MILES DAVIS LIVE PLAZA BLACKHAWK NEWPORT CARNEGIE RARE Sealed 180 GRAM 6 LP SET

$

229

MILES DAVIS: COLLECTION OF 6 MOSTLY LIVES ALBUMS ALL FROM THE OUT OF PRINT LIMITED EDITION 180 GRAM STEREO SERIES. ALL HAVE ORIGINAL 180 GRAM MARKETING STICKERS THAT WERE ONLY A PRODUCT OF THESE LIMITED EDITIONS. 

ALL IN THERE ORIGINAL FACTORY SEALS EXCEPT CARNEGIE WHICH IS IN MINT CONDITION.

THIS IS A ONE TIME LISTING ONCE SOLD GONE FOREVER

TITLES ARE

 FRIDAY NIGHT AT BLACKHAWK VOL I & 2 - 2 LP SET -

IN EUROPE -

JAZZ AT THE PLAZA - MONO

BASIC MILES CLASSIC PERFORMANCES LIVE AT NEWPORT WITH MONK

& CARNEGIE HALL

- SIX 180 GRAM LP SET

Factory Sealed 180 Gram Limited Edition classic LP high-definition Virgin Vinyl pressing for superior fidelity. The nicest thing you can do for your stylus and your ears. The ultimate record -- the way music was meant to be heard.

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Collectors Note: This HEAVY VINYL LIMITED EDITION pressing is now out of print & gone from the last distributor that had any of these pressing left within their inventory. This means that this specific title is "Here Today but For Sure Gone Tomorrow Forever". So Don't Miss Out on adding this to your collection because mymusicfix only has a the last couple copies left forever any where in the world still factory sealed. 

There have been so few vinyl LPs produced over the last 5 years that you should never pass up the opportunity to upgrade your collection. They're each very limited in their pressings and disappear with extraordinary quickness from the vinyl market. This causes prices to skyrocket because once they are gone, they are gone forever! Don't second-guess yourself with this chance to upgrade your collection because before you know it, the opportunity will have passed forever.

MILES DAVIS IN EUROPE - 

The recordings of Miles' 1964 Philharmonic Hall concert have acquired a reputation for being Miles' best live recordings from the '63-'64 period. As an avid Miles fan, I agreed with that assessment. That was before I had ever heard this concert from the Antibes jazz festival.

This album is AS GOOD if not in some ways better than Miles' justly famous "My Funny Valentine" and "Four and More" albums. Miles himself plays as intensely as in the 1964 Phil. Hall concert, and his trumpet technique itself is often crisper in the Antibes concert. George Coleman's playing may be more adventurous and intense here than on the 1964 concert, which makes him a better fit with the Hancock/Carter/Williams rhythm section. All through this recording, the quintet's interaction has a giddy, at times playful tone, and the musicians' excitement can be easily heard.

Track Listings

6. Walkin

Miles & Monk at Newport was a combined album of a Miles Davis appearance at Newport with an appearance of Thelonious Monk, These are two different performances at two different times. Miles Davis and Thelonious Monk do not perform together on this LP.

Both sides represented live appearances at the Newport Jazz Festival

On the first side of the LP was a series of high tempo performances of bebop tunes and other staples of the Davis live repertoire from 1958. The performance was contemporaneous with Davis' Milestones album. Aside from the 1973 release Jazz at the Plaza (also a 1958 concert) during the LP era, this was the only legitimate (non-bootleg) recording of a live Davis combo performance earlier than the 1960 Blackhawk recordings. As such, this performance and Jazz at the Plaza were the only legitimate live recordings representing the Kind of Blue sextet. On the second side were a few numbers by Thelonious Monk's combo, from a 1963 Newport appearance. It featured the idiosyncratic appearance by clarinetist Pee Wee Russell.

In 1973, an expanded version of the Davis Newport performance was released as the LP Miles & Coltrane.

In the 1994 the album was released with the Davis Newport performances expanded and the Monk portion released separately on the 2CD Monk compilation Live at Newport 1963-65.

·              
Track listing

Original LP

Side 1 - Davis in 1958

1.      "Ah-Leu-Cha" (5:55, composed by Charlie Parker)

2.      "Straight, No Chaser" (8:52, composed by Thelonious Monk)

3.      "Fran-Dance" (7:08, composed by Miles Davis)

4.      "Two Bass Hit" (4:19, composed by Dizzy Gillespie and John Lewis)

Side 2 - Monk in 1963

1.      "Nutty" (13:57, composed by Thelonious Monk)

2.      "Blue Monk" (11:18, composed by Thelonious Monk)

JAZZ AT THE PLAZA -

Miles Davis's KIND OF BLUE is nothing if not legendary, and this live date captures most of the classic Kind of Blue band in concert. Recorded at the Plaza Hotel in Manhattan in 1958 and originally released in 1973, this live set superbly spotlights Davis's "walking on eggshells" melodicism. Pianist Bill Evans, alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Jimmy Cobb, bassist Paul Chambers, and Davis blow the blues on Sonny Rollins's "Oleo" and Thelonious Monk's "Straight No Chaser." Davis's warm, Harmon-muted trumpet melodically shoots Cupid's arrow on "If I Were a Bell" and "My Funny Valentine," with Evans's piano lines sounding equally footed in Ravel and modal bop. Add the Bird flights of Adderley and the spooling energy of Coltrane and you have one of the top groups at the top of their game. This is a marvel, a hot and cool preview to the band's landmark 1959 KIND OF BLUE exploration.

