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Kind Of Blue (Box Set)Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes
Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations
If Theres a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions
Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History
How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.
Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If theres a stairway to heaven, this is the soundtrack.
In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.
While no one has ever completely identified the magic behind the records allurethe otherworldly nature is part of its inherent charmmuch of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.
An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, youll feel as if youve been whisked away to a jazz holy land. Quintessential.
This title is not eligible for discount.1. So What
2. Freddie Freeloader
3. Blue in Green
4. All Blues
5. Flamenco Sketches$59.99180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed Buy Now
Kind Of BlueRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
High quality 180 gram Audiophile Vinyl
Replication of Original Artwork
Released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.
After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In Person At The Blackhawk: Friday and SaturdayMiles Davis' two night stand at The Blackhawk in San Francisco marked a watershed in jazz history, a seminal event transforming the American musical landscape.
Davis had never been recorded live in a club with his combo and the performances over the course of two sets a night on April 21 and 22, 1961 more than justify the legend.
The New York Times, in its review of the Columbia Records release of the complete Blackhawk shows, called the music the gold standard for straight-ahead, postwar jazz rhythm.
Impex Records is proud to present a performance unequaled, a recording unparalleled and the must-have audiophile release of this or any other year.1. Walkin'
2. Bye Bye Blackbird
3. All Of You
4. No Blues
5. Bye Bye (Theme)
6. Love, I've Found You
1. Well You Needn't
3. So What
5. If I Were A Bell
6. Neo$54.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Bitches Brew (Awaiting Repress)Monumental 1970 Double Album is Signpost for Jazz Fusion: Psychedelic Record Still Sounds Ahead of Its Time More Than 40 Years Later
Otherworldly Sonics: Mobile Fidelity Delivers the Consummate Pressing of the Uncompromising Work Ranked by Rolling Stone as Among the Greatest 100 Albums of All Time
Grammy Award-Winning Set Ignores Convention, Pursues Funk and Rock Directions Via Innovative Rhythms and Groundbreaking Ensemble Configurations
A Dozen Five-Star Miles Davis Albums Spanning 1958-1971 Available from Mobile Fidelity on Definitive-Sounding LP
"Listen to This." As the original working title for Bitches Brew, the invitation resonates as the best way to approach a record that shattered conventions, altered music history, and still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made in any genre.
Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's definitive 180g 2LP. Mastered from the original master tapes, these audiophile editions join the ranks of eleven other essential Davis sets given supreme sonic treatment by Mobile Fidelity.
Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism.
Mobile Fidelity's reissues envelop you in expansive warm tonal blankets.
Gathering a Hall of Fame-worthy lineup of musicians, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops speak to the leader's ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it encourages free thought-the very principle with which Davis
conceived the everlasting beauty that is Bitches Brew.
This title is not eligible for discount.1. Pharaoh's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
5. Miles Runs the Voodoo Down
6. Sanctuary$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Kind Of Blue + 2 Bonus TracksRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
So much has been said and written about Miles Davis Kind Of Blue, its virtually impossible to summarize all the necessary info to the length of this note. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why its the best jazz album ever made, but the music itself will do that to you. As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised.
The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come. We´re proud to announce a very special version of the most influential (jazz)album ever. We present the orginal album in remastered form plus an extra LP containing 2 tracks that werent available on vinyl before (an alternate take of Flamenco Sketches and a version of On Green Dolphin Street recorded prior to the Kind of Blue sessions, with the legendary line-up of Bill Evans, John Coltrane, Paul Chambers and Jimmy Cobb).
Also, we´ve graced this first-time ever 2LP edition of this musical masterpiece with a gatefold sleeve with additional liner notes.
