Miles Davis

[omar little]

Mislim da je posteno da on ima svoju temu.

The Complete Birth Of The Cool

1. "Move" (Denzil Best, arranged by John Lewis) – 2:32
2."Jeru" (Gerry Mulligan) – 3:10
3. "Moon Dreams" (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:17
4. "Venus de Milo" (Mulligan) – 3:10
5. "Budo" (Miles Davis, Bud Powell, arranged by Lewis) – 2:32
6. "Deception" (Davis, arranged by Mulligan) – 2:45
7. "Godchild" (George Wallington, arranged by Mulligan) – 3:07
8. "Boplicity" (Cleo Henry, i.e. Davis and Gil Evans, arranged by Evans) – 2:59
9. "Rocker" (Mulligan) – 3:03
10."Israel" (Johnny Carisi) – 2:15
11."Rouge" (John Lewis) – 3:13
12."Darn That Dream" (Eddie DeLange, James Van Heusen, arranged by Mulligan) – 3:26

So dubbed because these three sessions — two from early 1949, one from March 1950 — are where the sound known as cool jazz essentially formed, The Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions — arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach — is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result — the very thing that came to define West Coast or "cool" jazz — but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.

http://rapidshare.com/files/114492372/M ... _128k_.rar

[d2]

blagodarim

[omar little]

The Conception

1. "Odjenar"
2. "Hi Beck"
3. "Yesterdays"
4. "Ezz-Thetic"
5. "Indian Summer"
6. "Duet for Saxophone and Guitar"
7. "Conception" (Miles Davis)
8. "My Old Flame" (Miles Davis)
9. "Intoit" (Stan Getz)
10."Prezervation" (Stan Getz)
11."I May Be Wrong" (Gerry Mulligan)
12. "So What" (Gerry Mulligan)

A unique all-star set recorded in various combinations between 1949 and 1951, Conception is an underappreciated masterpiece of cerebral cool jazz. Although Miles Davis gets top billing, he appears on only half the album and then most often as a sideman with only occasional solos. Saxophonists Lee Konitz, Stan Getz, and Gerry Mulligan are the true stars of the album, with Konitz particularly shining. His two duets with guitarist Billy Bauer, a relaxed take on Victor Herbert's standard "Indian Summer" and his own "Duet for Saxophone and Guitar," are klix examples of cool jazz as the term was originally understood before it came to signify new age-leaning elevator music; Konitz's solos in "Indian Summer" disassemble the melody entirely while remaining accessibly tonal, and Bauer's filigree guitar lines stay clear of the uninspired comping of so many jazz guitarists while never sounding overly busy. Of the full-band pieces, Davis' solo spotlight on George Shearing's "Conception" finds the trumpeter in transition from the still soundscapes of the Birth of the Cool sessions to the more aggressive playing of his Riverside sets, and Stan Getz's two showcases, the originals "Prezervation" and "Intoit," feature the saxophonist in his early role as a committed Lester Young disciple, fronting a solid rhythm trio featuring the underrated pianist Al Haig. An excellent album featuring some klix and varied tracks, Conception is well worth seeking out.


http://rapidshare.com/files/114492373/M ... _160k_.rar

[omar little]

Blue Haze

1 I'll Remember April DePaul, Johnston, Raye 7:55
2 Four Davis 4:03
3 Old Devil Moon Harburg, Lane 3:24
4 Smooch Davis, Mingus 3:06
5 Blue Haze Davis 6:12
6 When Lights Are Low Carter, Williams 3:29
7 Tune-Up Davis 3:56
8 Miles Ahead Davis, Evans 4:28

This CD reissue features trumpeter Miles Davis with three different pickup recording groups that are full of fellow all-stars. "Tune-Up," "Miles Ahead," "When Lights Are Low" (which uses slightly different chord changes than its composer Benny Carter originally intended), and "Smooch" find Davis joined by pianist John Lewis (Charles Mingus plays piano on "Smooch"), bassist Percy Heath, and drummer Max Roach. With pianist Horace Silver, bassist Heath, and drummer Art Blakey offering solid accompaniment, Davis introduces "Four" and performs "Old Devil Moon" and "Blue Haze." Finally, with altoist Dave Schildkraut, Silver, Heath, and drummer Kenny Clarke, Miles jams through "I'll Remember April." Although not as essential as the trumpeter's classic Quintet records of 1955-1956, several of the performances (most notably "Tune-Up" and "Four") are quite memorable, and the straight-ahead playing is of consistently high quality.

http://rapidshare.com/files/114492375/M ... -192k_.rar

[omar little]

Miles Davis And Horns

1 Tasty Pudding Cohn, Davis 3:20
2 Floppy Cohn, Davis 5:58
3 Willie the Wailer Cohn, Davis 4:26
4 For Adults Only Cohn, Davis 5:33
5 Morpheus Lewis 2:21
6 Down Davis 2:51
7 The Blue Room Hart, Rodgers 3:00
8 Whispering Coburn, Rose, Schoenberger 3:03
9 The Blue Room [alternate take/*] Hart, Rodgers


The music from two of Miles Davis' lesser-known Prestige sessions is reissued on this CD. There are four titles from a 1953 date that finds the great trumpeter playing arrangements by Al Cohn in a sextet with tenors Cohn and Zoot Sims; trombonist Sonny Truitt joins the group on "Floppy." Those obscure performances (which include "Tasty Pudding" and "For Adults Only") are joined by four songs plus an alternate take from a 1951 date featuring Miles with tenor saxophonist Sonny Rollins (their first recordings together) and trombonist Benny Green. Davis is a bit supbar on such tunes as "Whispering" and "Blue Room," but his emotional playing is still worth hearing.

http://rapidshare.com/files/114498554/M ... _128k_.rar

[omar little]

Bag's Groove

"Bags' Groove" (Milt Jackson) [take 1] – 11:12
"Bags' Groove" [take 2] – 9:20
"Airegin" (Sonny Rollins) – 4:57
"Oleo" (Rollins) – 5:10
"But Not for Me" (George Gershwin, Ira Gershwin) [take 2] – 4:34
"Doxy" (Sonny Rollins) – 4:51
"But Not for Me" [take 1] – 5:42

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. The remastered CD includes both historic takes of "Bags' Groove" as well as one additional rendering of the pop standard "But Not for Me."

http://rapidshare.com/files/114499305/M ... k_VBR_.rar

[omar little]

Walkin

. "Walkin'" R. Carpenter 13:24
2. "Blue 'n' Boogie" D. Gillespie and F. Paparelli 8:15
3. "Solar" M. Davis and C. Wayne 4:41
4. "You Don't Know What Love Is" D. Raye and G. DePaul 4:20
5. "Love Me or Leave Me" W. Donaldson and G. Kahn 6:54

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music — as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson — who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort.

http://rapidshare.com/files/114501948/M ... _128k_.rar

[omar little]

Blue Moods with Charles Mingus

1. "Nature Boy" E. Ahbez 6:14
2. "Alone Together" Dietz and Schwartz 7:17
3. "There's No You" Adair and Hopper 8:06
4. "Easy Living" Rainger and Robin 5:03

http://rapidshare.com/files/114502357/M ... -160k_.rar

[omar little]

Cookin

01. My Funny Valentine [0:06:02.16]
02. Blues By Five [0:09:59.00]
03. Airegin [0:04:26.84]
04. Tune Up / When The Lights Are Low [0:13:10.20]

Cookin' is the first of four albums derived from the Miles Davis quintet's fabled extended recording session on October 26, 1956; the concept being that the band would document their vast, live-performance catalog in a studio environment, rather than preparing all new tracks for their upcoming long-player. The bounty of material in the band's live sets — as well as the overwhelming conviction in the quintet's studio sides — would produce the lion's share of the Cookin', Relaxin', Workin', and Steamin' albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band — consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums) — to work so efficiently both on the stage as well as in the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with the ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. "Blues by Five" reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each other's thoughts musically. Cookin' features the pairing of "Tune Up/When Lights Are Low" which is, without a doubt, a highlight not only of this mammoth session, but also the entire tenure of Miles Davis mid-'50s quintet. All the elements converge upon this fundamentally swinging medley. Davis' pure-toned solos, and the conversational banter that occurs with Coltrane, and later Garland during "When the Lights Are Low," resounds as some of the finest moments between these musicians.


http://rapidshare.com/files/114503067/M ... _192k_.rar.

