Miles Davis
Коллекция - 1950-1975 (27 альбомов)Жанр: Hard Bop, Cool, Fusion
Носитель: LP
Аудио кодек: FLAC
Тип рипа: tracks
Формат записи: 24/192
Формат раздачи: 24/192
Продолжительность: 27:08:07
Источник оцифровки: thezabs
Устройство воспроизведения: Rega P10 Turntable with Rega P10 PSU
Головка звукоснимателя: Rega Apheta 3 Cartridge
Предварительный усилитель: PS Audio NuWave Phono Converter ADC
Программа-оцифровщик: Audition CC 2019
1950 - Birth of the Cool (1980) {ECJ-50050} (Mono)
Miles Davis - Birth of the Cool
Год выпуска: 1980
Лейбл: Capitol Records/Toshiba EMI Ltd (ECJ-50050) (Mono)
Страна-производитель: Япония
Продолжительность: 00:36:04
Треклист:
01. Move (Best) - 2:34
02. Jeru (Mulligan) - 3:13
03. Moon Dreams (MacGregor-Mercer) - 3:20
04. Venus de Milo (Mulligan) - 3:13
05. Budo (Powell-Davis) - 2:35
06. Deception (Davis) - 2:49
07. Darn That Dream (DeLange-Van Heusen) - 3:30
08. Godchild (Wallington) - 3:10
09. Boplicity (Henry) - 3:01
10. Rocker (Mulligan) - 3:06
11. Israel (Carisi) - 2:17
12. Rouge (Lewis) - 3:16
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +1.8/1.1 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +1.8/1.1 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-29 23:10:30
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Birth of the Cool
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR14 -1.36 dB -17.12 dB 2:34 01-Move
DR14 -2.75 dB -18.19 dB 3:13 02-Jeru
DR11 -3.04 dB -18.87 dB 3:20 03-Moon Dreams
DR13 -1.86 dB -17.24 dB 3:13 04-Venus de Milo
DR15 -2.59 dB -19.44 dB 2:35 05-Budo
DR12 -3.63 dB -17.82 dB 2:49 06-Deception
DR11 -4.25 dB -17.59 dB 3:30 07-Darn That Dream
DR14 -0.80 dB -17.35 dB 3:10 08-Godchild
DR13 -3.16 dB -19.32 dB 3:01 09-Boplicity
DR13 -3.10 dB -18.72 dB 3:06 10-Rocker
DR12 -4.26 dB -18.67 dB 2:17 11-Israel
DR13 -4.06 dB -17.99 dB 3:16 12-Rouge
--------------------------------------------------------------------------------
Number of tracks: 12
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 1
Bits per sample: 24
Bitrate: 2440 kbps
Codec: FLAC
================================================================================
Review by Stephen Thomas Erlewine
So dubbed because these three sessions -- two from early 1949, one from March 1950 -- are where the sound known as cool jazz essentially formed, 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.
Состав
Miles Davis - leader, trumpet
with
#1,2,5,8:
Kai Winding - trombone
Junior Collins - French horn
Bill Barber - tuba
Lee Konitz - alto saxophone
Gerry Mulligan - baritone saxophone
Al Haig - piano
Joe Shulman - bass
Max Roach - drums
Recorded at WOR Studios, New York on January 21, 1949.
#4,9,11,12:
J.J. Johnson - trombone
Sandy Siegelstein - French horn
Bill Barber - tuba
Lee Konitz - alto saxophone
Gerry Mulligan - baritone saxophone
John Lewis - piano
Nelson Boyd - bass
Kenny Clarke - drums
Recorded at WOR Studios, New York on April 22, 1949.
#3,6,7,10:
J.J. Johnson - trombone
Gunther Schuller - French horn
Bill Barber - tuba
Lee Konitz - alto saxophone
Gerry Mulligan - baritone saxophone
John Lewis - piano
Al McKibbon - bass
Max Roach - drums
Kenny Hagood - vocals (#7)
Recorded at WOR Studios, New York on March 9, 1950.
1956 - 'Round About Midnight (2021) {SIJP 1024} (Mono)
The Miles Davis Quintet - 'Round About Midnight
Год выпуска: 2021
Лейбл: Sony Records Int'l (SIJP 1024) (Mono)
Страна-производитель: Япония
Продолжительность: 00:39:21
Треклист:
01. 'Round Midnight (Hanighen-Williams-Monk) - 6:01
02. Ah-Leu-Cha (Parker) - 5:58
03. All of You (Porter) - 7:06
04. Bye Bye Blackbird (Dixon-Henderson) - 7:58
05. Tadd's Delight (Dameron) - 4:31
06. Dear Old Stockholm (Trad.) - 7:47
Код класса состояния винила: Mint
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +5.1/5.2 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +0 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-29 22:20:06
--------------------------------------------------------------------------------
Analyzed: Miles Davis / 'Round About Midnight
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -2.80 dB -18.58 dB 6:01 01-'Round Midnight
DR12 -2.44 dB -17.31 dB 5:58 02-Ah-Leu-Cha
DR14 -2.54 dB -17.88 dB 7:06 03-All of You
DR14 -1.73 dB -17.95 dB 7:58 04-Bye Bye Blackbird
DR12 -2.80 dB -16.84 dB 4:31 05-Tadd's Delight
DR13 -2.10 dB -17.16 dB 7:47 06-Dear Old Stockholm
--------------------------------------------------------------------------------
Number of tracks: 6
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 1
Bits per sample: 24
Bitrate: 2427 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
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, and 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 re-formed 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.
Состав
Miles Davis - trumpet
John Coltrane - tenor saxophone
Red Garland - piano
Paul Chambers - bass
Philly Joe Jones - drums
Recorded at Columbia studios, New York on October 27, 1955 - September 10, 1956.