180 grams audiophile vinyl
First-time ever 2LP edition incl. 2 bonustracks
Gatefold Sleeve incl. additional liner notesLP1
1. So What (9:03)
2. Freddie Freeloader (9:46)
3. Blue In Green (5:37)
1. All Blues (11:32)
2. Flamenco Sketches (9:24)
1. Flamenco Sketches (ALTERNATE TAKE) (9:24)
1. On Green Dolphin Street (9:48)$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Sketches of SpainRanked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Limited individually Numbered Edition!
The conception of ''Sketches of Spain'' in 1960, can be placed in the ''most melodic era'' of Miles Davis. It is one of his most accessible and less improvisational albums, some even outclassed it from the reigns of Jazz.
This is one of the four albums where Miles and Gil Evans (arranger & conductor) were together with a small orchestra of horns and percussion, and it was fueled by Spanish melodies that fascinated Davis to the point he needed to get into them and go beyond: El Concierto de Arajuez by Joaquín Rodrigo and El Amor Brujo by Manuel de Falla.1. Concierto de Aranjuez
2. Will O the Wisp
3. The Pan Piper
5. Solea$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Four & MoreExhilarating and Immediate: Live Set Documents One of Davis Final Excursions With a Program of Standards
Hear the Interior of Philharmonic Hall at New Yorks Lincoln Center Come Alive: Mobile Fidelitys Fastidious Reissue Illuminates Venue Acoustics, Musicians Phrasings
Whirlwind Uptempo Pace Prodded by Tenor Saxophonist George Coleman and Drummer Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and In a Silent Way Also Available from Mobile Fidelity
Given his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that hed soon abandon in favor of experimentalism.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed analog edition teems with the urgency demonstrated by Davis and his bandnotes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy.
Recorded on February 12, 1964 in Philharmonic Hall at New Yorks Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davisaccompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancockapproaches standards such as So What, Seven Steps to Heaven, and Four with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos.
Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.
At last, these historic recordings are afforded the breathing room and acoustic perspective theyve always deserved. For listeners that may be unfamiliar with this title, prepare to be blown awayliterally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Dont miss this gem.
This title is not eligible for discount.1. So What
6. Seven Steps to Heaven
7. There Is No Greater Love
8. Go-Go$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sketches of SpainRanked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations
Sublime Sound: Mobile Fidelity Reissue Corrects the Dry Sound That Plagues Previous Editions
Flamenco-Themed 1960 Set Develops Synergy Between Orchestrations and Melancholic Jazz Phrasings
Urge by Davis to Develop Techniques Possessed by Forbearers Finds Him Expanding Palette, Spinning Webs of Lyrical Sound and Emotion
Kind of Blue, Milestones, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminarys career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.
Part of Mobile Fidelitys Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180g LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.
Indeed, in its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers have taken every available measure to insert listeners into the space occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and the 18-piece orchestra. With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.
Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
Whether its the somber mood piece of the standout Concierto de Aranjuez (Adagio), renowned forDavis flugelhorn performance, or the folktale-based Solea, Mobile Fidelitys enhanced Sketches of Spain transfixes with playing, ideas, and innovations that remain exclusive to this incomparable record.
This title is not eligible for discount.1. Concierto de Aranjuez (Adagio)
2. Will O the Wisp
3. The Pan Piper
5. Solea$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MilestonesOnly Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones
Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs
Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.1. Dr. Jekyll
2. Sid's Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
ACSO-ANA-7130xRed Garland Quintet
All Mornin' Long200-Gram Pressing by Quality Record Pressings has a Flat Edge Profile and Deep Groove Label, True to the Original LP, and a Deluxe High-Gloss Tip-on Album Jacket.
All-Star Musician Lineup of Red Garland, John Coltrane, Donald Byrd, George Joyner and Arthur Taylor. Originally Released in November 1957.
Some groups have existed only in the recording studio but have produced music of lasting value.
