{"title":"MILES DAVIS","description":"\u003cp\u003eMiles Davis (1926–1991) è stato un trombettista e compositore statunitense, tra le figure più influenti del jazz. Protagonista del cool jazz con \u003cem\u003eBirth of the Cool\u003c\/em\u003e, guidò innovazioni nel bebop, hard bop e jazz modale con \u003cem\u003eKind of Blue\u003c\/em\u003e. Negli anni ’70 sperimentò la fusione jazz-rock con \u003cem\u003eBitches Brew\u003c\/em\u003e, rivoluzionando ancora il genere. La sua carriera fu segnata da continua ricerca e cambiamento.\u003c\/p\u003e","products":[{"product_id":"miles-davis-quintet-complete-cafe-bohemia-bandstand-u-s-a-1956-58-radio-broadcasts-volume-1","title":"Miles Davis Quintet • Transmisiones de Radio Completo Café Bohemia U.S.A. 1956-58 • Volumen 1","description":"\u003ch2\u003e\n\u003cstrong\u003eMiles Davis Quintet • Complete Café Bohemia Bandstand U.S.A. 1956-58 Radio Broadcasts • Volume 1 \u003c\/strong\u003e(GBR00124) - \u003cspan style=\"text-decoration: underline;\"\u003e2ª Ristampa\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003ch3\u003eLP AUDIOPHILE PRESSING\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eTienes en tus manos el primero de los tres volúmenes dedicados a las grabaciones realizadas por Miles Davis, entre 1956 y 1958 en el Café Bohemia, situado en el 15 de Barrow Street, en Greenwich Village, Nueva York.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEl restaurante (que tenía un evidente error de ortografía en el letrero – Restraurnt) era gestionado por el italoamericano Jimmy Garofalo y fue inaugurado en 1955. En poco tiempo, el Café Bohemia se convirtió en una especie de Meca para los modernistas del jazz, y varios álbumes fueron grabados por algunos de los artistas más interesantes de la época (Art Blakey, Charles Mingus, Kenny Dorham, George Wallington). Además, Oscar Pettiford, (quien en los primeros tiempos ocupaba el cargo de director artístico del Jazz Club) le dedicó también una composición, titulándola «Bohemia After Dark».\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEl Café Bohemia era también una de las sedes desde donde se transmitía el programa\u003c\/em\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eBandstand U.S.A. a través de las ondas de Mutual Network Radio Broadcasts. Cada semana, el presentador Guy Wallace, a menudo acompañado de invitados, grababa y transmitía algunos increíbles directos directamente desde el Bohemia. Miles Davis formó parte de estas transmisiones en ocho ocasiones, entre el 15 de septiembre de 1956 y el 17 de mayo de 1958.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAquí encontrarás, por primera vez en la historia, la integral de las grabaciones de Miles (aproximadamente 120 minutos), que en su momento fueron transmitidas por Mutual Network.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eParte de este material ha sido publicado a lo largo de los años en discos no oficiales, pero la mayor parte aparece por primera vez en vinilo o incluso es completamente inédito. En todos los casos, el material se publica aquí con la mejor calidad sonora posible y con la velocidad correcta (la mayoría de las versiones anteriores giraban a la velocidad incorrecta, es decir, desafinadas respecto a la tonalidad original de ejecución).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSe trata de una verdadera máquina que viaja en el tiempo y en el espacio, ya que hemos intentado reproducir el sonido de esa época de la manera más fiel posible. Para mejorar y respetar filológicamente ese mundo del sonido, hemos decidido publicar también todos los anuncios (de Guy Wallace y sus invitados) en su versión completa.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003eAlgunos aspectos muy interesantes e imprevistos emergen de estos anuncios, que ayudarán al oyente a vivir mejor esa época, tanto desde un punto de vista social como histórico.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAsí que, enciende la radio y sumérgete en la atmósfera de la segunda mitad de los años 50 con la música previamente inédita del Miles Davis Quintet en su mejor momento.\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eMiles Davis (tp); John Coltrane (ts); Red Garland (p); Paul Chambers (b); Philly Joe Jones (d)\u003cbr\u003eGuy Wallace (anunciante de Radio Broadcast)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch3\u003e\u003cstrong\u003eLista de Pistas:\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLado A\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAnuncio de Guy Wallace 2:01\u003c\/li\u003e\n\u003cli\u003eWell You Needn’t 5:48\u003c\/li\u003e\n\u003cli\u003eIt Never Entered My Mind 5:02\u003c\/li\u003e\n\u003cli\u003eA Gal in Calico 4:43\u003c\/li\u003e\n\u003cli\u003eStablemates 3:48\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eLado B\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHow Am I to Know? 3:03\u003c\/li\u003e\n\u003cli\u003eThe Theme 1:34\u003c\/li\u003e\n\u003cli\u003eWoody’n You 3:58\u003c\/li\u003e\n\u003cli\u003eWalkin’ [Gravy] 7:10\u003c\/li\u003e\n\u003cli\u003eAll of You 2:25\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eNota técnica:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eDesafortunadamente, las únicas transcripciones de cinta mono sobrevivientes (obviamente) de estas grabaciones no siempre estaban en buen estado, pero mejoramos la calidad con equipos de última generación y herramientas de remasterización.\u003cbr\u003ePara presentar las actuaciones completas hemos utilizado las mejores fuentes disponibles, considerando que el material fue grabado a lo largo de un período de tres años por diferentes equipos técnicos y completamente diferentes técnicas y posicionamientos de micrófono. Esto resultó en un ligero cambio en la calidad de audio. Esta es la mejor y más completa colección de las legendarias grabaciones del Café Bohemia emitidas por la Mutual Network para Bandstand U.S.A. Radio Broadcast.