Miles Davis in a Silent Way Mp3, Flac, Wma

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Miles Davis In A Silent Way mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: In A Silent Way Country: US Style: Post Bop, Fusion, Modal MP3 version RAR size: 1497 mb FLAC version RAR size: 1114 mb WMA version RAR size: 1399 mb Rating: 4.9 Votes: 962 Other Formats: WMA DXD MMF MP4 VQF RA AU Tracklist A Shhh / Peaceful 18:16 B In A Silent Way / It's About That Time 19:52 Companies, etc. Copyright (c) – Sony BMG Music Entertainment Credits Bass – Dave Holland Drums – Tony Williams* Electric Piano – Chick Corea, Herbie Hancock Electric Piano, Organ – Josef Zawinul* Engineer – Russ Payne, Stan Tonkel Guitar – John McLaughlin Liner Notes – Frank Glenn Photography By [Cover Photo] – Lee Friedlander Producer – Teo Macero Tenor Saxophone – Wayne Shorter Trumpet – Miles Davis Notes LP originally release 1969. This Version © 2008 Sony BMG Music Entertainment Barcode and Other Identifiers Barcode: 886972694719 Other versions Category Artist Title (Format) Label Category Country Year Miles In A Silent Way CS 9875 Columbia CS 9875 US 1969 Davis (LP, Album, San) In A Silent Way Miles CK 40580 (CD, Album, Club, Columbia CK 40580 US 1999 Davis RE, RM) In A Silent Way Columbia, Miles WCT 40580 (Cass, Album, RE, Columbia Jazz WCT 40580 Canada 1987 Davis RM) Masterpieces In A Silent Way Miles 88875111941 (LP, Album, RE, Columbia, Legacy 88875111941 Europe 2016 Davis RP, 180) CBS 63630, S Miles In A Silent Way CBS 63630, S CBS, CBS Europe 1986 63630 Davis (LP, Album, RE) 63630 Related Music albums to In A Silent Way by Miles Davis Miles Davis - Miles Davis At Fillmore: Live At The Fillmore East Miles Davis - This Is Jazz, Vol. 22: Miles Davis Plays Ballads Davis - Le Meilleur De Miles Davis Miles Davis - Forever Miles Miles Davis - Big Fun Miles Davis - Water Babies Miles Davis - The Cellar Door Sessions 1970 Miles Davis - Sorcerer Miles Davis - Nefertiti Miles Davis - The Best Of Miles Davis.

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Metodologia Della Critica Musicale La Musica Di Miles Davis: Aspetti E Problemi Critici
Metodologia della critica musicale La musica di Miles Davis: aspetti e problemi critici Miles Davis Miles Davis (Alton, IL 1926 – Santa Monica, CA1991) Studi a East St. Louis 1945, New York: brevemente alla Juilliard School of Music, sideman con Billy Eckstine, Charlie Parker, Dizzy Gillespie e altri. 1947-48: membro stabile del quintetto di Parker e partecipazione al workshop di Gil Evans che culmina nel 1949-50: registrazioni, firmate come leader di Birth of the Cool con Gerry Mulligan, Johnny Carisi, John Lewis, Lee Konitz… 1949-54: varia attività con musicisti bebop (a parte Parker e Gillespie, J.J. Johnson, Horace Silver, Sonny Rollins, Thelonius Monk, Milt Jackson) e dipendenza dall’eroina 1955-57: I quintetto con John Coltrane (ts), Red Garland (p), Paul Chambers (b), Philly Joe Jones (d) Relaxin’, Steamin’, Workin’, Cookin’,’Round Midnight (tutti del 1956) 1957: a Parigi, musiche per Ascenseur pour l’échafaud di Louis Malle Ancora con Gil Evans: Miles Ahead (1957) 1957-59: il quintetto è ampliato a sestetto con Julian Cannonball Adderley (ts, as), a Red Garland succedono Wynton Kelly e Bill Evans (p), e a Philly Joe Jones succede Jimmy Cobb (d) Milestones (1958), Porgy and Bess (1958), Kind of Blue (1959), Sketches of Spain (1959-60) Lasciano Miles per formare gruppi propri: Bill Evans (1958), Julian Cannonball Adderley (1959), John Coltrane (1960), Kelly con Chambers e Cobb (1962) e nei primi anni Sessanta Miles impiega nelle sue formazioni diversi musicisti tra cui Victor Feldman (p), George Coleman e Sam Rivers (ts) 1963-68:
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Miles Davis Biografia E Discografia
