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| Sorcerer [SACD] |
| Miles Davis |
| első megjelenés éve: 1967 |
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| (2015)
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*Super Audio CD* |
| 13.017 Ft
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1 Prince Of Darkness
Written-By W. Shorter
6:30
2 Pee Wee
Written-By T. Williams
4:51
3 Masqualero
Written-By W. Shorter
8:55
4 The Sorcerer
Written-By H. Hancock
5:14
5 Limbo
Written-By W. Shorter
7:19
6 Vonetta
Written-By W. Shorter
5:39
7 Nothing Like You
Arranged By [Arranger] – Gil Evans
Bass – Paul Chambers
Bongos – Willie Bobo
Drums – Jimmy Cobb
Trombone – Frank Rehak
Vocals [Vocal By] – Bob Dorough
Written-By B. Dorough, F. Landesman
2:03
Bass – Ron Carter (tracks: 1 to 6)
Drums – Tony Williams (tracks: 1 to 6)
Piano – Herbie Hancock (tracks: 1 to 6)
Producer [Produced By] – Teo Macero
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Tracks 1 to 6 recorded at Columbia Studio B at 30th Street Studio, New York City on May 16 (5, 6), May 17 (3, 4) and May 24 (1, 2), 1967
Track 7 recorded at Columbia Studio A, New York City on August 21, 1962
Released as a 4-panel digisleeve with a 4-panel MoFi leaflet. Does not contain a booklet.
Recorded at Columbia Studio B, New York, New York on May 16, 17 & 24, 1967; Columbia Studio A, New York, New York on August 21, 1962; Columbia Studios, Los Angeles, California on May 9, 1967
Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York)
Miles Davis - Main Performer, Trumpet
Bob Dorough - Vocals
Buster Williams - Bass
Frank Rehak - Trombone
Herbie Hancock - Keyboards, Piano
Jimmy Cobb - Drums
Paul Chambers - Bass
Ron Carter - Bass
Tony Williams - Drums
Wayne Shorter - Sax (Tenor), Saxophone
Willie Bobo - Bongos
By the time Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams recorded SORCERER in 1967, they were the most acclaimed ensemble in all of jazz. The Miles Davis Quintet had by this time perfected an intuitive style of collective improvisation that distilled the revolutionary changes of '60s jazz, but without rejecting elements of the mainstream tradition. In fact the Quintet's approach to melody, harmony and rhythm on SORCERER and NEFERTITI formed the basis for many of the Marsalis Brothers' popular recording projects of the 1980s.
Wayne Shorter's unique style of voice-leading is showcased on four compositions. "Prince Of Darkness" presents an airborne theme over a swinging, restless pulse, as Carter and (especially) Williams answer Shorter's every parry and thrust with lightning and thunder of their own. On his freely inflected "Masqualero," Shorter fragments the Iberian theme between the horns and Hancock's dark, impressionistic chords; the rhythm is crisp and purposeful one second, nebulous and fanciful the next, inspiring a particularly torrid Davis solo. On "Limbo" Shorter and Davis navigate a delightfully circuitous melody as Williams offers crackling rejoinders, while "Vonetta" is a stately ballad over an irregular martial pulse.
You can hear pianist Hancock revelling in the sound of discovery throughout SORCERER and his long, boppish theme and variations on the classic title tune inspires fervent conversations between Davis and Shorter. SORCERER is perfection from start to finish.
* Allen Weinberg - Art Direction
* Bob Belden - Liner Notes, Reissue Producer
* Chris Albertson - Liner Notes
* Francis Wolff - Photography
* Frank Laico - Engineer
* Fred Plaut - Engineer
* Gil Evans - Arranger
* Jan Persson - Photography
* John Snyder - Reissue Producer
* John Synder - Producer
* Mark Wilder - Mastering, Remixing
* Michael Cuscuna - Reissue Producer
* Paul M. Martin - Art Coordinator
* Randall Martin - Reissue Design
* Seth Rothstein - Project Director
* Stan Tonkel - Engineer
* Teo Macero - Producer
* Vic Anesini - Remixing
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." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors -- it all merges together, pointing toward the dense soundscapes of Miles' later '60s work. It's such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it's intended as a tribute to Miles' then-wife, Cicely Tyson (whose image graces the cover).
---Stephen Thomas Erlewine, All Music Guide |
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