\u003c\/p\u003e\n\u003cp\u003eGracias a Piergiorgio Cupellini, Elisa Gabrielli, Paola Giordano, Igor Ebuli Poletti y Fabio Sala. Agradecimientos especiales a Bob Belden, Jan Lohmann, Peter Losin y Teo Macero.\u003c\/p\u003e\n\u003cp\u003eVelocidad corregida y remasterizada por Enrico Merlin\u003cbr\u003eProductor ejecutivo, Massimo Corvino para Groove Back Records\u003cbr\u003eNotas del álbum por Enrico Merlin, con ayuda especial de Giovanni Principe y Ginger Minneman\u003cbr\u003eFoto de portada por Marvin Koner, tomada entre el 25 de mayo y el 10 de junio de 1956, fuera del Café Bohemia\u003cbr\u003eConcepto artístico y diseño del álbum por Roberto Mares\u003c\/p\u003e\n\u003cp\u003eGrabaciones completas con anuncios de locutores de radio y voces en off incluidas.\u003c\/p\u003e\n\u003cp\u003eEn el n. 1 de GRooVE back Magazine encuentras el relato y la génesis de este disco (disponible gratuitamente la versión digital de la revista en este sitio en la sección magazine)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReseñas: \u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/articolo_andrea_bin_su_Miles_Davis_vol.1.pdf?v=1747243073\" title=\"Reseña AudioReview Abril25\" rel=\"noopener\" target=\"_blank\"\u003eAudioReview\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!----\u003e","brand":"GRooVE back records","offers":[{"title":"LP 33 rpm","offer_id":48678091391323,"sku":"GBR00124","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/MilesDavis5thCafeBohemiaLP.png?v=1721038958"},{"product_id":"miles-davis-miles-davis-in-berlin","title":"MILES DAVIS - Miles Davis En Berlín","description":"\u003ch2\u003e\n\u003cstrong\u003eMILES DAVIS - Miles Davis In Berlin \u003c\/strong\u003e(\u003cb\u003eSPC62976\u003c\/b\u003e)\u003c\/h2\u003e\n\u003ch2\u003e\n\u003cspan\u003eSpeakers Corner - \u003c\/span\u003eLP AUDIOPHILE PRESSING \u003cspan class=\"contentAndConfiguration\"\u003e180g\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp class=\"title_and_interpreter\"\u003e\u003cstrong\u003e\"Miles In Berlin\" - Miles Davis (tp); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eÈ il 1964 e il primo Festival Jazz di Berlino sta per raggiungere il suo apice assoluto: il concerto finale, la sera di venerdì 25 settembre, di Miles Davis. E la filiale europea della Columbia Records, la CBS, non vedeva l'ora di pubblicare questo evento leggendario su LP.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIl nuovo quintetto, per la prima volta con Wayne Shorter al sax tenore (e non ancora come compositore), entusiasmò e trascinò il pubblico della Philharmonie dal primo minuto fino alla fine. I classici \"Miles(tones)\", \"So What\" e \"Walkin'\" furono eseguiti a un ritmo sorprendentemente veloce, le ballate erano tenere e sognanti. Un'atmosfera così magica fu raramente evocata nei concerti successivi, probabilmente grazie all'eccellente acustica della grande sala da concerto. Il pubblico era seduto dietro il palco, quindi Miles non poteva voltare le spalle in modo provocatorio; a volte si limitava ad accovacciarsi sul palco. Tuttavia, questo non gli ha impedito di eseguire i suoi assoli con liricità e tenerezza, la maggior parte dei quali finemente sfumati, morbidi e delicati, eppure udibili fino all'angolo più remoto. La struttura ritmica creata dal giovane batterista Anthony Williams ha fornito l'eccitazione necessaria.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMiles al top della forma, un pubblico entusiasta, un'acustica impressionante e, per finire, un'eccellente tecnologia di registrazione e una fantastica stampa su vinile vergine: cosa può desiderare di più un appassionato di jazz? Ora è il momento di tirare fuori la carta di credito!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eQuesto LP di Speakers Corner è stato rimasterizzato utilizzando esclusivamente componenti analogici, dai master fino alla testina di taglio (\u003ca href=\"https:\/\/pure-analogue.com\/\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/pure-analogue.com\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003eRegistrazione: settembre 1964 dal vivo alla Philharmonic Hall di Berlino, da SFB Radio in mono\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduzione: Rudy Wolpert\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eColumbia 62976\u003c\/li\u003e\n\u003cli\u003eFormat: 1LP 180g 33rpm \/ standard sleeve\u003c\/li\u003e\n\u003cli\u003eOriginal label: Columbia\u003c\/li\u003e\n\u003cli\u003eBarcode: 4260019715418\u003c\/li\u003e\n\u003cli\u003eRelease Date: 2017-09-21\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c!----\u003e","brand":"Speakers Corner","offers":[{"title":"LP 33 rpm","offer_id":50603136188763,"sku":"SPC62976","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/71REKUYAi4L._AC_SL1200.jpg?v=1747669790"},{"product_id":"miles-davis-quintet-round-about-midnight","title":"MILES DAVIS QUINTETO - Round About Midnight","description":"\u003ch2\u003e\n\u003cstrong\u003eMILES DAVIS QUINTET - Round About Midnight \u003c\/strong\u003e(\u003cb\u003eSPC949\u003c\/b\u003e)\u003c\/h2\u003e\n\u003ch2\u003e\n\u003cspan\u003eSpeakers Corner - \u003c\/span\u003eLP AUDIOPHILE PRESSING \u003cspan class=\"contentAndConfiguration\"\u003e180g\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp class=\"title_and_interpreter\"\u003e\u003cstrong\u003e\"'Round About Midnight\" - Miles Davis (tr); John Coltrane (ts); Red Garland (p); Paul Chambers (b); Philly Joe Jones (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFinalmente queste prime registrazioni, che Miles Davis realizzò per l'etichetta Columbia nel 1955 e nel 1956, sono di nuovo disponibili su LP. E, cosa ancora più importante, furono realizzate senza riprese alternative o secondi tentativi, come è consuetudine oggigiorno.