Miles Davis Biografia e Discografia PDF generato attraverso il toolkit opensource ''mwlib''. Per maggiori informazioni, vedi [[http://code.pediapress.com/ http://code.pediapress.com/]]. PDF generated at: Tue, 05 Jan 2010 08:28:28 UTC Indice Voci Miles Davis 1 Discografia di Miles Davis 27 Note Fonti e autori delle voci 31 Fonti, licenze e autori delle immagini 32 Licenze della voce Licenza 33 Miles Davis 1 Miles Davis Miles Davis [1] Ritratto di Miles Davis (foto Tom Palumbo ) Nazionalità Stati Uniti d'America (crea redirect al codice) Genere Jazz Bebop Hard bop Jazz modale Fusion Periodo di attività 1944 - 1975, 1980 - 1991 Album pubblicati 92 Studio 53 Live 32 Raccolte 17 [2] Sito ufficiale miles-davis.com Si invita a seguire lo schema del Progetto Musica « Per me la musica e la vita sono una questione di stile. » [3] (Miles Davis ) Miles Dewey Davis III (Alton, 26 maggio 1926 – Santa Monica, 28 settembre 1991) è stato un compositore, trombettista jazz statunitense, considerato uno dei più influenti, innovativi ed originali musicisti del XX secolo. È molto difficile disconoscere a Davis un ruolo di innovatore e genio musicale. Dotato di uno stile inconfondibile ed una incomparabile gamma espressiva, per quasi trent'anni Miles Davis è stato una figura chiave del jazz e della musica popolare del XX secolo in generale. Dopo aver preso parte alla rivoluzione bebop, egli fu fondatore di numerosi stili jazz, fra cui il cool jazz, l'hard bop, il modal jazz ed il jazz elettrico o jazz-rock. Le sue registrazioni, assieme agli spettacoli dal vivo dei numerosi gruppi guidati da lui stesso, furono fondamentali per lo sviluppo artistico del jazz.
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Miles Davis Recordings 1
Miles Davis Recordings 2016/7/31 Sound Album Recording Date Label Item Number Format Jacket Track Time File Size Remarks Jacket Image Quality 1 Young Miles (4CD) 1945-1949 Proper Records 4CD Box 2 Early Milestones 1945-1948 Naxox CD 1945/04/24, 46/10/18, 3 Early Miles Davis: The Birth of the Cool Trumpet Definitive Records CD 47/06/00, 48/09/25 4 First Miles 1945/04/24, 1947/08/14 Nippon Columbia CD Benny Carter and his orchestra featuring Miles Davis & Dexter 5 1945-1948 Jazz Door JD 1206 CD Gordon (Recorded in Los Angeles) 6 Miles Davis/Rare Miles (Misc., 1946-1955) (3CD) 1946-1955 Further Along FAP-001/002/003 3CD 7 In Los Angeles 1946/03 Private Recording WAV 8 Complete Vocalist Sessions 1946/10/05 Definitive Records DRCD 11160 CD 9 Bopping the blues 1946/10/18 Black Lion BLCD760102 CD 10 The Miles Davis Tuba Band/Lennie Tristano: Why Do I Love You? 1947-1948 Natasha NT-4015 CD 1947/08/14,1949/01/21, 24bit Digital Francis Dreyfus 11 Milestones 1949/04/22,1949/05/08, ISRC-FR-14F Remastered 0:55:25 559MB Jacket Scanned A (Sony Music France) 1950/02/18,1950/03/09 CD 1948/09/04, 09/18, 12 Complete Birth of the Cool (Disc 2) Definitive Records DRCD 11159 2CD 09/25 1945/11/26 - 13 Complete Savoy & Dial Recordings (2CD) Definitive Records DRCD 11158 CD 1948/09/24 From Cool to Bop The Anthology (Miles Davis nonet at the Roya Stardust/Nippon 14 1948/09/00 CRCL-8895 2CD Roost, NY) Disc 1 Crown 1948/09/04, 09/18, 15 Chasin' The Blues/Live at the Royal Roost, New York ARJ ARJ001 CD 09/25 16 The Real Birth Of The Cool 1948/09/18 Bandstand TKCB-71061
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Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
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BB-1971-12-25-II-Tal
0000000000000000000000000000 000000.00W M0( 4'' .................111111111111 .............1111111111 0 0 o 041111%.* I I www.americanradiohistory.com TOP Cartridge TV ifape FCC Extends Radiation Cartridges Limits Discussion Time (Based on Best Selling LP's) By MILDRED HALL Eke Last Week Week Title, Artist, Label (Dgllcater) (a-Tr. B Cassette Nos.) WASHINGTON-More requests for extension of because some of the home video tuners will utilize time to comment on the government's rulemaking on unused TV channels, and CATV people fear conflict 1 1 THERE'S A RIOT GOIN' ON cartridge tv radiation limits may bring another two- with their own increasing channel capacities, from 12 Sly & the Family Stone, Epic (EA 30986; ET 30986) month delay in comment deadline. Also, the Federal to 20 and more. 2 2 LED ZEPPELIN Communications Commission is considering a spin- Cable TV says the situation is "further complicated Atlantic (Ampex M87208; MS57208) off of the radiated -signal CTV devices for separate by the fact that there is a direct connection to the 3 8 MUSIC consideration. subscriber's TV set from the cable system to other Carole King, Ode (MM) (8T 77013; CS 77013) In response to a request by Dell-Star Corp., which subscribers." Any interference factor would be mul- 4 4 TEASER & THE FIRECAT roposes a "wireless" or "radiated signal" type system, tiplied over a whole network of CATV homes wired Cat Stevens, ABM (8T 4313; CS 4313) the FCC granted an extension to Dec. 17 for com- to a master antenna. was 5 5 AT CARNEGIE HALL ments, and to Dec.
