinox Publishing in the UK and the University of Michigan Press in the USA.

The Last Miles: The Music Of Miles Davis 1980-1991: USA editionUSA edition

 

Buy online from
click to buy at Amazon.co.uk
and in the USA from
Click to buy at Amazon.com

Contact George Cole at

The Last Miles

  • intro
  • albums
  • dvd
  • singles
  • other audio
  • books
  • gigs
  • cd
  • interviews
  • profiles
  • bands
  • memorabilia
  • photos
  • art
  • about

praise for The Last Miles

“The best Miles Davis book ever.” Randy Hall, singer/guitarist/producer, who worked with Miles in the 1980s

“An important book.” Brian Priestley, co-author of ‘The Rough Guide to Jazz’, jazz pianist, critic and reviewer

“Very moving, emotional material.” Gordon Meltzer, Miles’s last road manager and executive producer of the ‘Doo-Bop’ album

“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

“Wow! What a great book. Finally, something that really gets it right. Thank you for capturing what was going on, the mood, everything.” Adam Holzman, Miles’s keyboardist and musical director 1985-1989

“Wonderful job, congratulations! An immense amount of work must have gone into it, I can't even imagine. 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

“The book is wonderful. Congratulations for your very important contribution to the historical documentation of many [musicians] who would otherwise have been overlooked!!!!” Robert Irving III Miles’s musical director 1983-1988

“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. 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

“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"

“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

“There are large chunks of fresh material here… Fill[s] in quite a few gaps and dismisses blanket condemnations of [Miles’s] pop phase.” Stephen Graham, Jazzwise

“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

“Cole’s analysis has a meticulous, forensic character… [and] is able to bring a wealth of new information to light…. This book should get people talking. It should be the first rather than the last word on an intriguing chapter of the life an extraordinarily complex artist. And Davis’s vanity would surely have loved that.” Kevin Le Gendre, Independent on Sunday

“The book is beautiful. I think you did a great job on covering Miles’s life and legacy.” Sid Reynolds, hip-hop producer

“GREATFUCKINJOBWITDABOOK” Foley, Miles’s lead bassist 1987-1991

“Cole’s certainly produced a fascinating book.” Chris Ingham, Mojo

“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

“I thought it was wonderful. It’s a very detailed look at a certain part of the career and life of Miles Davis. 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

“Many people have come to me in the past about how the "last miles” bands had been overlooked and ignored by journalists. This book is a comprehensive answer to these omissions. From my discussions with musicians from the latter years with Miles it seems pretty clear they feel some vindication as a result of this book. I thank you sincerely for telling our story. Most everything I have read is as close to my memory of how things happened as any book could hope to be. I think you've done a wonderful job.” Darryl Jones, bassist with Miles 1983-85, 1986-1988

“The title is likely to send most jazzbos running, with received wisdom having handed down the rule that in the 80's Miles was only good for playing live; and half of that was just the pleasure of seeing him in person. For a single man to take on the 400-page+ task of changing popular opinion is a very tall order indeed. For him to make you want to actively revisit the decade in question is a near-miracle. Detailing album histories and giving final verdicts, Cole has made every effort to lay the evidence out bare. The analysis could have been a chore were it not for the presence of first-hand interviews with all the major players, making this not just a scholarly study, but a tribute to the man himself, And for a book such as this, you learn more about Davis that could have been expected.” Jason Draper, Record Collector

“There simply hasn’t been another book published on Miles Davis, in any period that has managed to obtain the wealth of interview material and cover his recorded work and various live tours in such a complete and comprehensive fashion… Engagingly written from start to finish, filled with more facts than you’ll be able to remember first time through, The Last Miles is an essential portrait of Miles’ last decade and a strong argument that his music was both valid and perfectly in keeping with a musical philosophy that would ultimately stretch over six decades.” John Kelman, All About Jazz.com

“We veterans of Miles’ last bands are lucky to have such a thorough and insightful look into Miles last period… I really enjoyed the book!” John Scofield, Miles's guitarist 1982-1985

“Cole has spoken to practically everyone who worked with Miles in his final decade. He has traced the evolution of each of those final albums, cut by cut, splice by splice….[Miles] comes out of Cole’s account larger, warmer and if anything even more important than ever.” Brian Morton (co-writer of The Penguin Guide to Jazz), The Wire