1957 - Ascenseur pour l'echafaud (1977) {SFX-10546(M)} (Mono)
Miles Davis Quintet - Ascenseur pour l'echafaud
Год выпуска: 1977
Лейбл: Philips/Nippon Phonogram Co., Ltd. (SFX-10546(M)) (Mono)
Страна-производитель: Япония
Продолжительность: 00:26:20
Треклист:
01. Generique (Davis) - 2:51
02. L'assassinat de Carala (Davis) - 2:12
03. Sur l'autoroute (Davis) - 2:21
04. Julien dans l'ascenseur (Davis) - 2:12
05. Florence sur les Champs-Elysees (Davis) - 2:54
06. Diner au motel (Davis) - 3:58
07. Evasion de Julien (Davis) - 0:55
08. Viste du vigile (Davis) - 2:06
09. Au bar du petit bac (Davis) - 2:55
10. Chez le photograph du motel (Davis) - 3:56
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +3.95/2.95 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +3.95/2.95 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-29 23:35:27
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Ascenseur pour l'echafaud
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR10 -3.66 dB -17.68 dB 2:51 01-Generique
DR13 -3.43 dB -20.52 dB 2:12 02-L'assassinat de Carala
DR9 -2.07 dB -13.63 dB 2:21 03-Sur l'autoroute
DR14 -2.90 dB -20.59 dB 2:12 04-Julien dans l'ascenseur
DR10 -4.14 dB -17.62 dB 2:54 05-Florence sur les Champs-Elysees
DR10 -2.72 dB -14.23 dB 3:58 06-Diner au motel
DR10 -6.26 dB -20.01 dB 0:55 07-Evasion de Julien
DR8 -3.77 dB -16.19 dB 2:06 08-Viste du vigile
DR11 -3.70 dB -16.78 dB 2:55 09-Au bar du petit bac
DR11 -3.80 dB -19.18 dB 3:56 10-Chez le photograph du motel
--------------------------------------------------------------------------------
Number of tracks: 10
Official DR value: DR11
Samplerate: 192000 Hz
Channels: 1
Bits per sample: 24
Bitrate: 2273 kbps
Codec: FLAC
================================================================================
Review by Michael G. Nastos
Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords. Michelot is as important a figure as the trumpeter because he sets the tone, as on the stalking "Visite du Vigile." While the mood of the soundtrack is generally dour and somber, the group collectively picks up the pace exponentially on "Diner au Motel." At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs, as on "Generique" or "L'Assassinat de Carala," respectively. Clarke is his usual marvelous self, and listeners should pay close attention to the able Urtreger, by no means a virtuoso but a capable and flexible accompanist. This recording can stand proudly alongside Duke Ellington's music from Anatomy of a Murder and the soundtrack of Play Misty for Me as great achievements of artistic excellence in fusing dramatic scenes with equally compelling modern jazz music.
Состав
Miles Davis - trumpet
Barney Wilen - tenor saxophone
René Urtreger - piano
Pierre Michelot - bass
Kenny Clarke - drums
Recorded at Le Poste Parisien, Paris on December 4-5, 1957.
1958 - 1958 Miles (1979) {20AP 1401} (Mono)
Miles Davis - 1958 Miles
Год выпуска: 1979
Лейбл: CBS/Sony (20AP 1401) (Mono)
Страна-производитель: Япония
Продолжительность: 00:39:50
Треклист:
01. On Green Dolphin Street (Washington-Kaper) - 09:57
02. Fran-Dance (Davis) - 5:56
03. Stella by Starlight (Washington-Young) - 4:48
04. Love for Sale (Porter) - 11:48
05. Little Melonae (McLean) - 7:21
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.8/1.10 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.8/1.10 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-01 18:44:57
--------------------------------------------------------------------------------
Analyzed: Miles Davis / 1958 Miles
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR15 0.00 dB -17.35 dB 9:57 01-On Green Dolphin Street
DR12 -3.74 dB -18.57 dB 5:56 02-Fran-Dance
DR11 -4.04 dB -19.02 dB 4:48 03-Stella by Starlight
DR14 -2.16 dB -18.18 dB 11:48 04-Love for Sale
DR12 -3.29 dB -16.97 dB 7:21 05-Little Melonae
--------------------------------------------------------------------------------
Number of tracks: 5
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 1
Bits per sample: 24
Bitrate: 2483 kbps
Codec: FLAC
================================================================================
Об альбоме (сборнике)
1958 Miles is a compilation album by American jazz musician Miles Davis, released in 1974 on CBS/Sony. Recording sessions for tracks that appear on the album took place on May 26, 1958, at Columbia's 30th Street Studio and September 9, 1958, at the Plaza Hotel in New York City. 1958 Miles consists of three songs featured on side two of the LP album Jazz Track, which was released in November 1959, one song from the same session not appearing in the album ("Love for Sale"), and three recordings from Davis' live performance at the Plaza Hotel with his ensemble sextet. The recording date at 30th Street Studio served as the first documented session to feature pianist Bill Evans performing in Davis' group.
The sessions for tracks on the album in mid-1958, along with the Milestones sessions from earlier that year, were seen by many music writers as elemental in Miles Davis' transition from bebop to the modal style of jazz and were viewed as precursors to his best-known work, Kind of Blue. Following audio engineering and digital restoration by engineer Larry Keyes at Sony Music New York Studio, the album was reissued on compact disc in 1991 as part of Columbia's Jazz Masterpieces Series. For later reissues, the album was retitled as '58 Sessions Featuring Stella by Starlight or '58 Miles Featuring Stella by Starlight. The complete 1958 sessions for Columbia were issued on the box set The Complete Columbia Recordings of Miles Davis with John Coltrane, and Jazz at the Plaza was reissued in 2001. The first four tracks were also released on a bonus disc of the 50 Anniversary Collector's Edition of Kind of Blue.
Состав
Miles Davis - trumpet, leader
Julian "Cannonball" Adderley - alto saxophone
John Coltrane - tenor saxophone
Bill Evans (#1-3), Red Garland (#4) - piano
Paul Chambers - bass
Jimmy Cobb (#1-3), Philly Joe Jones (#4) - drums
#1-3: Recorded at Columbia 30th Street Studio, New York on March 4, 1958.
#4: Recorded live at The Plaza Hotel, New York on September 9, 1958.
1958 - Milestones (2021) {SIJP 1031} (Mono)
Miles Davis - Milestones
Год выпуска: 2021
Лейбл: Sony Records Int'l (SIJP 1031) (Mono)
Страна-производитель: Япония
Продолжительность: 00:48:01
Треклист:
01. Dr. Jekyll (McLean) - 5:53
02. Sid's Ahead (Davis) - 13:10
03. Two Bass Hit (Lewis-Gillespie) - 5:14
04. Milestones (Davis) - 5:46
05. Billy Boy (Trad.) - 7:16
06. Straight, No Chaser (Monk) - 10:42
Код класса состояния винила: Mint
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.65/5 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.65/5 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-29 23:51:48
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Milestones
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR14 -1.31 dB -17.71 dB 5:53 01-Dr. Jekyll
DR14 -1.11 dB -18.13 dB 13:10 02-Sid's Ahead
DR14 -2.52 dB -18.12 dB 5:14 03-Two Bass Hit
DR13 -2.11 dB -17.39 dB 5:46 04-Milestones
DR14 -1.50 dB -17.68 dB 7:16 05-Billy Boy
DR13 -3.66 dB -17.83 dB 10:42 06-Straight, No Chaser
--------------------------------------------------------------------------------
Number of tracks: 6
Official DR value: DR14
Samplerate: 192000 Hz
Channels: 1
Bits per sample: 24
Bitrate: 2358 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
What is immedately noticeable upon listening to Miles Davis' classic first -- and only -- album with his original sextet is how deep the blues presence is on it. Though it's 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. Jackle," 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," which is followed by "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. 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. 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.
