Mar 31

Erich Kunzel & Cincinnati Pops Orchestra perform Music of The Beatles, feat. King’ Singers (2011)
PS3 Rip | ISO | SACD DST 64 2.0 & 5.1 > 1-bit/2.8224 MHz | 54:26 minutes | Scans included | 3,7 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,08 GB
Genre: Pop, Classical

From the moment Arthur Fiedler lifted his baton in 1964 to lead the Boston Pops in a wild, surprisingly effective arrangement of “I Want To Hold Your Hand,” symphony orchestras have tried to include Beatles music in their “pops” song bags. The trouble is, the Beatles’ brilliant original recordings are so indelibly embedded in our collective mental hard drives that they are a tough act to follow — despite the high quality of the songs on their own merits, despite the good intentions of those who pay them homage. So it is with Erich Kunzel, the Cincinnati Pops and the British early music/classical/pop vocal sextet The King’s Singers — an undoubtedly sincere labor that gets it all wrong. From this album, a visitor from Saturn would get the idea that the Beatles’ music was all about pretty tunes and satin-smooth harmonies. Yes, but … The orchestral arrangements — some of which are actually credited to Beatles producer and catalyst George Martin, others to in-house arranger Steven Reineke, Paul Hart and Andrew Pryce Jackman — may inflate the sound, yet they reduce the colossal impact and free-thinking guiding spirit of these songs to hum-along background music. The King’s Singers’ approach is, unfortunately, too prissy, too deliberately cute, too sentimental, or too impeccably smooth to do justice to any of them. There are two takes of “Eleanor Rigby that sum things up — an overweight one for orchestra that opens the album, the other an a cappella treatment by the King’s Singers — both of which miss the terse, emotional fervor of Martin’s string octet backing on the original Beatles record. Not even the sumptuous, deep, DSD-derived sound can save it.

Tracklist:
01. Eleanor Rigby (orchestral version)
02. All You Need Is Love
03. When I’m Sixty-Four
04. Michelle
05. Octopus’s Garden
06. Across the Universe
07. Ob-la-di, Ob-la-da
08. Penny Lane
09. Sgt. Pepper’s Lonely Hearts Club Band
10. Eleanor Rigby
11. Because
12. Yesterday
13. Here, There, and Everywhere
14. The Long and Winding Road
15. Hey Jude
16. Let It Be

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Mar 31

Erich Kunzel & The Cincinnati Pops Orchestra – Round-Up (feat. Frankie Laine) (1986) [Reissue 2006] PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 62:33 minutes | Scans included | 3,99 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,14 GB
Features 2.0 Stereo and 5.1 multichannel surround sound (New Surround Mix!) | Telarc # SACD-60141 | Genre: Score, Soundtrack

The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes…

This rootin’-tootin’ salute to Westerns on TV and movie screens was the most popular demonstration disc at the 1987 Consumer Electronics Show in Las Vegas — and it’s easy to hear why. Before you can say Hopalong Cassidy, the disc opens with the stunningly reproduced stereophonic hooting of horses on the range, followed of course by a leisurely trot through the “Hi-O-Silver” section of Rossini’s “William Tell” Overture. Excerpts from Elmer Bernstein’s score for The Magnificent Seven — which contains probably his most memorable theme, along with a Copland pastiche — are given a spectacular arrangement by Christopher Palmer. The usual big-time Hollywood composers of the past, Alfred Newman (How the West Was Won), Dimitri Tiomkin (Gunfight at the OK Corral, High Noon), Franz Waxman (The Furies), and Jerome Moross (Big Country) show up — and collectively they prove that Westerns invariably brought out the best in their craft. A Palmer/Boston Pops-style medley of TV themes with gunfire punctuation turns up, as does a taste of the genuine article, Richard Hayman’s “Pops Hoedown” — complete with whoops from some hired hands on the recording stage. Why, even Frankie Laine, then 73, was lassoed out of semi-retirement in order to authentically resurrect “OK Corral,” “Rawhide,” and his big hit “High Noon.” Laine sounds pretty good, hamming it up in “Rawhide” and delivering “High Noon” in clipped phrases. The weight of Kunzel’s Cincinnati Pops enhances the stature of this music to no end — and Telarc’s pickup of the sound is as broad as a big screen and deep as a desert canyon. This is one of the best of Kunzel’s many discs, and it sounds as if he and the Pops are having a ball recording it.

