Jazz Dsd

Miles Davis - Bitches Brew (1969) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1220~21}
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© 1969, 2006 Sony Music Japan / Columbia | SICP 1220~21 | DSD | HQD High Quality Disc
Jazz / Fusion / Jazz Rock / Jazz Funk / Trumpet

Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section.

The Jack Wilson Trio - Live at The Pied Piper + 2 (1967) {Interplay Japan Mini LP DSD XQAM-1614 rel 2011}
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© 1967, 2011 Interplay / SS Jazz Records Japan | XQAM-1614
Jazz / Hard Bop / Jazz Piano Trio

Includes two never-before-released bonus tracks. DSD remastered. Pianist Jack Wilson (1936-2007) was born in Chicago and moved Fort Wayne, Indiana at age seven. He became proficient with piano early, joining the local musicians union by his 15th birthday and playing a two-week stint as a substitute pianist in James Moody's band. He worked with Dinah Washington, Gene Ammons, Sonny Stitt, Eddie Harris before moving to Los Angeles.

Miles Davis - Bitches Brew (1970) {2CD 2000 SME Records Master Sound DSD Japan SRCS 9714~5}
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© 1969-70, 2000 SME Records / Sony Music Japan | SRCS 9714-5 | DSD | Mini LP
Jazz / Fusion / Jazz Rock / Trumpet

Sony Master Sound Reissue Series (1-bit DSD CDs in Mini-LP sleeves with black OBI strip). One of the few cases in jazz where an oft-played classic still resonates with power! The record itself is a key cap to Miles Davis' already-groundbreaking years of the 60s – a bold step forward, not just for his nascent electric sound, but also for jazz in general – and the benchmark by which so many other records would be judged (and fail) in years to come!

Miles Davis - Live-Evil (1971) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1225~26}
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© 1971, 2006 Sony Music Japan / Columbia | SICP 1225~26 | DSD | HQD High Quality Disc
Jazz / Jazz Funk / Jazz Rock / Trumpet

A beautiful live representation of the energy of the Bitches Brew years – one that has Miles Davis and the group really letting loose with free-flowing, modally-inspired lines – cooking up an incredible blend of acoustic and electric sounds at once! There's a bit of funk here, but not much – and although guitar is sometimes used strongly, it's often not as noisy as in later live sides. Instead, the whole group gels together beautifully – an unlikely assortment of players that includes Gary Bartz and Steve Grossman on reeds, John McLaughlin on guitar, Herbie Hancock on keyboards, Hermeto Pascoal on percussion, Dave Holland on bass, and Jack DeJohnette on drums – all given new focus, direction, and inspiration by Miles!

Miles Davis - 'Round About Midnight (1956) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1201}
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© 1956, 2006 Sony Music Japan / Columbia | SICP 1201 | DSD | HQD High Quality Disc
Jazz / Cool / Hard Bop / Trumpet

The combination of attitude and intellect was irresistible. Beginning with ROUND ABOUT MIDNIGHT and proceeding through a remarkable succession of famous recordings over the next 30 years, Miles Davis became one of the greatest soloists, arrangers and talent scouts in the history of American music. People who didn't own a single jazz record came to know his name–Miles was a jazz icon.

Art Blakey and The Jazz Messengers - Moanin' (1958) {2009 Analogue Productions DSD Remaster}
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© 2009 Blue Note / Analogue Productions / EMI | CBNJ 84003 SA
Jazz / Hard Bop

Art Blakey's most successful album gave us Bobby Timmons' "Moanin'" and Benny Golson's "Along Came Betty" and "Blues March," tunes so powerful that Blakey played them almost every night for the next 30 years. This beautifully performed and recorded session made the Jazz Messengers a jazz institution and put Golson, Timmons and Morgan to the forefront of jazz.

Miles Davis - In a Silent Way (1969) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1219}
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© 1969, 2006 Sony Music Japan / Columbia | SICP 1219 | DSD | HQD High Quality Disc
Jazz / Fusion / Jazz Rock / Jazz Funk / Trumpet

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence.

Miles Davis - In A Silent Way (1969) {2000 SME Master Sound DSD Japan SRCS 9713}
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© 2000 SME Records / Sony Music Japan | SRCS 9713 | DSD
Jazz / Fusion / Avant-Garde Jazz / Trumpet

With IN A SILENT WAY, the elements of popular music, blues and electronics that had been implicit in Miles Davis' previous recordings now came center stage, and the trumpeter never looked back again. IN A SILENT WAY is Miles' BIRTH OF THE COOL/MILES AHEAD/KIND OF BLUE for the rock generation. Gone are the rhythmic and harmonic trappings of bebop. In their place, Miles conjures a hypnotic, subliminal dance pulse and an airy, celestial drone of electric keyboards. Miles fell in love with the bell tones and flute-like textures of Fender/Rhodes electric pianos, and in the hands of Herbie Hancock, Chick Corea and Joe Zawinul (who doubles on organ), they create layer upon layer of choral texture, in great reverberant washes of color and counterpoint.

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.