Miles Davis – Relaxin’ With The Miles Davis Quintet (1958/2026)
FLAC (tracks) 24 bit/192 kHz | Time – 37:05 minutes | 927 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Prestige

Relaxin’ with the Miles Davis Quintet is an album by the Miles Davis Quintet, released in March 1958 through Prestige Records. It was recorded at two sessions on May 11 and October 26, 1956, that produced 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. As the title suggests, it also emphasizes Miles Davis’ concentrated medium-register ballad playing.

Tracklist:

1-1. Miles Davis Quintet – If I Were A Bell (Remastered 2026) (08:19)
1-2. Miles Davis Quintet – You’re My Everything (Remastered 2026) (05:21)
1-3. Miles Davis Quintet – I Could Write A Book (Remastered 2026) (05:12)
1-4. Miles Davis Quintet – Oleo (Remastered 2026) (06:31)
1-5. Miles Davis Quintet – It Could Happen To You (Remastered 2026) (06:39)
1-6. Miles Davis Quintet – Woody’n You (Remastered 2026) (05:00)

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Stan Getz, Miles Davis – Move (1991/2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:15:40 minutes | 639 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © RevOla

Organised jam sessions at New York’s legendary Birdland Club were broadcast twice weekly during the late ’40’s and early ’50’s and a baker’s dozen of tracks featuring the magnificent Miles Davis have been selected for this collection. The various pick-up line-ups included all the great jazz musicians of the era, and tenor sax genius Stan Getz can be heard here on several tracks beautifully complimenting Miles’ wonderful trumpet excursions. This album has been early issued on CD under the titles “Miles Davis: The Birdland Sessions” (1994), “Miles Davis: Out Of The Blue” (1997), “Miles Davis featuring Stan Getz : Birdland Days” (1991), “Miles Davis, Stan Getz: Move” (2003).This is a hard blowing bop session from 1950 propelled along by the driving drums of Art Blakey and featuring Stan Getz pre ultra-cool. The sound quality isn’t perfect but it is certainly very listenable and very enjoyable. The band never lets up and the energy is high as they hit ‘That Old Black Magic’, ‘Half Nelson’ and more with JJ Johnson offering a couple of nimble trombone solos alongside the young Miles’ straight ahead blowing.

Tracklist:

1-01. Stan Getz and Miles Davis – Conception (Remastered) (04:08)
1-02. Stan Getz and Miles Davis – Ray’s Idea (Remastered) (05:55)
1-03. Stan Getz and Miles Davis – That Old Black Magic (Remastered) (02:17)
1-04. Stan Getz and Miles Davis – Max Is Making Wax (Remastered) (04:01)
1-05. Stan Getz and Miles Davis – Woody ‘n’ You (Remastered) (05:41)
1-06. Stan Getz and Miles Davis – Move (Remastered) (06:16)
1-07. Stan Getz and Miles Davis – Half Nelson (Remastered) (07:37)
1-08. Stan Getz and Miles Davis – Down (Remastered) (07:23)
1-09. Stan Getz and Miles Davis – Move (Remastered) (06:24)
1-10. Stan Getz and Miles Davis – The Squirrel (Remastered) (08:44)
1-11. Stan Getz and Miles Davis – Lady Bird (Remastered) (05:37)
1-12. Stan Getz and Miles Davis – Confirmation (Remastered) (05:48)
1-13. Stan Getz and Miles Davis – Evance (Out of the Blue) (Remastered) (05:44)

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Miles Davis – Cookin’ With The Miles Davis Quintet [Japanese SHM-SACD 2014 # UCGO-9045] [SACD ISO]
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 33:22 minutes | Full Scans included | 1,41 GB
Genre: Jazz, Hard Bop | Publisher (label): Prestige – UCGO-9045

【SA-CD～SHM仕様～】【限定生産】
黄金のマイルス・クインテットによる名高いマラソン・セッションから生まれた1枚。ほぼ全曲がワン・テイクで収録されたのが信じられない完成度。中でも「マイ・ファニー・ヴァレンタイン」における孤高の美は唯一無二。〈パーソネル〉マイルス・デイヴィス(tp) ジョン・コルトレーン(ts) レッド・ガーランド(p) ポール・チェンバース(b) フィリー・ジョー・ジョーンズ(ds)
★1956年10月26日、ニュージャージーにて録音

https://www.universal-music.co.jp/miles-davis/products/ucgo-9045/

Tracklist:

1. My Funny Valentine – 5:59
2. Blues by Five – 9:55
3. Airegin – 4:24
4. Tune up/When Lights Are Low – 13:09

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Miles Davis – You’re Under Arrest (1985) [Japanese Reissue 2000] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 42:47 minutes | Scans included | 1,76 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 901 MB

Miles Davis’ final Columbia recording (other than Aura which was released several years later) includes his straightforward ballad interpretations of Cyndy Lauper’s “Time After Time” & the Michael Jackson-associated “Human Nature,” 2 songs he would play in most of his concerts for the remainder of his life. Other tunes (including “You’re Under Arrest,” “One Phone Call” & “Ms. Morrisine”) were quickly discarded. In addition to Davis (who had regained his earlier chops) tenor-saxophonist Bob Berg, guitarist John Scofield & guest John McLaughlin get in a few decent solos on this competent, but not overly memorable effort.

Tracklist:

01. One Phone Call / Street Scenes
02. Human Nature
03. Intro: MD 1 / Somethings On Your Mind / MD 2
04. Ms. Morrisine
05. Katia Prelude
06. Katia
07. Time After Time
08. You’re Under Arrest
09. Medley: Jean Pierre / You’re Under Arrest / Then There We None

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Miles Davis – The Man With The Horn (1981) [Japan 1999] [SACD ISO + DSF DSD64 + Hi-Res FLAC]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 52:13 minutes | Front/Rear Covers | 1,59 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,43 GB
or FLAC (carefully converted & encoded to tracks) 24bi/96 kHz | Front/Rear Covers | 1,2 GB

The Man with the Horn is an album released by Miles Davis in 1981, featuring drummer Al Foster, saxophonist Bill Evans, guitarists Mike Stern and Barry Finnerty, and others. It was Davis’s first new release since 1975, following a six-year reclusive retirement. Rock-oriented in nature, the music fuses 1980s pop with improvisational funk and fusion styles. The album marked Davis’s return to his more traditional trumpet playing, although the title song “The Man with the Horn” features wah-wah improvisation along with vocals.Miles Davis’ first comeback record finds the trumpeter a bit shaky (he would improve album by album during the next few years) and has a few poppish throwaway tracks; it is doubtful if anyone really remembers the title cut or “Shout.” But with Bill Evans on soprano and electric bassist Marcus Miller, the other four selections are more rewarding with Davis forming the nucleus of his new band.

Tracklist:

01. Fat Time
02. Back Seat Betty
03. Shout
04. Aïda
05. The Man with the Horn
06. Ursula

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Miles Davis – Steamin’ With The Miles Davis Quintet (1961) [MFSL 2003] [SACD ISO + Hi-Res FLAC]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 39:56 minutes | Scans included | 1,24 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 883 MB
Mobile Fidelity Sound Lab # UDSACD 2019

Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin’, Relaxin’, Workin’, and ultimately, Steamin’. A primary consideration of these fruitful sessions is the caliber of musicians — Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) — who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo’s musical group mind. The end results are consistently astonishing. At the center of Steamin’, as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians. “Surrey With the Fringe on Top” is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their “Salt Peanuts.” Philly Joe Jones’ mimicking cymbal speak — which replicates Gillespie’s original vocals — is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on “Well, You Needn’t.” This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin’, it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.

Tracklist:

01. Surrey With The Fringe On Top
02. Salt Peanuts
03. Something I Dreamed Last Night
04. Diane
05. Well, You Needn’t
06. When I Fall In Love

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Miles Davis – Someday My Prince Will Come (1961) [Analogue Productions 2010] [MCH SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD/DST64 2.0 & 3.0 > 1-bit/2.8224 MHz | 41:49 minutes | Scans included | 2,88 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 42:14 mins | Scans included | 933 MB

After both John Coltrane and Cannonball Adderley left Miles Davis’ quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and “Teo.” The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an “elfin” feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it’s coming from somewhere else. Mobley’s real moment on the album is on the next track, “Old Folks,” when he doesn’t have Coltrane breathing down his neck. Mobley’s soul-stationed lyricism is well-suited to his soloing here, and is for the rest of the album except, of course, on “Teo,” where Coltrane takes him out again. The closer on the set, “Blues No. 2,” is a vamp on “All Blues,” from Kind of Blue, and features Kelly and Chambers playing counterpoint around an eight bar figure then transposing it to 12. Jones collapses the beat, strides it out, and then erects it again for the solos of Davis and Mobley. This is relaxed session; there are no burning tracks here, but there is much in the way of precision playing and a fine exposition of Miles’ expansive lyricism.

