Miles Davis / Jimmy Forrest - Our Delight (1952)

Miles Davis / Jimmy Forrest - Our Delight (1952)

jazz | 1cd | eac-flac-cue-log-cover | 280MB

Prestige

allmusic:
In 1992, Prestige/Fantasy combined both of Miles Davis' Live at the Barrel LPs on a 74-minute CD titled Our Delight. For hardcore collectors, the release of Our Delight was very good news. However, there are various reasons why this CD can hardly be called essential. The performances, which find Davis and tenor saxman Jimmy Forrest joining forces in a St. Louis club called the Barrel, are competent and likable but not mind-blowing. And the sound quality, although listenable, is not great (by early-'50s hi-fi standards). So when you add those things up, there is no way that Our Delight should be recommended to anyone who isn't a serious collector. Nonetheless, these performances are not without historic value. Davis and Forrest (who are joined by a St. Louis rhythm section that consists of pianist Charles Fox, bassist John Mixon, drummer Oscar Oldham, and an unknown percussionist) did not play together very much, and Our Delight gives listeners a rare chance to hear them playing side by side on familiar standards like "All the Things You Are," Tadd Dameron's "Our Delight," and Dizzy Gillespie's "A Night in Tunisia." The CD also contains a dusky performance of the ballad "What's New," although ballads are not a high priority. And the type of funky, groove-oriented soul-jazz and honker music that Forrest was famous for is excluded; the musicians don't perform "Night Train" (the saxman's biggest hit), and they stick to a bop/standards program. Our Delight certainly isn't bad, but it doesn't deserve five-star praise either (unlike much of the bop and cool work that Davis offered in the '50s). Even so, collectors will find Our Delight to be interesting -- shortcomings, flaws, and all.

Tracks
-1. "Ray's Idea" - Brown, Fuller, Fuller - 8:39
-2. "A Night in Tunisia" - Gillespie, Paparelli - 8:25
-3. "Wee Dot" - Johnson - 10:52
-4. "What's New?" - Burke, Haggart - 7:30
-5. "Perdido" - Drake, Lengsfelder, Tizol - 9:27
-6. "All the Things You Are" - Hammerstein, Kern - 10:08
-7. "Our Delight" - Dameron - 7:25
-8. "Lady Bird" - Dameron - 6:45
-9. "Oh, Lady Be Good" - Gershwin, Gershwin - 4:17

Personnel
* Miles Davis (trumpet)
* Jimmy Forrest (tenor saxophone
* Charles Fox (piano)
* Johnny Mixon (bass)
* Oscar Oldham (drums)

sample & buy: Our Delight

 

Miles Davis - Live In Copenhagen & Rome (1969) (music video)

Miles Davis - Live In Copenhagen & Rome (1969)

jazz | DVD5 NTSC | DD 2.0 | iso, cover | 4200MB

JazzShots 2008

ejazzlines:
For the first time on DVD are two concerts from one of Miles' great later quintets, with Wayne Shorter, Chick Corea, Dave Holland, and Jack DeJohnette.
Filmed live at Tivoli Koncertsal in Copenhagen on November 4, 1969, and from teatro Sistine in Rome on October 27, 1969.
Note: The Copenhagen part of this show is of questionable quality, but remains a valuable document of a classic Miles group. The Rome footage is closer to the quality expected today.

Tracks
-01. Bitches Brew (Copenhagen)
-02. Agitation (Copenhagen)
-03. I Fall In Love Too Easily (Copenhagen)
-04. Sanctuary (Copenhagen)
-05. It's About That Time into The Theme (Copenhagen)
--
-06. Bitches Brew (Rome)
-07. Miles Runs The Voodoo Down (Rome)
-08. I Fall In Love Too Easily (Rome)
-09. Sanctuary into The Theme (Rome)
-10. Directions (Rome)
-11. Masquelero (Rome)
81 mins

Personnel
* Miles Davis - Trumpet
* Wayne Shorter - Tenor and Soprano Sax
* Chick Corea - Electric Piano and Keyboards
* Dave Holland - Bass
* Jack DeJohnette - Drums

buy: Miles Davis Live in Copenhagen & Rome 

Miles Davis & John Coltrane - Live in New York (1958-59) (eac-log-cover)