This quintet, under pianist Red Garland's leadership, actually did play some gigs around New York in the fall of 1957, but even if it hadn't, the rapport in the studio would still have been powerful. Beginning with the association of Garland and sax master John Coltrane in the Miles Davis Quintet and continuing with Arthur Taylor's trio connection with Garland, and trumpeter Donald Byrd's having worked with all of them in one form or another, there was enough of a common spirit in the musical attitudes of all the participants. The title blues spans an entire side; the overleaf is shared by Gershwin's They Can't Take That Away from Me and Dameron's Our Delight.1. All Mornin' Long
2. They Can't Take That Away From Me
3. Our Delight$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Miles Davis At Carnegie Hall180 gram vinyl of the 1961 album includes the bonus track 'I Thought About You', which was recorded at the same concert but not released on the original release.So What
Spring Is Here
Someday My Prince Will Come
The Meaning of the Blues/Lament
I Thought About You*
*Bonus Track$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Vol.1Miles Davis Volume 1 is the first in a pair of compilation albums of recordings made by Miles Davis over 1952-1954, released by the Blue Note Record label.
The twelve inch LP (BLP 1501) was originally released in 1956 (followed by Volume 2 (BLP 1502)) after Davis won the Down Beat readers poll as best trumpeter.The two volumes of rereleased Miles Davis material were the first releases in Blue Note's new 1500 series of 12LPs. The music compiled on the two volumes was from three separate recording sessions made over 1952-1954, some of which had been previously issued as singles, and as three now discontinued 10 inch LPs. Volume 1 contained takes of the May 9, 1952 and April 20, 1953 sessions for the label, including alternate takes of some songs.1.Tempus Fugit
5.How Deep Is The Ocean
7.Dear Old Stockholm
12.Woody'n You$19.99Vinyl LP Reissue - Sealed Buy Now
Levin BrothersGold With Smoke Colored 150 Gram Vinyl
Signed By Tony Levin & Pete Levin
Numbered/Limited To 1000
Tony Levin, (bassist with Peter Gabriel, King Crimson), has for the first time, joined up with his brother, keyboardist Pete Levin (Miles Davis, Gil Evans, Jaco Pastorius, Wayne Shorter) to make an album of the music they loved listening to when they were kids - the 'cool jazz' of the 1950s. Tony's cello and bass share the lead voice with Pete's organ and piano, and they're joined by notable players on drums, guitar and sax. Don't expect abstruse songs or long-winded solos - this album is all about great, melodic songs with high level performances by all the players.1. Bassics
4. Not So Square Dance
5. Jumpin Jammies
6. Cello in the Night
8. Special Delivery
9. I Got Your Bach
10. Matte Kudasai (King Crimson cover)
12. Gimme Some Scratch
13. I Remember
14. When Sasha Gets the Blues$40.99150 Gram Audiophile Vinyl LP - Sealed Buy Now
Bags' Groove (take 1)
Bags' Groove (take 2)
But Not For Me (take 2)
But Not For Me (take 1)$21.99Vinyl LP Reissue - Sealed Buy Now
Seven Steps To Heaven (200 Gram)200-Gram Vinyl Pressed At Quality Record Pressings
Mastered From The Original Analog Master Tapes By Ryan K. Smith At Sterling Sound
Deluxe Tip-On Gatefold Jacket From Stoughton Printing
In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic Seven Steps To Heaven, Joshua and slow passionate versions of Basin Street Blues and Baby Won't You Please Come Home.1. Basin Street Blues
2. Seven Steps To Heaven
3. I Fall in Love Too Easily
4. So Near So Far
5. Baby Won't You Please Come Home
6. Joshua$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Miles Smiles (Speakers Corner)
Except for the taping of a live performance at the Portland Festival, Miles Davis's discography for 1966 only lists the recordings made for the LP Miles Smiles! How strange when one considers the usual large output of Miles and his ensembles for Columbia Records in the Sixties.
The bass player Ron Carter was best suited for the complicated rhythm part and remained Miles's 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as Freedom Jazz Dance by Eddie Harris and Jimmy Heath's Gingerbread Boy.
