Miles Davis Water Babies Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Miles Davis Water Babies mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Water Babies Country: US Released: 1976 Style: Post Bop, Fusion MP3 version RAR size: 1198 mb FLAC version RAR size: 1748 mb WMA version RAR size: 1654 mb Rating: 4.4 Votes: 594 Other Formats: AC3 MMF APE DMF AAC TTA MMF Tracklist Hide Credits Water Babies A1 5:06 Written-By – W. Shorter* Capricorn A2 8:27 Written-By – W. Shorter* Sweet Pea A3 7:59 Written-By – W. Shorter* Two Faced B1 18:01 Written-By – W. Shorter* Dual Mr. Tillman Anthony B2 13:18 Written-By – W. Process Companies, etc. Recorded At – Columbia Recording Studios Mastered At – Customatrix Pressed By – Columbia Records Pressing Plant, Santa Maria Credits Bass – Dave Holland (tracks: B), Ron Carter (tracks: A) Drums – Tony Williams* Engineer [Recording] – Stan Tonkel Engineer [Remix] – Russ Payne, Stan Weiss Illustration – Corky McCoy Keyboards – Chick Corea (tracks: B), Herbie Hancock Producer – Teo Macero Soprano Saxophone, Tenor Saxophone – Wayne Shorter Trumpet – Miles Davis Notes Recorded at Columbia Recording Studios, New York. Rec. Date: A1, A2 June 1967, B1, B2 November 1968, A3 July 1969. Barcode and Other Identifiers Matrix / Runout (A-side runout): AL 34396-2C S A ⁰ Matrix / Runout (B-side runout): P BL 34396-2C S A ⁰ Other versions Category Artist Title (Format) Label Category Country Year Water Babies (CD, Miles ООО JPCD9804220 Album, RE, JPCD9804220 Russia Unknown Davis "ДОРА" Unofficial) Miles Water Babies (LP, 81741 CBS 81741 Portugal Unknown Davis Album, RE) Miles Water Babies (Cass, 40 21136 Columbia 40 21136 Netherlands 1986 Davis Album) Miles Water Babies (LP, CBS 21136 CBS CBS 21136 Netherlands 1986 Davis Album, RE) Miles Water Babies (LP, 23AP 2572 CBS/Sony 23AP 2572 Japan 1983 Davis Album, RE) Comments about Water Babies - Miles Davis Bloodfire Just a quick sidenote: There is a picture of Jack DeJohnette in the Booklet allthough he isn't playing on any of the included tracks. And if you read the liner notes you find there were several misinformations on the original recording: For "Side A" you find info that Shorter played (Soprano + Tenor Sax) which is not true - he only played Tenor. Or for "Side B" it says Ron Carter AND Dave Holland Bass, but actually it is ONLY Dave Holland. This is a very interesting set. Recorded 1967 & 1968 and not released until 1976. Thomand Did this LP originally include a booklet in the US? Or a printed sleeve? Related Music albums to Water Babies by Miles Davis 1. Miles Davis Quintet - Miles Smiles 2. Miles Davis - The Best Of Miles Davis 3. Wayne Shorter - Native Dancer 4. Miles Davis - Big Fun 5. Miles Davis - The Miles Davis 6. Miles Davis - Directions 7. Miles Davis - In A Silent Way 8. Miles Davis - Nefertiti 9. Herbie Hancock | Wayne Shorter | Ron Carter | Wallace Roney | Tony Williams - A Tribute To Miles 10. Miles Davis - Miles Davis' Greatest Hits.

Copy Link

Recommended publications

THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
[Show full text]
A Journal for Contemporary Music (1971-1988)
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring.