Tracklist:

01. Someday My Prince Will Come
02. Old Folks
03. Pfrancing
04. Drad-Dog
05. Teo
06. I Thought About You

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Miles Davis – Sketches Of Spain (1960) [MFSL 2012] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 41:51 minutes | Scans included | 1,69 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 891 MB
Mobile Fidelity Sound Lab # UDSACD 2086

Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis’ most enduring and innovative achievements. Recorded between November 1959 and March 1960 — after Coltrane and Cannonball Adderley had left the band — Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album’s signature piece, “Concierto de Aranjuez,” after hearing a classical version of it at bassist Joe Mondragon’s house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the “Concierto,” Evans’ arrangement provided an orchestra and jazz band — Paul Chambers, Jimmy Cobb, and Elvin Jones — the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis’ control over his instrument is singular, and Evans’ conducting is flawless. Also notable are “Saeta,” with one of the most amazing technical solos of Davis’ career, and the album’s closer, “Solea,” which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession — or parade — with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.

Tracklist:

01. Concierto de Aranjuez (Adagio)
02. Will O’ The Wisp
03. The Pan Piper
04. Saeta
05. Solea

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Miles Davis – Jazz At The Plaza (1973) [Reissue 2001] [SACD ISO + DSF DSD64 + Hi-Res FLAC]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 40:26 minutes | Scans included | 1,67 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Full Scans included | 1,63 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 982 MB

Jazz at the Plaza Vol. I is a live album by Miles Davis. It was recorded in 1958 and released in 1973 by Columbia Records. Duke Ellington was recorded at the same event and released as the second volume (Jazz at the Plaza Vol. II).On September 9, 1958, Miles Davis shared the stage with Duke Ellington, Billie Holiday, and Jimmy Rushing during an evening sponsored by Columbia Records at the Plaza Hotel in Manhattan. After its performance at the Newport Festival, the sextet had re-established the balance among its forceful personalities. John Coltrane clearly represented the future direction of jazz. However, unlike in the studio versions, Cannonball here countered with continuous streaks of immense force on the accentuated rhythms, energizing the heat driving the sextet. Bill Evans added a vigor that reflected the influence of Bud Powell and Lennie Tristano rather than his usual impressionist sources. Paul Chambers on the double bass was the force behind their new version of “My Funny Valentine,” half way between the 1956 version for Prestige and the one performed at Philharmonic Hall in 1964. The arrangement of “Oleo” had become more fluent since the 1954 and 1956 recordings and particularly emphasized the rhythmic feints that Jimmy Cobb, following in the style of Philly Jones, favored.

Tracklist:

01. If I Were A Bell
02. Oleo
03. My Funny Valentine
04. Straight, No Chaser

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Miles Davis – Seven Steps To Heaven (1963) [Japanese Reissue 2002] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 46:08 minutes | Scans included | 1,4 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 923 MB

Seven Steps to Heaven finds Miles Davis standing yet again on the fault line between stylistic epochs. In early 1963, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb left to form their own trio, and Davis was forced to form a new band, which included Memphis tenor player George Coleman and bassist Ron Carter. When Davis next entered the studio in Hollywood, he added local drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on the road with Davis. It’s easy to see why Davis liked Feldman, who contributed the dancing title tune and “Joshua” to the session. On three mellifluous standards — particularly a cerebral “Basin Street Blues” and a broken-hearted “I Fall in Love Too Easily” — the pianist plays with an elegant, refined touch, and the kind of rarefied voicings that suggest Ahmad Jamal. Davis responds with some of his most introspective, romantic ballad playing. When Davis returned to New York he finally succeeded in spiriting away a brilliantly gifted 17-year-old drummer from Jackie McLean: Tony Williams. On the title tune you can already hear the difference, as his crisp, driving cymbal beat and jittery, aggressive syncopations propel Davis into the upper reaches of his horn. On “So Near, So Far” the drummer combines with Carter and new pianist Herbie Hancock to expand on a light Afro-Cuban beat with a series of telepathic changes in tempo, texture, and dynamics. Meanwhile, Feldman’s “Joshua” (with its overtones of “So What” and “All Blues”) portends the kind of expressive variations on the basic 4/4 pulse that would become the band’s trademark, as Davis and Coleman ascend into bebop heaven.

Tracklist:

01. Basin Street Blues
02. Seven Steps To Heaven
03. I Fall In Love Too Easily
04. So Near So Far
05. Baby Won’t You Please Come Home
06. Joshua

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Miles Davis – Sorcerer (1967) [MFSL 2015] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 40:24 minutes | Scans included | 1,62 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 793 MB
Mobile Fidelity Sound Lab # UDSACD 2145 | Genre: Jazz

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there’s little of the dense, manic energy on Miles Smiles — this is about subtle shadings, even when the compositions are as memorable as Tony Williams’ “Pee Wee” or Herbie Hancock’s “Sorcerer.” As such, it’s a little elusive, since it represents the deepening of the band’s music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren’t placed at the forefront the way they were on the two predecessors — it all merges together, pointing toward the dense soundscapes of Miles’ later ’60s work. It’s such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it’s intended as a tribute to Miles’ then-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).

Tracklist:

01. Prince Of Darkness
02. Pee Wee
03. Masqualero
04. The Sorcerer
05. Limbo
06. Vonetta
07. Nothing Like You

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Miles Davis – Sorcerer (1967) [Japanese Reissue 2007] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 39:59 minutes | Scans NOT included | 1,62 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 796 MB

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there’s little of the dense, manic energy on Miles Smiles — this is about subtle shadings, even when the compositions are as memorable as Tony Williams’ “Pee Wee” or Herbie Hancock’s “Sorcerer.” As such, it’s a little elusive, since it represents the deepening of the band’s music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren’t placed at the forefront the way they were on the two predecessors — it all merges together, pointing toward the dense soundscapes of Miles’ later ’60s work. It’s such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it’s intended as a tribute to Miles’ then-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).

Tracklist:

01. Prince Of Darkness
02. Pee Wee
03. Masqualero
04. The Sorcerer
05. Limbo
06. Vonetta
07. Nothing Like You

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Miles Davis – Someday My Prince Will Come (1961) [Japanese Reissue 2007] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 41:50 minutes | Scans included | 1,76 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 895 MB

After both John Coltrane and Cannonball Adderley left Miles Davis’ quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and “Teo.” The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an “elfin” feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it’s coming from somewhere else. Mobley’s real moment on the album is on the next track, “Old Folks,” when he doesn’t have Coltrane breathing down his neck. Mobley’s soul-stationed lyricism is well-suited to his soloing here, and is for the rest of the album except, of course, on “Teo,” where Coltrane takes him out again. The closer on the set, “Blues No. 2,” is a vamp on “All Blues,” from Kind of Blue, and features Kelly and Chambers playing counterpoint around an eight bar figure then transposing it to 12. Jones collapses the beat, strides it out, and then erects it again for the solos of Davis and Mobley. This is relaxed session; there are no burning tracks here, but there is much in the way of precision playing and a fine exposition of Miles’ expansive lyricism.

Tracklist:

01. Someday My Prince Will Come
02. Old Folks
03. Pfrancing
04. Drad Dog
05. Teo
06. I Thought About You

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Miles Davis – Someday My Prince Will Come (1961) [Japan 2000] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 59:05 minutes | Scans included | 2,22 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,09 GB

After both John Coltrane and Cannonball Adderley left Miles Davis’ quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and “Teo.” The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an “elfin” feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it’s coming from somewhere else. Mobley’s real moment on the album is on the next track, “Old Folks,” when he doesn’t have Coltrane breathing down his neck. Mobley’s soul-stationed lyricism is well-suited to his soloing here, and is for the rest of the album except, of course, on “Teo,” where Coltrane takes him out again. The closer on the set, “Blues No. 2,” is a vamp on “All Blues,” from Kind of Blue, and features Kelly and Chambers playing counterpoint around an eight bar figure then transposing it to 12. Jones collapses the beat, strides it out, and then erects it again for the solos of Davis and Mobley. This is relaxed session; there are no burning tracks here, but there is much in the way of precision playing and a fine exposition of Miles’ expansive lyricism.

Tracklist:

01. Someday My Prince Will Come
02. Old Folks
03. Pfrancing
04. Drad Dog
05. Teo
06. I Thought About You
07. Blues No. 2
08. Someday My Prince Will Come (Alt. take)

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Miles Davis – ‘Round About Midnight (2001) [SACD ISO]
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 57:47 minutes | 2,33 GB
Genre: Jazz | Publisher (label): Columbia/Legacy 85201

‘Round About Midnight is an album by jazz musician Miles Davis. It was his debut on Columbia Records, and was originally released in March 1957 (CL 949). The album took its name from the Thelonious Monk song “‘Round Midnight”.

Recording sessions took place at Columbia Studio D on October 26, 1955, and at Columbia’s 30th Street Studio on June 5 and September 10, 1956. ‘Round About Midnight is widely recognized by jazz critics as a landmark album in hard bop and one of the greatest jazz albums of all time.Allmusic Review

Given that ‘Round About Midnight was Miles Davis’ debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, and debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album’s release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year.

Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz — both cool jazz and hard bop — and was beginning to move in another direction here that wouldn’t be defined for another two years. Besides the obvious lyrical and harmonic beauty of “Round About Midnight” that is arguably its definitive version even over Monk’s own, there are the edges of Charlie Parker’s “Au Leu-Cha” with its Bluesology leaping from every chord change in Red Garland’s left hand. Coltrane’s solo here too is notable for its stark contrast to Davis’ own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter’s “All of You” has Davis quoting from Louis Armstrong’s “Basin Street Blues” in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it’s in “Bye-Bye Blackbird” that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Garland is doing more than comping in the background; he’s slipping chord shapes into those interval cracks and shifting them as the rhythm section keeps “soft time.” When Coltrane moves in for his break, rather than Davis’ spare method, he smatters notes quickly all though the melodic body of the tune and Garland has to compensate harmonically, moving the mode and tempo up a notch until his own solo can bring it back down again. Which he does with a gorgeous all-blues read of the tune utilizing first one hand and then both hands to create fat harmonic chords to bring Davis back in to close it out. It’s breathtaking how seamless it all is. There’s little else to say except that ‘Round About Midnight is among the most essential of Davis’ Columbia recordings.

Tracklist:

1. ‘Round Midnight 5:55
2. Ah-Leu-Cha 5:50
3. All of You 7:00
4. Bye Bye Blackbird 7:53
5. Tadd’s Delight 4:26
6. Dear Old Stockholm 7:48

Bonus Tracks:
7. Two Bass Hit 3:42
8. Little Melonae 7:20
9. Budo 4:14
10. Sweet Sue, Just You 3:39

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Miles Davis – Cookin’ with the Miles Davis Quintet (Analogue Productions 2014) (1957/2014) [SACD ISO]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 00:33:48 minutes | Full Scans included | 1,61 GB
Genre: Jazz | Publisher (label): Analogue Productions – CPRJ 7094 SA

Hybrid Mono SACD for sale individually and as part of Analogue Productions’ Prestige Mono Series

Mini “old style” gatefold jacket packaging

These SACD jackets feature printed wraps mounted to chipboard shells, producing an authentic, “old school” look and feel. Some people call these “mini LP” jackets.
Cookin’ With the Miles Davis Quintet is the first classic album of four total 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 á 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.

Originally released in 1957

https://store.acousticsounds.com/d/79326/Miles_Davis-Cookin_With_The_Miles_Davis_Quintet-Hybrid_Mono_SACD

Tracklist:

1. My Funny Valentine – 6:02
2. Blues by Five – 10:03
3. Airegin – 4:28
4. Tune Up 5:42
5. When Lights Are Low – 7:33

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Miles Davis – Porgy and Bess (1959) [MFSL 2019] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 Stereo > 1-bit/2.8224 MHz | 50:43 minutes | Scans included | 2,06 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/96 kHz | Full Scans included | 1,1 GB
Mobile Fidelity Sound Lab # UDSACD 2200

Porgy and Bess is a studio album by jazz musician Miles Davis, originally released on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin’s 1935 opera of the same name. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations. Jazz critics have regarded the album as historic.Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin’s Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans’ intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian “Cannonball” Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on “Prayer (Oh Doctor Jesus),” “I Loves You, Porgy,” and “There’s a Boat That’s Leaving Soon for New York” are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks’ (alto flute) solos, which commence on “Fishermen, Strawberry and Devil Crab.” Or the emotive bass and tuba duet that runs throughout “Buzzard Song.” The impeccable digital remastering and subsequent reissue – which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set – only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker’s dozen. No observation or collection of American jazz can be deemed complete without this recording.

Tracklist:

01. The Buzzard Song
02. Bess, You Is My Woman Now
03. Gone
04. Gone, Gone, Gone
05. Summertime
06. Oh Bess, Oh Where’s My Bess
07. Prayer (Oh Doctor Jesus)
08. Fishermen, Strawberry and Devil Crab
09. My Man’s Gone Now
10. It Ain’t Necessarily So
11. Here Come de Honey Man
12. I Loves You, Porgy
13. There’s a Boat That’s Leaving Soon for New York

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Miles Davis – Porgy And Bess (1958) [Japanese Reissue 1999] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:33 minutes | Scans included | 2,16 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,05 GB

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin’s Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans’ intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian “Cannonball” Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on “Prayer (Oh Doctor Jesus),” “I Loves You, Porgy,” and “There’s a Boat That’s Leaving Soon for New York” are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks’ (alto flute) solos, which commence on “Fishermen, Strawberry and Devil Crab.” Or the emotive bass and tuba duet that runs throughout “Buzzard Song.” The impeccable digital remastering and subsequent reissue — which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set — only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker’s dozen. No observation or collection of American jazz can be deemed complete without this recording.

Tracklist:

01. The Buzzard Song
02. Bess, You Is My Woman Now
03. Gone (Gil Evans)
04. Gone, Gone, Gone
05. Summertime
06. Oh Bess, Oh Where’s My Bess?
07. Prayer (Oh Doctor Jesus)
08. Fisherman, Strawberry and Devil Crab
09. My Man’s Gone Now
10. It Ain’t Necessarily So
11. Here Come De Honey Man
12. I Wants to Stay Here (a.k.a. I Loves You, Porgy)
13.There’s a Boat That’s Leaving Soon for New York

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Miles Davis – Nefertiti (1968) [MFSL 2015] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 39:16 minutes | Scans included | 1,58 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 775 MB
Mobile Fidelity Sound Lab # UDSACD 2146 | Genre: Jazz

Nefertiti, the fourth album by Miles Davis’ second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes — but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on “Hand Jive.” Yet even when the instrumentalists and soloists are placed in the foreground — such as Miles’ extended opening solo on “Madness” or Hancock’s long solo toward the end of the piece — this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What’s impressive, like on all of this quintet’s sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti’s charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.

Tracklist:

01. Nefertiti
02. Fall
03. Hand Jive
04. Madness
05. Riot
06. Pinocchio

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Miles Davis – Nefertiti (1967) [Japanese Reissue 2002] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:58 minutes | Scans included | 1,62 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 884 MB

Nefertiti, the fourth album by Miles Davis’ second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes — but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on “Hand Jive.” Yet even when the instrumentalists and soloists are placed in the foreground — such as Miles’ extended opening solo on “Madness” or Hancock’s long solo toward the end of the piece — this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What’s impressive, like on all of this quintet’s sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti’s charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.

Tracklist:

01. Nefertiti
02. Fall
03. Hand Jive
04. Madness
05. Riot
06. Pinocchio

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Miles Davis – My Funny Valentine (1965) [MFSL 2014] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 63:49 minutes | Scans included | 2,57 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,18 GB

Miles Davis’ concert of February 12, 1964, was divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (specifically, “All of You,” “Stella by Starlight,” “All Blues,” “I Thought About You,” and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This hour-long LP complements the up-tempo romps of Four & More.

Tracklist:

01. My Funny Valentine
02. All Of You
03. Stella By Starlight
04. All Blues
05. I Thought About You

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Miles Davis – Milestones (2007) [Japanese SACD #SICP 10082] [SACD ISO]
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 47:31 minutes | 1,92 GB
Genre: Jazz | Publisher (label): Sony SMEJ SICP-10082

Japan original SACD Hybrid release of Miles Davis’s legendary album featuring digital remastering (remastering same as that used in the popular 2006 cardboard sleeve version). *Note: this release does not contain a carboard sleeve.

Tracklist:

1. Dr. Jekyll 05:47
2. Sid’s Ahead 13:01
3. Two Bass Hit 05:12
4. Milestones 05:44
5. Billy Boy 7:11
6. Straight, No Chaser 10:36

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Miles Davis – Miles In The Sky (1968) [MFSL 2016] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:55 minutes | Scans included | 2,06 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,08 GB
Mobile Fidelity Sound Lab # UDSACD 2147 | Genre: Jazz

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.

Tracklist:

01. Stuff
02. Paraphernalia
03. Black Comedy
04. Country Son

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Miles Davis – Miles Ahead (1957) [Japanese Reissue 2000] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 36:58 minutes | Scans included (PDF) | 1,58 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included (PDF) | 813 GB

Miles Ahead is an album by Miles Davis that was released in 1957 by Columbia Records. It was Davis’ first collaboration with arranger Gil Evans following the Birth of the Cool sessions. Along with their subsequent collaborations Porgy and Bess (1959) and Sketches of Spain (1960), Miles Ahead is one of the most famous recordings of Third Stream, a fusion of jazz, European classical, and world musics. Davis played flugelhorn throughout.This album is perhaps most significant for the process it set in motion — the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two of Davis’ best albums. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn’t worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future (because of Davis’ contractual obligations with Prestige). Davis was also expected to carry the album as its only soloist, and manage not to get lost among a cast of supporting musicians that included a huge horn section. To a large extent, he succeeds. Evans’ arrangements in particular are well-suited to the format, and he and Davis formed a deep and close partnership where ideas were swapped back and forth, nurtured, and developed long before they were expressed in the studio. Davis gets off to a great start, with the hyper-kinetic “Springsville,” which seems to almost perfectly embody Evans’ and Davis’ partnership with its light, flexible exchanges between soloist and orchestra. He is strongest on the ballads, though, where his subdued and wistful tone rises high above the hushed accompaniment, especially on “Miles Ahead” and “Blues for Pablo” (which foreshadows the bluesy, Latin-tinged sound of Sketches of Spain). The upbeat “I Don’t Want to Be Kissed (By Anyone but You)” is another strong song, but shows the weakness of the format as Davis intersperses a charming, bright, technically challenging solo with a blasting horn section that occasionally buries him. It is a fine end, however, to an album that gave a hint of the greatness that would come as Evans and Davis fine-tuned their partnership over the course of the next several years.

