Complete Jazz at Storyville [Import]

Complete Jazz at Storyville [Import]

ASIN: B00006OYLK

Track Listings

1. Over The Rainbow

2. You Go To My Head

3. Give A Little Whistle

4. This Can't Be Love

5. Crazy Chris

6. Foggy Day

7. Lyon's Busy

8. Somebody Loves Me

9. At A Perfume Counter

10. Mam' Selle

11. Me And My Shadow

12. Frenesi

13. I May Be Wrong

14. Just One Of Those Things

15. Lulu's Back In Town

16. On A Little Street In Singapore

17. All The Things You Are

18. Alice In Wonderland

Tracks:

Perdido
Salt Peanuts
All the Things You Are
52nd Street Theme
Drum Conversation - Max Roach
Cherokee
Enbraceable You
Hallelujah (Jubilee)
Sure Thing
Lullaby of Birdland
I've Got You Under My Skin
Wee (Allen's Alley)
Hot House
Night in Tunisia

Album Description

One of the most memorable live recordings in jazz history, featuring Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach. This phenomenal edition includes all of the original tracks recorded by The Quintet at Toronto's Massey Hall, without the Mingus, overdubbed bass added later. 24-bit remastered. The Jazz Factory. 2003.

Album Details

Digitally Remastered Edition of Parker's Landmark Performance at Toronto's Massey Hall. Includes Amazing Performances of "Salt Peanuts", "Embraceable You", "Lullabye of Birdland", "Perdido" and Many More.

Customer Reviews:

I don't quite get the reputation of this concert.......2006-12-28

Once again, disappointment strikes with "event" concerts, no matter what genre of music they're in. Previously I had the vinyl version with the overdubbing, and never thought maybe I didn't dig it because of the bass, which always did sound like it was in another room to me. Admittedly this way of hearing it *is* better, but this is still not a "recording to end all recordings" or anything close. I've heard that Bird and Diz, long having gone their separate ways, were barely speaking to each other on this night. It shows. There's little interplay, little of the joy of spontaneous creation so vital to jazz. Instead I hear a group of men who were paid to play this gig and are fulfilling a contract. Also Roach sounds stiff--unusual for him--and bangy in the quintet numbers. The Powell trio pieces fare better, and they are the highlight of the album, but for Parker and Dizzy there are far better recordings out there than this outing, with its long patches where they just quote to fill time or repeat simple phrases over and over. After listening to the recently unearthed Bird and Dizzy material from Town Hall in June of 1945, with a Salt Peanuts that simply has to be heard to be believed, the tiredness of this night becomes all the more apparent. This is one of those albums whose legend, I think, has superceded its musical content, and must be listened to again with cold, objective ears. I'm sure I'll get a lot of dissenting votes from the cultists, but so be it.

Best musicians of an era... performing together!.......2005-12-23

Everybody should thanks Mingus for taping this concert. It was an unique reunion of the greatest musicians of an era: Charlie "Bird" Parker, Dizzy Gillepsie, Bud Powell, Max Roach and Mingus himself. A memorable night in which they show the public(about 700 persons acording to the booklet) the magic of their music and their amazing musicianship.

Ironically, the problems started when Mingus decided to record the live session. He did a terrible job and the resulting mix almost eliminited the sound of his bass. So he dubbed it later, affecting the entire sound and pitch of the music. That's what you got when you purchase "Live at Massey Hall" A live performance must be a live performance. Overdubbing is not an option to me, it's like cheating. "Complete live at Massey Hall" is a gret product because it presents the concert as it was: The tracks appear in the order they were performed with a more natural sound. Beware, the sound quality of the CD is not not the best, but it's enough to identify the instruments and enjoy the wonderful performance of these great musicians.

What I can say about the concert? The tracks appear in the right order. If you listen the concert from the beginning to the end you can feel that the band is increasing their level, reaching the musical climax in "A Night in Tunisia": Incredible Charlie Parker saxo chops, Gillespie groundbreaking trumpet solo, Powell rythm section hot as hell, Mingus bass lines sounding loud and clear and Max Roach's drums section in perfect sinchronicity with the band. It's true that some of the tracks reach that musical peak and that a few of them sound erratic and chaotic, but still it's a great concert. My favorite themes are: Salt peanuts, Wee and Hot House.

Packaging of this edition please me a lot. As a graphic designer I can tell you that I prefer it to the standard version (the B&W cover) The liner notes included in this edition give details about the concert itself, the problems between musicians, and the conditions in which the concert was realized.

"Complete Jazz at Massey Hall" is a pefect oportunity to hear the best musicians of the bebop era performing together in an unforgetable, magic night.

The only hall you'll need.......2005-11-17

The recent hype about the discovery of the Diz-Bird concert at Town Hall in 1945 led me to compare it with their other two "live" recordings: the Carnegie Hall concert of 1947 and the Massey Hall concert of 1953. Give the nod to the Massey Hall date. The audio, though admittedly problematic, still has more "presence" than the other two dates; the solos are both more extended and more inspired; the overall level of musicianship is inarguably of a higher order (Bud Powell clearly blows away both Al Haig and John Lewis, the pianists on the other two recordings).

This edition is the closest you'll get to the original event--in terms of the programming as well as the original audio recording made by Mingus. Unlike the better-known Debut/OJC edition, this Spanish import dispenses with Mingus' later overdubbing of his bass part, has more "presence" in the treble frequencies (Roach's drum kit and the crowd ambiance are more noticeable along with slightly brighter horns), and contains 24 additional minutes of music. Any listener who first discovered Diz in the '60's (my situation) is likely to experience some eye-opening moments at hearing him on all three concert recordings with Bird. In his prime he clearly was at least the equal of Charlie Parker and very likely the greatest jazz trumpet player of all time.

Footnote: It's of particular interest to listen carefully to Bird's 4-bar break on "Night in Tunisia" on all three recordings. The 1947 Carnegie Hall date is simply unreal--a microcosmic moment of pure genius. On the Town Hall date he's fast and flashy but not as linguistically rich and complex; on the Massey Hall date he eschews pyrotechnics in favor of majestic statement.

What was Mingus on?.......2005-10-26

I can hear his bass perfectly well! This is possibly the most famous jazz concert EVER recorded - the Massey Hall concert has over the years gained an almost beatific reputation which sort of spoils you for the real thing.

The performance took place under a cloud, with Bird and Diz still refusing to speak to each other, and various members of the band skipping backstage every now and again to check out a big boxing match on TV!

Nevertheless the concert is a thing of beauty. I love especially Salt Peanuts and All the Things, as well as Dizzy's trumpet soloing on Night in Tunisia.

The old problem with this disc is that of sound. Charlie Mingus put the microphone under the stage, and was typically angry when he listened to the recording and thought his own bass was inaudible. He then ovrdubbed his bass on the released record.

Whatever the truth of that, this CD rereleases the entire concert (minus two permanently lost tracks) in a 24 bit remastered edition without Mingus' overdub. Hearing it, I wonder what Mingus was complaining about. True, the piano tracks are a little muffled, but the horn tracks (seven tracks) are loud and sharp, with tape hiss being perhaps the biggest problem. And yes, I can clearly hear the bass!