Состав
Miles Davis - trumpet, piano (#2)
Julian "Cannonball" Adderley - alto saxophone
John Coltrane - tenor saxophone
Red Garland - piano (#1,3-6)
Paul Chambers - bass
Philly Joe Jones - drums
Recorded at Columbia 30th Street Studio, New York on February 4, 1958 (#3-6) and March 4, 1958 (#1,2).
1960 - Sketches of Spain (1972) {SOPL 156}
Miles Davis - Sketches of Spain
Год выпуска: 1972
Лейбл: CBS/Sony (SOPL 156)
Страна-производитель: Япония
Продолжительность: 00:41:45
Треклист:
01. Concierto de Aranjuez (Rodrigo) - 16:27
02. Will o' the Wisp from "El Amor Brujo" (De Falla) - 3:49
03. The Pan Piper (Evans) - 3:57
04. Saeta (Evans) - 5:12
05. Solea (Evans) - 12:20
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +7.4/4.7 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +7.4/4.7 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 00:08:39
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Sketches of Spain
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -1.28 dB -18.97 dB 16:27 01-Concierto de Aranjuez
DR12 -3.22 dB -18.96 dB 3:49 02-Will o' the Wisp from 'El Amor Brujo'
DR12 -4.77 dB -22.14 dB 3:57 03-The Pan Piper
DR12 -2.43 dB -18.43 dB 5:12 04-Saeta
DR12 -2.65 dB -18.99 dB 12:20 05-Solea
--------------------------------------------------------------------------------
Number of tracks: 5
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4943 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
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.
Состав
Miles Davis – arranger, trumpet, flugelhorn
Gil Evans – arranger, conductor
Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal – trumpet
Dick Hixon, Frank Rehak – trombone
James Buffington, John Barrows, Earl Chapin, Tony Miranda, Joe Singer – French horn
Bill Barber, Jimmy McAllister – tuba
Harold Feldman – clarinet, flute, oboe
Danny Bank – bass clarinet
Albert Block, Eddie Caine – flute
Jack Knitzer – bassoon
Romeo Penque – oboe
Janet Putnam – harp
Paul Chambers – bass
Jimmy Cobb – drums
Elvin Jones, Jose Mangual – percussion
Recorded at Columbia 30th Street Studio, New York on November 15-20, 1959 and March 10, 1960.
1960 - Sketches of Spain (2012) {88765407651} (Mono)
Miles Davis - Sketches of Spain
Год выпуска: 2012
Лейбл: Columbia (88765407651) (Mono)
Страна-производитель: США
Продолжительность: 00:41:41
Треклист:
01. Concierto de Aranjuez (Rodrigo) - 16:26
02. Will o' the Wisp from "El Amor Brujo" (De Falla) - 3:49
03. The Pan Piper (Evans) - 3:58
04. Saeta (Evans) - 5:12
05. Solea (Evans) - 12:16
Код класса состояния винила: Mint
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.55/2.2 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.55/2.2 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 00:34:24
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Sketches of Spain
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -3.00 dB -19.68 dB 16:26 01-Concierto de Aranjuez
DR11 -2.74 dB -17.05 dB 3:49 02-Will o' the Wisp from 'El Amor Brujo'
DR12 -4.96 dB -20.89 dB 3:58 03-The Pan Piper
DR11 -4.29 dB -19.14 dB 5:12 04-Saeta
DR12 -4.03 dB -18.74 dB 12:16 05-Solea
--------------------------------------------------------------------------------
Number of tracks: 5
Official DR value: DR12
Samplerate: 192000 Hz
Channels: 1
Bits per sample: 24
Bitrate: 2441 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
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.
Состав
Miles Davis – arranger, trumpet, flugelhorn
Gil Evans – arranger, conductor
Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal – trumpet
Dick Hixon, Frank Rehak – trombone
James Buffington, John Barrows, Earl Chapin, Tony Miranda, Joe Singer – French horn
Bill Barber, Jimmy McAllister – tuba
Harold Feldman – clarinet, flute, oboe
Danny Bank – bass clarinet
Albert Block, Eddie Caine – flute
Jack Knitzer – bassoon
Romeo Penque – oboe
Janet Putnam – harp
Paul Chambers – bass
Jimmy Cobb – drums
Elvin Jones, Jose Mangual – percussion
Recorded at Columbia 30th Street Studio, New York on November 15-20, 1959 and March 10, 1960.
1961 - Someday My Prince Will Come (2020) {SIJP 1021} (Mono)
Miles Davis - Someday My Prince Will Come
Год выпуска: 2020
Лейбл: Sony Records Int'l (SIJP 1021) (Mono)
Страна-производитель: Япония
Продолжительность: 00:42:18
Треклист:
01. Someday My Prince Will Come (Churchill-Morey) - 9:10
02. Old Folks (Hill-Robison) - 5:21
03. Pfrancing (Davis) - 8:36
04. Drad-Dog (Davis) - 4:34
05. Teo (Davis) - 9:40
06. I Thought About You (Mercer-Van Heusen) - 4:55
Код класса состояния винила: Mint
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.7/3.6 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.7/3.6 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 01:22:12
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Someday My Prince Will Come
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -3.49 dB -18.09 dB 9:10 01-Someday My Prince Will Come
DR11 -6.42 dB -20.42 dB 5:22 02-Old Folks
DR13 -2.82 dB -17.57 dB 8:34 03-Pfrancing
DR12 -5.98 dB -20.15 dB 4:35 04-Drad-Dog
DR11 -4.59 dB -17.74 dB 9:40 05-Teo
DR12 -5.26 dB -21.90 dB 4:57 06-I Thought About You
--------------------------------------------------------------------------------
Number of tracks: 6
Official DR value: DR12
Samplerate: 192000 Hz
Channels: 1
Bits per sample: 24
Bitrate: 2329 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
After both John Coltrane and Cannonball Adderley left Miles Davis' quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and "Teo." The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an "elfin" feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it's coming from somewhere else. Mobley's real moment on the album is on the next track, "Old Folks," when he doesn't have Coltrane breathing down his neck. Mobley's soul-stationed lyricism is well-suited to his soloing here, and is for the rest of the album except, of course, on "Teo," where Coltrane takes him out again. The closer on the set, "Blues No. 2," is a vamp on "All Blues," from Kind of Blue, and features Kelly and Chambers playing counterpoint around an eight bar figure then transposing it to 12. Jones collapses the beat, strides it out, and then erects it again for the solos of Davis and Mobley. This is relaxed session; there are no burning tracks here, but there is much in the way of precision playing and a fine exposition of Miles' expansive lyricism.
Состав
Miles Davis - trumpet
Hank Mobley (#1-4), John Coltrane (#1,5) - tenor saxophone
Wynton Kelly - piano
Paul Chambers - bass
Jimmy Cobb - drums
Recorded at Columbia 30th Street Studio, New York on March 7 (#3,4), March 20 (#1,2) and March 21 (#5,6), 1961.
