Miles Davis - Blue in Green

Styles: Trumpet Jazz
Year: 2023
Time: 62:14
File: MP3 @ 320K/s
Size: 143,0 MB
Art: Front

( 5:37) 1. Blue In Green
( 9:25) 2. So What
( 9:49) 3. Freddie Freeloader
( 2:49) 4. Générique
( 5:44) 5. Milestones
( 4:43) 6. Stella By Light
( 3:01) 7. 'Round Midnight
(11:35) 8. All Blues
( 9:26) 9. Flamenco Sketches

“Blue in Green” is arguably the most beautiful piece of music on Kind of Blue. The ensemble playing reaches new levels of subtlety and transcendence, and the work benefits greatly from the introduction of pianist Bill Evans, one of Miles Davis’ greatest collaborators. Indeed, his piano part is magnificent, and his solo is a masterpiece of his unrivalled lyricism.

The tempo of the tune is audaciously slow, and it’s easy for the listener to think that it will fall apart at any moment. It doesn’t, however, due to the genius of the ensemble. “Blue in Green” is also a greatly important piece; it shows that the values of “cool jazz” can have huge artistic value it’s not just laid-back music for the sake of it, it’s music of extraordinary depth of feeling. By Thomas Ward Miles Blue in Green by Miles Davis - Track Info | AllMusic

Personnel: Miles Davis – trumpet; John Coltrane – tenor saxophone; Bill Evans – piano; Paul Chambers – double bass; Jimmy Cobb – drums

Blue in Green

---

Miles Davis Quintet in Concert Live at the Olympia, Paris, November 30 - 1957 (Live)

Styles: Jazz
Year: 2023
Time: 72:36
File: MP3 @ 320K/s
Size: 167,2 MB
Art: Front

(7:24) 1. Solar
(6:27) 2. Four
(3:29) 3. What's New?
(8:08) 4. No Moe
(7:25) 5. Lady Bird
(4:40) 6. Tune Up
(6:24) 7. I'll Remember April
(7:29) 8. Bags' Groove
(5:11) 9. 'Round Midnight
(6:18) 10. Now's the Time
(7:15) 11. Walkin'
(2:20) 12. The Theme

Another live Miles Davis recording. Well, once the studio outtakes have dried up, this is the only seam left to mine. Happily, with advances in sound technology, old radio broadcasts are increasingly being dusted down and treated to a little digital TLC. Since 1983, Fresh Sounds Records has been a leading light in reissues and archival releases (see Fresh Sound Records and the Legacy of Recorded Jazz), in addition to producing many hundreds of contemporary artists. This one from Jordi Pujol's Barcelona label has rarity value, representing the first unabridged release of Davis' concert at the Olympia, Paris, in 1957. At this historic venue, the trumpeter was backed by top French musicians and old sparring partner from Minton's Playhouse days, drummer Kenny Clarke.

The set is a typical one for that time in Davis' trajectory post-bop, swing, blues and ballads. Given that Davis had undergone a throat procedure just two months prior to this late-November date, he is in remarkably good form. Local musicians Rene Urtreger on piano, bassist Pierre Michelot and tenor saxophonist Barney Wilen are well up to the task. Wilen, who despite his youthful twenty years had already recorded an album as leader at the start of the year, had impressed Davis on the American's visit to Paris the year before, and little wonder. Listening to Wilen's solos on "Tune Up" and "I'll Remember April," to pick just two gems, we hear a saxophonist confident enough not to be imitative.

Davis sits out three songs the hard-working Wilen plays overtime on "Now's the Time"but otherwise leads from the front, switching between mute and open bell on one extended solo after another. Fired up on "No Moe" and "Bags' Groove," Davis is hauntingly tender on "Round Midnight" and "What's New?" This latter sounds like a ghostly forerunner of "Blue in Green" from Kind of Blue (Columbia, 1959), a tune generally credited to Bill Evans. Regardless of tempo, the trumpeter's playing is unfailingly emotive.

Michelot and Urtreger enjoy their moments in the spotlight but impress most for locking in rhythmically with the dynamic Clarke. The great drummer, a Paris resident, is in wonderfully feisty mode, his trademark ride cymbal and bass-drum bombs driving the music and injecting an edge into otherwise fairly safe material. Notable too, however, is his subtly persuasive brushwork.

Four days later this same line-up would go into the studio to record the music for Louis Malle's film Ascenseur pour l'eschafaud (Fontana, 1958). Almost entirely improvised, Davis' atmospheric noir soundtrack asks more of the musicians, and is the more remarkable recording for that. Still, the evident passion of this live performance from the Olympia, created in no small part by an engaged Parisian audience, makes In Concert at the Olympia, Paris 1957 a welcome extract from the Davis mine that keeps on giving.By Ian Patterson
https://www.allaboutjazz.com/in-concert-at-the-olympia-paris-1957-miles-davis-quintet-fresh-sound-records

Miles Davis Quintet in Concert Live at the Olympia, Paris, November 30 - 1957 (Live)

---

Miles Davis - Workin' with the Miles Davis Quintet

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 42:07
Size: 97,8 MB
Art: Front

(5:24) 1. It Never Entered My Mind
(7:13) 2. Four
(5:43) 3. In Your Own Sweet Way
(1:59) 4. The Theme (take 1)
(8:33) 5. Trane's Blues
(7:24) 6. Ahmad's Blues
(4:46) 7. Half Nelson
(1:02) 8. The Theme (take 2)

Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary "first" quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz.

