Miles Davis + 19
Orchesrtra under the direction of Gil Evans
Miles Ahead
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1957/2000
Жанр: Cool, Bop, Big Band
Издатель(лейбл): Columbia / Sony Music
Продолжительность: 00:36:58
Наличие сканов в содержимом раздачи: ДаТреклист:
01. Springsville
02. The Maids of Cadiz
03. The Duke
04. My Ship
05. Miles Ahead
06. Blues for Pablo
07. New Rhumba
08. The Meaning of the Blues
09. Lament
10. I Don’t Wanna Be Kissed (by Anyone but You)Trumpet, Flugelhorn – Miles Davis
Alto Saxophone – Lee Konitz
Arranged By [Orchestra], Conductor – Gil Evans
Bass – Paul Chambers (3)
Bass Clarinet – Danny Bank
Drums – Art Taylor
Engineer [Digital Remix] – Tim Geelan
Flute, Clarinet – Edwin Caine* (tracks: 8 to 10), Romeo Penque, Sid Cooper (tracks: 1 to 7)
Horn – Jim Buffington (tracks: 1, 6, 7), Tony Miranda (tracks: 2 to 5, 8 to 10), Willie Ruff
Piano – Wynton Kelly (tracks: 8 to 10)
Trombone – Frank Rehak, Jimmy Cleveland, Joseph Bennett
Trombone [Bass] – Tom Mitchell* (tracks: 2, 3)
Trumpet – Bernie Glow, Ernie Royal, John Carisi, Louis R. Mucci, James Jordan*
Tuba – Bill BarberКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Доп. информация: SME Records SRGS4543 (SME Japan)
Recorded on May 6, 10, 23 & 27, 1957 at the Columbia 30th Street Studios, NY.
Arranged By, Directed By – Gil Evans
Producer – George Avakian
Producer [Jazz Originals] – Henri Renaud
Liner Notes – Andre Hodier, George Avakian
Photography By [Booklet] – Robert Parent
Источник (релизер): Faunts (PS³SACD) http://sa-cd.net/showtitle/838
Об альбоме (сборнике)
Album Review by AllMusic.com
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.
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发表于 2020-9-24 13:12:51
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