Miles Davis - Dark Magus (1974) {Dutch LP (RI); 24-96}
- Type:
- Audio > FLAC
- Files:
- 15
- Size:
- 2.12 GB
- Tag(s):
- miles davis dark magus vinyl rip hirez jazz funk
- Quality:
- +0 / -0 (0)
- Uploaded:
- Feb 14, 2012
- By:
- bartoko
hi rez vinyl rip!
rip by : aksman
Miles Davis - Dark Magus
Dutch LP (1st pressing outside Japan) / Columbia 487529-1
Vinyl rip in 24-bit/192kHz (converted to 24/96 & 16/44.1) | FLAC | m3u, cue & Tech Log
Artwork | 2.3 gb / 700 mb incl. recovery | Rapidshare & Filefactory | Jazz; Fusion | 1974
Allmusic.com rating 4 / 5
Ultimately, Dark Magus is an over-the-top ride into the fragmented mind of Miles and his 1974 band; its rhythm section is the most compelling of any jazz-rock band in history...
- Thom Yurek/AMG
Dark Magus is a live album by jazz artist Miles Davis recorded at Carnegie Hall in New York City on March 30, 1974. The album was released in 1977 in Japan as a double-LP by Columbia Records, and released in 1997 in the United States in a double-CD format. In 2001, Q magazine named it as one of the 50 Heaviest Albums of All Time.
Review by Easy Money (Progarchives.com)
For those of you still looking for that ever elusive progressive rock album by Miles Davis, you have found it here. This is not jazz or jazz fusion, funk-rock or funky jazz, this is 100% psychedelic avant-garde hard rock totally devoid of any filler or useless by-products. On this album Miles writes out his old jazz credentials with a razor blade onto a jagged piece of metal, crumples it up and stuffs it down the throat of every critic who tried to tell him who he is and what kind of music he should play. If the jazz establishment thought Bitches Brew was tough, nothing could prepare them for this sonic onslaught. The best way to describe this album is equal parts Iggy Pop, Sun Ra, John Zorn, Stockhausen, MC5, Hendrix, Velvet Underground with John Cale and live King Crimson improvs.
I have always thought that Miles was heavily influenced by the early 70s Detroit rock scene during this phase of his career. The Detroit scene was particularly rough, as well as creative and featured bands like Iggy Pop and the Stooges, The MC5 and Funkadelic, long before Funkadelic gave up their psychedelic hard-rock roots to become a funk/dance band. These bands mixed hard proto-punk beats with bluesy funk and avant-garde noise and were light years ahead of many other American rock bands as far as the future of rock was concerned.
Creative noisy hard rock is hardly the only influence on here. Dark Magus is similar to other 70s recordings by Miles in that he often breaks the beat down into free sections that are sometimes loud and busy, and other times quiet and ominous. These sections always show the usual Stockhausen and Sun Ra influences, but the difference on this record is that Miles has a bigger band and the sound collages are more dense and interesting. Some of my favorite moments happen when Mtume holds a cheap 70s drum machine up to the microphone and creates humanly impossible dense layers of rhythms while the other band members add electronic sounds and incidental percussion. There are some saxophone led hard funk-rock jams occaisonally, but these sections sound more like Crimson's Earthbound album or Band of Gypsys than 70s party music.
The star of this show is the incendiary avant-psychedelic guitar shaman Pete Cosey. Robert Fripp has referred to Cosey's guitar playing as 'wall paper shredding' and probably Fripp, and/or McLaughlin are the only guitarists I can think of that could possibly match this man's sonic outbursts. This isn't my personal favorite Miles album, but this is probably his best when it comes to creative avant-prog rock.
Track listing
Side A
"Moja," – 25:02
Side B
"Wili" – 25:02
Side C
"Tatu" – 25:10
Side D
"NNE" – 25:26
Personnel
Miles Davis – organ, electric trumpet with Wah Wah
Dave Liebman – flute, soprano saxophone, tenor saxophone
Azar Lawrence – tenor saxophone
Pete Cosey – electric guitar, Synthesizer
Reggie Lucas – electric guitar
Dominique Gaumont – electric guitar
Michael Henderson – electric bass
Al Foster – drums
James Mtume – percussion
Teo Macero – producer
Dynamic Range analyzis
----------------------------------------------------------------------------------------------
Anal
Miles Davis - Dark Magus
Dutch LP (1st pressing outside Japan) / Columbia 487529-1
Vinyl rip in 24-bit/192kHz (converted to 24/96 & 16/44.1) | FLAC | m3u, cue & Tech Log
Artwork | 2.3 gb / 700 mb incl. recovery | Rapidshare & Filefactory | Jazz; Fusion | 1974
Allmusic.com rating 4 / 5
Ultimately, Dark Magus is an over-the-top ride into the fragmented mind of Miles and his 1974 band; its rhythm section is the most compelling of any jazz-rock band in history...
