tell us about your own favourite:

james fawcus tonbridge
vangelis conquest of paradise because it is so relaxing

will petty Blaine, Wa
Well it's got to be Pharoahs Dance but I tell you what. When I think about Cut -time (I play drums) When I hear SIDE CAR I just think it brilliant. It is - and I know it!

Nick Fox, New York
Herbie Hancock's solo on My Funny Valentine, 1964 Concert. In my humble opinion, the greatest piano solo in the history of jazz. It has been an inspiration to me for nearly 15 years.

Liomar/Brasil
Corcovado, from "Quite Nights". I know, Miles hate that LP, don't bug me! But everybody who plays Jobim makes this song nearly the same. Miles takes a lyrical note from that which is all his own. And "Budo", from "Miles Ahead". Miles breaks the song apart, and takes be-bop to the edge. Makes his own record of this song in "The Birth of the Cool" sounds unintersting.

Dr. Tobias Rodemann, Düsseldorf
Best bass line ever!

Umar Jabbie
" In a silent way" encompases everything about the maestro...the best u can ever get...wht a track.

Richard, Sussex
Now's the time, with Charlie Parker's Ree-Boppers in November 1945. This is because it is not only the side with Bird's definitive bop solo, but Miles' solo later in the track indicated that he was going to go in a completely different direction from Bird,Dizzy and the other boppers, eventually establishing a whole new movement. However if I was trying to explain to a Martian what Miles was all about I should probably go with Milestones or something from the Sketches from Spain album.

Mwezi, London
ESPMilesAheadBitchesBrewFillesDeKillimanjaroMyFunnyValentineSomeDayMyPrinceWillComeTonyWilliamsWayneShorterHerbieHancockRonCarter.JohnColtranePhillyJoJonesPaulChambersCannonballAdderleyChickCoreaDaveHolland. Do I have to say why?

Phil Morgan Lichfield
Inamorata on CD4 from the Cellar Door box set - this is, to me, the most mindblowing piece of one chord jamming I have ever heard. De Johnette plays drums like no other drummer and all of the other musicians are extraordinary...Michael Henderson seems to have invented a whole new way of playing electric bass, Jarrett just shows us what we have missed with his focus on acoustic piano, Bartz is sensational and as for Miles, I don't think that he has ever played better - musical heaven!

David Brennan, Harpenden
Utterly impossible to identify any one work! His innate sense of the vulnerable is imbued within everthing he ever did. It is all supremely stunning.

Ralph Morrison Poland
'In a Silent Way' has this interplay between Milews & the drummer (A.W.) that still catches my breath. BUT 'BIG FUN' is his most under-rated albume: Cobham, McLaughlin & that gang!!!

Stefano Xanadu, Rome
Basin Street Blues from "Seven Step to Heaven". WhY? I haven't words to explain my choice. Listen it and you'll understand anything.

Pablo Meza (MEXICO)
Seven Steps to Heaven...simply the best

Mike Scutt, Welwyn Garden City
Concerto de Aranjuez - very evocative and haunting. Sounds so much better with trumpet than guitar - a beautiful piece of music.

'Call It Anything' - Live at the Isle of Wight fes
A classic example of how Miles is the true master at making an improvised piece work, without resting in the safety of a single motif or unchanging groove. Miles conducts the band with minimal effort into that perfect, edgy, almost unconfortable feel which is utterly captivating. Though he plays his trumpt relatively sparingly in the piece, his foreboding influence looms over throughout. Very strong stuff. Paul, Brighton, U.K.

Ian Fitzpatrick, Oxford
Sid's Ahead (Milestones 1958) the energy,. oh the energy! And Cannonball/Coltrane/Miles solos are out of this world. In particular the point at which Miles plays the same note some 10 times.....amazing soloing. Please play this!!!

William Welburn Milwaukee WI USA
"Calypso/Frelimo." Miles and Mtume were a perfect combination

'All Blues' on 'Kind of Blue'
Exquisite phrasing, a wonderful groove, endlessly inventive solos, perfect playing from Bill Evans (just how cool was that fella?). Half the world loves this track - so I wish I could choose something more off the beaten. BUT everybody loves 'Kind of Blue' and everyone loves 'All Blues' because they are so perfect.

Will Deacon, London
Freddie Freeloader. The opening piano solo by Evans is amazing. Nothing more needs to be said.

John Collins, Norwich
MD produced so many many great tracks in so many different forms that even picking a handful feels neglectful. Still, three tracks that are currently at the top of the heap for me are 'Maiysha' from Get Up With It (the version on Agharta has less swing, but is as hypnotic), 'So near, so far' from the criminally over-looked Seven Steps To Heaven, and Iris from ESP.

harri, the black country
impossible to pick out one track, so i'm going for shhh, peaceful from "in a silent way" out ambients anything and is pure chill out. i love the fragmented keyboards of Joe Zawinul which blew me away on Bitches Brew.

Ken Robinson, Devonshire, Bermuda
After much deliberation (because I love all of Miles' music) my vote is for Shhhh/Peaceful from 'In A Silent Way'. As the original LP cover stated, it represented new directions in music'. The music was truly atmospheric and meditative - to get to it you had to open your mind. that was what Miles' music was always all about - an open mind.

John Harris, Bristol
The Carnegie Hall concert of 19 May 1961 - exactly 45 years ago as I write! It was a favourite when the LP came out, and the double CD has more, plus the true running order. The combination of the small group with the Gil Evans orchestra is a musical feast. Wynton Kelly is a revelation, but they're all masterly. First two tracks (love the juxtaposition of the titles): 'So What' and 'Spring Is Here'. 3rd choice: 'My Funny Valentine', from the 1964 concert LP of the same name (Simon from Nottingham says it all).

Ivan
Anybody like Tutu..?

damien, belfast
Radio Nova in Paris played nothing but Miles for a week when he died. The Beeb has done Bach, Beethoven, Webern and the Ring. (Has anybody calulated how long a complete Miles Broadcast would last?). I'll settle for a track from ESP 'Mood'. One of his first to do magic to my ears.