Full marks for this historical artefact.

Get This CD Instead of the OJC or Debut (20-bit) Versions.......2004-07-01

Other than excerpts available here on Amazon, I haven't actually heard either the Original Jazz Classics CD of this concert or the Debut 20-bit remastered version of it. Based solely on the description, however, I instead ordered THIS CD, and I am very glad I did. Here's why:

1. In addition to the 6 quintet tracks on the other CD's, THIS CD includes 8 additional tracks from the concert, including a 4-and-a-half-minute self-contained drum solo by Max Roach, and 6 great tracks by a trio of Powell, Mingus, and Roach (Cherokee, Embraceable You, Halleluja, Sure Thing, Lullaby of Birdland, and I've Got You Under My Skin). Also, according to the liner notes, all 14 tracks are in the order in which they were performed at the concert.

2. NONE OF MINGUS' OVERDUBBED BASS is included on THIS CD. You can still hear him, though, but much more naturally than he sounds on the overdubbed Original Jazz Classics excerpts I've heard here on Amazon.

3. According to the notes on this CD's case, the "original analogue masters have been digitally transferred at 24 bit resolution, processed using Sonic Solutions NoNoise technology and mastered to 16 bit for CD using prism SNS Noise Shaping." Whatever that means, the sound for the most part is great. Some of the tracks start a bit abruptly, and the sound on the 6 trio tracks is variable, but the sound quality of the 6 quintet tracks is phenomenal. Again, there is no Mingus overdubbing present, and--especially when Bird and Diz are playing--the sound has great clarity and presence. There is no real audible tape hiss except when only the rhythm section is playing and the levels are raised a bit. In general, the sound is far from perfect, but is pretty amazing given the time and circumstances of the original recording.

4. This CD is very nicely packaged and presented, including a 12-page pamphlet with extensive notes about and photos of the concert.

To sum up, not knowing what to expect from this import when I ordered it, I was very pleasantly surprised by the extremely high quality of both the sound and the packaging. I would highly recommend it, instead of or in addition to the other available CD's, for anyone who wants a more complete and accurate recording of the Massey Hall concert.

In Person Friday and Saturday Nights at the Blackhawk, Complete
Average customer rating:

Goodnights.

ONLY ONE WORD: MAGIC

Mobley and Kelly play above themselves

Let The Music Do The Talking

Get in your time machine, close the door, and shut your eyes....

In Person Friday and Saturday Nights at the Blackhawk, Complete
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Miles Smiles

A Tribute to Jack Johnson

The Miles Davis Quintet, 1965-68: The Complete Columbia Studio

Seven Steps: The Complete Columbia Recordings 1963-1964

Miles in the Sky

ASIN: B00009KU7L
Release Date: 2003-06-03

Tracks:

Oleo
No Blues
Bye Bye (Theme)
If I Were A Bell
Fran Dance
On Green Dolphin Street
The Theme

Tracks:

All Of You
Neo
I Thought About You
Bye Bye Blackbird
Walkin'
Love, I Found You

Tracks:

If I were A Bell
So What
No BLues
On Green Dolphin Street
Walkin'
'Round Midnight
Well You Needn't
The Theme

Tracks:

Autumn Leaves
Neo
Two Bass Hit
Bye Bye (Theme)
Love, I've Found You
I Thought About You
Someday My Prince Will Come
Softly As In A Morning Sunrise

Amazon.com

It doesn't get much better than this: a full night of Miles Davis captured live in his prime at an intimate jazz club. In 1961, Davis, pianist Wynton Kelly, bassist Paul Chambers, tenor saxophonist Hank Mobley, and drummer Jimmy Cobb recorded at San Francisco's legendary Blackhawk. Originally released as two LPs, the complete sets, with nine previously unissued tracks, have been compiled in this superb, digitally-remastered, two-CD set. Davis's pithy and poetic trumpet tones signature a number of standards and original compositions. Backed by Kelly's in-the-pocket pianisms, Cobb's articulate drumwork, Chamber's intelligent basslines, and Mobley's Dexter Gordon-ish sax tones, Davis bares his wounded and wonderful musical soul to an engaging and enthralled audience. The elongated and illuminated renditions of the quicksilver modal number "So What," the dancing "On Green Dolphin Street," and the Latin-tinged "Neo" bridge the 1959 masterpiece LP Kind of Blue and the forthcoming '60s superband with Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams. The scene-stealer on this date is Mobley. His ebullient tone and sterling improvisations remind us of Miles Davis's equally impressive talents and a bandleader. --Eugene Holley, Jr.

Album Description

Full title - In Person Friday and Saturday Nights at the Blackhawk, Complete. Miles' April 21-22, 1961 stint at San Francisco's fabled Blackhawk nightclub was previously documented on a 2 LP set, but now all four sets from those two nights are available on this expanded 4-CD set, which includes no less than 13 previously unreleased selections! Remember, this is the sublime quintet line-up of Wynton Kelly, Paul Chambers, Jimmy Cobb and hank Mobley, performing such Davis classics as 'So What,' 'Walkin',' 'On Green Dolphin Street', 'Someday My Prince Will Come' and more. Original liner notes by Ralph Gleason together with updated notes by trumpeter Eddie Henderson & rare photos of all the musicians round out one of the jazz reissues of the year! Features 29 24-bit digitally remastered tracks. Two standard jewel cases housed in a deluxe slipbox. Columbia Records. 2003.

Customer Reviews:

Goodnights........2007-05-19

This is a very good purchase for fans of Miles Davis and the sound of that time. It is a double album but many of the tracks are redundant. If you like the live format, and are interested in these particular performers, this is a
"must have" album.

ONLY ONE WORD: MAGIC.......2007-02-03

First, sorry for my english. If you close your eyes , you can feel the ambiance of the Blackhawk.
Great the rythim section, Winton Kelly is the third leader. Hank Mobley is one of my favourites, but we can understand the legend of champions of middleweight's tenors. His sound i't's so sweat, don't have the power of Gordon, Coltrane, Shorter. And Miles, it's Miles, that's it's enough.
I recomand listen every record two o three times, every time put your attention in a different instrument of the song.

Mobley and Kelly play above themselves.......2006-12-01

I've known every note of the Friday Night version of "On Green Dolphin Street" since I was 15 years old -- except for the first part of Hank Mobley's solo, which was edited out for the Columbia anthology I bought. As I got to know the works of Miles Davis, I quickly realized that the song was recorded at the Blackhawk, but reissue after reissue left it out, and I cursed Columbia Records for being a bunch of idiots. But here it is, with Mobley's entire solo included, along with many other riches whose value will depend on the listener. For me, both versions of "If I were a Bell" are spectacular examples of a happiness one doesn't expect from Miles Davis (indeed, his last few notes on the Friday night version are suddenly sad, which makes a beautiful coda to the performance). The Saturday night version of "On Green Dolphin Street" is more mellow and less inspired, but the Friday version makes up for that. There is an almost menacing quality to the melody and to Miles Davis's solo, worlds apart from the luminous version recorded with Coltrane and Adderley and Bill Evans in 1958.
Above all, Hank Mobley and Wynton Kelly reached the peak of their careers that weekend. They were never as good before or after, and that is the doing of Miles Davis, who has been justly called the greatest LEADER in modern jazz. He goaded his musicians to play above themselves, and this is the prime example. For me, the best soloist on all four CDs is Kelly, who plays with a joy and confidence that are the hallmark of the set.

