Artist: Various Artists
Title: God Dont Never Change: The Songs Of Blind Willie Johnson
Genre: Jazz
Release Date: 2016
Label: ALLIGATOR RECORDS
Duration: 41:56
Quality: FLAC 44.1kHz/24bit
Source: Bandcamp

A stunning collection of artists and performances celebrate the timeless music of legendary gospel bluesman Blind Willie Johnson. From Derek Trucks’ and Susan Tedeschi’s reverent reading of Keep Your Lamp Trimmed And Burning to Lucinda Williams’ slide guitar-fueled lament in Nobody’s Fault But Mine, from Luther Dickinson’s spirited take on Bye And Bye I’m Going To See The King (with The Rising Star Fife & Drum Band) to Tom Waits’ virtual embodiment of Johnson himself on The Soul Of A Man and John The Revelator, this record is packed with incomparable recordings that speak as much to the greatness of the performers as they do the enduring legacy of Blind Willie Johnson.

Tracklist:
01. Tom Waits — The Soul Of A Man
02. Lucinda Williams — Nobody’s Fault But Mine
03. Derek Trucks & Susan Tedeschi — Keep Your Lamp Trimmed and Burning
04. Cowboy Junkies — Jesus Is Coming Soon
05. The Blind Boys of Alabama — Mother’s Children Have a Hard Time
06. Sinad O’Connor — Trouble Will Soon Be Over
07. Luther Dickinson Featuring the Rising Star Fife & Drum Band — Bye and Bye I’m Going To See The King
08. Lucinda Williams — God Don’t Never Change
09. Tom Waits — John The Revelator
10. Maria McKee — Let Your Light Shine on Me
11. Rickie Lee Jones — Dark Was the Night / Cold Was the Ground

Note
Download Code from Vinyl issue (Bandcamp).

Download:

https://file.al/b6yu863wfdwq/hires.link_VAGodDontNeverChange.TheSongsOfBlindWillieJohnson2016Bandcamp24441.rar.html

Artist: Weather Report
Title: The Legendary Live Tapes 1978-1981
Genre: Jazz
Release Date: 2015
Label: Columbia/Legacy
Duration: 4:07:25
Quality: FLAC 96kHz/24bit
Source: HDTracks

Weather Report’s The Legendary Live Tapes features four discs of sensational unreleased performances all “completely, totally, unapologetically and insanely live” recorded by the legendary jazz group from 1978 to 1981. This package uniquely showcases Weather Report’s extensive prowess as a band, opting not to replicate the ebb and flow of a standard Weather Report set at the time, instead offering a uniquely curated experience that captures the dazzling directions the group took at the arguable height of their powers.

These four discs offer completely unreleased performances by the Weather Report lineup of keyboardist Joe Zawinul, saxophonist Wayne Shorter, bassist Jaco Pastorius, drummer Peter Erskine, and a bit later, percussionist Bobby Thomas, Jr. It was compiled for release by Erskine (whose historical essay and annotated track notes are fantastic) and Tony Zawinul, Joe’s son. These are mostly soundboard cassettes made by WR’s longtime live sound engineer Brian Risner, with choice audience tapes and commercial mobile rig selections mixed in. While it (mostly) sounds like an excellent bootleg, the sound here is remarkable given the root sources. Similar to 2002’s Live and Unreleased, the material is not arranged chronologically. Disc one begins with the quintet in 1980/1981; disc four is from the quartet in 1978, and it skips around in between. The sequencing is peculiar to Erskine’s and Zawinul’s personal notions about what best constituted raw evidence of the band’s collective ability on any given night of a tour — warts and all. (An example is the inclusion of an abrupt, incomplete “Jaco’s Solo” on disc one. It’s here as a metaphor for the bassist’s mercurial personality and the gap his absence leaves, but it’s too much of a quirk for most listeners. (Thankfully, there is a full, more inspired version on disc four from 1978.) But the many highlights offset these moments. On disc one, “Brown Street” is taken from a rehearsal vastly overdubbed later for 8:30; the root version is revelatory. The scorching medley of “Badia/Boogie Woogie Waltz” is fiery and intense — tape collectors feel free to compare. Shorter’s brief quote from “What’s Goin’ On” in “The Orphan” reveals how much R&B was part of his playing during this period, and his seven-plus-minute solo spot is magnificent. Disc two offers a gorgeous medley of Pastorius’ “Continuum”/”River People” — played in his hometown of Philly — and is followed by a 21-minute, newly discovered “Gibraltar” from Erskine’s second gig with WR. Disc three by the quintet is from 1980-1981 and contains excellent performances of “Madagascar,” followed by a hard-grooving “Night Passage.” (The latter tune was eventually dropped from public performance.) These tracks — plus two more — are from proper mobile recording equipment and as such they stand out. A spacy bebop reading of Duke Ellington’s “Rockin’ in Rhythm” precedes a ragged “Port of Entry” — the only known version recorded by the quartet (just prior to Thomas’ joining). The final disc offers long, kinetic versions of “Elegant People,” “Scarlet Woman,” and “Black Market,” as well as a raucous “Teen Town” and a spacy, dubby version of “Directions.” While The Legendary Live Tapes, 1978-81 is a glimpse of the complex, multifaceted — and controversial — persona that was WR, it is a long and fruitful one. It showcases the band at their jazz-funk best with improvisational and collective intuitive chops usually on stun. Hopefully there is more where this came from.

Tracklist:
01 — 8:30
02 — Sightseeing
03 — Brown Street
04 — The Orphan
05 — Forlorn
06 — Three Views of a Secret
07 — Medley: Badia / Boogie Woogie Waltz
08 — Wayne Solo
09 — Jaco Solo (Osaka 1980)
10 — Joe and Wayne Duet (Tokyo 1978)
11 — Birdland
12 — Peter’s Solo (Drum Solo)
13 — A Remark You Made
14 — Continuum / River People
15 — Gibraltar
16 — Fast City
17 — Madagascar
18 — Night Passage
19 — Dream Clock
20 — Rockin’ In Rhythm
21 — Port of Entry
22 — Elegant People
23 — Scarlet Woman
24 — Black Market
25 — Jaco Solo (Osaka 1978)
26 — Teen Town
27 — Peter’s Drum Solo (Osaka 1978)
28 — Directions

Download:

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Artist: Miles Davis
Title: Amandla
Genre: Jazz
Release Date: 1989/2011
Label: Warner Bros
Duration: 43:50
Quality: FLAC 192kHz/24bit
Source: HDTracks

Amandla was Miles’ perfect departure from Tutu, and a comeback for himself and his right-hand man, the composer Marcus Miller. The album features investigations into the possibilities of contemporary synthesizers and drum machines. But unlike Tutu, Miles and Miller supply a satisfactory amount of real orchestral instrumentation, real drums, percussion and guitars.