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Vývojové Fáze Milese Davise
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Hra na trubku Vývojové fáze Milese Davise Bakalářská práce Autor práce: Petr Harmáček, DiS. Vedoucí práce: Mgr. Jan Přibil, DiS. Oponent práce: Mgr. Juraj Bartoš Brno 2014 Bibliografický záznam HARMÁČEK, Petr. Vývojové fáze Milese Davise. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra jazzové interpretace, 2014. 33 s. Vedoucí diplomové práce Mgr. Jan Přibil, DiS. Anotace Bakalářská práce na téma Vývojové fáze Milese Davise pojednává o jednotlivých hudebních obdobích, kterými Miles Davis prošel, byl jimi ovlivněn, založil je a inspiroval jimi celý hudební svět. V jednotlivých kapitolách jsou popsána nejvýznamnější období a rozebrány jeho nejznámější sóla a skladby, které byly zaznamenány na hudebních nosičích. Annotation Bachelor thesis on the development phase of Miles Davis discusses the various musical periods, which Miles Davis passed, was influenced by them, is founded and inspired by them throughout the music world. The individual chapters are described and analyzed the most important period of his most famous solos and songs that have been recorded on audio media. Klíčová slova Miles Davis, jazz, bebop, cool jazz, hard bop, kvintet, modální jazz, fusion, jazz – rock, funk, blues Keywords Miles Davis, jazz, bebop, cool jazz, hardbop, quintet, modal jazz, fusion, jazz – rock, funk, blues Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 15. dubna 2014 Petr Harmáček Poděkování Na tomto místě bych rád poděkoval svému vedoucímu práce Mgr. Janu Přibilovi DiS., MgA. Janu Daleckému, také hostujícímu profesorovi Mgr. Juraji Bartošovi a v neposlední řadě své rodině za podporu.
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Downbeat.Com August 2014 U.K. £3.50
AUGUST 2014 U.K. £3.50 DOWNBEAT.COM August 2014 VOLUME 81 / NUMBER 8 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Žaneta Cuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan
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Faculty Jazz Parliament Performs the Music of Chick Corea
program Kennesaw State University School of Music Tuesday, December 2, 2014 at 8:00 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Forty-seventh Concert of the 2014-15 Concert Season Faculty Jazz Parliament performs the music of Chick Corea Program to be chosen from the following: Armando’s Rhumba Tones for Joan’s Bones Windows Matrix Humpty Dumpty Got a Match? You’re Everything La Fiesta Times Lie personnel FACULTY JAZZ PARLIAMENT Sam Skelton, reeds Lester Walker, trumpet Wes Funderburk, trombone Trey Wright, guitar Tyrone Jackson, piano Marc Miller, bass Justin Chesarek, drums program notes Armando Anthony "Chick" Corea (born June 12, 1941) is an American jazz and fusion pianist, keyboardist and composer. Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s, he formed Return to Forever. Along with Herbie Hancock, McCoy Tyner, and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era. Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy. Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin musicians such as Herbie Mann, Willie Bobo and Mongo Santamaría. One of the earliest recordings of his playing is with Mitchell's quintet on The Thing To Do.