Let The Music Do The Talking.......2006-11-24

With the classic cover photo from the original 2-lp set intact, the four sets covering two nights at the legendary Blackhawk nightclub in San Francisco shows the potential of re-releasing live material by allowing the unedited tapes to let the music take the listener to great heights through a group that briefly backed Miles.

The April 21-22, 1961, gigs featured what some critics deemed a transitional band of Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d) and Hank Mobley (sax). Because the group followed the quintet with John Coltrane and preceeded the historical sessions with Wayne Shorter, the ensemble - in my opinion - does not get the acclaim it truly deserves.

To hear the sets without any editing shows how each song builds upon one another and subtly shape into a dynamic that truly makes for an experience of a lifetime on stage and in the audience. The leadership and playing of Miles is nothing short of spectacular as he pushes each musician to quickly create beautiful textures on a majestic tapestry.

It is not the time a group is together, but what each member does with the studio sessions and on stage, that defines brilliance. The Blackhawk sets are a reminder of the power Miles had in challenging musicians and the audience to redefine the art of jazz.

Get in your time machine, close the door, and shut your eyes...........2006-11-10

I'm going to make this short: buy this album--you won't regret it! Instead of studio re-takes, overdubs and an altered order of songs like you get with most live recordings, this is the way it went down that evening in 1961. And you are THERE, at a table near the stage, at the Blackhawk club as the players stroll out, set up the first song, count it in and blass off. Each of the four sets unfolds exactly as it happened that night---completely unedited. Miles in charge, as always, expecting the very best tonight from pianist Wynton Kelly, bassist Paul Chambers, tenor saxophonist Hank Mobley, and drummer Jimmy Cobb. And they repond, launching themselves higher and higher, through the stratosphere, up into the ether where Miles hangs out, circling him, trading punches with him, diving ducking and weaving with him. No one knows what's going to happen next-this is live jazz--live without a net. You can almost feel the chemistry between the players. Close your eyes and put on the headphones if you really want to get there. And hang on!

Complete Live at the Pershing Lounge 1958

Average customer rating:

Complete Live at the Pershing Lounge 1958
Ahmad Jamal
Manufacturer: Gambit Spain
ProductGroup: Music
Binding: Audio CD

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Complete Live at the Spotlite Club 1958
Complete Recordings
The Awakening
Jazz for the Heart
Ahmad's Blues

ASIN: B000MRA6AK
Release Date: 2007-02-12

Tracks:

But Not for Me [Live]
Surrey with the Fringe on Top [Live]
Moonlight in Vermont [Live]
Music! Music! Music! (Put Another Nickel) [Live]
There Is No Greater Love [Live]
Poinciana [Live]
Woody 'N You [Live]
What's New? [Live]
Too Late Now [Live]
All the Things You Are [Live]
Cherokee [Live]
It Might as Well Be Spring [Live]
I'll Remember April [Live]
My Funny Valentine [Live]
Gone with the Wind [Live]
Billy Boy [Live]
It's You or No One [Live]
They Can't Take That Away from Me [Live]
Poor Butterfly [Live]
Poinciana [Single Version][*]

Album Details

Although They were Not Ahmad Jamal's First Recordings, the 1958 Pershing and Spotlite Performances Marked the Beginning of his Success. The Original Album but Not for Me, Taped at the Pershing Lounge in Chicago on January 16 and 17, 1958, Included Eight of the 43 Tunes Played by the Trio, which were Carefully Selected by the Pianist Himself. For this Reason, They Are also the First Eight Tracks on Our Collection. Two Years Later, the Album's Success Tempted the Original Producers to Release Eleven More Tunes (Tracks 9-19), which were Again Selected under the Supervision of Jamal's Attentive Ears. It is Believed that the Unused Material was Put Aside and Subsequently Lost. This CD Brings Together all Known Material plus a Rare Bonus Track.

Average customer rating:

Beautiful, really
The Birth of Free Jazz

Complete Live at the Hillcrest Club
Ornette Coleman
Manufacturer: Gambit Spain
ProductGroup: Music
Binding: Audio CD

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Whom Do You Work For?
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Free Form
Complete Original Quintet/Sextet Studio Recordings
Complete Recordings of Charlie Parker with Lennie Tristano

ASIN: B000PFU7X0
Release Date: 2007-05-14

Tracks:

Klactoveesedstene
I Remember Harlem
Blessing
Free
When Will the Blues Leave?
How Deep Is the Ocean?
Ramblin'
Crossroads

Album Description

Just as the famous 1940-41 Jerry Newman recordings at Minton's and Clark Monroe's Uptown House captured the transition from Swing to Bebop, the music on this CD (compiled here in one set for the first time ever) marks one of the first steps from Bebop into what would soon be called 'Free Jazz'. The whole quintet consisted of modern players working with the same concept: a freer way of playing Jazz, which transcended the strict confines of melody, harmony and rhythm. They would create a whole new idiom by constructing music via the interplay of simultaneous collective improvisation. These concerts are the only known recorded works of Paul Bley with Ornette Coleman, Don Cherry or Billy Higgins, both separately and as a unit. Even though it may not have been a regular unit or a stylistically defined group, the quintet heard on these historic Hillcrest recordings shows a highly creative level, and transmits a contagious excitement and a continuous search for new musical ideas and new ways to express themselves that makes this music as impressive today as it was when it was first performed nearly fifty years ago. Gambit. 2007.

Album Details

Just as the Famous 1940-41 Jerry Newman Recordings at Minton's and Clark Monroe's Uptown House Captured the Transition from Swing to Bebop, the Music on this CD (Compiled Here on One Set for the First Time Ever) Marks One of the First Steps from Bebop Into What Would Soon Be Called "free Jazz". The Whole Quintet Consisted of Modern Players Working with the Same Concept: A Freer Way of Playing Jazz, which Transcended the Strict Confines of Melody, Harmony and Rhythm. They Would Create a Whole New Idiom by Constructing Music Via the Interplay of Simultaneous Collective Improvisation. These Concerts Are the Only Known Recorded Works of Paul Bley with Ornette Coleman, Don Cherry Or Billy Higgins, Both Separately and as a Unit.

Customer Reviews:

Beautiful, really.......2007-06-28

Having read about this album for years with great anticipation and despite the woeful artwork and wrong track listing - track 5 is 'Ramblin' and not 'When Will the Blues Leave?' as listed - you can't help but be moved and excited listening to the face of jazz changing with each bar. Coleman, Cherry, Haden and Higgins play together and individually beautifully with Bley playing somewhat the role of 'guest' or 'active spectator'. Not a criticism but merely an observation. Haden plays a similar double/triple stop solo at the end of 'Ramblin' to the one he plays on 'Change of the Century' - a solo that captures the essence of what the entire group, heroically led by Ornette, were probably trying most earnestly to achieve - an earthy, swinging, free, bluesy, and truly spontaneous way forward. Free. The back of the CD unambiguously states FILE UNDER JAZZ. Indeed.

