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None of Miles Davis’ recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis’ promise that he could form the “greatest rock band you ever heard.” Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, “Right Off,” the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians’ point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Miles; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Miles rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. There is this groove that gets nastier and nastier as the track carries on, and never quits, though there are insertions by Macero of two Miles takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On “Yesternow,” the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Miles, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown’s “Say It Loud, I’m Black and I’m Proud.” The material that eases the first half of the tune into the second is taken from “Shhh/Peaceful,” from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of “Right Off.” It gets more complex as the original lineup is dubbed back in with a section from Miles’ tune “Willie Nelson,” another part of the ambient section of “Right Off,” and an orchestral bit of “The Man Nobody Saw” at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.

Tracklist:
01. Right Off
02. Yesternow

SACD ISO

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FLAC 24bit/88,2kHz

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A particularly strong set by late-period Miles Davis, this LP is highlighted by a surprisingly straight-ahead performance titled “Mr. Pastorius.” In addition to Davis and his new altoist Kenny Garrett, various guests (including Marcus Miller, guitarist Jean-Paul Bourelly, Joey DeFrancesco on keyboards, Rick Margitza on tenor, pianist Joe Sample, and bassist Foley) get their chances to play next to the great legend who is in top form. An excellent effort, it was really his last studio recording with his regular band.

Tracklist:
01. Catembe
02. Cobra
03. Big time
04. Hannibal
05. Jo-Jo
06. Amandla
07. Jilli
08. Mr. Pastorius

SACD ISO

mqs.link_MilesDavisAmandla1989Japan2011SHMSACDIS.part1.rar
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FLAC 24bit/88,2kHz

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Despite the presence of classic tracks like Joe Zawinul’s “Great Expectations,” Big Fun feels like the compendium of sources it is. These tracks are all outtakes from other sessions, most notably Bitches Brew, On the Corner, and others. The other element is that many of these tracks appeared in different versions elsewhere. These were second takes, or the unedited takes before producer Teo Macero and Miles were able to edit them, cut and paste their parts into other things, or whatever. That is not to say the album should be dismissed. Despite the numerous lineups and uneven flow of the tracks, there does remain some outstanding playing and composing here. Most notably is “Great Expectations” from 1969, which opens the album. Here the lineup is Miles, Steve Grossman, Bennie Maupin, John McLaughlin, Khalil Balakrishna, and Bihari Sharma on sitar and tambura, Herbie, Chick Corea, Ron Carter, Harvey Brooks, Billy Cobham, and Airto. Creating a series of vamps from drones and a small melodic figure, there is very little in the way of groove or melodic development until the middle section, where a series of modalities enters the composition. The second album in the set features “Go Ahead John,” an outtake from Jack Johnson’s sessions that is 28 minutes in length. It’s a riff-based groover, with McLaughlin and his wah-wah pedal setting the pace with Steve Grossman on soprano. The basic motif is the blues, floating around E and Bb flat, but there are modulations introduced by Miles into Db flat that add a kinkier dimension into the proceedings as well. Dave Holland is the bass player, and DeJohnette is the drummer. There is no piano. What’s most interesting about this date is how it prefigures what would become “Right Off” from Jack Johnson. It doesn’t have the same fire, nor does it manage to sustain itself for the duration, but there are some truly wonderful sections in the piece. This is for Miles fans only, especially those of his electric period, because it fills in the puzzle. The reissue added four bonus tracks to the original double-LP set, but other than “Recollections” by Zawinul, they shed little light on the mystique and development of the intensely creative music being developed in 1969 and 1970. Others should be directed to Bitches Brew, In A Silent Way, Jack Johnson, or Live Evil as starting points.

