The Mile Davis Quintet - Jazz (USA)

Miles: The New Miles Davis Quintet is an album by jazz musician Miles Davis released in April 1956 on Prestige Records, catalogue 7014. It is the debut record by the Miles Davis Quintet, and generally known by the original title Miles as indicated on the cover. In the summer of 1955, Davis performed a noted set at the Newport Jazz Festival, and had been approached by Columbia Records executive George Avakian, offering a contract with the label if he could form a regular band. Davis assembled his first regular quintet to meet a commitment at the Café Bohemia in July. By September, the line-up stabilized to include John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.

Still under contract to Prestige, an arrangement dating back to January 1951, Davis convinced Avakian to buy out his contract with Prestige. The terms of the deal between Avakian and Weinstock allowed Davis to record for Columbia but not release any of the material until Davis fulfilled his remaining duty to Prestige. Davis took the quintet into the Columbia's studio first, on October 26, to record titles that would be issued on Round About Midnight. Three weeks later the quintet entered the studio of Rudy Van Gelder in Hackensack, New Jersey, yielding the six titles for this album. During the following year, Davis and his quintet would record enough material over two Van Gelder sessions to yield Cookin', Relaxin', Workin', and Steamin' and fulfill their contractual obligation to Prestige.

The songs were a mix of pop and jazz standards, items familiar enough to present few problems to the fledgling band, given the Prestige policy of offering no compensation for rehearsal time. "The Theme" would continue to be Davis' standard set closer, and Coltrane does not play on "There Is No Greater Love."

Miles (1956)

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More Miles

Miles Davis, Trumpets and the Jazz

Miles Davis, John Coltrane and the Jazz

More Miles on Valvulado

Miles Davis playing Love Songs

Love Songs is a compilation album by American jazz musician Miles Davis, released on February 2, 1999, by Sony Music Records. The songs it compiles were recorded between May 10, 1957, and February 12, 1964.

Robert Christgau, writing in The Village Voice, gave Love Songs an "A" and said that "Miles's quiet cool and taciturn affection for the limits of the melody at hand" summons a "consensual intimacy" that "definitely won't kill the mood." Matt Robinson of All About Jazz felt that it explores Davis' "trademark poise and lyricism" that was best expressed in ballads and credited the compilation for "revealing a diversity even in the broad unity of the love song." Q magazine gave it four out of five stars and stated, "The master of the art, Davis could push an entire universe of fragility into a simple love song and play the trumpet with such disarming candour it hurt".

In a mixed review for Allmusic, Scott Yanow gave the album two-and-a-half stars and said that, because of "the slow tempos and the lack of variety in moods, this set is really designed more for background music than for close listening." In The Rolling Stone Album Guide (2004), J. D. Considine gave Love Songs three-and-a-half out of five stars and found it "quite sweet" for a "theme-oriented collection".

Love Songs

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More Miles Davis

Miles Davis - Water Babies (Jazz Trumpet)

Miles Davis - Jazz (Trumpet)

Miles Davis - Jazz (USA)

Miles Davis - Water Babies (Jazz Trumpet)

Water Babies is a compilation album by American jazz trumpeter Miles Davis. It compiled music Davis recorded in studio sessions with his quintet in 1967 and 1968, including outtakes from his 1968 album Nefertiti and recordings that foreshadowed his direction on In a Silent Way (1969), while covering styles such as jazz fusion and post-bop. Water Babies was released by Columbia Records in 1976 after Davis retired.

 Water Babies

Miles Davis - Jazz (Trumpet)