A particularly strong set by late-period Miles Davis, this LP is highlighted by a surprisingly straight-ahead performance titled “Mr. Pastorius.” In addition to Davis and his new altoist Kenny Garrett, various guests (including Marcus Miller, guitarist Jean-Paul Bourelly, Joey DeFrancesco on keyboards, Rick Margitza on tenor, pianist Joe Sample, and bassist Foley) get their chances to play next to the great legend who is in top form. An excellent effort, it was really his last studio recording with his regular band.

Tracklist:
01 — Catembe
02 — Cobra
03 — Big Time
04 — Hannibal
05 — Jo-Jo
06 — Amandla
07 — Jilli
08 — Mr. Pastorius

Download:

https://file.al/6vokev1wcvht/hires.link_MilesDavisAmandla19892011HDTracks24192.part1.rar.html
https://file.al/ignocw2kmqvf/hires.link_MilesDavisAmandla19892011HDTracks24192.part2.rar.html

Artist: Miles Davis
Title: Ascenseur Pour LEchafaud (OST)
Genre: Jazz
Release Date: 1957/2013
Label: Universal (France)
Duration: 1:14:04
Quality: FLAC 96kHz/24bit
Source: HighResAudio

Ascenseur pour l’chafaud is an album by jazz musician Miles Davis. It was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. The album features the musical cues for the 1958 Louis Malle film “Ascenseur pour l’chafaud”.

Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle’s Ascenseur Pour L’Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-’50s cool or bop music of Miles Davis, played with French jazzmen — bassist Pierre Michelot, pianist Ren Urtreger, and tenor saxophonist Barney Wilen — and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords. Michelot is as important a figure as the trumpeter because he sets the tone, as on the stalking “Visite du Vigile.” While the mood of the soundtrack is generally dour and somber, the group collectively picks up the pace exponentially on “Diner au Motel.” At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs, as on “Generique” or “L’Assassinat de Carala,” respectively. Clarke is his usual marvelous self, and listeners should pay close attention to the able Urtreger, by no means a virtuoso but a capable and flexible accompanist. This recording can stand proudly alongside Duke Ellington’s music from Anatomy of a Murder and the soundtrack of Play Misty for Me as great achievements of artistic excellence in fusing dramatic scenes with equally compelling modern jazz music.

Tracklist:
1. Gnrique (Bof Ascenseur Pour L’Echafaud)
2. L’Assassinat De Carala (Bof Ascenseur Pour L’Echafaud)
3. Sur L’Autoroute (Bof Ascenseur Pour L’Echafaud)
4. Julien Dans L’Ascenseur (Bof Ascenseur Pour L’Echafaud)
5. Florence Sur Les Champs-lyses (Bof Ascenseur Pour L’Echafaud)
6. Dner Au Motel (Bof Ascenseur Pour L’Echafaud)
7. vasion De Julien (Bof Ascenseur Pour L’Echafaud)
8. Visite Du Vigile (Bof Ascenseur Pour L’Echafaud)
9. Au Bar Du Petit Bac (Bof Ascenseur Pour L’Echafaud)
10. Chez Le Photographe Du Motel (Bof Ascenseur Pour L’Echafaud)
11. Nuit Sur Les Champs-lyses (Take 1)
12. Nuit Sur Les Champs-lyses (Take 2)
13. Nuit Sur Les Champs-lyses (Take 3 — Generique)
14. Nuit Sur Les Champs Elysees Florence Sur Les Champs Elysees (Take 4)
15. Assassinat Visite Du Vigile (Take 1)
16. Assassinat Julien Dans L’Ascenceur (Take 2)
17. Assassinat L’Assassinat De Carala (Take 3)
18. Motel (Diner Au Motel)
19. Final (Take1)
20. Final (Take 2)
21. Final (Take 3)
22. Ascenseur (Evasion De Julien)
23. Le Petit Bal (Take 1)
24. Le Petit Bal (Take 2)
25. Squence Voiture (Take 1)
26. Sequence Voiture Sur L’Autoroute (Take 2)

Pesrsonal
Miles Davis — trumpet
Barney Wilen — tenor saxophone
Ren Urtreger — piano
Pierre Michelot — bass
Kenny Clarke — drums

Download:

https://file.al/qhhwr8gnr0s5/hires.link_MilesDavisAscenseurPourLEchafaud1957HighResAudio24bit96kHz.part1.rar.html
https://file.al/4r4vx4s2ti5b/hires.link_MilesDavisAscenseurPourLEchafaud1957HighResAudio24bit96kHz.part2.rar.html

Artist: Miles Davis
Title: A Tribute To Jack Johnson
Genre: Jazz
Release Date: 1971/2014
Label: Columbia/Legacy
Duration: 52:27
Quality: FLAC 96kHz/24bit
Source: HDTracks

A Tribute to Jack Johnson is a soundtrack composed by Miles Davis to accompany a documentary film about the life of boxer Jack Johnson. For the score, Davis said he wanted to put together what he called “the greatest rock and roll band you have ever heard.” The line-up featured John McLaughlin and Sonny Sharrock (guitars), Herbie Hancock and Chick Corea (keyboards), Bennie Maupin (clarinet), and Jack DeJohnette and Billy Cobham (drums). Produced by Teo Macero, the soundtrack was recorded in two sessions between February and April of 1970. Both sessions took place at the 30th Street Studio in New York City.

None of Miles Davis’ recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis’ promise that he could form the “greatest rock band you ever heard.” Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, “Right Off,” the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians’ point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Miles; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Miles rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. There is this groove that gets nastier and nastier as the track carries on, and never quits, though there are insertions by Macero of two Miles takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On “Yesternow,” the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Miles, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown’s “Say It Loud, I’m Black and I’m Proud.” The material that eases the first half of the tune into the second is taken from “Shhh/Peaceful,” from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of “Right Off.” It gets more complex as the original lineup is dubbed back in with a section from Miles’ tune “Willie Nelson,” another part of the ambient section of “Right Off,” and an orchestral bit of “The Man Nobody Saw” at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.

