Somethin' Else
"Autumn Leaves" (Joseph Kosma, Johnny Mercer, Jacques Prévert) – 11:01
"Love for Sale" (Cole Porter) – 7:06
"Somethin' Else" (Miles Davis) – 8:15
"One for Daddy-O" (Nat Adderley, Sam Jones) – 8:26
"Dancing in the Dark" (Howard Dietz, Arthur Schwartz) – 4:07
"Bangoon" (initially released as "Alison's Uncle" and also noted as Bangoon on the RVG edition CD) (Hank Jones) – 5:05 (not on original LP)
Somethin' Else is a 1958 (see 1958 in music) album by jazz musician Julian "Cannonball" Adderley, regarded as a landmark album in the hard bop and cool styles. This critically-acclaimed LP is notable for the presence and prominent contributions of Miles Davis, in one of his few recording dates for Blue Note Records. Many critics and jazz fans consider Somethin' Else to be among the greatest jazz albums of all time [1][2]. The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection."[3]The extent of Davis's leadership or co-leadership on Somethin' Else is disputed. Davis plays several of the first solos, and, according to the liner notes, chose most of the material - he would continue to play "Autumn Leaves" and "Love for Sale", at increasingly frenetic tempos, in the years to come. He also composed the bluesy title track and suggested Adderley cover "Dancing In the Dark" (on which Davis does not appear). The one exception is the 12-bar blues, "One For Daddy-O", written by Adderley's brother Nat (for a radio DJ, not the Adderleys' father). Nonetheless, at the end of that track, Davis can be heard addressing producer Alfred Lion: "Is that what you wanted, Alfred?" The collaboration between Adderley and Davis would continue in 1959 with Davis's Kind of Blue, one of the most universally acclaimed jazz albums.The album also features Art Blakey on drums, with Hank Jones on piano and Sam Jones (no relation) on double bass.CD reissues include a bonus track, variously titled "Bangoon" or (originally, and incorrectly) "Allison's Uncle". That song is a Hank Jones composition, more hard bop in orientation than the rest of the record. It features a paradigmatic solo by Blakey (he can be heard humming along during the solo). The title under which the song was originally released, "Allison's Uncle", refers to the fact that the session took place shortly after the wife of Adderley's brother Nat had given birth to a daughter named Allison - thus making Cannonball Adderley "Allison's Uncle".
http://rapidshare.com/files/114754536/M ... erley_.rar
Miles Davis
Moderator: _BataZiv_0809
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omar little
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#27 Re: Miles Davis
Free Trade Hall Manchester England
Dodam playlist kasnije.
http://rapidshare.com/files/114758083/M ... 7_Sep_.rar
Dodam playlist kasnije.
http://rapidshare.com/files/114758083/M ... 7_Sep_.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#28 Re: Miles Davis
Green Dolphin Street Amsterdam
Dodam playlist kasnije.
http://rapidshare.com/files/114761256/M ... 9_Apr_.rar
Dodam playlist kasnije.
http://rapidshare.com/files/114761256/M ... 9_Apr_.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#29 Re: Miles Davis
In Stockholm with Sonny Stitt
Dodam playlist kasnije
http://rapidshare.com/files/114764330/M ... Stitt_.rar
Dodam playlist kasnije
http://rapidshare.com/files/114764330/M ... Stitt_.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#30 Re: Miles Davis
Konserhuset Stockholm with John Coltrane
Ope' isto za playlist, dodam kasnije...
http://rapidshare.com/files/114764523/M ... trane_.rar
Ope' isto za playlist, dodam kasnije...
http://rapidshare.com/files/114764523/M ... trane_.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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Richard Peti
- Posts: 4102
- Joined: 12/02/2007 17:16
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#37 Re: Miles Davis
Sketches of Spain
1 Concierto de Aranjuez (Adagio) Rodrigo 16:19
2 Will O' the Wisp DeFalla 3:47
3 The Pan Piper Evans 3:52
4 Saeta Evans 5:06
5 Solea Evans 12:15
Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 — after Coltrane and Cannonball Adderley had left the band — Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto," Evans' arrangement provided an orchestra and jazz band — Paul Chambers, Jimmy Cobb, and Elvin Jones — the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are "Saeta," with one of the most amazing technical solos of Davis' career, and the album's closer, "Solea," which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession — or parade — with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.
