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The music of “One Flight Up” fully reflects this newfound freedom.įormally, this is expressed in the way the open, mainly modal, structures of “Tanya” and “Coppin’ The Haven” allow space for each musician to express himself, unhurried, untroubled by conventions of time and length, able to take just as much room as they wish to get their musical ideas over. Seven years later, Dexter Gordon experienced the same freedom that could enter his music once that context of racism has been removed: “I felt that I could breathe, and just be more or less a human being, without being white or black….”īut there was a second aspect of the freedom of being in Europe that was equally important working at the same location with continuity of employment in the same job (Dexter at the Montmatre, Drew with long residencies in Paris) created the space in which artistic expression could flower away from the constant pressure of touring at home. Miles has remarked on the shock of being for the first time looked upon as a musician and a person about whom his race was not the most important thing. (All this is documented in the remarkable book by Boris Vian - "Manual of Saint Germain-Des-Pres").
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He was there to make the soundtrack of Louis Malle’s film noir “Ascenseur Pour L'Echafaud (Lift To The Scaffold)”, joining the Left Bank artistic set (which included Albert Camus, Jean-Paul Sartre and Simone de Beauvoir) and, by all accounts, having an affair with movie actress Juliette Grecco. Miles Davis had had a similar experience when he had lived for awhile in Paris in 1957, shortly after recording ‘Kind Of Blue”. The most obvious advantage was the absence of racism – still a major problem for African Americans in the 1960s, as we have pointed out in discussing John Coltrane’s music. Both point out the freedom that they were able to discover in playing jazz away from the pressures of being back home. Kenny Drew had moved to Paris in 1960, staying on after a six week role in the play “The Connection”.
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There he had recruited NHOP (then aged just 16) as bass player in his trio. Dexter had left the US in 1962 to take up a permanent residency at the Montmatre Club in Copenhagen. Leonard Feather’s original album liner notes for “One Flight Up” and the additional notes prepared by Bob Blumenthal for the RVG edition in 2003 both refer to a round table discussion for “Down Beat” in 1964 in which Dexter Gordon and Kenny Drew (who plays piano on the album) talk about the advantages of being expatriates. Francis Wolff was keen to get more of Dexter’s output on disc and went to Paris to produce the “One Flight Up” sessions. This in itself is often regarded as one of the great jazz albums in which Dexter’s style fully and freely emerges. And “One Flight Up” marks the early and definitive appearance of one of the few European jazz players to make it on a truly international stage – bass player Niels-Henning Orsted Pedersen, unsurprisingly known for short as NHOP.ĭexter had been successful with the 1963 Blue Note release “Our Man In Paris” (with Bud Powell (piano), Pierre Michelot (bass) and Kenny Clarke (drums), recorded at CBS studios Paris, as the title suggests. On its initial release on vinyl, a single 18 minute track (“Tanya”) took up the whole of the first side – this some two years before Bob Dylan’s “Sad Eyed Lady of the Lowlands” amazed the pop world by taking up a whole side of the album “Blonde on Blonde”. It was recorded in Paris (not New Jersey) by musicians who had established themselves outside of the United States. The album is remarkable for a host of reasons. This openness and invention is heard at its best on “One Flight Up”. Not that he is aiming at the same transcendent themes as Coltrane but rather that his musical understanding is a spur to playing sax in a more open and responsive way than heard before.
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He was the first to take Charlie Parker's alto sax bebop breakthroughs and understand how to develop them for tenor. Tanya, Coppin’ The Haven, Darn That Dream, Kong Neptuneĭexter Gordon is often cited as a major influence on John Coltrane.
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Recorded June 2nd 1964 by Jacques Lubin at CBS studios, Paris