Tracklist
DISC 1:
01. Great Expectations
02. Ife
03. Recollections
04. Trevere
DISC 2:
01. Go Ahead John
02. Lonely Fire
03. The Little Blue Frog
04. Yaphet

SACD ISO

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FLAC 24bit/88,2kHz

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mqs.link_MilesDavisBigFun1974Reissue2001FLAC2488.2.part2.rar
mqs.link_MilesDavisBigFun1974Reissue2001FLAC2488.2.part3.rar

What is immediately noticeable upon listening to this delicately and superbly remastered version of Miles Davis classic first — and only — album with his original sextet is how deep the blues presence is on it. Though it is true that the album’s title cut is rightfully credited with introducing modalism into jazz, and defining Davis’ music for years to come, it is the sole selection of its kind on the record. The rest is all blues in any flavor you wish you call your own. For starters, there’s the steaming bebop blues of “Dr. Jackie” — recorded in 1955 for a Prestige session with Jackie McLean. Davis is still in his role as a trumpet master, showing a muscularity of tone that reveals something more akin to Roy Eldridge or Louis Armstrong than Dizzy or Fats Navarro. The tempo is furious as all the members of the sextet solo except for Jones. The saxophonists trade choruses and come off sounding like mirrored images of one another in the slower, post-bop blues that is “Sid’s Ahead.” With a slippery melody line that quotes two harmonic lines from early New Orleans-styled blues, Davis drives the band into the rhythm section’s garage. It’s Coltrane first with his stuttered, angular lines, hiccuping halfway through the interval before continuing on with a squeak here and the slightest squawk there. Next up is Davis, blowing fluid and straightened lines, ribbons through the rhythm section’s center as Red Garland lays out and leaves it to Paul Chambers and Philly Joe Jones to provide the earnest, time-keeping 4/4 that Davis sidles to in the tune. When Adderley solos, all best are off as he plays as pure a blues as he was capable at the time. Nonetheless, there are the long lines of slurred notes, smattered against Garland’s harmonies and he slips into quoting “Skip to my Lou” before knotting it back down to the basics and even then not for long. Coltrane was already exploring the edges of mode and harmony; he used an intervallic invention in the choruses to juxtapose his solo against the rhythm section and it worked — but it must have made Davis raise an eyebrow. Chambers’ solo is as tasteful and as breezy and free as only he could be. His contrapuntal soloing rides the rhythm out, Garland striding along quietly until the tune returns.

“Sid’s Ahead” is followed by the track “Two Bass Hit,” written by Dizzy and John Lewis. It’s an off-kilter blues with a wide middle section, no doubt for Lewis’ piano to fill. It’s a wonderful ensemble showcase but Davis blows his ass off in his solo, riding through the two saxophonists and challenging them at the same time. But then comes “Milestones” with its modal round and interval, where harmony is constructed from the center up. It is a memorable tune for not only its structure and how it would inform not only Davis’ own music, but jazz in general for the next seven years. It would also change John Coltrane’s life. The exploratory style of soloing was already revealing itself in Trane’s playing, but he loosens it up even more here. More importantly, this is the first place we get to see it in Davis, where there is no goal at the end of the rainbow, there is merely the solo itself in the heart of the mode. The alternate take of this tune, which is featured at the end of the album, tagged on with two others of “Two Bass Hit” and “Straight, No Chaser,” has an even longer and weirder solo by Davis where he plays notes he probably never played again. The album’s closer is Monk’s “Straight, No Chaser,” which became a signature tune for the sextet even when Garland and Jones left to be replaced by Bill Evans and Jimmy Cobb and later Evans by Wynton Kelly. Like “My Funny Valentine,” it was a Davis staple that accented how intuitive the band was with unusual harmonic structures like Monk’s. The Adderley solo is remarkable for its fluid, bebop-style runs over Garland’s extended chords and flatted sevenths. Cannonball quotes the melody in a myriad of ways and goes off the deep end each time he does, taking the new rendition to its limit, always returning it to the blues root. Davis plays it cool, slithering around the rhythm section staying firmly in blues phraseology, even quoting a reverse harmonic melodic read of “When the Saints Go Marching In,” bringing it in and out three times while pushing the blues line to its edge. Coltrane’s solo is all over the place, slurring notes as he plays weird scales all over the blues and triple times the rhythm section. But he knows the tune better than anyone here — he spent six months with Monk just previous to this playing it every night. Coltrane knows how much he can stretch the intervals without breaking apart the body. He inserts his own modal interpretation on the blues halfway through his solo before slipping into the straight, swinging groove of his Blue Train album, finished only two months before. Garland, oddly enough, is the one to travel the furthest from Monk here, coming off with a Bud Powell-esque blues muscle that shifts the entire tune into a straight bebop blues before sifting in a few Errol Garland quotes as the bass solos and then the front line comes in to take it out. The alternate take is even stranger as Garland falters in his time not once but twice and has to find his way back in.

