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Davis, Miles - Pangaea CD Cover Art CD music music CDs songs album

Miles Davis Pangaea CD

 Miles Davis Discography of CDs
5 stars (3 Customer Reviews)

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 Our Price: $15.25  CD

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PANGAEA was the last album Miles Davis made before his 5 year retirement.

Recorded live at Osaka Festival Hall, Osaka, Japan on February 1, 1975. Includes liner notes by Kevin Whitehead.

The companion set to AGARTHA, PANGAEA presents ...    Full Description

Pangaea Music


Detailed Pangaea Music Information



List Price $19.98 (You save $4.73)
Category Rock/Pop Albums, Jazz CDs, Jazz Instrument, Live Performances, Trumpet
Label Columbia
Orig Year 1975
All Time Sales Rank   12290  
CD Universe Part number 1086825
Catalog number 46115
Discs 2
Release Date Apr 20, 1990
Studio/Live Live
Mono/Stereo Stereo
Producer Teo Macero
Engineer Tomoo Suzuki
Recording Time 88 minutes
Personnel Miles Davis - trumpet, organ
Reggie Lucas - electric guitar
Pete Cosey - synthesizer, electric guitar, percussion

Also: Michael Henderson, Al Foster, Sonny Fortune, Mtume
Miles Davis Pangaea Songs


Miles Davis Pangaea Album Track Listing



Pangaea CD DISC 1:
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample1.Zimbabwe
Pangaea Songs DISC 2:
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample1.Gondwana

Pangaea Music


Pangaea Other Versions



Miles Davis
Pangaea  (1975) Japan; Limited Edition; Remastered; Mini LP Sleeve
CD$41.55
Pangaea Music Review


Customer Pangaea Reviews 




Average Rating: (5 out of 5 stars) 5 stars

5 stars best liveband album
im studyin this kind of music since it was new,i play trumpet n guitar check this its hotfunk blackpower
Submitted by esteban (sardinia)
Was This Review Helpful? Yes No  1 of 1 found this helpful.

5 stars Not like any other music
40 minutes of straight music that just gets better after every minute. I've haven't heard much Miles Davis, so i was surprised to ear a funky electric guitar backing him. All the musicians on this album are fantastic. Each doing there own thing at a frenetic pace. But it all comes together like they planned every note. I put this album on repeat at work and never got so much work done in one day. A+
Submitted by sdsamna (Chicago, Il)
Was This Review Helpful? Yes No  1 of 1 found this helpful.

5 stars electric nuclear hurricane music
this is probably my favorite miles album. (one of my favorite records, ever: dense, monsterous, angry and beautiful. pangaea kicks. flat out. this aint jazz or rock or funk but pissed-off miles davis hijacking an unholy lovechild of jimi hendrix and james brown. the first fifteen minutes of disc 1 never, ever, (ever) fail to take my breath away and make the hairs on my arms stand up. al foster kicks it off (and keeps it up throughout) with furious drumwork. the twin guitars growl and roar, michael henderson's basslines ought to be reqiured listening for anyone who even thinks about playing a fender bass. this album was recorded live in japan, 1975, year of my birth. humbling. i was an infant and miles was playing his soul in japan. fractured hips, chronic leg pain and he kicked, flat out. buy this record. listen and awe.
Submitted by a reviewer (utah, utah, utah)
Was This Review Helpful? Yes No  1 of 1 found this helpful.