1964 - My Funny Valentine: Miles Davis in Concert (1972) {SOPL 160}
Miles Davis - My Funny Valentine: Miles Davis in Concert
Год выпуска: 1972
Лейбл: CBS/Sony (SOPL 160)
Страна-производитель: Япония
Продолжительность: 01:03:39
Треклист:
01. My Funny Valentine (Rodgers-Hart) - 15:12
02. All of You (Porter) - 14:59
03. Stella by Starlight (Young-Washington) - 13:08
04. All Blues (Davis) - 9:01
05. I Thought About You (Mercer-Van Heusen) - 11:19
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +10/7.75 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +10/7.75 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 18:56:26
--------------------------------------------------------------------------------
Analyzed: Miles Davis / My Funny Valentine: Miles Davis in Concert
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -0.71 dB -19.21 dB 15:12 01-My Funny Valentine
DR15 0.00 dB -17.70 dB 14:59 02-All of You
DR12 -2.74 dB -18.80 dB 13:08 03-Stella by Starlight
DR13 -1.48 dB -17.24 dB 9:01 04-All Blues
DR14 -1.47 dB -19.31 dB 11:19 05-I Thought About You
--------------------------------------------------------------------------------
Number of tracks: 5
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4710 kbps
Codec: FLAC
================================================================================
Review by Scott Yanow
Miles Davis' concert of February 12, 1964, was divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (specifically, "All of You," "Stella by Starlight," "All Blues," "I Thought About You," and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This hour-long LP complements the up-tempo romps of Four & More.
Состав
Miles Davis - trumpet
George Coleman - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums
Recorded live at the Philharmonic Hall, Lincoln Center, New York on February 12, 1964.
1964 - Miles in Tokyo (1972) {SOPL 162}
Miles Davis - Miles in Tokyo
Год выпуска: 1972
Лейбл: CBS/Sony (SOPL 162)
Страна-производитель: Япония
Продолжительность: 00:54:32
Треклист:
01. Introduction by Teruo Isono - 1:12
02. If I Were a Bell (Loesser) - 10:21
03. My Funny Valentine (Rodgers-Hart) - 12:52
04. So What (Davis) - 8:08
05. Walkin' (Carpenter) - 9:18
06. All of You (Porter) - 11:16
07. Go Go (Theme and Announcement) (Davis) - 1:25
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +8.9/8.5 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +8.9/8.5 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 18:22:59
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Miles in Tokyo
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR14 -4.03 dB -23.26 dB 1:12 01-Introduction by Teruo Isono
DR14 0.00 dB -17.37 dB 10:21 02-If I Were a Bell
DR15 0.00 dB -19.95 dB 12:52 03-My Funny Valentine
DR14 0.00 dB -16.57 dB 8:08 04-So What
DR15 0.00 dB -17.97 dB 9:18 05-Walkin'
DR14 -0.28 dB -19.43 dB 11:16 06-All of You
DR12 -1.63 dB -19.34 dB 1:25 07-Go Go (Theme and Announcement)
--------------------------------------------------------------------------------
Number of tracks: 7
Official DR value: DR14
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4847 kbps
Codec: FLAC
================================================================================
Review by Scott Yanow
After George Coleman left the Miles Davis Quintet, tenor-saxophonist Sam Rivers took his place for a short period including a tour of Japan. Davis did not care for Rivers's avant-garde style (they failed to develop any chemistry) and soon replaced him, but this live LP (originally only issued in Japan) survived to document this brief association. The music (five lengthy versions of standards) is actually of high quality with both Davis and Rivers in fine form and the young rhythm section (pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) pushing the trumpeter/leader to open up his style.
Состав
Miles Davis - trumpet
Sam Rivers - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums
Recorded live at Kohseinenkin Hall, Tokyo on July 14, 1964.
1965 - E.S.P. (1972) {SOPL 164}
Miles Davis - E.S.P.
Год выпуска: 1972
Лейбл: CBS/Sony (SOPL 164)
Страна-производитель: Япония
Продолжительность: 00:48:34
Треклист:
01. E.S.P. (Shorter-Davis) - 5:34
02. Eighty-One (Davis-Carter) - 6:17
03. Little One (Hancock) - 7:25
04. R.J. (Carter) - 4:01
05. Agitation (Davis) - 7:50
06. Iris (Shorter) - 8:36
07. Mood (Carter) - 8:51
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +5.3/5.1 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +5.3/5.1 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 19:18:57
--------------------------------------------------------------------------------
Analyzed: Miles Davis / E.S.P.
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR14 -2.46 dB -18.99 dB 5:34 01-E.S.P.
DR14 -0.42 dB -16.95 dB 6:17 02-Eighty-One
DR12 -2.22 dB -19.62 dB 7:25 03-Little One
DR13 -0.51 dB -16.79 dB 4:01 04-R.J.
DR13 -0.73 dB -17.75 dB 7:50 05-Agitation
DR11 -3.13 dB -19.20 dB 8:36 06-Iris
DR11 -1.30 dB -19.24 dB 8:51 07-Mood
--------------------------------------------------------------------------------
Number of tracks: 7
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4624 kbps
Codec: FLAC
================================================================================
Review by Stephen Thomas Erlewine
ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet -- saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories -- a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality -- they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On ESP, they tilt a bit toward conventional hard bop (something that's apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early '60s is remarkable. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock's calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.
Состав
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums
Recorded at Columbia Studios, Hollywood, CA on January 20-22, 1965.
1966 - Miles Smiles (1969) {SONP 50177}
Miles Davis Quintet - Miles Smiles
Год выпуска: 1969
Лейбл: CBS/Sony (SONP 50177)
Страна-производитель: Япония
Продолжительность: 00:41:52
Треклист:
01. Orbits (Shorter) - 4:41
02. Circle (Davis) - 5:57
03. Footprints (Shorter) - 9:47
04. Dolores (Shorter) - 6:25
05. Freedom Jazz Dance (Harris) - 7:18
06. Ginger Bread Boy (Heath) - 7:44
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.7/2.25 DB > Remove DC Bias
Условия оцифровки
Lineage:
KLAudio KL-LP-200 RCM > Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.7/2.25 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 19:30:19
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Miles Smiles
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -1.25 dB -16.87 dB 4:41 01-Orbits
DR14 -3.25 dB -20.42 dB 5:57 02-Circle
DR14 -1.25 dB -17.85 dB 9:47 03-Footprints
DR14 -1.56 dB -18.43 dB 6:25 04-Dolores
DR15 -1.75 dB -19.23 dB 7:18 05-Freedom Jazz Dance
DR13 -1.57 dB -17.37 dB 7:44 06-Ginger Bread Boy
--------------------------------------------------------------------------------
Number of tracks: 6
Official DR value: DR14
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 5030 kbps
Codec: FLAC
================================================================================
Review by Stephen Thomas Erlewine
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.