- Thom Yurek/AMG
Dark Magus is a live album by jazz artist Miles Davis recorded at Carnegie Hall in New York City on March 30, 1974. The album was released in 1977 in Japan as a double-LP by Columbia Records, and released in 1997 in the United States in a double-CD format. In 2001, Q magazine named it as one of the 50 Heaviest Albums of All Time.
Review by Easy Money (Progarchives.com)
For those of you still looking for that ever elusive progressive rock album by Miles Davis, you have found it here. This is not jazz or jazz fusion, funk-rock or funky jazz, this is 100% psychedelic avant-garde hard rock totally devoid of any filler or useless by-products. On this album Miles writes out his old jazz credentials with a razor blade onto a jagged piece of metal, crumples it up and stuffs it down the throat of every critic who tried to tell him who he is and what kind of music he should play. If the jazz establishment thought Bitches Brew was tough, nothing could prepare them for this sonic onslaught. The best way to describe this album is equal parts Iggy Pop, Sun Ra, John Zorn, Stockhausen, MC5, Hendrix, Velvet Underground with John Cale and live King Crimson improvs.
I have always thought that Miles was heavily influenced by the early 70s Detroit rock scene during this phase of his career. The Detroit scene was particularly rough, as well as creative and featured bands like Iggy Pop and the Stooges, The MC5 and Funkadelic, long before Funkadelic gave up their psychedelic hard-rock roots to become a funk/dance band. These bands mixed hard proto-punk beats with bluesy funk and avant-garde noise and were light years ahead of many other American rock bands as far as the future of rock was concerned.
Creative noisy hard rock is hardly the only influence on here. Dark Magus is similar to other 70s recordings by Miles in that he often breaks the beat down into free sections that are sometimes loud and busy, and other times quiet and ominous. These sections always show the usual Stockhausen and Sun Ra influences, but the difference on this record is that Miles has a bigger band and the sound collages are more dense and interesting. Some of my favorite moments happen when Mtume holds a cheap 70s drum machine up to the microphone and creates humanly impossible dense layers of rhythms while the other band members add electronic sounds and incidental percussion. There are some saxophone led hard funk-rock jams occaisonally, but these sections sound more like Crimson's Earthbound album or Band of Gypsys than 70s party music.
The star of this show is the incendiary avant-psychedelic guitar shaman Pete Cosey. Robert Fripp has referred to Cosey's guitar playing as 'wall paper shredding' and probably Fripp, and/or McLaughlin are the only guitarists I can think of that could possibly match this man's sonic outbursts. This isn't my personal favorite Miles album, but this is probably his best when it comes to creative avant-prog rock.
Track listing
Side A
"Moja," – 25:02
Side B
"Wili" – 25:02
Side C
"Tatu" – 25:10
Side D
"NNE" – 25:26
Personnel
Miles Davis – organ, electric trumpet with Wah Wah
Dave Liebman – flute, soprano saxophone, tenor saxophone
Azar Lawrence – tenor saxophone
Pete Cosey – electric guitar, Synthesizer
Reggie Lucas – electric guitar
Dominique Gaumont – electric guitar
Michael Henderson – electric bass
Al Foster – drums
James Mtume – percussion
Teo Macero – producer
Dynamic Range analyzis
----------------------------------------------------------------------------------------------
Anal
Dynamic Range analyzis
----------------------------------------------------------------------------------------------
Analyzed folder: D:\Miles Davis - Dark Magus (1974) {Dutch LP (RI); 16-44}\
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DR Peak RMS Filename
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DR12 -1.15 dB -15.49 dB A - Moja.wav
DR13 -0.66 dB -15.45 dB B - Wili.wav
DR14 -0.81 dB -16.35 dB C - Tatu.wav
DR13 -0.89 dB -17.36 dB D - NNE.wav
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Number of files: 4
Official DR value: DR13
==============================================================================================
Technical Log
RCM Hannl 'limited' with "Rotating Brush"
Music Hall MMF 9.1 Turntable
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
iZotope RX Advanced 1.21 for resampling and dithering
Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > converted to 24/96 (16/44.1) with iZotope RX Advanced 1.21
> split into individual Tracks > FLAC encoded (Vers. 1.21)
No silence been removed, please burn gapless to match original tracklayout.
Personal Note
With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.
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