Tracklist:

01. Springsville
02. The Maids of Cadiz
03. The Duke
04. My Ship
05. Miles Ahead
06. Blues for Pablo
07. New Rhumba
08. The Meaning of the Blues
09. Lament
10. I Don’t Wanna Be Kissed (by Anyone but You)

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Miles Davis – Live-Evil (1971) [2x SACD, Reissue 2001] [SACD ISO + Hi-Res FLAC]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 101:37 minutes | Scans included | 4,11 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,05 GB

Live-Evil is one of Miles Davis’ most confusing and illuminating documents. As a double album, it features very different settings of his band — and indeed two very different bands. The double-LP CD package is an amalgam of a December 19, 1970, gig at the Cellar Door, which featured a band comprised of Miles, bassist Michael Henderson, drummer Jack DeJohnette, guitarist John McLaughlin, saxophonist Gary Bartz, Keith Jarrett on organ, and percussionist Airto. These tunes show a septet that grooved hard and fast, touching on the great funkiness that would come on later. But they are also misleading in that McLaughlin only joined the band for this night of a four-night stand; he wasn’t really a member of the band at this time. Therefore, as fine and deeply lyrically grooved-out as these tracks are, they feel just a bit stiff — check any edition of this band without him and hear the difference. The other band on these discs was recorded in Columbia’s Studio B and subbed Ron Carter or Dave Holland on bass, added Chick Corea and Herbie Hancock on electric pianos, dropped the guitar on “Selim” and “Nem Um Talvez,” and subbed Steve Grossman over Gary Bartz while adding Hermeto Pascoal on percussion and drums in one place (“Selim”). In fact, these sessions were recorded earlier than the live dates, the previous June in fact, when the three-keyboard band was beginning to fall apart. Why the discs were not issued separately or as a live disc and a studio disc has more to do with Miles’ mind than anything else. As for the performances, the live material is wonderfully immediate and fiery: “Sivad,” “Funky Tonk,” and “What I Say” all cream with enthusiasm, even if they are a tad unsure of how to accommodate McLaughlin. Of the studio tracks, only “Little Red Church” comes up to that level of excitement, but the other tracks, particularly “Gemini/Double Image,” have a winding, whirring kind of dynamic to them that seems to turn them back in on themselves, as if the band was really pushing in a free direction that Miles was trying to rein in. It’s an awesome record, but it’s because of its flaws rather than in spite of them. This is the sound of transition and complexity, and somehow it still grooves wonderfully.

Tracklist:

DISC 1:
01. Sivad
02. Little Church
03. Gemini / Double Image
04. What I Say
05. Nem Um Talvez

DISC 2:
01. Selim
02. Funky Tonk
03. Inamorata And Narration By Conrad Roberts

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Miles Davis – Live At The Olympia (2004) [MCH SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 67:44 minutes | Scans included | 3,61 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,41 GB
Olympia, March 21st, 1960 – featuring John Coltrane / Olympia, October 11th, 1960 – featurung Sonny Stitt

Seven of the great Miles Davis 50’s tunes in two live dates. Great live sound. John Coltrane’s last recording with Miles. Coltrane’s replacement in the band, Sonny Stitt, has a more subdued style here. This is one to get if you enjoy jazz.

Tracklist:

01. All Of You
02. So What
03. Round Midnight
04. Walkin’
05. Fran Dance “Put Your Little Foot Right Out”
06. Four
07. Two Bass Hit

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Miles Davis – Kind Of Blue (1959) [Japanese Reissue 2007] [MCH SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD/DST64 2.0 & 3.0 > 1-bit/2.8224 MHz | 45:42 mins | Scans included | 4,16 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 939 MB

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

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Miles Davis – Jack Johnson: Original Soundtrack Recording (1971) [MFSL 2015] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 52:30 minutes | Scans included | 2,11 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,08 GB
Mobile Fidelity Sound Lab # UDSACD 2150 | Genre: Jazz

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

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Miles Davis – In Person: Friday Night At The Blackhawk, San Francisco Vol.1 (1961) [Japanese Reissue 2000] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 61:43 minutes | Scans included | 2,5 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,22 GB

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

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Miles Davis – In A Silent Way (1969) [Reissue 2002] [MCH SACD ISO + Hi-Res FLAC]
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

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Miles Davis – In A Silent Way (1969) [Japan 2000] [SACD ISO + Hi-Res FLAC]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:09 minutes | Front/Rear Covers | 1,54 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Front/Rear Covers | 783 MB

Upon its release, In A Silent Way was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis’s electronic approach. Since its initial reception, it has been regarded by fans and critics as one of Davis’s greatest and most influential works.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

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Miles Davis – Great 5 (2016) [Esoteric Japan SACD Boxset] [SACD ISO + DSF DSD64 + Hi-Res FLAC]
PS3 Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 03:43:10 minutes | 9,03 GB
DSD64 Stereo (tracks.dsf) 1 bit/2.8224 MHz | 03:43:10 minutes | 8,88 GB
FLAC Stereo (tracks) 24-bit/96 kHz | 03:43:10 minutes | 4,86 GB
Esoteric # ESSS-90154~58 | Artwork: Basic Scans + | Genre: Jazz

ESOTERIC proudly introduces a new series of re-master collection – A great Jazz collection. This newly remastered box set, titled as “Great 5” features the five albums recorded by Miles Davis for Columbia label. Includes the follow titles: ‘Round About Midnight (Mono); Milestones (Mono); Porgy And Bess; Sketches Of Spain; Miles Smiles. These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.Be the envy of all your Mile Davis-loving friends by adding this 5-piece set to your already-fantastic collection. Don’t hesitate – order this awesome, amazing Miles Davis keepsake now. Because this set is so limited, supplies are extremely limited, so order online or give us a call today to snag yours before this precious time-capsule of a great musician’s greatest musical masterpieces escapes your grasp forever.
This 5 SACD Box Set contains five albums by Miles Davis: ‘Round About Midnight, Milestones, Porgy and Bess, Sketches of Spain, and Miles Smiles. Besides Davis, artists include John Coltrane, Herbie Hancock, Wayne Shorter, Ron Carter, Philly Joe Jones, Red Garland, Cannonball Adderley, and more.
The reissue of historical music masterpieces by Esoteric has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. These new audio versions feature Esoteric’s proprietary re-mastering process to achieve the highest level of sound quality.
Estoteric equipment used for re-mastering:
The criterion of re-mastering is to faithfully capture the quality of the original master. Esoteric’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model G-0Rb and Esoteric Mexcel interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.
Experience for yourself… Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.
Join Miles and his musical cohorts as they take you on a musical journey through the decades and witness for yourself the evolution of a jazz legend.

Tracklist:

‘Round About Midnight (Mono)

Tracklist:
1. “Round Midnight
2. Ah-Leu-Cha
3. All of You
4. Bye Bye Blackbird
5. Tadd’s Delight
6. Dear Old Stockholm

Musicians:
Miles Davis, trumpet; John Coltrane, tenor sax; Philly Joe Jones, drums; Paul Chambers, bass, and Red Garland, piano.

Milestones (Mono)

Tracklist:
1. Dr. Jackle
2. Sid’s Ahead
3. Two Bass hit
4. Milestones
5. Billy Boy
6. Straight, No Chaser

Musicians: Miles Davis, trumpet, Piano (“Sid’s Ahead”); Cannonball Adderley, alto sax; John Coltrane, tenor sax; Red Garland, piano; Paul Chambers, double bass, and Philly Joe Jones, drums.

Porgy And Bess

Tracklist:
1. Buzzard Song
2. Bess, You Is My Woman Now
3. Gone
4. Gone, Gone, Gone
5. Summertime
6. Oh Bess, Oh Where’s My Bess
7. Prayer (Oh Doctor Jesus)
8. Fishermen, Strawberry and Devil Crab
9. My Man’s Gone Now
10. It Ain’t Necessarily So
11. here Come De Honey Man
12. I Wants To Stay here (aka I Loves You Porgy)
13. There’s A Boat That’s Leaving Soon For New York

Musicians:
Miles Davis, trumpet, flugelhorn; Ernie Royal, Bernie Glow, Johnny Coles and Louis Mucci, trumpet; Dick Hixson, Frank Rehak, Jimmy Cleveland and Joe Bennett, trombone; Willie Ruff, Julius Watkins and Gunther Schuller, horn; Bill Barber, tuba; Phil Bodner, Jerome Richardson and Romeo Penque, flute, alto flute & clarinet; Julian “Cannonball” Adderley, alto saxophone; Danny Bank, alto flute & bass clarinet; Paul Chambers, bass; Jimmy Cobb, drums; Philly Joe Jones, drums, and Gil Evans, arranger & conductor.

