Sorcerer

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Total Tracks: 9   Total Length: 52:38

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Re: Parental Advisory

millerbg

I think they are trying to warn you about the horrendous final cut ("Nothing Like You").

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Too sexy

DelanyFlushboy

@Elmonewt: It's because this music is just too steamy. If minors listen to it, it may give them ideas...

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This is Jazz.....

HSWT

Honestly you can't go wrong with any album from Miles during this period. In my opinion this is probably Miles' most musically significant period. If anybody ever asks you to explain what Jazz is, just play them an album from this period.

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"parental advisory"??? HUH???

Elmonewt

One of the best Davis albums from his greatest band. But a "parental advisory" on an instrumental album?? WTF?

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i can't download this.

anothermuso

I cannot download any music from the SONY catalogue which seems to include Columbia/Legacy because I live in Australia. But I have to pay the US rate. It really doesn't feel nice to be ripped off after loyal membership since 2002!

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whaddaya mean?

Stick-Up-Artist

it says that it's released by Columbia/Legacy... you know Columbia is owned by Sony, right?

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They Say All Media Guide

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there’s little of the dense, manic energy on Miles Smiles — this is about subtle shadings, even when the compositions are as memorable as Tony Williams’ “Pee Wee” or Herbie Hancock’s “Sorcerer.” As such, it’s a little elusive, since it represents the deepening of the band’s music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren’t placed at the forefront the way they were on the two predecessors — it all merges together, pointing toward the dense soundscapes of Miles’ later ’60s work. It’s such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it’s intended as a tribute to Miles’ then-wife, Cicely Tyson (whose image graces the cover). – Stephen Thomas Erlewine

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Activity

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