[SACD-R][OF] Miles Davis - Sorcerer - 1967/2014 (Jazz, Post-Bop)

foobar2000 1.3.8 / Dynamic Range Meter 1.1.1
log date: 2015-08-04 11:25:24

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Analyzed: Miles Davis / Sorcerer
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DR Peak RMS Duration Track
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DR12 -6.39 dB -21.05 dB 6:31 01-Prince Of Darkness
DR12 -8.70 dB -25.64 dB 4:51 02-Pee Wee
DR12 -6.26 dB -22.48 dB 8:55 03-Masqualero
DR12 -7.19 dB -21.80 dB 5:13 04-The Sorcerer
DR13 -6.15 dB -22.80 dB 7:18 05-Limbo
DR12 -7.27 dB -24.95 dB 5:39 06-Vonetta
DR12 -6.37 dB -22.92 dB 1:58 07-Nothing Like You
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Number of tracks: 7
Official DR value: DR12

Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 24
Bitrate: 5645 kbps
Codec: DSD64
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Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - double bass
Tony Williams - drums

The lineup differs greatly on the track "Nothing Like You", since it was recorded several years prior:
Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Bob Dorough - vocals
Gil Evans - arrangements
Frank Rehak - trombone
Paul Chambers - bass
Jimmy Cobb - drums
Willie Bobo (William Correa) - bongos

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-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).