Matt Kirk/Worcester
It's interesting how many miles fans are secretly funkateers, placing their votes in 70's miles... although he loved him madly is great i will widen the possibilties by voting the incorrectly labelled theme from jack johnson from Agharta - the pinnacle of miles' control over his band in live situations - he creates a rolling composition that has the same feel as the Duke tribute - play it now

Josh brighton
Round about midnight Just chilled, cool and brilliant

Phil from Horsham
Duran from Directions - Knock Out! Konda fom Directions - gets slated in almost every review. Well I love it and for me it beats Recollections and is up there with He Loved Him Madly. His use of the octave divider had me stumped for years. Hear the full length version on The Complete Jack Johnson Sessions

William, London
If I had to pick one, it would be Frelon Brun, but I love all the tracks from Filles De Kilimanjaro. Of all the records from this part of Miles' career, this is the most balanced. It's really up to the listener how much he takes from the record: it doesn't make any stringent demands in the same way that Bitches Brew does, but it can be a deeply challenging listen all the same. It is also deeply funky, the whole way through. I like the way Miles took the blues aesthetic and made a proper jazz record, not a blues record with some jazzy bits.

John, Yorkshire
I never really understood jazz - then I heard Spanish Key & I was converted. Simply Awesome. Miles at his best.

Joey Hickman, Bristol
'In A Silent Way'. It's smooth and relaxing nature makes it a very pleasant and beatiful piece to listen to. John McLaughlin's guitar, I feel, makes the piece; creating a dreamy and what has become a stunning jazz standard.

Derren Lee Poole - Blackburn, Lancashire
"Flamenco Sketches" from Kind Of Blue. Simply sublime and beautiful. A composition and performance simply makes you stop and listen. Wonderful.

Colin Branthwaite, Gateshead
Concierto De Aranjuez from Sketches of Spain is a marvel from beginning to end. The Gil Evans arrangements are a joy to behold and have made this into a unique piece of Miles'work. I first became aware of Miles as a long haired hippy watching the Woodstock movie in 1969, yes a late starter, and I've loved him ever since.

Chris Gray, Edinburgh
"So What?" from "Kind of Blue". The first track I heard from the first Miles album I ever bought - it lifts me up every time I hear it. Its hard to pick out any one track from this sublimely beautiful album, but this track is the opener that sets the cool but sunny tone of the whole thing. Very special indeed.

Marcos from D.F.- México
"What i say" because it´s so funky, only MD knew to cath a root like this and explore it;"RightOff" other great rock song on a MD context; "Nefertiti" with a diferent mood but strongly;"Fatime" maked on one take is incredible;We are a huge fans of MD(me & friends)& ¡we believe in MD music as we believe in life & that´s all!

Gosta Ottestam, Stockholm,Sweden
Walkin´from 1954 with Lucky Thompson and JJ Johnson. With this LP Miles made his first come back, and then it just went on an on through the fifties and the first part of the sixties. What came thereafter is another story.

Francois Roudiere, edinburgh
I would suggest "Great Expectations/Mulher laranja" from the album "Big Fun". It runs for some 28 minutes, the first part is a dark, ambient and hypnotic incantation; and the second part, quiet and atmospheric, makes me think of some rainforest inundated with water and sunshine, it is a quiet, impressionist delight building up to a joyful- though ambient!- world music where you can hear both Indian and Brasilian influences (Airto Morea plays there) the shimmering keyboards are there of course, courtesy of Hancock and Corea, and trumpet phrases hover beautifully above the sonic landscape. I would also recommend Nefertiti's second track, "Fall"; again for its great atmospheric qualities , clear phrasing, and its joyful climax on the piano.

david garrick , helensburgh nr loch lomond . scotl
the live version of time after time from the album live around the world. will preface by saying I have been listening to Miles for 45yrs and have seen him live 3times. I have chosen this later Miles track because it really helps sum up this complex man. He recorded it apparently against the record companys advice and they refused to issue it as a single as he wanted never beleiving it would sell. Up until his death, at any live gig the crowd either chanted for it or went nuts when he started to play it. Miles was always ahead of the game. Thank you.

Peter, North West england
I've always liked Miles ESP album, especially the last 2 tracks - ISIS and MOOD Playine of Miles and Wayne Shorter on these tunes is really good

Melissa Hauffé, West Sussex
Any of the 4 beautiful tracks recorded on Christmas Eve 1954 with Thelonious, Milt, Percy and Kenny, (Bag's Groove, Man I Love, Swing Spring, Bemsha Swing). These are all pure raw Miles, the Miles I grew up with and still love (the other four guys were pretty good too). With my lifelong passion for Jazz, I bought these tracks originally whilst still a child, on a 10" vinal, I think on "Concord"! I fear many have not heard these gorgeous creative improvisations, and feel it important to share them.

Jakša Bilić, Croatia
Darn that dream

Charlie Hey
It seems like a lot of people are avoiding the inevitable, so i'll go right ahead- 'So What' is the crowning achievment of jazz music as well as Miles Davis's career. It's not to say that his other music doesn't produce the goods, on the contrary, I reckon there's something to amaze in every one of his tracks. But its just the pure fluidity of style and sound that can't be matched with 'So What' that draws me back to it for the nth time. A perfect yin-yang balance of harmony and musicianship... the true meaning of cool. Unbeatable.

Neil Watson, London, UK
My favourite Miles track has to be 'It Never Entered My Mind' from 'Workin' with the Miles Davis Quintet', recorded in 1956. I bought this LP with a load of other jazz records for 40p from Oxfam in Wokingham, Berkshire around 20 years ago. At the time, I wasn't a 'modern' jazz fan at all, and it was the sublime beauty of this track that led me to investigate bebop and all the other genres that followed. The recording just features Miles with Red Garland and Paul Chambers and is very sympathetic to the sentiments of the song by Rodgers and Hart, which I later found on Frank Sinatra's 'In the wee small hours of the morning'. I was also surprised to find this Miles track over the credits to 'Lenny', the biopic of Lenny Bruce. I would also nominate the entire score that Miles improvised for Louis Malle's 1957 film 'L'Ascenseur pour l'Eschafaud' (Lift to the scaffold). Miles played the music alongside French musicians and it is really beautiful and eerie.

