Miles Davis Bags Groove Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Miles Davis Bags Groove mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Bags Groove Country: Japan Released: 2016 Style: Bop, Cool Jazz MP3 version RAR size: 1233 mb FLAC version RAR size: 1975 mb WMA version RAR size: 1914 mb Rating: 4.8 Votes: 795 Other Formats: ADX MOD WMA AHX FLAC VOX DXD Tracklist A1 Bags' Groove (Take 1) 11:10 A2 Bags' Groove (Take 2) 9:19 B1 Airegin 4:59 B2 Oleo 5:12 B3 But Not For Me (Take 2) 4:37 B4 Doxy 4:53 B5 But Not For Me (Take 1) 5:40 Companies, etc. Distributed By – Bernhard Mikulski Schallplatten-Vertriebs-GmbH Credits Bass – Percy Heath Drums – Kenny Clarke Engineer – Van Gelder* Piano – Horace Silver (tracks: B1 to B5), Thelonious Monk (tracks: A1, A2) Supervised By – Bob Weinstock Tenor Saxophone – Sonny Rollins (tracks: B1 to B5) Trumpet – Miles Davis Vibraphone – Milt Jackson (tracks: A1, A2) Notes Recorded on June 29, 1954 (Side B) and December 24, 1954 (Side A). Barcode and Other Identifiers Barcode: 090204 027668 Label Code: LC0313 Rights Society: GEMA Matrix / Runout (Side A [Etched]): OJC-245-A et Matrix / Runout (Side B [Etched]): OJC-245-B et Other versions Category Artist Title (Format) Label Category Country Year Miles Bags Groove (LP, 7109 Prestige 7109 US 1957 Davis Mono) Miles Bags Groove (LP, Prestige, 7109, LP 7109 7109, LP 7109 US Unknown Davis Mono) Prestige Prestige, 7109, NM 27 Miles Bags Groove (LP, 7109, NM 27 Nuevos Spain 1989 398 LM Davis Album, RE) 398 LM Medios Майлс Дейвис и M60 48821 Майлс Гиганты M60 48821 Мелодия USSR 1989 006 Дейвис* Современного Джаза 006 (LP, Album, Mono) Miles Bags Groove (CD, UCCO-5008 Prestige UCCO-5008 Japan 2007 Davis Album, RE) Related Music albums to Bags Groove by Miles Davis Miles Davis And Milt Jackson - Quintet / Sextet Miles Davis - Bags Grove Miles Davis Featuring Sonny Rollins - Diggin' With The Miles Davis Sextet Miles Davis - Tallest Trees Miles Davis - Enigma Miles Davis - Oleo Milt Jackson - Bags' Groove Miles Davis Featuring Sonny Rollins - Dig Miles Davis - Miles Davis And The Modern Jazz Giants Milt Jackson With John Lewis , Percy Heath, Kenny Clarke, Lou Donaldson And The Thelonious Monk Quintet - Milt Jackson With John Lewis, Percy Heath, Kenny Clarke, Lou Donaldson And The Thelonious Monk Quintet.

Copy Link

Recommended publications

Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
[Show full text]
Juilliard Jazz Ensembles
The Juilliard School Presents Juilliard Jazz Ensembles Monday, January 29, 2018, 7:30pm Paul Hall The Music of Miles Davis Wynton Marsalis, Guest Coach Dizzy Gillespie Ensemble Swing Spring (Miles Davis, arr. Joel Wenhardt) Flamenco Sketches (Miles Davis and Bill Evans, arr.Andrea Domenici) Nardis (Miles Davis, arr. Jeffery Miller) Paraphernalia (Wayne Shorter, arr. Adam Olszewski) Half Nelson (Miles Davis, arr. David Milazzo) David Milazzo, Alto Saxophone Anthony Hervey, Trumpet Jeffery Miller, Trombone Andrea Domenici, Piano Joel Wenhardt, Piano Adam Olszewski, Bass Cameron MacIntosh, Drums Elio Villafranca, Resident Coach Intermission (Program continues) Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 The Dave Brubeck Ensemble Dig (Miles Davis, arr. Dave Brubeck Ensemble) Fall (Wayne Shorter, arr. Dave Brubeck Ensemble) Milestones (Miles Davis, arr. Dave Brubeck Ensemble) Circle (Miles Davis, arr. Dave Brubeck Ensemble) So Near, So Far (Tony Crombie and Bennie Green, arr. Dave Brubeck Ensemble) Zoe Obadia, Alto Saxophone Noah Halpern, Trumpet Jasim Perales, Trombone Joseph Block, Piano Isaiah Thompson, Piano Adam Olszewski, Bass Francesco Ciniglio, Drums Helen Sung, Resident Coach Program order and selections are subject to change.
