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Miles Davis Mobile Fidelity

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  • My Funny Valentine (On Sale) My Funny Valentine (On Sale) On Sale Quick View

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    My Funny Valentine (On Sale)

    Numbered, 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, straight ahead 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.


    This title is not eligible for further discount.

    1. My Funny Valentine
    2. All of You
    3. Stella By Starlight
    4. All Blues
    5. I Thought About You
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On The Corner (On Sale) On The Corner (On Sale) On Sale Quick View

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    On The Corner (On Sale)

    Miles Davis On the Corner on Numbered Limited Edition 180g LP from Mobile Fidelity


    Get Down and Make It Funky: Miles Davis' Groundbreaking On the Corner Focuses on the Groove and Bottom End


    Mastered From the Original Master Tapes: Mobile Fidelity 180g LP Reveals Multiple Levels of Rhythm, Visceral Bass, and Pioneering Production Techniques In Transparent Fashion


    Exotic, Bold, Streetwise: Spirited 1972 Album Embraces Davis' Jungle Sound With Percussive Foundations, Trance Loops, and Transformational Arrangements


    Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches - the likes of which fill Davis' boldest and most controversial - undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid audiophile-grade sonics. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can even discern the multiple levels of rhythm Davis employed on complex tracks such as Black Satin, as On the Corner stands as his first effort to use overdubbing and multiple tape machines.


    New degrees of spaciousness and airiness - equally important to the musique concrete arrangements - give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's analog version captures Teo Macero's innovative production - and the trumpeter's cutting-edge aural collages - in definitive fashion.


    Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure - he also relies on an all-star cast of sidemen for concentrated soloing and additional support.


    With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party. Exotic, intrepid, and filled with Davis' jungle sound, On the Corner remains daringly hip more than four decades later.


    This title is not eligible for further discount.

    1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles
    2. Black Satin
    3. One and One
    4. Helen Butte/Mr. Freedom X
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • E.S.P. (On Sale) E.S.P. (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    E.S.P. (On Sale)

    Numbered, Limited Edition


    Pressed At RTI


    A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.


    Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.


    For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.


    As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.


    Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.


    This title is not eligible for further discount.

    1. E.S.P.
    2. Eighty-One
    3. Little One
    4. R.J.
    5. Agitation
    6. Iris
    7. Mood
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Miles In The Sky (On Sale) Miles In The Sky (On Sale) On Sale Quick View

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    Miles In The Sky (On Sale)

    Numbered, Limited Edition


    1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic


    Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy


    Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future


    Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.


    Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.


    The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.


    Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.


    Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.


    Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.


    This title is not eligible for further discount.

    1. Stuff
    2. Paraphernalia
    3. Black Comedy
    4. Country Son
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Sorcerer (On Sale) Sorcerer (On Sale) On Sale Quick View

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    Sorcerer (On Sale)


    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 further discount.

    1. Prince of Darkness
    2. Pee Wee
    3. Masqualero
    4. The Sorcerer
    5. Limbo
    6. Vonetta
    7. Nothing Like You
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - Sealed Buy Now
  • Kind Of Blue (Box Set) (Awaiting Repress) (On Sale) Kind Of Blue (Box Set) (Awaiting Repress) (On Sale) On Sale Quick View

    $59.99 $53.99 Save $6.00 (10%)

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    Kind Of Blue (Box Set) (Awaiting Repress) (On Sale)

    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 There's 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 there's 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 allure the otherworldly nature is part of its inherent charm much 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, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.



    This title is not eligible for further discount.

    1. So What
    2. Freddie Freeloader
    3. Blue in Green
    4. All Blues
    5. Flamenco Sketches
    Miles Davis
    $59.99 $53.99 Save $6.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
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    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.



    Musicians:



    • 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
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tale Spinnin' (Speakers Corner) Tale Spinnin' (Speakers Corner) Quick View

    $34.99
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    Tale Spinnin' (Speakers Corner)

    We played music that people listened to every day just as they watch the news every evening, music which changed constantly - just like the weather, reminisced Joe Zawinul when talking about coming up with a name for the group. This would probably frighten off listeners in today's mass market. But back in those days CBS was satisfied with the group's sound being somewhat similar to the Miles Davis Combo and offered them a recording contract without carrying out the usual sound check. The magic potion Bitches Brew, which Zawinul and Wayne Shorter had conjured up with Miles Davis, was promising of exhilarating new things to come.



    The heart-stopping mix of motivic fixed points and exciting improvisations, »the sketchy melodies, all that a synthesizer and other similar electronic devices could offer, combined with a Milky Way of rhythms« (Der Spiegel) was the pathway down which the group went - without ever becoming pure routine. The fifth album, Tale Spinnin', is captivating for its wealth of distinctive, often warm, synthesized sounds, which are further enhanced by Wayne Shorter's bright, twangy soprano saxophone, lending it a jazzy aura. To be sure, this gripping jazz fusion never progresses steadily all the time, but takes up snatchy, though seemingly familiar, melodic ingredients and combines them to produce a new mixture. Badia, however, is completely different: a quietly flowing and totally rhythmic ethnic work, which today would be classified as World Music.



    Musicians:



    • Joe Zawinul (keyboards, percussion, vocals)

    • Wayne Shorter (tenor saxophone, soprano saxophone)

    • Alphonso Johnson (bass)

    • Alyrio Lima (percussion)

    • Leon Ndugu Chandler (drums)




    Recording: 1975 in den Wally Heider Recording Studios, San Francisco, von Bruce Botnick

    Production: Josef Zawinul und Wayne Shorter





    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. Man In the Green Shirt
    2. Lusitanos
    3. Between the Thighs
    4. Badia
    5. Freezing Fire
    6. Five Short Stories
    Weather Report
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sketches of Spain (On Sale) Sketches of Spain (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Sketches of Spain (On Sale)

    Ranked 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 further discount.

    1. Concierto de Aranjuez (Adagio)
    2. Will O the Wisp
    3. The Pan Piper
    4. Saeta
    5. Solea
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In A Silent Way (On Sale) In A Silent Way (On Sale) On Sale Quick View

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    In A Silent Way (On Sale)

    Float 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 linoleate 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 touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's 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 reasons not 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 Corea's 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 attempt and 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 further discount.

    1. Shhh/Peaceful
    2. In a Silent Way/Its About That Time
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nefertiti (On Sale) Nefertiti (On Sale) On Sale Quick View

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    Nefertiti (On Sale)


    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 further discount.

    1. Nefertiti
    2. Fall
    3. Hand Jive
    4. Madness
    5. Riot
    6. Pinocchio
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Miles Davis - A Tribute To Jack Johnson (On Sale) Miles Davis - A Tribute To Jack Johnson (On Sale) On Sale Quick View

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    Miles Davis - A Tribute To Jack Johnson (On Sale)

    Audiophile 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 further discount.

    1. Right Off
    2. Yesternow
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Filles De Kilimanjaro (On Sale) Filles De Kilimanjaro (On Sale) On Sale Quick View

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    Filles De Kilimanjaro (On Sale)

    Numbered, Limited Edition


    Davis' Self-Proclaimed "Directions in Music" March Begins Here


    Mastered from the Original Master Tapes: Abundant Jazz, Funk, and Rock Textures Rotate Around a Luscious Tonal Center


    Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion: Exotic Suite-Like Album Beautiful, Intense, Adventurous


    Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45RPM 2LP set.


    Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth.


    Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.


    The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun." Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.


    Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.


    More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music." With the jazz world still trying to wrap its collective mind around its genius, it still does.


    This title is not eligible for further discount.

    1. Frelon Brun
    2. Tout de Suite
    3. Petits Machins
    4. Filles de Kilimanjaro
    5. Mademoiselle Mary
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
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    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Santana (On Sale) Santana (On Sale) On Sale Quick View

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    Santana (On Sale)

    Numbered, Limited Edition


    Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version


    Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended


    Ranked #149 on Rolling Stone's List of the Greatest Albums of All Time


    Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.


    Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.


    Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.


    For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.


    Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before-as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.


    Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.


    This title is not eligible for further discount.