Stephen Pickles , Bingley, W.Yorks
1."So What" from "Kind of Blue". So cool and calming. 2. "Autumn Leaves" from Cannonball Adderley's "Something Else".Delicate. 3. "In A Silent Way" from "In A Silent Way". The way forward. Miles Davis fills an empty room with sound in a way that can only be compared to John Coltrane, in my opinion. That said, "Kind of Blue", especially the enhanced CD with additional liner notes and tracks, is just as wonderful today as it must have been in 1959. Testament enough!

andre, st andrews (scotland)
miles runs the voodoo down: it's just a brilliant jam with brilliant musicians all in the same "high" grove

Ben - Bristol
Circles - Miles smiles album beautiful, subtle, moving. It flows so well, even when the harmony is at its most angular.

Ralph Morrison Poland
'In a Silent Way': the understated drumming, the sparce brass = superb! BUT, to listen to over & over: give me 'Big Fun' (the entire album). John McG, Cobham, Miles & a hint of India = j'adore.. I was a professional classical trumpet player & jazz/rock drummer for 20 years...

Skanky Joe
ESP, filth.

Peter Loughran Hong Kong
Flamenco Sketches from Kind of Blue. Maybe a bit predictable BUT it still floors me twenty years after I first heard it.

Kearan, London
Autumn Leaves....obviously!

Willi Frantzen, Stolberg, Germany
"Go Ahead, John" from Big Fun. McLaughlin's solo...the sheer sound of it, the way it's edited, two drum tracks, it still blows me out of orbit everytime i hear it.

Vladimir KUZNETSOV, Vienna, Austria
"Spanish Key" from the "Bitches Brew" album.

Steve McDade; Southampton
Footprints from Miles Smiles (Shorter is still dealing with it on his recent live albums.....) oh and My Funny Valentine from the Lincoln Centre concert ......still gets through (40 years? since I first heard it in Barry's Record Rendezvous in Manchester and got me started with Miles)play the whole concert!....... it's Tony Williams who was/is always amazing

Cathal, London
'He Loved Him Madly' (Get Up With It, '75-?) - Miles' musical eulogy for Duke Ellington, a very long track where nothing much happens for a very long time - totally unique in the history of jazz or rock or any related music up to that time, here Miles invented several genres of music in one go, most of them still unnameable at the time of my writing this. Ideal last-track-on-Late-Junction material, in my humble view.

Brian Burke Windsor Ontario, Canada
I love all of Miles' work. Every bit of it from Bird right through to the day he died. I've recently begun to adore his work in the 70's as well, and I can't stop listening to the funk grooves on "The Cellar Door" sessions, or "The Jack Johnson" cds. I spite of that, "My funny Valentine" from the Carnegie Hall concert with Herbie Hancock, Tony Williams, Ron Carter and George Coleman stands out. In this tune the air seems to breathe thickly, the silences are loud, the tones of Miles' horn mutate from beat to beat and the rest of the group is playing with such clairvoyance I get chills thinking of it as I write. Come to think of it, that whole show was great. Come to think of it, every Miles CD is great (and I think I have most of them) bb

john price-hornchurch
The Kind of Blue album.I didn't listen to it properly for about 25 years (marriage,family etc.)got back in to it on CD.Has led me in to 21st century jazz.MD is still the Business.

Mike Johnson, Liverpool
1. Miles Davis' Funeral by Morphine 2. Black Satin from On the Corner 3. In a Silent Way from In a Silent Way

Steven, North London
Sometimes listening to Miles I feel i don't need the rest of my record collection 'cos it's all there. Maiysha from Get up with it just has a real swing to it. Recollections from Big fun could go on all day and i wouldn't mind. ESP never fails to put a spring in my step.

Lee Goddard, London
"Flemenco Sketches" from "Kind of Blue." Atmosphere beyond emulation.

Chris Williams Hollywood Calif.
First, MY FUNNY VALENTINE then, CONCERTO DE ARANJUEZ and finally FREDDIE FREELOADER. I could go on but these each stand on their own, examples of a musical gift possessed by only a very few. Miles is for me the bedrock and foundation of all that is music.

Richard Musil Omaha, NE USA
1. Kind of Blue - achingly beautiful and profoundly cool at the same time. As my mother used to say, "That's the music they play in heaven." 2. Seven Steps To Heaven - Tony William's drum solo - succinct, controlled, maybe the most musical drum solo of the period. 3. In a Silent Way - The world shifted gears musically when this was released. A stunning tribute to atmospheric music, extraordinary musicianship, and the editing machine

Tomaz Cleto - Sao Paulo - Brasil
1. "So What" from Kind of Blues - This album is a watershed in the history of jazz, and for me "So What" is the very expression of this moment. 10 years later there was another moment that we can consider "the explosion". And my 2nd choice comes from that: "Bitches Brew", from Bitches Brew album. 3. "Filles de Kilimanjaro" (from Filles de Kilimanjaro) is one of the most delicated takes from "the 60's quintet" and if we could consider something from his partners I would include "Pinocchio", from Nefertit (Wayne Shorter's composition): what a subtileness from his trumpet!

D. Bridgen, Camberley.
"I See Your Face Before Me", from The Musings of Miles. So tender.

Dag in Haggum, Sweden
Florence sur le Champs-Elysee because it is both a little weird and bluesy. It is dark in a while but suddenly looses up.