[omar little]

Musings of Miles

1. "Will You Still Be Mine?" M. Dennis and T. Adair 6:23
2. "I See Your Face Before Me" A. Schwartz and H. Dietz 4:46
3. "I Didn't" M. Davis 6:06
4. "A Gal In Calico" A. Schwartz and L. Robin 5:18
5. "A Night In Tunisia" D. Gillespie and F. Paparelli 7:24
6. "Green Haze" M. Davis 5:50

Miles Davis was in the process of forming his first classic quintet when he recorded this date, a Prestige set reissued by the audiophile label DCC Compact Classics. The trumpeter is featured on a quartet outing with pianist Red Garland, bassist Oscar Pettiford, and drummer Philly Joe Jones, playing four standards plus a blues ("Green Haze") and "I Didn't," his answer to Thelonious Monk's "Well, You Needn't." Garland and Jones would soon be in Miles' group, although the fiery Pettiford proved too difficult for the trumpeter to handle and was quickly succeeded by Paul Chambers. The interpretations are generally lyrical and melodic; even "A Night in Tunisia" sounds a bit mellow. Likable if not essential music.

http://rapidshare.com/files/114506789/M ... _128k_.rar

[omar little]

Relaxin

1. "If I Were A Bell" (Frank Loesser)
2. "You're My Everything" (Mort Dixon – Joe Young – Harry Warren)
3. "I Could Write a Book" (Richard Rodgers – Lorenz Hart)
4. "Oleo" (Sonny Rollins)
5. "It Could Happen to You" (Johnny Burke – Jimmy van Heusen)
6. "Woody 'n' You" (Dizzy Gillespie)


Relaxin' features the Miles Davis Quintet in a pair of legendary recording dates — from May and October of 1956 — which would generate enough music to produce four separate long-players: Cookin', elaxin', Workin', and Steamin'. Each of these is considered not only to be among the pinnacle of Davis' work, but of the entire bop subgenre as well. As with the other titles, Relaxin' contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet — who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) — to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" — from the play Guys and Dolls — includes some remarkable soloing via Coltrane and Garland. Davis' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin' offers something for every degree of jazz enthusiast. Likewise, the quintet's recordings provide a tremendous introduction for the curious jazz consumer.

http://rapidshare.com/files/114509895/M ... _.rar.html

[omar little]

Steamin

"The Surrey With the Fringe On Top" (Richard Rodgers – Oscar Hammerstein II)
"Salt Peanuts" (Dizzy Gillespie-Kenny Clarke)
"Something I Dreamed Last Night" (Jack Yellen – Sammy Fain – Herb Magidson)
"Diane" (Erno Rapee – Lew Pollack)
"Well You Needn't" (Thelonious Monk)
"When I Fall In Love" (Edward Heyman – Victor Young)

Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin', Relaxin', Workin', and ultimately, Steamin'. A primary consideration of these fruitful sessions is the caliber of musicians — Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) — who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo's musical group mind. The end results are consistently astonishing. At the center of Steamin', as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians. "Surrey With the Fringe on Top" is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their "Salt Peanuts." Philly Joe Jones' mimicking cymbal speak — which replicates Gillespie's original vocals — is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin', it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.

http://rapidshare.com/files/114511721/M ... _160k_.rar

[omar little]

Workin

"It Never Entered My Mind" (Richard Rodgers, Lorenz Hart)
"Four" (Miles Davis)
"In Your Own Sweet Way" (Dave Brubeck)
"The Theme" (Davis) (take 1)
"Trane's Blues" (a.k.a "Vierd Blues") (Davis)
"Ahmad's Blues" (Ahmad Jamal)
"Half Nelson" (Davis)
"The Theme" (Davis) (take 2)


Workin' is the third in a series of four featuring the classic Miles Davis Quintet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin' and Relaxin', Workin' is the product of not one — as mythology would claim — but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin' is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band's interaction on "Four" extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, Garland, and Jones, with Paul Chambers chasing along with his rhythmic metronome. Beneath the smouldering bop of "Trane's Blues" are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers' solo stands as one of his defining contributions to this band. In sly acknowledgement to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with "The Theme" — a brief and mostly improvised tune — indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin', the final Miles Davis Quintet recording to have been culled from these historic sessions.

http://rapidshare.com/files/114492377/M ... _128k_.rar

[omar little]

Dig

Dig" (7:33)
"It's Only A Paper Moon" (5:23)
"Denial" (5:39)
"Bluing" (9:55)
"Out of the Blue" (6:15)
"My Old Flame" (4:01)
"Conception" (6:34)



http://rapidshare.com/files/114689900/M ... _128k_.rar

[omar little]

Collector's Items

1. The Serpent's Tooth 7:00
2. The Serpent's Tooth 6:15
3. 'Round Midnight 7:04
4. Compulsion 5:43
5. No Line 5:39
6. Vierd Blues 6:51
7. In Your Own Sweet Way

http://rapidshare.com/files/114507175/M ... _128k_.rar

[omar little]