[Show full text]
SPRING 2019 INSIDE THIS EDITION BALTIMORE JAZZ ALLIANCE Jam Sessions
SPRING 2019 INSIDE THIS EDITION BALTIMORE JAZZ ALLIANCE Jam Sessions .................................................................. 2 Transitions: A Contrarian’s Delight.................................... 6 Remembering Baltimore’s First Lady of Jazz.................... 8 John Thomas Quartet: Hotel Indigo’s Poet’s .................. 10 BJA Presents Father’s Day Jazz .................................... 12 BJA Member Benefits...................................................... 12 VOLUME FIFTEEN • ISSUE TWO • THE BJA NEWSLETTER • WWW.BALTIMOREJAZZ.COM BRANDON WOODY Rising Trumpet Star By Mitch Mirkin I first encountered trum- peter Brandon Woody, now aged 20, last August, when he led an open-mic jam ses- sion at the Motor House on North Avenue with his PHOTO COURTESY OF ALEXANDER JARMAN group, Upendo (Swahili for “love”). I then caught one of Baltimore Kissa Society his monthly gigs at An die Musik on North Charles. At By Bob Jacobson both performances, three Since 2016, BJA member Alexander Jarman has hosted the monthly jazz things about the trumpeter record listening sessions of the Baltimore Kissa Society (BKS). Named for impressed me. the cafés (kissa) where people in over 600 Japanese cities and towns gath- One was his fiery, intense ered in the 1950s-’70s to hear jazz recordings, BKS has afforded its mem- yet lyrical and fluid style. bers listening opportunities of everyone from Django Reinhardt to Sun Ra; PHOTO CREDIT: MITCH MIRKIN He reminded me of Freddie themed sessions have included the jazz influence on Steely Dan and Afro- Hubbard, who once described his own playing as “very futurism. loose, elastic.” Woody played blazes of short, repeated, Jarman, 36, is the Walters Art Museum’s manager of community pro- melodically complex riffs that grew in intensity, driven by grams and contemporary art initiatives.
[Show full text]
Straight No Chaser
Ch 3 : Straight no chaser Si Round Midnight est le plus populaire des standards monkiens, un des plus utilisés en jam-session, est sans doute Straight no chaser. Le fait qu’il s’agisse d’un blues en 12 mesures (souvent en Bb) n’est sans doute pas étranger à cette popularité. Et pourtant, pour bien jouer Straight no chaser, il faut une certaine concentration : en effet, non seulement, Monk y fait usage de pas mal de chromatismes, mais la manière dont la phrase qui sous-tend la composition est placée par rapport au temps et à la mesure est pour le moins singulière. A l’écoute, tout semble couler de source, mais quand il s’agit de mettre ça en place, c’est une toute autre histoire. Le titre du morceau est déjà du Monk : quand il commandait un whisky, Monk insistait pour qu’on le lui serve Straight no chaser, càd sec, sans accompagnement aidant à le faire descendre. On commence par la première version gravée par Monk, en 1951 pour Blue Note, avec le trio renforcé de Sahib Shihab et Milt Jackson : c’est Art Blakey qui ouvre les hostilités : écoutez la citation par Monk d’un autre de ses standards : Thelonious Monk Quintet : Straight no chaser Sahib Shihab (as) Milt Jackson (vbes) Thelonious Monk (pn) Al Mc Kibbon (cb) Art Blakey (dms) rec NY 23 juillet 1951 A côté des 1001 versions live enregistrées par Monk, on notera celle, asseez singulière, qu’il enregistrée en 1957 pour l’album avec Gerry Mulligan. Le tempo est plus lent qu’à l’accoutumée.
[Show full text]
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
[Show full text]
The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
[Show full text]
Clyde Mcphatter 1987.Pdf
Clyde McPhatter was among thefirst | singers to rhapsodize about romance in gospel’s emotionally charged style. It wasn’t an easy stepfor McP hatter to make; after all, he was only eighteen, a 2m inister’s son born in North Carolina and raised in New Jersey, when vocal arranger and talent manager Billy | Ward decided in 1950 that I McPhatter would be the perfect choice to front his latest concept, a vocal quartet called the Dominoes. At the time, quartets (which, despite the name, often contained more than four members) were popular on the gospel circuit. They also dominated the R&B field, the most popular being decorous ensembles like the Ink Spots and the Orioles. Ward wanted to combine the vocal flamboyance of gospel with the pop orientation o f the R&B quartets. The result was rhythm and gospel, a sound that never really made it across the R &B chart to the mainstream audience o f the time but reached everybody’s ears years later in the form of Sixties soul. As Charlie Gillett wrote in The Sound of the City, the Dominoes began working instinctively - and timidly. McPhatter said, ' ‘We were very frightened in the studio when we were recording. Billy Ward was teaching us the song, and he’d say, ‘Sing it up,’ and I said, 'Well, I don’t feel it that way, ’ and he said, ‘Try it your way. ’ I felt more relaxed if I wasn’t confined to the melody. I would take liberties with it and he’d say, ‘That’s great.