“Through lively analyses of all Miles’ recorded work from this period and much that went unreleased, including the ‘lost’ album Rubberband, [Cole] does enough to send readers back to the original albums.” Simon Evans, Choice

“… Cole is a persuasive writer: he prompted me to go and dig out albums that I'd dismissed as inconsequential and listen again with fresh ears. … A rewarding read.” Charles Waring, Blues & Soul

“Cole takes us on an exhaustive journey deep into the heart of Miles’ late recordings… The Last Miles needs to be covered by working musicians, producers and Miles’ fans alike.” Livingstone Marquis, Straight, No Chaser

“ George Cole has written a book that should be required reading for anyone with a serious interest in Davis’ life and work irrespective of which period of his music you prefer. It offers a valuable insight into this most complex of personalities, and reveals a side to Miles that many may not have known existed…for this reader it has prompted a re-examination of this decade which has revealed a fascinating area of music that I had previously overlooked.” Nick Lea, Jazzviews.co.uk

“In the flurry of books since [Miles Davis's] death, none has dealt in depth with the music of this period. Music writer George Cole fills this gap… It is so detailed and intimate that the reader feels he is virtually living with Davis as he seeks to reinvent himself… a rich and rewarding read.” Irwin Block, The Montreal Gazette

“This is a must for every Miles fan.” Neal Gardner, Blogcritics.org

“A fantastic book, an amazing insight into Miles.” Guy Barker, jazz trumpeter

The Last Miles US edition
Buy from Amazon.com
The Last Miles UK edition
Buy from Amazon UK

“For Miles fans, this book is a must.” Jez Nelson, presenter BBC Radio Jazz on 3

“I really do recommend The Last Miles… it is a fine work.” John Cavanagh, presenter Radio Scotland’s Bebop to Hip-Hop

“A great book that plays a great tribute to the last years of Miles’ life.” Erik Telford, presenter Miles Radio.com

“The fact of having personally interviewed all those characters… without much recall to interviews already noted and the usual anecdotes, renders “The Last Miles” as excellent… a book that certainly is seen as a work of reference.” Maurizio Comandini, All About Jazz.com Italy

“[Cole] has written a comprehensive account of the comeback and the albums it produced… He takes the reader through each of the albums, cut by cut, examining the musical choices, the musicians and their successes… Cole's book is a valuable resource on the last 11 years of a true music legend's life.” Chris Smith, Winnipeg Free Press

“I've been thoroughly enjoying your book. I'm sure it'll go a long way towards rectifying some of the negative historical appraisals of Miles' later works that have become prevalent.” Kei Akagi, keyboardist in Miles's band 1989-1990.

“Cole gives an exhaustive account of every track recorded [and, it seems, every live show] in that decade and of every one of the dozens of musicians who played on them but what's most interesting is the portrait of Miles Davis that emerges from it all. Sometimes an asshole and a bully, yes, but also a very funny guy who was a good friend to many and a mentor to even more, a man with drug problems who was more often in great pain from other maladies. Through it all, Davis was obsessed with moving his music forward with anyone who could help him do it - from Prince to Public Enemy, from Scritti Politti to a violinist he saw on Johnny Carson and hired on the spot.” Rock & Rap Confidential

“I thought your book was awesome and straight to the point. To tell stories the way it really happened is nothing but the truth! Congratulations and thanks!” Ricky Wellman, Miles's drummer 1987-1991

“George Cole has made a major contribution to jazz scholarship… written over a three-year period, the degree of detail is quite astonishing and the research so extensive that it becomes possible to contradict claims made by Miles himself in his autobiography. Every track on every 1981-1991 album is discussed in length… a very valuable book.” Chris Yates, The Jazz Rag

“This book is a model of how these types of books should be… If late period Miles is in the readers’ interest, the reader should rush out and purchase this volume. It is invaluable.” Robert Iannapollo, ARSC Journal

The Last Miles was voted one of the top ten music books of 2005 by Record Collector magazine.

The Last Miles was joint winner of the Association for Recorded Sound Collections’ Best Jazz History Book 2006 award.

© 2004–2026 TheLastMiles.com. All Rights Reserved.