Library

Genere: Pop

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Rock

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Rock

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Pop

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Rock

Durata: 45:02

Dischi: 1

Produttore:

Trama: In the 1980's many musicians were discovering their own form of western music. They had driven from Bakersfield to somewhere near Vegas too many times and been lured into the dark world of Neil Young's Tonight's the Night. They wrote songs with ironic, bitter, witty and observant lyrics that faced the troubled world head on and were coupled with bent and twisted country twangs and roots America rock. The bands were Rank & File, Beat Farmers, Wall of Voodoo, Dream Syndicate, Green On Red and others. This music was different from the new wave and punk scenes and often drifted into long, intricate, pounding guitar that noodled like Mr. Young at his best. When this all got too heavy we had Danny & Dusty to load the pickup truck with beer, careen past James Dean's crash site and let everything hang loose and crazy.
<br />
<br />That's when everything paused for twenty years.
<br />
<br />Danny & Dusty have magically reappeared. But things have changed. They have matured although they regret not one minute of their wild youth. In fact they decided to relive that last drive one last time.
<br />
<br />So let's join them. Climb into the Avalanche, pour some beer into the empty Starbuck's cup and hit the road.This new music is cleaner than the drunken heroes used to be, like photoshop adjusting a digital image. Drums attack crisply. Guitars ring in perfectly and the horns(my god is this country?) sting like scorpions in a cowboy boot. Who cares if there are still mysterious army camps out here or miles of parked airplanes in the desert near the that ranch owned by religious social critics. This music is great. Turn it up. That song about Warren Oates. Perfect. This could be the soundtrack for a lost Peckinpaugh movie. Let's drink some more beer, go out behind the barn and shoot some guns. Life is still great in the American west.[[ASIN:B000NJM1LO Cast Iron Soul]]
<br />
<br />

Genere: Rock

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 58:14

Dischi: 1

Produttore:

Trama: In 1955, Miles Davis signed on with jazz powerhouse Columbia Records. With alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Philly Joe Jones, bassist Paul Chambers, and pianist Red Garland, Davis released <I>'Round About Midnight</I>, which evinces even more clearly what a phenomenal unit Davis was nurturing. Stylistically, <I>Midnight</I> encompasses standards (or soon-to-be standards) such as "Dear Old Stockholm," "Bye-Bye Blackbird," Tadd Dameron's "Tadd's Delight," and Jackie McLean's forward-thinking composition "Little Melonae." Miles and company reprise "Budo" from the historic <I>Birth of the Cool</I> sessions. The standout track is Davis's Harmon-muted reading of Thelonious Monk's ballad, "'Round Midnight, which is still a Miles standard bearer. Three alternate takes round out the session: "Two Bass Hit" and "Sweet Sue" feature adventuresome solos by Coltrane that preview his masterpiece "Giant Steps." And Garland moves away from his Ahmad Jamal pianisms with his introspective ivory ticklings. If you want to hear the origins of post-bop modern jazz, this is it. <I>--Eugene Holley Jr.</I>

Genere: Jazz

Durata: 43:25

Dischi: 1

Produttore: George Duke

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: Performed by a Miles Davis-fronted European band for a movie by Louis Malle, this music helped define the sound of <i>film noir</i>. It made viewers think the genre's films had always sounded just so, with slow-walking bass beats and muted, slithering horn lines miming the characters on the screen--and underlining their emotions. The melodies here are brief fragments, sometimes rising up only to disappear and then briefly return. This is Miles playing in the moment, improvising musical impressions as he watched the screen. And what he played managed to capture the era of postwar everywhere, while it offered Davis the freedom to test his on-the-spot compositional skills within a minimalist context. How many other beboppers who worked within the shadow of Charlie Parker could have ever recorded these little gems? <i>--John Szwed</i>

Genere: Jazz Fusion Contemporary Big Band

Durata:

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata: 2:22:31

Dischi: 2

Produttore:

Trama: A collection of material recorded between 1969 and 1972, the period just after "Bitches Brew", "Big Fun" was not issued until 1974. By then, Davis had moved on in other directions, so it became a much-neglected album. The compositions are too scattered to maintain a focus, but there is much to hear within. For example, this was the album that introduced "Ife," a piece recorded during the "On the Corner" sessions. Built on the simplest of bass vamps and the skimpiest of melodies, it nonetheless was enough to incite Miles's playing. It stayed in his performance book for years, and turned up on other recordings, such as "Dark Magus", "Agharta", "Pangaea", and "In Concert". "Go Ahead, John," from the "Jack Johnson" period in 1970, has a sublimely nasty (and sonically infuriating) guitar solo from John McLaughlin. This digitally remastered edition of "Big Fun" also contains the bonus tracks "Recollection," "Trevere," "The Little Blue Frog," and "Yaphet" (all of which were also included on the recently issued "Complete Bitches Brew Sessions", along with "Great Expectations," "Recollections," "Orange Lady," and "Lonely Fire").--John F. Szwed

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: The first important leader date from one of jazz's most seminal figures and farsighted practitioners. Having made his reputation in large measure from playing with bop giant Charlie Parker, Davis confounded expectations when he embraced the "cool" arranging style of Gil Evans, an arranger for Claude Thornhill's band. Evans, who was employing unique voicings by adding French horns and tuba to Thornhill's instrumentations, also emphasized a diminished use of vibrato in both reeds and brass, producing a drier, "cool" sound. Two of Evans's arrangements, "Boplicity" and "Moon Dreams," appear on the album. Also involved are baritone saxophonist Gerry Mulligan, who contributed such outstanding tunes as "Jeru" and "Venus de Milo," and Modern Jazz Quartet pianist John Lewis. The result is a date that has withstood the tests of time, fashion, and Davis's own extraordinary growth as a performer.<P> An enhanced set, <I>The Complete Birth of the Cool</i> features previously bootlegged live recordings of the nonet at the Royal Roost in New York in 1948. Although the sound quality is far from perfect, the performances are remarkable, and worth the additional expense for the serious fan. <i>--Fred Goodman</i>

Genere: Jazz

Durata:

Dischi: 2

Produttore:

Trama: The revolution was recorded: in 1969 <I>Bitches Brew</I> sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. <I>This</I> Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who's not so overwhelmed as to need the four-CD <i>Complete Bitches Brew</i> box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin's roles in the mix have been especially clarified. With a bonus track of "Feio"--a Wayne Shorter composition recorded five months later that serves both as a warm-down for <I>Bitches Brew</I> and a promise of Weather Report to come--this is crucial listening. <I>--John F. Szwed</I>

Genere: Jazz

Durata: 53:06

Dischi: 2

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: BITCHES BREW LIVE offers 3 PREVIOUSLY UNISSUSED TRACKS recorded July 5, 1969 at NEWPORT JAZZ FESTIVAL including the first ever professionally recorded live version of "Miles Runs The Voodoo Down" and the first known recording of the revamped electric version of "Sanctuary" just over a month before Miles went into the studio to record what would become his fastestselling album of all time, BITCHES BREW. Fast-forward one year ... August 1970, ISLE OF WIGHT FESTIVAL in the U.K. where Miles is playing with a much more electric, rock-oriented sound in front of 600,000 people! This incredible full set includes the title track "Bitches Brew" and "Spanish Key" played by Davis s remarkable all-star group captured live at the peak of its powers Gary Bartz (alto sax, soprano sax), Chick Corea (electric piano), Keith Jarrett(organ), Dave Holland (bass), Jack DeJohnette (drums), Airto Moreira (percussion).
Author Michael Azerrad s original liner notes incorporate NEW INTERVIEWS with legendary Newport Festival founder GEORGE WEIN, and filmmaker MURRAY LERNER, who captured one of the most spectacular music festivals in history on film in Message to Love: Isle of Wight Festival. Now, on BITCHES BREW LIVE, Fans get first-hand, behind-the-scenes insight into an incredible point in Miles s career when he was headlining alongside some of the then new rock groups including Sly & The Family Stone, Led Zeppelin, Jimi Hendrix and more!