Gabriel, London Hackney
Flemenco Sketches [alternae take], Kind of Blue. Pure improvisation at greatest. The chemistry between the mucisians is more complete than anything i have ever heard, i wouldnt be surprised if this band could communicate through their instruments alone!

graham jones oxted, surrey
Walkin' from Complete Live at the Plugged Nickel because it captures Miles in front of a club audience with a fabulous group (Shorter, Hancock, Carter and Williams) when he was at the peak of his inventiveness. It was a long time before I eventually got to hear him live, during his late electric period. This was also a great period for Miles but I wished I had caught him live in the Sixties and the Plugged Nickel sessions almost make you feel you were there. Miles often recorded Walkin' but this is my favourite version.

Ron Trewellard, Falmouth
1. Blues for Pablo from Miles Ahead 2. Freddie Freeloader from Kind of Blue 3. Porgy and Bess from Summertime It is difficult to choose just three tracks from Miles Davis's recordings. It really demands a programme dedicated to each phase of his career. However, these happen to be among my favourites. Kind of Blue is probably the most important album taken as a whole and I think the recordings he made with Gil Evans are outstanding.

Matthew Knights, London
1. Bitches Brew from Live At Fillmore East (March 7, 1970): It's About That Time 2. Two Bass Hit from Milestone 3. Moja (Parts 1 and 2) from Live at Carnegie Hall for the miles davis playlist feature mentioned last night: I have always thought that miles' "electric" period '69-'75 is underrated, even with the success of bitches brew, the last track moja was a real eye opener for me when i first heard it, i was just getting into jazz, and with 3 guitars in front of those powerful drums the possabilities of jazz opened up for me! I love the opening version of bitches brew, already re-invented by the band only 7mnths after the recording. Of course you can't forget the great acoustic miles - i don't think it gets any better than two bass hit!

Joseph Holden, Nottingham
1. Flamenco Sketches from Kind of Blue 2. In a Silent Way/It's About That Time from In a Silent Way 3. Pharoah's Dance from Bitches Brew For the Miles Davis 80th Birthday (would have been) celebration on late junction. Starting with the revolutionary modality of the classic davis, trane, evans, adderley quartet, this three moves on to the mesmerisingly beautiful masterpiece of In a Silent Way with hancock and corea, through to the fusions of the sublimely dramatic pharoah's dance by the quintet featuring shorter and corea. The three neatly evoke the evolution of a genius over his greatest decade.

Bruce Cohen
1. Blue in Green from Kind of Blue 2. Round Midnight from the Essential Miles Davis 3. Concierto de Aranjuez from Sketches of Spain Verity Sharp asked for 3 Miles Davis tunes for her May compilation.

Peter Jones, Honiton
1. Nuit sur les Champs Elysees (take 2) Ascenseur pour l'echafaud 2. Someday my prince will come from Someday my prince will come 3. Portia from Tutu This is my Miles Davis three, in line with the upcoming celebrations. I adore the mood of track one; the sheer beauty of track two; and the muscularity of Marcus Miller's setting for track three.

Umar Jabbie, London
In a silent way The best you can get from the master!

Sara Masson, Highbury
1. Mademoiselle Mabry from Filles De Kilimanjaro 2. Blue in Green from Kind of Blue 3. Part 1 Side One from a Tribute to Jack Johnson A tribute to Jack Johnson - when the trumpet comes in with that great blast - the excitement was almost too much for this 16 year old girl, 34 years ago! Miss Mabry so sexy, with great bass from Dave Holland, and Blue and Green is the track I want played at my funeral

Bruce Cohen
1. In a Silent Way from In a Silent Way 2. Spanish Key from Bitches Brew 3. Right off from Spanish Key This is Miles great triumvirate of his transitiion from the late 60's into the early 70's. It shows how Silent Way opened the way for Bitches Brew which shook the world, which then led into Jack Johnson(Mile's favorite), arguably the ultimate jazz/rock fusion recording ever committed to vinyl (remember vinyl). These are all long pieces but they show that not only jazz , but music would never be the same again. As Miles himself would say,"Directions in Music"...indeed.

Martin, Southampton
'Round Midnight from the album 'Round About Midnight: classic Miles Davis playing -spare,muted, close to the melody with just a little stretch here and there to generate intense swing- contrasted with the volubility of John Coltrane as he ties himself in harmonic knots.

Stuart Haden St. Ippolyts, Herts.
"Blue in Green" is a great track which seems to me to sum up that era of the cool when Miles produced that classc LP Kind of Blue.

Mike, Argentina
I really like "The serpent`s tooth" from the album Collectors items, year 1956. No particular reason.

"Supermarket Sweep", Swindon
I was not going to post as I feel it is d*mn near impossible to choose a "favourite" track from a musician who produced some of the greatest tracks ever recorded. However, looking at the list of tracks others have chosen on the website, there's so much of the usual stuff, wonderful though it is ("So What," "Concierto de Aranjuez," "Shhh/Peaceful," "My Funny Valentine," etc), that I fear this week to honour one of the most adventurous and fearlessly creative artists of the century will just become nostalgic whitewash, treading the typical path of Miles' tributes: i.e. ignoring the incredible music he produced in the 70s, with the excpetion of "Bitches' Brew" and "Jack Johnson", and pretending that he only made five records that are worth hearing. Thus, may I tentatively suggest that you play some hard-to-find Miles. Miles was the sound of surprise, and this might catch some listeners out (as I'm sure he would have hoped his music would). This is a track from the sessions that produced "Ife" (released on "Big Fun"), that was not officialy released at the time. However, it is on a (gasp!) bootleg, of which details below. If you could play this (it's only 10 minutes long), I might feel this tribute had actually done something positive in unearthing some worthwile discoveries, rather than treading the party line of 'Sketches,' 'Bitches', etc. http://www.plosin.com/milesAhead/Disco.aspx?id=UnknownSessions3 Alternatively (or in addition), one of Miles' most ignored bands was the one with Gary Bartz in 1970. I always felt that Bartz was one of the best saxophonists Miles had in the 70s (certainly far superior to Steve Grossman), and this was a really steaming group. The two bootlegs "What I Say", volumes 1 & 2, are highly praised in Richard Cook's recent book on Miles, so perhaps we could hear a selection from one of them: http://www.plosin.com/milesAhead/Disco.aspx?id=WhatSay2 Failing that, the Cellar Door sessions have some hot music by a similar band, again with Bartz on saxophone. I apologise if the tone of this post is slightly confrontational, but I feel strongly about this issue, and I felt that I had to get my feelings across. I would appreciate it if you would post at least a portion of this message on your website (edit it if you want,I know it's long), as it's important to present different viewpoints.