Tracklist:
01. Dr. Jackle (aka Dr. Jekyll)
02. Sid’s Ahead
03. Two Bass Hit
04. Milestones
05. Billy Boy
06. Straight, No Chaser

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD ISO

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FLAC 24bit/88,2kHz

mqs.link_MilesDavisMilestnes1958MFSL2012FLAC2488.2.rar

Could there be any more confrontational sound in Miles Davis’ vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the picture, the story has been broken off somewhere in the middle — deep street music melding with a secret language held within the band and those who can actually hear this music (certainly not the majority of Miles’ fan base built up over the past 25 years). Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin’s distortion-box frenzy. Michael Henderson’s bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams’ synthesizer. Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers — three kits (Al Foster, Billy Hart, and Jack DeJohnette), a tabla player, and Mtume. It’s a four-tune suite, On the Corner is, but the separations hardly matter, just the shifts in groove that alter the time/space continuum. After 20 minutes, the set feels over and a form of Miles’ strange lyricism returns in “Black Satin.” Though a tabla kicks the tune off, there’s a recognizable eight-note melody that runs throughout. Carlos Garnett and Bennie Maupin replace Liebman, Dave Creamer replaces McLaughlin, and the groove rides a bit easier — except for those hand bells shimmering in the background off the beat just enough to make the squares crazy. The respite is short-lived, however. Davis and band move the music way over to the funk side of the street — though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. “One and One” begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of “Helen Butte/Mr. Freedom X,” where guitars and horns careen off Henderson’s cracking bass and Foster’s skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician. And it still kicks.

Tracklist:
01. On the Corner
02. New York Girl
03. Thinkin’ of one Thing and Doin’ Another
04. Vote for Miles
05. Black Satin
06. One and One
07. Helen Butte
08. Mr. Freedom X

SACD ISO

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FLAC 24bit/88,2kHz

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Miles Davis’ final official collaboration with arranger Gil Evans resulted in their weakest project. There were only 27 minutes of music on the original Quiet Nights LP, and six minutes were taken up by a quintet performance of “Summer Night.” The six remaining tracks are enjoyable enough (highlighted by “Once Upon a Summertime” and “Corcovado”), but rather brief, making one wonder why Evans could not have been persuaded to write more material. The 1997 CD reissue adds “The Time of the Barracudas” (which clocks in at almost 13 minutes), and was not released until the 1996 Complete Miles Davis/Gil Evans box set. The latter is an interesting but not too substantial mini-suite written for a stage play that features the late 1963 Miles Davis Quintet joined by four brass, three woodwinds, and a harp. Overall, this CD has its moments of interest, but it has an incomplete feel and is not too essential.

Tracklist:
01. Song No. 2
02. Once Upon A Summertime
03. Aos Pes Da Cruz
04. Song No. 1
05. Wait Till You See Her
06. Corcovado
07. Summer Night
08. The Time Of The Barracudas

SACD ISO

mqs.link_MilesDavisQuietNights1964Reissue2000SACDIS.part1.rar
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FLAC 24bit/88,2kHz

mqs.link_MilesDavisQuietNights1964Reissue2000FLAC2488.2.rar

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as “Orbits” comes crashing out the gate, but it’s not just the fast, manic material that has an edge — slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible — it just never acts that way. No matter how accessible this is, what’s so utterly brilliant about it is that the group never brings it forth to the audience. They’re playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom.