Every second of the nine-minute-long Footprints by Shorter is an absolute highlight, while the drumming of the young Tony Williams in Freedom Jazz Dance is full of vitality, with a quick pulse, and even described as threatening in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That's exactly what Miles Smiles was upon its release 40 years ago - and that's what it is to this day! And that Miles Davis smiled for once thanks to the great musical relationship between the five individualists is certainly no mere rumour.
- Miles Davis
- Wayne Shorter (tenor saxophone)
- Herbie Hancock (piano)
- Ron Carter (bass)
- Tony Williams (drums)
Recording: October 1966 at Columbia RecordsStudios, New York, by Frank Laico
Production: Teo Macero
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Orbits
5. Freedom Jazz Dance
6. Ginger Bread Boy$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Somethin' Else (Bonus Tracks)Import
Original Album + Bonus Tracks
Julian Edwin "Cannonball" Adderley (September 15, 1928 - August 8, 1975) was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is remembered for his work with trumpeter Miles Davis, including the album "Somethin' Else" (1958). This was recorded during Adderley's membership in the Miles Davis Sextet and is one of the few post 1955 appearances of Miles Davis as a sideman. Indeed, Davis plays several of the first solos, composed the bluesy title track and, according to the liner notes, chose most of the material. "Autumn Leaves" would remain in the Davis book, and "Love for Sale" would be recorded by the Davis Sextet a little over two months later.1. Autumn Leaves
2. Love For Sale
3. Straight Life*
4. Somethin' Else
5. One For Daddy
6. Dancing In The Dark
7. A Little Taste*
*Bonus Track$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Ascenseur Pour L'Echafaud (2LP)Ascenseur Pour L'Échafaud is a 1958 French film directed by Louis Malle. It was released as Lift to the Scaffold in the UK. The film was nothing special, but it did accomplish one thing: it proposed a new ideal of cinematic realism, a new way to look at a woman. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's Soundtrack. He showed Davis a screening of the movie, and afterwards Miles knew exactly how to portray the smoky hazed or frantic scenes through sonic imagery. On December 4 1957, he brought four French Jazzmen (Barney Wilen / tenor saxophone, RenÉ Urtreger / piano, Pierre Michelot bass and Kenny Clarke drums) to the recording studio Le Poste Parisien Studio without having them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. Eventually Ascenseur Pour L'Échafaud has become a great achievement of artistic excellence.
For the first time since its original release in 1958, Music On Vinyl combined the original soundtrack and the additional recordings and created an essential 2LP set with the original artwork.Side 1 (ORIGINAL 1958 A-SIDE)
2. L'Assassinat De Carala
3. Sur L'Autoroute
4. Julien Dans L'Ascenseur
5. Florence Sur Les Champs-Élysees
Side 2 (ORIGINAL 1958 B-SIDE)
1. Dîner Au Motel
2. Évasion De Julien
3. Visite Du Vigile
4. Au Bar Du Petit Bac
5. Chez Le Photographe Du Mot
1. Nuit Sur Les Champs-ÉlysÉes (TAKE 1)
2. Nuit Sur Les Champs-ÉlysÉes (TAKE 2)
3. Nuit Sur Les Champs-ÉlysÉes (TAKE 3)
4. Nuit Sur Les Champs Elysees (TAKE 4)
5. Assassinat Visite Du Vigil
6. Assassinat Julien Dans L'ascenseur
7. Assassinat L'Assassinat De Carala
1. Final (TAKE 1)
2. Final (TAKE 2)
3. Final (TAKE 3)
5. Le Petit Bal (TAKE 1)
6. Le Petit Bal (TAKE 2)
7. SÉquence Voiture (TAKE 1)
8. Sequence Voiture Sur L'Aut (TAKE 2)$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Jazz At The PlazaJazz At The Plaza is another fine live recording from 1958 by the Miles Davis Sextet (this time with the classic first Miles Davis Quintet drummer Philly Joe Jones, instead of Jimmy Cobb). Recorded at the Edwardian Room of the Plaza Hotel for a bunch of record biz execs celebrating the success of Columbia Records jazz division, the crowd may have been stiff but the group was anything but, storming through "If I Were A Bell" (yes, the Guys & Dolls tune) and "Straight, No Chaser" before settling into a beautiful rendition of "My Funny Valentine", and closing out the set with Sonny Rollins' hard-bop classic, "Oleo". Reissued on LP by Doxy.1. If I Were a Bell
2. Straight, No Chaser
3. My Funny Valentine
4. Oleo$32.99Vinyl LP - Sealed Buy Now
In A Silent WayFloat Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in lineolate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touchhe causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlightis broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorters ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasonsnot the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Coreas Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attemptand how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Miles Davis - A Tribute To Jack JohnsonAudiophile Reference Sonics: Mobile Fidelity LP Presents Lean, Stripped-Back, and Open Sound With Startling Immediacy and Realism
