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Miles Davis - Sorcerer flac album

Miles Davis - Sorcerer flac album

Performer: Miles Davis
Title: Sorcerer
Style: Post-Bop,Modal Music,Jazz Instrument,Trumpet Jazz
Duration: 53:07
Location: Columbia Studio A, NY, NY
Relesed: 1967
Recording date: August 21, 1962 & May 24, 1967
Rating: 4.9
Votes: 789
Other formats: MP3 TTA AA AUD APE DMF

Sorcerer is an album recorded in May 1967 by the Miles Davis quintet. It is the third of six albums that this quintet recorded. It also includes one track from a 1962 session with vocalist Bob Dorough, which was the first time Wayne Shorter recorded with Davis. Davis does not play on the second track, "Pee Wee". The album's cover is a profile photo of actress Cicely Tyson, who at the time was Davis's girlfriend (and many years later his wife).

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles - this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer.

Miles Davis ‎– Sorcerer. Label: Columbia ‎– CK 65680, Legacy ‎– CK 65680. 2 stickers on jc: ‘Miles 75 anniversary’ & ’20-bit digitall. tracks 1-7 are the original LP from 1967 Tracks 8-9 are bonus tracks, issued earlier on Miles Davis - Miles Davis Quintet 1965-'68. All studio recordings Tracks 1-6, 8-9: recorded 9/16/17/24 May 1967 Track 7 recorded 21 August 1962. Total duration 52:56.

Sorcerer shows the second Miles Davis Quintet continuing to push the envelope musically. While the tracks are not as memorable overall as those as on their previous release, Miles Smiles, the music on Sorcerer is more adventurous and the interplay is very impressive. Pee Wee" is another strong track that is soothing and contains some creative bass playing from Ron Carter  . This item arrived seemingly sealed.

Davis's groups performed it as late as April 1970; the last known version appears on the live album Black Beauty. The tune has also been revived by Wayne Shorter by his quartet since the 90's. The CD reissue includes alternate takes of "Masqualero" and "Limbo".

This album has an average beat per minute of 129 BPM (slowest/fastest tempos: 88/185 BPM). See its BPM profile at the bottom of the page. 1. Prince of Darkness. BPM Profile Sorcerer. Album starts at 125BPM, ends at 88BPM (-37), with tempos within the -BPM range. Try refreshing the page if dots are missing). Recent albums by Miles Davis. Everything's Beautiful. Somethin' Else, Selections from '1958 Miles'. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles – this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer.

Only for completionists (1%). My first introduction to Miled Davis's (or 'es?) music, as long as intro to classic prog jazz in album form (not just songs). And I came here, as to every new genre and thinks. Third Miles Davis' new Quintet album is a bit different from excellent second one. If even more off the his hard-bop roots, album contains relaxed but cool music. There is difficult to find such emotional musicianship as on previous work. Miles continues his experimentation, sound is much more complex there. And even being quite mid-tempo, album takes you outside of music played. Not energetic, but more expert musicianship.

Track List

Title/Composer Performer Time
1 Prince of Darkness Wayne Shorter Miles Davis 6:29
2 Pee Wee Tony Williams Miles Davis 4:49
3 Masqualero Wayne Shorter Miles Davis 8:54
4 The Sorcerer Herbie Hancock Miles Davis 5:12
5 Limbo Wayne Shorter Miles Davis 7:17
6 Vonetta Wayne Shorter Miles Davis 5:37
7 Nothing Like You Bob Dorough / Fran Landesman Miles Davis 2:01
8 Masqualero Wayne Shorter Miles Davis 7:06
9 Limbo Wayne Shorter Miles Davis 5:27