Richard Spiers, Kingston-on-Thames
Nature Boy from the Blue Moods album. As a trumpet player, I was fiercely dedicated to Miles for the 1st 5 years of jazz influence. I wasn't interested in getting a wider set of influences, prefering instead to study one man, in depth. The 1st album I had, given to me by my father, was "Blue Moods". I had never had any music touch me so deeply in my life as much as the track "Nature Boy". I have at least 40 Miles' albums, and so many favourites to choose from (I cry every time I hear "My Funny Valentine" off Heard Around the World)so the only way I can pick is by choosing the very first that got me hooked for a lifetime. Happy 80th year Miles. You have always made me feel part of the brotherhood and are always in my heart and soul.

Phil Syson, Horsham
2 favourites which is missing the point here but... Circle from Miles Smiles. One of quietest recordings by the Greatest Miles Davis Quintet. Spacious, elegant and exquisite solo from HH. Honky Tonk from The Complete Jack Johnson Sessions because its the opposite of Circle. LOUD, jagged, cliched guitar riff and then John turns it all inside out and Miles plays gut blues trumpet. Only Miles can achieve this kind of contrast. Superheroes? Forget Batman and friends. Its Miles all the way.

Jack Crompton, Scarborough
Jean Pierre - playful, childlike, deceptively simple, just plain entertaining.

Laurence Nixon, Bergerac
Not surprisingly, so many of my favourites have already been chosen, so I'm happy whatever wins. I'd add Mademoiselle Mabry' from 'Filles de Kilimanjaro'; for Tony Williams' drums and excellent solos from all members of Miles' 1968 band. Like so many contributors, I love the groove on 'Shhh/Peaceful'. Am I the only fan who thinks 'Sanctuary' the best track on 'Bitches Brew'; it still haunts me after all these years. Finally though, 'Kind of Blue' is probably one of the greatest recordings ever made in any musical genre. My vote goes to 'Flamenco Sketches'.

David James, Marlow, UK
`Easy Living', a track recorded on a Danish EP I foolishly lent, and thereby lost, many years ago. I have not heard it since, but its spare beauty haunts me still.

will baltio. md.
flamenco sketches: for a good morning and peacefull evening!

Ruy Mauricio de Lima e Silva Neto- Paranah-Brazil
It's really very difficult for anyone to pinpoint one single track of such a multi-era and overdiversified musician such as Miles. But I'll try to wrap up the matter with phenomenal "It never entered my mind" as recorded by Blue Note, in '54.It's almost a prayer, a religious cantilena, specially on account of Silver's arpeggios all through the track. A momentum of loneliness and inward intimate regret.It never occurred to me that such a thing could be so explicitly put in music.

Robert Geer, Rochester
'Miles Runs the Voodoo Down' a driving pace, interweaving solos, competing and complimentary sound textures, a great ensemble piece that penetrated beyond the jazz fraternity. A true claasic fusion piece

Bill Pilgrim, London N3
Yes, "Kind of Blue" is the benchmark and "Blue in Green" is my favourite on this album. However they say one's first experiences are the best and two stand out for me. "On Green Dolphin Street" has already been mentioned. But my favourite track is "Surrey With The Fringe on Top" not only for Miles's famous eggshell sound, but also for the solo contributed by Coltrane on such an unlikely standard. I've lost my vinyl over the years but I'm sure this is an accurate recollection.

Steven Leak. Peterborough. Canada
My favourite Miles' track is "He Loved Him Madly", from "Get Up With It". His careful and rich use of detail and colour within such a vast emotive space makes it a piece I return to time and time again.

Chris Hurrey, UK
'My Funny Valentine' - the 1964 Lincoln Centre recording. I first heard it when I was 16 up in my girlfriend's bedroom. She's been with me for over 35 years. And so has Miles Davis.

Steven Durham
It's about that time No. 8 Disc One MIles Davis at Filmore: Live at the Filmore East. Recorded 1970 This is a band playing at the edge and on fire. Miles's solo is incredibly intense, it just keeps building. The rest of the band are listening so closely to each other and following Miles so closely the whole thing comes together as spontaneous musical moment of such excitment it never ceases to amaze me. The CD contains the same numbers played over 4 nights and each time they are completely different. Playing music like this so freely has to a very great challenge of concentration and cooperation. My chosen track is one of those where everything seems to come together in a special way. Listen to it if you haven't heard it it's fantastic! Steven Lucas

Hugo Pillath, Oxford
"Dear Old Stockholm" on the Blue Note album "Miles Davis Davis Volume 1". a beautiful pulsing melody (swedish folksong) followed by some gorgeous relatively straightahead soloing from Miles and others.

Joey, Nottingham
Its all about 'Human Nature', from the album 'Your under arrest'. Awesome version of the Steve Pocaro track that features of the MJ thriller album. Such a rich and beautiful track.

Ed Roberts Poole
So What- Simply a masteriece what every jazz fan should listen too

John W Newcastle upon Tyne
Summertime from Porgy and Bess. Why ? because it's Saturday,Friday's was something different as indeed will be Sunday's !

D Harris
Sidecar One .

tim north wales
my favourite miles davis track is "miles runs the voodoo down" from bitches brew. I first heard it on a CBS records sampler called Rockbuster . It was my first introduction to Miles Davis and modern jazz. It still sound as innovative and exciting as when I first heard it. The guy was a musical genius !

Dylan, London
Just play 'The Mask' from Jack Johnson - what a weird, weird, weird track this is. Absolutely ridiculous, but very funny to listen to.