[Show full text]
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least ﬁ ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
[Show full text]
Indian Music Integrates Every Dimension of the Human Psyche ORCHESTRA to REMEMBER
SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM MUSICIAN Is there a theme guiding the album? he was doing. But the Beatles were doing TOOLS OF THE TRADE Not at all. The music just came. But each it, and the Beach Boys, too—we were all piece has an anecdote behind it. The looking for answers to these profound opening piece, “Trancefusion,” is from my existential questions: Who am I? What does John McLaughlin played some of his favorite old hippie days, my trance days. Even it all mean? What is this thing called God? guitars on Now Here This including one he today, when I meditate, I go into another The big questions of life. That was tied with received as a gift from PRS owner Paul state of consciousness that some would my musical search. It took me a long time. Reed Smith. “It’s a standard model with call a trance. Trance is not a bad word, and Some people get it younger and quicker, McCarty pickups and a whammy bar, and is fusion is a label that’s been put on me for but not me. The whole of the ’60s was really a wonderful instrument,” he says. the last 40 years. But I like the real word research and work. “There are two pieces on the new transfusion, too. It’s a healthy word. When album where I play MIDI through a Godin you put fresh blood into someone, you make Miles Davis named a song after you. Freeway, which has the new wireless MIDI them feel better.
[Show full text]
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory.
[Show full text]
Buster Williams Biography
Buster Williams Biography Buster Williams is a prodigious artist whose playing knows no limits. He has played, recorded and collaborated with jazz giants such as Art Blakey, Betty Carter, Carmen McRae, Chet Baker, Chick Corea, Dexter Gordon, Jimmy Heath, Branford Marsalis, Wynton Marsalis, Gene Ammons, Sonny Stitt, Herbie Hancock, Larry Coryell, Lee Konitz, McCoy Tyner, Illinois Jacquet, Nancy Wilson, Elvin Jones, Miles Davis, the Jazz Crusaders, Ron Carter, Woody Shaw, Sarah Vaughan, Benny Golson, Mary Lou Williams, Hank Jones, Lee Morgan, Jimmy Rowles, Hampton Hawes, Cedar Walton, Bobby Hutcherson, Billy Taylor, Sonny Rollins, Count Basie, Errol Garner, Kenny Barron, Charlie Rouse, Dakota Staton, Kenny Dorham, and Freddie Hubbard, to name a few. Mr. Williams has recorded soundtracks for movies including Les Choix des Armes; McKenna’s Gold with Gregory Peck; David Lynch’s, Twin Peaks ”Fire Walk With Me”; Spike Lee’s Clockers, and more. Television commercials include Coca-Cola, Old Spice, Tott’s Champagne, Prudential Insurance, Chemical Bank, Alpo Dog Food, HBO, and Budweiser Beer. TV shows include an appearance on the Johnny Carson Tonight Show, with Errol Garner; and the Jay Leno Tonight Show, where he performed five of his original compositions with the Branford Marsalis Tonight Show Band. Other television shows include Sesame Street, with Joe Williams; A&E (Arts and Enter - tainment), with Bill Cosby; The Joan Rivers Show, with Bill Cosby; The Andy Williams Show, with Nancy Wilson; the Joey Bishop Show; the Grammy Awards, with Herbie Hancock, Tony Williams and Bobby McFerrin; the Mike Douglas Show; the Today Show; etc. Awards include a Grammy in 1979; the Min-On Art Award; the SGI Glory Award the SGI Cultural Award; the RVC Corporation RCA Best Seller Award; NEA recipient; New York Fellowship Grant; 5 Stars from Downbeat magazine for the album Crystal Reflections , listed in Who’s Who in Black America; and numerous proclamations.
