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Live At The Plugged Nickel Coffret, Import

5 étoiles sur 5 3 commentaires client

2 neufs à partir de EUR 750,00 5 d'occasion à partir de EUR 188,90 1 de collection à partir de EUR 110,00
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Page Artiste Miles Davis


Détails sur le produit

  • CD (18 juillet 1995)
  • Nombre de disques: 8
  • Format : Coffret, Import
  • Label: Mis
  • ASIN : B000002B01
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 36.672 en Musique (Voir les 100 premiers en Musique)
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  • Ecouter les extraits (Extrait)
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Disc 2
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Disc 3
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13:19
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0:38
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Disc 4
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Disc 5
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Disc 6
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Disc 7
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Disc 8
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Descriptions du produit

DAVIS MILES

Commentaires en ligne

5.0 étoiles sur 5
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Par Un client le 23 septembre 2001
Format: CD
Ce coffret de 8CD regroupe les enregistrements réalisés durant les deux soirées de décembre 65 dans le fameux club de Chicago "The Plugged Nickel". Il ravira les amateurs de Miles Davis, alors accompagné d'une des formations les plus interressantes avec lequel il est joué (Ron Carter à la Basse, Herbie Hancock au piano, Tony Williams à la batterie et Wayne Shorter au saxo. Il n'y a aucun doute qu'il s'agit là de sessions fabuleuses, alternant des atmosphères intimes et des titres aux rythmiques endiablées. A noter pour les amateurs qu'ils s'agit là de la version complète des séssions (30 minutes déclarées perdus ont été retrouvées dans les archives Sony et remasterisées). Un coffret à recommander, qu'on soit afficionado ou néophyte.
Remarque sur ce commentaire 4 sur 4 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par freddiefreejazz TOP 100 COMMENTATEURS le 3 août 2004
Format: CD
Cinq, six, sept, huit, dix étoiles, distribuez-en autant que vous voudrez! A votre guise! Désolé de le rappeler ou de remuer le couteau dans la plaie, mais ce coffret colossal en rupture de stock est pour beaucoup d'entre nous la voie lactée de la planète jazz. Ou mieux : le Saint Graal... La nature de cette musique et la thématique de la quête qui lui est associée ont donné lieu à de nombreux commentaires, ainsi qu'à de multiples illustrations discographiques plus ou moins tronquées (Cookin' At The Plugged Nickel, Highlights From The Plugged Nickel et tout récemment At the Plugged Nickel Chicago). Depuis une bonne décennie, des captations "live" de ce quintette sont parues (Live in Copenhagen 1964, Live At Newport 1966-1967 ainsi que le premier volume d'une série de bootlegs édités par Sony Columbia dans lequel figure le légendaire Concert du 06 novembre 1967 à la Salle Pleyel). Mais The Complete Live At Plugged Nickel tient vraiment une place à part.Lire la suite ›
Remarque sur ce commentaire 3 sur 3 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par jyt le 8 mars 2010
Format: CD Achat vérifié
Je ne sais pas comment dire la force, la beauté de ces enregistrements.
Dans un coffret plutôt assez sobre, le pouvoir du quintet de Miles qui n'en était pourtant qu'à ces débuts est déjà immense. Il annonce les oeuvres futurs.
C'est ce que j'aime dans l'oeuvre de Miles, c'est qu'elle est toujours en devenir, jamais assise.
Remarque sur ce commentaire 3 sur 3 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xa34437c8) étoiles sur 5 53 commentaires
138 internautes sur 141 ont trouvé ce commentaire utile 
HASH(0xa347d6d8) étoiles sur 5 I Don't Know Jazz...But I Know What I Like... 23 octobre 2000
Par Jeffrey Blehar - Publié sur Amazon.com
Format: CD
I'm a rock and roll obsessed teenager - look at my reviews, and you'll see me gushing about Radiohead, Bob Dylan, The Clash, R.E.M., and Elvis Costello. Which means that I feel somewhat out of my depth trying to recommend The Complete Live At The Plugged Nickel 1965 to anyone - I know very little about jazz, and my (growing) collection would look psychotic to anyone who does: I must surely be one of the only people in the world who owns Plugged Nickel and has never heard a lick of Kind Of Blue. So this is more in the spirit of a testimonial than a straight review; I have little context to work with, and I apologize in advance. All I can write about is what I hear.
And what I hear is the sound of a GROUP of soloists, not five SOLOISTS in a group. I don't suppose that makes too much sense to anyone, but what I mean is that despite the long, harmonically amazing spotlights given to Wayne Shorter and Miles Davis, the focus (as I hear it) seems to be on the group dynamic - how they liquidly shift time, tempo, and tone around whoever is up front. I'm just amazed at the sixth-sense feeling of these performances, how drummer Tony Williams will toy with the beat while Ron Carter falls in naturally behind him without missing a single note, with Herbie Hancock keeping pace all the time with piano interjections that are more rhythmic than melodic. Speaking of Williams, I normally don't give two sticks about drummers and drumming, but...wow, he's something special, isn't he? Apparently a prodigy in his own day (how old was he when this was recorded, EIGHTEEN?), he cuts up the beat in all sorts of unpredictable ways sometimes, totally flying free, yet he never, ever, ONCE loses the underlying pulse of the song. Furthermore, although he's playing jazz rhythms, when gets loud he sounds almost like (blasphemy, I know) a ROCK drummer to me, pure physicality and muscularity. (I'm talking especially about tracks like "Four" and "Agitation.")
