Miles Davis - Miles Ahead (1957)

[b]Miles Davis - Miles Ahead (1957)[/b]

Opis:
Album ten wyznacza drugi etap współpracy z Gilem Evansem. Pierwszy zaoowocował albumem Birth of the Cool. Do drugiego będą jeszcze należały Porgy and Bess i Sketches of Spain.

Jest to właściwie płyta koncepcyjna; 10 kompozycji tworzy jazzową suitę.

Album został nagrany na czterech sesjach. Jednak w trakcie postprodukcji Davis zadecydował o piątej sesji. Popoprawiał wszystkie pomyłki i opuszczenia w czasie jego solowych partii poprzez nałożenie "łat". Ponieważ nieoczekiwanie album był monofoniczny można te wstawki łatwiej wyłowić niż na poprawionym wydaniu stereofonicznym.

Na oryginalnym albumie nie był w ogóle wymieniony pianista Wynton Kelly, którego partia fortepianowa na alternatywnym "Springsville" znalazła się w "Springsville" wydanym na albumie.

Oryginalny album ukazał się z całkowicie niepasującą do płyty okładką przedstawiającą młodą białą kobietę na żaglówce[1]. Wszystkie późniejsze wydania miały już na okładce fotografię Milesa Davisa.



Tracklist:

1. Springsville (J. Carisi) [3:27]
2. The Maids of Cadiz (L. Delibes) [3:53]
3. The Duke (D. Brubeck) [3:35]
4. My Ship (I. Gershwin/K.Weill) [4:28]
5. Miles Ahead (M. Davis/G. Evans) [3:29]
6. Blues for Pablo (G. Evans) [5:18]
7. New Rhumba (A. Jamal) [4:37]
8. The Meaning of the Blues (R. Troup/L. Worth) [2:48]
9. Lament (J.J. Johnson) [2:15]
10. I Don't Wanna Be Kissed (by Anyone but You) (H. Spina/J. Elliott) [3:05]


Miles Ahead is a jazz album by Miles Davis that was released in 1957 under Columbia label as CL 1041. This was the first album following Birth of the Cool that Davis recorded with Gil Evans, with whom he would go on to release albums such as Porgy and Bess and Sketches of Spain. Gil Evans combined the ten pieces that make up the album in a kind of suite, each following the preceding one without interruption. Davis is the only soloist on Miles Ahead, which also features a prominent horn section.

A fifth recording date involved Davis alone (re-)recording material to cover or patch mistakes or omissions in his solos using overdubbing. The fact that this album originally was produced in mono makes these inserted over-dubbings rather obvious in the new stereo setting.

Nostalgia 77-The Garden

Nostalgia 77-The Garden

Upon first hearing The Garden, one may not feel inclined to acknowledge it as a "producer's" record. It feels quite different from Lamdin's 2004 scratch-inflicted debut Songs for My Funeral. The presence of metronome-perfect sequencing techniques (if they're even there at all) is incredibly subtle and often entirely unnoticeable. Clearly, Lamdin was not the lone creative force behind this effort. Rather than overwhelming production techniques, the buffet of musicianship present on The Garden makes the record. Horns, upright bass, live[?] drum set, keys, and electric guitar supply an ideal stripped down yet incredibly full sound.

The vacillation of The Garden can be somewhat disorienting, as one minute you'd swear you were hearing something off the latest off Ninja Tune, and a moment later, you'd be better off assuming it was vintage Blue Note. Its overall theme seems to shift slightly from piece to piece. Some songs are anchored in jazz-funk and fusion, some in Afrobeat, some in sample-derived hip-hop, and even a few in avant free jazz (minus the frenzied percussion). And though the musicianship throughout the album remains constant, no two songs sound particularly alike in style.

The Garden is 100% instrumental (vocal-free) with one exception: The White Stripes cover "Seven Nation Army" featuring vocals from blue-eyed UK soulstress Alice Russell. Ha! And you thought Joss Stone's "Fell in Love With a Boy" was the last of it! 'Fraid not. In any case, Lamdin's take on Jack and Meg is perhaps more tolerable than the latter mentioned. However, it does seem a tad out of place here since, after all, it's the only vocal track on the record and just so happens to be decidedly gimmicky.

