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资源信息:
专辑英文名: Walkin'
歌手: Miles Davis All Stars
音乐风格: 爵士
资源格式: FLAC
版本: [Limited Edition]
发行时间: 1957年
地区: 日本
语言: 英语,日语
概述:
出品厂牌:Universal Japan
唱片编号:UCJO-9015 (PRLP 7076)
唱片介质:LP 200g
唱片版本:Limited Edition: "60th Anniversary of Prestige Records"
音乐风格:Jazz
转换比率:Vinyl rip in 24-bit/96kHz
专辑介绍:
迈尔士·戴维斯全明星:漫步而行
The RollingStone 四颗星评价
这张LP专辑是1954年4月的录音,包括伸缩号,次中音萨克斯风,中音萨克斯风的七重奏,这时的Miles Davis还在为组成固定班底,尝试不同的乐手和乐器组合。本专辑为日本Universal在1957年Prestige Records LP原版的基础上制作的“Limited Edition: 60th Anniversary of Prestige Records”。
Miles Davis简介:
1926年出生的Miles Davis早年去茱利亚音乐学院深造过,但在求学期间就混迹于当地酒吧,并于18岁时录制了首张唱片《First Miles》,1946年,Miles Davis和Gene Ammons合作出了Bebop风格的《Bopping the Blue》,在当时如果你没有Charlie Parker的号召力是很难出头的,Miles Davis在Parker乐队里无法与Parker站在同一高度,为Charlie Parker录唱片的Ross Russell还责怪Miles Davis学习得太慢,但在《Charlie Parker On Dial Vol 4》中,Miles Davis表现出温柔、深思的情绪状态。或许受不了前辈们的轻视,Miles Davis于1947年离开了Charlie Parker,正好逢遇日后也在爵士界举足轻重的编曲家Gil Evans,俩人一谈音乐便很投机,并一起合作了代表一代乐风的Cool专辑《Birth of the Cool》,尽管在这之前钢琴手Lennie Tristano有过类似的尝试。
有一种说法总是贬低Miles Davis:这个人技巧平平,远不及Dizzy Gillespie。可能这是Miles Davis刚入道时的恶劣名声造成的,虽然Miles Davis并非整个爵士乐坛最出色的小号手。但他的思想远远弥补了他的天生弱点,甚至于Davis还创造了一种特殊的表达。听Miles Davis不会觉得只有表面的东西,他太会令你出奇不意了。
在1948年Miles Davis率领的那支九重奏只是一支幕间休息时穿场的乐队,那时的Royal Roost俱乐部是贝西伯爵的天下。九重奏里包括Gerry Mulligan、Lee Konitz、John Lewis、Max Roach这些未来大将。而在这期间,Davis的小号风格更靠近Dizzy Gillespie和Fats Navarro,强调中音区域,音乐更柔和而富有思考性。有意思的是Miles Davis后来还安排Charlie Parker和Sonny Rollins在他的专辑《Collector's Item》中一起演奏。
1951-1954年间,Miles Davis的生活令人捉摸不透,这期间他很少录音,但几乎都是经典,譬如在Blue Note公司录制的《Miles Davis Vol1》和《Miles Davis Vol2》。在五十年代很时尚的乐手中,Gerry Mulligan、Lee Konitz等人皆从Miles Davis那里沐浴到了阳光,那时加州流行Chet Baker闭着眼温柔地演唱“我可笑的情人节”,Miles Davis自然没有这样甜蜜和伤感,他也有点厌烦了乐坛,人都是在不自觉中离自己越来越远,Miles Davis不愿意被人推着走,他要走自己的路。有什么能引起他极大的兴趣呢?在家乡圣路易斯表演吗?继续以全明星的阵容横空出世吗?他的第一批大弟子们一个个都出名成家,他辉煌的第二批弟子们要到60年代才光彩夺目。五十年代对于Miles Davis来说是沉重的,他的健康状况一直不好,不过他几度沉沦又浮起正是从五十年代开始的。一个人一生中能有几次高潮与低潮,下去了还缓得过来吗?但Miles Davis有五次事业高峰,人的精力有限决定了人生在于大多数人只能靠惯性生活,Miles Davis看来是奇迹了。
Allmusic.com rating: 4.5 out of 5 Stars
Walkin' is an album recorded on 3 April and 29 April 1954 by a group led by Miles Davis, for Prestige Records. Credited to the "Miles Davis All-Stars", the first session was a quintet with David Schildkraut on alto saxophone. Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. The second session was a sextet with J. J. Johnson on trombone and Lucky Thompson on tenor saxophone, the rhythm section was the same for both sessions. The original 10" vinyl release included "I'll Remember April", recorded at the quintet session. When reissued on the 12" format, "Love Me or Leave Me" was substituted, and "I'll Remember April" can now be found on the album Blue Haze. The album's title track was a staple of Davis's live set for many years.
Back in New York after successfully battling personal demons, and at the helm of the incredible Horace Silver/Percy Heath/Kenny Clarke rhythm section, Miles Davis cut a pair of sessions in April 1954 that announced where both his own music and jazz in general were heading. The quintet date, with underground legend Davey Schildkraut on alto sax, provided the first inkling of the trumpeter’s haunting muted style and introduced his classic composition “Solar.” Even more influential was the sextet session with J.J. Johnson and Lucky Thompson, which took advantage of long-playing record technology with two extended jams that announced both the return of modern jazz musicians to a focus on the blues and the coming of the funky hard-bop era. Together on the LP Walkin’, this music (among the first to be recorded for Prestige by Rudy Van Gelder) created one of the earliest essential albums in the Miles Davis canon.
Performers
* Miles Davis - Trumpet
* Lucky Thompson - Tenor saxophone (tracks 1, 2)
* J. J. Johnson - Trombone (tracks 1, 2)
* David Schildkraut - Alto saxophone (tracks 3-5)
* Horace Silver - Piano
* Percy Heath - Bass
* Kenny Clarke - drums
Recorded 1954
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