The Birth of Free Jazz.......2007-05-21

Though jazz historians may argue as to what is the first free jazz album, most people would agree that Ornette Coleman is one of the main contenders. However, there is little documentation of Ornette Coleman's classic quartet (here augmented by Paul Bley who helped found the group and went on to be a known avant-jazz musician on his own). This cd (from 2lp's, one originally released in Paul Bley's name)are the only known live concerts of this extremely influential group. Though this is sound is a little rough, you can clearly hear the pieces and the phrasing and it is certainly more "out there" than Ornette Coleman's first two official albums (his group's style did not come together until "The Shape of Jazz to Come") and has pieces that would appear on later albums (including one predictably entitled "Free") along with standards. Considering that the pieces are subject to intense improvisation (lasting up to 14 minutes) if you buy this you are holding a piece of free jazz history in your hands. With Ornette Coleman still around (catch him live if you haven't already)its good to see his unreleased recordings get their due. However, Ornette Coleman's peak was in the recordings of his classic quartet and to hear it live is to hear a meeting of the minds, a concert where the right sounds and ideas came together and free jazz as an art form congealed.

Average customer rating:

Complete Live at the Spotlite Club 1958
Ahmad Jamal
Manufacturer: Gambit Spain
ProductGroup: Music
Binding: Audio CD

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Complete Live at the Pershing Lounge 1958
Complete Recordings
The Legendary Okeh and Epic Recordings
That Old Feeling
Complete Recordings Featuring Jim Hall

ASIN: B000MRA6AU
Release Date: 2007-02-12

Tracks:

Ahmad's Blues
It Could Happen to You
I Wish I Knew
Autumn Leaves
Stompin' at the Savoy
Cheek to Cheek
Girl Next Door
Secret Love
Squatty Roo
Taboo
Autumn in New York
Gal in Calico
That's All
Should I?

Tracks:

Seleritus
Let's Fall in Love
This Can't Be Love
Old Devil Moon
Ivy
Tater Pie
Aki & Ukthay [Brother & Sister Forever Mix]
You Don't Know What Love Is
I Didn't Know What Time It Was
So Beats My Heart for You
Our Delight
Soft Winds [Studio]
Secret Love [Studio]
Taking a Chance on Love [Studio]

Album Details

The 1958 Pershing and Spotlite Performances Marked the Turning Point in Ahmad Jamal's Career, Even Though They were Not the Pianist's First Recordings. The Spotlite Material, Recorded at a Concert in Washington on September Five and 6, 1958, was Issued in Many Different (Always Partial) Forms Over the Years. This Edition Contains all of the Known Material from the Spotlite Performances plus Three Rare Studio Tracks from the Same Period.

Keith Jarrett at the Blue Note: The Complete Recordings

Average customer rating:

Good but too long
No Surprises
Great jazz , great engineering / sound , great song choices
Great Piano
The Standards Trio on a 6CD set

Keith Jarrett at the Blue Note: The Complete Recordings
Keith Jarrett
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Still Live
Whisper Not (Live in Paris 1999)
Standards, Vol. 2
Standards, Vol. 1
Solo Concerts: Bremen & Lausanne

ASIN: B000024JEX
Release Date: 2000-09-12

Tracks:

In Your Own Sweet Way
How Long Has This Been Going On
While We're Young
Partners
No Lonely Nights
Now's The Time
Lament

Tracks:

I'm Old Fashioned
Everything Happens To Me
If I Were A Bell
In The Wee Small Hours Of The Morning
Oleo
Alone Together
Skylark
Things Ain't What They Used To Be

Tracks:

Autumn Leaves
Days Of Wine And Roses
Bop-Be
You Don't Know What Love Is/Muezzin
When I Fall In Love

Tracks:

How Deep Is The Ocean
Close Your Eyes
Imagination
I'll Close My Eyes
I Fall In Love Too Easily/The Fire Within
Things Ain't What They Used To Be

Tracks:

On Green Dolphin Street
My Romance
Don't Ever Leave Me
You'd Be So Nice To Come Home To
La Valse Bleue
No Lonely Nights
Straight, No Chaser

Tracks:

Time After Time
For Heaven's Sake
Partners
Desert Sun
How About You?

Customer Reviews:

Good but too long.......2007-05-29

Keith Jarrett is one of those guys whose stuff I have bought but I feel very ambivalently about. Indeed often after hearing 10 minuets of his stuff I will find it great and think this is the only music I will listen to but then quickly the repetitious nature of the sound (not so much of the music) tires me very quickly. That was of course the case with the splendid Sun Bear Concerts and here again we have another hefty and expensive (as usual with ECM) CD box: 6 CD's covering a series of concerts he did at the Blue Note. However some of the stuff is really splendid as usual Also he has Jack De Johnette on here so who can complain: well me because it is expensive, repetitious and over-long. But then I did know that it would be like that when I bought it, didn't I?

No Surprises.......2005-05-22

Keith Jarrett's trio is the McDonald's of jazz. Its greatest sales asset is consistency: You know what to expect. If you liked one of their CDs, you're going to like the rest. They take a half-dozen standards and play each for eight or ten minutes, passing around solos. Lather, rinse, repeat.

If you're familiar with the band, there's nothing to say about this box set. If you like their stuff, buy it. If you don't like their stuff, buy something else. And if you're not familiar with the band, the introduction is simple: It's a really good piano trio playing standards. There aren't any surprises.

If you like the Jarrett trio's work, you'll also enjoy Alex Riel's "Celebration."

Great jazz , great engineering / sound , great song choices.......2005-01-15

If you have never heard of ECM records , then the first thing to mention would be that all the releases have wonderful engineering . I'm not a recording engineer , but if I hear an instrument recorded and I feel that what I'm hearing is a realistic approximation of that sound , then I'm very happy .

This aspect helps you to enjoy the music and all its dynamics .

This set has no fake 'echo' on it - it's a faithful recording .

This trio , like all great groups , have been working together for a long time - about 20 years .
At that stage , the connection goes beyond personal and takes on a whole deeper significance.

Keith is an inspiration to piano players .

Gary is a bassist who is always ready to react , yet you can tell he is always feeling the music .
I'm a drummer and if you enjoy the sound of one of the best and most creative people alive today playing a drumkit , then this is the set to buy , as the drummer Jack is the sort of player that makes me smile .

The music will jump out at you - in a good way .

The trio is wonderful - it's a shame to think that some people think of jazz as a background for their dinner parties .

This is not that sort of record .

May I suggest you make the single CD with selections from this box your first purchase , then progress to this if you like the single CD . I took a chance on the whole thing and am very happy I did . Keith does make noises while he plays - I'm not that keen on it myself , but if I could play the piano like him , then it wouldn't really matter .