Credits

Chris Albertson - Liner Notes
Vic Anesini - Remixing
Bob Belden - Liner Notes, Reissue Producer
Nicholas Bennett - Packaging Manager
Steven Berkowitz - A&R
Willie Bobo - Bongos, Guest Artist
Ron Carter - Bass, Guest Artist
Paul Chambers - Bass, Guest Artist
Jimmy Cobb - Drums, Guest Artist
Michael Cuscuna - Reissue Producer
Miles Davis - Primary Artist, Trumpet
Bob Dorough - Composer, Guest Artist, Vocals
Gil Evans - Arranger
Howard Fritzson - Reissue Art Director
Herbie Hancock - Composer, Guest Artist, Keyboards, Piano
Frank Laico - Engineer
Fran Landesman - Composer
Teo Macero - Producer
Paul M. Martin - Art Coordinator
Randall Martin - Reissue Design
Patti Matheny - A&R
Jan Persson - Insert Photography, Photography
Fred Plaut - Engineer
Frank Rehak - Trombone
Seth Rothstein - Project Director
Rob Schwarz - Mastering
Wayne Shorter - Composer, Guest Artist, Sax (Tenor), Saxophone
John Snyder - Reissue Producer
John Synder - Producer
Stanley Tonkel - Engineer
Irving Townsend - Producer
Allen Weinberg - Art Direction
Mark Wilder - Mastering, Remixing
Buster Williams - Bass
Tony Williams - Composer, Drums, Guest Artist
Francis Wolff - Insert Photography, Photography
Reviews (3)
Kelezel
Miles Davis Sorcerer is the first Miles Davis albums I owned. I went to the record store with the intention of buying a jazz album, so that I could learn about jazz. Miles Davis was one of the few jazz names I knew outside Louis Armstrong. I chose Sorcerer for two reasons: 1st being a college student with limited funds, it was the cheapest Davis album at the store & 2nd because I loved the cover with the profile of Cicely Tyson (not that I knew it was Cicely Tyson at the time). It has the classic lineup of the MD Quintet: Miles, Wayne Shorter, Ron Carter, Herbie Hancock & Tony Williams.The first song, “Prince of Darkness” caught me off guard with Tony Williams’ propelling drumming that gave such life to the song. I don’t begin to know how to musically describe jazz, so I do it in literary devices. There is the refrain that comes forward like a theme that must be delivered on time, above the forward motion of Williams’ drumming. To listen to this lineup play on this album became something I obsessed over for some time in college. The compositions are so minimal, some refrain that is played for a period then solos that innovate & modulate on the refrain. Below is Tony Williams’ drumming, so many different elements creating the whole rhythm. What grabs me immediately is the softness, the coolness of the jazz even though it is so rapidly propelled. Besides Williams, Ron Carter’s bass is running around the sound-scape.A friend who plays trumpet shared a thought about Miles that sums him up well. He was a bandleader, not a trumpet player. I’m don’t completely agree with the second half of that, but the first holds true across Davis’ career. Many of the most fascinating & original jazz players found their way into his bands at various times in his career: Coltrane, Jerry Mulligan, John Scofield, Keith Jarrett, Paul Chambers, George Foreman, Cannonball Adderly, Gil Evans, Chick Corea, Joe Zawinal, Bill Evans, the list could continue for several lines.When I first heard this album, I had no context of Miles’ career, & so I had to evaluate it for itself. Now I know that it represented a transition period between his traditional acoustic jazz & his later fusion period. However, at the time, I felt that the movements of these pieces were leading me down paths I hadn’t explored before. If I sat and listened in quiet moments in my room, I learned how the interplay of jazz musicians created something unique and broad out of a rather simple or short refrain that was repeated occasionally. There are examples of the call & response of jazz music, especially in the title song, “Sorcerer”. In other parts I learned to recognize the interweaving of seemingly disparate sounds into a new whole. Coming from a small town in Oklahoma, the big city sounds weren’t there to help me.

Cordann
The esprit de corps of this line-up was in full swing when they came to record Sorcerer, a total group effort where there is no one stand-out voice. Where E.S.P. was a white-light depiction of daytime, Sorcerer reveals itself as a sound-painting of the night. The frenetic vigour of Miles Smiles is here downplayed; mood is the motive on these performances which are built on little more than unelaborated summary outlines and intimated harmonic landscapes. Open-ended rather than free-form and structurally minimal, Davis invokes an updated retelling of Kind Of Blue (1958) with only slightly more fire in its belly. There are thrilling moments of flash and thunder, ‘Limbo’ at times threatens to boil over, but they are passing. Mostly this is about surfaces and planes, Miles’ solo on ‘Vonetta’ hinting at submerged shapes barely discernible, the artist dreaming up cubist canvases having expended fully the charms of his once-fertile “blue” period. Wayne Shorter blows shamanic incantations, the snake-charmer in his soul surfacing on ‘Masquelero’ and the gently spiralling ‘Pee Wee’ where Davis sits out completely and Herbie Hancock’s piano becomes an illusionistic mirror-mosaic. The strongest track is Hancock’s ‘The Sorcerer’, which opens with Shorter sketching an uneven theme which seems as if he is trying out random ideas until Davis abruptly accompanies him bringing the jagged melody into sharp focus. They engage in a face-off during an unguarded exchange of back-and-forth improvisation, resolved only by another display of scintillation by Hancock. A rewarding slice of brilliance from Miles Davis.

Keath
Miles Davis was the kind of guy who could make many a great masterpieces no matter the era and no matter the people he played with (who almost always were either legends themselves or people who become legends as a result of working with him). Sorcerer is no exception. Sorcerer easily ranks up there with the likes of it's predecessor Miles Smiles and it's successor Nefertiti as well as Wayne Shorter's (who plays on this album) Speak no Evil and Herbie Hancock's (who also plays on this album) Maiden Voyage as being among the greatest masterworks of post bop. Each song on sorcerer sounds like it could be a short movie or a segment of a movie depicting urban nightlife animated in a stark, colorful, modernist fashion like that of the movie A Cat in Paris coupled with psychedelic (or Synesthesic) visions of cubistic and Bauhuas style modern art and mystical sorcerers wooing nocturnal crowds with their magic (Prince of Darkness, The Sorcerer) with some nocturnal romantic warmth (Pee Wee) and costumed escapades (Masqualero) and a little bit of noiresque mystery and enigma (Vonetta) to top it all off (the final track, Nothing Like You should be skipped entirely, it's a jarring addition that doesn't belong). Great instrumental music makes you think and feel and Sorcerer does exactly that, it connects on a visceral and cerebral, but mostly cerebral level.

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