Miles Davis & John Coltrane - Live in New York (1958-59)

jazz | 1cd | eac-flac-cue-log-cover | 250MB

Jazzdoor | JD1242

Amazon:
I'm please to announce that this one is actually good, at least the perfomance. Must be around the time of "Kind of Blue" and "Round Midnight" - sparce album notes - the gang from those albums is intact here. Miles has the modal, lyrical Bill Evans on piano. And a mellow Coltrane really listens here to what others are playing. And the great Miles himself, slightly sad and melancholy and tuneful with that Harmon mute. They still seem to LOVE the music.
A tuneful version of "Bye Bye Blackbird", not sped up. Miles quotes from "Maria" from Westside Story. "It Never entered my Mind" - Miles invests himself emotionally in the playing. "So What!" played in the better walking tempo.
The only problem, of course, is the recording, which is flat and two dimensional. CD was cut from an LP, not a master tape! Sounds like a cheap tape recorder or a cheap mike. But I've heard much worse recordings of Davis.
But don't let that keep you away from what is otherwise great songs and great performances.

Tracks
-1. "Bye Bye Blackbird" - Dixon, Henderson - 6:48
-2. "Four" - Davis - 4:49
-3. "It Never Entered My Mind" - Hart, Rodgers - 3:48
-4. "Walkin'" - Carpenter - 6:28
-5. "Milestones" - Davis - 9:23
-6. "So What" - Davis - 8:50
Track #3: Cafe Bohemia, NYC, July 13, 1957
Tracks #1, 2, 4, 5: Cafe Bohemia, NYC, May 17, 1958
Track #6: The Robert Herridge Theatre, CBS-TV, April 2, 1959

Personnel
on track #3: Miles Davis: trumpet; Red Garland: piano; Paul Chambers: bass; Art Taylor: drums.
on track #1, 2, 4, 5: Miles Davis: trumpet; John Coltrane: tenor saxophone; Bill Evans: piano; Paul Chambers: bass; Philly Joe Jones: drums.
on track #6: Miles Davis: trumpet; John Coltrane: tenor saxophone; Wynton Kelly: piano; Paul Chambers: bass; Jimmy Cobb: drums.

sample & buy: Live in New York

Miles Davis - Dark Magus: Live At Carnegie Hall (1974) (20-bit SBM) (eac-log-cover)

Miles Davis - Dark Magus: Live At Carnegie Hall (1974)

jazz | 2cd | eac-flac-cue-log-cover | 790MB

Columbia/Legacy | 20-bit SBM

Allmusic:
Dark Magus is a live recording of a very specific 1974 Carnegie Hall date that included most, but not all, of the members who recorded the classics Agharta and Pangaea. While drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, and guitarists Pete Cosey and Reggie Lucas were all present, the key element of Sonny Fortune was not yet in the band. Saxophonists David Liebman and Azar Lawrence were doubling in the saxophone chairs, while Dominique Gaumont, with his Jimi Hendrix-styled effects and riffs, was the band's third guitarist. The deep voodoo funk that gelled on the aforementioned recordings hadn't yet come together on this night at Carnegie, near the end of a tour. Featuring four titles, all of them Swahili names for the numbers one through four, Dark Magus is a jam record. In his liner notes to the CD issue, Liebman explains that this wasn't the band at its best -- perhaps he was referring to his playing, which is certainly unimaginative compared to what the rest of the band is laying down chromatically. By this point, Miles was no longer really rehearsing his bands; they showed up and caught a whiff of what he wanted and went with it. Rhythms, colors, keys -- all of them would shift and change on a whim from Davis. There were no melodies outside of a three-note vamp on "Wili" and a few riff-oriented melodics on "Tatu" -- the rest is all deep rhythm-based funk and dark groove. Greasy, mysterious, and full of menacing energy, Dark Magus shows a band at the end of its rope, desperate to change because the story has torn itself out of the book, but not knowing where to go, turning in on itself. These dynamics have the feel of unresolved, boiling tension. Gaumont's effects-laden guitar playing overshadows the real guitarists in the band: Cosey and his partner, the rhythmically inventive Lucas. Gaumont doesn't fit naturally, so he tries to dazzle his way in -- check the way Miles cuts his solos off so abruptly while letting the others dovetail and segue. Ultimately, Dark Magus is an over-the-top ride into the fragmented mind of Miles and his 1974 band; its rhythm section is the most compelling of any jazz-rock band in history, but the front lines, while captivating, are too loose and uneven to sustain the listener for the entire ride.