Tracklist:
01 — Right Off
02 — Yesternow

Pesrsonal
The first track and about half of the second track were recorded on April 7, 1970 by this sextet:
Miles Davis — trumpet
Steve Grossman — soprano saxophone
John McLaughlin — electric guitar
Herbie Hancock — organ
Michael Henderson — electric bass
Billy Cobham — drums

The “Willie Nelson” section of the second track (starting at about 13:55) was recorded on 18 February 1970 by a different and uncredited lineup:
Miles Davis — trumpet
Bennie Maupin — bass clarinet
John McLaughlin — electric guitar
Sonny Sharrock — electric guitar
Chick Corea — electric piano
Dave Holland — electric bass
Jack DeJohnette — drums

Download:

https://file.al/qmuvpzd1qrxp/hires.link_MilesDavisATributeToJackJohnson19712014HDTracks2496.part1.rar.html
https://file.al/objkdtfxbeob/hires.link_MilesDavisATributeToJackJohnson19712014HDTracks2496.part2.rar.html

Artist: Miles Davis
Title: Birth Of The Cool
Genre: Jazz
Release Date: 1957/2013
Label: Blue Note Records
Duration: 32:43
Quality: FLAC 192kHz/24bit
Source: HDTracks

Birth Of The Cool is a must-have compilation album featuring three landmark Davis sessions from 1949 to 1950. Showcasing compelling and unique instrumentation, Davis is joined by acclaimed musicians including Lee Konitz, Gerry Mulligan, Al Haig, Al McKibbon, Max Roach, Kenny Clarke, Kenny Hagood, Bill Barber, J.J. Johnson and more. The album is included on Guardian’s “50 Great Moments in Jazz.” This is a definitive release in the history of cool jazz.

So dubbed because these three sessions — two from early 1949, one from March 1950 — are where the sound known as cool jazz essentially formed, Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there’s a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions — arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach — is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result — the very thing that came to define West Coast or “cool” jazz — but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.

Tracklist:
01 — Move
02 — Jeru
03 — Moon Dreams
04 — Venus De Milo
05 — Budo
06 — Deception
07 — Godchild
08 — Boplicity
09 — Rocker
10 — Israel
11 — Rouge

Download:

https://file.al/5bnk29ir35h1/hires.link_MilesDavisBirthOfTheCool19572013HDTracks24192.part1.rar.html
https://file.al/wxpbbwnd2ymx/hires.link_MilesDavisBirthOfTheCool19572013HDTracks24192.part2.rar.html

Artist: Miles Davis
Title: Bitches Brew
Genre: Jazz
Release Date: 1970/2013
Label: Blue Note Records
Duration: 01:33:55
Quality: FLAC 96kHz/24bit
Source: HDTracks

Chart History/Awards
— Reached #1 on Billboard’s Top Jazz Albums.
— One of Rolling Stone’s “500 Greatest Albums of All Time.”
— One of Q’s “Best Jazz Albums of All Time.”
— Won the GRAMMY for Best Large Jazz Ensemble Performance.

Bitches Brew is a pivotal document in music history. Widely considered one of the greatest jazz albums ever made, it is Miles Davis’ first Gold-certified work. The music legend continues his experimentation with electric instruments, bridging together jazz and rock. Davis’ innovative masterpiece mixed the best elements of free jazz, electric rock textures and blues phrasings. It is one of Q Magazine’s “Best Jazz Albums of All Time” and one ofRolling Stone’s “500 Greatest Albums of All Time.” It reached #1 on Billboard’s Top Jazz Albums and won the GRAMMY for Best Large Jazz Ensemble Performance.

“…these chaps have discovered a new way to cook.” –Rolling Stone

“Any one of these singular extrapolations can still transport you light-years away from reality in a heartbeat.” –Entertainment Weekly

5 stars out of 5 — MOJO

Tracklist:
Disc 1
1 Pharaoh’s Dance 20:05
2 Bitches Brew 26:59
Disc 2
1 Spanish Key 17:32
2 John McLaughlin 4:22
3 Miles Runs The Voodoo Down 14:01
4 Sanctuary 10:56

Download:

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Artist: Miles Davis
Title: Doo-Bop
Genre: Jazz
Release Date: 1992/2011
Label: Warner Bros
Duration: 43:45
Quality: FLAC 192kHz/24bit
Source: HDTracks

Miles Davis’s last studio project is an adventurous collision of jazz and hip-hop.

If On the Corner suggested hip-hop beats as far back as two decades ago, then consider Doo-Bop as offspring. Miles’ teaming with producer Easy Mo Bee is a natural — more in league with England’s acid jazz scene than anything in the trumpeter’s recent canon. Those who’ve howled over the post-Bitches Brew work will find no solace here; instead, chalk this up as one of Miles’ most entertaining efforts.

Tracklist:
01 — Mystery
02 — The Doo-Bop Song
03 — Chocolate Chip
04 — High Speed Chase
05 — Blow
06 — Sonya
07 — Fantasy
08 — Duke Booty
09 — Mystery (Reprise)

Download:

https://file.al/9fhq65lixqi4/hires.link_MilesDavisDooBop19922011HDTracks24192.part1.rar.html
https://file.al/jvmfxfy74hb2/hires.link_MilesDavisDooBop19922011HDTracks24192.part2.rar.html

Artist: Miles Davis
Title: In a Silent Way
Genre: Jazz
Release Date: 1969/2013
Label: Columbia/Legacy
Duration: 38:06
Quality: FLAC 176.4kHz/24bit
Source: HDTracks

Chart History/Awards
— Reached #3 on Billboard’s Top Jazz Albums.
— One of Rolling Stone’s “50 Coolest Records of All Time.”

In A Silent Way is Miles Davis’ 1969 masterpiece. It is widely regarded as one of Davis’ finest works and one of the most innovative jazz albums of all time. It is an unforgettable and intriguing fusion of jazz and rock. The album features fellow virtuosos Tony Williams, Herbie Hancock, Wayne Shorter, Chick Corea, John McLaughlin, Dave Holland and Joe Zawinul. The musicians create rich layers of brilliance. This is a landmark achievement and an important document in jazz history.