Workin' presents an easy going program that balances ballads with the blues and includes quintet performances of originals by Davis ("Four," "Half Nelson"), Coltrane ("Trane's Blues"), and Dave Brubeck ("In Your Own Sweet Way"); an interpretation of the standard "It Never Entered My Mind" without saxophone; and a piano-trio version of Ahmad Jamal's "Ahmad's Blues." Coltrane's melancholy solo on Brubeck's tune and Garland's spry excursion on Coltrane's are two of this classic's many highlights. By Mitchell Feldman https://www.amazon.com/Workin-Miles-Davis-Quintet/dp/B000000YGI

Workin' with the Miles Davis Quintet

---

Miles Davis - Live At Johanneshov Isstadion, Stockholm, Sweden, October 3, 1964

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 45:29
Size: 104,8 MB
Art: Front

(12:26) 1. Autumn Leaves
(11:59) 2. So What
(10:18) 3. Stella by Starlight
(10:45) 4. Joshua / The Theme (Incomplete)

Miles Davis, in full Miles Dewey Davis III, (born May 26, 1926, Alton, Illinois, U.S. died September 28, 1991, Santa Monica, California), American jazz musician, a great trumpeter who as a bandleader and composer was one of the major influences on the art from the late 1940s.

Davis grew up in East St. Louis, Illinois, where his father was a prosperous dental surgeon. (In later years he often spoke of his comfortable upbringing, sometimes to rebuke critics who assumed that a background of poverty and suffering was common to all great jazz artists.) He began studying trumpet in his early teens; fortuitously, in light of his later stylistic development, his first teacher advised him to play without vibrato.

Davis played with jazz bands in the St. Louis area before moving to New York City in 1944 to study at the Institute of Musical Art (now the Juilliard School) although he skipped many classes and instead was schooled through jam sessions with masters such as Dizzy Gillespie and Charlie Parker. More...https://www.britannica.com/biography/Miles-Davis

Live At Johanneshov Isstadion, Stockholm, Sweden, October 3, 1964

---

Miles Davis Quintet - Live At The Oriental Theatre 1966 (CD1) And (CD2)

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 42:08 (CD 1)
Size: 97,3 MB (CD 1)
Time: 48:38 (CD 2)
Size: 112,3 MB (CD 2)
Art: Front

(CD 1)

( 0:40) 1. Announcement
( 9:49) 2. Autumn Leaves
( 9:22) 3. Agitation
(10:31) 4. Stella By Starlight
(11:44) 5. Gingerbread Boy

---

(CD 2)
( 9:30) 1. The Theme
( 9:32) 2. All Blues
( 8:51) 3. Who Can I Turn To?
( 9:06) 4. So What
(11:38) 5. My Funny Valentine

This release contains a complete previously unissued concert by the 1966 Miles Davis Quintet. Recorded at the impressing Oriental Theatre in Portland shortly before it was demolished, it presents the only existing testimony of bassist Richard Davis playing with Miles. Among its many highlights are many great trumpet solos by Miles, including his only existing version of "Who Can I Turn To ?" a free jazzoriented So What, and a beautiful reading of My Funny Valentine.
http://www.amazon.co.uk/The-Oriental-Theatre-1966-2CD/dp/B004M3NKBC

Personnel: Miles Davis - tp; Wayne Shorter - ts; Herbie Hancock - p; Richard Davis - b; Tony Williams - d

Live At The Oriental Theatre 1966 (CD1)(CD2)

---

Miles Davis - The Miles Davis Quintet: At Peacock Alley Disc 1, Disc 2

Album: The Miles Davis Quintet: At Peacock Alley Disc 1
Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 31:11
Size: 71,9 MB
Art: Front

(0:41) 1. Intro
(5:53) 2. Ah-leu-cha
(5:19) 3. A Foggy Day
(6:35) 4. All of You
(5:13) 5. Woody 'n' You
(7:27) 6. Walkin'

---

Album: The Miles Davis Quintet: At Peacock Alley Disc 2
Time: 42:48
Size: 98,6 MB

( 5:16) 1. Two Bass Hit
( 7:39) 2. Well You Needn't
( 4:23) 3. Billy Boy
(11:03) 4. All of You
( 6:07) 5. Airegin
( 7:01) 6. Newk #2/Theme
( 1:16) 7. Sign Off-Theme

Miles Davis at Peacock Alley is an unauthorized bootleg album by jazz musician Miles Davis. It was recorded in a two-part broadcast on KXLW-AM on July 14 and July 21, 1956, from Peacock Alley in the Gaslight Square entertainment district of St. Louis. The sessions were hosted by Spider Burks, a local DJ who championed jazz, and was also one of St. Louis’ first black Disc Jockeys.

https://en.wikipedia.org/wiki/Miles_Davis_Quintet_at_Peacock_Alley

Personnel: Miles Davis — trumpet; John Coltrane — tenor saxophone; Red Garland — piano; Paul Chambers — bass; Philly Joe Jones — drums

Miles Davis - Miles Davis And The Modern Jazz Giants

Styles: Trumpet Jazz

Year: 1956

File: MP3@320K/s

Time: 42:12

Size: 98,5 MB

Art: Front

( 7:59)  1. The Man I Love (Take 2)

