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Miles Davis - The Complete Jack Johnson Sessions [5CD] (1971) [2003]
Artist: Miles Davis Title Of Album: The Complete Jack Johnson Sessions Release Date: 1971/2003 Location: USA Label: Columbia / Legacy [K 86359-S1] Genre:Jazz, Fusion Quality: FLAC (*tracks+cue,log) Length: 06:08:36 Tracks: 42 Total Size: 2.34GB (+3%)(covers) WebSite:discogs.com
Tracklist: ------- Disc 1: 1. "Willie Nelson (Take 2)**" February 18, 1970 at Columbia 30th Street Studio B 6:41 2. "Willie Nelson (Take 3)*" February 18, 1970 at CBS 30th Street Studio 10:21 3. "Willie Nelson (Insert 1)**" February 18, 1970 at CBS 30th Street Studio 6:33 4. "Willie Nelson (Insert 2)**" February 18, 1970 at CBS 30th Street Studio 5:22 5. "Willie Nelson (Remake Take 1)*" February 27, 1970 at Columbia Studio B 10:45 6. "Willie Nelson (Remake Take 2)" February 27, 1970 at Columbia Studio B 10:17 7. "Johnny Bratton (Take 4)*" February 27, 1970 at Columbia Studio B 8:18 8. "Johnny Bratton (Insert 1)*" February 27, 1970 at Columbia Studio B 6:39 9. "Johnny Bratton (Insert 2)*" February 27, 1970 at Columbia Studio B 5:20 10. "Archie Moore*" March 3, 1970 at Columbia Studio B 4:45 Disc 2: 1. "Go Ahead John (Part One)**" March 3, 1970 at Columbia Studio B 13:07 2. "Go Ahead John (Part Two A)**" March 3, 1970 at Columbia Studio B 7:00 3. "Go Ahead John (Part Two B)**" March 3, 1970 at Columbia Studio B 10:06 4. "Go Ahead John (Part Two C)**" March 3, 1970 at Columbia Studio B 3:38 5. "Go Ahead John (Part One Remake)**" March 3, 1970 at Columbia Studio B 11:04 6. "Duran (Take 4)*" March 17, 1970 at Columbia Studio C 5:37 7. "Duran (Take 6)" March 17, 1970 at Columbia Studio C 11:20 8. "Sugar Ray*" March 20, 1970 at Columbia Studio B 6:16 Disc 3: 1. "Right Off (Take 10)" April 7, 1970 at Columbia Studio B 11:09 2. "Right Off (Take 10A)**" April 7, 1970 at Columbia Studio B 4:33 3. "Right Off (Take 11)**" April 7, 1970 at Columbia Studio B 5:58 4. "Right Off (Take 12)**" April 7, 1970 at Columbia Studio B 8:49 5. "Yesternow (Take 16)*" April 7, 1970 at Columbia Studio B 9:49 6. "Yesternow (New Take 4)**" April 7, 1970 at Columbia Studio B 16:02 7. "Honky Tonk (Take 2)**" May 19, 1970 at Columbia Studio C 10:04 8. "Honky Tonk (Take 5)*" May 19, 1970 at Columbia Studio C 11:29 Disc 4: 1. "Ali (Take 3)*" May 19, 1970 at Columbia Studio C 6:50 2. "Ali (Take 4)*" May 19, 1970 at Columbia Studio C 10:16 3. "Konda**" May 21, 1970 at Columbia Studio C 16:29 4. "Nem Um Talvez (Take 17)*" (Hermeto Pascoal) May 27, 1970 at Columbia Studio C 2:50 5. "Nem Um Talvez (Take 19)*" (Hermeto Pascoal) May 27, 1970 at Columbia Studio C 2:54 6. "Little High People (Take 7)*" (Hermeto Pascoal) June 3, 1970 at Columbia Studio C 6:52 7. "Little High People (Take 8)*" (Hermeto Pascoal) June 3, 1970 at Columbia Studio C 9:28 8. "Nem Um Talvez (Take 3)*" (Hermeto Pascoal) June 3, 1970 at Columbia Studio C 4:36 9. "Nem Um Talvez (Take 4A)" (Hermeto Pascoal) June 3, 1970 at Columbia Studio C 2:04 10. "Selim (Take 4B)" (Hermeto Pascoal) June 3, 1970 at Columbia Studio C 2:15 11. "Little Church (Take 7)*" (Hermeto Pascoal) June 4, 1970 at Columbia Studio C 3:18 12. "Little Church (Take 10)" (Hermeto Pascoal) June 4, 1970 at Columbia Studio C 3:15 Disc 5: 1. "The Mask (Part One)*" June 4, 1970 at Columbia Studio C 7:47 2. "The Mask (Part Two)*" June 4, 1970 at Columbia Studio C 15:45 3. "Right Off" April 7, 1970 at Columbia Studio B 26:54 4. "Yesternow" April 7, 1970 at Columbia Studio B ("Yesternow") + February 18, 1970 at Columbia Studio B ("Willie Nelson", uncredited) 25:36
Personnel: --------- Miles Davis - Trumpet Bennie Maupin - Bass Clarinet Steve Grossman - Soprano Saxophone Wayne Shorter - Soprano Saxophone Chick Corea - Electric Piano, Organ, Electric Piano with Ring Modulator Herbie Hancock - Organ, Electric Piano Keith Jarrett - Electric Piano, Electric Piano with Wah Wah Sonny Sharrock - Electric Guitar, Echoplex John McLaughlin - Electric Guitar Dave Holland - Electric Bass, Double Bass Michael Henderson - Electric Bass Gene Perla - Electric Bass Ron Carter - Double Bass Jack DeJohnette - Drums Billy Cobham - Drums Lenny White - Drums Don Alias - percussion Airto Moreira - Percussion, Berimbau, Cuica Hermeto Pascoal - Voice, Drums
All thanks to original releaser