Tracklist:
01. Orbits
02. Circle
03. Footprints
04. Dolores
05. Freedom Jazz Dance
06. Gingerbread Boy

Miles Davis – trumpet
Wayne Shorter – tenor saxophone
Herbie Hancock – piano
Ron Carter – bass
Tony Williams – drums

Original Recording Produced by Teo Macero. Recording Engineer: Frank Laico.
Recorded at Columbia 30th Street Studio, NYC. on October 24 (1,2,4,5) and October 25 (3,6), 1966.
Remixed from the Original 4-track tapes by Mark Wilder, Sony Music Studios, NYC.
Mastered by Mark Wilder and Rob Schwarz at Sony Music Studios, NYC.

SACD ISO

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FLAC 24bit/88,2kHz

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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.

Tracklist:
01. If I Were A Bell
02. You’re My Everything
03. I Could Write A Book
04. Oleo
05. It Could Happen To You
06. Woody’n You

Produced by BOB WEINSTOCK
Recorded by RUDY VAN GELOER at Van Gelder Studio; Hackensack, NJ; May 11 (#5, G) and October 26, 1956 (other selections).
Mastered by JOE TARANTINO (Fantasy Studios, Berkeley, CA.)

MILES DAVIS – trumpet
JOHN COLTRANE – tenor saxophone
RED GARLAND – piano
PAULCHAMBERS – bass
PHILLY JOE JONES – drums

SACD ISO

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FLAC 24bit/88,2kHz

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Thought by many to be among the most revolutionary albums in jazz history, Miles Davis’ Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. “Pharaoh’s Dance” opens the set with its slippery trumpet lines, McLaughlin’s snaky guitar figures skirting the edge of the rhythm section and Don Alias’ conga slipping through the middle. Corea and Zawinul’s keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin’s comping creates a vamp, and the bass and drums carry the rest. It’s a small taste of the deep voodoo funk to appear on Davis’ later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on “Spanish Key.” Zawinul’s lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief “John McLaughlin,” featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar “Miles Runs the Voodoo Down,” reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with “Sanctuary,” completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century.

Tracklist

DISC 1:
01. Pharaoh’s Dance
02. Bitches Brew

DISC 2:
01. Spanish Key
02. John McLaughlin
03. Miles Runs the Voodoo Down
04. Sanctuary

SACD ISO

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FLAC 24bit/88,2kHz

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mqs.link_MilesDavisBitchesBrew19702xSACDJapan2007FLAC2488.2.part2.rar

Tracklist
DISC 1:
01. Pharaoh’s Dance
02. Bitches Brew

DISC 2:
01. Spanish Key
02. John McLaughlin
03. Miles Runs The Voodoo Down
04. Sanctuary
05. Feio

SACD ISO

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FLAC 24bit/88,2kHz

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A month after losing Wayne Shorter to the beginnings of Weather Report, Miles Davis added young saxophonist Steve Grossman to the fold that included drummer Jack DeJohnette, bassist Dave Holland, electric pianist Chick Corea, and percussionist Airto Moreira. Just in time, too, since Bitches Brew had just been released. What is most interesting about this performance is how abstract it is, even by the standards exacted on In a Silent Way and Bitches Brew. Opening with Joe Zawinul’s “Directions,” with a small three-note vamp, Davis creates a spaciousness for Grossman to hit the stratosphere and for both Holland and DeJohnette to literally fall freely as a rhythm section as long as they could find a groove. The band seems to open too far; they can’t seem to find each other in the maelstrom. Davis lays out, watching it all, directing from the sidelines. On “Miles Runs the Voodoo Down,” since there is a discernible though minimal melody and groove, the band brings it in tighter, focusing on Davis smattering blues notes and Corea’s distorted chord voicings. This is where the band hits their stride, and keeps it through “Willie Nelson” and the Sammy Cahn tune, an odd choice for this part of the program, “I Fall in Love Too Easily.” From the opening of “Sanctuary” through “It’s About That Time,” “Bitches Brew,” “Masqualero,” and “Spanish Key/The Theme,” the music become a kind of suite that doesn’t really stop. It may pause in spots, but it loops through modal figures before disintegrating completely. There is no harmony to speak of and melody has become an extinct concept. What matters most is the nuance of groove and rhythm, and Davis found both in this band, though Grossman’s playing is too busy and too green; he plays everything he knows in every solo. It’s a small complaint, as this is an exciting document of a band trying to come to grips with the power of a music they don’t even fully understand yet.

