Miles Davis 'four

Miles Davis - 'Four' & More (1964) [MFSL, UDSACD 2087]  Music

Posted by v3122 at Dec. 10, 2016
Miles Davis - 'Four' & More (1964) [MFSL, UDSACD 2087]

Miles Davis - 'Four' & More (1964)
EAC | Flac(Image) + Cue + Log & MP3 CBR 320Kbps
2013 | Mobile Fidelity Sound Lab, UDSACD 2087 | ~ 343 or 132 Mb | Covers Included
Jazz, Cool Jazz, Bop, Hard Bop

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…
Miles Davis ‎– 'Four' & More: Recorded Live In Concert (1964) Japanese Press 1990

Miles Davis ‎– 'Four' & More: Recorded Live In Concert (1964) Japanese Press 1990
XLD | FLAC | Tracks (Cue&Log) ~ 317 Mb (incl 5%) | Mp3 (CBR320) ~ 136 Mb (incl 5%) | Scans included
Genre: Hard Bop, Cool, Modal | Label: CBS/Sony | # CSCS 5145 | Time: 00:54:09

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.

Miles Davis - "Four" & More (1964) {2005 Columbia DSD Remaster}  Music

Posted by ruskaval at Feb. 22, 2014
Miles Davis - "Four" & More (1964) {2005 Columbia DSD Remaster}

Miles Davis - "Four" & More (1964) {2005 Columbia DSD Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 346 Mb | MP3 @320 -> 128 Mb
Full Artwork @ 300 dpi (png) -> 75 Mb | 5% repair rar
© 2005 Columbia / Legacy | COL 519505 2
Jazz / Cool / Hard Bop / Trumpet

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.

Miles Davis - Four And More (1966) [MFSL 2013] PS3 ISO + Hi-Res FLAC  Vinyl & HR

Posted by HDAtall at Aug. 29, 2013
Miles Davis - Four And More (1966) [MFSL 2013] PS3 ISO + Hi-Res FLAC

Miles Davis - Four And More (1966) [MFSL 2013]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 54:08 minutes | Scans included | 1,67 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,09 GB
Miles Davis - 'Four' & More. Recorded Live In Concert (1964) {2006 DSD Japan Mini LP Edition, SICP-1212}

Miles Davis - 'Four' & More. Recorded Live In Concert (1964) {2006 DSD Japan Mini LP Edition, SICP-1212}
EAC rip (secure mode) | FLAC+CUE+LOG -> 340 Mb
Full Artwork @ 400 dpi (png) -> 28 Mb
© 2006 Sony Music Japan / Columbia | SICP 1212
Jazz / Cool / Hard Bop / Trumpet

The album MY FUNNY VALENTINE, comprised of delicate, complexly arranged ballads, and one of trumpeter Miles Davis's finest live recordings, is taken from a concert performed on February 12, 1964. Interestingly, the up-tempo numbers from that same concert appear here on FOUR & MORE. Energized by his new, young rhythm section–drummer Tony Williams, bassist Ron Carter, and pianist Herbie Hancock–Davis tears through versions of classics ("So What," "Walkin'," and "Four") at breakneck speed.
Miles Davis - Bags' Groove (1957) [Analogue Productions’ Prestige Mono Series, Remastered 2014] Audio CD Layer

Miles Davis - Bags' Groove (1957)
Mastered by Kevin Gray at Cohearent Audio, 2014, Audio CD Layer
EAC | FLAC | Tracks (Cue&Log) ~ 250 Mb | Mp3 (CBR320) ~ 139 Mb | Scans included | 00:46:21
Bop, Hard Bop, Trumpet Jazz | Label: Analogue Productions, Prestige | # CPRJ 7109 SA

Hybrid Mono SACD for sale individually and as part of Analogue Productions’ Prestige Mono Series, Mini "old style" gatefold jacket packaging. 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.
Miles Davis Sextet - Someday My Prince Will Come (1961) [Analogue Productions, Remastered 2010] Audio CD Layer

Miles Davis Sextet - Someday My Prince Will Come (1961)
Mastered by George Marino at Sterling Sound, 2010
XLD | FLAC | Tracks (Cue&Log) ~ 280 Mb | Mp3 (CBR320) ~ 116 Mb | Scans included
Hard Bop, Cool Jazz | Label: Analogue Productions | # CAPJ 8456 SA | 00:42:13

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.

Miles Davis - Miles in the Sky (1968) [MFSL Remastered 2016]  Music

Posted by Designol at July 22, 2017
Miles Davis - Miles in the Sky (1968) [MFSL Remastered 2016]

Miles Davis - Miles in the Sky (1968) [MFSL Remastered 2016]
EAC | FLAC | Tracks (Cue&Log) ~ 325 Mb | Mp3 (CBR320) ~ 130 Mb | Scans included
Fusion, Post-Bop | Label: Mobile Fidelity Sound Lab | # UDSACD 2147 | 00:51:13

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis’ fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader’s first venture into what would become fusion, it’s historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity’s SACD brings the aural magic into focus. Mastered from the original master tapes, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity.

Miles Davis - On The Corner (1972) [MFSL Remastered 2016]  Music

Posted by Designol at July 21, 2017
Miles Davis - On The Corner (1972) [MFSL Remastered 2016]

Miles Davis - On The Corner (1972) [MFSL Remastered 2016]
EAC | FLAC | Tracks (Cue&Log) ~ 369 Mb | Mp3 (CBR320) ~ 138 Mb | Scans included | 00:54:55
Fusion, Jazz-Funk, Jazz-Rock | Label: Mobile Fidelity Sound Lab | # UDSACD 2171

On the Corner is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded in June and July 1972, and released later that year by Columbia Records. The album continued Davis' exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman. Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet.
Miles Davis - E.S.P. (1965) [MFSL Remastered 2015] Audio CD Layer

Miles Davis - E.S.P. (1965) [MFSL Remastered 2015]
EAC | FLAC | Tracks (Cue&Log) ~ 270 Mb | Mp3 (CBR320) ~ 123 Mb | Scans included
Hard Bop, Trumpet Jazz | Label: Mobile Fidelity Sound Lab | # UDSACD 2170 | 00:48:36

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.