| Disco | Agharta [Columbia LP (dutch 1st pressing)] |
| Year | 1975 |
| Venue | Japan, Festival Hall, Osaka |
| Date | 1975-02-01 |
| Notes | Source: kickass.to
Miles Davis - Agharta (1976) [flac] {Dutch 1st pressing; 24-96}-aksman --- Miles Davis - Agharta [Columbia LP (dutch 1st pressing)] 24-96 CD-compatible format.txt Miles Davis - Agharta [Columbia LP (dutch 1st pressing)] 24-bit/96kHz & CD-compatible format Posted By : aksman | Date : 09 Sep 2010 21:00:52 | While Pangaea is awesome as well, there is simply nothing like Agharta in the canon of recorded music. This is the greatest electric funk-rock jazz record ever made -- period. - Thom Yurek/AMG Agharta is an album recorded by jazz trumpeter Miles Davis in 1975. Both Agharta and Pangaea were recorded on the same day in Osaka, Japan. The Agharta concert took place during an afternoon matinée, whereas Pangaea was recorded in the evening. The song "Interlude" contains a version of the theme from "So What", a track from Davis's Kind of Blue (1959). Review by Thom Jurek Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis -- saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume -- was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here. The music on Agharta, a total of three tunes spread over two CDs and four LP sides, contains the "Prelude," which clocks in at over a half-hour. There is "Maiysha" from Get up With It and the Agharta "Interlude," which segues into the "Theme From Jack Johnson." The music here is almost totally devoid of melody and harmony, and is steeped into a steamy amalgam of riffs shot through and through with crossing polyrhythms, creating a deep voodoo funk groove for the soloists to inhabit for long periods of time as they solo and interact with one another. Davis' band leading at this time was never more exacting or free. The sense of dynamics created by the stop-start accents and the moods, textures, and colors brought out by this particular interaction of musicians is unparalleled in Davis' live work -- yeah, that includes the Coltrane and Bill Evans bands, but they're like apples and oranges anyway. Driven by the combination of Davis' direction and the soloing of Sonny Fortune and guitarist Pete Cosey, who is as undervalued and underappreciated for his incalculable guitar-slinging gifts as Jimi Hendrix is celebrated for his, and the percussion mania of Mtume, the performance on Agharta is literally almost too much of a good thing to bear. When Cosey starts his solo in the "Prelude" at the 12-minute mark, listeners cannot be prepared for the Hendrixian energy and pure electric whammy-bar weirdness that's about to come splintering out of the speakers. As the band reacts in intensity, the entire proceeding threatens to short out the stereo. These are some of the most screaming notes ever recorded. Luckily, since this is just the first track on the whole package, Davis can bring the tempos down a bit here and there and snake them into spots that I don't think even he anticipated before that afternoon (check the middle of "Maiysha" and the second third of "Jack Johnson" for some truly creepy and beautiful wonders). While Pangaea is awesome as well, there is simply nothing like Agharta in the canon of recorded music. This is the greatest electric funk-rock jazz record ever made -- period. Track listing All compositions by Miles Davis. "Prelude (Part One)" 22:27 "Prelude (Part Two)" 10:03 "Maiysha" 13:05 "Interlude" 31:47 "Theme from Jack Johnson" 28:39 Personnel Miles Davis electric trumpet with Wah Wah, organ Sonny Fortune soprano saxophone, alto saxophone, flute Pete Cosey electric guitar, Synthesizer, percussion Reggie Lucas electric guitar Michael Henderson electric bass Al Foster drums Mtume conga, percussion, water drum, rhythm box Production Producer - Teo Macero Director - Keiichi Nakamura Engineer - Tamoo Suzuki ---------------------------------------------------------------------------------------------- Analyzed folder: D:\Miles Davis - Agharta (1976) [flac] {Dutch 1st pressing; 16-44}\ ---------------------------------------------------------------------------------------------- DR Peak RMS Filename ---------------------------------------------------------------------------------------------- DR11 -0.40 dB -13.60 dB A - Prelude (Part 1).wav DR11 -0.85 dB -15.12 dB B1 - Prelude (Part 2).wav DR12 -1.02 dB -16.74 dB B2 - Maiysha.wav DR12 -1.46 dB -17.79 dB C - Interlude.wav DR15 -0.77 dB -21.32 dB D -Theme From Jack Johnson.wav ---------------------------------------------------------------------------------------------- Number of files: 5 Official DR value: DR12 Technical Log RCM Hannl 'limited' with "Rotating Brush" Music Hall MMF 9.1 Turntable Tonearm: Pro-Ject 9cc evo with Pure Silver Wires Cartridge: Nagaoka MP-500 Brocksieper Phonomax (Tube Phono PreAmp) E-MU 0404 external USB 2.0 Audiointerface Interconnections : Silent Wire NF5 WaveLab 6 recording software iZotope RX Advanced 1.21 for resampling and dithering Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal > analyze (no clipping, no DC Bias offset) > converted to 24/96 (16/44.1) with iZotope RX Advanced 1.21 > split into individual Tracks > FLAC encoded (Vers. 1.21) No silence been removed, please burn gapless to match original tracklayout. Personal Note With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high. --- dir.txt ---------------------------------------------------------------------------------------------- Analyzed folder: D:\Recording\16-44 (redbook)\Miles Davis - Agharta (1976) [flac] {Dutch 1st pressing; 16-44}\ ---------------------------------------------------------------------------------------------- DR Peak RMS Filename ---------------------------------------------------------------------------------------------- DR11 -0.40 dB -13.60 dB A - Prelude (Part 1).wav DR11 -0.85 dB -15.12 dB B1 - Prelude (Part 2).wav DR12 -1.02 dB -16.74 dB B2 - Maiysha.wav DR12 -1.46 dB -17.79 dB C - Interlude.wav DR15 -0.77 dB -21.32 dB D -Theme From Jack Johnson.wav ---------------------------------------------------------------------------------------------- Number of files: 5 Official DR value: DR12 ============================================================================================== |
| Media | FLAC24 |
| Live | 1 |
| Incomplete | 0 |
| ALBW | 0 |
| Compilation | 0 |
| nVol | 340 |