People can, and do, spend lifetimes tracking down and cataloguing all of the various releases of their favorite bands—studio, stage, bootleg, and otherwise. Certain groups—the Grateful Dead, naturally (hear 9,000 Dead shows here)—encourage this more than others. And if a rock band can send completists on lifelong scavenger hunts, how much more so a prolific jazz artist such as, say, Miles Davis? Like the musical form itself, jazz artists are mercurial by nature, spending years as journeymen for any number of other bandleaders before breaking off to form their own quartets, quintets, sextets, etc. Add to the profusion of different groups the tendency of jazz players to record the same songs—but never in the same way—dozens, hundreds, of times, and you’ve got discographies that number well into double-digit page lengths.
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