Ben Lamdin’s creations range from heavy funk, to hip-hop based beats mixed with dusty old jazz, obscuro funk and psych bits and pieces.

Nostalgia 77 aka Ben Lamdin first burst onto the scene with his heavy, new funk based sound in 2002. In 2004 he moved away from the distinctive raw funk of his previous singles and he branched out to explore a more downtempo and jazz infused style. Nostalgia’s sound moved to hip-hop based beats fused with dusty old jazz; obscuro funk and psych bits and pieces, repolishing and rearranging them for modern day headphone junkies.



Tracklist:
1. Cheney Lane 4:40
2. Changes 5:56
3. Green Blades of Grass 3:30
4. The Hunger 7:29
5. You and Me 4:36
6. After Ararat 4:51
7. Freedom 5:17
8. Seven Nation Army 4:22
9. The Garden 3:19

Miles Davis - The Legendary Prestige Quintet Sessions

Miles Davis - The Legendary Prestige Quintet Sessions

Opis
By 1955, Miles Davis had been recording on the Prestige label for four years. But as his career began to gain momentum, getting a group together was an inevitable career decision. The Miles Davis Quintet consisted of Paul Chambers on bass, John Coltrane on tenor, Red Garland on the keys, Philly Joe Jones on the sticks and Miles on the trumpet. With this group, Miles had more than a steady performance group - he had a vehicle. In the space of about a year, the quintet recorded five full-length LPs - and that was just for Prestige. This was one of the busiest and most headlong periods for Miles Davis.

Let me first say that the music collected in The Legendary Prestige Sessions box set is infallible. The albums that these sessions spawned — namely The New Miles Davis Quintet, as well as the legendary 1956 quadriptych Relaxin', Steamin', Workin' and Cookin' — are among the finest I've heard in Miles' catalogue: these are the kind of songs that move you in a way only Jazz music can. Sure, it's not perfect, but it didn't have to be; Prestige wanted it hard and quick, and they got it that way. Far removed from Columbia's relaxed, multiple-session approach to album recording, or even the future extremes of Mingus' perfectionism and sophisticated techniques, the quintet recorded straight, with no retakes.

In fact, since these sessions were so quick and dirty, there are no alternate takes or unreleased numbers here; in that sense, the box set might seem perfunctory. What we have here is the music that comprised the original records on three CDs, plus one fourth disc exclusive to the box: it features radio and television broadcasts, as well as transcriptions of Miles' solos comprised of remastered live broadcasts.





Tracklist:

1. Stablemates 5:25
2. How Am I To Know? 4:41
3. S'posin' 5:17
4. When I Fall In Love 4:26
5. The Theme 2:01
6. Well, You Needn't 6:33
7. 'Round Midnight 5:26
8. Airegin 4:26
9. Oleo 6:33
10. Tune Up 4:25

Beastie Boys-the in sound from way out

The In Sound from Way Out! is an instrumental compilation by the Beastie Boys, released in 1996. The title and cover art concept were borrowed from the Perrey and Kingsley album of the same name.Great instrumental album of some of the beastie boys tracks. Very jazzy live sounds and a great mood. Take a glass of wine, relax and listen to this - essential.

New York Ska Jazz Ensemble - Get This (1998)