(10:46)  2. Swing Spring

( 5:24)  3. 'Round Midnight

( 9:32)  4. Bemsha Swing

( 8:29)  5. The Man I Love (Take 1)

Including sessions recorded the same day as those on Bags Groove, this album includes more classic performances from the date that matched together trumpeter Miles Davis, vibraphonist Milt Jackson, pianist Thelonious Monk, bassist Percy Heath, and drummer Kenny Clarke. Davis and Monk actually did not get along all that well, and the trumpeter did not want Monk playing behind his solos. Still, a great deal of brilliant music occurred on the day of their encounter, including "The Man I Love," "Bemsha Swing," and "Swing Spring." ~ Scott Yanow https://www.allmusic.com/album/miles-davis-and-the-modern-jazz-giants-mw0000199989

Personnel:  Miles Davis – trumpet;  John Coltrane – tenor saxophone;  Milt Jackson – vibraphone;  Thelonious Monk – piano;  Red Garland – piano;  Percy Heath – bass;  Paul Chambers – bass;  Kenny Clarke – drums;  Philly Joe Jones – drums

Miles Davis And The Modern Jazz Giants

---

Miles Davis - Miles! Miles! Miles! (Live in Japan)

Styles: Trumpet Jazz
Year: 1981
File: MP3@320K/s
Time: 74:56
Size: 161,1 MB
Art: Front

(20:18) 1. Back Seat Betty
( 2:01) 2. Ursula
(15:44) 3. My Man's Gone Now
(12:19) 4. Aida
(12:59) 5. Fat Time
(11:33) 6. Jean-Pierre

Issued in Japan in 1992, a year after Miles' death, this is the complete Tokyo concert from which "Jean-Pierre" was selected for Columbia's We Want Miles album. Ultimately, it adds corroborative detail to the most publicized comeback in jazz history without revealing any startling new facets. The repertoire is a bit different than on the Columbia release; the selections run together in two continuous medleys. "Back Seat Betty," a two-minute "Ursula," "My Man's Gone Now" and "Aida" ("Fast Track") form the first set, and "Fat Time" and "Jean-Pierre" are heard in the second.

The then-frail trumpeter is obviously still groping his way back to form, sounding particularly tentative on "Back Seat Betty," but his vulnerability adds pathos to the reworking of "My Man's Gone Now." His young jazz-funk-rock band, though, is strong and tightly-rehearsed, having settled in after the first few months of Miles' comeback concerts. Guitarist Mike Stern sets the pace for all future Davis guitarists with his rapid-fire metallic crunching, Bill Evans contributes pertinent, if somewhat generic statements on soprano and tenor; drummer Al Foster is adept in funk and straight-ahead styles; and bassist Marcus Miller and percussionist Mino Cinelu fill out the sound. Why this expensive import was issued on two discs when its 75-minute length would easily fit on one is a conundrum that only Sony's accountants can explain.
~Richard S.Ginellhttps://www.allmusic.com/album/miles%21-miles%21-miles%21-live-in-japan-81-mw0000421169

Personnel: Miles Davis – trumpet; Marcus Miller – bass; Bill Evans – soprano saxophone; Mike Stern – guitar; Al Foster – drums; Mino Cinelu – percussion

Miles! Miles! Miles! (Live in Japan)

---

Miles Davis - The Lost Quintet

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 58:11
Size: 133,7 MB
Art: Front

( 7:18) 1. Directions
(10:27) 2. Bitches Brew
(25:26) 3. Sanctuary
(14:59) 4. Masqualero

Miles Davis (tpt), Wayne Shorter (ten, sop), Chick Corea (fender rhodes), Dave Holland (bs), Jack De Johnette (drs)

This is the long awaited release of Miles "Lost Quintet" recordings of 1969 on the occasion of its fiftieth anniversary. The recording date and venue was November 9th 1969 in Rotterdam just three months after the "Bitches Brew" original studio takes with the full band that were not released until March 1970. That incredible two disc recording followed the earlier game changer"In A Silent Way"in the same year and changed the career outcome of every single one of the players involved and as some would say "The whole face of jazz forever". The performance on this album was the last of a ten gig European tour which included two nights in London on the first and second of the month. The gathering of this core group from the earlier albums was the last ever time Miles would record with a small conventional group of instruments during the rest of his career.

The fifty eight minutes of live music here is just what you might expect from these five incredibly talented and creative musicians with the performance of Chick Corea perhaps the one that stands out slightly above the others. Things kick off with "Directions", a piece that Miles often opened up with during this period including the Copenhagen concert of the same year and released on the fortieth anniversary triple album edition of Bitches Brew and of course the subtitle of the original album. Here the rhythm instruments set the mode for the leaders fiery extended excursion into the far reaches of the trumpets capability. Wayne answers Miles, as he often did, within his self titled style of "egg scrambling" leaving no possible corner of the much hidden theme unexplored. All this rides above the increasingly violent but logical assault by Jack De Johnette on his heavy duty drum kit. Emerging from the hectic maelstrom of all that follows a re-visit to "Bitches Brew". At just over ten minutes long this seems a more considered version than the original studio recording which took up a full side on the vinyl edition. Miles opening solo, when did he ever not go first?, is almost from the fifties style, but soon drops into the more fragmented grove of the times over rolling drums along with probing inlays from Chick's keyboard plus a wonderful interlude from Wayne, again on tenor. Rampant applause ensues from the ecstatic Belgian masses.