Tracklist
DISC 1:
01. Directions
02. Miles Runs The Voodoo Down
03. Willie Nelson
04. I Fall In Love Too Easily
05. Sanctuary
06. It’s About That Time

DISC 2:
01. Bitches Brew
02. Masqualero
03. Spanish Key/The Theme

SACD ISO

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FLAC 24bit/88,2kHz

mqs.link_MilesDavisBlackBeauty.MilesDavisAtFillmreWest1970Reissue2001FLAC2488.2.part1.rar
mqs.link_MilesDavisBlackBeauty.MilesDavisAtFillmreWest1970Reissue2001FLAC2488.2.part2.rar

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.

Tracklist

DISC 1:
01. Moja (Part 1)
02. Moja (Part 2)
03. Wili (Part 1)
04. Wili (Part 2)

DISC 2:
01. Tatu (Part 1)
02. Tatu (Part 2)
03. Nne (Part 1)
04. Nne (Part 2)

SACD ISO

mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue20012xSACDIS.part1.rar
mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue20012xSACDIS.part2.rar
mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue20012xSACDIS.part3.rar
mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue20012xSACDIS.part4.rar
mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue20012xSACDIS.part5.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue2001FLAC2488.2.part1.rar
mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue2001FLAC2488.2.part2.rar
mqs.link_MilesDavisDarkMagus.LiveAtCarnegieHall1974Reissue2001FLAC2488.2.part3.rar

In an odd bit of programming, Columbia placed the ballads from Miles Davis’ February 12, 1964, concert on My Funny Valentine and the uptempo romps on this LP; all of the music has since been reissued on CD. Davis, probably a bit bored by some of his repertoire and energized by the teenage Tony Williams’ drumming, performed many of his standards at an increasingly faster pace as time went on. These versions of “So What,” “Walkin’,” “Four,” “Joshua,” “Seven Steps to Heaven,” and even “There Is No Greater Love” are remarkably rapid, with the themes quickly thrown out before Davis, George Coleman, and Herbie Hancock take their solos. Highly recommended and rather exciting music, it’s one of the last times Davis would be documented playing a full set of standards.

Tracklist:
01. So What
02. Walkin’
03. Joshua
04. Go-Go (Theme And Announcement)
05. Four
06. 7 Steps To Heaven
07. There Is No Greater Love
08. Go-Go (Theme And Announcement)

SACD ISO

mqs.link_MilesDavisFurAndMre1966MFSL2013SACDIS.part1.rar
mqs.link_MilesDavisFurAndMre1966MFSL2013SACDIS.part2.rar
mqs.link_MilesDavisFurAndMre1966MFSL2013SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisFurAndMre1966MFSL2013FLAC2488.2.part1.rar
mqs.link_MilesDavisFurAndMre1966MFSL2013FLAC2488.2.part2.rar

When Get Up with It was released in 1974, critics — let alone fans — had a tough time with it. The package was a — by then customary — double LP, with sessions ranging from 1970-1974 and a large host of musicians who had indeed played on late-’60s and early-’70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, and others. The music felt, as was customary then, woven together from other sources by Miles and producer Teo Macero. However, these eight selections point in the direction of Miles saying goodbye, as he did for six years after this disc. This was a summation of all that jazz had been to Davis in the ’70s and he was leaving it in yet another place altogether; check the opening track, “He Loved Him Madly,” with its gorgeous shimmering organ vamp (not even credited to Miles) and its elaborate, decidedly slow, ambient unfolding — yet with pronounced Ellingtonian lyricism — over 33 minutes. Given three guitar players, flute, trumpet, bass, drums, and percussion, its restraint is remarkable. When Miles engages the organ formally as he does on the funky groove that moves through “Maiysha,” with a shimmering grace that colors the proceedings impressionistically through Lucas, Cosey and guitarist Dominique Gaumont, it’s positively shattering. This is Miles as he hadn’t been heard since In a Silent Way, and definitely points the way to records like Tutu, The Man with the Horn, and even Decoy when he re-emerged.