Tracklist:
01. Sounds of the West (SFX)
02. William Tell Overture: Finale (Lone Ranger Theme)
03. The Magnificent Seven
04. The Furies Suite
05. Round-Up: Anthology of TV Western Themes: Bonanza
06. Round-Up: Anthology of TV Western Themes: Rawhide
07. Round-Up: Anthology of TV Western Themes: Wagon Train
08. Round-Up: Anthology of TV Western Themes: The Rifleman
09. How The West Was Won
10. Gunfight at the OK Corral
11. Pops Hoedown
12. Big Country
13. High Noon
14. Coyote and Crackling Campfire (SFX)
15. Western Medley: Ti Yi Yippee Ay
16. Western Medley: Shenandoah
17. Western Medley: Red River Valley
18. Western Medley: Home On The Range
19. Western Medley: Streets of Laredo
20. Themes From Silverado

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Mar 31

Erich Kunzel & Cincinnati Pops Orchestra – Mega Movies (2000) [Reissue 2006] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 72:31 minutes | Scans included | 4,51 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,32 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Telarc # SACD-60535 | Genre: Easy Listening, Score

The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes.

In the main, this is a collection of film music resembling others by Erich Kunzel and the indefatigable Cincinnati Pops, featuring short excerpts from film scores like those to Star Wars: The Phantom Menace, The Rock, Godzilla, and Titanic. Kunzel’s performances are brisk, a bit subdued compared to those in the original films, technically faultless, and carefully consistent. Anyone who has enjoyed other Kunzel discs will enjoy this one, but this is a film-music disc with a difference: there are five tracks of sound effects included. These are quite short, but they’re well worth hearing. For one thing, they’ll give a full workout even to stereo equipment costing thousands of dollars. The booklet contains various disingenuous warnings about not turning up the volume too high while playing these, but they are in no way oversold. What’s remarkable about them is that for the most part they don’t rely on synthetic sound synthesis. The bee attack in The X-Files: The Movie was recorded by engineer Michael Bishop in a field, with six microphones placed at the entrances of a beehive. It’s uncanny. This may be the only audiophile album in existence whose credits thank a beekeepers’ association. The sound, auditioned on a good conventional stereo, is the main attraction here, and those with the equipment to take full advantage of the glories only hinted out by mere mortals among sound reproduction systems ought to be fully satisfied.

Tracklist:
01. THE MUMMY – The Sand Volcano
02. Don’t Mess with “Z” (SFX)
03. THE MASK OF ZORRO – Main Title
04. AIR FORCE ONE – Main Title / The Parachutes
05. Chopper Flyby (SFX)
06. THE ROCK – End Title
07. CONTACT – End Credits
08. MIGHTY JOE YOUNG – Dedication and Windsong
09. Day at the Races (SFX)
10. STAR WARS: The Phantom Menace – Main Title / The Flag Parade
11. L.A. CONFIDENTIAL – Badge of Honor / L.A. Confidential
12. THE PRINCE OF EGYPT – When You Believe
13. What’s that Hum? (SFX)
14. THE X-FILES – Threnody in X
15. A BUG’S LIFE – The Time of Your Life
16. ELIZABETH – Main Title
17. A Stroll in New York City (SFX)
18. GODZILLA – Main Title
19. SHAKESPEARE IN LOVE – Main Title
20. Iceberg! (SFX)
21. TITANIC – Back to Titanic
22. ARMAGEDDON – Main Title

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Mar 31

Erich Kunzel & Cincinnati Pops Orchestra – On Broadway (1999)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 74:17 minutes | Scans included | 3,04 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,32 GB
Telarc # CD-80498-SA | Genre: Musical , Soundtrack

The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes.