Wayne Shorter, by common consent is a wonderful jazz composer as well as a master saxophonist. He has created some real masterpieces over the years, none greater than the wonderful "Sanctuary". This appears on a number of albums including B.B. plus a particularly fine take on Circle In The Round by the second great quintet with George Benson guesting. However none of them get such a thorough investigation as the twenty five minute plus version here. Miles is in his "Picasso like" sketching mode early on with Dave Holland in support, soon you realise that this is nothing at all like other versions of the piece as the leader upgrades both the tempo and tension over increasingly frantic drumming which continues under Wayne's soprano solo until things fall away with bass and drums having the final say. Perhaps this take is not the easiest listen of the piece, Miles always had the ability to shock and surprise and we must thank him for that. The closing cut of the album "Mastuero" is the standout track and seems to draw on many of the finest traits from earlier performances during 69. Miles un-muted solo is profound and purposeful over the rarely subdued rhythm team. Chick's contribution is hypnotic, everyone seems to be listening to each other here and although the overall style is entirely different there are times when the listener is reminded of Miles second great quintet with Coltrane. This disk is a heady reminder of the time back in the late sixties when Miles changed the shape of jazz once again, and is a valuable addition to any collection of the great man's music.~Jim Burlonghttps://www.jazzviews.net/miles-davis---the-lost-quintet.html

The Lost Quintet

---

Miles Davis - Bag's Groove

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 46:23
Size: 106,4 MB
Art: Front

(11:17)  1. Bags' Groove (Take 1)
( 9:27)  2. Bags' Groove (Take 2)
( 4:55)  3. Airegin
( 5:13)  4. Oleo
( 5:45)  5. But Not For Me (take 2)
( 4:56)  6. Doxy
( 4:45)  7. But Not For Me (take 1)

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session featuring Thelonious Monk which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. 

The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis' Sketches of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath's most impressive displays on Bags' Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags' Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc. [Some reissues include both historic takes of "Bags' Groove" as well as one additional rendering of the pop standard "But Not for Me."] ~ Lindsay Planer http://www.allmusic.com/album/bags-groove-mw0000649467

Personnel: Miles Davis (trumpet); Sonny Rollins (tenor saxophone); Milt Jackson (vibraphone); Thelonious Monk, Horace Silver (piano); Percy Heath (bass); Kenny Clarke (drums).

Bag's Groove

---

Miles Davis - Blue Period

Styles: Trumpet Jazz
Year: 1953
File: MP3@128K/s
Time: 19:04
Size: 17,9 MB
Art: Front

(9:56) 1. Bluing
(2:51) 2. Blue Room
(6:16) 3. Out Of The Blue

Blue Period is the third studio album by jazz musician Miles Davis. It was released in 1953 as a 10" LP, his second released by Prestige Records, recorded over the course of two 1951 recording sessions at New York's Apex Studio.

Bluing" and "Out of the Blue", two Davis compositions, were recorded on October 5, 1951, at the same session as the material for his first album The New Sounds (PRLP 124). "Blue Room", composed by Rodgers and Hart, was recorded earlier that year, at the same January 17 recording session as the three tracks used on the various artists LP Modern Jazz Trumpets (PRLP 113). This earlier session was Davis' first for Prestige.

The tracks on Blue Period were split when Prestige reconfigured its recordings for 12-inch LP. "Bluing" and "Out of the Blue" are featured on Dig (PRLP 7012), and two versions of "Blue Room" (including an alternate take) are on the CD of Miles Davis and Horns (originally PRLP 7025). https://en.wikipedia.org/wiki/Blue_Period_(album)

Personnel: Miles Davis – trumpet; Jackie McLean – alto saxophone; Sonny Rollins – tenor saxophone; Walter Bishop, Jr. – piano; Tommy Potter – double bass; Art Blakey – drums

On "Blue Room": Miles Davis – trumpet; Sonny Rollins – tenor saxophone; John Lewis – piano; Percy Heath – double bass; Roy Haynes – drums

Blue Period

---

Miles Davis - Merci Miles! (Live At Vienne)

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 80:15
Size: 184,5 MB
Art: Front

(15:58) 1. Hannibal
(18:10) 2. Human Nature
(10:16) 3. Time After Time
( 9:01) 4. Penetration
( 8:35) 5. Wrinkle
( 6:08) 6. Amandla
( 5:55) 7. Jailbait
( 6:08) 8. Finale (Band Only)

So great was Miles Davis' legend, so magnetic his aura, that the crowds and the adulation only increased towards the end of his lifea period when he was playing arguably the least progressive music of his career. This double-CD recording of a concert at the Jazz à Vienne Festival from 1991 is a case in point. Ten thousand people packed into the Roman amphitheatre that July evening, while another two-and-a-half thousand who had turned up without tickets were shepherded onto the terrace above the amphitheatre. The multitude shows tremendous warmth and appreciation towards Davis and his band throughout a performance which only occasionally scales the heights.

