People still don’t understand what Miles Davis was doing in the 1980s. That goes for record companies as well as critics (and, to a lesser degree, listeners). Sony Music, the label that owns most of his catalog, seems to prefer to think of his career as having ended in 1970. Bitches Brew has been granted icon status and celebrated with multiple reissues of varying degrees of deluxe-ness, but the music that followed has been given far more cursory treatment. The final volume in the generally excellent mid-2000s series of boxes, The Complete On The Corner Sessions, which covered his studio output from 1972 to 1975, is out of print. And his post-comeback albums — The Man With The Horn, We Want Miles, Star People, Decoy, and You’re Under Arrest — have never been given any kind of reassessment. We Want Miles and Star People are only available as import CDs in the US; meanwhile the former, a live album from 1981, has been expanded to a double CD in Japan.