Ta strona wykorzystuje mechanizm ciasteczek (cookies) do poprawnego działania. Więcej informacji na stronie Polityka Prywatności. Zamknij.

Logowanie

Miles Davis, Sonny Rollins, Tommy Flanagan, Paul Chambers

Collector's Items

  • Miles Davis - trumpet
  • Sonny Rollins - saxophone
  • Tommy Flanagan - piano
  • Paul Chambers - bass
Add to Basket

119.00 PLN

CD:

Nr kat.: vicj41509
Label  : JVC Japan

TERAZ 20BIT K2 MASTERING / DIGITAL K2 - KARTONIK MINI LP

All tracks have been digitally mastered using XRCD technology. One of Miles Davis' most sympathetic collaborators was tenor saxophonist Sonny Rollins, who shared his love for space, and his genius for melodic architecture. Rollins was only a few years Davis' junior when they first met, but Miles, by virtue of his extended stint with the Charlie Parker Quintet, was already viewed as an established stylist and leader. This January 30, 1953 recording date introduces the fiery drummer Philly Joe Jones and teams Rollins with his idol Charlie Parker, who in a few choruses seems to presage the entire history of Sonny Rollins. Davis' "Compulsion" is a shifting, restless line, and after a leaping Davis solo, Parker charges in with a thick-toned line followed by a robust Rollins. Bird and Rollins double the melodic line on two takes of "The Serpent's Tooth," the brisker second take being the more polished. Miles begins somewhat hesitantly on "Round Midnight," but his classic core arrangement (with Dizzy's famous ending) is already in place, as Bird plays his best solo of the session. COLLECTORS' ITEMS concludes with Miles and Sonny's final studio session together. Pianist Tommy Flanagan adds his special brand of harmonic intuition and swing, while Paul Chambers and Art Taylor round out a tightly coiled, elegant rhythm section. A muted Davis seems particularly inspired by the melody to Dave Brubeck's ballad "In Your Own Sweet Way," and Rollins doubles up with masterful restraint. "No Line" is an equestrian event--light, fast, and swinging--while the slow riff tune "Vierd Blues" features a particularly soulful Davis on open horn, egged on by Chambers' subtle counterpoint; Rollins lays way back behind the beat, with lazy, billowing melodic fragments, only to swoop back through with bold harmonic flourishes.