Tutu is an album by American jazz trumpeter Miles Davis, released in 1986 by Warner Bros. Records. It was recorded primarily at Capitol Studios in Los Angeles and Clinton Recording in New York, except the song "Backyard Ritual", which was recorded at Le Gonks in West Hollywood. Davis received the 1987 Best Jazz Instrumental Performance, Soloist Grammy Award for his performance on the album Originally planned as a collaboration with pop singer/songwriter Prince, Davis ultimately worked with bassist/multi-instrumentalist Marcus Miller. Miller wrote and arranged all the songs, except "Tomaas" (co-written by Davis), "Backyard Ritual" (by keyboardist George Duke), and "Perfect Way" (by pop group Scritti Politti). The music is strongly inspired by mid-1980s R&B and funk, with heavy use of synthesizers, sequencers and drum machines. As indicated in the notes accompanying the album, Tutu was produced by Tommy LiPuma and Marcus Miller, with the exception of "Backyard Ritual", which was co-produced by Duke and LiPuma. The album is named in tribute to Archbishop Desmond Tutu, the first black Anglican Archbishop of Cape Town, South Africa. The track "Full Nelson" refers to South African politician Nelson Mandela. Davis's much earlier 1947 composition, "Half Nelson", was titled after bebop jazz bassist Nelson Boyd. The cover was designed by Eiko Ishioka and photographed by Irving Penn. Eiko Ishioka received the 1987 Grammy Award for Best Album Package for her work as the art director.[6] The original vinyl album featured a colored inner sleeve printed with the album credits on one side and a photograph of Davis's left hand (with middle finger depressed) on the reverse.

Tutu (1986)

Miles Davis - Jazz (USA)

Decoy is a 1984 album by jazz musician Miles Davis, recorded in 1983. It features keyboardist Robert Irving III and guitarist John Scofield contributing most of the compositions and the other solos. The theme of "That's What Happened" comes from Scofield's improvised solo from the track "Speak" included on the previous album Star People. Saxophonist Branford Marsalis guested with the group on the September 1983 studio sessions.

Decoy

Miles Davis, John Coltrane and the Jazz

Uma grande parceria do Jazz, Coltrane & Davis, registrada em alguns álbuns. Ambos fazem parte da história do Jazz. Esta maravilhosa parceira se iniciou no Miles Davis Quintet, formado em 1955, com  John Coltrane (saxofone tenor), Red Garland (piano), Paul Chambers (contrabaixo), Philly Joe Jones (bateria) e Miles Davis (trompete). Embora à data da sua formação a maioria dos seus membros fossem desconhecidos, para o público em geral, aqueles tornaram-se nomes importantes no mundo do jazz. Embora a vida atribulada de Miles Davis tenha levado a várias formações do Quinteto, grandes parcerias foram formadas e Paul Chambers, John Coltrane, e Cannonball Adderley continuaram a gravar juntos produzindo um das grandes maravilhas do Jazz, Kind of Blue, gravado em 1959.

Vamos então, colocar um som para tocar:

Miles Davis & John Coltrane - Konserthuset, Stockholm (1960)

So What

Fran-Dance

All Blues / The Theme

On Green Dolphin Street

Walkin' / The Theme

Bass – Paul Chambers

Drums – Jimmy Cobb

Piano – Wynton Kelly

Tenor Saxophone – John Coltrane

Trumpet – Miles Davis

The Best Of Miles Davis & John Coltrane (2001)

A história de John Coltrane no Jazz, se inicia com um telefonema de Miles Davis, em 1955, convidando-o para se juntar a um grupo que Miles estava formando, o Miles Davis Quintet. Também devido a problemas com drogas (heroína), Coltrane sai do grupo, e forma sua banda.  Em 15 de dezembro de 1957, Coltrane lançou o álbum Blue Train. O álbum contava com o trompetista Lee Morgan, o trombonista Curtis Feller, o pianista Kenny Drew, além de outros dois músicos vindos do quinteto de Miles Davis, o baixista Paul Chambers e o baterista "Philly" Joe Jones. O álbum foi lançado com composições inteiramente de sua autoria (com exceção de "I'm Old Fashioned", um standard de Jerome Kern e Johnny Mercer). Durante uma entrevista em 1960, Coltrane o descreveu como seu álbum favorito ("este ou Soultrane").

John Coltrane - (1957) Blue Train

Peter's Gift

Em março e abril de 1959, Coltrane grava com o grupo de Miles Davis o álbum Kind of Blue, lançado em 17 de agosto de 1959. O álbum todo foi composto baseado em escalas modais, em que cada integrante recebia um grupo de escalas que definiam os parâmetros da improvisação. O modo de apresentação entrou em contraste com o estilo de composição do jazz tradicional, que se baseava em partituras completas, com progressões de acordes ou séries harmônicas. Kind of Blue é considerado como um dos álbuns mais influentes do jazz, alcançando um elevado número de vendas.