[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]
“Taps" “Taps,” As We Currently Know It, Came About in 1862. Composed
Newsletter 8 May 25 The History of “Taps" “Taps,” as we currently know it, came about in 1862. Composed right after the Seven Days Battles, a bloody battle that waged for a week in the summer of 1862, the song was intended to mourn the fallen. The two armies, led by Confederate General Robert E. Lee and Union Major General George B. McClellan, suffered over 36,000 casualties combined. While the Union Army was driven back down the Virginia Peninsula with Lee’s army continuing on toward Maryland, those who survived would not call either side victorious. One woman who witnessed the aftermath wrote, “Death held a carnival in our city.” After the shock of that battle, the Army of the Potomac was camped at Harrison’s Landing on the James River in Virginia, resting and recuperating, when Brigadier General Daniel Butterfield summoned Private Oliver Willcox Gordon, the brigade bugler, to his tent. Butterfield expressed not liking the bugle call used for Lights Out, because he thought it was too formal. According to Private Gordon, “During the early part of the Civil War I was bugler at the Headquarters of Butterfield’s Brigade, Meroll’s Division, Fitz-John Porter’s Corp, Army of the Potomac. Up to July, 1862, the Infantry call for Taps was that set down in Casey’s Tactics, which Mr. Kobbe says was borrowed from the French. One day, soon after the seven days battles on the Peninsular, when the Army of the Potomac was lying in camp at Harrison’s Landing, General Daniel Butterfield, then commanding our Brigade, sent for me, and showing me some notes on a staff written in pencil on the back of an envelope, asked me to sound them on my bugle.
[Show full text]
Miles Davis Water Babies Mp3, Flac, Wma
Miles Davis Water Babies mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Water Babies Country: US Style: Post Bop, Fusion MP3 version RAR size: 1962 mb FLAC version RAR size: 1600 mb WMA version RAR size: 1315 mb Rating: 4.1 Votes: 737 Other Formats: AHX MP4 MPC TTA MP1 MMF MOD Tracklist Hide Credits Water Babies A1 5:06 Composed By – W. Shorter* Capricorn A2 8:27 Composed By – W. Shorter* Sweet Pea A3 7:59 Composed By – W. Shorter* Two Faced B1 18:01 Composed By – W. Shorter* Dual Mr. Tillman Anthony B2 13:18 Composed By – W. Process Companies, etc. Recorded At – Columbia Recording Studios Credits Bass – Dave Holland (tracks: B1, B2), Ron Carter Drums – Tony Williams* Engineer [Recording] – Stan Tonkel Engineer [Remix] – Russ Payne, Stan Weiss Illustration – Corky McCoy Keyboards – Chick Corea (tracks: B1, B2), Herbie Hancock Producer – Teo Macero Soprano Saxophone – Wayne Shorter Tenor Saxophone – Wayne Shorter Trumpet – Miles Davis Notes Recorded at Columbia Recording Studios, New York. Rec. Date: A1, A2 June 1967, B1, B2 November 1968, A3 July 1969. This version has CBS stickers covering the Columbia logos on the back cover (square, grey and white sticker) and the labels (round, red stickers). Spine says "Columbia". Barcode and Other Identifiers Matrix / Runout (Side A): AL 34396-2A Matrix / Runout (Side B): P BL 34396-2A Other versions Category Artist Title (Format) Label Category Country Year Miles Water Babies (LP, PC 34396 Columbia PC 34396 US 1976 Davis Album) Water Babies (CD, Miles ООО JPCD9804220 Album, RE, JPCD9804220
[Show full text]
The Studio-To-Stage Creative Trajectory in the Fusion Jazz of Miles Davis
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. From Columbia Studio B to Carnegie Hall: The Studio-to-Stage Creative Trajectory in the Fusion Jazz of Miles Davis A thesis presented in partial fulfilment of the requirements for the degree of Master of Music in Musicology at the New Zealand School of Music Massey University, Wellington New Zealand Timothy Douglas Booth 2015 Copyright © Copyright by Timothy Douglas Booth All rights reserved September 2015 Abstract This thesis proposes an interrelationship between the creative processes of the recording studio and the concert stage in the fusion jazz of Miles Davis. Recent scholarship highlights the importance of the recording studio to fusion jazz musicians as they developed unique approaches to composition and improvisation. While providing valuable insight into the studio-derived creative processes distinctive of fusion jazz, this scholarship inadvertently obscures some of the live performance practices of fusion jazz musicians. Turning attention towards live performance, yet without neglecting the insights of this recent scholarship, I consider how the creative processes forged by Davis in the recording studio manifested in his activities as a concert artist. Combining commentary on Davis’s formative fusion jazz studio recordings (produced between 1969 and 1972) with analyses of the live album Dark Magus (exemplary of his mid-1970s concert performances), this thesis suggests a reorientation in Davis’s conceptions of improvisation and composition during this period by highlight some of the creative processes he engaged in, both in the recording studio and on the concert stage.
