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Miles Davis - In Concert mp3

Miles Davis - In Concert mp3

Performer: Miles Davis
Title: In Concert
Country: US
Catalog Number: KG 32092
Label: Columbia
Released: 1973
Style: Fusion, Jazz-Funk, Jazz-Rock
Rating: 4.7
Votes: 566

Tracklist

1Miles Davis In Concert18:12
2Miles Davis In Concert20:21
3Miles Davis In Concert25:23
4Miles Davis In Concert20:45

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
COL 476910 2, 476910 2Miles Davis In Concert ‎(2xCD, Album, RE)Columbia, ColumbiaCOL 476910 2, 476910 2EuropeUnknown
CBS 88601Miles Davis In Concert ‎(2xLP, Album, RE, Fol)CBSCBS 88601EuropeUnknown
68222, KG 32092Miles Davis In Concert ‎(2xLP, Album, Gat)CBS, CBS68222, KG 32092UK1973
S2BP 220139Miles Davis In Concert ‎(2xLP, Album, RE, Gat)CBSS2BP 220139AustraliaUnknown
SRCS 9323-4Miles Davis In Concert ‎(2xCD, Album, Ltd, RE, RM, Pap)Sony RecordsSRCS 9323-4Japan1997

Credits

  • CongasMtume
  • Cover [Cover Art]Corky McCoy
  • DrumsAl Foster
  • Electric BassMichael Henderson
  • Electric GuitarReggie Lucas
  • EngineerStan Tonkel
  • Engineer [Re-mix]Russ Payne
  • OrganSerik Lawson
  • ProducerTeo Macero
  • SaxophoneCarlos Garnett
  • Sitar [Electric]Khalil Balakrishna
  • TablaBadal Roy
  • TrumpetMiles Davis

Notes

Recorded live at Philharmonic Hall, New York on Sep 29, 1972. The album has catalog number KG 32092. The first record has catalog number C 32093, and the second record has catalog number C 32094.

Automatic sequencing (record 1 - sides A & D coupled; record 2 - sides C & B coupled)

Barcodes

  • Matrix / Runout (Label Side A): KG 32092 C 32093 AL 32093
  • Matrix / Runout (Label Side B): KG 32092 C 32094 AL 32094
  • Matrix / Runout (Label Side C): KG 32092 C 32094 BL 32094
  • Matrix / Runout (Label Side D): KG 32092 C 32093 BL 32093
  • Matrix / Runout (Runout Side A): P ∴ ₀ P AL 32093-1A S C 3
  • Matrix / Runout (Runout Side B): P ∴ P AL 32094-1A D 1
  • Matrix / Runout (Runout Side C): P ₀ P BL 32094-1A S A 1
  • Matrix / Runout (Runout Side D): P ₀ P BL 32093-1A C 1

Companies

  • Recorded At – Philharmonic Hall, New York
  • Pressed By – Columbia Records Pressing Plant, Pitman

Video

Album

In Concert is a live double album by American jazz musician Miles Davis. It was recorded in 1972 at the Philharmonic Hall in New York City. In a contemporary review of the album, Robert Palmer of Rolling Stone noted the marginalization of saxophonist Carlos Garnett but lauded the recording as bracing, popping, at least. Miles Davis in Europe, the Complete Amsterdam Concert, 1957 - The Miles Davis Quintet. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Miles Davis in Europe, the Complete Amsterdam Concert, 1957. Doxy Collection, Remastered, Live. Album: My Funny Valentine, Miles Davis in Concert Personnel: Miles Davis tp, George Coleman ts, Herbie Hancock p, Ron Carter b, Tony Williams ds. The Miles Davis Discussion group is a place to discuss the music, life, career, and influence of Miles Davis. Provided to YouTube by Sony Music Entertainment Blue Miles Davis AURA 1989 Sony Music Entertainment Inc. Vocal: Eva Thaysen Guitar: John McLaughlin Guita. Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at Philharmonic Hall is the only one documenting his On the Corner street-funk period, which is immediately obvious from the cover art. It was recorded at the Philharmonic Hall in New York City. In a contemporary review of the album, Bob Palmer of Rolling Stone magazine wrote that, although Carlos Garnett's saxophone playing is marginalized, the music is bracing, popping, at least. Miles Davis Music From and Inspired by Miles Davis: Birth of the Cool, a Film by Stanley Nelson 2020. Buy, Stream Now. 11Albums. Miles Davis In Person Friday And Saturday Nights At The Blackhawk, Complete. The Best Of Miles Davis & John Coltrane 1955-1961. At Newport 1958. The Complete Miles Davis Featuring John Coltrane. Released in 1972, Miles Davis' album On the Corner packaged together music as contrversial as its cover art, drawn by Corky McCoy. After moving from Los Angeles to New York, Corky McCoy met Miles Davis and the two became friends, sharing an apartment on West 77th Street. They spent a lot of time together, including visits to the boxing gym in the meat packing district where Miles used to practice his favorite sport. Miles, a long time aficionado of art who later in his career spent as much time painting and sketching as making music, asked McCoy to create the cover for On the Corner: Corky McCoys my best friend. I just called him up and told him what to do. Miles Davis Davis photographed in his New York City home. The house at 1701 Kansas Avenue in East St. David Geffen Hall View from the Plaza The interior of David Geffen Hall 2007. In an article for The Village Voice , Christgau wrote of the album upon its reissue in 1997: By In Concert. Henderson is the sole survivor from the more talented prior band-although, crucially, Al Foster pushes like DeJohnette with less excess motion. For faster navigation, this Iframe is preloading the Wikiwand page for In Concert Miles Davis album

Reviews (7)
Owomed
Are there any releases of this with a new mix or master than the original (that sound better)? The original is so god damn muddy. There are FM broadcast bootlegs with better sound quality than this thing.