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePotete rilassarvi e godervi i sei brani nell'ordine che il produttore, probabilmente in collaborazione con Davis, ha deciso. Certo, tutti i titoli sono ben noti e sono stati eseguiti migliaia di volte in molte versioni diverse. Ma ciò che questo Quintetto (e qui ci si riferisce a ogni singolo musicista!) produce in termini di inventiva, improvvisazioni emozionanti e maestria è assolutamente di prim'ordine. Il suono privo di vibrato di Davis è ripreso in modo impeccabile da John Coltrane – meravigliosamente dimostrato nel mezzo di \"Bye, Bye Blackbird\", mentre il pezzo forte di Paul Chambers è \"Ack Värmeland du sköna\" (alias \"Dear Old Stockholm\"). Negli anni 1955\/56, il bebop era sulla bocca di tutti, come testimoniano i classici \"Tadd's Delight\" di Tadd Dameron e \"Ah-Leu-Cha\" di Charlie Parker. Qui, tuttavia, le venature melodiche improvvisate sono più moderate, aprendo la strada a quello stile che in seguito sarebbe diventato noto come jazz modale.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSebbene \"'Round About Midnight\" come album non goda della reputazione di \"Kind Of Blue\", questa registrazione della Columbia contiene molte gemme che vale la pena ascoltare.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eQuesto LP di Speakers Corner è stato rimasterizzato utilizzando esclusivamente componenti analogici, dai master fino alla testina di taglio (\u003ca rel=\"noopener\" href=\"https:\/\/pure-analogue.com\/\" target=\"_blank\"\u003ehttps:\/\/pure-analogue.com\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003eRegistrazione: ottobre 1955, giugno e settembre 1956 presso il 30th Street Studio della Columbia, New York in mono\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduzione: George Avakian\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"catalog_number\"\u003eColumbia CL 949\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eFormat:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"contentAndConfiguration\"\u003e1LP 180g 33rpm \/ standard sleeve\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eOriginal label:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"label\"\u003eColumbia\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eBarcode:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"barcode\"\u003e4260019713353\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eRelease Date:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"release-date\"\u003e2008-07-22\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c!----\u003e","brand":"Speakers Corner","offers":[{"title":"LP 33 rpm","offer_id":50603211784539,"sku":"SPC949","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/81Na6ZqVckL._AC_SL1500.jpg?v=1747670449"},{"product_id":"miles-davis-quintet-miles-smiles","title":"MILES DAVIS QUINTETO - Miles Smiles","description":"\u003ch2\u003e\n\u003cstrong\u003eMILES DAVIS QUINTET - Miles Smiles \u003c\/strong\u003e(\u003cb\u003eSPC9401\u003c\/b\u003e)\u003c\/h2\u003e\n\u003ch2\u003e\n\u003cspan\u003eSpeakers Corner - \u003c\/span\u003eLP AUDIOPHILE PRESSING \u003cspan class=\"contentAndConfiguration\"\u003e180g\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp class=\"title_and_interpreter\"\u003e\u003cstrong\u003e\"\u003c\/strong\u003e\u003cstrong\u003eMiles Smiles\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\" \u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eMiles Davis (tr); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (dr)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA parte la registrazione di un'esibizione dal vivo al Portland Festival, la discografia di Miles Davis del 1966 elenca solo le registrazioni realizzate per l'LP \"Miles Smiles\"! Che strano, se si considera la consueta ampia produzione di Miles e dei suoi ensemble per la Columbia Records negli anni Sessanta.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIl bassista Ron Carter era il più adatto per la complessa parte ritmica e rimase il \"numero uno\" di Miles in un quintetto che reinterpretò composizioni di Wayne Shorter e successi jazz come \"Freedom Jazz Dance\" di Eddie Harris e \"Gingerbread Boy\" di Jimmy Heath.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOgni secondo dei nove minuti di \"Footprints\" di Shorter è un momento culminante assoluto, mentre la batteria del giovane Tony Williams in \"Freedom Jazz Dance\" è piena di vitalità, con un ritmo serrato, e persino descritta come \"minacciosa\" nelle note di copertina. Questa musica non è né \"nuova corrente\" né \"vecchia guardia\", ma buon jazz moderno, secondo Anthony Tuttle. Questo era esattamente ciò che \"Miles Smiles\" rappresentava al momento della sua uscita 40 anni fa, e lo è ancora oggi! E che Miles Davis abbia sorriso per una volta grazie alla splendida intesa musicale tra i cinque musicisti non è certo una mera diceria.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eQuesto LP di Speakers Corner è stato rimasterizzato utilizzando esclusivamente componenti analogici, dai master fino alla testina di taglio (\u003ca rel=\"noopener\" href=\"https:\/\/pure-analogue.com\/\" target=\"_blank\"\u003ehttps:\/\/pure-analogue.com\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cspan\u003eRegistrazione: Ottobre 1966 presso Columbia RecordsStudios, New York, da Frank Laico\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduzione: Teo Macero\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eColumbia CS 9401\u003c\/li\u003e\n\u003cli\u003eFormato: 1LP 180g 33 giri \/ custodia standard\u003c\/li\u003e\n\u003cli\u003eEtichetta originale: Columbia\u003c\/li\u003e\n\u003cli\u003eCodice a barre: 4260019713292\u003c\/li\u003e\n\u003cli\u003eData di rilascio: 2008-03-11\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c!