Tracks
cd1
-1. "Moja, Pt. 1" – 12:28
-2. "Moja, Pt. 2" – 12:40
-3. "Wili, Pt. 1" – 14:20
-4. "Wili, Pt. 2" – 10:44
cd2
-1. "Tatu, Pt. 1" – 18:47
-2. "Tatu, Pt. 2" – 6:29
-3. "Nne, Pt. 1 " – 15:19
-4. "Nne, Pt. 2 " – 10:11

Personnel
* Miles Davis – organ, electric trumpet with Wah Wah
* Dave Liebman – flute, soprano saxophone, tenor saxophone
* Azar Lawrence – tenor saxophone
* Pete Cosey – electric guitar, Synthesizer
* Reggie Lucas – electric guitar
* Dominique Gaumont – electric guitar
* Michael Henderson – electric bass
* Al Foster – drums
* James Mtume – percussion

sample & buy: Dark Magus: Live At Carnegie Hall

Miles davis - Bag's Groove (1954) (RVG & XRCD) (eac-log-cover)

Miles davis - Bag's Groove (1954)

jazz | 1 + 1cd | eac-flac-cue-log-cover
-------

Prestige | RVG 24-bit remaster 2007 | 250MB

JVC XRCD 20-bit K2 1998 | 325MB

Allmusic:
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. The remastered CD includes both historic takes of "Bag

Tracks
-1. "Bags' Groove" (Milt Jackson) [take 1] – 11:12
-2. "Bags' Groove" [take 2] – 9:20
-3. "Airegin" (Sonny Rollins) – 4:57
-4. "Oleo" (Rollins) – 5:10
-5. "But Not for Me" (George Gershwin) [take 2] – 4:34
-6. "Doxy" (Rollins) – 4:51
-7. "But Not for Me" [take 1] – 5:42

Personnel
* Miles Davis - Trumpet
* Sonny Rollins - Tenor saxophone
* Horace Silver - Piano
* Percy Heath - Bass
* Kenny Clarke - drums
* Milt Jackson - Vibraphone
* Thelonious Monk - Piano

sample & buy: Bag's Groove (XRCD)

sample & buy: Bag's Groove (RVG)

Miles Davis - Olympia 11 Juillet 1973 Live (eac-log-cover)

Miles Davis - Olympia 11 Juillet 1973 Live

jazz | 1cd | eac-flac-cue-log-cover | 460MB

Trema/Sony

Allmusic:
Of Miles Davis's numerous live releases from the 1970s, this one rates as less essential, but it does provide further insight into the fascinating chronology of Davis' music as he entered the final stages of his pre-retirement "electric period." The band heard here includes drummer Al Foster, electric bassist Michael Henderson, electric guitarists Pete Cosey and Reggie Lucas, percussionist Mtume, and saxophonist Dave Liebman. Several of these players are heard to better effect one year earlier on the more colorful and varied In Concert: Live at Philharmonic Hall recording, which featured material from On the Corner, A Tribute to Jack Johnson, and Get Up With It. By 1973, Davis' music had increasingly focused on mesmerizing static harmonies, electronics, and dense polyrhythmic layers that danced around the core of Foster's surging beats and Henderson's subterranean throb. The themes are noticeably shorter, sometimes only a few notes, and tempo/key changes are less frequent than earlier electric period models. From this cauldron often came solos of considerable potency, even anguish. Dave Liebman plays particularly well here, as does Davis with his wah pedal underfoot. Cosey was a relatively recent addition to this lineup and had yet to unleash the stunning, detuned meltdowns heard shortly hereafter. Instead, his soloing is more spacious and overtly blues-based, while Lucas counters with slices of deep funk. This recording clearly illuminates a path to the material heard -- more fully realized and better recorded -- on Dark Magus, Agharta, and Pangaea. Unfortunately, the sound quality is erratic; instruments occasionally disappear and the mono mix is inconsistent, although it does eventually settle in. The recording does not reliably capture the dense tapestry of sound and rhythm that this ensemble created. Most of the tracks are incorrectly or haphazardly titled. For instance, the "Ife" listed here bears no resemblance to the studio version heard on Big Fun. Despite these flaws, this recording is certainly recommended for completists, although the above-mentioned recordings offer better representations of this incendiary music.