The music itself is both wonderfully quirky and breathtakingly melodic, usually in the same performance - Shorter tends towards jagged, strangely accented bursts of sound which resolve themselves only by implication into "lines" (I think of "Agitation," on the second set of the second night), while Davis takes off on soaringly lyrical runs which are all seduction one moment and pure aggro-fueled energy the next. As for the fact that most of the songs on Plugged Nickel are duplicated two or even three times in the course of the set, it's an absolutely moot point because for all intents and purposes these might as well be 39 different pieces. Except for little fragments of the original melodies here and there, every song on Plugged Nickel seems to be a unique entity to itself, although of course I'm sure there's much that I can't pick up yet.
One thing in particular that I love about Plugged Nickel that I guess most of you jazzers take as a given is the AMBIENCE of the whole thing. Live albums in rock (my realm of expertise) are usually messy, cavernous stadium affairs; the Plugged Nickel is of course a club, and the marvelous production picks up all sorts of wonderful ambient noises that physically transport me to Chicago on a cold, windy pre-Christmas night. Cash registers *ching!*, phones ring, and there are even hecklers of a sort (I agree with whoever wrote that the fellow who keeps on shouting out during Ron Carter's bass solo on "When I Fall In Love" deserves a bop on the head). Even better is the way you can hear the club steadily grow more and more swingin' as the sets progress - by the end of the first night, you can hear a real crowd has gathered. All of this makes the box incredibly intimate; turn down the lights, open the windows, turn up the music, and I defy you to tell me that you're not THERE in front of the Quintet as they play, sipping on expensive liquor, smoking unfiltered Pall Malls, and wishing you could toss a chair at the jerk in front of you who won't shut up.
Another observation: I don't simply see 8 CD's of stunning music, I see a complete package which contributes to the atmosphere. The box, the visual layout, the look of the discs themselves - everything is superb. The thorough, track-for-track liner notes (the content of which remains, sadly, partially inaccessible to me; I don't have the necessary background to appreciate what a "Wynton Kelly groove zone" means in reference to "No Blues," for example) are complemented by the spectacular visual imagery of the jewel case art: all stark blacks and whites, light and shadow. The photograph of that martini glass on the cover of disc 6 alone is work of art.
So that's why Plugged Nickel gets five stars from me, an ignorant and unrepentant rocker. I'm sure as I my ears develop and my sense of history is refined I'll come back and be bowled over by the significance of all of this in terms of the future of jazz, but for now what I am swept away by is the music and EXPERIENCE of hearing it. Music to fly to, music to cry to, intellectual and forceful, gentle and brutal, made by a group of five self-effacing leaders - sweet paradoxes, each and every one. Nothing gets old, nothing gets repetitive, and you get the impression that this is a well they could have drawn water from over and over again without running dry, if they had only felt like it.
I could say that after hearing The Complete Live At The Plugged Nickel I'm going to go out and buy all of the Miles Davis Quintet's albums tomorrow, but that would be a lie.
Because, don'tcha know, I already did.
43 internautes sur 44 ont trouvé ce commentaire utile 
HASH(0xa34cb1c8) étoiles sur 5 Not to be missed. Beg, borrow or steal, but buy this set. 24 juin 1998
Par Richard Thurston - Publié sur Amazon.com
Format: CD
Go without espresso for a month. Pack your own sandwich, make your own soup. have your kid pay his/her own tuition. Save your money anyway you wish but buy this set. This is such an extraordinary document of one of the very greatest groups in all of music one would be remiss in not including it in one's collection.
Recorded over two nights at the Plugged Nickle nightclub in Chicago during 1965 this includes all of the music (approx. 6 hours) played during six sets over a two evening engagement. Frankly, it doesn't get any better than this. Captured at a peak level this band was pushing the boundaries and creating a group approach to the music that current musicians still are using as a road map. Incredibly influential at the time, the availability of this recording demonstrates how fresh and absolutely contemporary the Miles Davis Quintet's music remains 30+ years later.
Interestingly, the 6 or so hours of music consists of only twenty tunes. Some are played a number of times and some appear only once. "The Theme" appears in versions ranging from 22 seconds to 10 minutes 29 seconds. And in no small part that is what makes this set so extraordinary. By adhering to a relatively limited list of tunes over the two nights of performance the group demonstrates an astonishing ability to make the commonplace absolutely of the moment. "Stella By Starlight", for example, appears in three rather different incarnations, each unique from the other and each taking a 'standard' and making something else entirely of it. The tunes become the structure for incredible harmonic invention and rhythmic originality. Avoiding repeated patterns while finding absolute encouragement and support within the group itself each tune is it's own adventure. And after all, that is the goal of improvised music. Few groups have ever achieved this level of accomplishment, fewer still have left such a worthy document of those efforts.
Very important music.
35 internautes sur 38 ont trouvé ce commentaire utile 