“This gave birth to yet another new sound: electronic, lush, melancholy, full of otherworldly beauty.” — Rolling Stone
4 stars out of 5 — “…Cool, quiet and gently insistent.” –Uncut
“The record is an essential piece to understanding Miles.” — All About Jazz

Tracklist:
01 — Mystery
02 — The Doo-Bop Song
03 — Chocolate Chip
04 — High Speed Chase
05 — Blow
06 — Sonya
07 — Fantasy
08 — Duke Booty
09 — Mystery (Reprise)

Pesrsonal
1 Shhh/Peaceful 18:14
2 In A Silent Way 19:52

Download:

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https://file.al/u2x6zkpsrhd0/hires.link_MilesDavisInASilentWay19692013HDTracks24176.4.part2.rar.html

Artist: Miles Davis
Title: Kind Of Blue
Genre: Jazz
Release Date: 1959/2013
Label: Columbia/Legacy
Duration: 45:26
Quality: FLAC 192kHz/24bit
Source: HDTracks

Kind of Blue is an album most have heard many times before in a wide variety of formats. Now, you can hear it as if you were right there in the recording studio with the musicians! After many years, Sony finally decided to remaster Kind of Blue hi-res at 192kHz/24bit with the brilliant engineer Mark Wilder and the dedicated and knowledgeable producer Steve Berkowtiz (who has spent more time with and knows this album better than anyone out there). The quality of sound on this recording is unparalleled—listening to this release is like being in the studio with Miles.

Kind of Blue isn’t merely an artistic highlight for Miles Davis, it’s an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue possess such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of “So What.” From that moment on, the record never really changes pace — each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It’s the pinnacle of modal jazz — tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn’t quite explain why seasoned jazz fans return to this record even after they’ve memorized every nuance. They return because this is an exceptional band — Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb — one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don’t like Kind of Blue, you don’t like jazz — but it’s hard to imagine it as anything other than a cornerstone of any jazz collection.

Tracklist:
01 — So What
02 — Freddie Freeloader
03 — Blue in Green
04 — All Blues
05 — Flamenco Sketches

Note
Kind of Blue Becomes Digital, by Engineer Mark Wilder
Since the Kind of Blue mixed masters are multiple generations from the original (due to excessive play/wear), we decided to go directly to the original session reels. Not only does this put us at the original session as a starting point, but it also allows us to deal with the pitch issue as well.

The three, 3-track half-inch tapes are in good condition, but age has force them to “scallop” a little, meaning that the edges curl away from the tape head. This changed the initial focus from mixing from the originals to archiving them before mixing and working from the archive files. This allowed us to gently guide the tape against the playback head to get optimal contact and fidelity.

The archiving was done at 192kHz/24 bits, played from a modified Ampex ATR 104, and hard-wired to HDCD Model 2’s directly patched to a Lynx 2 sound card.

An upside to working from the archive files was the ability to chase the original fader moves done during the mix in 1959. We constantly compared to an early pressing — mono and stereo — and worked bar by bar to duplicate the level moves on the three tracks to match as well as possible.

Each channel was converted to analog and passed through a GML mixer, bussed to stereo or mono — depending on the release format — and converted once again to 192Kc/24 bits. At the GML, we inserted processing where needed.

Download:

https://file.al/edn6i0l2jviz/hires.link_MilesDavisKindOfBlue19592013HDTracks24192.part1.rar.html
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Artist: Miles Davis
Title: Miles Davis Volume 1 & 2
Genre: Jazz
Release Date: 1985/2013
Label: Blue Note Records
Duration: 01:27:18
Quality: FLAC 192kHz/24bit
Source: HDTracks

Miles Davis’ recordings from the years of 1951-1954 are often overlooked for a number of reasons. Davis had a somewhat erratic lifestyle at the time, and these recordings do not feature the first ‘classic’ quintet. Even though Davis did not record nearly as often as in later years, what was recorded is quite outstanding.

Volume 1:
Miles Davis’ recordings of 1951-1954 tend to be overlooked because of his erratic lifestyle of the period and because they predated his first classic quintet. Although he rarely recorded during this era, what he did document was often quite classic. The two sessions included on this CD (which includes three alternate takes) are among the earliest hard bop recordings and would indirectly influence the modern mainstream music of the 1960s. The first session features Davis in a sextet with trombonist J.J. Johnson, altoist Jackie McLean, pianist Gil Coggins, bassist Oscar Pettiford, and drummer Kenny Clarke; highlights include “Dear Old Stockholm,” “Woody ‘n You,” and interpretations of “Yesterdays” and “How Deep Is the Ocean.” The remaining six numbers showcase Davis in a quartet with pianist Horace Silver, bassist Percy Heath, and drummer Art Blakey, really stretching out on such numbers as “Take Off” and “Well, You Needn’t.” However, on “It Never Entered My Mind,” Davis’ muted statement (his only one on this set) looks toward his treatments of ballads later in the decade.

Volume 2:
Like Miles Davis, Vol. 1, this set features arrangements in the order that they were recorded. (Vol. 2 contains the second Blue Note session, while Vol. 1 focused on the first and third.) This 1953 date was the most inspired, overtly beboppish of Davis’ three Blue Note sessions — an ambitious showcase for modern jazz’s greatest composers (J.J. Johnson, Ray Brown, Bud Powell, Jimmy Heath, Walter Fuller, and Dizzy Gillespie), and a remarkable rhythm section (drummer Art Blakey, bassist Percy Heath, and the obscure pianist Gil Coggins). A dynamic front line of Davis, trombonist J.J. Johnson, and the bassist’s brother Jimmy Heath on tenor saxophone, gives each tune big-band weight and texture. J.J. Johnson’s lilting “Kelo” and tragic “Enigma” proceed from the orchestral tradition of Birth of the Cool, and his taut, velvety, tenor trombone counterpoint contrasts nicely with Davis’ burnished mid-range and brassy cry. Tenor man Jimmy Heath seems to take the Basie and Gillespie big bands as the jumping-off point for his jazz classic “C.T.A.,” and ends his own solo with an affectionate nod to Lester Young. Davis’ ballad turn on “I Waited for You” is one of his most alluring performances, while his effortless swing on “C.T.A.” and “Ray’s Idea” sums up his innovations in blues phrasing. But his solo and arrangement on “Tempus Fugit” are simply transcendent. This Bud Powell anthem for modernists generates a challenging set of symphonic variations, driven along by the emotional intensity of Art Blakey. The joy with which Davis and Blakey morph between swing and Afro-Cuban rhythms, blues, and bop phrasing, is what jazz is all about.

