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Tag: Miles Davis

Miles Davis – My Funny Valentine (1965) [MFSL 2014] {PS3 ISO + FLAC}

Miles Davis – My Funny Valentine (1965) [MFSL 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 63:49 minutes | Scans included | 2,57 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,18 GB
Genre: Jazz

Miles Davis’ concert of February 12, 1964, was divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (specifically, “All of You,” “Stella by Starlight,” “All Blues,” “I Thought About You,” and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This hour-long LP complements the up-tempo romps of Four & More.

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Miles Davis – Bags’ Groove (1957) [APO Remaster 2014] {PS3 ISO + FLAC}

Miles Davis – Bags’ Groove (1957) [APO Remaster 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 46:02 minutes | Scans included | 1,93 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 904 MB
Genre: Jazz

There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session — featuring Thelonious Monk — which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver’s (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of “Airegin” flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches of Spain epic. The fun and slightly maniacally toned “Oleo” features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc.

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Miles Davis – Sorcerer (1967) [Japanese Reissue 2007] {PS3 ISO + FLAC}

Miles Davis – Sorcerer (1967) [Japanese Reissue 2007]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 39:59 minutes | Scans NOT included | 1,62 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 796 MB
Genre: Jazz

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 – Sorcerer (1967) [MFSL 2015] {PS3 ISO + FLAC}

Miles Davis – Sorcerer (1967) [MFSL 2015]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 40:24 minutes | Scans included | 1,62 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 793 MB
Mobile Fidelity Sound Lab # UDSACD 2145 | Genre: Jazz

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 – Filles De Kilimanjaro (1969) [Japanese Reissue 2002] {PS3 ISO + FLAC}

Miles Davis – Filles De Kilimanjaro (1969) [Japanese Reissue 2002]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 56:21 minutes | Scans included | 2,3 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,09 GB
Genre: Jazz

Since it’s billed as “Directions in Music by Miles Davis,” it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it’s possible to hear the breaking point — though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it’s possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in “direction” was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles de Kilimanjaro bears him out. Though the album sports inexplicable, rather ridiculous French song titles, this is music that is unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band. Where Miles in the Sky meandered a bit, this is considerably more focused, even on the three songs that run over ten minutes, yet it still feels transitional. Not tentative (which In the Sky was), but certainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn’t fly and search the way that Nefertiti did. But that’s not a bad thing — this middle ground between the adventurous bop of the mid-’60s and the fusion of the late ’60s is rewarding in its own right, since it’s possible to hear great musicians find the foundation of a new form. For that alone, Filles de Kilimanjaro is necessary listening.

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Miles Davis – In Person: Saturday Night At The Blackhawk, San Francisco Vol.2 (1961) [Japanese Reissue 2000] {PS3 ISO + FLAC}

Miles Davis – In Person: Saturday Night At The Blackhawk, San Francisco Vol.2 (1961) [Japanese Reissue 2000]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 60:53 minutes | Scans included | 2,47 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,21 GB
Genre: Jazz

The second volume in the (finally) complete recordings from Miles Davis’ legendary two-night stand at the Blackhawk in 1961 with his new quintet — which featured Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy Cobb — is as stunning as the first. While this set has been available in many different configurations in the U.S. and Japan over the years, it has never been complete until now. In Person: Saturday Night at the Blackhawk features no less than nine unreleased performances — including an unprecedented fourth set on two CDs. The groove is quite different on Saturday evening. Rather than the slashing bop of Sonny Rollins’ “Oleo” from Friday, a loping, bluesed-out version of “If I Were a Bell” opens the program. Kelly’s interplay with Davis here is enlightening and inspiring; his comps and fills dance around the trumpeter’s solo without ever punching through its center. His sense of timing is remarkable in how he anticipates the end of Miles’ lines. He shifts gears with Mobley, who is in a speedier Coleman Hawkins mood here and pushes the middle harder, more percussively, as Mobley then plays all around the changes. This gives way to an unbelievably speedy “So What,” clocking in at over 12 minutes and driven by Chambers’ pizzicato bass playing. Davis’ solo in the first few choruses is more reminiscent of his tenure with Charlie Parker than anything of his own, except for the warmer tone. The tune is an odyssey of harmonic invention with Kelly acting as a bridge between Davis and Mobley, offering wide-open sevenths and diminished fifths for each player to wander in and out of. Kelly’s solo comes right out of the blues, pure and angular; his touch is heavier — deep left-hand accents and trills decorate it.