----\u003e","brand":"Speakers Corner","offers":[{"title":"LP 33 rpm","offer_id":50706822005083,"sku":"SPC9401","price":39.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/9401_250.jpg?v=1748598665"},{"product_id":"miles-davis-quintet-complete-cafe-bohemia-bandstand-u-s-a-1956-58-radio-broadcasts-volume-2","title":"Miles Davis Quintet • Complete Café Bohemia Bandstand U.S.A. 1956-58 Radio Broadcasts • Volume 2","description":"\u003ch2\u003e\u003cstrong\u003eMiles Davis Quintet • Complete Café Bohemia Bandstand U.S.A. 1956-58 Radio Broadcasts • Volume 2 \u003c\/strong\u003e(GBR00125)\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli lang=\"en-US\" class=\"western\"\u003eDisponibile in : LP\u003cstrong\u003e \u003c\/strong\u003e(Crystal Vinyl 180 gr. - Direct Metal Mastering - One Step)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003eData di uscita: 26\/06\/2026\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eMILES DAVIS QUINTET\u003c\/strong\u003e\u003cbr\u003ewith SONNY ROLLINS\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eRed Garland, Paul Chambers and Art Taylor\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eComplete Café Bohemia\u003cbr\u003eBandstand U.S.A. 1956–58 Radio Broadcasts\u003cbr\u003eVolume 2\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eThis second volume of a three-part series presents the complete recordings made by the Miles Davis Quintet between 1956 and 1958 at Café Bohemia, located at 15 Barrow Street, Greenwich Village, New York City.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eThe restaurant (misspelled “Restraurnt” on the sign) was managed by the Italian-American Jimmy Garofalo and opened in 1955. In a very short time, Café Bohemia became a sort of Mecca for jazz modernists. Several albums were recorded there by some of the most important artists of the period, including Art Blakey, Charles Mingus, Kenny Dorham, and George Wallington.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eOscar Pettiford, the venue’s first artistic director, even dedicated a composition to the club, naming it “Bohemia After Dark.”\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eThe Café Bohemia also served as a key location for the Mutual Network’s Bandstand U.S.A. radio broadcasts. Every week, emcee Guy Wallace—often surrounded by guests—recorded and broadcast remarkable live performances directly from the Bohemia. Miles Davis appeared on these broadcasts eight times between September 15, 1956 and May 17, 1958.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eFor the first time in history, this release presents the complete body of Miles Davis’ Bandstand U.S.A. recordings—approximately 120 minutes of music—across three volumes. Although some material circulated over the years on unofficial releases, most tracks appear here officially for the first time, presented in optimal sound quality with corrected pitch and speed.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eEarlier versions frequently ran at incorrect speed and were noticeably out of tune, making this edition the first truly faithful representation of these performances.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eWe have made every effort to faithfully reproduce the sound of that era. Announcements by Guy Wallace and his guests are preserved in their entirety, offering rare historical and cultural insights.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eSo turn on the radio and immerse yourself in the atmosphere of the second half of the 1950s with previously unheard music by the Miles Davis Quintet at its finest.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eWe hope you enjoy this journey through time and sound.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch1 align=\"justify\"\u003eAN UNEXPECTED GEM\u003c\/h1\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eOne unique feature of these recordings is the interview conducted by Guy Wallace with Jean Shepherd—the man behind one of the greatest literary pranks in the history of print media and radio.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eOn the July 13, 1957 tape, Shepherd—renowned for his wit and storytelling—offers insights into his infamous literary hoax, I, Libertine.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eHe discusses the origins of the prank, its impact on the publishing world, and the public’s reaction. The conversation, interwoven with the quintet’s improvisations, creates a unique tapestry of words and music.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eShepherd’s reflections on media manipulation and cultural phenomena resonate strongly with the spontaneity and innovation present in Davis’s performance. This rare intersection of spoken word and jazz not only showcases Shepherd’s narrative brilliance, but also highlights the quintet’s dynamic interplay, making the recording a distinctive artifact of 1950s American culture.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eIn July 1957, the Miles Davis Quintet underwent a major reshuffle, with the return of two former collaborators: Sonny Rollins replaced John Coltrane, while Art Taylor took over the drum chair from Philly Joe Jones.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eNew York City – Café Bohemia\u003cbr\u003e15 Barrow Street, Greenwich Village\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eMiles Davis (tp)\u003cbr\u003eSonny Rollins (ts)\u003cbr\u003eRed Garland (p)\u003cbr\u003ePaul Chambers (b)\u003cbr\u003eArt Taylor (d)\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eGuy Wallace – radio announcer\u003cbr\u003e\u003c\/p\u003e\n\u003ch1 align=\"justify\"\u003eThe I, Libertine Story\u003c\/h1\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eOne of the most brilliant literary pranks of the twentieth century began as a radio stunt.