In Jack Johnson

Miles Davis - The Complete Jack Johnson Sessions (1970) {5CD Box Set, Columbia C5K 86359 rel 2003)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.29 Gb | MP3 @320 -> 881 Mb
Full Artwork @ 300 dpi (jpg) -> 42 Mb | 5% repair rar
© 1970, 2003 Columbia / Sony Music | C5K 86359
Jazz / Fusion / Jazz Funk / Jazz Rock / Trumpet

Of all the Miles Davis recordings, the 16 weeks of sessions that created a single, two-selection LP produced by Teo Macero called A Tribute to Jack Johnson have been the most apocryphal. While the album itself was a confounding obscurity upon release – due to its closeness in proximity to the nearly simultaneous release of the vastly inferior yet infinitely more label-promoted Live at the Fillmore East – its reputation as the first complete fusion of jazz and rock is cemented. It also garnered a place in the history books for guitarist John McLaughlin, the axis around whose raw, slash-and-burn playing the entire album turns.

Miles Davis - A Tribute To Jack Johnson (1971) {2005 Columbia Remaster}
EAC rip (secure mode) | FLAC+CUE+LOG -> 348 Mb | MP3 @320 -> 125 Mb
Full Artwork @ 300 dpi (jpg) -> 32 Mb
© 2005 Columbia / Legacy | CK 93599 | 24-bit Remaster
Jazz / Fusion / Jazz-Funk / Trumpet

None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete.

None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes…

Multi-platinum musician Jack Johnson releases a new studio album, Meet The Moonlight. Johnson’s eighth studio album and first full-length release in five years, was produced by Blake Mills (Alabama Shakes, Perfume Genius, Jim James) and recorded both in Los Angeles (at Sound City and EastWest) and The Mango Tree (Johnson’s studio in Hawaii). The creation process marks a major artistic milestone from past work, taking shape from a one-on-one collaboration with Mills (whose contributions included everything from fretless guitar to Moog synth to steel drums) and unveiled an intimate and highly experimental process that involved embedding Johnson’s elegantly stripped-back arrangements with enchanting sonic details.

Miles Davis had a deep love and respect for boxing, seeing deep parallels between “the sweet science” and his own relationship with music. One of Miles’ favorites of his own recordings was the 1971 soundtrack to the Bill Cayton documentary about Jack Johnson, and he was inspired by the political and racial subtext of the legendary boxer’s saga. Culled from the celebrated expanded project The Complete Jack Johnson Sessions released in 2003, and name-checking a number of pugilistic legends (“Ali,” “Sugar Ray,” “Duran,” “Johnny Bratton”), these funk-infused recordings rock harder than anything else that Miles put to tape. Featuring a sterling line-up of musicians (Wayne Shorter, John McLaughlin, Dave Holland, Keith Jarrett, Herbie Hancock, Jack DeJohnette, Billy Cobham) and a legendary cover photo of Miles in the ring captured by Jim Marshall, the release finds this music issued on vinyl (in brilliant yellow), for general release, for the first time ever.