Soundtrack Merges Electric Fusion, Slashing Rock, and Aggressive Funk Via Astounding Lineup: Guitarist John McLaughlin and Trumpeter Davis Turn In Blistering Performances
Powerhouse 1971 Album the Greatest Jazz-Rock Record Ever Made
The album cover to Trust speaks volumes: Elvis Costello, bathed in shadows, his eyes nervously peering out from behind his sunglasses, his face conveying a combination of edgy noir purpose and guilt-ridden anxiety. Indeed, the tension-rich songs within largely convey the opposite meanings of the record's title, with the British icon musing on what lies beyond arrogant youth and immediate success with a jaundiced, scarred perspective informed by his country's political climate and his own experiences.
Miles Davis' A Tribune to Jack Johnson is the best jazz-record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. Mobile Fidelity's sterling reissue brings it all to fore with unsurpassed realism.
Mastered from the original master tapes and pressed at RTI, this collectable audiophile vinyl version of A Tribute to Jack Johnson joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. The most prominent difference longtime fans will notice is how much more aggressive and immediate the music sounds, aspects central to the composer's desires. Amazing degrees of instrumental separation and imaging allow you to focus on singular musicians and the roles they play.
Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimension bass lines emerge amidst an ink-black background.
This title is not eligible for discount.1. Right Off
2. Yesternow$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
My Funny ValentineNumbered, Limited Edition
Historic Recording Captures Elegant Ballads Performed at February 1964 Concert
Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience
Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy
Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.
Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity's choice reissue of the trumpeter's scintillating work bookends the label's release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns-all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.
Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.
Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet." But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straightahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.
Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis' myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that's as transparent to the source as humanly possible. Do not miss this.1. My Funny Valentine
2. All of You
3. Stella By Starlight
4. All Blues
5. I Thought About You$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Live EvilOriginally released in 1971, Live-Evil is one of Miles Davis' most extraordinary records. Here, on a double album comprised of both live and studio recordings, the electric sound that Davis first unveiled the year previous emerges as a fully formed and powerful beast. Featuring one of his finest bands, which included John McLaughlin, Keith Jarrett, Gary Bartz, Jack DeJohnette and Brazilian percussionist Airto, Live-Evil is a stunning exploration of the outer limits of jazz, and one of the most influential records of the '70s. Absolutely essential. Reissued on double 180 gram vinyl in a gatefold jacket.1. Sivad
2. Little Church
3. Medley: Gemini/Double Image
4. What I Say
5. Nem Um Talvez
7. Funky Tonk
8. Inamorata And Narration By Conrad Roberts$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
2-LP Set On 180-gram Vinyl Includes Remastered Original Studio Album, Plus Unreleased Live Performances
Extra 180-Gram Vinyl LP Of Live Performances By The Miles Davis Octet Of The Nice Jazz Festival Of 1986, Available For The First Time On Vinyl
Packaging Is A Replica Of The Original Vinyl Album, Including Stickers, LP Labels, Irving Penn's Beautiful And Iconic Photographs
30 Years ago, Miles Davis made waves in the music world when he left Columbia Records to sign recording and publishing contracts with Warner Bros. and Warner Chappell in 1985. With a new label to call home, Davis immediately started working on the album, which originally had the working title, Perfect Way, named after a song by new wave pop band Scritti Politti that he was covering on the album. The album was later renamed Tutu by producer Tommy LiPuma, taken from news headlines of the day referencing the well-known South African archbishop and anti-apartheid leader, Desmond Tutu.
