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(JazzPlanet) Miles Davis - Miles In The Sky (Eac Flac Cue) UF TNT
TORRENT SUMMARY
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Artist Miles Davis
Title: Miles in the Sky
Source: Original CDDA
Released 1968
Recorded January 16 and May 15 to 17, 1968
Columbia Studio B New York
Label Columbia/Legacy
Re-Issue: 1998 Columbia/Legacy 65681
Genre: Jazz
Style: Fusion, Post-Bop
Number of Discs 1
Size Torrent: 460 Mb
Artwork included
Star Rating ***** Five stars
Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
image File.flac, Eac.log,
File.cue
Accurately ripped (confidence 59)
Track List
1. "Stuff" Miles Davis 16:58
2. "Paraphernalia" Wayne Shorter 12:36
3. "Black Comedy" Tony Williams 7:25
4. "Country Son" Davis 13:49
5. "Black Comedy (alternate take)" Williams 6:26
6. "Country Son (alternate take)" Davis 14:38
Personnel
Miles Davis — trumpet
Wayne Shorter — tenor saxophone
Herbie Hancock — piano, electric piano on "Stuff"
George Benson — electric guitar on "Paraphernalia"
Ron Carter — bass, electric bass on "Stuff"
Tony Williams — drums
Listen To Sample
http://www.amazon.com/gp/recsradio/radio/B00000DCH3/ref=pd_krex_dp_a
Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
With MILES IN THE SKY, Davis began to consciously incorporate elements of popular music and blues into the quintet's open-ended style of group improvisation. This was an attempt to reach out, not sell out. By 1968, groups such as the Beatles had stretched the parameters of the pop song form way beyond their humble harmonic beginnings, while the blues trio Cream significantly elevated the level of musicianship and added a bold improvisational dimension to live performances.
It was impossible to ignore these developments. And as Miles indicated in his autobiography, he was already becoming enamored of musicians such as Jimi Hendrix, James Brown, Sly Stone and Muddy Waters (elements of soul jazz had already crept into the quintet's repertoire with "Eighty-One" from E.S.P.).
On MILES FROM THE SKY, the trumpeter's "Stuff" juxtaposes a long elliptical blues line over a harmonically varied Ron Carter bass vamp, as Herbie Hancock pumps out billowy turqoise clouds of Fender/Rhodes chords and Tony Williams alternatingly locks in and deconstructs the eighth note pulse. On Shorter's "Paraphernalia" the horns play harmonic cat and mouse with a swinging vamp, resolving tension in cyclical chord progression, as George Benson's electric guitar offers a teasing suggestion of things to come. Tony Williams' "Black Comedy" and Davis' "Country Son" offer a series of radical tempo and textural changes: The former does so in a, more or less, straight ahead groove, while the latter intersperses swing beats with abstract gospel and ballad moods, culminating in an epic Shorter solo, and a Davis solo which hints at the newer style of phrasing he'd reveal on IN A SILENT WAY.
This is part of Sony's Columbia Jazz Masterpieces series.
With the 1968 album Miles in the Sky, Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. On Miles in the Sky, much of the rhythms are straightforward, picking up on the direct 4/4 beats of rock, and these are illuminated by Herbie Hancock's electric piano -- one of the very first sounds on the record, as a matter of fact -- and the guest appearance of guitarist George Benson on "Paraphernalia." All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves. This meanders considerable more than Nefertiti, even if it is significantly less elliptical in its form, because it's primarily four long jams. Intriguing, successful jams in many respects, but even with the notable additions of electric instruments, and with the deliberately noisy "Country Son," this is less visionary than its predecessor and feels like a transitional album -- and, like many transitional albums, it's intriguing and frustrating in equal measures.