This audio is taken from concert footage shot by independent production company, Zycopolis Productions, a film which has never been released in its entirety. Nor is it clear if this CD recording represents the full concert, with Scritti Politti's "Perfect Way," and the extended blues title track from Davis' underrated Star People (Columbia, 1983) that began every other Davis concert that summer, not included in this set. Watch this space for the not improbable Merci Encore Miles! The Complete Live at Vienne CD/DVD box set, at some future date.

The sound quality, it has to be said, is a little patchy. Keyboardist Deron Johnson is often extremely faint, except when soloing, which he does with some panache. Then there is Foley a fixture of Davis' live bands between '87 and '91 whose "piccolo" bass, tuned an octave higher, is practically inaudible throughout. By contrast, electric bassist Richard Patterson's churning funk lines are a little too heavy in the mix at times. This sonic imbalance is particularly notable on the dynamic, fifteen-minute opener "Hannibal," which sparks into life when alto saxophonist Kenny Garrett unleashes a searing solo. Johnson picks up the reins in a measured, bluesy response, with Davis' sculpted phrasing supplying contrast of a more minimalist nature. Davis, who plays muted trumpet for most of the concert, is a largely peripheral presence, content to listen as he always did intently and to direct the band.

Davis sounds the key motifs and riffs back and forth with Garrett and the ghostly sounding Foley, but he leaves the heavy lifting to his band. His only extended solo of note, on "Human Nature," however, is a fine one, imbued as it is with a spare yet haunting lyricism that would not have seemed out of place on In A Silent Way (Columbia, 1969). In the CD-booklet essay Ashley Kahn observes that you could take a Davis solo from '49 or '91 and "it's the same material, the same feeling, the same Miles" and he has a point. Davis may have lacked puff in the twilight of his career trumpeter Wallace Roney carried the load on Davis' famous revisiting of his orchestral music from the Gil Evans years at the Montreux Jazz Festival, just a week after this Vienne concert but his signature sound during this eighty-minute recording remains intact, albeit a little thinner.. On Cyndi Lauper's "Time After Time" Davis' playing is relaxed, his delivery tender, though when he removes the mute his tone is warmer and more assured. Prince's "Penetration" is a funk-fuelled vehicle for Johnson and Garrett, with Patterson and drummer Ricky Wellman maintaining an unwavering groove.

The second disc which weighs in at just twenty-five minutes duration kicks off with "Wrinkle," with Davis, sans mute, at his most animated. What begins as a fairly generic funk exercise suddenly shifts up a gear into double-time terrain, with Davis and Garrett locked in bebop unison to the delight of the crowd. "Amandla" flits between mid- tempo funk with a striking solo from Johnson and bluesy balladry, with Davis reunited with his mute. The trumpeter's phrasing brooding, melancholy and quite gorgeous evokes the atmosphere of Ascenseur pour l'échafaud (Fontana, 1958), the soundtrack Davis composed for French director Louis Malle's acclaimed film noir. Another Prince-penned tune, the blues-funk "Jailbait" is little more than a slow groove over which Johnson on Hammond-esque organ and Garrett take turns to stretch out. "Finale" concludes the set with a six-minute drum feature for the hard-working Wellman. On one level it is something of an anti-climax and seems like an odd way to sign off, but then Davis always loved his drummers.

There is plenty of energy coming from both the stage and the audience in what was clearly a significant occasion for those in attendance. Beautifully packaged, this triple gatefold is handsomely adorned on the interior with the colors of the French tricolour -an acknowledgement of Davis' enduring fondness for France. Whilst perhaps not essential listening, Merci Miles!: Live at Vienne certainly has its moments. And it is an important historical document, marking as it does the most complete recording from Davis' final tour, at time of writing.

Personnel: Miles Davis: trumpet; Kenny Garrett: saxophone, alto; Deron Johnson: keyboards; Foley: guitar; Richard Patterson: bass, electric; Ricky Wellman: drums.

Merci Miles! (Live At Vienne)

---

Miles Davis Quintet - Steamin'

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 40:11
Size: 92,3 MB
Art: Front

(9:06) 1. Surrey with the Fringe on Top
(6:10) 2. Salt Peanuts
(6:17) 3. Something I Dreamed Last Night
(7:52) 4. Diane
(6:20) 5. Well, You Needn't
(4:24) 6. When I Fall in Love

Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin', Relaxin', Workin', and ultimately, Steamin'. A primary consideration of these fruitful sessions is the caliber of musicians Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo's musical group mind. The end results are consistently astonishing. At the center of Steamin', as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians.

"Surrey With the Fringe on Top" is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their "Salt Peanuts." Philly Joe Jones' mimicking cymbal speak which replicates Gillespie's original vocals is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin', it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.~ Lindsay Planer https://www.allmusic.com/album/steamin-with-the-miles-davis-quintet-mw0000191715

Personnel: Miles Davis – trumpet; John Coltrane – tenor saxophone (except 3 and 6); Red Garland – piano; Paul Chambers – bass; Philly Joe Jones – drums

Steamin'

---

Charlie Parker - The Savoy 10-inch LP Collection Disc 1, 2, 3, 4

Album: The Savoy 10-inch LP Collection Disc 1
Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 22:37
Size: 52,6 MB
Art: Front