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 58:29

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 6

Produttore:

Trama: From their first work together on the "Birth of the Cool" sessions in 1949, Miles Davis and Gil Evans forged a unique relationship as great soloist and brilliant arranger. The real opportunity to explore their shared vision didn't come until 1957, however, when Davis had forged a relationship with a major record label able to support it. Though a product of the big-band tradition, Evans was never limited by sectional voicings and riffs. He had an interest in unusual instrumentation and a talent for creating subtle mixes of distinct voices, adding French horns, oboe, bassoon, and harp to the conventional big band and thinning its saxophone, trumpet, and trombone sections. His arrangements for Davis are like settings for the finest jewels, whether he's creating rich, brass chords or adding only light percussion to the trumpeter's solitary lament. Together Davis and Evans produced three orchestral masterpieces: "Miles Ahead" (1957), "Porgy and Bess" (1958), and "Sketches of Spain" (1960). They're all here, along with less-inspired, later projects like the "Quiet Nights" bossa nova album. What most distinguishes the box set is the archival work of Phil Schaap, who has compiled a wealth of alternate takes. They reveal much about the processes that went into these works, including extensive editing and even some overdubbing. As early as 1957, Evans and Davis were already beginning to use the studio itself as an integral part of their music. --"Stuart Broomer"

Genere: Jazz

Durata: 34:02

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 57:09

Dischi: 1

Produttore:

Trama: During the era when Miles Davis played his vaunted stint at the Plugged Nickel in 1965, he had two distinct personas. When playing live, Davis led his "second great quintet" in the performance of lots of standards and familiar tunes from his own book. When recording in the studio, Davis turned over much of the composition to his young band, creatively advanced members (including Wayne Shorter and Herbie Hancock). But on these tunes the personalities merged, using the familiar to create great trampolines to edgy improvising. Shorter sounds beyond inspired, opening every phrase to vertical and horizontal inspection while (very young) drummer Tony Williams throws rhythms in every direction. If this collection whets the appetite for more, there's also the deep and wide eight-CD <i>Complete Live at the Plugged Nickel</i> and the single-CD distillation, <i>Highlights from the Plugged Nickel</i>. <i>--Andrew Bartlett</i>

Genere: Jazz

Durata:

Dischi: 2

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: Of any of Miles' 1980's period recordings, "Decoy" for my money is one of the best of the batch from a musical/compositional standpoint. And with the likes of drummer Al Foster, guitarist John Scofield and saxmeister Branford Marsalis, how could you go wrong?
<br />
<br />The opening title track is particularly strong, conveying the mystery, urgency and intensity that was Miles. "Robot 415" ain't half bad either, even with all the synths still magages to create a strong mood in its brief span. "Code M.D" is somewhat sabotaged by the stiff drum-machine rhythm (live drums would've really made it sparkle) though it does have a very compelling harmonic/melodic shape despite that flaw. "Freaky Deaky" with it's repeating bass line had some potential but falls flat on its face.
<br />
<br />The strongest cuts are the last 3, "What It Is" a manic funk track that would've been very much at home in the opening credits of an old Quinn Martin crime drama (all it's missing is the voiceover of one Hank Simms grimly intoning "Tonight's Episode---"), "That's Right" pours on the sloooowww, smoldering blues and things wrap up with "That's What Happened" a tour de force, on which the melody and harmonic structure is interestingly enough, a transcription of a VERY inspired John Scofield guitar solo from the previous "Star People" album (on the track "Speak").
<br />
<br />All told,a good solid effort, far more listeniable than most of Miles' 80's efforts.