Miles Davis - Kind Of Blue (1959)

Peter's Gift

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Coltrane faleceu em decorrência de câncer do fígado no Hospital Huntington em Long Island - Nova Iorque, em 17 de julho de 1967 com 40 anos de idade. Numa entrevista em 1968, o saxofonista Albert Ayler revelou que Coltrane estava consultando um curandeiro hindu para se tratar, ao invés de usar a medicina ocidental, fato negado mais tarde por Alice Coltrane. Em ambos os casos, no entanto, o tratamento convencional seria inútil. Especula-se que a família de Coltrane esteja de posse de diversas peças inéditas do músico. A maioria seriam fitas em mono, de referências que o saxofonista teria feito, como o lançamento em 1995 de Stellar Regions, além de master tapes que nunca saíram do estúdio. O selo Impulse!, de 1965 a 1979 conhecido como ABC Records, lançou grande parte desse material na década de 70.9 O biógrafo Lewis Porter declarou que Alice Coltrane (que faleceu em 2007) pretendia lançar essas músicas mas, o seu filho Ravi Coltrane, responsável por rever o material, pretendia dar mais prioridade à sua carreira, pelo que (ainda) não foram lançadas. Foi sepultado em Pinelawn Memorial Park, Condado de Suffolk, Nova Iorque no Estados Unidos

John Coltrane

Este post teve a parceria de Peter Hammil...

Music to enjoy and relax

Relax Now and Reduce Your Stress with Music. 

The ancient Greeks believed music could heal and used it to treat certain physical ailments. As it turns out they were on to something. The rhythm, or beat, of music does in fact have an immediate effect on the body. As you listen to music your heart rate decreases and sets in motion the relaxation process, which includes less tension in the muscles, clearer thoughts and slower breathing. Immediately, music can create an overall calming effect that slows bodies and minds down. While professionals don't know exactly how music has this effect, it is no mistake that it does. It has been proven that over time, relaxing music reduces both blood pressure and anxiety levels.

Music causes the hormone serotonin to accelerate. This "feel-good" chemical helps promote happiness and keeps moods in check while assisting with anxiety levels. Since low serotonin levels can lead to depression, music can help keep you in good spirits with positive emotions. Some say music has this effect because musical rhythm emulates the beating sound we heard in our mother's womb, which later in life relates us back to that comforting and safe environment.

While even upbeat music can calm its biggest fans, the music with the most calming capability is usually slower-tempo melodies and those with repetitive notes and sounds (jazz, classical). However, every type of music will have a different effect on every person, so what relaxes one might cause another to energize. A good way to test if a particular song or type of music is relaxing to you is to check your pulse. If your pulse quickens to a certain beat, then the music is actually more exciting than relaxing. If your pulse and breathing slow down, then you have found the music that will calm you down and help your body relax.

Read more: How Does Music Relax Stress? 
eHow.com http://www.ehow.com/how-does_5187347_music-relax-stress_.html#ixzz2M3wRxe1H

Whether you have had a stressful day, difficulty sleeping or have ongoing anxiety and stress, you can relax right now, simply and effectively, with our high quality MP3 download recordings of relaxing music, sleep music and relaxation music.  Each MP3 download recording of this relaxing music is only $0.00...

As my friend Dead (the wolf) always says: ENJOY!!!!!!!

Dirty Jazz - A Funky Blue Joint Mix by Question & Kidragon

DIRTY JAZZ is a collective mix of funky soulful jazz music compiled and mixed by QUESTION of MELLOW ORANGE and KIDRAGON of HOME GROWN BLENDS. A truly dope and well presented collection of Jazz breaks and grooves in one mix!
Um sonzaço bem relax...

Miles Davis - On the Corner (1972)

On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released later that year on Columbia Records. It was scorned by critics at the time of its release and was one of Davis's worst-selling recordings. Its critical standing has improved dramatically with the passage of time, as it is now seen as a strong forerunner of the musical techniques of post punk, hip hop, drum and bass, and electronic music.

Abrax (1970)

Este álbum é uma pérola que encontrei há alguns anos no Blog do Nirso. É um disco raríssimo de Jazz Rock Instrumental, com uma batida muito forte. Abrax foi uma banda cult francesa da década de 70. Ouçam que vale a pena.

