Miles Davis ROUND ABOUT MIDNIGHT Blu-specCD JAPAN

20-01-2012, 17:19
Aukcja w czasie sprawdzania była zakończona.

Cena kup teraz: 149 zł

Użytkownik koszur

numer aukcji: 2000254048

Miejscowość Szczecin

Koniec: 14-01-2012, 19:28

Dodatkowe informacje:
Stan: Nowy
Opakowanie: w folii
Liczba płyt w wydaniu: jedna

Specjaliści rozwiną wszelkie utensylia, zbudują okopy, zgromadzą argumenty a nad ich napakowanymi dynamitem głowami powiewać będzie sztandar: DOBRE TYLKO TO, CO ZNAMY, MAMY I JUŻ.
A tymczasem świat gna do przodu, prześciga się w poszukiwaniu drogi do Edenu, do świata muzyki prawdziwej.
Pozwólmy więc tym dynamitogłowym zacietrzewieńcom wieść ich buńczuczne spory - a sami - po prostu posłuchajmy.
By jednak nie wyjść na całkowitych ignorantów - ograniczmy się do kilku faktów:

1. tradycyjna płyta (jej glass master) tworzona jest przy użyciu czerwonego lasera. Jego światło jest szerokie, niezbyt skoncentrowane i "wycina" na płycie rowki "od miedzy do miedzy"
2. technologia Blu-specCD bazuje na laserze niebieskim, a wiec zdecydowanie skoncentrowanym, precyzyjnym, gęstym. Rowek "wykuwany" tym laserem jest kilkakrotnie węższy od tradycyjnego, a informacje o dźwięku są zapisane precyzyjnie, skrupulatnie, jak u najlepszego księgowego. Poza tym - laser niebieski zapisze na płycie kilkakrotnie więcej informacji niż laser czerwony.

Miles Davis - Blu-specCD - JESZCZE BLIZEJ ORYGINALU!

Round About Midnight

Nośnik	Wydawca	Cena	Waluta
Blu-specCD	SONY (Japan)	149	PLN

Opis albumu

>>> Większa okładka A <<<

This current reissue of Round About Midnight is the definitive presentation of one of Miles Davis' and jazz's greatest recordings at least until a new music playback format is introduced. As Legacy has done consistently, once a box set is issued, the individual recordings are released in groups until the complete material is on the market album by album. The Complete Miles Davis/John Coltrane Sessions are no exception. This reissue features the original album as sequenced with the addition of four tracks from the same sessions originally heard on other Columbia anthologies. There can be no question about the quality of the remastering or the disc's presentation, both of which are superb. Given that this 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, 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 reformed 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. Of the bonus material, it's interesting, but the only stunner is Jackie McLean's "Little Melonae" recorded before its composer could put it in the can. The band comes out blazing but it's Coltrane with the surprise quoting of Dizzy Gillespie solos at the beginning of his own. Davis once again plays in stark contrast, moving through a sequence of bop and cool phrases before settling it an intervallic mode of melodic invention and allowing Coltrane to intercut harmonically and extend the melodic idea. There's little else to say except that this is among the most essential of Davis' Columbia recordings and this version makes it all the more so. Thom Jurek (AMG)

Sample

Utwory

1. 'Round Midnight (Hanighen/Monk/Williams) - 5:55
2. Ah-Leu-Cha (Parker) - 5:53
3. All of You (Porter) - 7:01
4. Bye Bye Blackbird (Dixon/Henderson) - 7:54
5. Tadd's Delight (Dameron) - 4:26
6. Dear Old Stockholm (Traditional) - 7:49

Dodatkowe informacje

Płyta Blu-specCD do odtworzenia w każdym typie czytnika z gwarancją doznań, jakich nigdy nie zapewni zwykła płyta CD.

Wykonawcy

Miles Davis - Trumpet, Performer
Red Garland - Piano
Philly Joe Jones - Drums
Paul Chambers - Bass
John Coltrane - Sax (Tenor)