(JazzPlanet) Miles Davis - Live Around The World (Eac S-Flac Cue) (UF)

MILES DAVISLIVE AROUND THE WORLD




Artist: Miles Davis
Title: Live Around The World
Source: Original CDDA
Record Label: Warner Bros / Wea
Original Release Date: May 14, 1996
Genre: Jazz/Electric, Jazz/Fusion
Number of Discs 1
Size Torrent: 458 Mb
Artwork included

Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache: Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1;Level 8
Single File.flac, Eac.log,
File.cue Multiple wav file with Gaps (Noncompliant)
Accurately ripped (confidence 14)

1.In A Silent Way
2.Intruder
3.New Blues
4.Human Nature
5.Mr. Pastorius
6.Amandla
7.Wrinkle
8.Tutu
9.Full Nelson
10.Time After Time
11.Hannibal


Miles Davis - trumpet, keyboards

Kenny Garrett - Saxophone
Rick Margitza - tenor saxophone
Joey Defrancesco - Keyboards,
Adam Holzman - Keyboards
Foley - bass
Benny Rietveld - bass
Ricky Wellman - drums
Erin Davis - electronic percussion
Marilyn Mazur - percussion
Munyungo Jackson - percussion

also Kei Akagi, John Beasley, Robert Irving, III
Miles Davis is more than a jazz musician: he is a cultural icon, known even to people who can't tell bebop from fusion. That may seem strange considering that Davis made a career of defying the expectations of critics and audience alike, but it is just one more paradox associated with this mercurial artist.

Miles was born in Alton, Illinois on May 26, 1926. He grew up in East St. Louis in a middle class family, playing in his high school band as well as with several local R&B groups. He quickly became enamored of jazz, particularly the new sounds being created by Charlie Parker and Dizzy Gillespie. Davis' father sent him to Juliard to study music, but Miles didn't spend much time there, dropping out to play with Parker's quintet from 1946 to 1948. That proved to be a humbling experience at first, since Miles didn't yethave the chops to keep up with Parker's breakneck tempos and chord substitutions. He learned quickly, though, and grew immensely as a musician during his tenure with Bird.

Next, Miles hooked up with a group of musicians who were doing something completely different. This group included J.J. Johnson, Lee Konitz, Gerry Mulligan, John Lewis, and Max Roach. While all were excellent bop players, they were developing a style that was less volatile and more relaxed, which suited Davis' temperement. The arrangements crafted by Lewis, Mulligan, John Carisi, and Gil Evans added more uniqueness to the nine-piece group's sound. Davis became the group's ad-hoc leader, and the classic Birth of the Cool was the result.

The early 50s were an erratic time for Davis, mostly due to his heroin addiction, and he was a disappointing performer during this time. By the middle of the decade, however, he had cleaned up and formed his first quintet, comprised of Davis, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. This group became very popular and recorded several essential albums for the Prestige label: Cookin', Steamin', Workin', and Relaxin'. When the quintet broke up, Davis spent time collaborating again with arranger Gil Evans, resulting in great albums like Porgy and Bess and Sketches of Spain. He finished the decade out by recording one of the best known jazz albums of all time, Kind of Blue, with a sextet that included Coltrane, Julian "Cannonball" Adderley, Bill Evans, Paul Chambers, and Philly Joe Jones.

In the 1960s Davis put together a second quintet, this time utilizing Wayne Shorter, Herbie Hancock, Tony Williams, and Ron Carter. The music of this group was more complex, moving through post-bop modal experimentation and eventually into some of the group improvisation and open forms of free jazz. Some of Davis' fans were mystified by the group's music, but it was uniformly applauded by critics, other musicians, and avid music fans eager for new sounds. The group's output has recently been collected in the 6-disc set The Complete Columbia Studio Recordings, 1965-'68.

As the 1970s beckoned, Miles realized that rock had replaced jazz as the music of choice for the younger generation. In order not to get left behind, he began to perform with an electronic band: electric guitar, electric bass, banks of electronic keyboards, and even an amplified trumpet. The sound was bubbling, dark, and dense, and it further alienated some jazz fans and many critics as well. There was no denying the power of the music Davis was producing, however: upon its release in 1970, Bitches Brew sold 400,000 copies, making it the best-selling jazz album of all time. The group included Chick Corea, Hancock, John McLaughlin, and others who went on to become mainstays of the jazz fusion movement.

Davis continued to perform and record throughout the 1970s and 1980s, continuing to perform with primarily electronic groups, often playing organ instead of his trumpet, and playing with his back to the audience. Some of the minimalist experiements he performed at the close of the 70s foreshadowed the ambient and electronic music that would become common in the 80s and 90s. Miles died on September 28, 1991, but his music, style, and collaborators all continue to influence not only jazz music, but popular culture as well.