That’s not to say the harder edges are absent: far from it. There’s the off-world Latin funk of “Calypso Frelimo” from 1973, with John Stubblefield, Liebman, Cosey, and Lucas turning the rhythm section inside out as Miles sticks sharp knives of angular riffs and bleats into the middle of the mix, almost like a guitarist. Davis also moves the groove here with an organ and an electric piano to cover all the textural shapes. There’s even a rather straight — for Miles — blues jam in “Red China Blues” from 1972, featuring Wally Chambers on harmonica and Cornell Dupree on guitar with a full brass arrangement. The set closes with another 1972 session, the endearing “Billy Preston,” another of Davis’ polyrhythmic funk exercises where the drummers and percussionists — Al Foster, Badal Roy, and Mtume — are up front with the trumpet, sax (Carlos Garrett), and keyboards (Cedric Lawson), while the strings — Lucas, Henderson, and electric sitarist Khalil Balakrishna — are shimmering, cooking, and painting the groove in the back. Billy Preston, the organist who the tune is named after, is nowhere present and neither is his instrument. It choogles along, shifting rhythms and meters while Miles tries like hell to slip another kind of groove through the band’s armor, but it doesn’t happen. The track fades, and then there is silence, a deafening silence that would not be filled until Miles’ return six years later. This may be the most “commercial” sounding of all of Miles’ electric records from the ’70s, but it still sounds out there, alien, and futuristic in all the best ways, and Get Up with It is perhaps just coming into its own here in the 21st century.

Tracklist

DISC 1:
01. He Loved Him Madly
02. Maiysha
03. Honky Tonk
04. Rated X

DISC 2:
01. Calypso Frelimo
02. Red China Blues
03. Mtume
04. Billy Preston

SACD ISO

mqs.link_MilesDavisGetUpWithIt1974Japan20022xSACDIS.part1.rar
mqs.link_MilesDavisGetUpWithIt1974Japan20022xSACDIS.part2.rar
mqs.link_MilesDavisGetUpWithIt1974Japan20022xSACDIS.part3.rar
mqs.link_MilesDavisGetUpWithIt1974Japan20022xSACDIS.part4.rar
mqs.link_MilesDavisGetUpWithIt1974Japan20022xSACDIS.part5.rar
mqs.link_MilesDavisGetUpWithIt1974Japan20022xSACDIS.part6.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisGetUpWithIt1974Japan2002FLAC2488.2.part1.rar
mqs.link_MilesDavisGetUpWithIt1974Japan2002FLAC2488.2.part2.rar
mqs.link_MilesDavisGetUpWithIt1974Japan2002FLAC2488.2.part3.rar

Miles Davis – In A Silent Way (1969) [Reissue 2002] {2.0 & 5.1}
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 5.1 > 1-bit/2.8224 MHz | 38:32 minutes | Scans included | 3,77 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 38:07 min | Scans included | 789 MB

Listening to Miles Davis’ originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul’s original version of “In a Silent Way,” it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don’t begin until almost ten minutes into the piece. It’s Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea’s solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, “Shhh/Peaceful,” is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul’s organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it’s his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato “theme” of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul’s organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.

Tracklist:
01. Shhh / Peaceful
02. In A Silent Way / It’s About That Time

SACD ISO

mqs.link_MilesDavisInASilentWay1969Reissue2002SACDIS.part1.rar
mqs.link_MilesDavisInASilentWay1969Reissue2002SACDIS.part2.rar
mqs.link_MilesDavisInASilentWay1969Reissue2002SACDIS.part3.rar
mqs.link_MilesDavisInASilentWay1969Reissue2002SACDIS.part4.rar
mqs.link_MilesDavisInASilentWay1969Reissue2002SACDIS.part5.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisInASilentWay1969Reissue2002FLACStere2488.2.rar

Tracklist:
01. Shhh/Peaceful
02. In A Silent Way / It’s About That Time

Produced by Teo Macero. Engineers: Stan Tonkel, Russ Payne.