[Show full text]
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
[Show full text]
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
[Show full text]
Ezra Weiss Press Quotes
Ezra Weiss – Press/We Limit Not the Truth of God “This album is a raw statement and commentary of the times in which we live. This album is an emotional and musical roller-coaster ride, provocative and full of risk. This album is a musical version of Edvard Munch’s “Scream” combined with the calm of Monet. This album is one of the most provocative I’ve heard. I love this album and hate the fact that it needed to be made. Highly recommended.” -Andrew Read, Jazz in Europe “The piece brims with triumphant joy, vividly depicted by Weiss’ choral arrangement.” -Matt Micucci, Jazziz “Music that plows through a sea of dark emotions on the way to defiantly proclaiming that truth will prevail. This is a strong and inspiring work that could provide catharsis and hope to someone overwhelmed by the world we currently live in.” -Jerome Wilson, All About Jazz “The music provides a healthy primer on contemporary orchestral jazz, with moments that evoke bands led by Thad Jones and Mel Lewis, Maria Schneider, and even current rising stars like Miho Hazama. In their pithy solos, reedmen John Nastos and Renato Caranto make a strong case for further investigation of the Pacific Northwest jazz scene.” -Martin Johnson, JazzTimes “There have been periodic powerful social commentaries throughout jazz history, with examples such as Billie Holiday’s Strange Fruit, John Coltrane’s Alabama or Max Roach’s Tryptic. This album is being suggested as a worthy addition to that group... One of the most powerful and ambitious social comment albums ever released, and remarkable throughout.” -Keith Black, Winnipeg Free Press “One of those sets that'll wind up being passed down to future generations, Weiss knows how to eloquently state his case, with swing and style for all.” -Chris Spector, Midwest Record “Richly textured sections close things out on Wayne Shorter’s “Footprints” which show rich ideas audibly as well as intellectually.” -George W.
[Show full text]
Boplicity / Questions Area of Study D / Jazz
BOPLICITY / QUESTIONS AREA OF STUDY D / JAZZ 1. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. EXTRACT EXTRACT EXTRACT EXTRACT 5 EXTRACT EXTRACT 1 1 2 2 MINS 1 2 Answer questions (a-e) in relation to extract 1 only. Question (f) is a comparison of extract 1 with extract 2. Each extract will be played 3 times with a 30 second pause between each playing, a 5 minute pause after the second playing of extract 2 and a 7 minute silence after the last playing for you to complete your answer. You now have 30 seconds to read the questions. 20 BOPLICITY PG. 1 BOPLICITY / QUESTIONS AREA OF STUDY D / JAZZ First, you will hear an extract taken from ‘Boplicity’, recorded by Miles Davis and a group of musicians in 1949. An outline of the structure of the extract is printed below. Head Solos Section A section A section B section A section (based upon ‘AABA’ form) a. This extract is performed by an ensemble including trumpet, alto [ 3 ] saxophone, trombone, piano, double bass and drum kit. Tick √ the boxes below to indicate which other three instruments you can hear in the extract. Instrument TICK - √ Flute Oboe Clarinet Baritone Saxophone French horn Tuba BOPLICITY PG. 2 BOPLICITY / QUESTIONS AREA OF STUDY D / JAZZ b. Underline the name given to this type of ensemble from the list [ 1 ] below Sextet | Octet | Nonet | Big band c. Describe the texture and use of instruments in the ‘Head’ section [ 3 ] of this extract.
[Show full text]
Miles Davis Featuring Sonny Rollins
Miles Davis Dig mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Dig Country: Japan Released: 2015 Style: Bop, Hard Bop MP3 version RAR size: 1320 mb FLAC version RAR size: 1489 mb WMA version RAR size: 1430 mb Rating: 4.9 Votes: 392 Other Formats: AU VOC TTA AC3 VOX AAC MMF Tracklist A1 Dig 7:33 A2 It's Only A Paper Moon 5:23 A3 Denial 5:38 B1 Bluing 9:55 B2 Out Of The Blue 6:14 Credits Alto Saxophone – Jackie McLean Artwork – Sherlock Bass – Tommy Potter Drums – Art Blakey Liner Notes – Ira Gitler Piano – Walter Bishop, Jr. Remastered By – Van Gelder* Supervised By – Bob Weinstock Tenor Saxophone – Sonny Rollins Trumpet – Miles Davis Notes Recorded on October 5, 1951. Tracks A1 & A2 first released on 10" LP, Prestige PRLP 124 Tracks B1 & B2 first released on 10" LP Prestige PRLP 140 Other versions Category Artist Title (Format) Label Category Country Year Miles Davis Miles Davis Featuring LP 7012, PRLP Featuring Prestige, LP 7012, PRLP Sonny Rollins - US 1956 7012 Sonny Prestige 7012 Dig (LP, Comp, Rollins Mono, RM) Miles Davis Original Miles Davis Featuring Jazz OJC-005, P-7012, Featuring OJC-005, P-7012, Sonny Rollins - Classics, France 1982 68452 Sonny 68452 Dig (LP, Album, Prestige, Rollins RE) Carrere Miles Davis Miles Davis Featuring LP 7012, PRLP Featuring Prestige, LP 7012, PRLP Sonny Rollins - US Unknown 7012 Sonny Prestige 7012 Dig (LP, Comp, Rollins Mono, RE, RM) Miles Davis Miles Davis Featuring Universal Featuring Sonny Rollins - Classics & UCCO-9038 UCCO-9038 Japan 2007 Sonny Dig (CD, Jazz, Rollins Album, Mono,
[Show full text]