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Miles Davis – In Person: Friday Night At The Blackhawk, San Francisco Vol.1 (1961) [Japanese Reissue 2000] {PS3 ISO + FLAC}

Miles Davis – In Person: Friday Night At The Blackhawk, San Francisco Vol.1 (1961) [Japanese Reissue 2000]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 61:43 minutes | Scans included | 2,5 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,22 GB
Genre: Jazz

The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly’s interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses. Davis himself has never played with more intensity and muscularity on record than he does here. He is absolutely fierce, both on the Friday night and Saturday night sets. Kelly plays more like a drummer than a pianist, using gorgeously percussive left-hand comps and fills to add bottom to the front line’s solos. Mobley displays his bebop rather than hard bop and groove sides here, and reveals his intricate knowledge of the bop phraseology; he sounds free of the baggage and responsibility that he replaced John Coltrane and Cannonball Adderley. His solos on “If I Were a Bell” and “No Blues” are simply revelatory. This is an underappreciated group because of its relatively short life, but as evidenced here, the bandmembers swung fast and hard and never looked back. Hearing a dropped bassline, an out-of-time cymbal flourish, and a shortened series of phrases by Miles because he miscounted — you guess the track — adds to the charm of this being recorded as it was, without any cleanup. It is difficult to recommend this set over Saturday Night or vice versa; Miles fans will need both to fully appreciate how special this engagement with this particular band was.

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Miles Davis – Miles Ahead (1957) [Japanese Reissue 2000] {PS3 ISO + FLAC}

Miles Davis – Miles Ahead (1957) [Japanese Reissue 2000]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 36:58 minutes | Scans included (PDF) | 1,58 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included (PDF) | 813 GB
Genre: Jazz

Miles Ahead is an album by Miles Davis that was released in 1957 by Columbia Records. It was Davis’ first collaboration with arranger Gil Evans following the Birth of the Cool sessions. Along with their subsequent collaborations Porgy and Bess (1959) and Sketches of Spain (1960), Miles Ahead is one of the most famous recordings of Third Stream, a fusion of jazz, European classical, and world musics. Davis played flugelhorn throughout.

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Miles Davis – You’re Under Arrest (1985) [Japanese Reissue 2000] {PS3 ISO + FLAC}

Miles Davis – You’re Under Arrest (1985) [Japanese Reissue 2000]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 42:47 minutes | Scans included | 1,76 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 901 MB
Genre: Jazz

Miles Davis’ final Columbia recording (other than Aura which was released several years later) includes his straightforward ballad interpretations of Cyndy Lauper’s “Time After Time” & the Michael Jackson-associated “Human Nature,” 2 songs he would play in most of his concerts for the remainder of his life. Other tunes (including “You’re Under Arrest,” “One Phone Call” & “Ms. Morrisine”) were quickly discarded. In addition to Davis (who had regained his earlier chops) tenor-saxophonist Bob Berg, guitarist John Scofield & guest John McLaughlin get in a few decent solos on this competent, but not overly memorable effort.

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Miles Davis – Big Fun (1974) [2x SACD, Reissue 2001] {PS3 ISO + FLAC}

Miles Davis – Big Fun (1974) [2x SACD, Reissue 2001]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 142:21 minutes | Scans included | 5,73 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,83 GB

Despite the presence of classic tracks like Joe Zawinul’s “Great Expectations,” Big Fun feels like the compendium of sources it is. These tracks are all outtakes from other sessions, most notably Bitches Brew, On the Corner, and others. The other element is that many of these tracks appeared in different versions elsewhere. These were second takes, or the unedited takes before producer Teo Macero and Miles were able to edit them, cut and paste their parts into other things, or whatever. That is not to say the album should be dismissed. Despite the numerous lineups and uneven flow of the tracks, there does remain some outstanding playing and composing here. Most notably is “Great Expectations” from 1969, which opens the album. Here the lineup is Miles, Steve Grossman, Bennie Maupin, John McLaughlin, Khalil Balakrishna, and Bihari Sharma on sitar and tambura, Herbie, Chick Corea, Ron Carter, Harvey Brooks, Billy Cobham, and Airto. Creating a series of vamps from drones and a small melodic figure, there is very little in the way of groove or melodic development until the middle section, where a series of modalities enters the composition. The second album in the set features “Go Ahead John,” an outtake from Jack Johnson’s sessions that is 28 minutes in length. It’s a riff-based groover, with McLaughlin and his wah-wah pedal setting the pace with Steve Grossman on soprano. The basic motif is the blues, floating around E and Bb flat, but there are modulations introduced by Miles into Db flat that add a kinkier dimension into the proceedings as well. Dave Holland is the bass player, and DeJohnette is the drummer. There is no piano. What’s most interesting about this date is how it prefigures what would become “Right Off” from Jack Johnson. It doesn’t have the same fire, nor does it manage to sustain itself for the duration, but there are some truly wonderful sections in the piece. This is for Miles fans only, especially those of his electric period, because it fills in the puzzle. The reissue added four bonus tracks to the original double-LP set, but other than “Recollections” by Zawinul, they shed little light on the mystique and development of the intensely creative music being developed in 1969 and 1970. Others should be directed to Bitches Brew, In A Silent Way, Jack Johnson, or Live Evil as starting points.

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