Tracklist:
Volume 1:
01 — Tempus Fugit
02 — Kelo
03 — Enigma
04 — Ray’s Idea
05 — How Deep Is The Ocean
06 — C.T.A. (Alternate Take)
07 — Dear Old Stockholm
08 — Chance It
09 — Yesterdays
10 — Donna
11 — C.T.A.
12 — Woody’n You

Volume 2:
01 — Take Off
02 — Weirdo
03 — Woody ‘N You
04 — I Waited For You
05 — Ray’s Idea
06 — Donna
07 — Well You Needn’t
08 — The Leap
09 — Lazy Susan
10 — Tempus Fugit
11 — It Never Entered My Mind

Download:

https://file.al/j4ptdps1t1q0/hires.link_MilesDavisMilesDavisVolume1219852013HDTracks24192.part1.rar.html
https://file.al/9vr53rdr6h19/hires.link_MilesDavisMilesDavisVolume1219852013HDTracks24192.part2.rar.html
https://file.al/594b1hsmak2r/hires.link_MilesDavisMilesDavisVolume1219852013HDTracks24192.part3.rar.html

Artist: Miles Davis
Title: Miles Davis Volume 3
Genre: Jazz
Release Date: 1954/2014
Label: Blue Note Records
Duration: 26:22
Quality: FLAC 192kHz/24bit
Source: AcousticSounds

Miles Davis, Volume 3 (BLP 5040) is a 1954 10 inch LP album by Miles Davis. It consists of the third and last of three sessions recorded for Blue Note Records. Several years later, Davis would once again record at Blue Note, but as a sideman on Cannonball Adderley’s Somethin’ Else (BLP 1595).
The six tracks were recorded at Rudy Van Gelder’s Studio, Hackensack, New Jersey, on March 6, 1954 For the session he used exactly the same quartet he would again record with seven days later for side 2 of the Miles Davis Quartet LP (PRLP 161), released by Prestige. Davis says in his autobiography that these were his first recording sessions after successfully quitting his heroin habit, and that he arranged them both quickly as he needed money fast, and both Blue Note’s Alfred Lion and Prestige’s Bob Weinstock had given him a fair chance earlier when his reputation was in decline. This was also the first of several sessions Davis would record with the young Horace Silver, whom he liked for his funky style of playing.
After the 10 LP format was discontinued, the tracks would all reappear on the 12 album version of Miles Davis Volume 2 (BLP 1502), alongside tracks from Davis’ first two Blue Note sessions. In the CD era all six tracks would be reassigned to the CD version of Miles Davis Volume 1.

Tracklist:
1. Take Off 03:39
2. It Never Entered My Mind 04:02
3. Well You Needn’t 05:23
4. Lazy Susan 04:02
5. Weirdo 04:44
6. The Leap 04:32

Pesrsonal
Miles Davis — trumpet
Horace Silver — piano
Percy Heath — bass
Art Blakey — drums

Download:

https://file.al/4vcnx8906hcz/hires.link_MilesDavisVolume3195419224.rar.html

Artist: Miles Davis
Title: Round About Midnight
Genre: Jazz
Release Date: 1957/2014
Label: Columbia
Duration: 39:22
Quality: FLAC 96kHz/24bit
Source: Qobuz

‘Round About Midnight is an album by jazz musician Miles Davis. It was his debut on Columbia Records, and was originally released in March 1957 (CL 949). The album took its name from the Thelonious Monk song “‘Round Midnight”. Recording sessions took place at Columbia Studio D on October 26, 1955, and at Columbia’s 30th Street Studio on June 5 and September 10, 1956.

Although it had a lukewarm reception upon its release, ‘Round About Midnight has since been regarded by critics as a masterpiece of the hard bop genre and one of the greatest jazz albums of all time.On April 17, 2001, Sony reissued the album for compact disc on its Columbia/Legacy label, which featured 24-bit remastering and included bonus tracks and master takes from the initial sessions. A further two-disc reissue, on June 14, 2005, featured the 2001 reissue and a second disc containing Davis’ 1955 Newport Jazz Festival performance of “‘Round Midnight”, along with a recording of the quintet’s set from the 1956 Pacific Jazz Festival.

Tracklist:
01. ‘Round Midnight
02. Ah-Leu-Cha
03. All Of You
04. Bye Bye Blackbird
05. Tadd’s Delight
06. Dear Old Stockholm

Download:

https://file.al/5q82fp3thgww/hires.link_MilesDavisRoundAboutMidnight2014FLAC24.rar.html

Artist: Miles Davis
Title: The Last Word: The Warner Bros. Years
Genre: Jazz
Release Date: 2015
Label: Rhino/Warner Bros
Duration: 6:57:17
Quality: FLAC 44.1kHz/24bit
Source: HDTracks

8 disc set from Miles’ work in the 1980-1990s plus live performances. Newly remastered in 2015.

Disc 1 — Tutu
Disc 2 — Music From Siesta (With Marcus Miller)
Disc 3 — Amandla
Disc 4 — Dingo Original Soundtrack (With Michele Legrand)
Disc 5 — Doo Bop
Disc 6 — Miles & Quincy Live At Montreux
Disc 7 — Live Around The World
Disc 8 — Live Performance from Nice Festival, France

In 1985, Miles Davis shocked the music world by moving from Columbia to Warner Bros.. He immediately started working on an album called Perfect Way after a tune by Scritti Politti, later renamed Tutu by producer Tommy LiPuma. When Tutu (a tribute to Desmond Tutu) was released in 1986, it re-ignited Miles Davis’ career, crossing over into the rock and pop markets and winning him two Grammy Awards. A definitive collection of the later part of Miles Davis’ work, fully remastered, from the Warner Bros studio albums Tutu, Amandla and Doo-Bop, the Dingo and Siesta soundtracks, live recordings with Quincy Jones, and the likes of Kenny Garrett, Foley and Adam Holzman.

