Miles Davis - Young Man with a Horn (1952) - [Smooth Jazz Lounge]

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• published: 12 Aug 2016
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Classic Mood Experience The best masterpieces ever recorded in the music history. Join our Youtube: https://goo.gl/8AOGaN Join our Facebook: http://goo.gl/5oL723 Miles Davis - Young Man with a Horn (1952) 00:00 Dear Old Stockholm (1952) 04:09 Woody'n You (1952) 07:30 Yesterdays (1952) 11:11 Chance It (1952) 14:10 Donna (1952) 17:20 How Deep is the Ocean? (1952) Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th century music. With his ever-changing directions in music, Davis was at the forefront of a number of major stylistic developments in jazz over his five-decade career. Born and raised in Illinois, Davis began performing in 1940s New York with saxophonist Charlie Parker before recording the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, he recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter featured harmonies developed by pianist Bill Evans and was an innovative work in the emerging modal jazz style, eventually becoming arguably the most popular jazz album ever. Davis made several line-up changes while recording Someday My Prince Will Come (1961), his Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967), before transitioning into his electric period. During the 1970s, he radically experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing lineup of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin. This period, beginning with Davis' 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed. After a five-year retirement due to poor health, Davis returned to recording new music and performing live in the early 1980s, which found him employing younger musicians and pop music sounds on albums such as The Man with the Horn (1981) and Tutu (1986). Critics were generally unreceptive but the decade garnered Davis his highest level of commercial recognition, as he performed sold-out concerts worldwide while branching out into visual arts, film, and television work, before his death in 1991. In 2006, he was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". Rolling Stone described Davis as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Lyn Early called him inarguably one of the most influential and innovative musicians of that period. FROM WIKIPEDIA: https://en.wikipedia.org/wiki/Miles_Davis Young Man with a Horn (BLP 5013) is a 10 inch mono LP by jazz trumpeter Miles Davis recorded and released by the Blue Note label in 1952. The album title is presumably a reference to the 1950 film Young Man with a Horn. It was Davis' only official album recorded or released that year, at a time in his career while he was struggling with heroin addiction. This was the first of three 10"LPs recorded by Davis for Blue Note in the early 1950s. Davis says in autobiography that his contract for Prestige Records, for whom he had recorded his first LP the year before, was non-exclusive, but elsewhere he states the initial Prestige contract was for only one year. All cuts were initially issued as singles except "How Deep Is the Ocean". The recordings were re-released on 12 inch LPs in 1956 after Davis won the Down Beat readers poll as best trumpeter. The original master takes were split and merged with Davis' two other sessions for Blue Note (Miles Davis Volume 1 and Volume 2). FROM WIKIPEDIA: https://goo.gl/V54CDe

Miles Davis - Young Man with a Horn (1952) - [Smooth Jazz Lounge]

• Report rights infringement
• published: 12 Aug 2016
• views: 1135

Classic Mood Experience The best masterpieces ever recorded in the music history. Join our Youtube: https://goo.gl/8AOGaN Join our Facebook: http://goo.gl/5oL723 Miles Davis - Young Man with a Horn (1952) 00:00 Dear Old Stockholm (1952) 04:09 Woody'n You (1952) 07:30 Yesterdays (1952) 11:11 Chance It (1952) 14:10 Donna (1952) 17:20 How Deep is the Ocean? (1952) Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th century music. With his ever-changing directions in music, Davis was at the forefront of a number of major stylistic developments in jazz over his five-decade career. Born and raised in Illinois, Davis began performing in 1940s New York with saxophonist Charlie Parker before recording the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, he recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter featured harmonies developed by pianist Bill Evans and was an innovative work in the emerging modal jazz style, eventually becoming arguably the most popular jazz album ever. Davis made several line-up changes while recording Someday My Prince Will Come (1961), his Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967), before transitioning into his electric period. During the 1970s, he radically experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing lineup of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin. This period, beginning with Davis' 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed. After a five-year retirement due to poor health, Davis returned to recording new music and performing live in the early 1980s, which found him employing younger musicians and pop music sounds on albums such as The Man with the Horn (1981) and Tutu (1986). Critics were generally unreceptive but the decade garnered Davis his highest level of commercial recognition, as he performed sold-out concerts worldwide while branching out into visual arts, film, and television work, before his death in 1991. In 2006, he was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". Rolling Stone described Davis as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Lyn Early called him inarguably one of the most influential and innovative musicians of that period. FROM WIKIPEDIA: https://en.wikipedia.org/wiki/Miles_Davis Young Man with a Horn (BLP 5013) is a 10 inch mono LP by jazz trumpeter Miles Davis recorded and released by the Blue Note label in 1952. The album title is presumably a reference to the 1950 film Young Man with a Horn. It was Davis' only official album recorded or released that year, at a time in his career while he was struggling with heroin addiction. This was the first of three 10"LPs recorded by Davis for Blue Note in the early 1950s. Davis says in autobiography that his contract for Prestige Records, for whom he had recorded his first LP the year before, was non-exclusive, but elsewhere he states the initial Prestige contract was for only one year. All cuts were initially issued as singles except "How Deep Is the Ocean". The recordings were re-released on 12 inch LPs in 1956 after Davis won the Down Beat readers poll as best trumpeter. The original master takes were split and merged with Davis' two other sessions for Blue Note (Miles Davis Volume 1 and Volume 2). FROM WIKIPEDIA: https://goo.gl/V54CDe