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Miles Davis My Funny Valentine - Miles Davis in Concert Mp3, Flac, Wma
Miles Davis My Funny Valentine - Miles Davis In Concert mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: My Funny Valentine - Miles Davis In Concert Country: US Released: 1965 Style: Modal MP3 version RAR size: 1203 mb FLAC version RAR size: 1961 mb WMA version RAR size: 1236 mb Rating: 4.8 Votes: 458 Other Formats: MP4 XM MOD MP4 MIDI ADX DMF Tracklist Hide Credits My Funny Valentine 1 15:11 Written-By – L. Hart-R. Rodgers* All Of You 2 15:09 Written-By – Cole Porter Stella By Starlight 3 13:03 Written-By – N. Washington*, V. Young* All Blues 4 8:56 Written-By – M. Davis* I Thought About You 5 11:16 Written-By – J. Van Heusen*, J. Mercer* Credits Bass – Ron Carter Drums – Tony Williams* Liner Notes – Nat Hentoff Piano – Herbie Hancock Tenor Saxophone – George Coleman Trumpet – Miles Davis Notes Recorded February 12, 1964 live at the Philharmonic Hall, Lincoln Center, New York City Manufactured by CBS/Sony Inc. (Tokyo Japan) Barcode and Other Identifiers Barcode: T4988 009 52985 1 Matrix / Runout: 32DP-518 11 +++++ Other (SID Codes): none Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Miles My Funny Valentine - Miles CS 9106 Columbia CS 9106 US 1965 Davis Davis In Concert (LP, Album) My Funny Valentine - Miles Miles BP- 233203 Davis In Concert (LP, Album, Columbia BP- 233203 Australia 1965 Davis Mono) My Funny Valentine - Miles Miles 25AP 760 Davis In Concert (LP, Album, CBS/Sony 25AP 760 Japan 1977 Davis RE) My Funny Valentine - Miles Miles 28AP 2836 Davis In Concert (LP, Album,
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Master of Music Thesis
From Columbia Studio B to Carnegie Hall: The Studio-to-Stage Creative Trajectory in the Fusion Jazz of Miles Davis Timothy Douglas Booth A thesis submitted to Massey University and Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Music in Musicology New Zealand School of Music 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. Drawing on the accounts of several musicians who worked with Davis in the recording studio during the late-1960s and early 1970s, I consider how post- production tape editing allowed Davis and his band a new means for composing and improvising in the studio.
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Steve Grossman: Foundations and Environments That Contributed to the Making of a Jazz Tenor Saxophone Icon
STEVE GROSSMAN: FOUNDATIONS AND ENVIRONMENTS THAT CONTRIBUTED TO THE MAKING OF A JAZZ TENOR SAXOPHONE ICON BY JONATHAN DAVID BECKETT SCHOLARLY ESSAY IN SUPPORT OF TWO LECTURE-RECITALS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Charles McNeill, Chair, Director of Research Associate Professor Gabriel Solis Associate Professor Heinrich Taube Associate Professor John Stephens © 2013 by Jonathan David Beckett. All Rights Reserved. i ABSTRACT Steve Grossman is regarded as one of the most influential tenor saxophone players in Jazz. Relatively little is known about him and his music, however. This essay represents musicological research that synthesizes fragments of information in conjunction with personal interviews by the author. The purpose of this essay is to point to the environments and influences of Grossman that shaped him as a musician, and to advance knowledge about these people, places and times. Specifically investigated are the years immediately following the death of John Coltrane. Grossman took the influence of Coltrane and interpreted it in his own distinctive way. In 1969 at the age of 18, Grossman was hired by Miles Davis and played on several important albums including Black Beauty, A Tribute to Jack Johnson, and Miles at Fillmore. Elvin Jones hired Grossman subsequently, leading to the important album Live at the Lighthouse. Grossman also recorded the influential album Some Shapes to Come under his own name, and would go on to be a founding member of the band Stone Alliance.
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Record Industry Warned on Regression. . . See Page 3
e JANUARY 16, 1971 9bCC+5 a l 1V3 OCCMA1iCH CA -IC i33N11S CZIL dI..t;3 31 V,, cwno; ::l 31-1 az-. The success of Vinny Testa's Infinity Productions far from Frijid as year -and -a -half -old firm Blooms. Story appears In this issue. FOUR TOPS, "JUST SEVEN NUMBERS (CAN BURT BACHARACH, "ALL KINDS OF PEOPLE" ELVIS PRESLEY, "ELVIS COUNTRY." Elvis Pres- STRAIGHTEN OUT MY LIFE" (Jobete, (Blue Seas/Jac, ASCAP). Bacharach, ley returns to the arena where it all started BMU. The Four Tops renaissance with an easy going group of voices for him-country music. Included are beauti- ,11 continues with this low key, haunt- AM renders a song with a most harmo- ful, simple, attractive versions of "Snowbird," MUIUWN RECORDS ing song about a telephone number. nious message. Written with partner "Whole Lot -ta Shakin' Goin' On," "Funny How No reason this can't be one of their Hal David, it's the kind of thing that Time Slips Away," "There Goes My Every- all-time big ones. Motown 1175. builds into a monster. A&M 1241. thing," "Make the World Go Away." RCA LSP 4460. OTIS REDDING, "I'VE BEEN LOVING YOU TOO JAMES ANDERSON, "THE TRACKER" (Crazy Cajun, ELTON JOHN, "TUMBLEWEED CONNECTION." LONG" (East -Time, BMI). This is a BMI). Anderson almost made it last Elton John does an album distinguished by a live version of one of the late soul time out with "Mama Mama" but subtle concept-a musical portrait of Western master's biggest hits. Recorded at (otiltion should catch fire this time.
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