This single CD gives one a definitive look at Miles Davis' live show from his last three years. Using funky but unpredictable rhythm sections and leaving space for plenty of solos, Davis created a unique brand of fusion that has yet to be satisfactorily duplicated. Among his more notable sidemen during this era are altoist Kenny Garrett, Foley on lead bass (which he used as a lower-toned guitar), one or two keyboardists chosen from Joey DeFrancesco, Adam Holzman, Robert Irving III, Kei Akagi and John Beasley, various bassists, drummers and percussionists and on "Amandla" the tenor of Rick Margitza. Davis is in consistently strong form throughout the numbers which include "In a Silent Way," "New Blues," "Human Nature," "Tutu" and "Time After Time." Quite often the live versions of these songs are more creative and exciting than the ones previously issued. This highly recommended CD (released in 1996) concludes with one number ("Hannibal") from Davis' final performance; it is not given a date but is most likely from just a few weeks before his death at age 65. No Miles Davis collection is complete without this important set.


I wrote the review below a few months back. I really, really wanted to find something of worth from Miles's final decade. After repeated listens to Live Around The World, I'm back to my original opinion that it just can't be done. I gave this CD 5 stars because the playing by the supporting cast IS very good. But this music can't hold a candle to anything Miles did in his career up until 1974.

A few months ago:

I approached this release with much trepidation. It wasn't because I was afraid to waste my money. I'm a huge Miles enthusiast. I have a farily large collection of his recordings (about 60 discs so far) starting with every master take he recorded with Charlie Parker and ending with The Complete Cellar Door Sessions. I have most of his Columbia work up to 1975 including many of the "Complete Sessions" box sets and all of the important Prestige releases including all of the quintet recordings and the Bags' Groove session. I know Miles' and his music very well. When Miles' returned to the stage in 1981, I found I could suddenly relate to all those legacy fans that were so upset when Miles first went electric. I love Miles' music but I did not want to be disappointed with a release from his post-hiatus years. I remember how giddy I was when I spotted the Lp "The Man With The Horn". It was ok, but something wasn't quite right. Much of what I'd heard of his last decade doesn't seem to move me the way the earlier stuff does. Admittedly, that's MY problem and is in no way a reflection on the validity or quality music Miles chose to play in his last years. So, I approached with much trepidation.

With that said, I was pleasantly surprised by Live Around The World. Miles' playing is actually pretty strong; however his solos are also fairly compact for the most part. This isn't the lava-spewing Miles of The Cellar Door Sessions. His quieter, harmon-muted playing on this CD reminds me a lot of the tune "Circle" from Miles Smiles. It's still beautiful here, heartbreakingly beautiful and I'll never get tired of that sound. All the tracks are very good, but there is something missing... there's something of a sterility here and it's probably the modern (at the time) technology. Miles' band is very hot but it doesn't breath fire like the Cellar Door band. With his previous bands, almost anything could happen when Miles played live. This is much more "organized" I can't put my finger on what it is that bothers me about this release, but it's there no matter how much I don't want it to be there.

What do I like about this release is you can hear that Miles, who was long a tortured artist, is actually having a great time with his young band. I think Amandla is probably my favorite of all the tracks and it seems to hark back to an earlier time, despite those blasted synthesizers. The thing I hate about this release is all the Zawinul-esque synthesizers. If someone told me that Miles asked his close friend Joe Zawinul to serve as a consultant for the synth voicings used here, I would believe it. Then again, one has to remember that like always, Miles was playing in the moment. When this was recorded, synths were all over the place and used with abandon. Serious musicians seem to have wised up in the last 15 years. I think the problem with synths is that technology is always moving forward. What sounded really cool 2 years ago, sounds very dated. A synth will NEVER sound like a music where the timbre and attack is control by human action. They are horrible instruments and I wish they'd all just go away. I am also not particularly fond of that cover shot that makes him look like a funky extraterrestrial space man. They should have used the booklet's interior portrait shot for the cover. Miles just had so much humanity in his face.
4.5 stars on Live Around the World. I honestly can't rate this as high as My Funny Valentine, Four and More, Miles In Berlin, The Cellar Door Sessions, and It's About That Time. Those releases are the way I love to hear Miles. This is a good release but I cannot place it on the same level as his other live work, no matter how skillful and good his band plays.

Anyway, If you can handle all the synthesizers then this is an enjoyable release for those of us Miles enthusiastist who remember and know what Miles was all about from 1945 - 1975. Gosh, I sure do miss Miles. My vote for greatest American musician of the twentieth century, hands down.

PS - the review that raves about Kenny Garrett's jaw-dropping, mind-numbing tenor sax solo... that's an alto sax man. It's a very good solo but I didn't find it THAT impressive. Frankly, Sonny Fortune's solos on Agharta and Pangea are far better than Garretts - though Garrett's IS quite good. You want impressive tenor sax? Pick up Coltrane's "Sunship" or "Meditations" Now, THAT's jaw-dropping tenor playing.

Broadening horizons ………..

lervit



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