BASIC MILES DAVIS THE CLASSIC PERFORMANCES STANDARDS FROM 1955 - 1962

Track Listings

6. ON GREEN DOLPHIN STREET

7. ROUND MIDNIGHT

8. FRAN-DANCE

9. DEVIL MAY CARE

BLACK HAWK VOLUME ONE & TWO - 2 LP SET  - DIGITALLY REMASTERED DIRECTLY FROM THE ORIGINAL ANALOG TAPES - VOLUME ONE: It's commonplace for Miles' followers to dismiss the groups between Coltrane and Shorter. By his actions on the stand and his comments away from it, Miles made it clear that he was unhappy with Coltrane's immediate replacements--Sonny Stitt, George Coleman and, most pointedly of all, Hank Mobley. But Miles' own insistence on the progressive, the revolutionary, the newest thing, should not be confused with the actual musical statements by his groups. No player was more welcome in a Van Gelder recording studio than Hank Mobley who, though hardly an innovator or trend-setter, was one of the most soulful, melodically inventive players on the scene. It's especially refreshing to hear him away from the Blue Note stable of players and in the company of Miles' rhythm section on this Columbia recording, which captures Hank's inspired lyricism at its best (his solo on "Blackbird" eclipses even Coltrane's on the same tune from the "'Round Midnight" session). In the case of this "transitional" group, Miles' proclaimed loss is the listener's gain.

Track Listings

VOLUME TWO: This LP is the second of 2 that chronicle Miles' stay at the Blackhawk in San Francisco in 1961.

Both dates of the Blackhawk shows are prime examples of the greatness of MILES working group.

While the Friday night show contained mainly ballads, Saturday night finds the band taking on more up-tempo numbers, and with it the band relaxes into a wonderful groove. Even the slower numbers, like "So What," are sped up during this particular evening. The band was definitely up for the change of pace.

Hank Mobley is the major recipient of the up-tempo nature of the show. His time spent with Art Blakey's Jazz Messengers proved that he had the chops needed to play quickly and confidently. Mobley at his best within Miles' group comes with his solo on Sonny Rollins' "Oleo." While the solo lasts a mere minute or so, Mobley took the tension created by Miles' calculated, reserved, mute solo, and blows it out of the water with his frenzied attack, which is certainly akin to what both Rollins and Coltrane were playing at the time. Mobley's attack is what the rhythm section of Kelly, Chambers, and Cobb needed. It allowed them to pick up the pace, and led to Kelly's tasty solo after Mobley's. Kelly's solo is a bit more refined, but no less impressive. The piece showed off prime solo chops by 2 of jazz's legends.

The rest of the lp is no less impressive. The pieces are up-tempo, with all parties involved bringing their "A" games to the table. Miles' playing is wonderful, and dominated by his harmon mute. As always, his solos are short, conpact, very to the point. Mobley's playing throughout is inspired. One can sense that Mobley was on that night, and that he KNEW it, as well. Kelly's solos are always a delight to hear. His playing moves a lot, taking on octaves, arpeggios, and more of a lead character even when he's playing accompanying block chords. Chambers and Cobb were as tight a low end rhythm section as jazz had, and the lp allows them to dominate the proceedings in an up-tempo way.

Both BLACKHAWK SHOWS (Friday night & Saturday night) are recommended to hear the full scale of what this short-lived working band could accomplish.

Track Listings

6. Neo

MILES DAVIS: CARNEGIE HALL - ELECTRONICALLY RE-CHANNELED FOR STEREO - THIS IS A MINT OPEN RARE COPY

To my mind Miles never played better than at this recording. There is a new searching and driving vitality to his playing which probably indicated that he had reached the absolute peak of his powers but was still pushing himself further. His technique was certainly better than ever. Don't let the imperfections of the recording as an inadequate document of sound disturb you - not really worth worrying about, as one can hear enough to know that this was an exceptional performance. Hank Mobley on tenor complements Miles well, and the new thythm section whips the horms along with great impetus. The tracks with Gil Evans and his orchestra have a spontaneity lacking on the more polished studio-recorded equivalents. This record is not immaculate - but it is a very great one and clearly a must-have for any serious Davis fan, because he plays here in a way that he doesn't on any other recording, and produces unusual excitement even for this, the most permanently satisfying and richly artistic musician in jazz, whose music is sure to go down the centuries as great by any standard at any time. 

Track Listings

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