No wonder it won jazz magazine Down Beat's Album of the Year in 1996 . Listen and enjoy .

Great Piano.......2004-08-09

He is breathing the music, sings it, and cries it all along.
What more can you ask? Jarret and his peers have the ability to create their personal waves in some secret sea.
Just listen. Moreover, if you wonder, then yes, buy this particular set even if there are some more modest editions of this trio. I think it is one of the best piano-bass-drums combos since the Bill Evans trios.

The Standards Trio on a 6CD set.......2004-06-01

Although the cover of the box set doesn't say so, this is not a Jarrett solo set, but the 'Standards' trio, consisting of Jarrett, DeJohnette and Gary Peacock, recorded in the intimacy of the Blue Note over just three days in 1995.

I say 'intimacy' because, judging by the applause, I'd be surprised if there were more than 300 in the audience. And you get frequent reminders that they are there -- on CD#1, track #1, around 7:10, you can hear a wine bottle go tumbling!

It's so hard to pin Jarrett down. He's produced excellent group work (e.g. 'Survivors' and 'Nude Ants'), solo albums (e.g. 'Vienna' and 'Dark Intervals'), solo classical (e.g. Handel) and the experimental (e.g. 'Spheres' and 'Arbour Zena').

Previously I've found the Standards trio to be the least compelling aspect of his output -- it's tempting, on first hearing, to put it in the 'dinner jazz' category which so many other trios have successfully played. Jarrett's own compositions are of such a high calibre that it seems almost wasteful to have the band play largely other composers' songs. Perhaps it helps to have seen the trio perform on video or DVD, then you realise how special the band is. In the Japanese concert I have, Jarrett seems to spend over half the concert playing the concert standing up (and dancing rather strangely!). Jarrett's scat-singing is also, uhm, unusual -- I doubt whether he was taught the technique at the Juilliard.

Although not budget-priced, it's impossible to fault this collection, and it is easy to be overwhelmed by the range of songs that the band played over three days, in two 65-minute sets per day.

Round About Midnight At The Cafe Bohemia: Complete
Average customer rating:

Sophisticated and supple hard bop from the summit

The uncrowned king

FANTASTIC!!! Classic Jazz

Round About Midnight At The Cafe Bohemia: Complete
Kenny Dorham , and Kenny Dorham
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Whistle Stop

Afro-Cuban

Una Mas

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Trompeta Toccata

ASIN: B00005UOKS
Release Date: 2002-01-29

Tracks:

K.D.'s Blues (Alternate Take)
Autumn In New York (Alternate Take)
Monaco (Alternate Take)
N.Y. Theme
K.D.'s Blues
Hill's Edge
A Night In Tunisia
Who Cares? (Alternate Take)
Royal Roost

Tracks:

Mexico City
'Round About Midnight
Monaco
Who Cares?
My Heart Stood Still
Riffin'
Mexico City (Alternate Take)
The Prophet

Customer Reviews:

Sophisticated and supple hard bop from the summit.......2006-07-23

Kenny Dorham was a musician's musician, the thinking person's trumpet player (though the emotions are personal and deep, even if not instantaneous or obvious). His tone is light but round and always centered, capable of sounding vulnerable and breathy one instant and dynamically brilliant and virtuosic the next. Since Kenny is the least "showy" of trumpet players, my hunch is that this Dorham-led date will not impress the uniniated overly much and that it should probably be purchased after one of his later studio sessions or his dates with Art Blakey ("Live at the Cafe Bohemia") or Horace Silver ("The Jazz Messengers"). Once you've acquired a taste for the Dorham sound--which, incidentally, can be addictive--the pleasures of the present session will be all the more apparent.

Each of the tunes not only features first-rate (if understated) solo work but attention to compositional details that were frequently missing in "hard bop" performances of the era. Listen to the title song--with all of Monk's transitions and intertextual motifs intact--or to "Night in Tunisia," which may be less dramatic and forceful than the version with Clifford Brown and Art Blakey at Birdland but is ten times more musical.

The underrecorded, melodically lithe J. R. Monterose complements K. D. in the frontline as effectively as Hank Mobley, and the overrecorded Kenny Burrell has never sounded more inspired and assured, almost overmatching the more subdued approach of the other players. Bobby Timmons restricts his solo time along with the block chord cliches, turning in some of his most tasteful work on record.

While this may not be "the" Kenny Dorham recording, it belongs in the top 5--which, speaking of the pantheon of all-time trumpet greats, is probably the short list on which Kenny himself deserves mention.

The uncrowned king.......2002-03-20

Kenny Dorham was such a great trumpet player, but even considering the fact, that his recording period spanned about 20 years, starting with important contributions in the forties, when he played with Charlie Parker, Bud Powell and others, it quite seems, that he largely was taken for granted by the wider audience, which paid most of the attention to more glamorous players, namely Dizzy and Miles. But listening to Kenny Dorham's Blue Note recordings you will notice, that he had it all: A beautiful, slightly bittersweet sound, really nice, long lines and a great knowledge about chord-progressions. Of course, he also was a great composer. This latest reissue from the RVG-Series offers for the first time the possibility to really listen to all recorded material from that live-date. You will love it, especially if you already own the two Art Blakey CDs "Life at Café Bohemia", which also feature Dorham at his best. About the personnel of this date, I'd like to notice the presence of Kenny Burrell on some of the tunes. He had finished his first own album ("Introducing Kenny Burrell") just the day before and he sure was in a playing mood. the choice of J.R. Montrose is also a very interesting one. this relatively obscure tenorist really has nice ideas and a pleasant, light sound, somehow similar to Stan Getz or Zoot Sims and he really takes care of business. Bobby Timmons on piano already had his block-chord style, which later would become famous when he was part of Blakey's Jazz Messengers. Sam Jones on bass and the to me completely unknown Athur Edgehill on drums contribute everything necessary for a good groove, so let's say, that I really enjoy this music: The tremendous swinging versions of "K.D.'s Blues", "Night in Tunisia", "Who Cares", a very relaxed "My Heart Stood Still" and gorgous ballad interpretations of "Autumn in N.Y." and "Round Midnight". Considering the originals, I think, that "Monaco" is the most interesting one. It's based on an idea, which first appeared on another Dorham original ("Minor's Holiday") from the above mentioned Art Blakey date and Dorham's first Blue-Note Album, the fantastic "Afro Cuban", which I also reviewed. Enjoy it!

FANTASTIC!!! Classic Jazz.......2002-02-26

I just picked this album up today and I was blown away. First of all, despite being a mono recording, the sound is awesome; clarity and depth are excellent. I have shied away from previous mono recordings, as they tend to get muddied, but this music suffers no such fate. Kenny Dorham sounds as good as I've ever heard him, and Bobby Timmons was just beginning to shine. If you are a fan of classic jazz, this is a must-have for your collection.

The Complete Miles Davis at Montreux: 1973-1991

Average customer rating:

**This review pertains to the format and NOT the music**
the final/fantastic years of miles career
Tight, Adventurous, and RIPPING!
MILES BEYOND...
Miles in Montreux: underrated bands and outstanding trumpet!