Perhaps even more so than his ’70s fusion period, trumpeter Miles Davis’ recordings for Warner Bros. from the ’80s sharply divided audiences. If 1970’s Bitches Brew forced jazz fans to take sides in the debate over what qualifies as jazz, albums like 1986’s Tutu and 1989’s Amandla were dismissed outright by the jazz police as over-produced pop albums that bore little if any resemblance to Davis’ classic recordings of the ’50s and ’60s. Despite such backlash from the elite, Tutu earned Davis a Grammy Award, and his records from this era often sold better than his previous, more reverent albums. Long in gestation, the 2015 eight-disc Miles Davis box set The Last Word: The Warner Bros. Years brings together all of the albums the trumpeter recorded for Warner Bros. from 1986 to 1991, plus various live recordings. Originally planned for release as far back as 2001, issues with the Davis estate meant the collection went unreleased. Instead, the label released several similar collections, including 2010’s Perfect Way and 2011’s 1986-1991: The Warner Years. While those sets offered useful thumbnail-sketch versions of Davis’ career with Warner, they are not the complete picture that is The Last Word. Choosing for various reasons to part ways with his longtime label Columbia, Davis signed with Warner Bros. in 1985. Coming out of the tail end of his electric fusion period of the ’70s and early ’80s, Davis embarked on what would be his final creative period, recording and performing right up until his death in September 1991. A fruitful time for Davis, albums included here like Tutu, Amandla, and Doo-Bop found him utilizing modern technology such as computerized loops and overdubs. Working with a bevy of talented younger musicians including bassist Marcus Miller and guitarist John Scofield, Davis continued to embrace a cross-genre aesthetic, delving further into funk and hip-hop, and even collaborating with post-punk outfits like Scritti Politti (whose “Perfect Way” he covered on Tutu). Also included are Davis’ soundtracks for the films Siesta and Dingo, the latter of which found him reuniting with composer Michel Legrand. Davis’ Warner years also found him at the apex of his return to the stage, and to that end, this collection includes three discs of live recordings, the most notable being the storied 1991 Montreux concert with Quincy Jones in which he revisited his classic Gil Evans arrangements. Recorded months before his death, the Montreux concert impossibly brought Davis’ relentlessly forward-thinking career full circle. Ultimately, while Davis’ Warner years will probably never appeal to the jazz police, they reveal an artist who remained a maverick until the end.

Tracklist:
Disc 1 — Tutu
01 — Tutu
02 — Tomaas
03 — Portia
04 — Splatch
05 — Backyard Ritual
06 — Perfect Way
07 — Don’t Lose Your Mind
08 — Full Nelson

Disc 2 — Music From “Siesta” (With Marcus Miller)
01 — Lost In Madrid Part I
02 — Siesta — Kitt’s Kiss — Lost In Madrid Part II
03 — Theme For Augustine — Wind — Seduction — Kiss
04 — Submission
05 — Lost In Madrid Part III
06 — Conchita — Lament
07 — Lost In Madrid Part IV — Rat Dance — The Call
08 — Claire — Lost In Madrid Part V
09 — Afterglow
10 — Los Feliz

Disc 3 — Amandla
01 — Catembe
02 — Cobra
03 — Big Time
04 — Hannibal
05 — Jo-Jo
06 — Amandla
07 — Jilli
08 — Mr. Pastorius

Disc 4 — “Dingo” Original Soundtrack (With Michele Legrand)
01 — Kimberley Trumpet
02 — The Arrival
03 — Concert On The Runway
04 — The Departure
05 — Dingo Howl
06 — Letter As Hero
07 — Trumpet Cleaning
08 — The Dream
09 — Paris Walking II
10 — Paris Walking I
11 — Kimberly Trumpet In Paris
12 — The Music Room
13 — Club Entrance
14 — The Jam Session
15 — Going Home
16 — Surprise!

Disc 5 — Doo Bop
01 — Mystery
02 — The Doo-Bop Song
03 — Chocolate Chip
04 — High Speed Chase
05 — Blow
06 — Sonya
07 — Fantasy
08 — Duke Booty
09 — Mystery (Reprise)

Disc 6 — Miles & Quincy “Live At Montreux”
01 — Introduction By Claude Nobs And Quincy Jones (Live at Montreux)
02 — Boplicity (Live at Montreux)
03 — Introduction To Miles Ahead Medley (Live at Montreux)
04 — Springsville (Live at Montreux)
05 — Maids Of Cadiz (Live at Montreux)
06 — The Duke (Live at Montreux)
07 — My Ship (Live at Montreux)
08 — Miles Ahead (Live at Montreux)
09 — Blues For Pablo (Live at Montreux)
10 — Introduction To Porgy And Bess Medley (Live at Montreux)
11 — Orgone (Live at Montreux)
12 — Gone, Gone Gone (Live at Montreux)
13 — Summertime (Live at Montreux)
14 — Here Come De Honey Man (Live at Montreux)
15 — The Pan Piper (Live at Montreux)
16 — Solea (Live at Montreux)

Disc 7 — Live Around The World
01 — In A Silent Way (Live at Indigo Blues Club 12/17/1988, New York, NY 2nd Show)
02 — Intruder (Live at Indigo Blues Club, New York, NY 12/17/1988 2nd Show)
03 — New Blues (Live at Greek Theatre 8/14/1988 Los Angeles, CA)
04 — Human Nature (Live at Liebenauer Eishalle 11/1/1988 Graz, Austria)
05 — Mr. Pastorius (Live at Le Zenith — Domaine de Grammond 04/12/89 Montpelier, France)
06 — Amandla (Live at Pallazo Della Civita ‘The Steps’ Rome, Italy, 07/26/1989)
07 — Wrinkle (Live at Casino De Montreux, Montreux International Festival 07/20/90 Montreux, Switzerland)
08 — Tutu (Live at Casino De Montreux 07/20/90)
09 — Full Nelson (Live at Osaka Expo Live Under The Sky Festival, Tokyo, Japan 08/7/88)
10 — Time After Time (Live at Chicago Theatre — JVC Jazz Festival Chicago, IL 6/9/89)
11 — Hannibal (Live)

Live Performance from Nice Festival, France (July 1986)
01 — Opening Medley (‘Theme From Jack Johnson’ / ‘Speak’ / That’s What Happened’)( Live at Nice Festival, France, July 1986)
02 — New Blues (Live at Nice Festival, France, July 1986)
03 — The Maze (Live at Nice Festival, France, July 1986)
04 — Human Nature (Live at Nice Festival, France, July 1986)
05 — Portia (Live from Nice Festival, France, July 1986)
06 — Splatch (Live at Nice Festival, France, July 1986)
07 — Time After Time (Live at Nice Festival, France, July 1986)
08 — Carnival Time (Live at Nice Festival, France, July 1986)

Download:

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Artist: Miles Davis
Title: Tutu
Genre: Jazz
Release Date: 1986/2011
Label: Rhino/Warner Bros
Duration: 42:47
Quality: FLAC 192kHz/24bit
Source: HDTracks

One of Miles Davis’ late career-defining masterworks and the winner of two Grammy Awards, Tutu found Davis again revolutionizing jazz by bringing it further into the realm of rock, funk, and R&B. The album features compositions by multiple Grammy winning bassist/songwriter Marcus Miller.