Dr. Jekyll (Cannonball meets Miles Davis)


01 - Dr. Jekyll
02 - Autumn Leaves
03 - Sometin' Else
04 - Two Bass Hit
05 - So What
06 - Love For Sale
07 - All Blues
08 - Freddie Freeloader


http://rapidshare.com/files/114492378/M ... _128k_.rar

[omar little]

Miles Davis - Live with John Coltrane 1955

http://rapidshare.com/files/114506770/M ... _256k_.rar



Miles Davis - Four 1953


http://rapidshare.com/files/114497847/M ... _.rar.html

[omar little]

Nastavak slijedi....

[Richard Peti]

.

[Saian]

evo od mene "samo" Kind of Blue

http://rapidshare.com/files/114804810/Kind_of_Blue.rar

[omar little]

Ascenseur Pour l'Échafaud

1 Nuit sur les Champs-Élysées [#] 2:25
2 Nuit sur les Champs-Élysées [#] 2:50
3 Nuit sur les Champs-Élysées [Take 3] 2:47
4 Nuit sur les Champs-Élysées [Take 4] 2:59
5 Assassinat [Take 1] 2:02
6 Assassinat [Take 2] 2:10
7 Assassinat [Take 3] 2:10
8 Motel 3:56
9 Final [#] 3:05
10 Final [#] 3:00
11 Final [Take 3] 4:04
12 Ascenseur 1:57
13 Le Petit Bal [#] 2:40
14 Le Petit Bal [Take 2] 2:53
15 Séquence Voiture [#] 2:56
16 Séquence Voiture [Take 2] 2:16
17 Générique 2:45
18 L' Assassinat de Carala 2:10
19 Sur l'Autoroute 2:15
20 Julien Dans l'Ascenseur 2:07
21 Florence Sur Les Champs-Élysées 2:50
22 Diner au Motel 2:58
23 Évasion de Julien :53
24 Visite du Vigile 2:00
25 Au Bar du Petit Bac 2:50
26 Chez le Photographe du Motel

In 1957 Miles Davis went to France for a short tour and while there recorded the soundtrack for the film Ascenseur Pour l'Échafaud. This CD contains the original LP of material plus 19 minutes of unreleased alternate versions. Better than many soundtracks, this music (which also features the tenor of Barney Wilen and pianist René Urtreger) does not really stand on its own without the film, so it's of mostly historical interest.



http://rapidshare.com/files/114741918/M ... k_VBR_.rar

[omar little]

Round About Midnight


Given that Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album's release, Davis had already broken up the band, which reformed with Cannonball Adderley a year later as a sextet, but it was a tense year. Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz — both cool jazz and hard bop — and was beginning to move in another direction here that wouldn't be defined for another two years. Besides the obvious lyrical and harmonic beauty of "Round About Midnight" that is arguably its definitive version even over Monk's own, there are the edges of Charlie Parker's "Au Leu-Cha" with its Bluesology leaping from every chord change in Red Garland's left hand. Coltrane's solo here too is notable for its stark contrast to Davis' own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter's "All of You" has Davis quoting from Louis Armstrong's "Basin Street Blues" in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it's in "Bye-Bye Blackbird" that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Garland is doing more than comping in the background; he's slipping chord shapes into those interval cracks and shifting them as the rhythm section keeps "soft time." When Coltrane moves in for his break, rather than Davis' spare method, he smatters notes quickly all though the melodic body of the tune and Garland has to compensate harmonically, moving the mode and tempo up a notch until his own solo can bring it back down again. Which he does with a gorgeous all-blues read of the tune utilizing first one hand and then both hands to create fat harmonic chords to bring Davis back in to close it out. It's breathtaking how seamless it all is. There's little else to say except that Round About Midnight is among the most essential of Davis' Columbia recordings.



http://rapidshare.com/files/114741919/M ... _160k_.rar

[omar little]

Miles Ahead

1 Springsville Carisi 3:27
2 The Maids of Cadiz Delibes 3:53
3 The Duke Brubeck 3:35
4 My Ship Gershwin, Weill 4:28
5 Miles Ahead Davis, Evans 3:29
6 Blues for Pablo Evans 5:18
7 New Rhumba Jamal 4:37
8 The Meaning of the Blues Troup, Worth 2:48
9 Lament Johnson 2:14
10 I Don't Wanna Be Kissed (By Anyone But You) Elliott, Spina 3:05
11 Springsville [*] Carisi 3:14
12 Blues for Pablo [*] Evans 3:28
13 Meaning of the Blues/Lament [*] Johnson, Troup, Worth 5:08
14 I Don't Wanna Be Kissed (By Anyone But You) [*] Elliott, Spina 3:12


This album is perhaps most significant for the process it set in motion — the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two of Davis' best albums. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn't worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future (because of Davis' contractual obligations with Prestige). Davis was also expected to carry the album as its only soloist, and manage not to get lost among a cast of supporting musicians that included a huge horn section. To a large extent, he succeeds. Evans' arrangements in particular are well-suited to the format, and he and Davis formed a deep and close partnership where ideas were swapped back and forth, nurtured, and developed long before they were expressed in the studio. Davis gets off to a great start, with the hyper-kinetic "Springsville," which seems to almost perfectly embody Evans' and Davis' partnership with its light, flexible exchanges between soloist and orchestra. He is strongest on the ballads, though, where his subdued and wistful tone rises high above the hushed accompaniment, especially on "Miles Ahead" and "Blues for Pablo" (which foreshadows the bluesy, Latin-tinged sound of Sketches of Spain). The upbeat "I Don't Want to Be Kissed (By Anyone but You)" is another strong song, but shows the weakness of the format as Davis intersperses a charming, bright, technically challenging solo with a blasting horn section that occasionally buries him. It is a fine end, however, to an album that gave a hint of the greatness that would come as Evans and Davis fine-tuned their partnership over the course of the next several years.


http://rapidshare.com/files/114741924/M ... k_VBR_.rar

[omar little]

Milestones

1 Dr. Jackle McLean 5:50
2 Sid's Ahead Davis 13:02
3 Two Bass Hit Gillespie, Lewis 5:14
4 Milestones Davis 5:46
5 Billy Boy Traditional 7:14
6 Straight, No Chaser Monk 10:40
7 Two Bass Hit [alternate take/*] Gillespie, Lewis 4:32
8 Milestones [alternate take/*] Davis 6:01
9 Straight, No Chaser [alternate take/*] Monk 10:28