http://rapidshare.com/files/115053621/S ... _Spain.rar
1 Concierto de Aranjuez (Adagio) Rodrigo 16:19
2 Will O' the Wisp DeFalla 3:47
3 The Pan Piper Evans 3:52
4 Saeta Evans 5:06
5 Solea Evans 12:15
Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 — after Coltrane and Cannonball Adderley had left the band — Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto," Evans' arrangement provided an orchestra and jazz band — Paul Chambers, Jimmy Cobb, and Elvin Jones — the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are "Saeta," with one of the most amazing technical solos of Davis' career, and the album's closer, "Solea," which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession — or parade — with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.
http://rapidshare.com/files/115053621/S ... _Spain.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#38 Re: Miles Davis
Filles de Kilimanjaro
1 Frelon Brun (Brown Hornet) Davis 5:36
2 Tout de Suite Davis 14:04
3 Petits Machins (Little Stuff) Davis, Evans 8:05
4 Filles de Kilimanjaro Davis 12:00
5 Mademoiselle Mabry (Miss Mabry) Davis 16:32
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.
http://rapidshare.com/files/114999759/1 ... _320k_.rar
1 Frelon Brun (Brown Hornet) Davis 5:36
2 Tout de Suite Davis 14:04
3 Petits Machins (Little Stuff) Davis, Evans 8:05
4 Filles de Kilimanjaro Davis 12:00
5 Mademoiselle Mabry (Miss Mabry) Davis 16:32
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.
http://rapidshare.com/files/114999759/1 ... _320k_.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#39 Re: Miles Davis
Water Babies
1 Water Babies 5:11
2 Capricorn 8:32
3 Sweet Pea 8:05
4 Two Faced 18:06
5 Dual Mr. Tillman Anthony 13:22
This studio LP was first released almost a decade after it was recorded. The first half features the 1967 Quintet (with Wayne Shorter on tenor and soprano, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) performing three otherwise unknown Shorter compositions. The flip side finds Davis in 1968 leading the same group (with possibly Chick Corea and Dave Holland replacing Hancock and Carter) on two early fusion jams that look a bit toward Bitches Brew. Although not an essential set, this album fills in some gaps during Davis's transitional period from adventurous acoustic playing to early electric performances.
http://rapidshare.com/files/114992153/1 ... _192k_.rar
1 Water Babies 5:11
2 Capricorn 8:32
3 Sweet Pea 8:05
4 Two Faced 18:06
5 Dual Mr. Tillman Anthony 13:22
This studio LP was first released almost a decade after it was recorded. The first half features the 1967 Quintet (with Wayne Shorter on tenor and soprano, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) performing three otherwise unknown Shorter compositions. The flip side finds Davis in 1968 leading the same group (with possibly Chick Corea and Dave Holland replacing Hancock and Carter) on two early fusion jams that look a bit toward Bitches Brew. Although not an essential set, this album fills in some gaps during Davis's transitional period from adventurous acoustic playing to early electric performances.
http://rapidshare.com/files/114992153/1 ... _192k_.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#40 Re: Miles Davis
The Complete In A Silent Way Sessions
Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.
http://rapidshare.com/files/114979123/T ... ssions.rar
Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.
http://rapidshare.com/files/114979123/T ... ssions.rar
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
#41 Re: Miles Davis
Miles Smiles
1 Orbits 4:35
2 Circle Davis 5:52
3 Footprints 9:44
4 Dolores 6:20
5 Freedom Jazz Dance 7:11
6 Gingerbread Boy 7:40
With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge — slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible — it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom.
http://rapidshare.com/files/114979112/1 ... k_VBR_.rar
1 Orbits 4:35
2 Circle Davis 5:52
3 Footprints 9:44
4 Dolores 6:20
5 Freedom Jazz Dance 7:11
6 Gingerbread Boy 7:40
With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge — slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible — it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom.
http://rapidshare.com/files/114979112/1 ... k_VBR_.rar
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omar little
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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omar little
- Posts: 17846
- Joined: 14/03/2008 21:14
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Orhanowski
- Posts: 1132
- Joined: 29/08/2006 22:20
#47 Re: Miles Davis
Oma, svaka cast. Ovo je genijalno. Evo da i ja malo doprinesem, moj omiljeni album:
MILES DAVIS - BITCHES BREW - 1969
http://www.badongo.com/file/2578696
http://www.badongo.com/file/2579430
MILES DAVIS - BITCHES BREW - 1969
http://www.badongo.com/file/2578696
http://www.badongo.com/file/2579430
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black
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dacina_curica
- Posts: 5828
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- Location: pored kofera......pakujem se lagano :)
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Richard Peti
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