Состав
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums
Recorded at Columbia 30th Street Studio, New York on October 24 (#1,2,4,5) and October 25 (#3,6), 1966.
1967 - Sorcerer (1969) {SONP 50185}
Miles Davis - Sorcerer
Год выпуска: 1969
Лейбл: CBS/Sony (SONP 50185)
Страна-производитель: Япония
Продолжительность: 00:40:29
Треклист:
01. Prince of Darkness (Shorter) - 6:32
02. Pee Wee (Williams) - 4:52
03. Masqualero (Shorter) - 8:57
04. The Sorcerer (Hancock) - 5:11
05. Limbo (Shorter) - 7:19
06. Vonetta (Shorter) - 5:40
07. Nothing Like You (Landesman-Dorough) - 1:58
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.05/1.65 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.05/1.65 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 19:52:58
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Sorcerer
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -1.60 dB -17.91 dB 6:32 01-Prince of Darkness
DR12 -3.38 dB -21.39 dB 4:52 02-Pee Wee
DR13 -1.47 dB -18.54 dB 8:57 03-Masqualero
DR12 -1.51 dB -17.29 dB 5:11 04-The Sorcerer
DR13 -0.65 dB -17.59 dB 7:19 05-Limbo
DR12 -1.39 dB -20.42 dB 5:40 06-Vonetta
DR13 -1.00 dB -17.66 dB 1:58 07-Nothing Like You
--------------------------------------------------------------------------------
Number of tracks: 7
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4951 kbps
Codec: FLAC
================================================================================
Review by Stephen Thomas Erlewine
Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles -- this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors -- it all merges together, pointing toward the dense soundscapes of Miles' later '60s work. It's such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it's intended as a tribute to Miles' then-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).
Состав
#1-6:
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums
Recorded at Columbia Studio B at 30th Street Studio, New York on May 16–24, 1967.
#7:
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Frank Rehak - trombone
Paul Chambers - bass
Jimmy Cobb - drums
Willie Bobo - bongos
Bob Dorough - vocals
Gil Evans - arranger
Recorded at Columbia Studio A, New York on August 21, 1962.
1967 - Nefertiti (1969) {SONP 50186}
Miles Davis - Nefertiti
Год выпуска: 1969
Лейбл: CBS/Sony (SONP 50186)
Страна-производитель: Япония
Продолжительность: 00:39:12
Треклист:
01. Nefertiti (Shorter) - 7:55
02. Fall (Shorter) - 6:39
03. Hand Jive (Williams) - 8:53
04. Madness (Hancock) - 7:33
05. Riot (Hancock) - 3:07
06. Pinocchio (Shorter) - 5:05
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.2/2.15 DB > Remove DC Bias
Условия оцифровки
Lineage:
KLAudio KL-LP-200 RCM > Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.2/2.15 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 19:41:03
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Nefertiti
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR14 -0.46 dB -17.94 dB 7:55 01-Nefertiti
DR13 -1.49 dB -20.23 dB 6:39 02-Fall
DR13 -1.78 dB -18.74 dB 8:53 03-Hand Jive
DR13 -2.08 dB -19.49 dB 7:33 04-Madness
DR13 -1.88 dB -17.85 dB 3:07 05-Riot
DR13 -1.96 dB -17.52 dB 5:05 06-Pinocchio
--------------------------------------------------------------------------------
Number of tracks: 6
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4858 kbps
Codec: FLAC
================================================================================
Review by Stephen Thomas Erlewine
Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.
Состав
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums
Recorded at Columbia 30th Street Studio, New York on June 7 - July 19, 1967.
1968 - Filles de Kilimanjaro (1969) {SONP 50052}
Miles Davis - Filles de Kilimanjaro
Год выпуска: 1969
Лейбл: CBS/Sony (SONP 50052)
Страна-производитель: Япония
Продолжительность: 00:56:36
Треклист:
01. Frelon Brun (Brown Hornet) (Davis) - 5:43
02. Tout de Suite (Davis) - 14:10
03. Petits Machins (Little Stuff) (Davis) - 8:06
04. Filles de Kilimanjaro (Girls of Kilimanjaro) (Davis) - 12:05
05. Mademoiselle Mabry (Miss Mabry) (Davis) - 16:32
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +6.05/7.65 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +6.05/7.65 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 23:31:43
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Filles de Kilimanjaro
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -1.34 dB -17.57 dB 5:43 01-Frelon Brun (Brown Hornet)
DR14 -1.95 dB -19.89 dB 14:10 02-Tout de Suite
DR12 -1.28 dB -16.27 dB 8:06 03-Petits Machins (Little Stuff)
DR14 0.00 dB -17.24 dB 12:05 04-Filles de Kilimanjaro (Girls of Kilimanjaro)
DR15 0.00 dB -17.85 dB 16:32 05-Mademoiselle Mabry (Miss Mabry)
--------------------------------------------------------------------------------
Number of tracks: 5
Official DR value: DR14
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4711 kbps
Codec: FLAC
================================================================================
Review by Stephen Thomas Erlewine
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.
Состав
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock (#1,2,4), Chick Corea (#3,5) - piano, electric piano
Ron Carter (#1,2,4), Dave Holland (#3,5) - bass
Tony Williams - drums
Recorded at Columbia Studio B, New York on June 21 (#4) and Columbia 30th Street Studio, New York on June 19 - September 24, 1968 (#1-3,5).
1968 - Miles in the Sky (1968) {SONP 50023}
Miles Davis - Miles in the Sky
Год выпуска: 1968
Лейбл: CBS/Sony (SONP 50023)
Страна-производитель: Япония
Продолжительность: 00:50:49
Треклист:
01. Stuff (Davis) - 16:57
02. Paraphernalia (Shorter) - 12:35
03. Black Comedy (Williams) - 7:28
04. Country Son (Davis) - 13:49
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.7/6.1 DB > Remove DC Bias
Условия оцифровки
Lineage:
KLAudio KL-LP-200 Ultrasonic RCM > Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.7/6.1 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-30 23:59:27
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Miles in the Sky
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR14 0.00 dB -16.83 dB 16:57 01-Stuff
DR15 0.00 dB -20.01 dB 12:35 02-Paraphernalia
DR14 -0.28 dB -17.24 dB 7:28 03-Black Comedy
DR14 -1.17 dB -18.86 dB 13:49 04-Country Son
--------------------------------------------------------------------------------
Number of tracks: 4
Official DR value: DR14
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4847 kbps
Codec: FLAC
================================================================================
Review by Stephen Thomas Erlewine
With the 1968 album Miles in the Sky, Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. On Miles in the Sky, much of the rhythms are straightforward, picking up on the direct 4/4 beats of rock, and these are illuminated by Herbie Hancock's electric piano -- one of the very first sounds on the record, as a matter of fact -- and the guest appearance of guitarist George Benson on "Paraphernalia." All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves. This meanders considerable more than Nefertiti, even if it is significantly less elliptical in its form, because it's primarily four long jams. Intriguing, successful jams in many respects, but even with the notable additions of electric instruments, and with the deliberately noisy "Country Son," this is less visionary than its predecessor and feels like a transitional album -- and, like many transitional albums, it's intriguing and frustrating in equal measures.