On Broadway features Erich Kunzel and the Cincinnati Pops Orchestra’s typically robust readings of favorites from the Great White Way: focusing primarily on latter-day stage hits, the collection includes rousing renditions of “He Lives in You,” “Seasons of Love,” “This Is the Moment,” “Cross the Line,” and “Hookers’ Ball. .

Tracklist:
01. Smokey Joe’s Cafe: On Broadway
02. Miss Saigon, Suite: The Heat is On in Saigon / Why God, Why? / The Last Night of the World / Bui Doi / This is the Hour
03. The Lion King: He Lives in You
04. The Secret Garden: Lily’s Eyes
05. City of Angels: You’re Nothing Without Me
06. Into the Woods: Children Will Listen
07. Kiss of the Spider Woman: Gimme Love
08. Les Miserables: Suite: At the End of the Day / I Dreamed a Dream / Master of the House / Bring Him Home / Do You Hear the People Sing?
09. Rent: Seasons of Love
10. Ragtime: Ragtime
11. Jekyll and Hyde: This is the Moment
12. The Scarlet Pimpernel: Into the Fire
13. Grand Hotel: The Grand Waltz
14. Big: Cross the Line
15. The Life: Hookers’ Ball
16. Will Rogers’ Follies: Give a Man Enough Rope
17. Titanic: The Latest Rag
18. Titanic: Godspeed Titanic

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Mar 31

Erich Kunzel & Cincinnati Pops Orchestra – Tchaikovsky: 1812 & Other Orchestral Works (2001) [Reissue 2003] PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 61:33 minutes | Scans included | 4,22 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,16 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Telarc # SACD-60541 | Genre: Classical

Tracklist:
01 – 1812 Overture, Op. 49
02 – Polonoise from Eugene Onegin, Op. 24
03 – Capriccio Italien, Op. 45
04 – Marche Slave, Op. 31
05 – Waltz from Eugene Onegin, Op. 24
06 – Festival Coronation March
07 – Cossack Dance from Mazeppa

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Mar 31

Erich Kunzel & Cincinnati Pops Orchestra – Got Swing! (2003) [2.0 & 5.1] PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 64:26 minutes | Scans included | 4,59 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,35 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Telarc # SACD-60592 | Genre: Jazz, Pop
with special guests: The Manhattan Transfer, Janis Siegel and John Pizzarelli

The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes…

This is a good, solid pops recording; a disc that’s fun to hear. It’s not necessarily for hardcore jazzheads or swing dancers, but might be just the thing to introduce some of these classic tunes to folks who think they don’t like jazz. Most of these tracks don’t swing hard, but there are a few that even a dedicated dancer would want to try out.

Some real standards of the original swing era are presented here, hot and sweet. “Swingin’ at the Savoy” (this referring to the great Savoy Ballroom of Harlem), “Straighten Up and Fly Right,” “Avalon,” “It Don’t Mean a Thing,” “I’ll Be Seeing You,” and “Flying Home” (Lionel Hampton’s most famous creation) are just a few examples. Many of these songs have great stories behind their creation or earliest recordings. If you don’t love swing already, they’ll start you on your way.

A few have been arranged until their original character is somewhat obscured (“Blues in the Night” now sounds like something from a Rodgers & Hammerstein musical); but the mix is excellent, and the musicians even better, whether the prevailing sound is pops-oriented or swinging.

John Pizzarelli gives particularly standout performances on guitar and vocally. His clever manipulations of music and words mark some of the really swinging tracks. “Avalon” is a great hot take. Pizzarelli, son of jazz guitarist Bucky Pizzarelli, is in good company. Other guest artists include the vocalise group the Manhattan Transfer in various guises, from the ensemble to solo voice and rhythm section.

Got Swing! is an excellent example of why pops orchestras continue to flourish (they’re just fun) and it’s liable to make the listener want to go out one night and see Erich Kunzel and the Cincinnati Pops live.