The controversial but memorable Tutu is mostly a duet between Miles Davis and the many overdubbed instruments of producer Marcus Miller (although violinist Michal Urbaniak, percussionist Paulinho da Costa, and keyboardist George Duke are among the other musicians making brief apperaances). Certainly the results are not all that spontaneous, but Davis is in top form and some of the selections (most notably the title cut) are quite memorable.

Tracklist:
01 — Tutu
02 — Tomaas
03 — Portia
04 — Splatch
05 — Backyard Ritual
06 — Perfect Way
07 — Don’t Lose Your Mind
08 — Full Nelson

Download:

https://file.al/c99iae9f9qvv/hires.link_MilesDavisTutu19862011HDTracks24192.part1.rar.html
https://file.al/xh4574op8txr/hires.link_MilesDavisTutu19862011HDTracks24192.part2.rar.html

Artist: Miles Davis
Title: Workin With The Miles Davis Quintet
Genre: Jazz
Release Date: 1959/2016
Label: Concord Music / Universal Music
Duration: 42:17
Quality: FLAC 192kHz/24bit
Source: Pono

Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary “first” quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz. Workin’ presents an easygoing program that balances ballads with the blues and includes quintet performances of originals by Davis (“Four,” “Half Nelson”), Coltrane (“Trane’s Blues”), and Dave Brubeck (“In Your Own Sweet Way”); an interpretation of the standard “It Never Entered My Mind” without saxophone; and a piano-trio version of Ahmad Jamal’s “Ahmad’s Blues.” Coltrane’s melancholy solo on Brubeck’s tune and Garland’s spry excursion on Coltrane’s are two of this classic’s many highlights.

Workin’ is the third in a series of four featuring the classic Miles Davis Quintet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin’ and Relaxin’, Workin’ is the product of not one — as mythology would claim — but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin’ is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band’s interaction on “Four” extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, Garland, and Jones, with Paul Chambers chasing along with his rhythmic metronome. Beneath the smouldering bop of “Trane’s Blues” are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers’ solo stands as one of his defining contributions to this band. In sly acknowledgement to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with “The Theme” — a brief and mostly improvised tune — indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin’, the final Miles Davis Quintet recording to have been culled from these historic sessions.

Tracklist:
01 — It Never Entered My Mind
02 — Four
03 — In Your Own Sweet Way
04 — The Theme
05 — Trane’s Blues
06 — Ahmad’s Blues
07 — Half Nelson
08 — The Theme (Take 2)

Pesrsonal
Miles Davis — trumpet
John Coltrane — tenor saxophone
Red Garland — piano
Paul Chambers — bass, cello
Philly Joe Jones — drums

Note
Produced by Bob Weinstock.
Recorded on May 11 and October 26, 1956 at Rudy Van Gelder Studio, Hackensack, NJ.
All tracks recorded on May 11, 1956, except “Half Nelson”, recorded on October 26.

Download:

https://file.al/yvyl3mpb5f9s/hires.link_MilesDavisWorkinWithTheMilesDavisQuintet19592016Pono24192.part1.rar.html
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Artist: Robert Glasper & Miles Davis
Title: Everythings Beautiful
Genre: Jazz
Release Date: 2016
Label: Columbia/Legacy
Duration: 47:04
Quality: FLAC 192kHz/24bit
Source: Pono

Everything’s Beautiful brings Miles Davis’ sound into the 21st century, blending a diverse group of master takes and outtakes from across Miles’ incredible tenure with Columbia Records (1955-1985) with original reinterpretations. Robert Glasper produced the collaboration. “I didn’t want to do just a remix record,” Glasper noted when discussing the 11-song set. “My idea was to show how Miles inspired people to make new art”. Knowing that “Miles didn’t have one audience,” Glasper recruited a legion of diverse guest artists to add to the magic of the project including familiar collaborators like R&B musicians Erykah Badu, Ledisi, Bilal and KING. They are joined by British soul singer-songwriter Laura Mvula; hip-hop producer Rashad Smith; Grammy-nominated Australian neo-soul quartet Hiatus Kaiyote, rapper/producer Illa J; jazz guitarist John Scofield, who collaborated with Davis; and the legendary Stevie Wonder.

Everything’s Beautiful isn’t quite a tribute or a remix project. It’s not a collaboration between Miles Davis and Robert Glasper, as it is billed. On the surface, from a stylistic standpoint and in terms of personnel, it is closer to a sequel to Black Radio Recovered. Predominantly relaxed and rather ethereal, richly layered yet not quite psychedelic, and rhythmically hip-hop more than anything else, the two releases feature much of the same production and vocal lineup, including Glasper and partner Jewels, Georgia Anne Muldrow, 9th Wonder, and Bilal and Phonte. Likenesses to Black Radio Recovered notwithstanding, this should be taken on its on own terms. Issued the day after Davis would have turned 90, less than two months after the release of Don Cheadle’s Miles Ahead — for which Glasper co-produced the soundtrack and provided the score — Everything’s Beautiful was marketed as “reimagined interpretations.” Sony’s catalog division had sought Glasper for remixes, but the keyboardist countered with the concept of making new material out of Davis’ multi-track Columbia recordings. He and his extended cast of associates were granted access to all of it, even studio chatter, amusingly laced through “Talking Shit,” an intro sourced from sessions for three LPs. Glasper plays on five cuts, soloing only on the animated Muldrow collaboration “Milestones.” Among the remaining six are essentially new recordings by Hiatus Kaiyote, King, and Ledisi with 1982-1985 Davis guitarist John Scofield, some of which don’t involve Glasper on production, either. Bill Evans’ piano from “Blue in Green,” as heard on 9th Wonder and Phonte’s “Violets,” and Davis’ trumpet from “Maiysha,” are among the more familiar elements. The latter arrives during Erykah Badu’s bossa nova vocalese version of the same-titled song, one of the album’s most creative moments. At times, Davis’ presence is inconspicuous. There’s only one instance, where a typically raspy exclamation is repetitiously inserted hype-man (Sen Dog) style, where it’s truly jarring. Considering the disparate source material and the quantity of vocalists, instrumentalists, and producers involved, it’s remarkable how smoothly the album flows from one track to the next. Unsurprisingly, it’s most appealing to fans of Glasper and those he involved. As the keyboardist states in the liner notes, “To me, the best way to show gratitude is to show how you’ve been inspired by someone: ‘Hey man, I wrote this song because of you!’ Not, ‘Hey, I’m playing your tune.’

