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Tag: Miles Davis

Miles Davis featuring Stan Getz – Move (1991/2003/2019) [Official Digital Download 24bit/44,1kHz]

Miles Davis featuring Stan Getz – Move (1991/2003/2019)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:15:35 minutes | 639 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © RevOla

Organised jam sessions at New York’s legendary Birdland Club were broadcast twice weekly during the late ’40’s and early ’50’s and a baker’s dozen of tracks featuring the magnificent Miles Davis have been selected for this collection. The various pick-up line-ups included all the great jazz musicians of the era, and tenor sax genius Stan Getz can be heard here on several tracks beautifully complimenting Miles’ wonderful trumpet excursions. This album has been early issued on CD under the titles “Miles Davis: The Birdland Sessions” (1994), “Miles Davis: Out Of The Blue” (1997), “Miles Davis featuring Stan Getz : Birdland Days” (1991), “Miles Davis, Stan Getz: Move” (2003).

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Miles Davis – Miles in the Sky (1968/2019) [Official Digital Download 24bit/96kHz]

Miles Davis – Miles in the Sky (1968/2019)
FLAC (tracks) 24 bit/96 kHz  | Time – 51:04 minutes | 1,33 GB | Genre: Jazz
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Columbia – Legacy

An electrifying experience as Davis moves away from his traditional quintet sound toward a more jazz/rock feel later to be known as fusion. Illuminated by Herbie Hancock’s Fender Rhodes, along with a guest appearance by George Benson on Paraphernalia.

Clive Davis, the new head of Columbia, understood the implications of the rise of pop, rock, and folk music. He strongly urged the jazzmen in his catalogue to evolve or to leave. Both intrigued and scornful of the white man’s music, Miles was inspired to take up the challenge and leave the ghetto of popular black music—soul and funk—to which he felt rock music was indebted. Beginning in December 1967, he experimented in the studio, much like the Beatles, letting the tapes turn continuously and leaving the editing to his producer Teo Macero. He imposed an electrical keyboard on Herbie Hancock and frequently called in a guitarist. Taking the initiative again, he wrote two titles: “Country Son,” with its contrasting moods, and “Stuff,” unabashedly funk, with Ron Carter on the electric bass guitar. On “Paraphernalia,” Wayne Shorter continued to explore his imaginary constructions which George Benson’s guitar (à la Wes Montgomery) coarsened, while Tony Williams invented paranormal computations in “Black Comedy.” The album was entitled Miles In The Sky, with a nod to the Beatles’ song “Lucy In The Sky With Diamonds.”

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Miles Davis – Sorcerer (1967/2018) [Official Digital Download 24bit/192kHz]

Miles Davis – Sorcerer (1967/2018)
FLAC (tracks) 24 bit/192 kHz | Time – 40:32 minutes | 1,67 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there’s little of the dense, manic energy on Miles Smiles this is about subtle shadings, even when the compositions are as memorable as Tony Williams’ “Pee Wee” or Herbie Hancock’s “Sorcerer.” As such, it’s a little elusive, since it represents the deepening of the band’s music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren’t placed at the forefront the way they were on the two predecessors it all merges together, pointing toward the dense soundscapes of Miles’ later ’60s work. It’s such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it’s intended as a tribute to Miles’ then-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).

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Miles Davis & John Coltrane – The Final Tour: The Bootleg Series, Vol. 6 (2018) [Official Digital Download 24bit/96kHz]

Miles Davis & John Coltrane – The Final Tour: The Bootleg Series, Vol. 6 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 03:40:57 minutes | 4,05 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © Columbia/Legacy

Miles Davis & John Coltrane – The Final Tour: The Bootleg Series, Vol. 6 brings together five mythic concert performances during the epochal Spring 1960 Jazz At The Philharmonic European Tour. The box set was produced by the multi-Grammy winning team of producers Steve Berkowitz, Michael Cuscuna and Richard Seidel. And mastered by multi-Grammy winning Sony Music engineer Mark Wilder. The Final Tour is essential listening, an invitation to travel through time to experience the enduring beauty and magic of Miles and Trane at the peak of their collective powers.