Tracklist:
01. String of Pearls
02. Stompinn’ at the Savoy
03. Choo Choo Ch’Boogie
04. Straighten Up and Fly Right
05. Sugar
06. Skyliner
07. Blues in the Night
08. Avalon
09. It Don’t Mean a Thing (If It Ain’t Got That Swing)
10. Clouds
11. Jumpin’ at the Woodside
12. Flying Home
13. I’ll Be Seeing You
14. Sweet Georgia Brown

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Mar 31

Miles Davis – Cookin’ With The Miles Davis Quintet (Rudy Van Gelder Remaster) (1957/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 33:25 minutes | 375 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital Booklet | © Prestige Records
Recorded: October 26, 1956 at Rudy Van Gelder Studio, Hackensack, NJ
Remastered: 2007, 2006, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Cookin’ With the Miles Davis Quintet is the first of four classic albums that emerged from two marathon and fruitful sessions recorded in 1956 (the other three discs released in Cookin’s wake were Workin’, Relaxin’ and Steamin’). All the albums were recorded live in the studio, as Davis sought to capture, with Rudy Van Gelder’s expert engineering, the sense of a club show · la the Café Bohemia in New York, with his new quintet, featuring tenor saxophonist John Coltrane. In Miles’s own words, he says he called this album Cookin’ because “that’s what we did-came in and cooked.” What’s particularly significant about this Davis album is his first recording of what became a classic tune for him: “My Funny Valentine.” Hot playing is also reserved for the uptempo number “Tune Up,” which revs with the zoom of both the leader and Trane.

Cookin’ is the first of four albums derived from the Miles Davis Quintet’s fabled extended recording session on October 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band’s live sets — as well as the overwhelming conviction in the quintet’s studio sides — would produce the lion’s share of the Cookin’, Relaxin’, Workin’, and Steamin’ albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band — consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums) — to work so efficiently both on the stage and the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. “Blues by Five” reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each other’s thoughts musically. Cookin’ features the pairing of “Tune Up/When Lights Are Low” which is, without a doubt, a highlight not only of this mammoth session, but also the entire tenure of Miles Davis’ mid-’50s quintet. All the elements converge upon this fundamentally swinging medley. Davis’ pure-toned solos and the conversational banter that occurs with Coltrane, and later Garland during “When the Lights Are Low,” resound as some of these musicians’ finest moments. ~~AllMusic Review by Lindsay Planer

Tracklist:
1. My Funny Valentine 06:01
2. Blues By Five 09:56
3. Airegin 04:25
4. Tune-Up / When Lights Are Low 13:03

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

“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.”
-Rudy Van Gelder

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Mar 31

Miles Davis – Relaxin’ With The Miles Davis Quintet [Rudy Van Gelder Remaster] (1958/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 36:51 minutes | 414 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital Booklet | © Prestige Records
Recorded: May 11 (#5, 6) and October 26 (other selections), 1956 at Van Gelder Studio, Hackensack, NJ
Remastered: 2005, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Relaxin’ with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on 11 May 1956 and 26 October in the same year resulted in four albums—this one, Steamin’ with the Miles Davis Quintet, Workin’ with the Miles Davis Quintet and Cookin’ with the Miles Davis Quintet. These four albums are considered to be among the best performances in the whole hard bop subgenre. The album was remastered by Rudy Van Gelder in 2005 for Prestige Records. This album includes dialogue snippets taken from the original master reel. It also emphasizes the Miles Davis’ concentrated ballad-style playing with his medium-register trumpet.