The Complete Miles Davis at Montreux: 1973-1991
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FDSY
Release Date: 2002-10-15

Tracks:

Miles in Montreux '73, Part One
Miles in Montreux '73, Part Two

Tracks:

Ife
Calypso Frelimo
Miles in Montreux '73, Part Three

Tracks:

Speak; That's What Happened
Star People
What It Is
It Gets Better
Something's On Your Mind

Tracks:

Time After Time
Hopscotch; Star On Cicely
Bass Solo
Jean-Pierre
Lake Geneva
Something's On Your Mind (reprise)

Tracks:

Speak; That's What Happened
Star People
What It Is
It Gets Better
Something's On Your Mind

Tracks:

Time After Time
Hopscotch; Star On Cicely
Bass Solo
Jean-Pierre
Lake Geneva
Something's On Your Mind (reprise)
Code M.D.

Tracks:

Theme From Jack Johnson; One Phone Call/Street Scenes; That's What Happened
Star People
Maze
Human Nature
MD 1; Something's On Your Mind; MD 2
Time After Time
Ms. Morrisine

Tracks:

Code M.D.
Pacific Express
Katia
Hopscotch
You're Under Arrest
Jean-Pierre; You're Under Arrest; Then There Were None
Decoy

Tracks:

Theme From Jack Johnson; One Phone Call/Street Scenes; That's What Happened
Star People
Maze
Human Nature
MD 1; Something's On Your Mind; MD 2
Time After Time

Tracks:

Ms. Morrisine
Code M.D.
Pacific Express
Katia
Hopscotch
You're Under Arrest
Jean-Pierre; You're Under Arrest; Then There Were None
Decoy

Tracks:

Theme From Jack Johnson; One Phone Call/Street Scenes; That's What Happened
New Blues
Maze
Human Nature
Wrinkle
Tutu
Splatch

Tracks:

Time After Time
Al Jarreau
Carnival Time
Burn
Portia
Jean-Pierre

Tracks:

In A Silent Way
Intruder
New Blues
Perfect Way
The Senate; Me & U
Human Nature
Wrinkle
Tutu
Time After Time

Tracks:

Movie Star
Splatch
Heavy Metal Prelude
Heavy Metal
Don't Stop Me Now
Carnival Time
Jean-Pierre
Tomaas

Tracks:

Intruder
New Blues
Perfect Way
Hannibal
Human Nature
Mr. Pastorius
Tutu

Tracks:

Jilli
Time After Time
Jo Jo
Amandla
The Senate; Me & U
Wrinkle
Portia

Tracks:

Perfect Way
New Blues
Hannibal
The Senate; Me & U
In The Night
Human Nature
Time After Time

Tracks:

Wrinkle
Tutu
Don't Stop Me Now
Carnival Time

Tracks:

Introduction by Claude Nobs & Quincy Jones
Boplicity
Introduction to "Miles Ahead" Medley
Springsville
Maids Of Cadiz
The Duke
My Ship
Miles Ahead
Blues For Pablo
Introduction to "Porgy and Bess" Medley
Orgone
Gone, Gone, Gone
Summertime
Here Come De Honey Man
Introduction to "Sketches of Spain"
The Pan Piper
Solea

Tracks:

Perfect Way
New Blues
Hannibal
Human Nature
Time After Time
Wrinkle

Amazon.com

Produced with loving care by Claude Nobs, founder of the Montreux Jazz Festival, with no edits or overdubs, this document of Miles Davis's Montreux performances shows through never-before-released material how Miles and company transformed his music live, with their fire, invention, and interplay. The list of sidemen on these dates is a who's who of today's superstars, including saxophonist Dave Liebman, guitarists John Scofield and Robben Ford, keyboardists Adam Holzman and Kei Akagi, bassist Michael Henderson, and percussionist Mtume. Most of the music on these discs features versions of Davis's fusion "hits." The funky and R&B-ish ditty "Ife" and the bouncy "Calypso Frelimo" are rendered with more gusto than their studio versions, as are the in-the-pocket, mid-'80s tunes "Star People" and "New Blues." A package this big has more than a few surprises, however. Chaka Khan lends her powerful pipes to Davis's unique cover of the Michael Jackson sleeper, "Human Nature," and "Al Jarreau" is an upbeat (though too short) tribute to the great vocalise master.

Other new offerings include "Lake Geneva," "Pacific Express," and the intense "Maze." This important set has two memorable milestones. There's the previously released 1991 Quincy Jones-led concert with the 50-piece, George Gruntz/Gil Evans Orchestra, where Davis recreates his historic Gil Evans-orchestrated charts of "The Birth of the Cool," "Porgy and Bess," "Miles Ahead," and "Sketches of Spain." Davis's disciple Wallace Roney backs up Davis on the complex melodic lines, and alto saxophonist Kenny Garrett soars with his clean, Sonny Stitt-like solos. Garrett is also onstage with Davis on a sextet date at Nice, France, on July 17, 1991, released here for the first time, that features material from the poppish Scritti Politti tune "Perfect Way" to the Cyndi Lauper ballad "Time After Time." Whether Davis's trumpet is open, muted, or electrified, his playing, as this collection shows, is honest and enduring, regardless of the material. --Eugene Holley Jr.

Customer Reviews:

**This review pertains to the format and NOT the music**.......2007-02-08

It is not easy for me to give Miles Dewey Davis anything less than five stars. The music speaks for itself, it is an astonishing document of live electric miles and every note played is here. 5 Stars to the music and a million to the man.
However, this boxset seems like it was assembled by bootleggers. All the bindings on the one I recently received, that means the cd books and the hard cover liner notes, came undone the second I opened them. They are far too stiff and assembled very poorly. And the box itself is very thin and flimsy, the outer graphics are so badly applied and missaligned that they showed shelfwear before I took off the shrink-wrap! The edges of the graphics on the top and bottom seem to be dog-eared before I even opened it.
Having said that, I would buy it again. This is the only definitive complete release of these shows and the sound quality is pristine. There has been no tinkering applied, we hear today what the crowd heard then.
I love you Miles, thanx for the awesome legacy.

the final/fantastic years of miles career.......2004-10-17

Most of the other reviewers have already lucidly described the value of this box. Even if Miles 80s albums did not "do much for you", you should check this set out. These live recordings contain ample evidence that Miles could still improvise, select brilliant musicians for his bands, and create vital live music. The price for this set may seem high, but you're getting twenty discs of incredible music, and many Amazon partners sell it at a lower price. If you're hesitant to take the plunge on this box, try Miles' single disc "Live Around The World". If you enjoy that, you can't be without this set. Highest of recommendations.

Tight, Adventurous, and RIPPING!.......2003-03-26

Do yourself a favor and check out the Miles Ahead online discography entry for this release ... most of these tracks click in at over nine, 10, 13, even 16-plus minutes.

THESE BANDS WERE TEARING IT UP! The studio albums from this era are easy listening compared to these ripping-funk/fusion-fests!

The list of superstar band members is monstrous ... John Scofield, Bob Berg, Daryl Jones (on discs 3-10) ... Kenny Garret, Benny Rietveld ... DAMN!