Состав
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano, electric piano
Ron Carter - bass
Tony Williams - drums
George Benson - guitar (#2)
Recorded at Columbia Studio B, New York on January 16 - May 17, 1968.
1969 - Bitches Brew (1970) {SONP 50255~6} (2 LP)
Miles Davis - Bitches Brew
Год выпуска: 1970
Лейбл: CBS/Sony (SONP 50255~6)
Страна-производитель: Япония
Продолжительность: 01:34:18
Треклист:
01. Pharaoh's Dance (Zawinul) - 20:11
02. Bitches Brew (Davis) - 27:02
03. Spanish Key (Davis) - 17:33
04. John McLaughlin (Davis) - 4:27
05. Miles Runs the Voodoo Down (Davis) - 14:08
06. Sanctuary (Shorter-Davis) - 10:57
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.15/3.8/2.55/3.5 DB > Remove DC Bias
Условия оцифровки
Lineage:
KLAudio KL-LP-200 RCM > Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.15/3.8/2.55/3.5 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-31 23:32:22
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Bitches Brew
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -2.59 dB -17.83 dB 20:11 01-Pharaoh's Dance
DR12 -3.14 dB -17.89 dB 27:02 02-Bitches Brew
DR12 -3.50 dB -17.04 dB 17:33 03-Spanish Key
DR12 -6.47 dB -20.85 dB 4:27 04-John McLaughlin
DR13 -2.77 dB -17.25 dB 14:08 05-Miles Runs the Voodoo Down
DR12 -3.09 dB -19.62 dB 10:57 06-Sanctuary
--------------------------------------------------------------------------------
Number of tracks: 6
Official DR value: DR12
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4747 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. "Pharaoh's Dance" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on "Spanish Key." Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief "John McLaughlin," featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with "Sanctuary," completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century.
Состав
Miles Davis - trumpet
Wayne Shorter - soprano saxophone
Bennie Maupin - bass clarinet
Chick Corea, Joe Zawinul (#1-3,6), Larry Young (#1,3-6) - electric piano
John McLaughlin - electric guitar
Dave Holland - bass
Harvey Brooks - Fender Bass
Charles Alias, Jack DeJohnette, Lenny White - drums
Jim Riley - percussion
Recorded at Columbia Studio B, New York on August 19–21, 1969.
1969 - In a Silent Way (1972) {SOPL 170}
Miles Davis - In a Silent Way
Год выпуска: 1972
Лейбл: CBS/Sony (SOPL 170)
Страна-производитель: Япония
Продолжительность: 00:38:17
Треклист:
01. Shhh/Peaceful (Davis) - 18:19
02. In a Silent Way (Zawinul) - 4:13
03. It's About That Time (Davis) - 15:45
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +3.5/4.85 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +3.5/4.85 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-31 00:19:10
--------------------------------------------------------------------------------
Analyzed: Miles Davis / In a Silent Way
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -2.85 dB -17.56 dB 18:19 01-Shhh/Peaceful
DR13 -1.64 dB -18.66 dB 4:13 02-In a Silent Way
DR13 -0.77 dB -17.57 dB 15:45 03-It's About That Time
--------------------------------------------------------------------------------
Number of tracks: 3
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4816 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
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.
Состав
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
John McLaughlin - guitar
Herbie Hancock, Chick Corea - electric piano
Joe Zawinul - electric piano, organ
Dave Holland - bass
Tony Williams - drums
Recorded at CBS 30th Street Studio B, New York on February 18, 1969.
1970 - Black Beauty: Miles Davis at Fillmore West (1973) {SOPJ 39~40} (2 LP)
Miles Davis - Black Beauty: Miles Davis at Fillmore West
Год выпуска: 1973
Лейбл: CBS/Sony (SOPJ 39~40)
Страна-производитель: Япония
Продолжительность: 01:20:57
Треклист:
01. Directions (Zawinul) - 10:47
02. Miles Runs the Voodoo Down (Davis) - 13:00
03. Willie Nelson (Davis) - 6:27
04. I Fall in Love Too Easily (Styne-Cahn) - 1:34
05. Sanctuary (Shorter) - 4:02
06. It's About That Time Part I (Davis) - 6:22
07. It's About That Time Part II (Davis) - 4:14
08. Bitches Brew (Davis) - 13:02
09. Masqualero (Shorter) - 9:11
10. Spanish Key/The Theme (Davis) - 12:18
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +7.4/9.05/7.9/7.4 DB > Remove DC Bias
Условия оцифровки
Lineage:
KLAudio LP200 RCM > Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +7.4/9.05/7.9/7.4 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-31 23:58:23
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Black Beauty
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -1.46 dB -17.52 dB 10:47 01-Directions
DR14 -1.08 dB -18.71 dB 13:00 02-Miles Runs the Voodoo Down
DR14 -0.03 dB -16.24 dB 6:27 03-Willie Nelson
DR11 -7.02 dB -22.09 dB 1:34 04-I Fall in Love Too Easily
DR12 -0.32 dB -17.99 dB 4:02 05-Sanctuary
DR13 -1.64 dB -19.61 dB 6:22 06-It's About That Time Part I
DR12 -1.77 dB -16.29 dB 4:14 07-It's About That Time Part II
DR13 -2.14 dB -19.57 dB 13:02 08-Bitches Brew
DR14 -1.83 dB -19.44 dB 9:11 09-Masqualero
DR13 -0.77 dB -17.51 dB 12:18 10-Spanish Key/The Theme
--------------------------------------------------------------------------------
Number of tracks: 10
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 5003 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
A month after losing Wayne Shorter to the beginnings of Weather Report, Miles Davis added young saxophonist Steve Grossman to the fold that included drummer Jack DeJohnette, bassist Dave Holland, electric pianist Chick Corea, and percussionist Airto Moreira. Just in time, too, since Bitches Brew had just been released. What is most interesting about this performance is how abstract it is, even by the standards exacted on In a Silent Way and Bitches Brew. Opening with Joe Zawinul's "Directions," with a small three-note vamp, Davis creates a spaciousness for Grossman to hit the stratosphere and for both Holland and DeJohnette to literally fall freely as a rhythm section as long as they could find a groove. The band seems to open too far; they can't seem to find each other in the maelstrom. Davis lays out, watching it all, directing from the sidelines. On "Miles Runs the Voodoo Down," since there is a discernible though minimal melody and groove, the band brings it in tighter, focusing on Davis smattering blues notes and Corea's distorted chord voicings. This is where the band hits their stride, and keeps it through "Willie Nelson" and the Sammy Cahn tune, an odd choice for this part of the program, "I Fall in Love Too Easily." From the opening of "Sanctuary" through "It's About That Time," "Bitches Brew," "Masqualero," and "Spanish Key/The Theme," the music become a kind of suite that doesn't really stop. It may pause in spots, but it loops through modal figures before disintegrating completely. There is no harmony to speak of and melody has become an extinct concept. What matters most is the nuance of groove and rhythm, and Davis found both in this band, though Grossman's playing is too busy and too green; he plays everything he knows in every solo. It's a small complaint, as this is an exciting document of a band trying to come to grips with the power of a music they don't even fully understand yet.