Relaxin’ features the Miles Davis Quintet in a pair of legendary recording dates — from May and October of 1956 — which would generate enough music to produce four separate long-players: Cookin’, Relaxin’, Workin’, and Steamin’. Each of these is considered not only to be among the pinnacle of Davis’ work, but of the entire bop subgenre as well. As with the other titles, Relaxin’ contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet — who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) — to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. “If I Were a Bell” — from the play Guys and Dolls — includes some remarkable soloing via Coltrane and Garland. Davis’ solos are additionally impressive, as they’re derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as “You’re My Everything” and “Oleo” highlight the synchronic nature of Davis and Coltrane as they carry each other’s melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin’ offers something for every degree of jazz enthusiast. Likewise, the quintet’s recordings provide a tremendous introduction for the curious jazz consumer. ~~AllMusic Review by Lindsay Planer

Tracklist:
1. If I Were A Bell 08:19
2. You’re My Everything 05:21
3. I Could Write A Book 05:11
4. Oleo 06:21
5. It Could Happen To You 06:40
6. Woody’n You 05:01

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

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Mar 31

Miles Davis – Miles Ahead (Original Motion Picture Soundtrack) (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:15:54 minutes | 840 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital Booklet | © Columbia – Legacy

The release of the movie MILES AHEAD, Don Cheadle’s wildly entertaining and moving exploration of Miles Davis, will be accompanied by this new soundtrack featuring musical highlights from Miles’ career and new recordings overseen by Grammy Award-winning jazz/hip-hop artist Robert Glasper.
This is a perfect primer on Davis’ career for the new fan and a brilliant audio keepsake of the film for those who’ve studied his works inside and out. The album features 11 tracks from across Miles’ catalogue from 1956 to 1981, select dialogue from the film featuring Cheadle in character, and five original compositions written, co-written, produced or performed exclusively for MILES AHEAD by Robert Glasper. These cues include “What’s Wrong with That?” a jam that closes the movie imagining Cheadle as Miles playing in the present day with guest performers Glasper, Herbie Hancock, Wayne Shorter, Gary Clark, Jr. and Esperanza Spalding; plus “Gone 2015,” an end-credits song featuring guest verses from rapper Pharoahe Monch. Cheadle also pens new liner notes for the album discussing the selection and creation of the songs on the soundtrack.

At the end of Don Cheadle’s liner essay for Miles Ahead, the soundtrack for his expressionist Miles Davis biopic, he quotes Herbie Hancock from a documentary about the trumpeter’s electric years: “…I couldn’t pick a piece.. Because Miles is all of the pieces.” That’s a fine explanation for what is compiled here. Eleven of these tunes were selected from Davis’ catalog, beginning with the title track cut for Prestige in 1953. There are stops all along the way to 1981’s “Back Seat Betty.” In presenting such a wide selection of Davis’ music for a cinema audience, judicious editing was often necessitated: “Solea,” “Seven Steps to Heaven,” “Nefertiti,” “Duran (Take 6),” “Black Satin,” and “Back Seat Betty” are all presented this way. “So What,” “Frelon Brun,” and “Go Ahead John, Pt. 2” are presented in full. While fans may take issue with the entire idea of edits, they serve a proper purpose inside the soundtrack concept. Interspersed are bits of dialogue by Cheadle (as Davis) and others. They are so short they don’t distract. The album also includes the brief “Taylor Made” by pianist Taylor Eigsti. Titled for Davis’ first wife and muse Frances Taylor, it briefly recontextualizes several important themes in the trumpeter’s fakebook. There are also four new compositions written or co-written by Robert Glasper. The funky “Junior’s Jam” features saxophonist Marcus Strickland, trumpeter Keyon Harrold, drummer Kendrick Scott, and bassist Burniss Earl Travis. Glasper, who plays Rhodes, perfectly captures the spirit of Davis’ early electric era, with riff-like basslines, funky drums, and eerie electric pianos, while the frontline horns engage and disengage from rhythm and vamp. “Francessence” is a lilting theme piece with Vicente Archer’s upright bass, E.J. Strickland’s brushed drums, and Elena Pinderhughes’ flute. The real highlight is “What’s Wrong with That?” Framed in the film as a live concert piece, it places Glasper’s Rhodes in the company of Harrold (using a mute), Hancock, Wayne Shorter, Esperanza Spalding (on electric bass), Antonio Sanchez, and guitarist Gary Clark, Jr. A loose jam based on vamps, it weaves Davis’ bluesy lyricism with spacy elements of fusion, harder psychedelic funk grooves, and even the tender soul pop notions from later years. The album closes with “Gone,” a hip-hop tune with Pharoahe Monch rapping over a bumping bassline, slippery snare, and hi-hat beats (Dilla style), adorned by a sampled brass section, gospel piano chords, and Harrold’s soaring, muted trumpet solo. It was wise to separate most of these new sounds from Davis’ sides, making the album a double portrait: One of the artist and another of how he contributed to the future. Miles Ahead is not a complete representation of Davis, and that’s fine. What it does accomplish is to offer an impression of essence as an artist who changed everything by his example. ~~AllMusic Review by Thom Jurek