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eIn the mid-1950s, broadcaster Jean Shepherd, frustrated by the rigid practices of bestseller lists—which only counted books requested or sold in stores—encouraged his late-night listeners to walk into bookstores and ask for a novel that didn’t exist: I, Libertine, by the fictional author Frederick R. Ewing.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eWord spread quickly. The title was reported as “in high demand,” critics claimed to have read it, and even some academics began referencing it.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eEventually, the hoax took on a life of its own: publisher Ballantine Books decided to turn the prank into reality, commissioning Shepherd and science-fiction writer Theodore Sturgeon to actually write the novel, which was published later that same year.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"justify\"\u003eThe back cover proudly revealed the entire ruse—making the book both a satirical novel and a monument to media subversion.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eA1 – Four (6:09)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eStructure:\u003c\/strong\u003e Drums Intro → Theme → Solos (Davis \/ Rollins \/ Garland) → Theme\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"western\" align=\"left\"\u003eDrums introduction\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eMiles Davis\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eSonny Rollins\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eRed Garland\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eReturn to theme\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eDuring his solo, Miles quotes the first melodic phrase from \u003cem\u003eThe Last Time I Saw Paris\u003c\/em\u003e (measure 17 of the first chorus).\u003cbr\u003eSonny Rollins references \u003cem\u003eOrnithology\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eAlthough \u003cem\u003eFour\u003c\/em\u003e was long credited to Miles Davis, it was composed by Eddie “Cleanhead” Vinson (as is also the case with \u003cem\u003eTune Up\u003c\/em\u003e).\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eA2 – Bye Bye Blackbird (Excerpt #1) (6:50)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eStructure:\u003c\/strong\u003e Performance + Voiceover overlay\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"western\" align=\"left\"\u003eMiles Davis\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eSonny Rollins\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eRed Garland (interrupted)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eVoiceover\u003c\/strong\u003e\u003cbr\u003eGuy Wallace and Jean Shepherd enter over the performance (3:53–6:16), blending speech with music.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eThe performance fades out abruptly during the piano solo.\u003cbr\u003eGarland opens with the theme in close harmony with Miles, a minor third above the melody.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eThis is the first known live recording of \u003cem\u003eBye Bye Blackbird\u003c\/em\u003e by Miles Davis.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eThe spoken segment includes discussion of the \u003cem\u003eI, Libertine\u003c\/em\u003e hoax, mixing satire and jazz broadcast culture.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eA3 – Bye Bye Blackbird (Excerpt #2) (0:39)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eVoiceover (full segment)\u003c\/strong\u003e\u003cbr\u003eGuy Wallace presents the “Ask the Stars” contest.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eListeners are invited to submit jazz-related questions for prizes including Scott tuners, amplifiers, and Stephens speakers.\u003cbr\u003eJean Shepherd reacts with humorous commentary.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eA4 – Announcement by Guy Wallace (0:06)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eContent\u003c\/strong\u003e\u003cbr\u003eIntroduction of contest prize.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eH.H. Scott amplifier and preamplifier with full tone control system.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eA reference example of high-end late-1950s hi-fi broadcasting culture.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eA5 – It Never Entered My Mind (4:50)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"western\" align=\"left\"\u003eMiles Davis (Harmon mute)\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eRed Garland\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eVoiceover\u003c\/strong\u003e\u003cbr\u003eGuy Wallace + Jean Shepherd (0:00–0:59)\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eThe piano remains noticeably out of tune until the end of the set.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eRed Garland quotes \u003cem\u003eCountry Gardens\u003c\/em\u003e (Percy Grainger).\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eThis is the last known live recording of Miles Davis performing the piece with his signature stemless Harmon mute.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eA6 – Walkin’ [Gravy] (4:20)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"western\" align=\"left\"\u003eMiles Davis\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eSonny Rollins (interrupted)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eVoiceover (1:20–4:00)\u003c\/strong\u003e\u003cbr\u003eDiscussion between Guy Wallace and Jean Shepherd on jazz culture.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eThe segment reflects on differences between American and European jazz reception, highlighting Europe’s stronger institutional appreciation of jazz at the time.