Rhino celebrates one of jazz music's most revered and innovative talents with a 2-LP deluxe edition set on 180-gram vinyl of Miles Davis' TUTU, released to coincide with the 30th Anniversary of Davis signing with Warner. The deluxe edition includes a remastered LP of the original album and a bonus LP of live performances at the Nice Festival held in 1986, packaged with the original artwork featuring photographs by the legendary Irving Penn.
TUTU pushed Davis back into center stage, winning him two Grammy® awards, when even the most reverent seemed to admit that his best music lay in the past. Tutu stands as an important part of the Davis legacy, and a testament to a prolific artist whose boundless creativity continuously redefined a genre throughout his legendary career.
As Davis recalled, Tutu "started with some music that George Duke, the piano player sent to me." Davis' affection for the initial track - eventually titled "Backyard Ritual" and filled with synthesizer sounds and electronic beats - revealed the trumpeter's willingness to consider music written by others, and the use of cutting-edge electronics.
Producer Tommy LiPuma recruited composer and studio musician Marcus Miller to collaborate on the project, who at 27, had already made a name for himself in jazz, R&B and popular music, playing funk, rock, bebop and hip hop. Davis later praised him as being "so hip and into the music that he even walks in tempo . . . in the studio we make a great team."
"Technology was kind of exploding and I thought it would be interesting to hear Davis making his way through this new world," said Miller. Performing on the album were George Duke, Adam Holzman and Bernard Wright, percussionists Paulinho Da Costa and Steve Reid, drummer Omar Hakim and violinist Michael Urbaniak all contributed tracks; keyboardist Jason Miles played a significant role as well, programming the synthesizers and helping push the tracks to a level of sonic detail that could compete with contemporary recordings.
Tutu would feature a variety of tunes that offered a mix of flavors and mood. Besides the title track, four were composed by Miller - "Splatch," "Portia," "Don't Lose Your Mind" and "Full Nelson" (the last a tribute to another South African leader, Nelson Mandela). "Tomaas" - named by Davis for LiPuma - was co-written by Davis and Miller, based on ideas Davis had previously recorded. The selections were rounded out by one cover - "Perfect Way," which Davis had initially chosen to be the album's title track.
By that summer, Davis' group was touring Europe. With a four-night run approaching at the Grande Parade du Jazz festival in Nice, France, the decision was made to record the group at its prime. It was a wise choice. Warner Bros. hired a mobile recording truck and all four concerts were taped. "Everybody in the band knew we were being recorded so we were on our game," remembers his nephew, drummer Vince Wilburn. "Miles had an uncanny knack for knowing not only what to record but when and where. Every night was more beautiful than the one before: wonderful weather, captive audiences and the band was on fire."
"At the time, there wasn't anything that jumped out at me," LiPuma admits. "Believe me, if I thought there had been, I would've put an album out. But having spent some time with the music, it's brilliant - and I think it's an important recording." Like the best live recordings, these tracks are both historic and timeless - filled with a spirit and snap that can still be felt today, yet cannot be repeated.LP 1
5. Backyard Ritual
6. Perfect Way
7. Don't Lose Your Mind
8. Full Nelson
LP 2 - Live from Nice Festival, France, July 1986
2. Human Nature
3. Carnival Time
5. New Blues$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now