Состав
Miles Davis - trumpet
Steve Grossman - soprano saxophone
Chick Corea - electric piano
Dave Holland - electric bass
Jack DeJohnette - drums
Airto Moreira - percussion
Recorded live at "The Fillmore West", San Francisco, CA on April 10, 1970.
1970 - Jack Johnson (1979) {20AP 1405}
Miles Davis - Jack Johnson
Год выпуска: 1979
Лейбл: CBS/Sony (20AP 1405)
Страна-производитель: Япония
Продолжительность: 00:52:26
Треклист:
01. Right Off (Davis-Macero) - 26:52
02. Yesternow (Davis) - 25:34
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.8/6.5 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.8/6.5 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-01 00:13:38
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Jack Johnson
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -2.38 dB -17.99 dB 26:52 01-Right Off
DR13 -1.89 dB -18.28 dB 25:34 02-Yesternow
--------------------------------------------------------------------------------
Number of tracks: 2
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4882 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Davis; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Davis rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. The groove gets nastier and nastier as the track carries on and never quits, though there are insertions by Macero of two Davis takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Davis, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Davis' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.
Состав
Miles Davis - trumpet
Herbie Hancock - keyboards
John McLaughlin - guitar
Steve Grossman - saxophone
Michael Henderson - Fender bass
Billy Cobham - drums
Recorded at Columbia Studio B, New York on April 7, 1970.
1970 - Live-Evil (1971) {SONP 50452~3} (2 LP)
Miles Davis - Live-Evil
Год выпуска: 1971
Лейбл: CBS/Sony (SONP 50452~3)
Страна-производитель: Япония
Продолжительность: 01:42:05
Треклист:
01. Sivad (Davis) - 15:18
02. Little Church (Pascoal) - 3:18
03. Medley: Gemini (Davis)/Double Image (Zawinul) - 5:54
04. What I Say (Davis) - 21:12
05. Nem Um Talvez (Davis) - 4:05
06. Selim (Davis) - 2:18
07. Funky Tonk (Davis) - 23:26
08. Inamorata and Narration by Conrad Roberts (Davis) - 26:34
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +5.15/4.35/4.95/3.35 DB > Remove DC Bias
Условия оцифровки
Lineage:
KLAudio KL-LP-200 RCM > Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +5.15/4.35/4.95/3.35 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-01 00:53:01
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Live-Evil
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
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DR13 -1.69 dB -18.17 dB 15:18 01-Sivad
DR10 -5.61 dB -17.99 dB 3:18 02-Little Church
DR13 -2.15 dB -18.08 dB 5:54 03-Medley: Gemini/Double Image
DR13 -1.81 dB -17.32 dB 21:12 04-What I Say
DR12 -5.88 dB -21.11 dB 4:05 05-Nem Um Talvez
DR10 -5.86 dB -21.14 dB 2:18 06-Selim
DR13 -2.09 dB -17.69 dB 23:26 07-Funky Tonk
DR13 -2.45 dB -17.89 dB 26:34 08-Inamorata and Narration by Conrad Roberts
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Number of tracks: 8
Official DR value: DR12
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4804 kbps
Codec: FLAC
================================================================================
Review by John Bush
The first in a continuing series of double-LP extravaganzas released only in Japan in the early '70s, Live-Evil mixes four studio tracks from 1970 with four live ones taken from a Washington, D.C. performance in December of that year. Amidst heavy competition, the live tracks -- including "What I Say," "Sivad" and "Gemini Double Image" -- are the highlights, featuring some of Miles' best playing of the decade, plus aggressive work on extended solo spots by John McLaughlin on guitar, Keith Jarrett on keyboards, and Jack DeJohnette on drums. Alternating chaotic deep-groove passages with a few more atmospheric, Live-Evil held up for two decades as one of the great import-only Miles Davis albums, until it was reissued in America by Columbia/Legacy in 1997.
Состав
Miles Davis - trumpet, trumpet with wah-wah
Gary Bartz - soprano saxophone, flute
Steve Grossman, Wayne Shorter - soprano saxophone
John McLaughlin - electric guitar
Keith Jarrett - electric piano, organ
Herbie Hancock, Chick Corea, Joe Zawinul - electric piano
Michael Henderson - electric bass
Dave Holland - electric bass, acoustic bass
Khalil Balakrishna - electric sitar
Ron Carter - acoustic bass
Jack DeJohnette, Billy Cobham - drums
Hermeto Pascoal - drums, whistling, vocals, electric piano
Airto Moreira - percussion
Conrad Roberts - vocal narration, poem
Recorded live at The Cellar Door, Washington, DC and Columbia Studio B, New York on February 6 - December 19, 1970.