Tracklist:
01 — Talking Shit
02 — Ghetto Walkin’ (feat. Bilal)
03 — They Can’t Hold Me Down (feat. Illa J)
04 — Maiysha (So Long) (feat. Erykah Badu)
05 — Violets (feat. Phonte)
06 — Little Church (feat. Hiatus Kaiyote)
07 — Silence Is The Way (feat. Laura Mvula)
08 — Song For Selim (feat. KING)
09 — Milestones (feat. Georgia Anne Muldrow)
10 — I’m Leaving You (feat. John Scofield & Ledisi)
11 — Right On Brotha (feat. Stevie Wonder)

Download:

https://file.al/ovsu7c39ox2m/hires.link_RobertGlasperMilesDavisEverythingsBeautiful2016Qobuz24441.rar.html

レーベル FlyingDog
配信開始日 2014.12.24
収録曲数 全25曲
販売データ ハイレゾ｜FLAC｜96.0kHz/24bit

http://mora.jp/package/43000005/VTCL-60171_F/

2005年11月25日、CDリリース。天野こずえ原作、佐藤順一監督によってアニメ化された本作は2005年10月より1クール放送された。”ヒーリングアニメ”という新境地を切り開いた本作を音楽で支えたのは、日本におけるブラジル音楽の草分け的存在であるChoro Clubと、気鋭のピアニストで、ゴスペラーズの「永遠に」の作曲者としても知られる妹尾武が組んだスペシャルユニット”Choro Club feat. Senoo”。他にも牧野由依の歌うOPテーマ、ROUND TABLE feat. Nino のEDテーマ、河井英里の挿入歌等…、作品と融合した音楽が詰め込まれたサウンドトラックも大ヒットを記録した。
◆本作品は16bit/44.1kHzのマスター音源をビクタースタジオ FLAIRが有するオリジナル技術『K2HDプロセッシング』を用いハイレゾ化した作品となります。

Tracklist:

1 – ゴンドラの夢 01:45
2 ウンディーネ -forest mix- 牧野 由依 01:43
3 – 鐘楼のパトリ～ネオ・ヴェネツィア～ 01:57
4 – AQUA 02:17
5 – 夏便り 01:26
6 – アクアアルタ日和 02:15
7 – 満月のドルチェ 04:09
8 – 恋とはどんなもの？ 03:24
9 – バルカローレ 河井 英里 01:50
10 – 迷い込んだ路地へと 01:59
11 – 幻想カーニバル 02:10
12 – 静かにあふれる涙 02:05
13 – 届かぬ想い 03:04
14 – 逆漕ぎクイーン 01:53
15 – ARIA 02:49
16 – 水の鏡 04:52
17 – アドリアの海辺 01:37
18 – 星影のゴンドラ 02:49
19 – オレンジの日々 03:40
20 – 天気雨 03:27
21 – サンタクロウスの空 河井 英里 04:00
22 – 歓喜の街 01:23
23 – AQUA -reprise- 02:37
24 – そして舟は行く 02:44
25 – Rainbow -acoustic ver.- ROUND TABLE feat. Nino 03:46

Download:

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https://file.al/njg4ilj1izmb/hires.link_ARIATheANIMATION.part2.rar.html
https://file.al/ryqumgvtpdvp/hires.link_ARIATheANIMATION.part3.rar.html

レーベル Victor
配信開始日 2015.02.18
収録曲数 全1曲
販売データ ハイレゾ｜FLAC｜96.0kHz/24bit

http://mora.jp/package/43000005/VE5HD-15507_F/

Tracklist:

大人の片想い。

Download:

https://file.al/0pqvnj2r8sbs/hires.link_AkihoYoshizawa.rar.html

レーベル FlyingDog
配信開始日 2015.08.05
収録曲数 全12曲
販売データ ハイレゾ｜FLAC｜96.0kHz/24bit

http://mora.jp/package/43000005/VEAHD-10758_F/

TV「ARIA The ANIMATION」「ARIA The NATURAL」のサウンドトラックCD未収録のピアノソロ曲を集めた究極の癒しのアルバム。OPテーマ「ウンディーネ」「ユーフォリア」の作曲者・窪田ミナが弾く新旧主題歌4曲のほか、Choro Clubとともに劇中音楽を担当している妹尾武が弾くBGM等のピアノバージョン8曲、計12曲収録。

◆本作品は16bit/44.1kHzのマスター音源をビクタースタジオ FLAIRが有するオリジナル技術『K2HDプロセッシング』を用いハイレゾ化した作品となります。

Tracklist:

1 – ユーフォリア 窪田 ミナ 02:23
2 – AQUA 妹尾 武 02:24
3 – 花冷え 妹尾 武 02:26
4 – 夏待ち 窪田 ミナ 02:25
5 – 遠い小舟 妹尾 武 02:48
6 – Smile Again 妹尾 武 02:52
7 – アクアアルタ日和 妹尾 武 02:35
8 – ウンディーネ 窪田 ミナ 02:07
9 – 鐘楼のパトリ～ネオ・ヴェネチア～ 妹尾 武 02:28
10 – サンタクロウスの空 妹尾 武 03:45
11 – そして舟は行く-Short Ver.- 妹尾 武 02:27
12 – Rainbow 窪田 ミナ 03:05

Download:

https://file.al/1govfhniet1f/hires.link_ARIA.part1.rar.html
https://file.al/rqobh0gjm503/hires.link_ARIA.part2.rar.html