    1. Waiting
    2. Evil Ways
    3. Shades Of Time
    4. Savor
    5. Jingo
    6. Persuasion
    7. Treat
    8. You Just Don't Care
    9. Soul Sacrifice
    Santana
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Four & More (On Sale) Four & More (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Four & More (On Sale)

    Exhilarating 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 band notes 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, Davis accompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancock approaches 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 they've always deserved. For listeners that may be unfamiliar with this title, prepare to be blown away literally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Don't miss this gem.


    This title is not eligible for further discount.

    1. So What
    2. Walkin
    3. Joshua
    4. Go-Go
    5. Four
    6. Seven Steps to Heaven
    7. There Is No Greater Love
    8. Go-Go
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bitches Brew (Awaiting Repress) (On Sale) Bitches Brew (Awaiting Repress) (On Sale) On Sale Quick View

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    Bitches Brew (Awaiting Repress) (On Sale)

    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 further discount.

    1. Pharaoh's Dance
    2. Bitches Brew
    3. Spanish Key
    4. John McLaughlin
    5. Miles Runs the Voodoo Down
    6. Sanctuary
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Round About Midnight (Awaiting Repress) (On Sale) Round About Midnight (Awaiting Repress) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Round About Midnight (Awaiting Repress) (On Sale)

    Hipness Personified: Davis Columbia Records Debut Highlights His Diverse Palette and Famed Quintet


    Lifelike Sonics: Mobile Fidelity Presents This Standard with a Dynamic Sound That Allows You to Picture Davis Mouth as He Blows Harmon-Muted Trumpet


    Blowing Cool and Hot Jazz: Quintet Plays Reflective Ballads, Pop Standards, and Fervent Bop on One of Eras Only Complete Start-to-Finish Full-Length LPs


    Sketches of Spain, Milestones, Kind of Blue, Four & More, and In a Silent Way Also Available from Mobile Fidelity


    Miles Davis first album for Columbia, Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the eras only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmarka summation of the styles that came before its creation, an immersion into the periods cutting-edge strains, and a hint of the rivoluse modalism that would follow.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, Round About Midnight now resonates with a physical palpability and emotional heft never before experienced. Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition traces the individual paths each musician takes in contributing to the whole, whether its pianist Red Garlands left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.


    Historically, few jazz records claim the significance boasted by Round About Midnight. The albums creationand the assembly of Davis quintet, which also includes Paul Chambers and Philly Joe Jonesstems from the headliners rousing rendition of the title-inspired track, Round Midnight, a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasnt the composers only surprise.


    'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during Ah-Leu-Cha and its Dixieland shades. Soak up the progressive drama and swinging tempos on All of You and Bye Bye Blackbird. Delight in the mÉlange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers.


    Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and light a cigarette. This is Miles and Co. at their best. Hipness personified.


    This title is not eligible for further discount.

    1. Round Midnight
    2. Ah-Leu-Cha
    3. All of You
    4. Bye Bye Blackbird
    5. Tadds Delight
    6. Dear Old Stockholm
    Miles Davis
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • New Bottle Old Wine (Pure Pleasure) New Bottle Old Wine (Pure Pleasure) Quick View

    $34.99
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    New Bottle Old Wine (Pure Pleasure)

    If you have admired Gil Evans' arrangements on the Miles Davis recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of the great jazz arrangers of all time. Gil Evans always manages to communicate with sophistication and nuance, and on these sessions he manages to have fun as well.



    This is a LP of Gil Evans re-arranging classic jazz standards like St. Louis Blues, King Porter Stomp, and Lester Leaps. It's so interesting to be listening to these records nearly 50 years after they were made. This was a 'modern' take on jazz tunes that even then were considered classics. Hearing them now, it's like listening to one set of Old Masters interpreting an even more distant set of Old Old Masters. It's a LP that you can enjoy as a peek into modern jazz of the late 50's, or as a set of very interesting big band orchestrations. An absolute jazz classic.