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Miles Davis & John Coltrane – The Final Tour: The Bootleg Series, Vol. 6 (2018) [Official Digital Download 24bit/44,1kHz]

Miles Davis & John Coltrane – The Final Tour: The Bootleg Series, Vol. 6 (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 03:40:46 minutes | 2,11 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy

“Miles Davis & John Coltrane – The Final Tour: The Bootleg Series, Vol. 6” brings together five mythic concert performances during the epochal Spring 1960 Jazz At The Philharmonic European Tour. The box set was produced by the multi-Grammy winning team of producers Steve Berkowitz, Michael Cuscuna and Richard Seidel. And mastered by multi-Grammy winning Sony Music engineer Mark Wilder. The Final Tour is essential listening, an invitation to travel through time to experience the enduring beauty and magic of Miles and Trane at the peak of their collective powers.

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The Miles Davis Sextet & The Thelonious Monk Quartet – Miles & Monk At Newport (1964/2017) [Official Digital Download 24bit/192kHz]

The Miles Davis Sextet & The Thelonious Monk Quartet – Miles & Monk At Newport (1964/2017)
FLAC (tracks) 24 bit/192 kHz | Time – 51:20 minutes | 1,79 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Columbia Records
Recorded: May & July 1958, April 1963

Miles & Monk at Newport was a combined album of a Miles Davis appearance at Newport with an appearance of Thelonious Monk, from the LP era. Despite the title, the two artists do not perform together on the LP, and they are represented on each side by separate live appearances at the Newport Jazz Festival.

On the first side of the LP was a series of high tempo performances of bebop tunes and other staples of the Davis live repertoire from 1958. The performance was contemporaneous with Davis’ Milestones album. Aside from the 1973 release Jazz at the Plaza (also a 1958 concert) during the LP era, this was the only legitimate (non-bootleg) recording of a live Davis combo performance earlier than the 1960 Blackhawk recordings. As such, this performance and Jazz at the Plaza were the only legitimate live recordings representing the Kind of Blue sextet. On the second side were a few numbers by Thelonious Monk’s combo, from a 1963 Newport appearance. It featured an idiosyncratic appearance by clarinetist Pee Wee Russell. The Miles set was recorded in mono and the Monk set was recorded in stereo, so the mono LP featured a fold-down of the Monk set and the stereo LP featured an electronically re-channeled for stereo remix of the Miles set.

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Miles Davis – Miles: The New Miles Davis Quintet (1956/2016) [Official Digital Download 24bit/192kHz]

Miles Davis – Miles: The New Miles Davis Quintet (1956/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 34:00 minutes | 877 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © Prestige Records

This album was the first to be released showcasing Miles Davis and his new quintet (John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums). However it was not the first that Davis recorded with this quintet: before Davis could leave Prestige for his new record label, Columbia, he had to fulfill the remainder of his contract.

This was accomplished by two “marathon” sessions in May and October, 1956 that gave birth to four separate albums: Cookin’, Relaxin’, Workin’ and Steamin’. Davis actually recorded his first sessions for Columbia months earlier, in the fall of 1955, with his new quintet. The group’s club performances were exciting, marking the beginning of the period in which Davis became a celebrity, wearing Italian suits and driving Italian cars. He also became known for turning his back to the audience. Davis once explained this move very simply: “Hank Mobley is taking a solo. I want the audience concentrating on him, so I walk off the stage. They don’t need to be looking at me”.

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Miles Davis Quintet – Cookin’ With The Miles Davis Quintet (1957/2016) [Official Digital Download 24bit/192kHz]

Miles Davis Quintet – Cookin’ With The Miles Davis Quintet (1957/2016)
FLAC (tracks) 24 bit/192 kHz  | Time – 34:02 minutes | 697 MB | Genre: Jazz
Studio Masters, Official Digital Download | Booklet, Front Cover | © Concord Records

Cookin’ was the first album to be released of the famed extended recording sessions of the Miles Davis Quintet, wherein they taped the band’s basic repertoire (and what a marvelous mixture of jazz originals and standards) in the manner of nightclub sets rather than the repetition of the usual studio takes. The album excited listeners not only with its contents but with its promise of more to come. Davis, Coltrane, Garland, Chambers and Philly Joe Jones; one of the classic groups in the history of jazz. It established a level of excellence that was to foster a long, successive line of outstanding Davis quintets and sextets through the 50s and 60s.