Sketches Of Spain

Tracklist:
1. Concierto de Aranjuez (Adagio)
2. Will O’ the Wisp
3. The Pan Piper
4. Saeta
5. Solea

Musicians:
Danny Bank, bass clarinet; Bill Barber, tuba; John Barrows, French horn; Albert Block, flute; James Buffington, French horn; Eddie Caine, flute, flugelhorn; Paul Chambers, bass; Earl Chapin, French horn; Jimmy Cobb, drums; Johnny Coles, trumpet; Miles Davis, trumpet, flugelhorn; Gil Evans, arranger, conductor; Harold Feldman, clarinet, flute, oboe; Bernie Glow, trumpet; Dick Hixon, trombone; Elvin Jones, percussion; Taft Jordan, trumpet; Jack Knitzer, bassoon; Jose Mangual, percussion; Jimmy McAllister, tuba; Tony Miranda, French horn; Louis Mucci, trumpet; Romeo Penque, oboe; Janet Putnam, harp; Frank Rehak, trombone; Ernie Royal, trumpet, and Joe Singer, French horn.

Miles Smiles

Tracklist:
1. Orbits
2. Circle
3. Footprints
4. Dolores
5. Freedom Jazz Dance
6. Gingerbread Boy

Musicians: Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass, and Tony Williams, drums.

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Miles Davis – Get Up With It (1974) [2x SACD, Japanese Reissue 2002] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 123:40 minutes | Scans included | 5,1 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,47 GB

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

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Miles Davis – Four And More (1966) [MFSL 2013] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 54:08 minutes | Scans included | 2,18 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,09 GB

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)

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Miles Davis – Filles De Kilimanjaro (1969) [Japanese Reissue 2002] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 56:21 minutes | Scans included | 2,3 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,09 GB

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

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Miles Davis – Four & More: Recorded Live In Concert (1966) [Japan 2000] [SACD ISO + Hi-Res FLAC]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 53:57 minutes | Front/Rear Covers | 2,17 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/96 kHz | Front/Rear Covers | 1,18 GB

‘Four’ & More: Recorded Live in Concert is a live album by Miles Davis, recorded at the Philharmonic Hall of Lincoln Center, New York City, NY on February 12, 1964, but not released until 1966. Two albums were assembled from the concert recording: the up-tempo pieces were issued on this album, while My Funny Valentine consists of the slow and medium-tempo numbers.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. 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/Go-Go (Theme and Announcement)
04. Four
05. Seven Steps to Heaven
06. There Is No Greater Love/Go-Go (Theme and Announcement)

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Miles Davis – E.S.P (2000) [SACD ISO]
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 48:04 minutes | 2,04 GB
Genre: Jazz | Publisher (label): SME Records SRGS 4561

A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis’ E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis’ classic second quintet made together, it’s also very arguably the group’s best. Never before has the effort been experienced in such transformational sound.

This meticulously restored audiophile version renders the music’s dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.’s creations. Whether it’s the distinctive snap of Tony Williams’ drum sticks against the snare head, air moving through Davis’ trumpet, acoustic thrum of Ron Carter’s bass, or upper register of Herbie Hancock’s piano, the sound is better than you’d even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade’s best albums if only because of the significance of Davis’ lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963’s Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis’ visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive “Little One,” alternating rhythms pulse through the funky “Eighty-One,” melodies soar on the balladic “Iris,” the aptly titled “Mood” broods over minor-key structures, and “Agitation” – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis’ quintet on E.S.P. It’s the avant-garde record even jazz traditionalists love, and essential on every level.

Tracklist:

1. E.S.P. 5:28
2. Eighty-One 6:13
3. Little One 7:20
4. R.J. 3:57
5. Agitation 7:47
6. Iris 8:30
7. Mood 8:48

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Miles Davis – E.S.P. (1965) [MFSL 2016] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 48:02 minutes | Scans included | 1,95 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 933 MB
Mobile Fidelity Sound Lab # UDSACD 2170

ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams – gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz’s avant-garde. Outwardly, this music doesn’t take as many risks as Coltrane or Ornette Coleman’s recordings of the mid-’60s, but by borrowing some of the same theories – a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality – they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On ESP, they tilt a bit toward conventional hard bop (something that’s apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early ’60s is remarkable. This is exploratory music, whether it’s rushing by in a flurry of notes or elegantly reclining in Hancock’s calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.

Tracklist:

01. E.S.P.
02. Eighty-One
03. Little One
04. R.J.
05. Agitation
06. Iris
07. Mood

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Miles Davis – Dark Magus: Live At Carnegie Hall (1974) [2x SACD, Reissue 2001] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 100:59 minutes | Scans included | 4,14 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,04 GB

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)

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Miles Davis – Black Beauty: Miles Davis At Fillmore West (1970) [2x SACD, Reissue 2001] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 79:18 minutes | Scans included | 3,26 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,63 GB

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

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Miles Davis – Bitches Brew (1970) [2x SACD, Japanese Reissue 2002] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 105:42 minutes | Scans included | 4,37 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,25 GB

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
05. Feio

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Miles Davis – Bitches Brew (1970) [2x SACD, Japan 2007] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 93:58 minutes | Scans included | 3,81 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,91 GB

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

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Miles Davis – Bitches Brew (1970) [MFSL 2014] [SACD ISO + Hi-Res FLAC]
PS3 Rip | ISO | DSD64 2.0 > 1-bit/2.8224 MHz | Full Scans (JPG, 300 dpi) | 3,82 Gb
FLAC (Tracks), 24bit/88,2 kHz (converted with foobar2000) | Full Scans (JPG, 300 dpi) | 1,88 Gb
Genre: Jazz, Fusion | 00:47:16 + 00:47:05 | © 2014 Mobile Fidelity Sound Lab #UDSACD 2-2149

Bitches Brew is a studio double album by American jazz musician Miles Davis, released on March 30, 1970, on Columbia Records. The album continued his experimentation with electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style. Bitches Brew was Davis’s first gold record; it sold more than half a million copies. Upon release, it received a mixed response, due to the album’s unconventional style and experimental sound. Later, Bitches Brew gained recognition as one of jazz’s greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians. The album won a Grammy Award for Best Large Jazz Ensemble Album in 1971.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. ~~ AllMusic Review by Thom Jurek

Tracklist:

Disc 1:
01. Pharaoh’s Dance [20:15]
02. Bitches Brew [27:01]

Disc 2:
01. Spanish Key [17:33]
02. John McLaughlin [4:28]
03. Miles Runs The Voodoo Down [14:06]
04. Sanctuary [10:58]

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Miles Davis – Birth of the Blue (Remastered) (2025) [SACD ISO + Hi-Res FLAC]
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 32:21 minutes | 1,29 GB
or DSD64 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | 1,27 GB
Genre: Jazz, Hard Bop, Modal | Label: Analogue Productions

Miles Davis — Birth of the Blue

Smash prequel to what many consider the greatest jazz record ever!

Four more songs from the pioneering ensemble that produced Miles Davis’ Kind of Blue!

Modal jazz precursor laid groundwork for future jazz innovation!

Hybrid Stereo SACD

Mastered by Matthew Lutthans at The Mastering Lab direct to DSD from a new 30 ips quarter-inch stereo master tape transferred from the original 3-track session tapesMiles Davis’s Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever!

Through the years, these four remarkable performances — all from a single recording session in 1958 and all exemplary of the sound of Miles Davis’ legend-loaded sextet of that year — have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., has deservedly given these tracks a stellar stand-alone release for jazz fans to savor!

The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley.

Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously.

Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard.

For this release, we started with the original 3-track recording session tapes that were mixed down to a brand-new 30 ips quarter-inch stereo master tape by senior mastering engineer Vic Anesini at Battery Studios. From that stereo master tape, Matthew Lutthans at The Mastering Lab mastered the album direct to DSD for this Hybrid Stereo SACD.

Features:
• Pioneering Ensemble: Captured the same rare and short-lived alignment of jazz legends including Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb, as heard on the historic Kind of Blue.
• Innovative Sound: The session represented a crucial transition in jazz, blending elements of hard bop with early modal jazz influences, showcasing the ensemble’s experimentation and forward-thinking approach.
• Undervalued Legacy: Despite its historical and musical significance, the session’s recordings have been historically overlooked, often relegated to being add-ons in compilations rather than recognized as standalone masterpieces.
• Modal Jazz Precursor: Offered early glimpses into the modal jazz that would later be fully realized in Davis’s groundbreaking album “Kind of Blue,” laying the groundwork for future jazz innovation.
• Impact on Artists: Served as a critical point of development and confidence for the musicians involved, particularly Bill Evans, who noted the significant impact of this experience on his own identity and style.
• Historical Context: Occurred at a peak moment in Miles Davis’s career, following his signing with Columbia Records and his critical and commercial successes with albums such as ‘Round About Midnight and Miles Ahead.

https://store.acousticsounds.com/d/188969/Miles_Davis-Birth_Of_The_Blue-Hybrid_Stereo_SACD

Tracklist:

01. On Green Dolphin Street (9:51)
02. Fran-Dance (5:52)
03. Stella By Starlight (4:44)
04. Love For Sale (11:54)

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Miles Davis – Big Fun (1974) [2x SACD, Reissue 2001] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 142:21 minutes | Scans included | 5,73 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,83 GB