The recording quality is brilliant throughout, and although many song titles repeat several times (even from afternoon to evening concerts on the same date) each performance is a unique adventure all its own.

Live Around the World pales in comparison (other than the smoking Kenny Garret solo on Human Nature). The Heavy Metal Prelude/Heavy Metal medley from 1988 (with Foley on lead bass) is so loud and jarring that it is just scary!

If you can afford it, you must own this.

MILES BEYOND..........2002-12-21

This box set is truly a Tour-de-Force. I would also call it a landmark of great musical and historical value. With twenty CD's there is a lot to get through here. Each concert seems to have something that makes it unique. Whether it is a special guest playing with Miles such as David Sanborn, George Duke or Chaka Khan, or just a change in the line up of his band, there is much that makes each performance unique. Claude Nobs has done a great thing by releasing these recordings so that others may hear and enjoy these strong performances given by one of the greatest of Jazz greats. Forever Miles....

Miles in Montreux: underrated bands and outstanding trumpet!.......2002-10-30

(1973) What strikes me is how focused this performance is: you get the unique electronic textures characteristic of Davis' post-ON THE CORNER `70s music, but also a parade of solos (Davis, Dave Liebman, Pete Cosey, and James Mtume) that further overturn the already-inaccurate cliche that this period deemphasized individual expression in favor of a collective approach. After an aggressive first set (which provokes boos from the audience), Davis wins the crowd over with a more subtle second set. Miles' playing is probably the strongest I've heard him in the 1973-75 period (I also noticed that he seems to use the wah-wah pedal a bit more sparingly than usual, to good effect). IMO, this performance is so much better in all respects--including sound quality--than DARK MAGUS and IN CONCERT that there's no comparison. I'd place this with AGHARTA/PANGAEA as the best officially-released documents of this group in a live setting.

(1984 - 1986) A lot happened with Miles in the interim, but by 1984 Davis' trumpet-playing was back in prime shape. Furthermore, he had assembled a fine ensemble that has backed off from the previous decade's cutting edge, offering fiery, inspired playing in a somewhat more conventional yet still bold context, including always provocative solos by Davis and John Scofield. Additionally, the tunes performed show considerable variety, from aggressive funk/jazz to more subtle gems like PACIFIC EXPRESS. In 1985 he performs the YOU'RE UNDER ARREST album with a sense of daring and passion missing from that disc. The 1986 concert is a good set, but the bar is raised so high by the 1984-85 performances that it seems a bit less interesting in comparison. Davis' playing on both 1984 and the second 1985 set is remarkably strong. I hear talk of 1980s-era Davis being past his prime blah blah blah, but I don't recall any other musician in any genre playing with this consistent level of strength, invention, endurance, and relevance at Davis' age (late 50s at the time of these concerts).

(1988-1990) The core group lineup for Davis' final ensemble is set (Kenny Garrett, Ricky Wellman, Foley). With the extraordinary percussionist Marilyn Mazur on board, and the keyboardists Robert Irving III and Adam Holzman at their peak in giving the music rich, unique textures, 1988 is the best of the three concerts (very similar to the recent LIVE IN MUNICH DVD). 1989 does have some AMANDLA cuts added into the setlist, but for once the group doesn't seem to have much to add to the studio versions, except for HANNIBAL. In fact, there seems to be a bit of predictability setting in that fortunately is compensated by continued fine soloing by Davis (albeit not in the forefront on every tune as before), Garrett (or Rick Margitza in 1989), and Foley. To be fair, even these concerts push the envelope further than most of Miles' peers--if this is Davis' version of "smooth jazz" thankfully it has way too many rough edges (who else had a group nearly this distinctive and flexible?). Possibly the relative lack of fresh, challenging material is the culprit in keeping the 1989-90 dates from realizing their fullest potential (and the prime reason that they fall short of other Davis eras).

(1991) The performance with Quincy Jones of the Miles & Gil classics has already been issued: Davis plays well considering he hadn't touched this material in three decades. Although fresh accounts in the SO WHAT bio indicate Davis' health was declining, he nonetheless was sounding revitalized, particularly in the Summer 1991 concerts with his regular working group. I've already heard an outstanding performance from Hamburg, and the one issued here from Nice is just as invigorating. The occasional crowd-pleasing tactics of the prior two years is absent (e.g., the simply-there tunes, his call-and-response toying with the audience, etc.). Here Davis and his group just focuses on playing some dynamic music, and in the process even such well-worn material as HUMAN NATURE and TIME AFTER TIME are given new life. Sometimes one group member can make a difference: in 1988 it was Mazur, and in 1991 the presence of keyboardist Deron Johnson helps to push an already a fine group over the top. After hearing this concert Davis' death seems even more tragic: I hear tons of potential that sadly was prevented from being pursued when he passed shortly afterward.

The importance of the boxed set in understanding Davis' last decade cannot be overstated. Furthermore, Davis really seemed to be inspired by playing at Montreux: without exception his own playing is in top form, relative to other concerts performed surrounding these dates that I've heard. Certainly Davis didn't perform at this high level every time he walked on stage (I saw Davis in concert ten times between 1981-90 and his playing only reached these heights maybe 3-4 times), but that fact makes this box even more essential. I hesitate to recommend any 20-CD boxed set to non-collectors. Yet if you've been exposed to 1980s-vintage Miles (via records or concerts) and like what you've heard, I can't imagine you being disappointed with the music heard here. If you don't have the money to pay and/or the time to listen, the best alternatives are the DVDs LIVE IN MONTREAL (1985) and LIVE IN MUNICH (1988).

Complete Live at Jorgies
Average customer rating:

Montgomery Compete live at Jorgies

Some of Wes' best work - pure energy!

Classic Wes, full of fire and style.

Complete Live at Jorgies
Wes Montgomery
Manufacturer: Definitive
ProductGroup: Music
Binding: Audio CD

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Smokin' at the Half Note

ASIN: B00007JR3Q
Release Date: 2004-04-05

Tracks:

All Of You
Heartstrings
Summertime
Back To Bach To Bock
There Will Never Be Another You
Lets Make The Most Of A Beautiful Thing
The More I See You
More Than Likely
Starlight
Round Midnight

Album Description

24-bit digitally remastered reissue for the late jazz guitar great. Definitive Records. 2002.

Customer Reviews:

Montgomery Compete live at Jorgies.......2006-03-21

Nice concert though sound capture is not so good. Especially Wes guitar you don't hear very well compared with other instruments.

Some of Wes' best work - pure energy!.......2004-11-23

On Something Like Bags (mistitled Back to Bach to Bock), Wes plays one of his best recorded solos. You can hear the audience in the club cheering him on. The atmosphere is great - at one point, the telephone even rings. And the energy here is phenomenal - Wes goes into chorus after chorus of magnificent single line, octave, and chordal work. A rare opportunity to hear Wes and his brothers really play.

