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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 Descriptionthe Davis band in that evening's concert performance at Osaka Festival Hall on February 1, 1975. The difference in moods is readily apparent, as the band comes out on fire--particularly the trumpeter, who was in a more reticent mood during the afternoon's festivities.
With PANGAEA Miles peeks out from the eye of an electronic hurricane to impart the darker side of his soul. Davis was on the verge of a total mental and physical collapse when this concert was recorded, suffering from a variety of degenerative physical ailments, in the throes of a cocaine haze, glaring out at the world from behind the protective darkness of his shades, amidst the grungy blare of his Afro-blue psychobabble.
Whether these sounds derive from Davis' malaise or occur in spite of it, it's amusing to recall that this dangerous, relentlessly edgy music was widely held to be proof of Miles' commercial aspirations. Yet only in recent years did Ornette Coleman & Prime Time, The Black Rock Coalition, Living Colour and John Zorn's Naked City approximate PANGAEA's mysterious power. On side one, some fierce acid funk gives way to an aquatic percussive melange; likewise, side two's lyrical folk themes (as epitomized by Sonny Fortune's lovely flute and Miles' coy wah-wah trumpet) are transformed into a serene, mysterious blues of surprising delicacy. Throughout PANGAEA, guitarist Pete Cosey plays with heroic freedom and epic ferocity over the ritualistic roar of drummer Al Foster, bassist Michael Henderson, and percussionist Mtume.
Personnel: Miles Davis (trumpet, organ); Sonny Fortune (soprano & alto saxophones, flute); Pete Cosey (synthesizer, electric guitar, percussion); Reggie Lucas (electric guitar); Michael Henderson (electric bass); Al Foster (drums); Mtume (congas, water drums, rhythm box, percussion). Hide Description Pangaea Music | List Price | $19.98 (You save $7.83) | | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Live Performances, Trumpet | | Label | Columbia | | Orig Year | 1975 | | All Time Sales Rank |  12134  | | 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
Pete Cosey - synthesizer, electric guitar, percussion
Reggie Lucas - electric guitar
Also: Al Foster, Michael Henderson, Mtume, Sonny Fortune |
Miles Davis Pangaea Songs Purchase Pangaea CD To buy, Click on price to add to cart | Miles Davis Agharta CDs (1975)
Pangaea album
 $12.15  
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 ...
| | Miles Davis Get Up With It CDs (1974) Remastered
Pangaea CD music
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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 ...
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Pangaea music CDs
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ON THE CORNER enjoys a special cult status among musicians, anticipating as it does the punk funk/acid jazz movements. For Miles Davis, ON THE CORNER was another seismic shift. Miles was particularly fond of the lyric sweep of Hendrixian electric guitar, the James Brown-like rhythmic thump of Fender bass, and the bell-like timbre and chordal possibilities of the Fender/Rhodes electric piano. Now the trumpeter sought to incorporate the feel of street rhythms from around the world and to reflect the influence of modern electronic composers such as Karlheinz Stockhausen.
So while ON THE CORNER is generously populated with top-flight jazz players, Davis was zeroing in on a contemporary approach not beholden to jazz players of jazz rhythmic postures--although group improvisation is still very much the order of the day. In paving the way for his Afro-psychedelic working bands of the mid-70's, Davis was roundly dissed, but ON THE CORNER endures brilliantly--the ...
| | Miles Davis Live Evil CDs (1971) Limited Edition
Pangaea songs
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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 ...
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Pangaea album
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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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Track Listing of songs: DISC 1: Don't Sit Under the Apple Tree - Glenn Miller & His Orchestra/Marion Hutton; Long Ago and Far Away - Dick Haymes & Helen Forrest; I Don't Want to Walk Without You - Harry James Orchestra/Helen Forrest; Boogie Woogie Bugle Boy - The Andrews Sisters; Saturday Is the Loneliest Night of the Night of the Week - Frank Sinatra; My Dreams Are Getting Better - Les Brown & His Orchestra/Doris Day; Somebody Else Is Taking My Place - Russ Morgan; Frenesi - Artie Shaw; I Left My Heart at the Stage Door Canteen - Sammy Kaye & His Orchestra/Don Cornell; Till Then - The Mills Brothers; Praise the Lord & The Pass the Ammunition - Kay Kyser; Long Ago and Far Away - Jo Stafford; Last Time I Saw Paris, The - Tony Martin; Don't Fence Me In - Bing Crosby & The Andrews Sisters; There, I've Said It Again - Vaughn Monroe; I'll Walk Alone - Dinah Shore; Bell Bottom Trousers - Guy Lombardo; AC-Cent-Tchu-Ate the Positive - Johnny Mercer; I Don't Want to Set the World on Fire - The Ink Spots; You'll Never Know - Dick Haymes; ...
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OSCAR PETERSON TRIO AT THE CONCERTGEBOUW is actually a live recording of a concert at The Civic Opera House and bonus tracks from an LP titled THE MODERN JAZZ QUARTET AND THE OSCAR PETERSON TRIO AT THE OPERA HOUSE which were originally recorded at the Shrine Auditorium. Although Oscar Peterson and his trio did perform a midnight concert on April 12-13, 1958, no recording of this concert has been found.
This album--the title has been a misnomer since its initial release in 1957--was not recorded at the Concertgebouw in Amsterdam but at the Civic Opera House in Chicago. That bit of trivia aside, this is an exceptional snapshot of the magic produced by Oscar Peterson's mid-'50s trio. When guitarist Herb Ellis and bassist Ray Brown locked in with Peterson's piano, the three unfurled a tornado of musical ideas that wrapped bop, swing, popular balladry, and chamber music in highly complex, beautiful arrangements.
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Pangaea Music Review Average Rating: (5 out of 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. 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. 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. | Have you heard this album? |  |
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