What is immediately noticeable upon listening to this delicately and superbly remastered version of Miles Davis classic first — and only — album with his original sextet is how deep the blues presence is on it. Though it is true that the album's title cut is rightfully credited with introducing modalism into jazz, and defining Davis' music for years to come, it is the sole selection of its kind on the record. The rest is all blues in any flavor you wish you call your own. For starters, there's the steaming bebop blues of "Dr. Jackie" — recorded in 1955 for a Prestige session with Jackie McLean. Davis is still in his role as a trumpet master, showing a muscularity of tone that reveals something more akin to Roy Eldridge or Louis Armstrong than Dizzy or Fats Navarro. The tempo is furious as all the members of the sextet solo except for Jones. The saxophonists trade choruses and come off sounding like mirrored images of one another in the slower, post-bop blues that is "Sid's Ahead." With a slippery melody line that quotes two harmonic lines from early New Orleans-styled blues, Davis drives the band into the rhythm section's garage. It's Cannonball first with his stuttered, angular lines, hiccuping halfway through the interval before continuing on with a squeak here and the slightest squawk there. Next up is Davis, blowing fluid and straightened lines, ribbons through the rhythm section's center as Red Garland lays out and leaves it to Paul Chambers and Philly Joe Jones to provide the earnest, time-keeping 4/4 that Davis sidles to in the tune. When Coltrane solos, all best are off as he plays as pure a blues as he was capable at the time. Nonetheless, there are the long lines of slurred notes, smattered against Garland's harmonies and he slips into quoting "Skip to my Lou" before knotting it back down to the basics and even then not for long. Coltrane was already exploring the edges of mode and harmony; he used an intervallic invention in the choruses to juxtapose his solo against the rhythm section and it worked — but it must have made Davis raise an eyebrow. Chambers' solo is as tasteful and as breezy and free as only he could be. His contrapuntal soloing rides the rhythm out, Garland striding along quietly until the tune returns.
"Sid's Ahead" is followed by the track "Two Bass Hit," written by Dizzy and John Lewis. It's an off-kilter blues with a wide middle section, no doubt for Lewis' piano to fill. It's a wonderful ensemble showcase but Davis blows his ass off in his solo, riding through the two saxophonists and challenging them at the same time. But then comes "Milestones" with its modal round and interval, where harmony is constructed from the center up. It is a memorable tune for not only its structure and how it would inform not only Davis' own music, but jazz in general for the next seven years. It would also change John Coltrane's life. The exploratory style of soloing was already revealing itself in Trane's playing, but he loosens it up even more here. More importantly, this is the first place we get to see it in Davis, where there is no goal at the end of the rainbow, there is merely the solo itself in the heart of the mode. The alternate take of this tune, which is featured at the end of the album, tagged on with two others of "Two Bass Hit" and "Straight, No Chaser," has an even longer and weirder solo by Davis where he plays notes he probably never played again. The album's closer is Monk's "Straight, No Chaser," which became a signature tune for the sextet even when Garland and Jones left to be replaced by Bill Evans and Jimmy Cobb and later Evans by Wynton Kelly. Like "My Funny Valentine," it was a Davis staple that accented how intuitive the band was with unusual harmonic structures like Monk's. The Adderley solo is remarkable for its fluid, bebop-style runs over Garland's extended chords and flatted sevenths. Cannonball quotes the melody in a myriad of ways and goes off the deep end each time he does, taking the new rendition to its limit, always returning it to the blues root. Davis plays it cool, slithering around the rhythm section staying firmly in blues phraseology, even quoting a reverse harmonic melodic read of "When the Saints Go Marching In," bringing it in and out three times while pushing the blues line to its edge. Coltrane's solo is all over the place, slurring notes as he plays weird scales all over the blues and triple times the rhythm section. But he knows the tune better than anyone here — he spent six months with Monk just previous to this playing it every night. Coltrane knows how much he can stretch the intervals without breaking apart the body. He inserts his own modal interpretation on the blues halfway through his solo before slipping into the straight, swinging groove of his Blue Train album, finished only two months before. Garland, oddly enough, is the one to travel the furthest from Monk here, coming off with a Bud Powell-esque blues muscle that shifts the entire tune into a straight bebop blues before sifting in a few Errol Garland quotes as the bass solos and then the front line comes in to take it out. The alternate take is even stranger as Garland falters in his time not once but twice and has to find his way back in.
Legacy has done it proud on this series of reissues, as the sound is as fine as technology can currently make it, the notes are terrific, and the alternate takes offer additional delights to fans of the original recordings. They should also be commended for leaving them at the bottom of the album instead of placing them in with the original album's sequence, a practice that though widely used is distracting nonetheless. This is a fine issue of a classic, and treated like the piece of art it is.


http://rapidshare.com/files/114750755/M ... stones.rar

[omar little]

Porgy and Bess

1 The Buzzard Song Gershwin, Gershwin, Heyward 4:07
2 Bess, You Is My Woman Now Gershwin, Gershwin, Heyward 5:10
3 Gone Gershwin, Gershwin, Heyward 3:37
4 Gone, Gone, Gone Gershwin, Gershwin, Heyward 2:03
5 Summertime Gershwin, Gershwin, Heyward 3:17
6 Oh Bess, Oh Where's My Bess? Gershwin, Gershwin, Heyward 4:28
7 Prayer (Oh Doctor Jesus) Gershwin, Gershwin, Heyward 4:39
8 Fisherman, Strawberry and Devil Crab Gershwin, Gershwin, Heyward 4:06
9 My Man's Gone Now Gershwin, Gershwin, Heyward 6:14
10 It Ain't Necessarily So Gershwin, Gershwin, Heyward 4:23
11 Here Come de Honey Man Gershwin, Gershwin, Heyward 1:18
12 I Loves You, Porgy Gershwin, Gershwin, Heyward 3:39
13 There's a Boat That's Leaving Soon for New York Gershwin, Gershwin, Heyward 3:23
14 I Loves You, Porgy [*] Gershwin, Gershwin, Heyward 4:14
15 Gone [*] Gershwin, Gershwin, Heyward 3:40


Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian "Cannonball" Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on "Prayer (Oh Doctor Jesus)," "I Loves You, Porgy," and "There's a Boat That's Leaving Soon for New York" are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks' (alto flute) solos, which commence on "Fishermen, Strawberry and Devil Crab." Or the emotive bass and tuba duet that runs throughout "Buzzard Song." The impeccable digital remastering and subsequent CD reissue — which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set — only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker's dozen. No observation or collection of American jazz can be deemed complete without this recording.


http://rapidshare.com/files/114751316/M ... d_Bess.rar