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

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Miles Davis – Bags’ Groove (1957) [APO Remaster 2014] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 46:02 minutes | Scans included | 1,93 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 904 MB

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)

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Miles Davis – A Tribute To Jack Johnson (1970) [Japanese Reissue 1999] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 52:23 minutes | Scans included | 2,2 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,18 GB

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

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Miles Davis – Amandla (1989) [Japanese SHM-SACD 2011] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 43:34 minutes | Scans included | 1,83 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 918 MB

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

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Miles Davis – On The Corner (1972) [MFSL 2016] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 54:44 minutes | Scans included | 2,21 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,16 GB
Mobile Fidelity Sound Lab # UDSACD 2171 | Genre: Jazz

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 story has been broken off in the middle – deep street music melding with a secret language exchanged by the band and those who can actually hear it as music. 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/New York Girl/Thinkin’ One Thing And Doin’ Another/Vote For Miles
02. Black Satin
03. One And One
04. Helen Butte / Mr. Freedom X

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Miles Davis – On The Corner (1972) [Japanese Reissue 2000] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 54:37 minutes | Scans included | 2,32 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,28 GB

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

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Miles Davis Quintet – ‘Round About Midnight (1957) [MFSL 2012 # UDSACD 2083] [SACD ISO + Hi-Res FLAC]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 39:28 minutes | Scans included | 1,2 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 755 MB
Monoural | Mobile Fidelity Sound Lab # UDSACD 2083

Given that ‘Round About Midnight was Miles Davis’ debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, and debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album’s release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year.Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz — both cool jazz and hard bop — and was beginning to move in another direction here that wouldn’t be defined for another two years. Besides the obvious lyrical and harmonic beauty of “Round About Midnight” that is arguably its definitive version even over Monk’s own, there are the edges of Charlie Parker’s “Au Leu-Cha” with its Bluesology leaping from every chord change in Red Garland’s left hand. Coltrane’s solo here too is notable for its stark contrast to Davis’ own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter’s “All of You” has Davis quoting from Louis Armstrong’s “Basin Street Blues” in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it’s in “Bye-Bye Blackbird” that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Garland is doing more than comping in the background; he’s slipping chord shapes into those interval cracks and shifting them as the rhythm section keeps “soft time.” When Coltrane moves in for his break, rather than Davis’ spare method, he smatters notes quickly all though the melodic body of the tune and Garland has to compensate harmonically, moving the mode and tempo up a notch until his own solo can bring it back down again. Which he does with a gorgeous all-blues read of the tune utilizing first one hand and then both hands to create fat harmonic chords to bring Davis back in to close it out. It’s breathtaking how seamless it all is. There’s little else to say except that ‘Round About Midnight is among the most essential of Davis’ Columbia recordings.

Tracklist:

01. ‘Round Midnight
02. Ah-Leu-Cha
03. All Of You
04. Bye Bye Blackbird
05. Tadd’s Delight
06. Good Old Stockholm

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Miles Davis – In A Silent Way (1969) [MFSL 2012] [SACD ISO + Hi-Res FLAC]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 38:21 minutes | Scans included | 1,54 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 770 MB
Mobile Fidelity Sound Lab # UDSACD 2088

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

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Miles Davis – Quiet Nights (1964) [Reissue 2000] [SACD ISO + Hi-Res FLAC]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 39:24 minutes | Scans included | 1,28 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 860 MB

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

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Miles Davis – Milestones (1958) [MFSL Remaster 2012] [SACD ISO + Hi-Res FLAC]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 48:25 minutes | Scans included | 1,94 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 726 MB
Monoural | Mobile Fidelity Sound Lab # UDSACD 2084

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

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Robert Glasper, Miles Davis – Everything’s Beautiful (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 47:03 minutes | 502 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy

Everything’s Beautiful brings Miles Davis’ sound into the 21st century, blending a diverse group of master takes and outtakes from across Miles’ incredible tenure with Columbia Records (1955-1985) with original reinterpretations. Robert Glasper produced the collaboration. “I didn’t want to do just a remix record,” Glasper noted when discussing the 11-song set. “My idea was to show how Miles inspired people to make new art”. Knowing that “Miles didn’t have one audience,” Glasper recruited a legion of diverse guest artists to add to the magic of the project including familiar collaborators like R&B musicians Erykah Badu, Ledisi, Bilal and KING. They are joined by British soul singer-songwriter Laura Mvula; hip-hop producer Rashad Smith; Grammy-nominated Australian neo-soul quartet Hiatus Kaiyote, rapper/producer Illa J; jazz guitarist John Scofield, who collaborated with Davis; and the legendary Stevie Wonder.Everything’s Beautiful isn’t quite a tribute or a remix project. It’s not a collaboration between Miles Davis and Robert Glasper, as it is billed. On the surface, from a stylistic standpoint and in terms of personnel, it is closer to a sequel to Black Radio Recovered. Predominantly relaxed and rather ethereal, richly layered yet not quite psychedelic, and rhythmically hip-hop more than anything else, the two releases feature much of the same production and vocal lineup, including Glasper and partner Jewels, Georgia Anne Muldrow, 9th Wonder, and Bilal and Phonte. Likenesses to Black Radio Recovered notwithstanding, this should be taken on its on own terms. Issued the day after Davis would have turned 90, less than two months after the release of Don Cheadle’s Miles Ahead – for which Glasper co-produced the soundtrack and provided the score – Everything’s Beautiful was marketed as “reimagined interpretations.” Sony’s catalog division had sought Glasper for remixes, but the keyboardist countered with the concept of making new material out of Davis’ multi-track Columbia recordings. He and his extended cast of associates were granted access to all of it, even studio chatter, amusingly laced through “Talking Shit,” an intro sourced from sessions for three LPs. Glasper plays on five cuts, soloing only on the animated Muldrow collaboration “Milestones.” Among the remaining six are essentially new recordings by Hiatus Kaiyote, King, and Ledisi with 1982-1985 Davis guitarist John Scofield, some of which don’t involve Glasper on production, either. Bill Evans’ piano from “Blue in Green,” as heard on 9th Wonder and Phonte’s “Violets,” and Davis’ trumpet from “Maiysha,” are among the more familiar elements. The latter arrives during Erykah Badu’s bossa nova vocalese version of the same-titled song, one of the album’s most creative moments. At times, Davis’ presence is inconspicuous. There’s only one instance, where a typically raspy exclamation is repetitiously inserted hype-man (Sen Dog) style, where it’s truly jarring. Considering the disparate source material and the quantity of vocalists, instrumentalists, and producers involved, it’s remarkable how smoothly the album flows from one track to the next. Unsurprisingly, it’s most appealing to fans of Glasper and those he involved. As the keyboardist states in the liner notes, “To me, the best way to show gratitude is to show how you’ve been inspired by someone: ‘Hey man, I wrote this song because of you!’ Not, ‘Hey, I’m playing your tune.’

Tracklist:

01. Robert Glasper & Miles Davis – Talking Shit (03:09)
02. Robert Glasper & Miles Davis – Ghetto Walkin’ (feat. Bilal) (03:38)
03. Robert Glasper & Miles Davis – They Can’t Hold Me Down (feat. Illa J) (02:18)
04. Robert Glasper & Miles Davis – Maiysha (So Long) (feat. Erykah Badu) (07:29)
05. Robert Glasper & Miles Davis – Violets (feat. Phonte) (03:23)
06. Robert Glasper & Miles Davis – Little Church (feat. Hiatus Kaiyote) (06:35)
07. Robert Glasper & Miles Davis – Silence Is The Way (feat. Laura Mvula) (05:17)
08. Robert Glasper & Miles Davis – Song For Selim (feat. KING) (02:39)
09. Robert Glasper & Miles Davis – Milestones (feat. Georgia Anne Muldrow) (04:16)
10. Robert Glasper & Miles Davis – I’m Leaving You (feat. John Scofield & Ledisi) (03:13)
11. Robert Glasper & Miles Davis – Right On Brotha (feat. Stevie Wonder) (05:00)

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Miles Davis – Miles ’56 (2026) [24-bit FLAC]
FLAC (tracks) 24 bit/192 kHz | Time – 02:55:23 minutes | 4,33 GB | Genre: Jazz

Tracklist:

1. Miles Davis – In Your Own Sweet Way (March 16, 1956 Version / Remastered 2026) (00:04:34)
2. Miles Davis – No Line (Remastered 2026) (00:05:40)
3. Miles Davis – Vierd Blues (Remastered 2026) (00:06:50)
4. Miles Davis – In Your Own Sweet Way (May 11, 1956 Version / Remastered 2026) (00:05:43)
5. Miles Davis – Diane (Remastered 2026) (00:07:49)
6. Miles Davis – Trane’s Blues (Remastered 2026) (00:08:33)
7. Miles Davis – Something I Dreamed Last Night (Remastered 2026) (00:06:14)
8. Miles Davis – It Could Happen To You (Remastered 2026) (00:06:31)
9. Miles Davis – Woody’N You (Remastered 2026) (00:05:01)
10. Miles Davis – Ahmad’s Blues (Remastered 2026) (00:07:23)
11. Miles Davis – Surrey With The Fringe On Top (Remastered 2026) (00:09:03)
12. Miles Davis – It Never Entered My Mind (Remastered 2026) (00:05:23)
13. Miles Davis – When I Fall In Love (Remastered 2026) (00:04:25)
14. Miles Davis – Salt Peanuts (Remastered 2026) (00:06:08)
15. Miles Davis – Four (Remastered 2026) (00:07:12)
16. Miles Davis – The Theme (Take 1 / Remastered 2026) (00:01:59)
17. Miles Davis – The Theme (Take 2 / Remastered 2026) (00:01:04)
18. Miles Davis – If I Were A Bell (Remastered 2026) (00:08:16)
19. Miles Davis – Well, You Needn’t (Remastered 2026) (00:06:20)
20. Miles Davis – ‘Round Midnight (Remastered 2026) (00:05:23)
21. Miles Davis – Half Nelson (Remastered 2026) (00:04:46)
22. Miles Davis – You’re My Everything (Remastered 2026) (00:05:18)
23. Miles Davis – I Could Write A Book (Remastered 2026) (00:05:09)
24. Miles Davis – Oleo (Remastered 2026) (00:06:17)
25. Miles Davis – Airegin (Remastered 2026) (00:04:27)
26. Miles Davis – Tune Up (Remastered 2026) (00:05:43)
27. Miles Davis – When Lights Are Low (Remastered 2026) (00:07:30)
28. Miles Davis – Blues By Five (Remastered 2026) (00:10:27)
29. Miles Davis – My Funny Valentine (Remastered 2026) (00:06:03)

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Miles Davis – Miles Tones (Remastered) (1980/2026)
FLAC (tracks) 24 bit/96 kHz | Time – 37:58 minutes | 523 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Audio Fidelity

Milestones is Davis’s recording in a sextet configuration with John Coltrane, Paul Chambers, Cannonball Adderley, Philly Joe Jones and Red Garland. This 1958 masterpiece captured Davis’s modalism that introduced on this album continues to influence the genre globally.

Miles Davis made music that grew from an uncanny talent to hear the future and a headstrong desire to play it. From his beginnings in the circle of modern jazz, he came to intuit new worlds of sound and challenge. While the vast majority of musicians – jazz, rock, R&B, otherwise – find the experimental charge and imperviousness of youth eventually running down, Miles forever forged ahead. In doing so, Miles became the standard bearer for successive generations of musicians, shaped the course of modern improvisational music more than a half-dozen times…

Tracklist:

1. Miles Davis – Bye Bye Blackbird (Remastered) (06:50)
2. Miles Davis – Rollin’ And Blowin’ (Remastered) (06:27)
3. Miles Davis – I Got Rhythm (Remastered) (04:51)
4. Miles Davis – Four Squared (Remastered) (06:04)
5. Miles Davis – Bye Bye Blackbird (Version 2) (Remastered) (03:52)
6. Miles Davis – It Never Entered My Mind (Remastered) (05:04)
7. Miles Davis – Four Plus One More (Remastered) (04:48)

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Miles Davis, John Coltrane – The Best of Miles Davis and John Coltrane (Hd Remastered) (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 02:37:20 minutes | 1,88 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Reborn Recordings

The Best of Miles Davis & John Coltrane is a compilation, album released in 2019.

Tracklist:

1. Miles Davis – Round Midnight (05:56)
2. Miles Davis – Airegin (04:25)
3. Miles Davis – My Funny Valentine (06:01)
4. Miles Davis – Half Nelson (04:45)
5. Miles Davis – The Maids of Cadiz (03:54)
6. Miles Davis – Blues for Pablo (05:20)
7. Miles Davis – Generique – Ascenseur Pour L’echafaud (02:48)
8. Miles Davis – Au Bar Du Petit Bac – Ascenseur Pour L’echafaud (02:53)
9. Miles Davis – Miles (05:42)
10. Miles Davis – Summertime (03:19)
11. Miles Davis – It Ain’t Necessarily So (04:25)
12. Miles Davis – So What (09:04)
13. Miles Davis – All Blues (11:32)
14. Miles Davis – Someday My Prince Will Come (09:04)
15. Miles Davis – Giant Steps (04:44)
16. Miles Davis – Syeeda’s Song Flute (07:01)
17. Miles Davis – Naima (04:21)
18. Miles Davis – Like Sonny (05:52)
19. Miles Davis – My Favorite Things (13:42)
20. Miles Davis – Equinox (08:33)
21. Miles Davis – Aisha (07:37)
22. Miles Davis – Greensleeves (09:58)
23. Miles Davis – Soul Eyes (05:24)
24. Miles Davis – Tunji (06:33)
25. Miles Davis – In a Sentimental Mood (04:14)

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Miles Davis – The New Sounds (Remastered 2026) (1951/2026)
FLAC (tracks) 24 bit/192 kHz | Time – 23:38 minutes | 751 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Craft Recordings

The New Sounds, recorded in October of 1951, was Miles first true album session of his career. It delivered a heated and confident version of pianist George Shearing’s “Conception,” simmering in the bebop/cool overlap, as well as an unhurried, extended take on “My Old Flame,” and an upbeat “It’s Only A Paper Moon.” “Dig”—a Miles original based on the changes of “Sweet George Brown”—was the standout, still deep in bebop territory but recognizably individual. “I like what I played on Dig, because my sound was really becoming my own thing,” Miles later wrote. This session marked 19-year-old alto saxophonist Jackie McLean’s debut on disc, and the original 10” album release marked the first time Miles’ image was featured on an LP cover.

Tracklist:

1-1. Miles Davis – Conception (Remastered 2026) (04:04)
1-2. Miles Davis – My Old Flame (Remastered 2026) (06:35)
1-3. Miles Davis – Dig? (Remastered 2026) (07:35)
1-4. Miles Davis – It’s Only A Paper Moon (Remastered 2026) (05:22)

Miles Davis – Miles ’55: The Prestige Recordings (2025)
FLAC (tracks) 24 bit/192 kHz | Time – 01:40:46 minutes | 2,42 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Craft Recordings

Miles ’55 brings together 16 tracks recorded by Davis in 1955 at Van Gelder Studio. In addition to Davis, the album also features John Coltrane, Red Garland, Ray Bryant, Oscar Pettiford, Milt Jackson and more. The package includes new liner notes by GRAMMY Award-winning historian Ashley Kahn and session notes by Dan Morgenstern.Miles Davis recorded for Prestige for just four years, from October 1951 to October 1955. Those sessions were not only productive (they yielded 27 studio LPs), but also fundamental to his origin story. His earliest work for the label was hindered by his heroin addiction and erratic behavior, as well as his struggle to clearly define his post-bebop musical voice. By 1955, however, he was (mostly) clean, and also laser-focused on the rapid evolution of his sound. If the work that he recorded the previous year (collected on Craft’s excellent Miles ’54 box set) documented a growing confidence still hobbled by addiction, this even more superlative collection stands as a testament to just how quickly he was able to mount a post-addiction comeback and translate that confidence into the beginnings of a musical revolution.

Credit is due, of course, to Miles’s wisdom in putting together what would become known as his First Great Quintet: John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Although it wasn’t until the end of 1955 that the group fully came together, the Coltrane-less quartet laid down a session in June that would become The Musings of Miles—his only quartet album for Prestige—which kicks off this set. While Coltrane would join for some club gigs near the end of 1955 to coalesce the First Great Quintet, the beginnings of what they would create are very much heard in Miles’s shift into the emerging hard bop sound: bluesy, swinging, and less frenetic than bebop.

Also featured are two other dates. In August, he recorded with Milt Jackson, Ray Bryant, Percy Heath, Art Taylor, and, on two cuts—”Dr. Jackle” and “Minor March”—Jackie McLean. In mid-November, he would enter the studio with the First Great Quintet for the session that would yield Miles: The New Miles Davis Quintet; four of that album’s six cuts are here, including the only one that doesn’t feature Coltrane, “There Is No Greater Love.” It’s worth noting that this very same group had been in Columbia’s 30th Street studios just a couple weeks prior recording what would become Round About Midnight, Miles’s debut for Columbia Records. (He had scored a contract with the label after his July appearance with Thelonious Monk at Newport Jazz Festival, but nothing could be released until he had completed his session obligations to Prestige.)

