[SACD-R][OF] Miles Davis - Nefertiti - 1968/2015 (Post-Bop, Modal)

Miles Davis Nefertiti Формат записи/Источник записи: [SACD-R][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 1968/2015 Жанр: Post-Bop, Modal Издатель(лейбл): Mobile Fidelity Sound Lab Продолжительность: 00:39:15 Наличие сканов в содержимом раздачи: Да Треклист: 1. Nefertiti 07:55 2. Fall 06:38 3. Hand Jive 08:57 4. Madness 07:33 5. Riot 03:06 6. Pinocchio 05:08 Bass – Ron Carter Drums – Tony Williams Piano – Herbie Hancock Tenor Saxophone – Wayne Shorter Trumpet – Miles Davis Контейнер: ISO (*.iso) Тип рипа: image Разрядность: 64(2,8 MHz/1 Bit) Формат: DSD Количество каналов: 2.0 Доп. информация: Released January 15, 1968: Columbia ‎– CS 9594 Recorded June 7, 22-23 and July 19, 1967 30th Street Studio (New York, New York) Mobile Fidelity UDSACD 2146 Producer Teo Macero (1-3), Howard Roberts (4-6) Engineer – Fred Plaut, Ray Moore Photography – Bob Cato Источник (релизер): pssacd (PS³SACD) http://sa-cd.net/showtitle/10810   Об альбоме (сборнике) Nefertiti is a studio album by American jazz musician Miles Davis, released in March 1968. Recorded on June 7, June 22–23 and July 19, 1967 at Columbia’s 30th Street Studio, the album was Davis’ last fully acoustic album. Davis himself did not contribute any compositions, which were mostly written by Herbie Hancock and Wayne Shorter. The album reached No. 8 on the Billboard Top Jazz Albums charts in 1968. All Music Review Nefertiti, the fourth album by Miles Davis’ second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes — but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on “Hand Jive.” Yet even when the instrumentalists and soloists are placed in the foreground — such as Miles’ extended opening solo on “Madness” or Hancock’s long solo toward the end of the piece — this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What’s impressive, like on all of this quintet’s sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti’s charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.