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eA portrait of mid-century radio jazz culture emerges through the blend of performance and commentary.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eB1 – Announcement by Guy Wallace (2:01)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eContent\u003c\/strong\u003e\u003cbr\u003eLive introduction from Café Bohemia.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eBroadcast opening over an unidentified drum solo.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eGuy Wallace presents the ensemble and re-establishes the live radio context of \u003cem\u003eBandstand U.S.A.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eB2 – Dear Old Stockholm (6:18)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"western\" align=\"left\"\u003ePaul Chambers\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eSonny Rollins\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eMiles Davis (closing solo)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eChambers quotes Bizet’s \u003cem\u003eCarmen\u003c\/em\u003e during his solo.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eMiles unusually takes the final solo.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eThis is the only known live recording of \u003cem\u003eDear Old Stockholm\u003c\/em\u003e by the Miles Davis Quintet.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eGil Evans is likely the arranger of this traditional Swedish piece.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eB3 – Bags’ Groove (7:21)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"western\" align=\"left\"\u003eMiles Davis\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eSonny Rollins\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eRed Garland\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003ePaul Chambers\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eVoiceover (2:37–5:20)\u003c\/strong\u003e\u003cbr\u003eGuy Wallace introduces the “Ask the Stars” contest.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eMiles quotes \u003cem\u003eAin’t She Sweet\u003c\/em\u003e in his solo.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eThe original broadcast was interrupted during Rollins’ solo and partially replaced by \u003cem\u003eS’posin’\u003c\/em\u003e.\u003cbr\u003eThis edition attempts a reconstruction of the original sequence.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eFirst known live recording of \u003cem\u003eBags’ Groove\u003c\/em\u003e by Miles Davis.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eB4 – Nature Boy (4:26)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eStructure\u003c\/strong\u003e\u003cbr\u003eTheme → Garland solo → coda\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eSonny Rollins does not participate.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eThis is the first known live recording of \u003cem\u003eNature Boy\u003c\/em\u003e by Miles Davis.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003ePreviously recorded in studio with Charles Mingus (\u003cem\u003eBlue Moods\u003c\/em\u003e).\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eB5 – S’posin’ (2:24)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eStructure\u003c\/strong\u003e\u003cbr\u003eReconstructed live performance\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eSolos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"western\" align=\"left\"\u003eMiles Davis\u003c\/li\u003e\n\u003cli class=\"western\" align=\"left\"\u003eSonny Rollins (interrupted)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eOnly known live recording of \u003cem\u003eS’posin’\u003c\/em\u003e by Miles Davis.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eIncludes commentary involving Maynard Ferguson discussing the evolution of jazz from Dixieland to modern styles.\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 align=\"left\"\u003eB6 – Announcement by Guy Wallace (0:06)\u003c\/h2\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eContent\u003c\/strong\u003e\u003cbr\u003eClosing broadcast announcement.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003eTransition from Café Bohemia to the Village Vanguard, where the Modern Jazz Quartet was performing.\u003c\/p\u003e\n\u003cp class=\"western\" align=\"left\"\u003eNo musical background.\u003c\/p\u003e\n\u003ch2 class=\"western\" align=\"left\"\u003eNota técnica\u003c\/h2\u003e\n\u003cp\u003eDesafortunadamente, las únicas transcripciones de cinta mono que sobrevivieron de estas grabaciones no siempre estaban en condiciones óptimas. Sin embargo, hemos aplicado equipos de última generación y herramientas avanzadas de remasterización para mejorar la calidad del sonido tanto como sea posible.\u003c\/p\u003e\n\u003cp\u003ePara presentar las actuaciones completas, hemos buscado los mejores materiales disponibles, teniendo en cuenta que las grabaciones abarcan un período de tres años y fueron capturadas por diferentes equipos técnicos utilizando diversas técnicas de micrófono y configuraciones. Esto resultó inevitablemente en ligeras variaciones en la calidad del audio.\u003c\/p\u003e\n\u003cp\u003eEsta edición representa la colección más completa y sonora hasta la fecha de las legendarias sesiones del Café Bohemia, originalmente transmitidas por la Mutual Network en Bandstand U.S.A.\u003c\/p\u003e\n\u003cp\u003eGracias a Piergiorgio Cupellini, Elisa Gabrielli, Paola Giordano, Igor Ebuli Poletti y Fabio Sala.\u003c\/p\u003e\n\u003cp\u003eAgradecimiento especial a Bob Belden, Jan Lohmann, Peter Losin y Teo Macero.\u003c\/p\u003e\n\u003cp\u003eVelocidad corregida y remasterizada por Enrico Merlin.\u003c\/p\u003e\n\u003cp\u003eSupervisión de la remasterización final por Marco Lincetto.\u003c\/p\u003e\n\u003cp\u003eProductor ejecutivo: Massimo Corvino para Groove Back Records.