D.m. Davis

Miles Davis - Prime Cuts From The Legendary Paris Olympia Concerts (2004) {3CD Box Europe 1-RTE 55969 rec 1960}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.16 Gb | MP3 @320 -> 500 Mb
Full Artwork @ 300 dpi (png) -> 120 Mb | 5% repair rar
© 1960, 2004 Europe 1 / RTE / Delta Music | 55969
Jazz / Hard Bop / Modal Music / Trumpet

3-disc box set includes 2 dates at the Olympia Theatre on March 21, 1960 (disc 1 & 2) and October 11th of the same year (disc 3). Accompanying players on the former date include John Coltrane on tenor sax, Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Sonny Stitt alternates with Coltrane on sax on "Autumn Leaves", "No Blues" and "Fran Dance" on disc 2. Also, on disc 3, Stitt replaces Coltrane. At the end of the disc they've tacked on a half-hour medley jam from 1973 with a different line-up again.

Charlie Parker with Dizzy Gillespie & Miles Davis - Bird Seed (1995) {Stash STB-2500 rec 1948-1950}
EAC rip (secure mode) | FLAC (tracks) +CUE+LOG -> 105 Mb | MP3 @320 -> 82 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar
© 1948-50, 1995 Stash Records | STB-2500
Jazz / Bebop / Saxophone / Trumpet

This disc contains very rough-sounding recordings of Parker with Gillespie's big band at the Pershing Hotel Ballroom, Chicago in 1948. Also a batch of live performances of the Parker Quintet with Miles on trumpet.

Miles Davis - Someday My Prince Will Come (1961) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1208}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 252 Mb | MP3 @320 -> 101 Mb | Full Artwork
© 1961, 2006 Sony Music Japan / Columbia | SICP 1208 | DSD | HQD High Quality Disc
Jazz / Cool / Hard Bop / Trumpet

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb.

Miles Davis - Water Babies (1997) {Sony Records Japan Mini LP, SRCS 9307 rec 1967-1968}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 347 Mb | MP3 @320 -> 126 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar
© 1997 Sony Records Japan | SRCS 9307
Jazz / Post Bop / Fusion / Trumpet

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group!

Miles Davis - Milestones (1958) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1203}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 310 Mb | MP3 @320 -> 115 Mb | Full Artwork
© 1958, 2006 Sony Music Japan / Columbia | SICP 1203 | DSD | HQD High Quality Disc
Jazz / Cool / Bop / Hard Bop / Modal Music / Trumpet

What is immedately noticeable upon listening to Miles Davis' classic first – and only – album with his original sextet is how deep the blues presence is on it. Though it's true that the album's title cut is rightfully credited with introducing modalism into jazz, and defining Davis' music for years to come, it is the sole selection of its kind on the record. The rest is all blues in any flavor you wish you call your own. For starters, there's the steaming bebop blues of "Dr. Jackle," recorded in 1955 for a Prestige session with Jackie McLean.

Miles Davis - 1958 Miles (1959) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1204}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 257 Mb | MP3 @320 -> 96 Mb | Full Artwork
© 1958, 2006 Sony Music Japan / Columbia | SICP 1204 | DSD | HQD High Quality Disc
Jazz / Cool / Bop / Hard Bop / Modal Music / Trumpet

1958 MILES is a Japanese album which gathers together Miles Davis' four non-LP studio recordings from that watershed year ("On Green Dolphin Street," "Fran Dance," "Stella by Starlight" and the phenomenal "Love for Sale"), tosses in a particularly progressive 1955 track by the trumpeter's original quintet ("Little Melonae") and as a result earns a place right alongside MILESTONES and KIND OF BLUE for the superb quality of its music.

Miles Davis - Amsterdam Concert (1957) {Lone Hill Jazz LHJ10141 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 290 Mb | MP3 @320 -> 141 Mb
Full Artwork @ 300 dpi (png) -> 26 Mb | 5% repair rar
© 1957, 2005 Lone Hill Jazz | LHJ10141
Jazz / Cool / Hard Bop / Trumpet

One of the least known Miles Davis recordings around, this release contains the complete Amsterdam Concertgebouw Broadcast recorded on December 8, 1957 with the talented tenor saxophonist Barney Wilen and the René Urtreger quartet. A recording which has remained virtually unavailable on any format for decades, Lone Hill Jazz is proud to put this hidden gem back into circulation. Although the sound quality is imperfect, the outstanding performances by the musicians most notably Miles himself more than make up for it.

Miles Davis - Miles Ahead (1957) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1202}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 223 Mb | MP3 @320 -> 90 Mb | Full Artwork
© 1957, 2006 Sony Music Japan / Columbia | SICP 1202 | DSD | HQD High Quality Disc
Jazz / Cool / Experimental Big Band / Modern Creative / Trumpet

This album is perhaps most significant for the process it set in motion – the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two of Davis' best albums. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn't worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future (because of Davis' contractual obligations with Prestige).