Agitation

Miles Davis Quintet - Live At The Oriental Theatre 1966 (2010) {2CD Set Sunburn 9339880}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 519 Mb | MP3 @320 -> 217 Mb
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© 1966, 2010 Sunburn | 9339880
Jazz / Hard Bop / Modal Music / Trumpet

This release contains a complete previously unissued concert by the 1966 Miles Davis Quintet. Recorded at the impressing Oriental Theatre in Portland shortly before it was demolished, it presents the only existing testimony of bassist Richard Davis playing with Miles. Among its many highlights are many great trumpet solos by Miles, including his only existing version of "Who Can I Turn To ?" a free jazzoriented So What, and a beautiful reading of My Funny Valentine.

Deluxe 71 disc box set that contains 52 single CD and double CD albums (which includes the previously unreleased full-length audio version of his 1970 Isle Of Wight performance). The essay is complemented by brief annotations written by Franck Bergerot, covering every single one of the 52 albums. The cornerstones of the box set are the studio and live albums that were released during his tenure at the label, more than 40 titles that he recorded in the 1950s, '60s, '70s and '80s.

Miles Davis - E.S.P. (1965)
EAC rip (secure mode) | FLAC+CUE+LOG -> 297 Mb | MP3 @320 -> 111 Mb
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© 1998 Sony Music / Columbia / Legacy | CK 65683
Jazz / Hard Bop

As Miles Davis' music evolved in the early '60s, he worked through aspects of his old repertoire, show tunes and the … Full Descriptionmusic of Gil Evans with a series of transitional bands, whose members dated from the late '50s on up. As he gradually assembled his dream band, the music began to take on a more modernist perspective, but it wasn't until he added saxophonist Wayne Shorter that this quintet finally gelled.

E.S.P. marks the beginning of the quintet's collective evolution toward a new brand of modernism: freely inflected, with plenty of room for collective interplay, but still deeply rooted in chordal harmony and swing. After working with Hank Mobley, George Coleman and Sam Rivers, Miles finally got his man when Wayne Shorter left the Jazz Messengers to begin a five year stint with the trumpeter in 1964. The moody impressionistic chords Shorter penned to open "Iris" signal a new texture and harmonic palette for Miles' band, and his serpentine melodic invention, as epitomized by the title cut, acted as a creative catalyst for the entire band.