\u003c\/p\u003e\n\u003cp\u003eNotas de fondo de Enrico Merlin, con ayuda especial de Giovanni Principe y Ginger Thomas Principe.\u003c\/p\u003e\n\u003cp\u003eImagen de portada por Marvin Koner, tomada entre el 25 de mayo y el 10 de junio de 1956, fuera del Café Bohemia.\u003c\/p\u003e\n\u003cp\u003eConcepto de la obra y diseño del álbum por Roberto Mares.\u003c\/p\u003e\n\u003cp\u003eIncluye grabaciones completas con anuncios de locutores y voces.\u003c\/p\u003e\n\u003cp\u003eGBR00125 – MADE IN EU \u0026nbsp; ®2026\u003c\/p\u003e","brand":"GRooVE back records","offers":[{"title":"LP 33 rpm (PREORDER)","offer_id":52965875843419,"sku":"GBR00125","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/coverlatoa-MilesDavisQuintetCompleteCafeBohemiaVOL.2.jpg?v=1779201121"},{"product_id":"miles-davis-quintet-complete-cafe-bohemia-bandstand-u-s-a-1956-58-radio-broadcasts-volume-1-2","title":"Miles Davis Quintet • Complete Café Bohemia Bandstand U.S.A. 1956-58 Radio Broadcasts • Volume 1 \u0026 2","description":"\u003ch1 style=\"text-align: center;\"\u003eBUNDLE\u003c\/h1\u003e\n\u003ch2 class=\"product__title h1\"\u003eMiles Davis Quintet • Complete Café Bohemia Bandstand U.S.A. 1956-58 Radio Broadcasts • Volume 1 \u0026amp; 2.\u003c\/h2\u003e\n\u003cp\u003ePara más información, ver las fichas de los 2 productos:\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.referencemusicstore.com\/it\/products\/miles-davis-quintet-complete-cafe-bohemia-bandstand-u-s-a-1956-58-radio-broadcasts-volume-1\" title=\"Miles Davis Quintet • Complete Café Bohemia Bandstand U.S.A. 1956-58 Radio Broadcasts • Volume 1\" rel=\"noopener\" target=\"_blank\"\u003eMiles Davis Quintet • Complete Café Bohemia • Volume 1\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.referencemusicstore.com\/it\/products\/miles-davis-quintet-complete-cafe-bohemia-bandstand-u-s-a-1956-58-radio-broadcasts-volume-2\" title=\"Miles Davis Quintet • Complete Café Bohemia Bandstand U.S.A. 1956-58 Radio Broadcasts • Volume 2\" rel=\"noopener\" target=\"_blank\"\u003eMiles Davis Quintet • Complete Café Bohemia • Volume 2\u003c\/a\u003e\u003c\/p\u003e","brand":"GRooVE back records","offers":[{"title":"Default Title","offer_id":53062450839899,"sku":"GBRB0124225","price":69.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/BUNDLEMILES1E2.png?v=1779779832"},{"product_id":"the-final-tour-copenhagen-march-24-1960-miles-davis-john-coltrane","title":"The Final Tour: Copenhagen, March 24, 1960 | Miles Davis \u0026 John Coltrane","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eThe Final Tour: Copenhagen, March 24, 1960\u003c\/h1\u003e\n\u003ch1 class=\"product-meta__title heading h1\"\u003eMiles Davis \u0026amp; John Coltrane\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: LP\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e01 - Introduction\u003c\/p\u003e\n\u003cp\u003e02 - So What\u003c\/p\u003e\n\u003cp\u003e03 - On Green Dolphin Street (Part 1)\u003c\/p\u003e\n\u003cp\u003e04 - On Green Dolphin Street (Part 2)\u003c\/p\u003e\n\u003cp\u003e05 - All Blues\u003c\/p\u003e\n\u003cp\u003e06 - The Theme (incomplete)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa nuova uscita dell'acclamata serie Miles Davis Bootleg Series si focalizza sul capitolo finale della storica collaborazione tra Davis e il sassofonista John Coltrane: la loro ultima performace dal vivo insieme.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMiles e Coltrane avevano collaborato la prima volta nel 1955, quando Davis ingaggiò il sassofonista tenore insieme al pianista Red Garland, al bassista Paul Chambers e al batterista Philly Joe Jones. Questo primo grande quintetto fece il suo debutto discografico con ‘Round About Midnight, il primo album di Miles per la Columbia Records nel 1957. Queste prime registrazioni dimostrarono lo straordinario contrasto tra le melodie ariose di Davis e gli assoli energici di Coltrane.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMentre il quintetto si sciolse poco dopo l'uscita dell'album, Coltrane si riunì all'ensamble di Davis ne 1958. Un anno dopo, il Miles Davis Sextet (Davis, Coltrane, Chambers, il sassofonista Julian “Cannonball” Adderley, il pianista Bill Evans e il batterista Jimmy Cobb) registrarono lo storico Kind Of Blue, l'album jazz più venduto di tutti i tempi. Lo stesso anno, Coltrane fece sucire il suo album Giant Steps con la Atlantic Records.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiant Steps rese Coltrane uno dei più innovativi jazzisti in assouto, e la crescente fama rese sempre più difficile seguire Davis in tour. Davis non riuscì a trovare subito un sostituto per il tou europeo Jazz At The Philharmonic e confinse Coltrane a seguirlo per un'ultima volta.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sony Music","offers":[{"title":"LP 33 rpm","offer_id":53089328660827,"sku":"88985498741","price":36.85,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODUzNDQ3NC4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6NDMyfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXA.webp?v=1779739776"},{"product_id":"bitches-brew-miles-davis","title":"BITCHES BREW | Miles Davis","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eBITCHES BREW\u003c\/h1\u003e\n\u003ch1 class=\"product-meta__title heading h1\"\u003e\u003cem\u003eMiles Davis\u003c\/em\u003e\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: LP\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCD1\u003c\/p\u003e\n\u003cp\u003e01 - Pharaoh's Dance\u003cbr\u003e02 - Bitches Brew\u003c\/p\u003e\n\u003cp\u003eCD2\u003c\/p\u003e\n\u003cp\u003e03 - Spanish Key\u003cbr\u003e04 - John McLaughlin\u003cbr\u003e05 - Miles Runs The Voodoo Down\u003cbr\u003e06 - Sanctuary\u003cbr\u003e07 - Feio\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"100\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/0886443874428?