Tracks:
-1. Medley 31:08
-2. IFE 17:02
-3. Unidentified 23:13

Personnel:
*Miles Davis - Trumpet, organ
*David Liebman - Tenor & Soprano Sax, flute
*Pete Cosey - Guitar
*Reggie Lucas - Guitar
*Michael Henderson - Electric Bass
*Al Foster - Drums
*James "Mtume" Foreman - Percussion

sample & buy: Live Olympia 07/11/1973

Miles Davis - What I Say, v1-2 (live) (1971) (eac-log-cover)

Miles Davis - What I Say, v1-2 (1971)

jazz | 2cd | eac-flac-cue-log-cover | 750MB

JMY | rel: 1994

v1
1. Directions - 15:31
2. Honky Tonk - 13:18
3. What I Say - 16:20
4. Sanctuary - 3:21
5. It's About That Time - 17:38

recorded at the Wiener Konzerthaus, Wienna November 5, 1971

Miles Davis: Trumpet
Gary Bartz: Alto sax, Soprano sax
Keith Jarrett: Electric piano, organ
Mike Henderson: Electric bass
Leon Chancler: drums
Don Alias: Congas
James "Mtume" Foreman: Percussion

v2
1. Yesternow, part3 - 14:14
2. Funky Tonk - 19:30
3. The "Sanctuary" Theme - 1:18
4. Directions - 9:28
5. Honky Tonk - 12:45
6. What I Say - 9:20

Songs 1-3 recorded at the Wiener Konzerthaus, Vienna, November 5, 1971
Songs 4-6 recorded at the Fillmore West, SF October 17, 1970

Gary Bartz: Alto sax, Soprano sax
Keith Jarrett: Electric piano, organ
Mike Henderson: Electric bass
Leon Chancler: drums (1-3)
Don Alias: congas (1-3)
James Mtume Foreman (1-3)
Jack DeJohnette: drums (4-6)
Jim Riley "Jumma Santos": congas (4-6)
Airto Moreira: percussion (4-6).

sample & buy v1

sample & buy v2

rc

Cannonball Adderley - Somethin' Else (1958) (MFSL) (eac-log-cover)

Cannonball Adderley - Somethin' Else (1958) (MFSL)

jazz | 1cd | eac-ape-cue-log-cover | 310MB

MFSL UDCD | rar +5% recovery

AMG:
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue — aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, ""Alison's Uncle,"" closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming ""Dancing in the Dark"" as the final track). In many ways it's a surprise that this track was left off originally — it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem — certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection.

Tracks:
01. Autumn Leaves - 10:59
02. Love for Sale - 7:04
03. Somethin' Else - 8:14
04. One for Daddy-O - 8:25
05. Dancing in the Dark - 4:07
06. Alison's Uncle [bonus] - 5:03

Personnel:
Art Blakey (Drums)
Cannonball Adderley (Sax)
Hank Jones (Piano)
Miles Davis (Trumpet)
Sam Jones (Bass)

sample & buy

rc

---> Somethin' Else RVG version here <---

Cannonball Adderley - Somethin' Else (1958) (RVG) (eac-log-cover)

Cannonball Adderley - Somethin' Else (1958) (RVG)

jazz | 1cd | eac-flac-cue-log-cover | 340MB

Blue Note | RVG remaster | rar +5% recovery

AMG:
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, "Alison's Uncle," closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming "Dancing in the Dark" as the final track). In many ways it's a surprise that this track was left off originally -- it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem -- certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection. [This RVG edition corrects the name of the bonus track "Alison's Uncle" that appeared on earlier CD editions; the correct title of this track is "Bangoon."]

Tracks:
01. Autumn Leaves - 10:59
02. Love for Sale - 7:04
03. Somethin' Else - 8:14
04. One for Daddy-O - 8:25
05. Dancing in the Dark - 4:07
06. Bangoon [bonus] - 5:09

Personnel:
Art Blakey (Drums)
Cannonball Adderley (Sax)
Hank Jones (Piano)
Miles Davis (Trumpet)
Sam Jones (Bass)

sample & buy

rc

---> Somethin' Else MFSL UDCD version here <---

Miles Davis & John Coltrane - Konserthuset Stockholm (1960)

Miles Davis & John Coltrane - Konserthuset Stockholm (1960)

jazz | 1CD | EAC Rip | FLAC+CUE+LOG | cover | 410MB
Giants of Jazz | rec. 1960 | RAR +5% recovery

Live March 22, 1960
Miles davis - John Coltrane - Winton kelly - Paul Chambers - Jimmy Cobb

01 - So What
02 - Fran-Dance
03 - All Blues, The Theme
04 - On Green Dolphin Street
05 - Walkin', The Theme

playing time:70'49"

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