Personnel:
Miles Davis, Trumpet
Herbie Hancock, Electric Piano
Chick Corea, Electric Piano
Wayne Shorter, Tenor Sax
Dave Holland, Bass
Josef Zawinul, Electric Piano and Organ
John McLaughlin, Guitar
Tony Williams, Drums

Mastered by Rob LoVerde, assisted by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD ISO

mqs.link_MilesDavisInASilentWay1969MFSL2012SACDIS.part1.rar
mqs.link_MilesDavisInASilentWay1969MFSL2012SACDIS.part2.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisInASilentWay1969MFSL2012FLAC2488.2.rar

Kind of Blue isn’t merely an artistic highlight for Miles Davis, it’s an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue possess such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of “So What.” From that moment on, the record never really changes pace — each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It’s the pinnacle of modal jazz — tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn’t quite explain why seasoned jazz fans return to this record even after they’ve memorized every nuance. They return because this is an exceptional band — Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb — one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don’t like Kind of Blue, you don’t like jazz — but it’s hard to imagine it as anything other than a cornerstone of any jazz collection.

Tracklist:
01. So What
02. Freddie Freeloader
03. Blue in Green
04. All Blues
05. Flamenco Sketches

SACD ISO

mqs.link_MilesDavisKindfBlue1959Japan2007SACDIS.part1.rar
mqs.link_MilesDavisKindfBlue1959Japan2007SACDIS.part2.rar
mqs.link_MilesDavisKindfBlue1959Japan2007SACDIS.part3.rar
mqs.link_MilesDavisKindfBlue1959Japan2007SACDIS.part4.rar
mqs.link_MilesDavisKindfBlue1959Japan2007SACDIS.part5.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisKindfBlue1959Japan2007FLAC2488.2.rar

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.

Tracklist:
01. Bags’ Groove (Take 1)
02. Bags’ Groove (Take 2)
03. Airegen
04. Oleo
05. But Not For Me (Take 2)
06. Doxy
07. But Not For Me (Take 1)
Mastered by Kevin Gray at Cohearent Audio.

Personnel
Miles Davis – Trumpet
Sonny Rollins – Sax (Tenor)
Milt Jackson – Vibraphone
Thelonious Monk – Piano
Horace Silver – Bass, Piano
Percy Heath – Bass, Piano
Kenny Clarke – Drums

SACD ISO

mqs.link_MilesDavisBagsGrve1957APRemaster2014SACDIS.part1.rar
mqs.link_MilesDavisBagsGrve1957APRemaster2014SACDIS.part2.rar
mqs.link_MilesDavisBagsGrve1957APRemaster2014SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisBagsGrve1957APRemaster2014FLAC2488.2.rar

Since it’s billed as “Directions in Music by Miles Davis,” it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it’s possible to hear the breaking point — though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it’s possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in “direction” was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles de Kilimanjaro bears him out. Though the album sports inexplicable, rather ridiculous French song titles, this is music that is unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band. Where Miles in the Sky meandered a bit, this is considerably more focused, even on the three songs that run over ten minutes, yet it still feels transitional. Not tentative (which In the Sky was), but certainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn’t fly and search the way that Nefertiti did. But that’s not a bad thing — this middle ground between the adventurous bop of the mid-’60s and the fusion of the late ’60s is rewarding in its own right, since it’s possible to hear great musicians find the foundation of a new form. For that alone, Filles de Kilimanjaro is necessary listening.