Classic Wes, full of fire and style........2003-03-10

Buying anything from Disconforme (Definitive Records) is a gamble, but this is a hit! Big time! Without going into detail the "Live at Jorgies" tapes have been previously released on vinyl and CD. The original release of "Live at Jorgies" and "Live at Jorgies and More" are highly sought after collector's items. They are recordings of Wes and his brothers live August 19, 1961 at Jorgies Jazz Club, St. Louis Mo. and a studio session recorded on November 1963 in NYC with Joe Williams on Vocals.
Wes' playing is amazing. It's great to hear Wes in a truely live concert without song length restrictions. The sessions with Joe Williams are also nice, but more conservative.
Unfortunately the tape recorder ran out of tape during "'Round Midnight." Disconforme made the foolish decision to edit the tape from 3:39 to 2:30, then applauses were grafted to the false ending. Bad choice, that extra minuet is worth hearing.
The sound quality (an 8 out of 10) is the same as previous "Jorgies" releases with no sonic improvement. The liner notes are typical general biographical nonsense with no special relevance to the songs on the CD. Victor Young's composition, "Stella By Starlight" is mistitled "Starlight" by Unknown.
This is a true hard-bop concert, and I'm delighted that it's back in print.

In Person Saturday Night at the Blackhawk, Complete, Vol. 2

Average customer rating:

AMG Review
My 2 cents on the re-mastered sound
Remastered? Really?

In Person Saturday Night at the Blackhawk, Complete, Vol. 2
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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In Person Friday Night at the Blackhawk, Complete, Vol. 1
Seven Steps to Heaven
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ASIN: B00009KU7E
Release Date: 2003-06-03

Tracks:

If I Were A Bell
So What
No Blues
On Green Dolphin Street
Walkin'
'Round Midnight
Well You Needn't
The Theme

Tracks:

Autumn Leaves
Neo
Two Bass Hit
Bye Bye (Theme)
Love, I've Found You
I Thought About You
Someday My Prince Will Come
Softly As In A Morning Sunrise

Customer Reviews:

AMG Review.......2007-02-24

The second volume in the (finally) complete recordings from Miles Davis' legendary two-night stand at the Blackhawk in 1961 with his new quintet -- which featured Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy Cobb -- is as stunning as the first. While this set has been available in many different configurations in the U.S. and Japan over the years, it has never been complete until now. In Person Saturday Night at the Blackhawk features no less than nine unreleased performances -- including an unprecedented fourth set on two CDs. The groove is quite different on Saturday evening. Rather than the slashing bop of Sonny Rollins' "Oleo" from Friday, a loping, bluesed-out version of "If I Were a Bell" opens the program. Kelly's interplay with Davis here is enlightening and inspiring; his comps and fills dance around the trumpeter's solo without ever punching through its center. His sense of timing is remarkable in how he anticipates the end of Miles' lines. He shifts gears with Mobley, who is in a speedier Coleman Hawkins mood here and pushes the middle harder, more percussively, as Mobley then plays all around the changes. This gives way to an unbelievably speedy "So What," clocking in at over 12 minutes and driven by Chambers' pizzicato bass playing. Davis' solo in the first few choruses is more reminiscent of his tenure with Charlie Parker than anything of his own, except for the warmer tone. The tune is an odyssey of harmonic invention with Kelly acting as a bridge between Davis and Mobley, offering wide-open sevenths and diminished fifths for each player to wander in and out of. Kelly's solo comes right out of the blues, pure and angular; his touch is heavier -- deep left-hand accents and trills decorate it.

The second set's "On Green Dolphin Street" nearly segues into an unreleased, burning version of "Walkin'" at almost double tempo. Miles' intensity here is truly shocking. He drives this band -- a listen to Cobb's timekeeping on "Walkin'" reveals just how hard this band was striding these blues. After 12 minutes of blinding speed and melodic invention, the complex harmonic architecture is resolved through intricate line interplay between Davis and Kelly and Mobley at about five minutes and 30 seconds into the tune, and it slips into a space where struggle ceases and the blinding tempo becomes pure grooveology. Davis throws the crowd -- and the band, judging by a missed cue -- a changeup by slipping into a nearly modal, front-end "'Round Midnight." This one swings easily and sweetly, a bit faster than any Miles band had played it ever before, but far slower than anything else in the first set. And as if this weren't enough of a Monk switch, the band closes out the set with a blazing "Well, You Needn't" before the band's theme takes it out for intermission. Tracks three and four on disc two are characterized by a heretofore unissued "Autumn Leaves" (which starts a few seconds in because the tape recorder wasn't on in the club -- it's not an edit). An easy, swinging, sprightly version of this chestnut is so relaxed and free that Davis and his mute feel free to stretch his own short notes into longer lines. Chambers' "Two Bass Hit" is played at a blistering tempo, with Cobb double-timing an already overdriven ensemble. Set four is late-night Miles; the band moves through three tunes as encores, seemingly -- gorgeous lyrical balladry with Davis opening up large spaces in the middle for Chambers to become the focal point of the rhythm section. The tunes "I Thought About You" and "Someday My Prince Will Come" swing with easy late-night grace and charm. Chambers' insistent one-note pulse is contrasted by Kelly's whimsical opening solo before the verse. Miles takes it in relaxed mode, allowing the tune to unfold rather than be played. As if unwilling to let the audience off easy, the end of set four closes out with another surprise, a shifty, double-tempo read of "Softly, As in a Morning Sunrise" that becomes a hard bop blues before it ends abruptly, leaving the house in shambles. How this last set was never released before is beyond belief; thank goodness this historic document has finally been assembled in its entirety. ~ Thom Jurek, All Music Guide

My 2 cents on the re-mastered sound.......2006-03-01

Nothing to add about the organic music-making presented here. But I would like to comment on the newly remastered sound, which might invite some controversy.

I own both the original CD releases and this remastered 4-CD box set of the same performances. The sound in original CDs is brighter and more natural. I sense when they were issuing them for the first time as CDs, they added slight amount of ambience to the original source, which is dry and closely mic'ed just like any other live recording.
The new remastered sound has no ambience whatsoever, which makes the dry sonic even more prominent. But it carries more punch, edge, and clarity. Not that original releases severely lack these qualities but the new mastering just contains a lot more raw power. But it comes at the cost of revealing the flaws of the sources (microphone distortion - especially piano; breathing noise; etc). But hey, many might think they are all part of the gig.
If you have a receiver that gives you presets with difference ambience settings (e.g., Hall, Club, Stadium, etc), use it to cure the dryness. My Yamaha receiver has a preset called Jazz Club, which puts me right in Blackhawk club!

Remastered? Really?.......2005-12-10

Sorry: I have not heard the quality of the earlier CD releases of these Blackhawk sets, but having recently bought a bucket load of remastered Miles Davis albums (all glorious and fantastic quality) I can only suggest something went wrong with this one. My Mark Levinson 390S is turned up louder than ever before just to get a decent earful. Sounds lousy, Mr. Mark Wilder of Sony Music Studios New York. Suggest checking these discs out before you buy.

P.S After listening to the quality of Monk and Coltrane from Carnegie Hall in 1957 please don't tell me the problem is the venue!

Jazz Music:

Jazz Music

Jazz Music