AllMusic Review by Thom Jurek Of all the Miles Davis recordings, the 16 weeks of sessions that created a single, two-selection LP produced by Teo Macero called A Tribute to Jack Johnson have been the most apocryphal. While the album itself was a confounding obscurity upon release -- due to its closeness in proximity to the nearly simultaneous release of the vastly inferior yet infinitely more label-promoted Live at the Fillmore East -- its reputation as the first complete fusion of jazz and rock is cemented. It also garnered a place in the history books for guitarist John McLaughlin, the axis around whose raw, slash-and-burn playing the entire album turns. The five-CD Complete Jack Johnson Sessions set, covering February 18 to June 4 of 1970, reveals that a revolving cast of musicians entered the Davis/Macero music and sound lab and made a series of mind-bending, often inspired -- yet sometimes maddeningly monotonous -- recording dates, where the creation of backbeat-driven grooves and short, rhythmic, rock- and funk-inflected riffs were the only ideas presented by Davis; everything else flowed freely, for better or worse. No less than five albums have benefited from these sessions: the others include Live-Evil, Get Up with It, Directions, and Big Fun. The two cuts that make up A Tribute to Jack Johnson, "Right Off" and "Yesternow," make up the last two selections on disc five. The arrangement of the session is basically chronological. Thus, there are not only numerous takes of a composition but insertion and remake takes as well. For instance, there are two takes of "Willie Nelson," two inserted "versions," and two remakes, all sequenced here in a row. Likewise is the strange genesis, deconstruction, and rebirth of "Go Ahead John," which appeared in this form on Big Fun. Still, despite the hypnotic grooves where already elongated tunes turn into monolithic groove structures, the historical importance of these sessions and the sheer listening pleasure they provide in doses cannot be overestimated. There are 17 previously unissued performances here, 14 takes, and alternates that have never been issued in full form! As a small example, the official unearthing of the "Duran" alternate take offers so much more in terms of different instrumentation (many alternates here provide this) and ambience than the circulated version that it is nearly a different tune altogether. The roots of "Right Off" and "Yesternow," which appear on disc three, compare to the final heavily edited versions on the album as startlingly different compositions. Evolution becomes not only the crux of the Davis sessions, but a whole new way of making jazz records. These sides reveal how, decades later, Davis's own playing remains firmly committed to the jazz ideal as a soloist despite the fact that McLaughlin and others such as Bennie Maupin, Chick Corea, Wayne Shorter, Jack DeJohnette, Herbie Hancock, Keith Jarrett, Steve Grossman, Michael Henderson, Ron Carter, Sonny Sharrock, Airto, Dave Holland, and Hermeto Pascoal were essentially playing jam- and groove-based rock. The role of guitarist Sonny Sharrock is finally defined here. It has previously been discounted and provided endless grist for the Davis rumor mill how he was mixed out of the session. Yes, he was, but so was almost everyone but McLaughlin and Miles at one point or another. Check out Sharrock's killer slide playing that appears on the second inset of "Willie Nelson." For those who worship at the McLaughlin altar, there are the extra minutes of screaming, fuzz-drenched wailing on "Right Off" that were left on the floor by Macero. But this set is full of moments like that, such as the previously unreleased "Sugar Ray," a futuristic look at electronic noise -- with rhythm -- as jazz. It is true that attempting to listen to this as a box is an admittedly long, arduous, and sometimes difficult task. Taking on individual pieces, in a changer, or even a disc at a time, is a deeply engaging, provocative listening experience. If any recordings needed to be released in order to document the perfect fusion of jazz and rock -- in addition to Miles' musical and studio development -- it's these.
Code
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 26. January 2016, 7:38
Miles Davis / The Complete Jack Johnson Sessions CD1
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Used output format : Internal WAV Routines Sample format : 44.100 Hz; 16 Bit; Stereo
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