Tracklist:
01. Frelon Brun
02. Tout De Suite
03. Petits Machins
04. Filles De Kilimanjaro
05. Mademoiselle Mabry

Personnel
Miles Davis – trumpet
Wayne Shorter – tenor saxophone
Herbie Hancock – electric piano
Chick Corea – piano
Ron Carter – electric bass
Dave Holland – double bass

SACD ISO

mqs.link_MilesDavisFillesDeKilimanjar1969JapaneseReissue2007SACDIS.part1.rar
mqs.link_MilesDavisFillesDeKilimanjar1969JapaneseReissue2007SACDIS.part2.rar
mqs.link_MilesDavisFillesDeKilimanjar1969JapaneseReissue2007SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisFillesDeKilimanjar1969JapaneseReissue2007FLAC2488.2.part1.rar
mqs.link_MilesDavisFillesDeKilimanjar1969JapaneseReissue2007FLAC2488.2.part2.rar

The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly’s interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses. Davis himself has never played with more intensity and muscularity on record than he does here. He is absolutely fierce, both on the Friday night and Saturday night sets. Kelly plays more like a drummer than a pianist, using gorgeously percussive left-hand comps and fills to add bottom to the front line’s solos. Mobley displays his bebop rather than hard bop and groove sides here, and reveals his intricate knowledge of the bop phraseology; he sounds free of the baggage and responsibility that he replaced John Coltrane and Cannonball Adderley. His solos on “If I Were a Bell” and “No Blues” are simply revelatory. This is an underappreciated group because of its relatively short life, but as evidenced here, the bandmembers swung fast and hard and never looked back. Hearing a dropped bassline, an out-of-time cymbal flourish, and a shortened series of phrases by Miles because he miscounted — you guess the track — adds to the charm of this being recorded as it was, without any cleanup. It is difficult to recommend this set over Saturday Night or vice versa; Miles fans will need both to fully appreciate how special this engagement with this particular band was.

Tracklist:
01. Walkin’
02. Bye Bye Blackbird
03. All Of You
04. No Blues
05. Bye Bye (Theme)
06. Love, I’ve Found You

Personnel
Miles Davis – trumpet
Hank Mobley – tenor sax
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums

SACD ISO

mqs.link_MilesDavisInPersn.FridayNightAtTheBlackhawkSanFranciscVl.11961Japan2000SACDIS.part1.rar
mqs.link_MilesDavisInPersn.FridayNightAtTheBlackhawkSanFranciscVl.11961Japan2000SACDIS.part2.rar
mqs.link_MilesDavisInPersn.FridayNightAtTheBlackhawkSanFranciscVl.11961Japan2000SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_MilesDavisInPersn.FridayNightAtTheBlackhawkSanFranciscVl.11961Japan2000FLAC2488.2.part1.rar
mqs.link_MilesDavisInPersn.FridayNightAtTheBlackhawkSanFranciscVl.11961Japan2000FLAC2488.2.part2.rar

Miles Davis – A Tribute To Jack Johnson (1970) [Japanese Reissue 1999] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Amandla (1989) [Japanese SHM-SACD 2011] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Big Fun (1974) [2x SACD, Reissue 2001] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Milestones (1958) [MFSL Remaster 2012 # UDSACD 2084] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – On The Corner (1972) [Japanese Reissue 2000] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Quiet Nights (1964) [Reissue 2000] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis Quintet – Miles Smiles (1967) [Reissue 2000] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis Quintet – Relaxin’ With Miles (1957) [Hybrid Mono SACD 2004] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Bitches Brew (1970) [2x SACD, Japan 2007] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Bitches Brew (1970) [2x SACD, Japanese Reissue 2002] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Black Beauty: Miles Davis At Fillmore West (1970) [2x SACD, Reissue 2001] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Dark Magus: Live At Carnegie Hall (1974) [2x SACD, Reissue 2001] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Four And More (1966) [MFSL 2013] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Get Up With It (1974) [2x SACD, Japanese Reissue 2002] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – In A Silent Way (1969) [Reissue 2002] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – In A Silent Way (1969) [MFSL 2012 # UDSACD 2088] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Kind Of Blue (1959) [Japanese Reissue 2007] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Bags’ Groove (1957) [APO Remaster 2014] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – Filles De Kilimanjaro (1969) [Japanese Reissue 2002] {SACD ISO + FLAC 24bit/88,2kHz}

Miles Davis – In Person: Friday Night At The Blackhawk, San Francisco Vol.1 (1961) [Japanese Reissue 2000] {SACD ISO + FLAC 24bit/88,2kHz}