Went Tyu
I own two versions of this album: US KG 32092 and JP 28AP 2161 2. The Japanese version is a bit brighter and more immersive than the US version, but the muggy mix is still present. I'd say the most pronounced instrument is Michael Henderson's Bass on Ife and Right Off. Well worth the listen if you are a fan of On the Corner KC 31906.

Rayli
Side B is a little muddier due to the extended track time. Original press of "Get Up With It' is sometimes even worse at times due to them cramming half hour tracks on each side.

Hellblade
thanks, i had a japanese 2 cd but couldn't deal with the narrow frequency range - downright tinny, like yourself i'm looking for "immersion" i could live with "muggy" its tinny i can't handle, i'll try some of the vinyls but would greatly appreciate any more comments on the best version of this release (cd or vinyl) that you're kind enough to offerany ideas what went wrong with the recording?OTC is my fave album so i was gutted by the poor japanese cd, i listen to the boston 72 boot as a partial alternative

showtime
Miles Davis issued a plethora of material during his funk rock 70's heyday. It can be a bit intimidating to get your head round it all but frankly the best thing to do is just buy it all and let it wash over you. Even though he replays the same themes over and over again they are always different and he always managed to keep things interesting by changing band members and instrumental textures.Out of all his albums this is probably the closest he got got almost pure electronic music in the Stockhausen sense. The first track Rated X was always one of his most intimidating tunes and the album blasts off with a dense swampy version that echos Stockhausen works such as Kontakte. Every instrument is warped through various effects pedals and it is some times difficult to tell who plays what. Part of enjoying this music is to put aside the old Western idea of what music is supposed to represent and revel in the textures and polyphony. I listened to and read about Pygmy music and realised, whether intentional or not, that a lot of Miles's funk music worked in a similar way. A communal music that striped away people's preconceived notions of the "star" soloist and the rigidity of Western harmony. Miles possibly heard these elements in New Orleans music of the time which is of course heavily influenced by African traditional music.This concert features the key players of his later, maybe more celebrated, funk metal albums such as Dark Magus and Agharta such as Reggie Lucas and Michael Henderson but adds strange colouration with the addition of sitar and keyboards, something he would soon abandon, leaving all the chordal work to the rhythm guitar and his own more percussive keyboards. The material is based in the main on the Jack Johnson and On The Corner albums, it is a good deal funkier and more similar to work by James Brown and Sly Stone as befits the aims of the material. However it has an uneasy constantly shifting weave of instruments that keep it from "getting down" in a conventional sense. The band had perhaps not fully jelled as the previous albums were such studio creations that they were tricky to recreate live so much of the playing has a tense nervous quality to it. There is less of a rock and roll edge to it, particular in the guitar work which is only handled by Reggie Lucas and is pure funk rhythm. Peter Cosey's Hendrixy freak outs had not yet become a part of the band and from this show you can see what an influence his work had on later recordings.This brings Henderson's mammoth bass to the for, his playing is often lost in later albums, but he is the main focus here much as he was on On The Corner. As a bass player this is possibly why I enjoy this cd so much and the intricate grooves and rhythmic placements of his and Al Foster come to the surface.Miles himself is surprisingly not the main focus but you can sense his presence in every element of the music, gentle (and sometimes not so gently) guiding the progress of each tune. He will rise up through the mix like a muezzin call playing through his wah wah and sometimes a savage burst of dissonant keys will shake things up when he gets bored, possibly leaning on Cedric Lawson's keyboard.Over all I would say this is a transitional album but I treasure it as a unique line up playing some of my favourite of his studio tracks live. Live Evil is possibly a better starting point for those new to live electric Miles but it is is definitely worth picking up once you caught the bug.The album was issued as 4 medleys but the actual tracks are:Rated XHonky TonkTheme from Jack JohnsonBlack Satin/The ThemeIfeRight Off/The Thememaningrey @ london school of sound

Andriodtargeted
I feel like the mix is begging you to turn it up. As loud as possible. When you do the parts that seemingly were mired in the mud sing. The congas pop and the saxes scream.The Cure’s Disintegration has a smiliar mix. Played at a normal volume everything gets bogged down but when you follow the instructions on the liner notes to “turn it up loud” it sounds completely different.

Renthadral
Nice review. I'm a huge fan of Miles' '70s releases, though usually I enjoy the engineered studio albums (On the Corner, Big Fun, etc.) to the live releases (Live-Evil is a big exception, though). But every time I listen to this release I just can't shake the feeling that the mix is screwed up. I always feel like the important playing is getting covered up by someone else. Nobody ever emerges from the mix I guess is another way of saying it. Now that I write that it makes me want to go back and try and dig it knowing that's what's going to happen. In other words, maybe the muddy mix is by design?

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