Callum from London
Spanish Key on Bitches Brew - easily the most stunning track that Miles ever released. The interplay between the musicians is fantastic, with the three (!) keyboardists responding fantastically to the trumpet (particularly from 13.45 to 14.25 - they could be compared to three little children that have been given the space to improvise (they all, somehow, manage to imporvise at the SAME TIME coherently)). The groove is fantastic, and there are some stunning solos from McLaughlin, Davis, Wayne Shorter, and Maupin. I love this every time i hear it

Richard J Lockley
Black Satin, from On The Corner.

Meyrick Chapman
Milestones, right on then right behind the beat. Just the right amount of space in Miles solo & great additional solos from Coltrane & Cannonball Adderley.

Berni -London
Sketches of Spain because it is so haunting, beautiful, moving

Ron Tray Bristol
He Loved Him Madly.Miles brooding tone poem to Duke Ellington from Get Up With It.It's a landscape of skeletal percussion,plaintive flute,sombre guitar textures and then there's that trumpet sound.Like smoke drifting across a star lit desert sky.This is where Miles lives up to the Prince of Darkness tag.A starkly poignant meisterwerk.

Stu, Loughborough
'Circle' from Miles Smiles. It has THAT Herbie Hancock solo in it. The rest of the album belongs to Tony Williams.

Gerard Walgreen, Amsterdam
"All blues" not the kind of blue version, but from "Immortal concerts" Stockholm, march 22,1960 More hypnotic and John Coltrane at his best! Listen!!!!!!!

Andy Wilson, London
"Portia" from Tutu. OK so it is from his unfashionable later period but Miles plays so well on this track. I have vivid memories of seeing him play this particular track at the Festival Hall. A real hair standing up at the back of my neck experience. Miles at his best - muted and melancholic

Simon, Durham
Miles' music is so wide ranging and timeless that it is very difficult to choose a favourite track. I've gone for "So Near, So Far", however, from the underrated transitional album "Seven Steps To Heaven" recorded in 1963. It represents the sound that would eventually lead to the great 60s second quintet (with the eventual addition of Wayne Shorter). Miles gives a spell-binding solo which really reaches into the upper register of his trumpet without losing the melancholic edge of his trademark sound. George Coleman and Herbie Hancock also give interesting, individual takes on the material by turns lyrical and quietly introspective. Of course, the track also features my favourite of Miles' long list of drummers: Tony Williams. It's a truly masterful piece of music which goes to show that there are some real hidden gems in Miles' vast discography.

Michael Stead, Cardiff
Milestones - it never stops to inspire, no matter how often you hear it

John McMahon South Northamptonshire
AUTUMN LEAVES on Cannonball Adderley's SOMETHIN' ELSE. Wrings the beauty out of an incredible melody and swings like a steel spring.

Richard Hales - Chichester
Flemenco Sketches - a perfect track from a perfect album. Can any piece of music capture the beauty, inspiration and chemistry created by the greatest jazz musicians of their era.

Andy Pegg, Reading UK
Like so many other contributors, I love 'Kind of Blue', especially 'So What' and 'All Blues'. I frequently return to those long drawn out melodies on the 'Nefertiti' album, but the track that I have to choose is the 1964 recording of 'My Funny Valentine'. After the subdued opening chords, Miles' first few bars send shivers down my spine - every time. There is something heroic and sublime about those eloquent phrases. In my view, no other trumpet player ever came close to the pure tone that Miles acheived, and I love the lack of vibrato in so much of his playing.

Stephen Webb - Chichester
"Shh/Peaceful" from the album "In a Silent Way". For me this a real classic and marks the point at which Miles crossed-over from using relatively conventional instrumentation to the controversial use of electronics. Tony Williams' restraint on percussion - often just high-hat - and the simplicity of the groove match beautifully the adaptability of the modal /polyphonic approach fed by the electric pianos and subtle use of the organ. These in turn are complemented perfectly by the economic style of Miles', Wayne's (Shorter) and John's (McLaughlin) solos. Teo Macero's production technique of splicing sections together (perhaps a development of Brian Wilson's ideas from Good Vibrations/Smile?) produces an overall construct close to perfection, especially since Miles' second solo is in fact a repeat of the first solo spliced in (which fooled some of the dyed-in-the-wool jazz critics at the time!). The recording sounds as fresh today as it did when I first heard it in 1968 as an impressionable 18 year-old. The experience of listening to this stunning 18 minutes or so of wonderful music does indeed leave you feeling "peaceful".

Bernie Nyman, London
"Mademoiselle Mabry" from Filles de Kilimanjaro. I think that track signalled Miles' change in direction, whilst still keeping in touch with everything that had gone before. I just love this track and can listen to it over and over again without tiring of it.

Ian Wright, Chesterfield UK
Shhhh/Peaceful from 'In A Silent Way'. For me, its the album that woke up the world of Jazz from its comfortable dotage. This album is absolutely brilliant and ground breaking. The Complete In A Silent Way Sessions 3CD set reveals a true genius at his creative peak and mentoring his new young band into this new way of working. Just take a look at the careers of this bands members to see what they learned from working on this record.

Roger Hines ,Sheffield
Joshua From "Four and More" Really hard to pick one but mainly beacause I don't think has yet been suggested can I offer Joshua.Fantastic breakneck live playing, if I had a time machine this is probably the Miles Davis Concert I would travel back to hear.

Chris Foley, Bournemouth
Star People. A blues with great playing by Miles and Mike Stern on guitar.

Mark Trounson, London
Best song he played or composed? Green Dolphin Street and Footprints are both amazing but my favourite Miles Composition is probably Circle

Julian Winn, North Wales
Freddie Freeloader from Kind of Blue. First the title is just great! then there's the theme - simple, minimalist - and then Pow! you're into the modal improvisation. The textures build, Davis takes off and then just nudges everyone else along. The chord changes recall a blues-gospel - packed with emotion and power! If this track doesn't move you you can truely call yourself souless!

Andrew Johnson, Camberley
Spanish Key from Bitches Brew. Is that not feedback at 11:24? Jazz goes electric.