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: <i>E.S.P.</i> is an inventive post-bop treasure that finds Mr. Davis totally re-energized by the young guns of his second quintet. Davis's first album of new material in six years (most of it written by the band), <i>E.S.P.</i> is a brilliantly-executed treatise on the workings of tension and release. The songs are predominantly modal and the structures themselves are different, with a minimalist bent and more emphasis placed on melodies that are repeated, fractured, improvised upon, and released into the ether of total, free sound. The supple rhythm section--powerhouse drummer Tony Williams and bassist Ron Carter--provide ample room for Davis, Hancock, and Shorter to explore interlocking melodies, notably on the jaunty "Eighty-One" and the sweet lullaby "Iris." On "Agitation," Williams brings the noise, grafting the rhythmic freedom of the day's free-form music to the group's tuneful and "out" playing. <i>--Mike McGonigal</i>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: It's amazing how Miles grew up as a musician throughout his career. He went from playing with Rubberlegs Williams and Herbie Fields (a very under-rated tenor saxophonist with great blues style) to recording what seems like millions of masterpiece albums. This album includes those funny little sessions with Miles at the tender age of 18, and he really hardly plays (like Billy Eckstine said, "The boy could hardly blow his nose"). Miles quickly made huge strides, however. By 1947 he was 20 years old and showed a considerable improvement, playing with Bird and even outshining Bird on some of these songs as a leader. On this particular date, Bird plays TENOR! He sounds great on that too, although alto is really his strength. They really swing on the classic Miles composition "Half Nelson" and on "Milestones". The first half of the album is great for bop lovers. It's not his best work by any means, but if you want to hear the genius in his blooming stages, this is one you'll definitely want to hear. Also, check out those Charlie Parker sessions with Miles on them, especially the Dial recordings, although the Savoy ones are classics as well. The second half is less enjoyable, but entertaining nontheless. I encourage any Miles fan to check this out.

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 2

Produttore:

Trama:

Genere: Jazz

Durata: 73:18

Dischi: 1

Produttore:

Trama: Miles Davis's second great quintet had been together a little over a year when this recording was made in December 1965 in Chicago (it represents a good chunk of the strongest moments drawn from the eight-CD <i>Complete Live at the Plugged Nickel</i>). Everyone in the band was a star, and close listening to any one of them apart from the others is revealing. Bassist Ron Carter erects the scaffolding, while Herbie Hancock's piano adds filigree and lace, and drummer Tony Williams thunders and sparks. Miles is sublime, but it is Wayne Shorter who is busy making his place in jazz history here, secure with the unending freshness and volatility of his ideas and the beauty of his sound. The band hangs together miraculously, always balancing their risks with nuance and the subtlest of dynamics. An irresistible record, and essential for hearing one of the great musical organizations at work. <i>--John Szwed</i>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 4

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader", Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --<i>John Szwed</i>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader", Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --<i>John Szwed</i>

Genere: Jazz

Durata:

Dischi: 4

Produttore:

Trama: In the 1960s Miles Davis toured Europe several times with some of the greatest bands he ever led. As the first title in a projected series of boxed sets Sony/Legacy introduces MILES DAVIS QUINTET - Live In Europe 1967 - The Bootleg Series Vol.1 featuring Miles Davis Second Great Quintet featuring WAYNE SHORTER, HERBIE HANCOCK, RON CARTER and TONY WILLIAMS -- arguably the single greatest small group ensemble in jazz history.

The recordings from their 1967 European tour are some of the only existing documentation of the band performing compositions from the extraordinary series of studio albums they made between 1965-1967 -- E.S.P., Miles Smiles, Sorcerer and Nefertiti. Now fans can hear live versions of Agitation (from E.S.P.), Footprints" and "Gingerbread Boy ( from Miles Smiles), Masquelero" (from Sorcerer ) and Riot" (from Nefertiti); PLUS, Miles revisits some of the earlier classics he had been performing for years -- Round Midnight , On Green Dolphin Street , I Fall In Love Too Easily and No Blues -- all in strikingly different interpretations from the original studio versions. Seeing this band in action only further emphasizes their near supernatural rapport!