(3:17) 1. Now's The Time
(2:35) 2. Donna Lee
(2:47) 3. Chasin' The Bird
(3:10) 4. Red Cross
(2:57) 5. Ko-Ko
(2:37) 6. Warmin' Up A Riff
(2:45) 7. Half Nelson
(2:24) 8. Sipping At Bells

---

Album: The Savoy 10-inch LP Collection Disc 2
Time: 22:42
Size: 52,8 MB

(3:11) 1. Billie's Bounce
(3:00) 2. Cheryl
(2:38) 3. Milestones
(2:41) 4. Another Hair-Do
(2:58) 5. Thriving From A Riff
(2:32) 6. Buzzy
(2:53) 7. Little Willie Leaps
(2:45) 8. Klaunstance

---

Album: The Savoy 10-inch LP Collection Disc 3
Time: 17:13
Size: 40,0 MB

(2:53) 1. Bluebird
(2:38) 2. Bird Gets The Worm
(3:04) 3. Parker's Mood
(3:06) 4. Steeplechase
(2:34) 5. Perhaps
(2:55) 6. Tiny's Tempo

---

Album: The Savoy 10-inch LP Collection Disc 4
Time: 16:16
Size: 37,9 MB

(2:29) 1. Constellation
(2:27) 2. Merry Go Round
(3:12) 3. Confirmation
(2:30) 4. Barbados
(2:53) 5. Ah-Leu-Cha
(2:42) 6. Marmaduke

Charlie Parke is one of the most important musicians in jazz history and a household name even for people who never listen to jazz. His music is like a textbook for aspiring jazz musicians, and it still sounds modern even after more than a half century since its creation. 2020 marks the centennial of Parker's birth, and to help commemorate the anniversary, Craft Recordings has released a vinyl box set containing the first four "The New Sounds in Modern Music" series, featuring recordings from 1944-1948. Without question, this is essential listening for anyone who wants to get a taste of some of Parker's most influential sessions. As the liner notes say, these are "the breakthrough recordings that essentially defined bebop."

Of course, these recordings have been reissued many times over the years, so what makes this release so special? Well, there are a few points to consider... First, the set contains exact replicas of the Savoy 10-inch album releases. Everything is precisely reproduced down to the last detail. As the liner notes mention, the producers "intentionally left any typographical errors intact for the sake of historical, rather than factual, accuracy." Just taking these discs out of their sleeves and putting them on a turntable is an experience you can't reproduce in a digital format. Next, the sound quality is excellent. The tracks have been remastered, and each has impressive fidelity considering that they were originally recorded during the 1940s. Along with the overall sound, the songs are genuine classics. The set contains Parker standards such as "Billie's Bounce," Ko-Ko," "Now's the Time," and "Donna Lee," and he is accompanied by musicians such as Miles Davis, Dizzy Gillespie, Bud Powell, Max Roach and Tiny Grimes.

Finally, the set contains a booklet with excellent liner notes by Grammy-winning writer, Neil Tesser. He not only provides background information into the recordings, but also discusses Parker's continued influence on contemporary artists. Of course, some might wonder why these albums are being released on 10-inch discs rather than the more conventional 12-inch versions. Tesser explains that at the time these recordings originally came out, "the 10-inch records vastly outsold their larger cousins." Packaging the reissue albums in the original format seems to give a more authentic feel of the overall package. For jazz vinyl collectors, this set is about as cool as it gets.~ Kyle Simpler https://www.allaboutjazz.com/the-savoy-10-inch-lp-collection-charlie-parker-craft-recordings

Personnel: Charlie Parker: saxophone, alto; Miles Davis: trumpet; Dizzy Gillespie: trumpet; Bud Powell: piano; Max Roach: drums.

The Savoy 10-inch LP Collection Disc 1, Disc 2, Disc 3, Disc 4

---

Miles Davis - Star People

Styles: Trumpet Jazz
Year: 1983
File: MP3@320K/s
Time: 58:53
Size: 135,6 MB
Art: Front

(11:03)  1. Come Get It
(10:07)  2. It Gets Better
( 8:33)  3. Speak
(18:46)  4. Star People
( 5:51)  5. U 'n' l
( 4:30)  6. Star on Cicely

On this 1983 release, Miles Davis rediscovers the blues. He really stretches out on "Star People," making dramatic use of silence and placing each note carefully. "Come Get It" is also memorable although "U 'n' I" (which had the potential to catch on) is only heard in a truncated version. In general Davis is in fine form on this set and, although saxophonist Bill Evans is barely heard from (many of his solos were edited out), the contrasting guitars of Mike Stern and John Scofield hold one's interest. ~ Scott Yanow https://www.allmusic.com/album/star-people-mw0000023240

Personnel: Miles Davis – trumpet, keyboards; John Scofield – electric guitar; Mike Stern – electric guitar; Bill Evans – tenor & soprano saxophone; Marcus Miller – electric bass; Tom Barney – electric bass; Al Foster - drums; Gil Evans – arranger (uncredited)

Star People

---

Miles Davis - Seven Steps To Heaven

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 57:09
Size: 131,6 MB
Art: Front

(10:27)  1. Basin Street Blues
( 6:23)  2. Seven Steps to Heaven
( 6:43)  3. I Fall In Love Too Easily
( 6:58)  4. So Near, So Far
( 8:25)  5. Baby Won't You Please Come Home
( 6:58)  6. Joshua
( 5:09)  7. So Near, So Far
( 6:02)  8. Summer Night