    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • Cannonball Adderley (alto saxophone)

    • Ernie Royal (trumpet)

    • Phil Bodner (reeds)

    • Harvey Philips (tuba),

    • Bill Barber (tuba)

    • Chuck Wayne (guitar)

    • Paul Chambers (bass)

    • Art Blakey (drums)

    • Philly Joe Jones (drums)



    Recording: April and May 1958 in New York City

    Production: Gil Evans and George Avakian



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    1. St Louis Blues
    2. King Porter Stomp

    3. Willow Tree
    4. Struttin With Some Barbecue
    5. Lester Leaps In
    6. Round Midnight

    7. Manteca
    8. Bird Feathers
    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Piano Scene Of Ahamd Jamal (Speaker Corner) The Piano Scene Of Ahamd Jamal (Speaker Corner) Quick View

    $34.99
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    x

    The Piano Scene Of Ahamd Jamal (Speaker Corner)

    The early recordings made by Ahmad Jamal for the Epic label have disappeared into the annals of jazz history. His trio with bass and drums, however, was certainly a whole lot more famous in clubs, at festivals and in TV shows in the Fifties. The present LP contains twelve numbers performed by a trio composed of a guitar and bass or drums - Ray Crawford, Eddie Calhoun, Walter Perkins only being known to a handful of jazz fans - and only a few compositions of his own, most titles are favourites from musicals of the day. Ahmad Jamal reveals the influence of Art Tatum and Nat King Cole in his performance, whereby his masterly art and independent style is already recognizable. The trios are quite unique in themselves, although the hierarchy is unchangeable: Ahmad Jamal is and remains the boss; he performs the majority of the solos.



    A special highlight is surely the first version of Billy Boy. And not only Miles Davis praised the pianist for his technical prowess and wealth of ideas. Aki And Ukthay (Brother and Sister) also offers the possibility to admire Jamal's pianistic proficiency. What a good idea to bring out these early recordings once more for jazz lovers! Especially because the Epic label is truly underestimated in the record market. The recording quality is absolutely impeccable - a true listener's gem.



    Musicians:



    • Ahmad Jamal (piano)

    • Ray Crawford (guitar)

    • Eddie Calhoun (bass)

    • Walter Perkins (drums)




    Recording: 1951 and 1955




    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. Old Devil Moon
    2. Ahmad's Blues
    3. Poinciana
    4. Billy Boy
    5. Will You Still Be Mine
    6. Pavanne
    7. Crazy He Calls Me
    8. The Surrey With The Fringe On Top
    9. Aki And Ukthay
    10. Slaughter On 10th Avenue
    11. A Gal In Calico
    12. It's Easy To Remember
    Ahamd Jamal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sarah Vaughan In Hi Fi (Pure Pleasure) Sarah Vaughan In Hi Fi (Pure Pleasure) Quick View

    $49.99
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    x

    Sarah Vaughan In Hi Fi (Pure Pleasure)

    Most of Sarah Vaughan's Columbia recordings were on the commercial side, but not the memorable selections on this wonderful vinyl reissue. She recorded eight selections in 1950 with an octet that included trumpeter Miles Davis, trombonist Benny Green, the remarkably cool clarinetist Tony Scott and tenorman Budd Johnson. This double LP adds alternate takes to seven of the numbers, none on the original single LP release. This version of Ain't Misbehavin' is a true classic (with memorable eight-bar solos by each of the four horns); Mean To Me and Nice Work If You Can Get It are gems, and the other performances are not far behind. In addition, Vaughan sings two versions of The Nearness Of You in 1949; there is also a previously unknown recording of It's All In The Mind, and three orchestra numbers from 1951 and 1953 wrap up the outstanding reissue. Sassy has rarely sounded better.




    Musicians:



    • Sarah Vaughan (vocal)

    • Stan Webb (bassoon)

    • Budd Johnson (tenor saxophone)

    • Miles Davis (trumpet)

    • Benny Green (trombone)

    • Tony Scott (clarinet)

    • Jimmy Jones (piano)

    • Freddie Green (guitar)

    • J.C. Heard (drums)




    Recording: December 1949, May 1950 and December 1952



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    1. East Of The Sun (And West Of The Moon)
    2. Nice Work If You Can Get It
    3. Pinky
    4. The Nearness Of You
    5. Come Rain Or Come Shine
    6. Mean To Me
    7. It Might As Well Be Spring
    8. Cant Get Out Of this Mood
    9. Spring Will Be A Little Late This Year
    10. Ooh, What Cha Doin To Me