While Round About Midnight is far more well known than The New Miles Davis Quintet, the two sessions are—musically, at least—of the same high quality, even if the Prestige cuts are notably less refined. 1955 was the year that Miles shifted into one of the preeminent creative—and commercial—forces of modern jazz, with the personal and professional struggles of the early ’50s firmly behind him. These Prestige sessions are an excellent musical documentary of just how quickly and comprehensively that transition took place. – Jason Ferguson

Tracklist:

1-1. Miles Davis – I Didn’t (Remastered 2025) (06:07)
1-2. Miles Davis – Will You Still Be Mine? (Remastered 2025) (06:22)
1-3. Miles Davis – Green Haze (Remastered 2025) (05:49)
1-4. Miles Davis – I See Your Face Before Me (Remastered 2025) (04:45)
1-5. Miles Davis – A Night In Tunisia (Remastered 2025) (07:22)
1-6. Miles Davis – A Gal In Calico (Remastered 2025) (05:18)
1-7. Miles Davis – Dr. Jackle (Remastered 2025) (08:55)
1-8. Miles Davis – Bitty Ditty (Remastered 2025) (06:37)
1-9. Miles Davis – Minor March (Remastered 2025) (08:17)
1-10. Miles Davis – Changes (Remastered 2025) (07:13)
1-11. Miles Davis – Stablemates (Remastered 2025) (05:20)
1-12. Miles Davis – How Am I To Know? (Remastered 2025) (04:40)
1-13. Miles Davis – Just Squeeze Me (Remastered 2025) (07:28)
1-14. Miles Davis – There Is No Greater Love (Remastered 2025) (05:20)
1-15. Miles Davis – The Theme (Remastered 2025) (05:52)
1-16. Miles Davis – S’Posin’ (Remastered 2025) (05:14)

Miles Davis – Electric Blue, a Miles Mood (Remastered) (2025)
FLAC (tracks) 24 bit/192 kHz | Time – 01:50:36 minutes | 3,13 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Pipe Dublin

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major stylistic developments in genres such as jazz, classical, and experimental music.

Tracklist:

1-1. Miles Davis – Dr. Jackle (Remastered) (05:52)
1-2. Miles Davis – Sid’s Ahead (Remastered) (13:04)
1-3. Miles Davis – Two Bass Hit (Remastered) (05:16)
1-4. Miles Davis – Milestones (Remastered) (05:47)
1-5. Miles Davis – A Night in Tunisia (Remastered) (07:23)
1-6. Miles Davis – A Gal in Calico (Remastered) (05:51)
1-7. Miles Davis – Nature Boy (Remastered) (06:18)
1-8. Miles Davis – Alone Together (Remastered) (07:19)
1-9. Miles Davis – Green Haze (Remastered) (04:46)
1-10. Miles Davis – Easy Living (Remastered) (05:05)
1-11. Miles Davis – I Didn’t (Remastered) (06:05)
1-12. Miles Davis – I See Your Face Before Me (Remastered) (05:18)
1-13. Miles Davis – There’s No You (Remastered) (08:08)
1-14. Miles Davis – Will You Still Be Mine (Remastered) (06:23)
1-15. Miles Davis – Billy Boy (Remastered) (07:16)
1-16. Miles Davis – Straight, No Chaser (Remastered) (10:37)

Artist: Miles Davis
Title: Take Off: The Complete Blue Note Albums
Genre: Jazz, Bop, Hard Bop, Cool Jazz, Trumpet Jazz
Label: © Blue Note Records/Universal Music Enterprises
Release Date: 2015
Recorded: Tracks 1 to 6, 19 to 21 and 29 to 30 were recorded at WOR Studios, New York City, NY, May 9, 1952.
Tracks 7 to 12 and tracks 22 to 28 were recorded at WOR Studios, New York City, NY, April 20, 1953.
Tracks 13 to 18 were recorded at Rudy Van Gelder Studio, Hackensack, NJ, March 6, 1954.
Quality: Blu-ray Audio
Length: 01:51:27
Video: MPEG-4 AVC 950 kbps / 1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio: English LPCM 2.0 / 96 kHz / 4608 kbps / 24-bit
Audio: English DTS-HD MA 2.0 / 96 kHz / 3339 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)
Audio: English Dolby TrueHD 2.0 / 96 kHz / 2458 kbps / 24-bit (AC3 Embedded: 2.0 / 48 kHz / 640 kbps)

Universal Music Group has gone back to the original master tapes to deliver fully uncompressed, high-resolution versions of many of your favorite albums on Blu-ray Pure Audio Disc. Mastered at 24bit/96kHz, Blu-ray Pure Audio Discs deliver the sound the artists originally heard in the studio when these classic albums were recorded. These discs provide all the recorded musical information. While convenient due to their small file size, today’s heavily compressed music files do not represent the true fidelity of the original album.
•     Recordings are transferred from the original master tapes and delivered in high-resolution 24-bit/96kHz audio
•     No compression is utilized, and the sound quality is vastly superior to MP3 or standard CD
•     Three separate choices of audio file format for playback: PCM 2.0, Dolby True HD, or DTS-HD Master Audio (5.1 available where noted)
•     Your preferred audio format is chosen either by pressing the “Audio” button on your Blu-ray remote or via your onscreen menu display
Now available on Blu-Ray Pure Audio Disc, Take Off: The Complete Blue Note Albums is a new Miles Davis Estate-approved collection of the legendary artist’s three Blue Note 10-inch albums plus all alternate takes issued on subsequent 12-inch albums and CD reissues: a total of 26 tracks recorded for Blue Note Records on three dates in 1952, ’53 and ’54. This is the first time Davis’ 10-inch albums – Young Man With A Horn, Miles Davis Vol. 2 and Vol. 3 – have been issued in their original sequence since the early 1950s.

Blu-ray Pure Audio Discs:

Audio is taken from the original master tapes and mastered in 24-bit/96kHz resolution with a choice of three sound formats: PCM, Dolby True HD, or DTS-HD Master Audio. You can finally enjoy the music in the fidelity originally experienced in the studio.

The 2014 anthology Take Off: The Complete Blue Note Albums compiles tracks jazz trumpeter Miles Davis recorded for Blue Note Records during the ’50s. These are recordings made after Davis left Prestige, but not including the 1949-1950 sessions later released as the classic 1957 album Birth of the Cool. Here, instead, we get recordings that were initially released as 10″ LPs titled Young Man with a Horn, Miles Davis, Vol. 2, and Miles Davis, Vol. 3. Also included are all of the alternate takes that accompanied the original releases. Backing Davis on these sessions is a veritable who’s who of future jazz hall of famers, including drummer Art Blakey, pianist Horace Silver, saxophonist Jackie McLean, and others. These recordings were made during a comparatively fallow period in Davis’ career, just as he was emerging from his initial bout with heroin addiction. Here, cuts like the sanguine “Yesterdays” and the poignant “It Never Entered My Mind” reveal a darker, if no less melodic, version of the trumpeter who had previously paid his dues, chasing the shadow of Dizzy Gillespie in Charlie Parker’s quintet. In fact, Davis tackles several Gillespie-associated compositions here, including “Woody ‘N You” and “Ray’s Idea,” delivering them in his own understated, if no less bravura, style. This is the beginning of Davis the minimalist, eschewing flowery asides for straightforward, unadorned melodic line readings and improvisations played in a vibrato-free eighth-note style. In that sense, these cuts prefigure the more aggressive hard bop and harmonically challenging post-bop of the ’60s; styles that Davis later helped to innovate with his “first great quintet.” Ultimately, the tracks on Take Off: The Complete Blue Note Albums point the way toward Davis’ landmark Columbia albums that transformed him from one of the best jazz trumpeters on the N.Y.C. scene into an international superstar. –Matt Collar

Tracklist:

  BLP 5013  Young Man With A Horn (The Miles Davis Sextet)
1 Dear Old Stockholm 4:16
2 Chance It 3:26
3 Yesterdays 3:46
4 Donna 3:04
5 Woody ‘N You 3:15
6 How Deep Is The Ocean 4:41

  BLP 5022  Miles Davis, Vol. 2 (The Miles Davis Sextet)
7 Kelo 3:19
8 Enigma 3:25
9 Ray’s Idea 3:45
10 Tempus Fugit 3:51
11 C.T.A. 3:33
12 I Waited For You 3:31

  BLP 5040  Miles Davis, Vol. 3 (The Miles Davis Quartet)
13 Take Off 3:41
14 Lazy Susan 4:04
15 The Leap 4:32
16 Well You Needn’t 5:25
17 Weirdo 4:45
18 It Never Entered My Mind 4:04

  Bonus Tracks: Alternate Takes (The Miles Davis Sextet)
19 Chance It (Take 5) 2:55
20 Donna (Take 1 – Single Version) 3:12
21 Woody ‘N You (Take 1) 3:24
22 Kelo (Take 2) 3:31
23 Enigma (Take 5) 3:36
24 Ray’s Idea (Take 1) 3:52
25 Tempus Fugit (Take 2) 3:59
26 C.T.A. (Take 2) 3:19

  Bonus EP: Enigma (The Miles Davis Sextet)
27 Enigma (Alternate Take 1) 3:42
28 Kelo (Alternate Take 1) 3:21
29 Chance It (Alternate Take 3) 3:04
30 Chance It (Alternate Take 4) 3:09

DISC INFO:

Disc Title:     Miles Davis.Take Off- The Complete Blue Note Albums.2015.BDA1080i
Disc Size:      11 763 742 630 bytes
Protection:     AACS
BD-Java:        Yes
BDInfo:         0.5.8

PLAYLIST REPORT:

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Dolby TrueHD Audio              English         2458 kbps       2.0 / 96 kHz / 2458 kbps / 24-bit (AC3 Embedded: 2.0 / 48 kHz / 640 kbps)

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Blu-ray Audio Disc:

MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part1.rar
MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part2.rar
MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part3.rar
MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part4.rar
MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part5.rar
MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part6.rar
MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part7.rar
MILES_DAVIS_TAKE_OFF_THE_COMPLETE_BLUE_NOTE_ALBUMS.part8.rar