1972 - Big Fun (1974) {SOPW 5~6} (2 LP)
Miles Davis - Big Fun
Год выпуска: 1974
Лейбл: CBS/Sony (SOPW 5~6)
Страна-производитель: Япония
Продолжительность: 01:39:01
Треклист:
01. Great Expectations (Davis-Zawinul) - 27:29
02. Ife (Davis) - 21:38
03. Go Ahead John (Davis) - 28:29
04. Lonely Fire (Davis) - 21:25
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.3/4.3/3.4/6.7 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.3/4.3/3.4/6.7 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-01 01:25:37
--------------------------------------------------------------------------------
Analyzed: Miles Davis / Big Fun
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DR Peak RMS Duration Track
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DR12 -1.31 dB -16.25 dB 27:29 01-Great Expectations
DR15 0.00 dB -17.52 dB 21:38 02-Ife
DR14 -1.01 dB -18.15 dB 28:29 03-Go Ahead John
DR13 -2.12 dB -18.19 dB 21:25 04-Lonely Fire
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Number of tracks: 4
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4821 kbps
Codec: FLAC
================================================================================
Review by Thom Jurek
Despite the presence of classic tracks like Joe Zawinul's "Great Expectations," Big Fun feels like the compendium of sources it is. These tracks are all outtakes from other sessions, most notably Bitches Brew, On the Corner, and others. The other element is that many of these tracks appeared in different versions elsewhere. These were second takes, or the unedited takes before producer Teo Macero and Miles were able to edit them, cut and paste their parts into other things, or whatever. That is not to say the album should be dismissed. Despite the numerous lineups and uneven flow of the tracks, there does remain some outstanding playing and composing here. Most notably is "Great Expectations" from 1969, which opens the album. Here the lineup is Miles, Steve Grossman, Bennie Maupin, John McLaughlin, Khalil Balakrishna, and Bihari Sharma on sitar and tambura, Herbie, Chick Corea, Ron Carter, Harvey Brooks, Billy Cobham, and Airto. Creating a series of vamps from drones and a small melodic figure, there is very little in the way of groove or melodic development until the middle section, where a series of modalities enters the composition. The second album in the set features "Go Ahead John," an outtake from Jack Johnson's sessions that is 28 minutes in length. It's a riff-based groover, with McLaughlin and his wah-wah pedal setting the pace with Steve Grossman on soprano. The basic motif is the blues, floating around E and Bb flat, but there are modulations introduced by Miles into Db flat that add a kinkier dimension into the proceedings as well. Dave Holland is the bass player, and DeJohnette is the drummer. There is no piano. What's most interesting about this date is how it prefigures what would become "Right Off" from Jack Johnson. It doesn't have the same fire, nor does it manage to sustain itself for the duration, but there are some truly wonderful sections in the piece. This is for Miles fans only, especially those of his electric period, because it fills in the puzzle. The reissue added four bonus tracks to the original double-LP set, but other than "Recollections" by Zawinul, they shed little light on the mystique and development of the intensely creative music being developed in 1969 and 1970. Others should be directed to Bitches Brew, In A Silent Way, Jack Johnson, or Live Evil as starting points.
Состав
#1:
Miles Davis - trumpet
Steve Grossman - soprano saxophone
Bennie Maupin - bass clarinet
John McLaughlin - electric guitar
Khalil Balakrishna - electric sitar
Bihari Sharma - tabla, tamboura
Herbie Hancock, Chick Corea - electric piano
Ron Carter - double bass
Harvey Brooks - Fender bass guitar
Billy Cobham - drums
Airto Moreira - percussion
Recorded at Columbia Studio E, New York on November 19, 1969.
#2:
Miles Davis - electric trumpet with wah wah
Sonny Fortune - soprano saxophone, flute
Bennie Maupin - clarinet, flute
Carlos Garnett - soprano saxophone
Lonnie Liston Smith, Harold I. Williams Jr. - electric piano
Michael Henderson - electric bass
Al Foster, Billy Hart - drums
Badal Roy - tabla
James Mtume - African percussion
Recorded at Columbia Studio E, New York on June 12, 1972.
#3:
Miles Davis - trumpet
Steve Grossman - soprano saxophone
John McLaughlin - electric guitar
Dave Holland - bass guitar
Jack DeJohnette - drums
Recorded at Columbia Studio E, New York on March 3, 1970.
#4:
Miles Davis - trumpet
Wayne Shorter - soprano saxophone
Bennie Maupin - bass clarinet
Khalil Balakrishna - sitar, Indian instruments
Chick Corea - electric piano
Joe Zawinul - electric piano, Farfisa organ
Dave Holland - double bass
Harvey Brooks - Fender bass guitar
Jack DeJohnette, Billy Cobham - drums
Airto Moreira - Indian instruments, percussion
Recorded at Columbia Studio B, New York on January 27, 1970.
1972 - In Concert (1973) {SOPJ 37~38} (2 LP)
Miles Davis - In Concert
Год выпуска: 1973
Лейбл: CBS/Sony (SOPJ 37~38)
Страна-производитель: Япония
Продолжительность: 01:24:36
Треклист:
01. Rated X (Davis) - 12:24
02. Honky Tonk (Davis) - 8:20
03. Theme from Jack Johnson (Davis) - 11:17
04. Black Satin/The Theme (Davis) - 14:04
05. Ife Part I (Davis) - 18:11
06. Ife Part II (Davis) - 9:53
07. Right Off/The Theme (Davis) - 10:27
Обработка: Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2/3/3.45/3.6 DB > Remove DC Bias
Условия оцифровки
Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2/3/3.45/3.6 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.
Спектры
Замер динамического диапазона
foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-01 02:02:00
--------------------------------------------------------------------------------
Analyzed: Miles Davis / In Concert
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -2.09 dB -16.87 dB 12:24 01-Rated X
DR13 -2.31 dB -19.17 dB 8:20 02-Honky Tonk
DR11 -2.14 dB -14.66 dB 11:17 03-Theme from Jack Johnson
DR11 -2.65 dB -16.13 dB 14:04 04-Black Satin/The Theme
DR12 -2.77 dB -16.43 dB 18:11 05-Ife Part I
DR12 -3.41 dB -19.28 dB 9:53 06-Ife Part II
DR11 -3.47 dB -16.51 dB 10:27 07-Right Off/The Theme
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Number of tracks: 7
Official DR value: DR12
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4899 kbps
Codec: FLAC
================================================================================
Review by Steve Huey
Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at Philharmonic Hall is the only one documenting his On the Corner street-funk period, which is immediately obvious from the cover art. Actually, in terms of repertoire, the material from Get Up With It, Big Fun, and A Tribute to Jack Johnson each takes up a greater percentage of space, but the hard-driving rhythms and plentiful effects make it clear which of Davis' fusion aesthetics applied. In Concert begins to move Davis' live work even farther away from jazz tradition, as he largely forgoes concepts of soloing or space. Instead, Davis presides over a pulsating mound of rhythm, expanding his percussion section and using traditional lead instruments more to create texture -- including his own horn, which he feeds through a wah-wah pedal and other amplification effects. Drummer Al Foster, tabla player Badal Roy, and percussionist Mtume are the centers of the recording, and electric sitar player Khalil Balakrishna adds an exotic dimension to the already tripped-out sonic stew. And "stew" isn't too far off -- the individual voices and elements in the music tend to get mixed and muddled together, which may be frustrating for some jazz fans not used to listening for the thick layers of texture in the soundscapes or the furious energy in the grooves. There are few melodies to latch onto, save for a theme from On the Corner that Davis frequently uses during the first disc to signal transitions. But melody isn't the point of this music; it's about power, rhythm, and the sum energy of the collective, and of Davis' electric jazz-rock albums, In Concert does one of the most mind-bending jobs of living up to those ideals.
Состав
Miles Davis - electric trumpet with wah-wah
Carlos Garnett - soprano saxophone, tenor saxophone
Cedric Lawson - electric piano, synthesizer
Reggie Lucas - electric guitar
Khalil Balakrishna - electric sitar
Michael Henderson - electric bass
Al Foster - drums
Badal Roy - tablas
James Mtume - percussion
Recorded live at Philharmonic Hall, New York on September 29, 1972.
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发表于 2022-4-2 14:56:42
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