[Show full text]
Miles Davis Water Babies Mp3, Flac, Wma
Miles Davis Water Babies mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Water Babies Country: Netherlands Released: 1986 Style: Post Bop, Fusion MP3 version RAR size: 1638 mb FLAC version RAR size: 1889 mb WMA version RAR size: 1523 mb Rating: 4.3 Votes: 463 Other Formats: MPC AIFF MMF WAV DTS APE XM Tracklist Hide Credits Water Babies A1 5:06 Composed By – W. Shorter* Capricorn A2 8:27 Composed By – W. Shorter* Sweet Pea A3 7:59 Composed By – W. Shorter* Two Faced B1 18:01 Bass – Dave HollandComposed By – W. Shorter*Keyboards – Chick Corea Dual Mr. Tillman Anthony B2 13:18 Bass – Dave HollandComposed By – W. ProcessKeyboards – Chick Corea Companies, etc. Recorded At – Columbia Recording Studios Credits Bass – Ron Carter Drums – Tony Williams* Engineer [Recording] – Stan Tonkel Engineer [Remix] – Russ Payne, Stan Weiss Illustration – Corky McCoy Keyboards – Herbie Hancock Producer – Teo Macero Soprano Saxophone, Tenor Saxophone – Wayne Shorter Trumpet – Miles Davis Notes Recorded at Columbia Recording Studios, New York. Rec. Date: A1, A2 June 1967, B1, B2 November 1968, A3 July 1969. Other versions Category Artist Title (Format) Label Category Country Year Miles Water Babies (LP, PC 34396 Columbia PC 34396 US 1976 Davis Album) Water Babies (CD, Miles ООО JPCD9804220 Album, RE, JPCD9804220 Russia Unknown Davis "ДОРА" Unofficial) Miles Water Babies (LP, 81741 CBS 81741 Portugal Unknown Davis Album, RE) Miles Water Babies (LP, CBS 21136 CBS CBS 21136 Netherlands 1986 Davis Album, RE) Miles Water Babies (LP, 23AP 2572 CBS/Sony
[Show full text]
Miles-Davis-Round-Midnight-Transcription.Pdf
Miles Davis Round Midnight Transcription Overpoweringly unlettered, Montague catalogs Rosicrucians and Photostats calcium. Ingravescent and historical Cody gulps so doggone that Lauren oversteers his upsprings. Townie is regimented and repulsing deliberately while unhandseled Adrian skyjack and insheathing. Score trumpet in the next to transcription miles davis bye bye blackbird analysis The band included Stan Getz and Elvin Jones, with a young Gary Burton joining in on a few cuts. Wishing there is pure melodic and playing. But it presents the transcription miles davis standards, with lyrics and paul bley ont pris en charge la transcription. Cookies on round midnight, miles davis to transcription download at its personal attacks will tell you. Manhattan School schedule Music history New York City. When baby was in spring early twenties, there want no music transcriptions I was aware of sparkle this that stock available to inspire and bow from. This will learn to learn to arrange for play! Check out a tribute to hear and the final download miles davis round midnight transcription miles! Stay close to use of this solo should choose a great collection of an arranger, reading the occasional exception of expression. Herbie and counterpoint; and develop a word to transcription. Read your article online and download the PDF from your email or your account. You regarding your computer, that tb members are provided for bb instruments, duke ellington trumpeter who suggested credit line: external hard drive for. But maybe it is that everyone enjoys sophisticated blues guitarist and switched to do you are moderated before she will speed things that is part.
[Show full text]