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Agharta
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CD $16.09  4.7 stars Top 500 Audio Samples
Recorded live at Osaka Festival Hall, Osaka, Japan on February 1, 1975. Includes liner notes by Lee Jeske. Digitally remastered by Larry Keyes (CBS Records Studios, New York, New York). Often derided or misunderstood during the time of their original release, Miles Davis' numerous releases following BITCHES BREW are now recognized for their startlingly unconventional beauty. Drawing on rock and funk, Miles unflinchingly followed his muse into the subtle dynamics to be found in hypnotically relentless repetition overlaid with fiery soloing. This hundred-minute, two-disc set was recorded live in Japan in 1975 and finds Miles trading solos with saxophonist Sonny Fortune over an undulating rhythm thicket ...
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Recorded between 1970 and 1974. Includes liner notes by Dave Liebman. Digitally remastered by Seth Foster (Sony Music Studios, New York, New York). By 1974, Miles Davis had become not only a music legend in general and a jazz legend in particular, but also a reclusive and confounding character. Davis' music had excited many and exasperated others, including many of his older fans, with its forays into space-age free-form meta-funk. Released in 1974 but unavailable on CD in the US until 2000, GET UP WITH IT is a compendium of several of Miles's early-to-mid-'70s studio adventures, and one of the most challenging albums in his catalog. His tribute to Duke Ellington, "He Loved Him Madly," is a darkly intense, 30-minute-plus exercise evoking the dense textures of such contemporary classical composers as Paul Schutze and Georgy Ligeti. "Red China Blues," a wry homage of sorts to Chicago blues, features some stinging trumpet by Davis and some earnest blues harmonica. The 2-CD GET UP WITH IT is a collection of feverish, dense textures and deep grooves, which range from sensual, to bereaved, to confrontational, and features the outstanding players with whom Davis surrounded himself during this period. Fans of electric Miles Davis will find this a must-have, displaying as it does Davis's anticipation ...
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In the period following Miles Davis' crossover breakthrough, BITCHES BREW, the trumpeter recorded incessantly, trying out new combinations of ideas and musicians. These progressive young musicians went on to forge a new alloy of music from the ore of funk, electric soul, psychedelic blues and progressive rock, with trace elements of classical and jazz. And Miles was the lightning rod for it all. BIG FUN gathers up some of the trumpeter's choicest experiments in '70s cool, much of it with a profoundly Indian flavor, and Miles' attraction to raga phrasing mirrors his love of flamenco melodies, particularly on "Lonely Fire" (a late Miles ballad in the tradition of "Nefertiti," "Shhh/Peaceful" and "Sanctuary"). This moody arrangement is distinguished by floating tear drops of tamboura, sitar, tabla and Fender/Rhodes, as Miles sounds taps, shadowed by soprano sax and bass clarinet, before breaking into tempo over the crossrhythms of Billy Cobham and Jack DeJohnette. Miles employs twin keyboardists, twin bassists and twin drummers, throughout BIG FUN, and the visceral starts and stops of "Great Expectations" highlight the sort of layered, collective polyphony he was trying to develop, his focused melodies acting as a lyric beacon. "Ife" is Miles in his ON THE CORNER mode, marked by the arrival of funk bassist Michael Henderson, percussionist ...
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Digitally remastered by Tom Ruff (Sony Music Studios, New York, New York). Broken into a group of short studio pieces and four extended live jams, LIVE EVIL finds Miles Davis going further up the river, into the heart of uncharted musical darkness. In the studio, Miles took simple tone ballads and immersed them in the electrified air that he'd been breathing since IN A SILENT WAY. "Nem Um Talvez" and "Selim" are sister pieces; with Miles' trumpet bathed in Hermeto Pascoal's keyboards and vocal moans, sprinkled with proto-dub percussion effects. The live pieces are another animal altogether. Augmented by John McLaughlin's Hendrixian guitar runs and bolstered by Michael Henderson's funky bass pops, these are blues-tinged tickets to an electric, improvisational nirvana. With room to stretch out in any direction, each soloist develops fluidly within the ensemble, then thrusts powerfully forward. Jack DeJohnette and Airto Moreira hold down the backbeat, shifting it into a multitude of forms; Keith Jarrett fills the down-tempo breaks admirably. But it's Miles and McLaughlin who incite this music to the frenzied riot that is it's true calling. When the time comes and the massive, dark groove descends, it comes with a ritualistic, heretofore-unheard fervor. Recorded at Columbia ...
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AT FILLMORE is the second release to document Miles' live presentation of BITCHES BREW's breakthroughs. Broken up into four parts, it shows the unprecedented growth of the same band that recorded BLACK BEAUTY just three months earlier. The addition of Keith Jarrett's organ expands the music even further over the borders that defined "jazz," creating a singular hybrid of rock, blues and jazz. Once again, chaos dwells within the belly of this musical beast. From the electro-static of "The Mask" through the end of "It's About That Time," Davis, Jarrett, Chick Corea and Steve Grossman ...
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