Tracklist:
1 Miles Ahead 04:28
2 Dialogue: “It takes a long time..” 00:05
3 So What 09:23
4 Taylor Made 01:04
5 Dialogue: “Listen, you talk too goddam much..” 00:34
6 Solea (Excerpt) 04:50
7 Seven Steps to Heaven (Edit) 03:23
8 Dialogue: “If you gonna tell a story..” 00:07
9 Nefertiti (Edit) 04:55
10 Frelon brun 05:36
11 Dialogue: “Sometimes you have these thoughts..” 00:13
12 Duran (Take 6 Edit) 05:34
13 Dialogue: “You own my music..” 00:07
14 Go Ahead John (part two C) 03:40
15 Black Satin (Edit) 03:10
16 Dialogue: “Be musical about this shit..” 00:06
17 Prelude, Pt. 2 06:34
18 Dialogue: “Y’all listening to them..” 00:04
19 Junior’s Jam 03:29
20 Francessence 02:07
21 Back Seat Betty 05:31
22 Dialogue: “I don’t like the word jazz..” 00:17
23 What’s Wrong with That? 05:19
24 Gone 2015 05:30

Personnel:
Miles Davis
Robert Glasper
Taylor Eigisti
Chick Corea
Herbie Hancock
Esperanza Spaulding
Wayne Shorter
Keyon Harrold
Marcus Strickland
Gary Clark, Jr.
& more

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Mar 31

Miles Davis – The Musings Of Miles (Rudy Van Gelder Remaster) (1955/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 35:52 minutes | 423 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital Booklet | © Prestige Records
Recorded: Rudy Van Gelder Studio, Hackensack, NJ, June 7, 1955
Remastered: 2008, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

This was a forerunner of the Miles Davis Quintet as it was his first session with Red Garland and Philly Joe Jones. Up to then his Prestige dates had been of the “all star” variety. (Oscar Pettiford fills that bill here.) By the fall, John Coltrane and Paul Chambers would come aboard to help form the first of a continuum of great Davis working groups. On “A Night in Tunisia” Philly Joe used special sticks with little cymbals riveted to the shaft.

Miles Davis was in the process of forming his first classic quintet when he recorded this date, a Prestige set reissued by the audiophile label DCC Compact Classics. The trumpeter is featured on a quartet outing with pianist Red Garland, bassist Oscar Pettiford, and drummer Philly Joe Jones, playing four standards plus a blues (“Green Haze”) and “I Didn’t,” his answer to Thelonious Monk’s “Well, You Needn’t.” Garland and Jones would soon be in Miles’ group, although the fiery Pettiford proved too difficult for the trumpeter to handle and was quickly succeeded by Paul Chambers. The interpretations are generally lyrical and melodic; even “A Night in Tunisia” sounds a bit mellow. Likable if not essential music. ~~AllMusic Review by Scott Yanow

Tracklist:
1 Will You Still Be Mine? 6:19
2 I See Your Face Before Me 4:43
3 I Didn’t 6:02
4 A Gal In Calico 5:15
5 A Night In Tunisia 7:20
6 Green Haze 5:48

Personnel:
Miles Davis – trumpet
Oscar Pettiford – bass
Red Garland – piano
Philly Joe Jones – drums

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