Dsd Acoustic

Miles Davis - Live-Evil (1971) [2CD] {2006 DSD Japan Mini LP Edition, SICP 1225/26}
EAC rip (secure mode) | FLAC+CUE+LOG -> 661 Mb | MP3 @320 -> 232 Mb | Artwork (web)
© 2006 Sony Music Japan / Columbia | SICP 1225/26
Jazz / Fusion / Jazz Rock

Live-Evil is one of Miles Davis' most confusing and illuminating documents. As a double album, it features very different settings of his band – and indeed two very different bands. The double-LP CD package is an amalgam of a December 19, 1970, gig at the Cellar Door, which featured a band comprised of Miles, bassist Michael Henderson, drummer Jack DeJohnette, guitarist John McLaughlin, saxophonist Gary Bartz, Keith Jarrett on organ, and percussionist Airto.

Miles Davis - E.S.P. (1965) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1215}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 259 Mb | MP3 @320 -> 116 Mb | Full Artwork | 5% repair rar
© 1965, 2006 Sony Music Japan / Columbia | SICP 1215 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

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.

Miles Davis - Miles Smiles (1966) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1216}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 284 Mb | MP3 @320 -> 100 Mb | Full Artwork | 5% repair rar
© 1966, 2006 Sony Music Japan / Columbia | SICP 1216 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

Its greatest triumph is that it masks this adventurousness within music that is warm and accessible – it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom.

Miles Davis - Nefertiti (1967) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1218}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 239 Mb | MP3 @320 -> 95 Mb
Full Artwork @ 600 dpi (png) -> 66 Mb | 5% repair rar
© 1967, 2006 Sony Music Japan / Columbia | SICP 1218 | DSD | HQD High Quality Disc
Jazz / Hard Bop / Modal Music / Trumpet

Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes – but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes.

Miles Davis - Miles Davis at Fillmore (1970) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1223~24}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 661 Mb | MP3 @320 -> 258 Mb
Full Artwork @ 600 dpi (png) -> 349 Mb | 5% repair rar
© 1970, 2006 Sony Music Japan / Columbia | SICP 1223~24 | DSD | HQD High Quality Disc
Jazz / Jazz Rock / Jazz Fusion / Trumpet

Four sides of long improvised grooves from Miles Davis – a set that's quite similar to the classic studio album Bitches Brew, but which captures the sound in more open live setting! The work is more inside than some of the Davis Japanese sessions of the time, but no less revolutionary – really opening up in some wonderful ways – with lots of spacious modal riffing over some heavy vamps. Groovy and quite free at the same time, but not nearly as out as the later electric recordings!

Masabumi Kikuchi - East Wind (1974) {DSD Japan East Wind Masters Collection 1000 UCCJ-9131 rel 2015}
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© 1974, 2015 East Wind Music / Universal Japan | UCCJ-9131
Jazz / Post Bop / Avant-Garde Jazz / Piano

A brilliant set from Japanese pianist Masabumi Kikuchi – two long, leaping, loping tracks that almost feel like some of McCoy Tyner's best work! Kikuchi plays acoustic piano, and the group's a quartet with Terumasu Hino on trumpet, Koshuke Mine on tenor, Eric Gravatt on drums, and Juni Booth playing some really wonderful bass. Booth's bass leads the tracks with a soulful quality that you don't always hear on Kikuchi's other work – really giving the record a strongly-rooted vibe, while the musicians are still free to really open up and explore. The album's tracks, "East Wind" and "Green Dance", are both excellent examples of the soulful freedoms allowed in the Japanese scene of the 70s – side-long numbers that are different both from contemporary performances on both the US and European scenes of the period.

Masabumi Kikuchi - Wishes/Kochi (1976) {2015 DSD Japan East Wind Masters Collection 1000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 329 Mb | MP3 @320 -> 126 Mb
Full Artwork @ 600 dpi (png) -> 158 Mb | 5% repair rar | DSD Mastering
© 1976, 2015 East Wind Music / Universal Japan | UCCJ-9173
Jazz / Post Bop / Fusion

An excellent mid 70s Japanese fusion set, led by the Gil Evans protege Masabumi Kikuchi – with a very similar group to the one on his awesome Susto LP! The vibe isn't quite as funky on this outing – in fact it's a bit more reminiscent of Miles' spacey electric explorations – though there are some pretty hard groovin' moments should definitely appeal to fans of funky fusion. Steve Grossman and Dave Liebman play some nice coloristic lines on reeds, and Terumasa Hino is in fine form on trumpet. The rest of the group is rounded out by Reggie Lucas on guitar playing some hard choppy accompaniment to Kikuchi's synths and electric piano, Mtume on percussion, Al Foster on drums and Anthony Jackson on bass. We're especially keen on the dark and heavy "Auroral Flare", the spacious "Pacific Hushes" which opens with a beautiful line played by Hino and the set's closer "Alone".

Big Hits (High Tide and Green Grass) is the first official compilation album by The Rolling Stones, released on 28 March 1966, on London Records in the United States and on 4 November 1966, by Decca Records in the United Kingdom. The two releases featured different cover art and track listing. The front cover for the American release w

as used for the rear photo on the UK edition. Wikipedia.

Miles Davis - At Fillmore. Live At The Fillmore East (1970) [2CD] {2006 DSD Japan Mini LP Edition, SICP-1223/24}
EAC rip (secure mode) | FLAC+CUE+LOG -> 639 Mb | MP3 @320 -> 231 Mb | Artwork (web)
© 2006 Sony Music Japan / Columbia | SICP 1223/24
Jazz / Fusion / Jazz Rock / Jazz Funk

AT FILLMORE is the second release to document Miles' live presentation of BITCHES BREW's breakthroughs. Broken up into four parts, it shows the unprecedented growth of the same band that recorded BLACK BEAUTY just three months earlier. The addition of Keith Jarrett's organ expands the music even further over the borders that defined "jazz," creating a singular hybrid of rock, blues and jazz.

Miles Davis - Nefertiti (1968) {2006 DSD Japan Mini LP Edition, SICP-1218}
EAC rip (secure mode) | FLAC+CUE+LOG -> 239 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 400 dpi (png) -> 67 Mb
© 2006 Sony Music Japan / Columbia | SICP 1218
Jazz / Hard Bop / Post Bop / Modal Music

Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes – but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes.