Jazz Dsd

Miles Davis - The Man With The Horn (1981) [Japan MiniLP, DSD 2006] (SICP-1234)
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© 1981 Sony BMG | SICP-1234
Jazz / Jazz-Funk / Fusion / Post Bop

For Miles Davis, the six year layoff between the release of PANGAEA and THE MAN WITH THE HORN was marked by isolation, physical pain and dependency…a sense of inertia. At points on THE MAN WITH THE HORN you can hear him straining to get his chops back up, although ultimately, his musicianly instincts served him well during odd passages of rope-a-doping, and for every broken note there is a blast of vintage Miles.

THE MAN WITH THE HORN introduces yet another striking band, featuring future leaders such as reedman Bill Evans, guitarist Mike Stern, bassist Marcus Miller and drum innovator Al Foster. The opening "Fat Time" combines Miles' love for the flamenco airs and melodic gravity of Spain with a contemporary hard funk style. Evans and Stern act as virtuoso foils, a la Coltrane and Hendrix, the latter's influence apparent in Barry Finnerty's boiling clouds of distortion on "Back Seat Betty" (which settles into a coy, laid back blues vehicle for Miles' muted horn), and a rivetting "Aida," in which Miles reprises the rhythmic tumult of his mid-'70s band with dramatic give and take between his horn and a fiery guitar-driven vamp, as Al Foster thunders away underneath.

Andrew Hill - Blue Black (1975) {2015 DSD Japan East Wind Masters Collection 1000 UCCJ-9159}
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© 1975, 2015 East Wind Music / Universal Japan | UCCJ-9159
Jazz / Post Bop / Piano

Reissue with the latest DSD remastering. A really great session from pianist Andrew Hill – and one of his few post-Blue Note sessions to feature a horn player! The style of the set draws from a few strands of Hill's career – in that Hill is playing in some freely exploratory piano modes, yet also manages to swing soulfully with the rest of the group, especially sax player Jimmy Vass – who makes a rare appearance here on soprano, alto, and flute. In a way, the album probably most closely resembles the Andrew LP on Blue Note – which is great by us, as it's one of his best sets! Titles include "One For", "Remnants", "Blue Black", and "Golden Spook".

Andrew Hill - Hommage (1975) {2015 DSD Japan East Wind Masters Collection 1000 UCCJ-9147}
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© 1975, 2015 East Wind Music / Universal Japan | UCCJ-9147
Jazz / Post Bop / Modern Creative / Piano

Reissue with the latest DSD remastering. An obscure set of solo tunes from modernist Andrew Hill – originally recorded for the Japanese East West label in 1975, and a very different side of Andrew's music than his Blue Note work of the 60s – but one that's equally great!. Hill's playing a grand piano – with a complex approach to chords that's really compelling – this sense of flow and majesty that we really love, as Andrew tries out some sharp edges at points – but still retains some of that soulfulness he rediscovered as the 70s approached. There's a darkness to the material that we didn't always hear in Hill's other sides – and the intimacy of the recording shows that his talents are still extremely rich at this point in his career. Titles include "Naked Spirit", "Rambling", "Vision", "Clayton Gone", and "Insanity Riff".

Andrew Hill - Nefertiti (1976) {2015 DSD Japan East Wind Masters Collection 1000 UCCJ-9162}
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Full Artwork @ 600 dpi (png) -> 151 Mb | 5% repair rar | DSD Mastering
© 1976, 2015 East Wind Music / Universal Japan | UCCJ-9162
Jazz / Post Bop / Piano

Reissue with DSD remastering. Originally recorded for the Japanese East Wind label and only made available domestically on a 1979 Inner City LP, this trio outing by pianist Andrew Hill also features bassist Richard Davis and drummer Roger Blank. Hill performs six of his unpredictable originals ("Nefertiti" is his tune, not the more famous composition by Wayne Shorter) and, although the music seems slightly more conservative than usual for a Hill set, the music is consistently stimulating; too bad it's so difficult to locate.

Earth, Wind & Fire - 15 Albums Collection (1972-1990) {2012 Columbia Japan Mini LP, Blu-spec CD, DSD Mastering, SICP-20351~6}
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© 1972-90, 2012 Columbia / Sony Music Japan | SICP-20351~67 | DSD Mastering
Funk / Soul / Blaxploitation / Quiet Storm / Psychedelic Soul

Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Conceived by drummer, bandleader, songwriter, kalimba player, and occasional vocalist Maurice White, EWF's all-encompassing musical vision used funk as its foundation, but also incorporated jazz, smooth soul, gospel, pop, rock & roll, psychedelia, blues, folk, African music, and, later on, disco. Cardboard sleeve (mini LP) reissue from Earth Wind & Fire featuring the high-fidelity Blu-spec CD format (compatible with standard CD players) and DSD mastering (subject to change). Comes with a reprint of the Japanese edition LP obi, a new description, and lyrics. Part of a 15-album Earth Wind & Fire Blu-spec CD cardboard sleeve reissue series featuring albums "Last Days And Time," "Head To The Sky," "Open Our Eyes," "That's The Way Of The World," "Gratitude," "Spirit," "All 'N All," "The Best Of Earth, Wind & Fire Vol.1," "I Am," "Faces," "Raise!," "Powerlight," "Electric Universe," "Touch The World," and "Heritage."

Miles Davis - My Funny Valentine. Miles Davis In Concert (1964) {2006 DSD Japan Mini LP Edition, SICP-1211}
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© 2006 Sony Music Japan / Columbia | SICP 1211
Jazz / Hard Bop / Cool / Trumpet

One of the finest live albums in the history of jazz, My Funny Valentine presents the Miles Davis Quintet live at the Lincoln Centre's Philharmonic Hall in 1964. Surrounded by the vibrant and youthful rhythm section of Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums), Davis was enjoying a strong new surge of creativity, and played with a stunning level of invention and passion throughout. The resonance of the long title track - one of those flawless performances that happens only very occasionally - dominates the record. Front-line partner George Coleman (tenor saxophone) chose a good evening to play some of the most beautiful solos of his life.

Miles Davis - 'Four' & More. Recorded Live In Concert (1964) {2006 DSD Japan Mini LP Edition, SICP-1212}
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© 2006 Sony Music Japan / Columbia | SICP 1212
Jazz / Cool / Hard Bop / Trumpet

The album MY FUNNY VALENTINE, comprised of delicate, complexly arranged ballads, and one of trumpeter Miles Davis's finest live recordings, is taken from a concert performed on February 12, 1964. Interestingly, the up-tempo numbers from that same concert appear here on FOUR & MORE. Energized by his new, young rhythm section–drummer Tony Williams, bassist Ron Carter, and pianist Herbie Hancock–Davis tears through versions of classics ("So What," "Walkin'," and "Four") at breakneck speed.

Miles Davis - Live-Evil (1971) [2CD] {2006 DSD Japan Mini LP Edition, SICP 1225/26}
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© 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 - We Want Miles (1982) [2CD] {2006 DSD Japan Mini LP Edition, SICP-1235/36}
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© 2006 Sony Music Japan / Columbia | SICP 1235/36
Jazz / Fusion / Jazz Rock

Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre."

The Modern Jazz Disciples - The Modern Jazz Disciples (1959) {2013 Japan Prestige New Jazz Chronicle SHM-CD HR Cutting Series UCCO-5370}
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Full Artwork @ 600 dpi (png) -> 404 Mb | 5% repair rar | DSD / HR Cutting Remaster
© 1959, 2013 Prestige New Jazz / Concord / Universal Japan | UCCO-5370 | NJLP 8222
Jazz / Hard Bop / Bop

Reissue features the latest DSD / HR Cutting remastering and the high-fidelity SHM-CD format (compatible with standard CD player). Comes with a description. Features the original LP designs. In a perfect world, Curtis Peagler's Modern Jazz Disciples would have had a longer run and built a much larger catalog. But regrettably, the Cincinnati quintet is only a small footnote in the history of hard bop and gave listeners only two albums. The first was this self-titled LP, which was recorded for Prestige's New Jazz subsidiary in 1959. The Modern Jazz Disciples shows the late Peagler, who turned 29 that year, to be a hard-swinging alto saxman in the Charlie Parker/Sonny Stitt/Cannonball Adderley/Phil Woods vein – his hot-blooded solos on tracks like "A Little Taste," "Slippin' and Slidin'," and the standard "After You've Gone" make this record well worth the price of admission.