Seven Steps to Heaven finds Miles Davis standing yet again on the fault line between stylistic epochs. In early 1963, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb left to form their own trio, and Davis was forced to form a new band, which included Memphis tenor player George Coleman and bassist Ron Carter. When Davis next entered the studio in Hollywood, he added local drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on the road with Davis. It's easy to see why Davis liked Feldman, who contributed the dancing title tune and "Joshua" to the session. On three mellifluous standards  particularly a cerebral "Basin Street Blues" and a broken-hearted "I Fall in Love Too Easily" the pianist plays with an elegant, refined touch, and the kind of rarefied voicings that suggest Ahmad Jamal. Davis responds with some of his most introspective, romantic ballad playing. When Davis returned to New York he finally succeeded in spiriting away a brilliantly gifted 17-year-old drummer from Jackie McLean: Tony Williams. On the title tune you can already hear the difference, as his crisp, driving cymbal beat and jittery, aggressive syncopations propel Davis into the upper reaches of his horn. On "So Near, So Far" the drummer combines with Carter and new pianist Herbie Hancock to expand on a light Afro-Cuban beat with a series of telepathic changes in tempo, texture, and dynamics. Meanwhile, Feldman's "Joshua" (with its overtones of "So What" and "All Blues") portends the kind of expressive variations on the basic 4/4 pulse that would become the band's trademark, as Davis and Coleman ascend into bebop heaven. ~ Rovi Staff https://www.allmusic.com/album/seven-steps-to-heaven-mw0000188023

Personnel: Miles Davis – trumpet; George Coleman – tenor saxophone; Victor Feldman – piano; Ron Carter – bass; Frank Butler – drums; Herbie Hancock – piano;  Tony Williams – drums

Seven Steps To Heaven

---

Coleman Hawkins - Hollywood Stampede

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 48:42
Size: 114,2 MB
Art: Front

(2:57)  1. April In Paris
(2:56)  2. Rifftide
(3:16)  3. Stardust
(3:03)  4. Stuffy
(3:11)  5. Hollywood Stampede
(3:15)  6. I'm Thru With Love
(3:21)  7. What Is There To Say?
(3:08)  8. Wrap Your Troubles In Dreams
(2:54)  9. Too Much Of A Good Thing
(3:07) 10. Bean Soup
(2:51) 11. Someone To Watch Over Me
(3:07) 12. It's The Talk Of The Town
(3:06) 13. Isn't It Romantic?
(2:36) 14. Bean-A-Re-Bop
(2:50) 15. The Way You Look Tonight
(2:56) 16. Phantomesque

Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. 

This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis. ~ Scott Yanow https://www.allmusic.com/album/hollywood-stampede-mw0000203302

Personnel:  Tenor Saxophone – Coleman Hawkins; Alto Saxophone – Howard Johnson (6) (tracks: 13 to 16); Bass – John Simmons (tracks: 9 to 12), Oscar Pettiford (tracks: 1 to 8); Bass [Probably] – Curley Russell (tracks: 13 to 16); Drums – Denzil Best (tracks: 1 to 12); Drums [Probably] – Max Roach (tracks: 13 to 16); Guitar – Allan Reuss (tracks: 1 to 12); Piano – Hank Jones (tracks: 13 to 16), Sir Charles Thompson (tracks: 1 to 12); Trombone – Kai Winding (tracks: 13 to 16), Vic Dickenson (tracks: 5 to 8); Trumpet – Howard McGhee (tracks: 1 to 12), Miles Davis (tracks: 13 to 16)

Hollywood Stampede

---

Miles Davis - Miles In The Sky

Styles: Trumpet And Cornet Jazz
Year: 1968
File: MP3@320K/s
Time: 51:12
Size: 117,7 MB
Art: Front

(17:03)  1. Stuff
(12:45)  2. Paraphernalia
( 7:30)  3. Black Comedy
(13:52)  4. Country Son

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. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/miles-in-the-sky-mw0000652711

Personnel:  Miles Davis – trumpet, cornet on "Stuff" and "Country Son";  Wayne Shorter – tenor saxophone;  Herbie Hancock – piano, electric piano on "Stuff";  Ron Carter – bass, electric bass on "Stuff";  Tony Williams – drums;  George Benson – electric guitar on "Paraphernalia"

Miles In The Sky

---

Various - A Life In Time: The Roy Haynes Story (2 parts)

The litany of names that drummer Roy Haynes has worked with in his half-century long career reads like a history of modern jazz, and includes such undeniable luminaries as Lester Young, Bud Powell, Charlie Parker, Miles Davis, Thelonious Monk, Eric Dolphy, Stan Getz, Jackie McLean, Chick Corea, Alice Coltrane, and John Coltrane, all of whom are represented on this three-disc (there is a fourth DVD disc that adds interviews and videos of live shows) survey of Haynes' musical life and times. Spanning 1949 through 2006, at 37 tracks this set only begins to scratch the surface of what Haynes has contributed to jazz, of course, but it is both an ideal starting point and a capsule survey of those contributions. A must for fans and those in the know, but even the most casual listener will be impressed.

Album: A Life In Time: The Roy Haynes Story Part 1
Bitrate: MP3@320K/s
Time: 86:28
Size: 197.9 MB
Styles: Bop
Year: 2007

[2:26] 1. Lester Young - Ding Dong
[3:00] 2. Bud Powell - Bouncin' With Bud
[3:02] 3. Charlie Parker - My Little Suede Shoes
[2:21] 4. Miles Davis - Morpheus
[2:50] 5. Miles Davis - Down
[2:30] 6. Sonny Rollins - I Know
[4:54] 7. Charlie Parker - I'll Walk Alone
[2:38] 8. Sarah Vaughan - Shulie A Bop
[3:32] 9. Nat Adderley - Two Brothers
[2:38] 10. Sarah Vaughan - How High The Moon
[4:20] 11. Roy Haynes - Reflection
[9:27] 12. Thelonious Monk Quartet - Rhythm A Ning
[3:49] 13. Etta Jones - Don't Go To Strangers
[5:41] 14. Eric Dolphy Quintet - On Green Dolphin Street
[2:28] 15. Stan Getz - I'm Late, I'm Late
[8:44] 16. Oliver Nelson - Stolen Moments
[4:40] 17. Roy Haynes Quartet - Long Wharf
[4:07] 18. Roy Haynes Quartet - Snap Crackle
[9:03] 19. Jackie Mclean - Esoteric
[4:09] 20. John Coltrane Quartet - After The Rain

A Life In Time: The Roy Haynes Story Part 1 mc
A Life In Time: The Roy Haynes Story Part 1 zippy

---

Album: A Life In Time: The Roy Haynes Story Part 2
Bitrate: MP3@320K/s
Time: 127:03
Size: 290.8 MB
Styles: Bop
Year: 2007
Art: Front

[ 6:53] 1. Andrew Hill - Black Fire
[ 7:53] 2. Jack Dejohnette - Poppa Daddy And Me
[ 6:27] 3. Chick Corea - Matrix
[11:41] 4. Alice Coltrane - Transfiguration
[ 3:02] 5. Michel Petrucciani - Little Peace In C For U
[ 6:22] 6. Gary Burton - Question And Answer
[17:20] 7. John Coltrane - My Favorite Things
[ 4:35] 8. Roy Haynes - James
[ 4:24] 9. Roy Haynes - Equipoise
[ 7:15] 10. Roy Haynes - After Sunrise
[ 7:01] 11. Roy Haynes - My Heart Belongs To Daddy
[ 5:55] 12. Roy Haynes - Vistalite
[ 6:43] 13. Roy Haynes - Water Children
[ 7:36] 14. Roy Haynes - Brown Skin Girl
[ 8:19] 15. Roy Haynes - Greensleeves
[ 6:53] 16. Roy Haynes & The Fountain Of Youth Band - Hippidy Hop
[ 8:37] 17. Roy Haynes & The Fountain Of Youth Band - Segment

A Life In Time: The Roy Haynes Story Part 2 mc
A Life In Time: The Roy Haynes Story Part 2 zippy

---

Miles Davis - Birdland 1951

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Bop, Trumpet jazz
Year: 2004
Art: Front

[ 6:11] 1. Move
[ 7:31] 2. Half Nelson
[ 7:11] 3. Down
[ 5:51] 4. Out Of The Blue
[ 7:40] 5. Half Nelson
[ 6:42] 6. Tempus Fugit
[12:08] 7. Move
[ 8:36] 8. The Squirrel
[ 5:29] 9. Lady Bird

Bass – Charles Mingus, Tommy Potter; Drums – Art Blakey; Piano – Billy Taylor, Kenny Drew; Tenor Saxophone – Big Nick Nicholas, Eddie "Lockjaw" Davis, Sonny Rollins; Trombone – J.J. Johnson; Trumpet – Miles Davis.

These nine tracks, taken from radio broadcasts from the legendary Birdland in 1951, represent a particularly fruitful period in Miles Davis' development as a bandleader. There are three different broadcasts included here; two comprising six cuts in total were from June and September and have been issued in various forms on bootlegs over the decades. Four cuts, however, taken from a broadcast on February 17, have never been available in any form and it is these as well the marginally better fidelity of the entire set that makes this worth owning for Miles freaks -- and only Miles freaks. The sextet on the February and June dates included J.J. Johnson, Sonny Rollins, Art Blakey, Tommy Potter, and Kenny Drew. In September, Charles Mingus, Eddie "Lockjaw" Davis, Billy Taylor, and Big Nick Nicholas joined Davis and Blakey. The fidelity here is listed on the sleeve as "primitive." That's a nice way to say it sucks bad. These are better than Charlie Parker's Dean Benedetti recordings, but not by much. Soundwise, the best that can be said is that one can hear all of the instruments. The performances, however, particularly as delineated in the three different versions of the cut "Move," are stellar. They are inspired, furious, and cutting. Rollins outdoes himself in the June performance of the cut, and the latter band transforms it entirely. For the record, it is the only duplicate selection. Also, the live version of "Tempus Fugit," with its knotty head and punched-up rhythm, is revelatory in the manner of arrangement for those days and points a solid direction for the immediate future -- check the tempos and structure of the solo breaks on the September session for evidence. While this set is exclusively for those Miles fans who have to have absolutely everything, it is nonetheless worth it for those who have the bootlegs because of the heightened fidelity and the new session. ~Thom Jurek

Birdland 1951

---