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"wp-block-paragraph\"\u003e“Bitches Brew” di Miles Davis è un’opera rivoluzionaria che ha ridefinito il panorama musicale. Pubblicato nel 1970, l’album è un esperimento audace che fonde il jazz con influenze rock e sperimentali. Brani iconici come “Pharaoh’s Dance” e “Spanish Key” definiscono questa creazione unica.\u003c\/p\u003e\n\u003cp class=\"wp-block-paragraph\"\u003eDavis sfida le convenzioni musicali attraverso produzione innovativa e arrangiamenti avvolgenti. “Bitches Brew” crea un’atmosfera sonora intraprendente e sfaccettata, aprendo nuovi orizzonti musicali.\u003c\/p\u003e\n\u003cp class=\"wp-block-paragraph\"\u003eNonostante iniziali reazioni contrastanti, “Bitches Brew” è diventato una pietra miliare del jazz e ha influenzato la musica in modo duraturo. L’album ha plasmato generazioni di musicisti e ha contribuito a definire il jazz fusion.\u003c\/p\u003e\n\u003cp class=\"wp-block-paragraph\"\u003eIn sintesi, “Bitches Brew” testimonia l’audacia visionaria di Miles Davis. Con la sua miscela unica di stili e il suo impatto straordinario sulla musica moderna, l’album merita senza dubbio il massimo dei voti. Un viaggio musicale che continua a ispirare e a plasmare il panorama sonoro globale.\u003c\/p\u003e","brand":"Sony Music","offers":[{"title":"LP 33 rpm","offer_id":53089350582619,"sku":"0888751119017","price":26.5,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/81m3DGSbOIL.jpg?v=1779740643"},{"product_id":"sketches-of-spain-miles-davis","title":"SKETCHES OF SPAIN | Miles Davis","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eSKETCHES OF SPAIN\u003c\/h1\u003e\n\u003ch1 class=\"product-meta__title heading h1\"\u003e\u003cem\u003eMiles Davis\u003c\/em\u003e\u003c\/h1\u003e\n\u003cp\u003eDisponibile in: LP\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"cc-tracks-item\" id=\"track-item-0\"\u003e\n\u003cspan class=\"cc-track-number\"\u003e1 - \u003c\/span\u003e\u003cspan class=\"cc-track-title\"\u003eThe Pan Piper\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"cc-tracks-item\" id=\"track-item-1\"\u003e\n\u003cspan class=\"cc-track-number\"\u003e2 - \u003c\/span\u003e\u003cspan class=\"cc-track-title\"\u003eConcierto De Aranjuez: Adagio\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"cc-tracks-item\" id=\"track-item-2\"\u003e\n\u003cspan class=\"cc-track-number\"\u003e3 - \u003c\/span\u003e\u003cspan class=\"cc-track-title\"\u003eSaeta\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"cc-tracks-item\" id=\"track-item-3\"\u003e\n\u003cspan class=\"cc-track-number\"\u003e4 - \u003c\/span\u003e\u003cspan class=\"cc-track-title\"\u003eWill O' The Wisp\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"cc-tracks-item\" id=\"track-item-4\"\u003e\n\u003cspan class=\"cc-track-number\"\u003e5 - \u003c\/span\u003e\u003cspan class=\"cc-track-title\"\u003eSolea\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"cc-tracks-item\"\u003e\n\u003cspan class=\"cc-track-title\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"100\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/0886444505321?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSketches of Spain è uno degli album nati dalla collaborazione tra Miles Davis e l'amico e compositore Gil Evans. L'album, come annunciato dal titolo (Schizzi spagnoli) si basa su un programma costruito su musiche spagnole, sia tradizionali sia colte (il disco contiene un arrangiamento del secondo movimento del Concierto de Aranjuez di Joaquin Rodrigo[2] e un brano, intitolato Will o' the Wisp, da un balletto di Manuel de Falla).\u003c\/p\u003e\n\u003cp\u003eNell'autobiografia, Davis dice che l'idea del disco gli venne dopo aver ascoltato il Concierto de Aranjuez. Evans curò gli arrangiamenti e introdusse gli altri pezzi, tra cui Saeta, un brano popolare di cante hondo andaluso per la processione del Venerdì Santo, tratto e riarrangiato dal volume Spanish Folk Music di Alan Lomax, e Solea, un brano peruviano.\u003c\/p\u003e\n\u003cp\u003eDavis, nell'autobiografia, ricorda che gli arrangiamenti erano così densi che il trombettista Bernie Glow diventò paonazzo per lo sforzo di seguire la scrittura, e che dovette parlare a Evans perché semplificasse un po' la scrittura.\u003c\/p\u003e\n\u003cp\u003eIn effetti, la situazione minacciò di degenerare: l'orchestra trovava gli arrangiamenti di Evans troppo difficili e il produttore, Teo Macero, prese le parti dei musicisti[3]. Davis non fu di molto aiuto ad Evans, anzi non si presentò alla prima prova, probabilmente perché sconvolto da alcune vicende private[4]. Sketches of Spain è considerato uno degli album più rifiniti e accessibili mai registrati da Miles Davis, e il giudizio su di esso non è uniforme: la Penguin Guide to Jazz on CD ne parla come di \"musica leggera d'alto bordo\". All'uscita dell'album, Davis fu accusato di piegarsi a compromessi commerciali, e si disse che Sketches of Spain non era jazz. Secondo la rivista Rolling Stone Davis avrebbe reagito dichiarando: «È musica, e a me piace».[5]\u003c\/p\u003e\n\u003cp\u003eL'album è stato pubblicato in CD dalla stessa Columbia nel 1997 con l'aggiunta di un brano non incluso nell'LP originale e di due registrazioni alternative di altrettante parti del Concierto de Aranjuez.\u003c\/p\u003e\n\u003cp\u003eNel 1961 Davis ed Evans sono stati premiati con il Grammy Award for Best Original Jazz Composition per l'album.\u003c\/p\u003e","brand":"Sony Music","offers":[{"title":"LP 33 rpm","offer_id":53089357791579,"sku":"0889853784813","price":23.9,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/0888751119314-550x550w.jpg?v=1779741107"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/collections\/81Na6ZqVckL._AC_SL1500.jpg?v=1772115746","url":"https:\/\/referencemusicstore.myshopify.com\/es\/collections\/miles-davis.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}