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The Complete Birth Of The Cool Miles Davis Download

The Complete Birth Of The Cool Miles Davis Download 9,0/10 6269 votes

Miles Davis: The Complete Columbia Album Collection is a box set by jazz musician Miles Davis, released in 2009. It contains all the official releases on the Columbia. UpdateStar is compatible with Windows platforms. UpdateStar has been tested to meet all of the technical requirements to be compatible with Windows 10, 8.1, Windows 8.

The Complete Birth Of The Cool Miles Davis Download

Amigos, O site KickassTorrents est. Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in 1957 on Capitol Records. It compiles twelve tracks recorded by Davis's. MILES DAVIS is a Jazz Rock/Fusion / Progressive Rock artist from United States. This page includes MILES DAVIS's : biography, official website, pictures, videos from. Fulfillment by Amazon (FBA) is a service we offer sellers that lets them store their products in Amazon's fulfillment centers, and we directly pack, ship, and provide.

Birth of the Cool - Wikipedia, the free encyclopedia. Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in 1.

Capitol Records. As the title implies, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 1. Background. Davis recorded several albums worth of material with Parker at this time, including Parker's Sessions for the Savoy and Dial labels. Davis' first records sold under his own name were recorded with Parker's band, in 1. Parker's usual approach to recording. Evans had gained a reputation in the jazz world for his orchestration of bebop tunes for the Claude Thornhill orchestra in the mid- 1. Keeping an open door policy, Evans' apartment came to host many of the young jazz artists of late- 1.

New York. The salon featured discussions about the future of jazz, including a proposed group with a new sound. According to jazz historian Ted Gioia.

In their work together, they relied on a rich palette of harmonies, many of them drawn from European impressionist composers. They explored new instrumental textures, preferring to blend the voices of the horns like a choir rather than pit them against each other as the big bands had traditionally done with their thrusting and parrying sections. They brought down the tempos of their music .

Salon member, arranger, and baritone saxophonist Gerry Mulligan joined the project, having previously written for Gene Krupa's orchestra, as it was felt he could bring a lighter sound that Davis and Evans were looking for. Evans and Mulligan spent the winter working out instrumentation, augmenting the traditional bop quintet of saxophone (in this case, alto saxophone), trumpet, and rhythm section, with baritone saxophone, trombone, French horn, and tuba. The two men looked to create pairings within the ensemble, Mulligan stating: . We had a high section with a trumpet and the alto, we had a middle section with the trombone and the French horn, and a low section with the baritone and tuba.

For alto saxophone, Davis originally wanted Sonny Stitt for the part, but it was decided that Stitt's sound, much like Parkers, was too bop for what the nonet was pursuing. Konitz had played with Mulligan in Claude Thornhill's orchestra, and was seen by some as a stylistic alternative to Parker, with a much lighter and airier sound. Trombonist and salon member J.

Johnson was the first choice for the band, but due to engagements with the Illinois Jacquet band could not originally play with the nonet, though he was able to record with the group on the final two sessions. Both bassist Al Mc. Kibbon and pianist and arranger John Lewis had known Davis as members of Dizzy Gillespie's orchestra. Drummer Max Roach had been a member of Parker's quintet with Davis and was a natural choice for the nonet due to his enthusiastic engagement in the ideals of the salon.

For the band's book, Mulligan contributed six arrangements, Lewis three, Evans two, and composer John Carisi arranged his own composition, . On Davis's insistence, a sign was placed outside the Roost saying, . For these live dates, Mike Zwerin played trombone and former Dizzy Gillespie vocalist Kenny Hagood sang on .

There was a further short residency the following year at the Clique Club, these three sets making up the nonet's only live appearances. Arranger and Capitol Recordstalent scout. Pete Rugolo heard the nonet at the Royal Roost and offered the nonet a chance to make a record. Davis, Konitz, Mulligan and Barber were the only musicians who played on all three sessions, though the instrumental lineup was constant (excepting the omission of piano on a few songs and the addition of Hagood on .

The first session occurred on January 2. Mulligan's . Jazz critic Richard Cook hypothesizes that Capitol, wanting to get a good start, recorded these numbers first because they were the most catchy tunes in the nonet's small repertoire. The band returned to the studio with five substitutions in personnel: J. Johnson on trombone, Sandy Siegelstein on French horn, Nelson Boyd on bass, and Kenny Clarke on drums, and John Lewis returning to piano.

At this session, the nonet recorded Mulligan's . Davis did not call the band for any rehearsals or live performances between the second and third recording dates.

The March 1. 95. 0 date featured Mulligan's . The band saw more substitutions, with Gunther Schuller on French horn and Al Mc. Bible Concordance Source Download Pdf Format there. Kibbon on bass. Kenny Hagood returned for vocals on .