DVD Track listing:1. Agitation, 2. Footprints, 3. I Fall In Love Too Easily, 4. Walkin , 5. Gingerbread Boy, 6. The Theme, 7. Agitation, 8. Footprints
9. Round Midnight, 10. Gingerbread Boy, 11. The Theme

Genere: Jazz

Durata:

Dischi: 2

Produttore:

Trama:

Genere: Jazz

Durata: 33:34

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: There's certainly nothing inferior, nothing missed or bungled on this set, which Columbia inexplicably held for 6 years before its initial release, then waited another 20 for a subsequent release, finally producing this bright and bracing remastered version.
Miles is definitely out to prove that the loss of two key members of his previous sextet--pianist Red Garland and percussionist Philly Joe Jones--was in no way injurious to its level of creativity or intensity. The tempos are way up (as Miles was inclined to call them when not in the studio), and Coltrane tears through changes like a man possessed--a harbinger of what was to come, but at an earlier stage than many listeners might have previously assumed.
Anyone who has read Peter Pettinger's biography of Bill Evans is aware of the tensions--racial as well as musical--that Bill felt during his relatively brief stint with Miles. Caught between the onslaught of Coltrane and Cannonball, it's a wonder that he gets heard at all. But he chooses his moments carefully, and makes the most of each, making the album an especially valuable record of the band during Bill's occupation of the piano chair. And Paul Chambers is a bedrock through the entire session.
Miles was the "enabler," placing Coltrane and Evans together on the same stage from which each would depart to become, arguably, the two most influential voices in jazz post-1960. Coltrane was the "winner" on this date, but the Evans' influence would prevail when Miles summoned Bill to rejoin the band for its recording a year later on what would become the most successful, popular, seminal jazz album of all time, "Kind of Blue."
"Miles at Newport 1958" represents a key chapter in the story of jazz after bebop, and this reissued, expertly remastered recording helps make up for the exclusion of Miles' group in "Jazz on a Summer's Day," the highly regarded filming of the 1958 festival.

Genere: Jazz

Durata: 1:20:19

Dischi: 1

Produttore: Teo Macero

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 54:15

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata: 41:43

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 35:52

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 54:57

Dischi: 1

Produttore:

Trama: The session that produced <I>Someday My Prince Will Come</I> is finally restored and collected together on one CD, and the transitional nature of the Miles Davis band at that moment is now clearer than ever. Hank Mobley produces some fine blues-inflected tenor solos, but when you hear guest John Coltrane (his last recording with Davis) on the alternate take of the title and on the modal "Teo," it's understandable why Davis was unhappy: Coltrane plays with a confidence and a bravado that no other saxophonist could have mustered at that time, and lifts the band from the first note on. And when Philly Joe Jones sits in on "Blues No. 2," playing with clarity and volatility, you know that Davis's working group was not quite up to his best. Still, Wynton Kelly is finely poised throughout; "Pfrancing" is one of Davis's most charming and durable works; and the muted trumpet on "Old Folks" and "I Thought About You" is vintage. Maybe not essential Davis, but very pleasurable nonetheless. <I>--John F. Szwed</I>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 52:27

Dischi: 1

Produttore:

Trama: Miles Davis was a gifted composer of film soundtracks, and this is arguably his best. Certainly it's his most listenable film piece. A boxer himself, Davis had a feel for movement in the ring, and this recording overflows with the admiration he had for the grace, style, and confidence of fighters like Sugar Ray Robinson. Jack Johnson was, for a long time, Miles's favorite of his own recordings, and you can see why from the first note: guitarist John McLaughlin steps out and strides across a shuffling groove that is closer to barroom R&B than it is to rock; Davis weighs in with that clipped but plaintive sound which promises you that no matter what kind of music he takes on next, he will always be Miles. And then when--midway through the first of two long jams--Herbie Hancock muscles his way into the mix on organ, of all things, you realize that they could go on like this forever. A joyful, liberating record. <I>--John Szwed</I>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 39:30

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 1:16:41

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 6

Produttore:

Trama: Between 1955 and 1959, with occasional changes in personnel, trumpeter Miles Davis led a simply extraordinary small band that changed the course of jazz. This quintet/sextet primarily spotlighted tenor saxophonist John Coltrane but also included such greats as alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. "The Complete Columbia Recordings of Miles Davis and John Coltrane" comprise such fabled Davis albums as "'Round About Midnight", "Milestones", "Jazz at the Plaza, Volume 1", "Someday My Prince Will Come", and the legendary "Kind of Blue". Also included are the Davis-with-Coltrane selections that appeared on "Miles and Monk at Newport", "Jazz Track", "Basic Miles", and "Circle in the Round". In all, the set boasts 60 tracks, of which 18 are previously unreleased--14 of them complete takes.
This is sumptuous, vital music that's alternately exhilarating and emotive, rhythmically dynamic and smoothly flowing, complex and easy on the ear. It's music that defies classification. It's neither bebop nor hard bop yet has elements of both and remains contemporary to this day, as evidenced by such timeless numbers as "All Blues" and "So What."
From the opening "Two Bass Hit" on Disc One to the final "Straight, No Chaser" on Disc Six, we hear the dazzling contrast of two preeminent jazz stylists: Davis's singing, luminescent tone and lyrical, often laid-back yet surely swinging improvisations and Coltrane's zealous-toned, bursting-forth solos. Adding additional color and interest are the bebop-based piano work of Garland, the harmonically advanced offerings of pianist Evans, the rich, serpentine lines of alto saxophonist Adderley, the crisp-then-thumping beats from drummers Jones and Cobb, and the globular, hearty tones of Chambers's bass.
The numbers represent a minihistory of modern jazz. There are bebop tunes such as "Budo," "Two Bass Hit," and "Au-Leu-Cha," all given updated and unique airings. There are classic standards such as "All of You," "Stella by Starlight," "Green Dolphin Street, " "Sweet Sue," and "Bye Bye Blackbird," most of which were rediscovered after Davis recorded them. There are ace tunes by such Davis contemporaries as Thelonious Monk ("'Round About Midnight," "Straight, No Chaser") and Jackie McLean ("Little Melonae") that are heard fresh as arranged by the trumpeter. Finally, there are the Davis originals, pieces such as "Milestones" and "All Blues," which are now part of the jazz canon. Each of these numbers is given the kind of insistent, spirited, and deeply musical interpretation that warrants repeated listening.
Rounding out the topnotch package are essays by original producer George Avakian and "Kind of Blue" drummer Cobb, an insightful track-by-track overview by noted critic Bob Blumenthal, and the original liner notes to "Kind of Blue" by pianist Evans. "--Zan Stewart"

Genere: Jazz

Durata: 45:53

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata: 41:57

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: These 1957 recordings were the first of Miles Davis's collaborations with arranger Gil Evans for Columbia, renewing a relationship that had begun with the <i>Birth of the Cool</i> sessions in 1949. It was perhaps the most important relationship ever forged between a jazz soloist and an arranger, for Evans excelled at finding fresh material (like Delibes's "The Maids of Cadiz") and then adding subtle voicings and blending unusual instruments to highlight Davis's central voice. Everything Evans does enhances the trumpeter's keen sense of space and his evocative sound. He could construct complex arrangements and make them fly (as on the opening "Springsville," by John Carisi), contrast Davis's voice with tuba or bass clarinet, or create the longing, Spanish-inflected "Blues for Pablo," a precursor to their later <i>Sketches of Spain</i>. <i>--Stuart Broomer</i>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: Take George Gershwin's <I>Porgy & Bess</I>, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that--despite the fact that the material has been rendered almost overly familiar due to countless interpretations--still sounds remarkably fresh four decades after its initial release. Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark <I>Sketches of Spain</I>), but <I>Porgy & Bess</I> still stands as one of their most successful collaborations. <I>--Dan Epstein</I>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking <I>Birth of the Cool</i> sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. <I>Sketches of Spain</i>, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 <I>Birth of the Cool</i> recordings, Davis recorded a series of large group albums beginning in the late '50s, including <I>Porgy and Bess</i>, <I>Miles Ahead</i>, and <I>Quiet Nights</i>. <I>Sketches of Spain</i>, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. <i>--Fred Goodman</i>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. <i>--John Szwed</i>

Genere: Jazz

Durata: 39:32

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata: 1:04:41

Dischi:

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: <I>Steamin'</I> is the last of the classic albums Prestige Records released from various sessions trumpeter Miles Davis recorded between November 1955 and October 1956 with his historic "first" quintet, including tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. Together with <i>Cookin'</i> (also available in an audiophile format), <i>Relaxin'</i> (also available in an audiophile format), and <i>Workin'</i> (also available in an audiophile format), <I>Steamin'</I> completes a series of memorable recordings masterfully engineered by Rudy Van Gelder that remains a definitive manifesto from the hard-bop era. One dynamic that gave this quintet its distinctive edge is the contrast between Davis's introspective playing on ballads ("When I Fall In Love," "Something I Dreamed Last Night") and Coltrane's hard-blowing passion ("Salt Peanuts," "Well You Needn't"). Another is the interplay between Garland, Chambers, and Jones, who are not only consummate accompanists, but all-star soloists as well. The version of "Surrey with the Fringe on Top" here is a quintessential performance by this remarkable quintet. <I>--Mitchell Feldman</I>

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary "first" quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz. <I>Workin'</I> presents an easygoing program that balances ballads with the blues and includes quintet performances of originals by Davis ("Four," "Half Nelson"), Coltrane ("Trane's Blues"), and Dave Brubeck ("In Your Own Sweet Way"); an interpretation of the standard "It Never Entered My Mind" without saxophone; and a piano-trio version of Ahmad Jamal's "Ahmad's Blues." Coltrane's melancholy solo on Brubeck's tune and Garland's spry excursion on Coltrane's are two of this classic's many highlights. <I>--Mitchell Feldman</I>

Genere: Broadway & Vocalists

Durata:

Dischi: 1

Produttore:

Trama: * This exceptional 14th recording from the baddest bone in the land features jazz legends Hank Jones, Roy Hargrove, and Steve Nelson.
* Davis has performed and recorded with many jazz legends including Chick Corea, Benny Golson, Jackie McLean, Slide Hampton, Freddie Hubbard, James Moody, Jimmy Heath, and the Dizzy Gillespie All-Star Big Band, to name just a few. He also co-leads the popular jazz group One for All.
"Steve is one of the greatest trombone players in the world." -- Freddie Hubbard

Genere: Jazz

Durata: 37:58

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: World Music

Durata:

Dischi: 2

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Rock

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 2

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata: 0:00

Dischi: 1

Produttore:

Trama:

Genere: Folk

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama:

Genere: Jazz

Durata:

Dischi: 1

Produttore:

Trama: Blossom Dearie was 32 when she recorded this album in 1959. But there's always been something of a little girl's artlessness in her singing, which somehow radiates great sophistication. That peculiar mix sets her apart from other '50s singers who also favored a cool, minimally inflected delivery, like Julie London or June Christy. Singing or quietly accompanying herself on piano, Dearie makes less do more, rather like her fan Miles Davis. The band--guitarist Kenny Burrell, bassist Ray Brown, and drummer Ed Thigpen--lays low, discreet. The songs, featuring urbane lyrics by Adolph Comden and Betty Green, are drawn from shows and films such as <I>On the Town</I>, <I>Bells Are Ringing</I>, and <I>It's Always Fair Weather</I>, with music by (respectively) Leonard Bernstein, Jule Styne, and André Previn. Not all selections are as strong as the standards (and standouts) "Just in Time," (an unexpectedly jaunty) "The Party's Over," and the bittersweet masterpiece "Some Other Time," but Dearie's low-key charm carries the day. <I>--Kevin Whitehead</I>

Genere: Pop

Durata:

Dischi: 1

Produttore:

Trama: This debut is Deee-Lite's most consistent record, and subsequently their best. By freebasing the previous three decades of pop culture, <I>World Clique</I> is a rush of beats, hooks, and fashion sensibilities. "Groove Is in the Heart" brings one of the best and funkiest bass lines ever to the dance floor. Lady Miss Kier establishes herself as a stylist--both vocally and visually--capable of casting some serious shade. <I>World Clique</I> manages a seamless merger of house beats, a trippy '60s vibe, and an over-the-top '70s funkified sound, thanks in part to DJ Towa Tei. "Good Beat" serves up what its title promises, while "Power of Love" goes one better by adding one of the strongest melodies of the band's career. By punctuating their songs with quirky bleeps and rhythmic kitsch, Deee-Lite predicted the DJ-dominated craze that would spin the latter part of the '90s into a tizzy. <I>--Steve Gdula</I>