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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
Bitches BrewMonumental 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 Buy Now
Seven Steps To Heaven (200 Gram) (Pre-Order)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 PRE-ORDER 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
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
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
Dark MagusThe double live album Dark Magus was recorded on March 30, 1974, at Carnegie Hall in New York City. Davis' group at the time included bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, saxophonist Dave Liebman, and guitarists Pete Cosey and Reggie Lucas. Dark Magus was produced by Teo Macero and featured four two-part recordings titled after Swahili names for the numbers one through four.
Dark Magus was released after Davis' 1975 retirement. After releasing the live recordings Agharta (1975) and Pangaea (1976), Dark Magus was originally only released in Japan.
The album inspired noise Rock acts during the late 1970s and the experimental Funk artists of the 1980s. In retrospective reviews, critics praised its Jazz-Rock aesthetic and the group members' performances, and felt that parts of the music foreshadowed jungle music. In 2001, Q magazine named Dark Magus one of the 50 Heaviest Albums of All Time.LP 1
1. Dark Magus - Moja
2. Dark Magus - Wili
1. Dark Magus - Tatu
2. Dark Magus - Nne$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
On The CornerScorned by critics at the time of its release, Miles Davis' 1972 album 'On The Corner' is now seen as a forerunner of Post Punk, Hip Hop, Drum and Bass and Electronic music, thanks to its revolutionary recording techniques.
Miles wanted to reconnect with a younger audience, who had forsaken him for Rock and funk, and the experimental 'On The Corner' was his answer. Leaning more heavily on a drum and bass groundwork, the overdubs consisted of free improvisations held in the studio.1. On The Corner
2. New York Girl
3. Thinkin' One Thing And Doin' Another
4. Vote For Miles
5. Black Satin
6. One And One
7. Helen Butte
8. Mr. Freedom X$19.99180 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)$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Relaxin' With The Miles Davis QuintetFeaturing John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. The greatest small group in the history of jazz recorded at their peak in 1956. Featuring joyous, straight-ahead swinging and melodic improvisation, this is a near-perfect album. Contains 'If I Were A Bell,' 'It Could Happen To You,' 'I Could Write A Book' and several others.1. If I Were A Bell
2. You're My Everything
3. I Could Write A Book
5. It Could Happen To You
6. Woody'n You$21.99Vinyl LP Reissue - 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
Someday My Prince Will ComeRemastered on 180 Gram Audiophile Vinyl!
After John Coltrane and Cannonball Adderly left the 'quintet', Miles Davis was forced to search for new qualified musicians. He found them in Hank Mobley, Wynton Kelly, Jimmy Cobb and Paul Chambers. In 1961, just two years after recording Kind Of Blue, Miles and his new line up started recording energetically and finished Someday My Prince Will Come after only three days.
This album is a cross-over from Kind Of Blue, which is known for the typical Miles Davis-tunes, to traditional pop-standards such as the eponymous title track from Snow White And The Seven Dwarfs.1. Someday My Prince Will Come
2. Old Folks
6. I Thought About You$24.99180 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
SONM-LEG-1611xMiles Davis Quintet
Freedom Jazz Dance: The Bootleg Series, Vol. 52 hours of previously unreleased studio recordings from 1966-1968 newly mixed and remastered in high resolution audio.
A 3LP collection chronicling Miles' musical evolution in the studio from 1966-1968 working with his second great quintet, the latest edition in Columbia/Legacy's acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist's creative process, drawing on full session reels including all rehearsals, partial and alternate takes, studio conversation and more.
Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet--Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)--this definitive new collection includes the master takes of performances which would eventually appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of Fall, produced by Howard A. Roberts).LP 1
1. Freedom Jazz Dance (Session Reel)
2. Circle (Session Reel)
3. Circle (Take 5 - Section Not Used in Master)
4. Circle (Take 6 - Section Not Used in Master)
5. Dolores (Session Reel)
1. Orbits (Session Reel)
2. Footprints (Session Reel)
3. Gingerbread Boy (Session Reel)
4. Fall (Session Reel)
1. Nefertiti (Session Reel)
2. Water Babies (Session Reel)
3. Masqualero (Alternate Take / Take 3)
4. Country Son (Rhythm Section Rehearsal)
5. Blues in F (My Ding)
6. Play Your Eight (Miles Speaks)$49.99Vinyl LP - 3 LPs Sealed Buy Now
Sketches of Spain (Pre-Order)Miles Davis presents Sketches of Spain. Features exclusive cover by photographer Jean-Pierre Leloir.1. Concierto De Aranjuez (Adagio)
2. Will O' The Wisp (From El Amor Brujo)
3. The Pan Piper
5. Solea$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
We Want MilesWe Want Miles is now available on vinyl after almost thirty years!