    11. Goodnight My Love
    12. Aint Misbehavin
    13. Its All In The Mind
    14. The Nearness Of You (alternate take)
    15. Aint Misbehavin (alternate take)
    16. Goodnight My Love (alternate take)
    17. Cant Get Out Of this Mood (alternate take)
    18. It Might As Well Be Spring (alternate take)
    19. Mean To Me (alternate take)
    20. Come Rain Or Come Shine (alternate take)
    21. East Of The Sun (And West Of The Moon) (alternate take)
    Sarah Vaughan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Round About Midnight (Speakers Corner) Round About Midnight (Speakers Corner) Quick View

    $34.99
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    x

    Round About Midnight (Speakers Corner)

    At long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.



    You can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis's vibrato-less sound is taken over seamlessly by John Coltrane - wonderfully demonstrated in the middle of Bye, Bye Blackbird, while Paul Chambers' showpiece is Ack VÄrmeland du sköna (aka Dear Old Stockholm). In the years 1955/56, bebop was the talk of the day, born witness to by the classics Tadd's Delight by Tadd Dameron and Ah-Leu-Cha by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.



    Although 'Round About Midnight as an album does not enjoy the reputation of Kind Of Blue, this Columbia recording contains many gems which are well worth hearing.



    Musicians:



    • Miles Davis

    • John Coltrane (tenor saxophone)

    • Red Garland (piano)

    • Paul Chambers (bass)

    • Philly Joe Jones (drums)




    Recording: October 1955, June and September 1956 at Columbia's 30th Street Studio, New York

    Production: George Avakian




    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. Round Midnight
    2. Ah-Leu-Cha
    3. All Of You
    4. Bye Bye Blackbird
    5. Tadds Delight

    6. Dear Old Stockholm
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sin & Soul (Speakers Corner) (On Sale) Sin & Soul (Speakers Corner) (On Sale) On Sale Quick View

    $34.99 $27.64 Save $7.35 (21%)

    Buy Now
    x

    Sin & Soul (Speakers Corner) (On Sale)

    When Oscar Brown died at the age of 78 in 2005, one journalist at least, from The New York Times, was unsure as to how to describe the artist to whom America had just bid a final farewell. To write in his obituary that he was a jazz singer seemed too platitudinous, because Brown didn't just sing his songs, he performed them. But it would have been just as wrong to honour him as a jazz songwriter, despite his collaborations with Miles Davis and Max Roach, because he was more closely associated with gospel, folk and blues.
    His vocal qualities lie in a recitative-like, dry declamation, sharp as a knife, as is clearly heard in Work Song. The pain brought on by life's adversities can be cried out internally even if you appear to remain unaffected outwardly (But I Was Cool). A portion of sarcasm is necessary when the singsong of a slave trader constantly calls for higher bids (Bid 'Em In), and when a babbling child can pester its daddy with both banal and existential questions (Dat Dere).



    The generously manned band does not often play all together as in the springy Signifyin' Monkey. Here we have just a few chords on the piano (Watermelon Man), there a gently plucked guitar (Brown Baby), or a quiet pulsating rhythm (Afro Blue) - very often not much more was needed for a sin and soul performance by Oscar Brown, who, by the way, and so typically American, regarded himself as an Entertainer.



    Musicians:



    • Oscar Brown Jr. (vocal)

    • Phil Bodner (saxophone)

    • Billy Butterfield (trumpet)

    • Floyd Morris (piano)

    • Don Arnone (guitar)

    • George Duvivier (bass)

    • Osie Johnson (drums)




    Recording: June - October 1960




    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. Work Song
    2. But I Was Cool
    3. Bid 'em High
    4. Signifyin' Monkey
    5. Watermelon Man
    6. Somebody By Me A Drink
    7. Rags and Old Iron
    8. Dat Dere
    9. Brown Baby
    10. Humdrum Blues
    11. Sleepy
    12. Afro Blue
    Oscar Brown Jr.
    $34.99 $27.64 Save $7.35 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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