The New York Ska-Jazz Ensemble is exactly what its name suggests: a group of New York ska musicians dedicated to exploring the links between ska and jazz. The membership is all culled from top New York ska acts, making it something of a supergroup: leaders "Rocksteady" Freddie Reiter (saxophone, vocals) and Rick Faulkner (trombone, vocals) hail from the Toasters, as does drummer/lead vocalist Jonathan McCain, guitarist Devon James comes from the legendary Skatalites, and bassist Victor Rice and keyboardist Cary Brown play full-time with the Scofflaws.The album is a near even mix of original and ska-styled jazz standards like the Steve Cropper-penned "See Saw," Les Brown's "Comes Love" (both featuring Checkered Cabs vocalist Caz Gardner), Duke Ellington's "Mood Indigo," and more. Jack Ruby Jr. (the Toasters) gives reggae vocal treatment to three of the 14 cuts. The resultant two-tone jazz gives off a subtropical hedonist charm, conjuring up the contrasting images of Jamaican beaches and jazz club nightlife. Trombone and sax are the mainstays of the NYSJE horn section with occasional flute and Nathan Breedlove guesting on trumpet for three tracks. Stand-up bass completes a jumping equation that leads in science more toward straight-ahead jazz and in spirit more toward lively, infectious ska.

The Skatalites - Greetings from Skamania (1996)

GREETINGS FROM SKAMANIA was nominated for a 1997 Grammy Award for Best Reggae Album.

1996's GREETINGS FROM SKAMANIA continues the winning streak of the reunited Skatalites, and also sets something of a band record; the group had stayed together for more than three years straight, the longest any incarnation of the Skatalites had ever lasted! This album builds on the ideas of its predecessor, 1994's HI-BOP SKA, without the free-jazz squalling of that album's guest star, Lester Bowie. Continuing with the ska-jazz fusion of the previous album, GREETINGS FROM SKAMANIA is half brand-new band originals and half reworkings of classic ska tunes of the '60s. Most of those old favorites are adapted into extended jazzy solo showcases, like the eight-minute "El Pussycat" and a fantastic six-minute version of the classic "Phoenix City." Of the new material, the slinky "Have A Good Time" is the highlight, featuring vocals from part-time Skatalite Doreen Schaffer.
Recorded at The Loft, Bronxville, New York.

Ivan Boogaloo Joe Jones-Sweetback (1975) Reissue-2004

Ivan Joseph Jones, also known as "Boogaloo Joe", (born 1 November 1940) is a jazz guitarist. He made his solo debut as "Joe Jones" on Prestige Records in 1967, but earned the name "Boogaloo Joe" following a 1969 record of that title. The nickname was meant to distinguish him from the other people with similar names in the music business, such as R&B singer Joe Jones, jazz drummers "Papa Jo" Jones and Philly Joe Jones, and the Joe Jones of the Fluxus movement. Later, he'd turn to billing himself as Ivan "Boogaloo Joe" Jones.
Jones recorded several albums in a soul-jazz vein for Prestige in the period from 1966 to 1978. In addition to leading his own group for recording purposes, Ivan Jones recorded with Richard 'Groove' Holmes, Houston Person, Harold Mabern, Wild Bill Davis and, most notably, Willis Jackson. Rusty Bryant, Charles Earland, and Bernard "Pretty" Purdie are among the sidemen also featured on Boogaloo's albums.
His sound and style
clearly derived from the blues. But it was a solid understanding of rock that Jones brought to his style of jazz. He was influenced most by Tal Farlow and Billy Butler, but gravitated toward the rhythm and blues jazz Butler was popularizing with organist Bill Doggett's popular group.
While jazz went through some drastic changes during the dozen years of his recording career, Jones’ sound and style stayed remarkably consistent. His twangy tone coupled catchy chordal vamps with astonishing rapid-fire single-note playing. He could handle familiar pop covers ("Light My Fire," "Have You Never Been Mellow") and ballads. But he really excelled in the jazz-funk groove and proved himself a first-rate blues player.
Jones has lived in South New Jersey most of his life and mostly worked in and around the Atlantic City area with chitlin-circuit heroes like Wild Bill Davis, Willis Jackson and Charlie Ventura. Jones, who never won the notice of critics or great support from fans during his career, is finding new life on CD.



1 - Confusion (6:33)
2 - Trouble In Mind (6:11)
3 - Sweetback (7:40)
4 - Have You Ever Been Mellow (7:20)
5 - Jamaica Farewell (3:26)
6 - You've Got It Bad, Girl (7:45)