From the muted eloquence of ‘My Funny Valentine’, through the finger-poppin’ ‘Blues By Five’, to the urgent swing of ‘Airegin’ and ‘Tune Up’, Cookin’ has the ability to thrill the listener no matter how many times it is played—the mark of an all-time great performance.

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Miles Davis – Miles at The Fillmore: Miles Davis 1970: The Bootleg Series, Vol. 3 (1970/2015) [Official Digital Download 24bit/96kHz]

Miles Davis – Miles at The Fillmore: Miles Davis 1970: The Bootleg Series, Vol. 3 (1970/2015)
FLAC (tracks) 24 bit/96 kHz  | Time – 04:10:20minutes | 4,91 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy

Until now, the official recordings of Miles Davis’ performances at the Fillmore East between June 17 and 20, 1970 have been limited to the double album Miles at the Fillmore. That set’s producer Teo Macero, edited the recordings to create medleys of each night’s music to four roughly 20-minute selections. This four-disc set contains all four concerts. There are 100 minutes of previously unreleased music from Wednesday through Saturday; an additional 35 minutes of unreleased music comes from a previous gig at the Fillmore West. On the FE shows,Davis’ band opened for Laura Nyro. Bill Graham regularly booked jazz artists to play with rock and pop acts. At the time, Davis was actively courting the younger audience — aided not only by Graham, but by FM DJs playing the just-released Bitches Brew. The band — saxophonist Steve Grossman, Dave Holland on electric bass, drummer Jack DeJohnette, percussionist Airto Moreira, Chick Corea on electric piano, and Keith Jarrett on organ — was loud and driving, its sound was drenched in wah-wah pedals; distortion was employed often. These dates are also historically significant because both keyboardists played in the group simultaneously for only three months. The program for each evening was basically the same: “Directions,” “The Mask,” “It’s About That Time,” “Bitches Brew,” and “The Theme.” But each disc offers a different bonus: an encore, an unexpected performance, or the added tracks from the Fillmore West gig. The charts are loose but focused, and the group’s improvisational dynamic is breathtaking, entirely different each night. Davis is exceptionally strong. His playing is inventive, full of questions and muscular statements. Some notable solos occur on Wednesday’s “It’s About That Time,” the Fillmore West’s “Footprints” and “Paraphernalia,” and the searing intensity displayed on “Directions,” from Friday. Grossman’s soprano playing is stunning on each version of “Bitches Brew”; his bluesy tenor playing is at its best on Thursday’s “Spanish Key.” Individually and collectively, DeJohnette and Holland add an extreme funkiness to the band’s bottom. Their interplay is canny, full of nasty grooves — check Thursday’s “The Mask,” or the throbbing pulse and roiling breaks on Friday’s “Directions.” Jarrett’s colors, textures and stabs, add an entirely different dimension to the band’s attack. Check the sinister vamping and spooky soloing on “Miles Runs the Voodoo Down” from the Fillmore West. Corea is alternately knotty and atmospheric. He can push the horns hard –as on Thursday’s “Directions” — or paint through Jarrett’s wah-wah organ with an expressionist brush — evidenced by Saturday’s “Willie Nelson.” Throughout his solos are risky and exploratory. Airto’s vocal and percussion arsenal is wildly different, not only from tune to tune, but night to night. The sound on this box is fantastic: balanced and detailed. The set includes a 28-page booklet with an essay by Michael Cuscuna and producer’s notes with Richard Seidel, along with rare photographs and a poster. Miles at the Fillmore – Miles Davis 1970: The Bootleg Series, Vol. 3 is an essential addition to the Davis canon. ~ Thom Jurek

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Miles Davis’ All Stars – Walkin’ (1957/2016) [Official Digital Download 24bit/192kHz]

Miles Davis’ All Stars – Walkin’ (1957/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 37:53 minutes | 787 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © Prestige Records

Walkin’, now considered one of the earliest essential albums in the Miles Davis canon, comprises two classic 1954 sessions: one with a quintet; the other a sextet. The influential sextet session, featuring trombonist J.J. Johnson and Lucky Thompson on sax, took advantage of long-playing record technology with two extended jams that announced both the return of modern jazz musicians to a focus on the blues and the coming of the funky hard bop era. The quintet date, with underground legend Davey Schildkraut on alto sax, provides the first inkling of the trumpeter’s haunting muted style and introduces his classic composition Solar.

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