Yellow marks studio dates, blue marks live documents, and a red stamp flags rows where the date or tape lineage still needs confirming against booklets. Open any session to see its recordings; check off what you’ve heard and the site remembers.
Where the Tapes Landed
The organizing idea of this whole library: a composition has a home album, the place it belongs in finished form, even when a given tape is a different take from a different night. Open an album to see every composition assigned to it and every recorded instance across the era, studio and stage. Dates jump back to the session in the reel.
The Listening Path
A 21-stop chronological route through the era, built to expose the relationship between raw session tape, live mutation, and the finished Macero constructions. Check off stops as you go; progress saves in your browser.
What to Buy or Find
An acquisition guide rather than a pressing-by-pressing discography: the albums, the complete-session boxes that expose the raw tape, the official live archives, and the bootleg series that still fills gaps.
Method and Sources
How This Library Thinks
A session is the historical event: a date, a room, a band, tape rolling. A performance is the tape item itself, one take or one live rendition. Each performance carries two separate answers that most discographies blur together. The composition home album answers where the tune belongs in Miles’s album world. The issued on field answers where this exact recording can be heard. Keeping them separate is the point; it’s how you trace a theme from a studio sketch through two years of stage mutation to a Macero construction.
What Counts as In Scope
Included: Miles-led studio dates from December 4, 1967 through the last documented 1975 studio work, officially issued electric concerts, radio and TV broadcasts, and circulating soundboards or on-stage tapes. Excluded: audience-only recordings. The September 5, 1975 Central Park finale is noted in the story but absent from the reel because no tape is known to circulate.
How Credits Are Handled
Producer means the original session or album producer where documented, which in this era is almost always Teo Macero. Broadcast rows often have no named producer, so the entry says so rather than inventing one. Mixer and reissue credits are project-level when session-specific credits are unavailable.
How Much to Trust a Row
Verified rows are corroborated by the primary discographies. Provisional rows describe real circulating tapes whose dates, titles, or lineage still need confirming against box-set booklets or tape genealogies. Bootleg titles and dates are evidence rather than gospel. Twenty-five of the 114 events carry some flag.
Sources
Provenance
Compiled in August 2026 from a personal research workbook covering the electric period. Cover images come from the Cover Art Archive and are used for identification. This site has no affiliation with the Miles Davis estate, Columbia Records, or Sony Music. Corrections are welcome; every row links back to its source.