HASH(0xa349bb1c) étoiles sur 5 Look beyond the flaws... this box set is the essence of jazz 27 août 2001
Par Fabio G. Rojas - Publié sur Amazon.com
Format: CD
If I were to recommend one Miles album, I'd still stick to Kind of Blue, Miles Smiles or one his fusion albums. However, if you wanted an in depth exposure to Miles' music or jazz in general, you couldn't go wrong with the Complete Plugged Nickel set. 1) Music is ultimately about concepts, combined with skill. While Miles' technique was subpar on this recording - lots of cracked notes, for example, the concepts were all there. For example, Tony Williams is constantly juggling the rhythm and changing meters. Ron Carter re-energizes old jazz standards with funky, modern bass lines. The entire group took old tunes and completely re-worked them so they had an exciting new feel - and it works. If that isn't jazz, then what is? 2) The individual players: Each player went on further affect jazz and the music beyond jazz. If you want to see Wayne Shorter stretching out and applying his new ideas to old tunes, then listen to these recordings. Miles approach to the band was precursor to the heady, atmospheric sound of his fusion albums. Even with the squawked notes from Miles, every jazz instrumentalist can learn something by listening to the individuals on this album. Wayne and Hancock's harmonic ideas, Williams stunning cymbal work and even Miles' celebrated sense of space are all worth listening to. 3) The group sound: the feel of this group is nothing short of wonderful. There really isn't another group that pulled it off in quite the same way. For example, the Art Blakey group sound revolved around tight arrangements and driving rhythms. Coltrane quartet was built on repeating modal vamps - free based on simplicity. The Miles group was something else - complete felxibility organized around highly abstract harmonic sequences. You can hear it in all of the Miles recordings of the mid 1960's of the mid-1969's. Here you see it done with jazz standards, rather than the original compositions found on ESP, Nefrititi and Miles Smiles. Overall, you get something that is very rare in the history of art - five virtuosos at or near the peak of their abilities experimenting, having fun and holding no punches but still retaining the beauty and structure of the material they're working with. What really makes the whole thing click is that you see the process unfolding over eight hours. Would you pay ... to hear Melville discuss his novels with Hawthorne? or Diego Rivera and Frida Kahlo chat about painting? That's what you get here. A few drawbacks, small in the big picture, but it might be an issue for some buyers. First, Miles clams a lot of notes. As the box set progresses, he intentionally twists notes but some of it is just a plain screw up. Second, you have to turn the stereo up to really hear Herbie Hancock - the sound mix is less than perfect. Third, the audience is loud. You can hear hear everything. But what can I say? It's still great music.
14 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0xa34cbbc4) étoiles sur 5 Cataclysmic 21 février 2000
Par Ole Skipper - Publié sur Amazon.com
Format: CD
When Wayne Shorter entered Miles' group in the mid-60's, things exploded - and the results are nowhere better to be heard than on this magnificent, cataclysmic set! Compared to live recordings of just a few years back, there has been a profound change in the music - it's dark, introvert, existential, raw, imaginative beyond belief. Miles' own playing is not at its best, but clearly he is the center around which this musical cycloon whirls. And the band plays like no-one else has played before or since. The compositions are more or less irrelevant - after the casual presentation of the theme it more or less sounds the same on all the tracks, thundering along in (mostly) 4/4 time. This is a vision of a universe, a dark, splintering world with only the creative spirit creating coherance. Those wanting pretty versions of "My Funny Valentine" are advised to look elsewhere!
14 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0xa34cbd8c) étoiles sur 5 The Best Album Ever- buy it immediately 29 août 2004
Par C. Lade - Publié sur Amazon.com
Format: CD
Let's just get this straight: this is the best music you will ever hear in your entire life. A lot of stuff comes close to this, but nothing ever reaches this. This is the pinnacle in music. Period.

The level of interplay that this group developed is remarkable, from Tony responding to what a soloist is doing, to Ron Carter switching rythyms on his bass and making a chorus of Stella By Starlight twice as long to give a certain effect (Disc 4, Track 2, around 2:50), to Herbie Hancock's 'comping that NEVER got in the way, but rather provides inspiration. It is though the five of these guys can read eachother's minds. And rather than playing these standards without any passion, Tony injects fury into these songs to make them something totally different.

I have read reviews on this album complaining about how all they play is standards, and all those great tunes you hear on their records, esp. Miles Smiles, are left out. No need to be discouraged. Instead of being disapointed, the listener is enlightened in the different way each one of these songs are treated, even the same song is played more than once in this box set (walkin', stella by starlight, ect.).

As Miles said in his autobiography, "I was beginning to realize that Tony and this group could play anything they wanted to." And this album proves him correct--this music is phenominal, 30 years and more after it was released musicians are still changing their music to sound like this group (Wynton Marsalis, Brad Mehldau, ect.)

This group exercised "freedom within form," and the result is absolutely stunning. My suggestion: buy this immediately and find out what I'm talking about.
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