Stanley Jordan - Magic Touch (1985)

Magic Touch is the Blue Note Records debut album by jazz musician Stanley Jordan. Allmusic critic Daniel Gioffre has described the album as "[a]n instant classic, and one of the definitive moments of modern jazz guitar."

Jean Pierre Rampal & Claude Bolling- Suite for Flute and Jazz Piano Trio (1975)

Suite for Flute and Jazz Piano (aka Suite for Flute and Jazz Piano Trio) is a "crossover" composition by the jazz pianist and composer Claude Bolling. The composition, originally written in 1973, is a suite of seven songs, written for a classical flute, and a jazz piano trio (piano, string bass, and drums).

The suite was recorded in 1975 by Bolling, classical flautist Jean-Pierre Rampal, bassist Max Hédiguer, and drummer Marcel Sabiani, and originally released as an LP album by CBS Masterworks Records and Columbia Masterworks. In the U.S., the album was nominated in 1975 for a Grammy Award for Best Chamber Music Performance. 

David Sanborn - Straight to the Heart (1984)

David Sanborn é um músico altamente requisitado desde final dos anos 1960, tocando com uma série de artistas famosos, como Eric Clapton, Roger Daltrey, Stevie Wonder, Paul Simon, Jaco Pastorius, The Brecker Brothers, David Bowie, Little Feat, Bob James, James Taylor, Al Jarreau, George Benson, Joe Beck, Donny Hathaway, Elton John, Gil Evans, Carly Simon, Linda Ronstadt, Billy Joel, Roger Waters, Steely Dan, Ween, The Eagles, o grupo alemão Nena, e o pop star japonês Utada Hikaru.
Sanborn já ganhou vários prêmios Grammy, incluindo os prêmios por Voyeur (1982), Double Vision (1987) e o single instrumental Close Up (1988). Na televisão, Sanborn é conhecido pelo seu sax solo na música-tema para o sucesso da rede NBC L.A. Law. Ele também fez algumas participações em filmes como Máquina Mortífera (Lethal Weapon) e Os Fantasmas Contra-atacam (Scrooged). Em 1991 Sanborn gravou Another Hand, que o All Music Guide to Jazz descriveu como um "regresso de Sanborn ao seu real e verdadeiro amor: um sem adorno (ou apenas parcialmente adornado) jazz" que "a balanceia as escalas" com o seu material de smotth jazz. Vinilzão digitalizado do Valvulado.

The Yellowjackets (1981)

Este é o primerio disco da banda Yellowjackets, banda de Jazz Fusion formada em 1981 em Los Angeles, California. Praticamente são 30 anos de estrada, desde a gravação deste primeiro e histórico álbum da banda Yellowjackets. Com uma vasta e fenomenal discografia, Yellowjackets, tornou-se um ícone obrigatório no estilo Jazz-Rock/Funk-Fusion. Este álbum debut de 1981 (WB Records) além de mostrar o talento impecável de cada músico, conta com participações especialíssimas, como Ernie Watts, Larry Willians, Roland Bautista, Paulinho da Costa, etc.

HOKA HOKA HEY

Miles Davis, Trumpets and the Jazz

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.

Born and raised in Illinois, Davis left his studies at the Juilliard School in New York City and made his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Miles Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album 'Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter recording remains one of the most popular jazz albums of all time, having sold over four million copies in the U.S.

Davis made several line-up changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967), before transitioning into his electric period. During the 1970s, he experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin. This period, beginning with Davis' 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed.

After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn (1981) and Tutu (1986). Critics were generally unreceptive but the decade garnered the trumpeter his highest level of commercial recognition. He performed sold-out concerts worldwide while branching out into visual arts, film, and television work, before his death in 1991 from the combined effects of a stroke, pneumonia and respiratory failure. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz." Rolling Stone described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.

Miles Davis - At Newport 1958

Miles Davis - Kind Of Blue 1959

Miles Davis - Someday My Prince Will Come 1961 

The Miles Davis Quintet - Steamin' With The Miles Davis Quintet 1961

Miles Davis - In A Silent Way 1969

Miles Davis - Dark Magus 1977

CD1

CD2

Miles Davis - Ballads 1988