Patrick Hadfield, Edinburgh
All Blues (Kind of Blue). It is beautifully contemplative, with a sinuous flow in the rhythm section supporting superlative solos.

Billy G from Wigmore, Kent
I can't help but agree with Simon Patterson from King's Hill. I'm still in a trance. Man you are soooooooo cool. Respect. BG

King Kennytone, Blackpool
Trolley Song - oh hang on, wassn't thaat Broobeck (ahem) - anyway, I played the tuba on that.

Graham Urquhart, Limekilns, Scotland
'He Loved Him Madly' from Get Up With It. I love how this piece builds organically over 32 minutes - you have to play it all! From abstract beginnings to delicious ambient groove, there is a luminosity and real sense of space. Great support work from all, esp the underrated Pete Cosey, Reggie Lucas and Dominique Gaumont on guitars. Dave Liebman on flute also magnificent as he weaves through the ether. Miles at his minimal, poetic best. Apparently a huge influence on Eno's ambient ethos as well.

ken mayle in Laparade, France
nefertiti just because it's great. AND WHAT DRUMMING !

Simon Patterson, West Malling
All Blues from Kind of Blue...it gets better with age...the bass line is simply hypnotic!!

Mike Ovenden, Essex
"So What" from 1959. I love it. It builds up gently; has bags of atmosphere; has great trumpet and great piano - something for everyone. Appeals to non jazz fans too. Unbeatable.

Clinton Cameron, Leeds
My favourite Miles Davis tarck is "Teo" on his alobum "Somedya my Price Will Come" I first heard it in 1960 - the first record i bought and have loved it ever since. My children have been brought up hearing it incessantly.

Peter Healey , Cumbria
"SO WHAT" from "KIND OF BLUE". Hearing this music back in the 60's set in motion a lifelong love of modern jazz.The influence of Coltrane and Cannonball on my life is immeasurable (& Miles too)

Mike Bailey - Woodbridge
Bye Bye Blackbird Just perfect.

Jill Semple, Katy, Texas
Sssshhhh/Peaceful Tony Williams crystal pulse, Miles breathy solo, beatuiful production, amazing editing, the spring of McLaughlin's guitar, the sweet n sour serpentine line of Wayne Shorter's sax. Who could ask for anything more?

John in Southsea
Filles de kilimanjaro, could choose almost anything by Miles but whatever the mood 'filles' always sounds great. Nicely bridhes the gap between accoustic and electric Miles.

amanda finch suffolk
sketches of spain may be a cliche but heard it aged 18 and am now a pensioner-made me a miles fan from that day, and made me visit spain,thanks miles

Mike from Blackpool
Jean Pierre the 1981 recording. My musical tastes had moved from Trad to RnB to British Modern to Genesis at al. Then I heard this track under emotional circumstances and realised thats where my real interest had been all along.

Craig Thomas/Bath
It has to be, because of the combination with Coltrane and Bill Evans, SO WHAT from A KIND OF BLUE - however obvious the choice! For the essential quality and unique sound of Miles' trumpet, then MY FUNNY VALENTINE from 1964 or THE CONCERTO DE ARANJUEZ (adagio) with Gil Evans. Play all three and anyone left standing has no sense of what jazz is! Yours Craig Thomas

Jon, Broadstairs, Kent
"Directions" from "Live at the Fillmore East". It is almost impossible to pick a favourite Miles track, so many beatiful ones to choose from, you just have to pick one of the moment. But this is like being run over by a truck. I think Miles had been listening to lots of Hendrix, but despite all the noise, all the amplification, Miles blasts out notes over the churning rythm. And yet he sounds totlally individual, totally unique, totally Miles.

Nick Silver, London
Autumn Leaves from Cannonball Adderley Somethin' Else; A great musician can invest a simple tune with profundity and beauty -Miles' two short solos, played practically without embelishment, are the perfect example

Roger Knott: Loughborough
Miles Ahead The first Miles Davis track I remember hearing and still a knockout for anyone who isn't a fan

Sean, Banbury
It has to be Flamenco Sketches, as it always provides an oasis amidst the chaos... from Miles' almost painful intro through the spine tingling alto/tenor interplay between Cannonball & Coltrane... its perfect!

Sara, Highbury
A tribute to Jack Johnson - side one, track one - the first 10 mins.: when the trumpet finally comes in with that great blast - the excitement was almost too much for this 14 year old girl - nothing has changed 36 years on!

Richard Galloway Milton Keynes
Jack johnson track 1 what a rock groove given stunning jazz treatment. Un able to drive car safely with this on so please for warn so that I can pull over. Best wishes Richard Galloway

scott schreiner, Harrisburg, PA USA
So What - Kind of Blues Res ipsa loquitur

Gavin Irvine, Bath
My favourite is "My Funny Valentine" the 1958 version with beautiful crystalline piano work by Bill Evans and Paul Chambers answering "yes" to all of Miles's questions played with that classic pleading muted trumpet. The recording was made at a Jazz "Party" at the Plaza Hotel. It must have been a good party because when the recordings were first released in 1973 Columbia got the date wrong, the track listing wrong and incorrectly credited Philly Joe Jones as the drummer - it was Jimmy Cobb. That is not to say that the 1956 or 1964 versions are inferior. They too are great in their own way especially for Red Garland's sweet playing and for Herbie Hancock's antonishing opening chords in the 1964 live version. Then again every Miles did from from Birth of the Cool to Jack Johnson is of the highest standard except for a few 60's live albums. This long period of consistent high quality is unsurpassed by any artist especially when considering Miles's relentless urge or renewal and the changes in direction he instigated. It is what makes Miles's music the greatest in Jazz.

Ian McCorry
Sorry to be so predictable but so what! "So What".... from Kind of Blue - perfect compositions and perfromances. The spine tingling crash and sizzle of the cymbal at the end of the intro..... wonderful!

Pete in Whittlesey.
The best Miles Davis contribution to a recording was his horn solo on the song "Oh Pattie" by Scritti Politti, from the album Provision (I think). Why not ask Green or David Gamson from Scritti how Miles came to play on the album, if they met him - and how they found him if they did!

