Re: Miles Davis Discography Download Torrent
Gerarda Zmuda
For unissued sessions, or if you prefer to see things organized by session rather than by recording, use the sessions list elsewhere on this site. To browse the discography by label or record type, use the label-by-label list.
The wonderful Post-Bop album Miles Smiles (1967) was recorded by Davis's second great quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. The album showcases Davis' deeper exploration of modal performance with looser forms, tempos, and meters. Although it did not follow the conventions of Bop, the album did not follow the formlessness of Free Jazz.
Miles Smiles received critical acclaim upon its release, and was praised for its original compositions, the quintet's chemistry and playing, and Davis's phrasing. The album was a.o. called 'essential...one of the quintet's best albums' and cited "Footprints" and "Dolores" as 'all-time great jazz compositions'.
In the movie _Jerry Maguire_, the babysitter gives Jerry a tape of
Miles Davis and John Coltrane recorded live somewhere in northern
Europe in the late 1950's or early 1960's. Who can tell me which
recording? I'd like to buy a copy.I looked on the _Jerry Maguire_ web site and found nothing. It's
certainly not in the soundtrack.I found a Miles Davis discography site that listed, among many others,
these recordings:Live in Stockholm, 1960, Dragon DRCD 228
Live - Tivoli's Konsertsad, Copenhagen, Royal Jazz RJD 501
Live in Zurich 1960, Jazz Unlimited JUCD 2031
Live in Holland, Century/Stach CECC 00093Maybe it's one of them?David TalmagePS- I asked this question in rec.arts.movies.current-films and no one
knew the answer.
So, what did Columbia do? They replaced the cover with what is, in my opinion, the least visually pleasing of all the album covers in Davis' official discography. It is a drab cover with a generic image of Miles blowing his horn, and to my eyes the way the text is laid out makes for an awkward reading of the title and artist information. Compare it even with the other two Evans/Davis collaborations, Porgy & Bess and Sketches Of Spain, and it's obvious the new artwork was rushed out with no regard for aesthetics. I must have passed over Miles Ahead a hundred times in my early years of digging through the racks, figuring no album with that artwork could possibly be any good.
I'd say that Miles Ahead is certainly deserving of it's status as a "classic" in the discography of MIles Davis if for no other reason that it marks a defined period in the many phased career of the legendary trumpeter. It deserves a listen by any jazz fan, but whether it will become a favorite (or even if it will make it into a heavy rotation) will depend on the listener's personal tastes. I have some friends who are not big jazz fans who claim these Davis/Evans albums are some of their favorite jazz albums, and I can understand how a casual jazz fan would find the atmospherics of these recordings pleasurable. I personally put these on the outskirts of the "modern jazz" world; enjoyable diversions in the history of jazz during it's golden age, but far from the most enjoyable and exciting jazz that was being made at this time, be it by Miles Davis or any of the other myriad of jazz musicians who were feeling the creative freedom that the jazz world supplied to them in the late 1950s and early 1960s.
Miles Davis's 'In A Silent Way' is a beautiful little jazz albumwith something for all prog lovers to enjoy. It paved the wayfor Jazz Fusion artists and albums to come, like Frank Zappaand 'Hot Rats', Herbie Hancock (who played piano on this LP) and 'Mwandishi', and evenfuture Miles Davis, like with the following 'Bitches Brew'. Thealbum starts with 'Shhh/Peaceful', a sidelong, multi-part jazzfreakout. There are many amazing parts in this song. Stellarpercussion and horns. The opening melody repeats at somepoint, reestablishing the song's mood. 'In A Silent Way/It'sAbout That Time' opens beautifully, with soft electric guitarand chiming percussion. The saxophone takes over the stage,continuing this enchanting melody. Then, out of nowhere,the song explodes into a short-lived funky saxophone solo.The percussion builds for a long time, creating anticipation inthe listener. Then a guitar comes on and so forth and soforth. What an album! Every piece so powerful, every solo someaningful! Miles would have still had an amazingdiscography even if he just stopped here. Prog on. social review comments Review Permalink
Posted Sunday, May 7, 2023 Review this album Report (Review #2922312)
To me much of Pangaea sounds like a hugely overqualified rock band which doesn't know when to stop jamming. OK, that's too harsh -- there are great moments here if you have the patience. But the Davis discography is vast, and life is short, so I'll listen to the (live tracks of) Live Evil or something next time. social review comments Review Permalink
Posted Thursday, August 19, 2021 Review this album Report (Review #2587250)
Miles Davis is a rarity: a pioneering superstar who was constantly voyaging into new directions and genres with an ever changing cast of collaborators. Throughout his discography, sweeping change and innovation could happen based on who was in the studio and what they brought to his stunning musical vision. Few American artists have impacted popular music and culture in as broad and long-lasting a way as he did.
EVERYTHING'S BEAUTIFUL is unlike any other in Davis' discography. From the familiar (riffs and passages within the catalog) to the obscure (samples of Miles' in-studio instructions spoken after false starts), Glasper has built something unique but still unquestionably Miles. The cover art was created by Francine Turk and integrates elements of Miles Davis' artwork. With the cover, Turk creates a visual that is similar to the idea of Robert Glasper taking fragments of Miles music and reinterpreting in a unique and modern way.