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Tag: Miles Davis

Miles Davis – Tutu (1986/2011) [Official Digital Download 24bit/192kHz]

Miles Davis – Tutu (1986/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 42:47 minutes | 1,75 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | © Rhino/Warner Bros.

One of Miles Davis’ late career-defining masterworks and the winner of two Grammy® Awards, Tutu found Davis again revolutionizing jazz by bringing it further into the realm of rock, funk, and R&B. The album features compositions by multiple Grammy winning bassist/songwriter Marcus Miller.

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Miles Davis – Doo-Bop (1992/2011) [Official Digital Download 24bit/192kHz]

Miles Davis – Doo-Bop (1992/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 43:45 minutes | 1,86 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | © Rhino/Warner Bros.

Miles Davis’s last studio project is an adventurous collision of jazz and hip-hop.

If On the Corner suggested hip-hop beats as far back as two decades ago, then consider Doo-Bop as offspring. Miles’ teaming with producer Easy Mo Bee is a natural — more in league with England’s acid jazz scene than anything in the trumpeter’s recent canon. Those who’ve howled over the post-Bitches Brew work will find no solace here; instead, chalk this up as one of Miles’ most entertaining efforts.

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Miles Davis – Amandla (1989/2011) [Official Digital Download 24bit/192kHz]

Miles Davis – Amandla (1989/2011)
FLAC (tracks) 24 bit/192 kHz | Time – 43:50 minutes | 1,8 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks.com | Front cover

Amandla was Miles’ perfect departure from Tutu, and a comeback for himself and his right-hand man, the composer Marcus Miller. The album features investigations into the possibilities of contemporary synthesizers and drum machines. But unlike Tutu, Miles and Miller supply a satisfactory amount of real orchestral instrumentation, real drums, percussion and guitars.

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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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