Chris Coates
Flamenco Sketches from the Kind of Blue album. Beautiful solos from Miles,Cannonball, Trane and Bill Evans. A great track, from an essential jazz album, still wonderful getting on for 50 years old.

Doc Nelson, Huddersfield
'Eighty-one'on the ESP album because of the way Miles reworks the blues and, at the same time, hints at a more abstract direction to his future music. Miles' and Wayne's soloes are awesome and the rhythm section is still the greatest I have ever heard.

Geoff Dodd, Canada
'So What' - I know it's an obvious choice but it really is perfect. Miles' timing still surpirses after the 100th listen. And of course the rhythm section just elevates the whole thing. Like I said - perfect.

Simon, Nottingham
My Funny Valentine, from the 1964 concert LP of the same name - the second great quintet have truly bedded in and rip apart the standard as if all the musicians are connected by invisible elastic (I think they are!) - Miles + band assume complete ownership of this standard and it's a joy to listen to them pull it apart and explore ryhtmically and harmonically over the course of 14 or so minutes (it never seems that long when I listen to it). I could go on....

Nic Monks, Hampshire
Move from Birth of the Cool, beautiful music and the first example of Miles leading a new wave.

Peter Eldrett, Poole, Dorset
Jean Pierre. Mainly because I was at the concert at the Hammersmith Odean in the early eighties when Miles and his wonderful band were on tour. To see and hear such musicianship was an occasion that I will not forget in a hurry.

Andreas Paetzold, Germany
My favourite track is "Circle in the round". I even can´t explain in my mother language why. Just listen and enjoy.

Martin Gorsky, Bristol
Forget the Beatles: Miles’ trajectory through the long 1960s (ie from Sketches of Spain (1960) to Get Up With It (1974)) was THE soundtrack of that extraordinary era of creative optimism. ‘Nefertiti’, the opener from the eponymous album of 1967 catches Miles and the second great quintet exploring the boundaries of the music. Still on the threshold of the fusion period the group inverts the form, the horns marking out the theme while the piano and drums creep into the solo spot. By five minutes in, Tony Williams is in full flight over a pensive brass section, whose heavy underwater breathing presages the ambient classic ‘Recollections’ from Big Fun. It’s not Miles at his most fiery, and it’s a Wayne Shorter tune, but for me it captures his ability to reflect the zeitgeist by inverting expectations - the essence of his genius. And on that theme of unexpected appropriations, I hope you can squeeze in Cassandra Wilson’s ‘Time after time’, from her ‘Travelling Miles’ tribute: a Late Junction track if ever there was! Last but not least, if you’re playing anything from Sketches, check out also the Grateful Dead’s ‘Spanish Jam’, from Disc Two of their So Many Roads compilation: the group suddenly mutates from their psychedelic opus Dark Star into four minutes of shining improvisation around the riff from ‘Solea’. It’s a little gem, tellingly illuminating the lines of filiation between Miles and the acid rockers which thread through his classic work of the early 1970s.

John F King, York
Time After Time - Miles " sings " this with that unique combination of sensitivity and power and space.

Clive Gray, Leicester
It must be either 'So What?' or 'Blue in Green', both from 'Kind of Blue'. The former for its ability to summon up a complete story in the mind's eye (read what Davis said about it in his 'autobiography'). The latter for the complete re-casting and revitalisation of the blues form that is represents and the wistfulness that it contains.

Peter Cargill
'Footprints' by Miles' 2nd great quintet: Miles, Wayne Shorter, Herbie Hancock, Tony Williams, Ron Carter. Absolutely wonderful then and still is with each one playing a terrific solo improvising to perfection and also their obvious love of performing together. As Herbie once said: 'It was like walking in paradise.'

RS, Surrey
Spanish Key from Bitches Brew As a single unedited take its unequalled and has elements of all MD's past music, providing a link from "Lift to the Scaffold" and its coolness through his work with Gil Evans and into the electric era. Its cool, it swings, it throbs; the solos are good and you simply want it never to end. Sure there are better solos and better tunes elsewhere but that track just holds it all together like no other.

Jayanta, Mumbai, India
"Miles runs the voodoo down" from "Bitches Brew". Miles has the strength, stamina, finesse, and sureness of touch of a great boxer - a Muhammad Ali, a Sugar Ray Robinson. Both his solos build up the way a great short story writer builds up to a denouement. Whenever the voodoo tries to get me, I always play this track.

DJ MILES/Zuerich, Switzerland
TEO, one of the last recordings with Trane, great rhythm, and Miles just sounds like MILES!

Tom Tulsa, OK
On Green Dolphin Street because Bill Evans is amazing

Wayne "Porter" - NYC
Miles's version of "Walkin'" from that amazing 1967 Paris Concert. REASON: Because I played on it!

Ezekiel Doomharbinger
'My Man's Gone Now': the twenty minute live 1981 version from We Want Miles. Brooding, intense, yet pained and hurt. All the contradictions of Miles embodied in one live track, which knocks the spots off his Gil Evans collaboration.

Synne Laastad Dyvik, Bergen, Norway
My favorite is "Blue in Green" from Kind of Blue. This track represents all the goodness of jazz. It has a silent resistence in it that makes it move forward. It is the beautiful, without ever being boring. Joni Mitchell once said that Miles sings when he playes, this is indeed true. This track shows a heartfelt commitment to everything melancholic and genuine.

In da mood, the moon
see http://www.bbc.co.uk/dna/mbradio3/F2620065?thread=2764162 For Miles Davis choices

Graham Arnold, Middlesborough
"Right Off" from Jack Johnson. what a groove! Miles' opening solo is a tour de force and a poke in the eye to all those who reckon he lost his chope in the 70s. Herbie Hancock sounds like he's dismantling his organ (ooh er missus)and you get John Mclaughlin's best solo ever. I know it's long, but maybe you could edit out Steve Grossman's soprano solo!