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| Blue in Green by. Miles Davis |
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| YouTube |
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Another song from Kind of Blue
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| Miles Davis - Human Nature - RIP Michael Jackson |
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| SirJazz |
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Miles Davis - Human Nature 1.000.000 VIEWS THANK YOU ALL! RIP Michael Jackson King of Pop RIP Miles Davis King of Jazz
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| pixaninny |
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The Miles Davis Quintet digs into this classic on November 7, 1967 at the Stadthalle, Karlsruhe, Germany.
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| Joris83480 |
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Miles Davis with Marcus Miller.
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| Miles davis et John Coltrane - So what |
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| Deepsound |
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deepsound.net - Miles Davis and John Coltrane play one of the best renditions of SO WHAT ever captured on film-Live in 1958. Edit in fact, was in New York, april 2, 1959. Recorded by CBS producer Robert Herridge. Cannonball Adderley had a migrane and was absent from the session. Wynton Kelly played piano--he was the regular band member at this time--but Bill Evans had played on the original recording of "So What" on March 2, 1959. The other musicians seen in the film were part of the Gil Evans Orchestra, who performed selections from "Miles Ahead". Jimmy Cobb on drums.
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| Miles Davis "Summertime" (1958) |
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| rovingeye2 |
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"Summertime" is a track from the album "Porgy and Bess" by jazz trumpet musician Miles Davis, released in 1958 on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's opera Porgy and Bess. The album was recorded in four sessions on July 22, July 29, August 4 and August 18 in 1958 at Columbia's 30th Street Studio in New York City. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations. For many jazz critics, Porgy and Bess is regarded as historic. In 1958, Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity. Five years earlier, in 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords. Abandoning the traditional major and minor key relationships of Western music, Russell developed a new formulation using scales or a series of scales for improvisations. Russell's approach to improvisation came to be known as modal in jazz. Davis saw Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled "thick". Modal composition, with its reliance on scales and modes, represented, as Davis put it,[3] "a return to melody". In a <b>...</b>
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| So What - Jonh Coltrane and Miles Davis |
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| DrThiMarques |
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"So What" is the first track on the 1959 Miles Davis and John Coltrane album Kind of Blue and is often credited as one of his best works. It is one of the most well-known examples of modal jazz, set in the Dorian mode and consisting of 16 bars of D minor7, followed by eight bars of Eb minor7 and another eight of D minor7. This AABA structure puts it in the format of popular song structure. The piano and bass introduction for the piece was written by Gil Evans for Bill Evans and Paul Chambers on Kind of Blue. An orchestrated version by Gil Evans of this introduction is later to be found on a television broadcast given by Miles' Quintet (minus Cannonball Adderley who was ill that day) and the Gil Evans Orchestra; the orchestra gave the introduction after which the quintet produced a rendition of the rest of "So What". The distinctive voicing employed by Bill Evans for the chords that interject the head, from the bottom up three perfect fourths followed by a major third, has been given the name "So What chord" by such theorists as Mark Levine. While the track is taken at a very moderate tempo on Kind Of Blue, it is played at an extremely fast tempo on later live recordings by the Quintet, such as Four and More. The same chord structure was later used by John Coltrane for his standard "Impressions".
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| Amir3793 |
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From his classic album Kind Of Blue
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| Miles Davis - Kind of Blue 50th Anniversary |
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| LegacyRecordings |
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The 50th Anniversary of Miles Davis' Kind of Blue is a very historic event. Legacy Recordings is releasing a Collector's Edition Box set on September 30 to celebrate this very important release. Take a look at this piece and see why this is such an important release, if you don't already know.
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| Cannonball Adderley feat. Miles Davis " Autumn Leaves" |
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| rovingeye2 |
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Somethin' Else is a 1958 album by jazz musician Julian "Cannonball" Adderley, regarded as a landmark album in the hard bop and cool styles. This critically-acclaimed album is notable for the presence and prominent contributions of Miles Davis, in one of his few recording dates for Blue Note Records. Many critics and jazz fans consider Somethin' Else to be among the greatest jazz albums of all time. When alto saxophonist Cannonball Adderley culled together this quartet, he grabbed three champions from seemingly disparate schools to complement his flinty solos: Miles Davis, the king of cool; Art Blakey, the thundering force of hard bop; Hank Jones, a veteran of swing; and Sam Jones, a versatile bassist adaptable to nearly any setting. The results are one of Blue Note's most beloved albums. The open-ended beauty of "Autumn Leaves," which features Davis beautifully stating the melody on muted trumpet, sounds like it could easily be an outtake from Kind of Blue (which it isn't). The midtempo title track provides the centerpiece of this classic as Adderley echoes Miles's swaggering melody before both unravel wonderful solos. Cannonball Adderley...Sax, Miles Davis...Trumpet, Sam Jones...Double Bass, Hank Jones...Piano...Art Blakey...Drums. From the 1958 album Somethin' Else.
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