On the heels of releasing Miles' Bitches Brew Live album, Music On Vinyl is also releasing another Miles Davis album that has been on their wish list for quite some time.
'We Want Miles' is a collection of live recordings from Boston, New York (where he had played his last gig in 1975) and Tokyo from 1981, and they're among the first live recordings made after an extended hiatus.
But unlike his 1981 comeback album The Man With The Horn, on We Want Miles Davis has rediscovered his famed embouchure and this album was released to great critical acclaim in 1982, winning a Grammy for Best Jazz Instrumental Performance on the way.
This is the first vinyl reissue since its original release in 1982, on double 180 grams audiophile vinyl in a Gatefold sleeve with its original artwork.
Playing with him are a level headed Marcus Miller on bass, Al Foster on drums, Mike Stern on guitar (not afraid to let it rip every once in a while), Mino Cinelu on percussion and Bill Evans holding his own on saxophone.Side 1
1. Jean Pierre
2. Back Seat Betty
1. Fast Track
2. Jean Pierre
1. My Man's Gone Now
1. Kix$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Black Beauty180 Gram Audiophile Vinyl
Includes 4-Page Booklet
Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.
Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.
The songs in the band's setlist were as followed: Directions, Miles Runs the Voodoo Down, Willie Nelson, I Fall In Love Too Easily, Sanctuary, It's About That Time, Bitches Brew, Masqualero, Spanish Key, and The Theme. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.
The original Japanese booklet is included in this vinyl package.LP 1
1. Black Beauty Part I
2. Black Beauty Part II
1. Black Beauty Part III
2. Black Beauty Part IV$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Seven Steps To HeavenIn 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$54.99180 Gram Audiophile Virgin Vinyl 45 RPM - 2 LP Sealed Buy Now
1967 Post-Bop Classic the Third of Five Albums from Miles' Prized Second Quintet
Mastered from the Original Master Tapes: Sorcerer Has Never Sounded More Dynamic, Present, Warm, or Tonally Rich
Mood, Inflection, and Nuance Take Center Stage on Compositions Steeped in Sophisticated Expressionism
Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet-and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz-the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity's definitive 45RPM pressing.
Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set's warm compositions together are rendered with utmost realism.
This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.
Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page.
A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You"-a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough-the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history. Mobile Fidelity is proud to give the record the treatment it's long deserved.
This title is not eligible for discount.1. Prince of Darkness
2. Pee Wee
4. The Sorcerer
7. Nothing Like You$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - Sealed Buy Now
Someday My Prince Will Come1961 Miles Davis Gem with an Amazing Band
Cut by George Marino at Sterling Sound and Pressed at RTI
When this album was originally released in 1961, the press praised Miles Davis' precision playing and expansive lyricism. Someday My Prince Will Come showcases Miles' second great rhythm section, which is heard here at the absolute peak of its telepathic interplay. The recording features the incredible lineup of musicians John Coltrane, Hank Mobley, Wynton Kelly, Paul Chambers and Jimmy Cobb. They were as tight as any unit Miles ever formed.
Someday My Prince Will Come includes positively blistering solos from guest Coltrane, who, as fate would have it, was making his final recording with Miles. That alone deems this a must-hear recording. But then there's the sound. Wow! Trust us when we tell you that this is absolutely the very best this album has ever sounded in any format. The details in the grooves, the width of the soundstage, the presence of air; everything is simply incredible. Our highest recommendation!
Miles Davis, trumpet
Hank Mobley, tenor saxophone
John Coltrane, tenor saxophone (1,5)
Wynton Kelly, piano
Paul Chamber, double bass
Jimmy Cobb, drums1. Someday My Prince Will Come
2. Old Folks
4. Drad - Dog
6. I Thought About You$54.99200 Gram Audiophile Virgin Vinyl 45 RPM - 2 LP Sealed Buy Now
Final All-Acoustic Outing from Davis' Classic Second Quintet
Mastered from the Original Master Tapes: Record's Tonal Shadings, Gradations, and Textures Come Alive
Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism
Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.
Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.
As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track-during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section-shines as a textbook example of such chemistry and unity.
Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot," Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.
Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.
This title is not eligible for discount.1. Nefertiti
3. Hand Jive
6. Pinocchio$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Cookin' With The Miles Davis Quintet (Mono)Cookin' was the first classic album to be released from the famed extended recording sessions of the Miles Davis Quintet (Miles Davis, John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones) in 1956, wherein they taped the band's basic repertoire in the manner of nightclub sets rather than the repetition of the usual studio takes. From the muted eloquence of My Funny Valentine, to the finger-poppin' Blues By Five, and the urgent swing of Airegin and Tune Up, Cookin' has the ability to thrill the listener no matter how many times it is played, the mark of an all-time great performance. Davis is quoted as saying he called this album Cookin because thats what we did, came in and cooked.1. Airegin
2. Tune Up
3. Blues By Five
4. My Funny Valentine$34.99200 Gram Audiophile Virgin Mono Vinyl - Sealed Buy Now
Available For The First Time On 180 Gram Vinyl
All-Tube/All-Analog Mastering By Chris Bellman At Bernie Grundman Mastering
Faithfully Reproduced Jacket And Labels
Individually Numbered And Strictly Limited To 3,000
ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet -- saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories -- a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality -- they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On ESP, they tilt a bit toward conventional hard bop (something that's apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early '60s is remarkable. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock's calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.
- Stephen Thomas Erlewine (All Music Guide)1. E.S.P.
3. Little One
7. Mood$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Weather Report/Friday Music 180 Gram Audiophile Series Continues!
The Original #1 1977 Jazz Rock Fusion Classic Heavy Weather
First Time 180 Gram Audiophile Vinyl & Gatefold Cover Presentation
Mastered By Joe Reagoso And Manufactured At R.T.I.
The legendary Weather Report set the music world on fire back in the early seventies with their hypnotic blend
of progressive-fused jazz with funk, prog-rock and soul, augmented with the brilliant and skillful musicianship of their
superstar founders Wayne Shorter on saxophone and various electronic reeds and the late great Joe Zawinul on a
stunning array of keyboards and electronic instruments. Both of these legendary musicians/composers worked with
Miles Davis on his classics like Bitches Brew, plus solid tenures with legends like Cannonball Adderley (Zawinul) and
Art Blakey (Shorter) all of which would prove to become the huge catalyst for things to come.
Throughout the remainder of the late seventies and beyond, Weather Report's fine arsenal of recordings would
take the band to the top of all the popular music charts. The 1977 fusion classic Heavy Weather would go on to yield
one of the biggest albums of their career as it hit the top rungs of the jazz charts, plus major showings in the pop and
R&B charts thanks to the top charting hit single Birdland.
No stone is left unturned, as this masterpiece is loaded with smashes like Joe Zawinul's brilliant ballad A Remark
You Made, the powerful Palladíum by Wayne Shorter and of course the funk assault of Jaco's Pastorius on Teen Town
all which made this a top charting album in 1977.
As one of the most enduring albums in their massive career catalog, Heavy Weather also features the all-star
lineup of Joe Zawinul, Wayne Shorter, Jaco Pastorius (bass), Manolo Badrena (drums) and Alex Acuna (percussion).
All in all, Heavy Weather took the fans by storm, forever retaining the title superstars to the Weather Report franchise.
Friday Music is pleased to announce for the very first time here on audiophile vinyl Heavy Weather by Weather
Report. Mastered impeccably by Joe Reagoso at Friday Music Studios, this amazing classic truly shines in the
audiophile vinyl domain. Pressed at R.T.I., this brilliant masterwork truly resonates as you remember from years ago.
To enhance your limited anniversary edition album experience, this first time audiophile vinyl release is also for
a very short time being offered in a first time gatefold cover presentation, featuring the original album cover design
by Lou Beach.
Welcome back and celebrate the music of Weather Report with their masterpiece Heavy Weather an audiophile
first time 180 gram vinyl Friday Music release.
A Remark You Made!1. Birdland
2. A Remark You Made
3. Teen Town
5. Rumba Mamá
7. The Juggler
8. Havona$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now