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Miles Davis Vinyl'
Someday My Prince Will Come (200 Gram)200-Gram Vinyl Pressed At Quality Record Pressings
Mastered From The Original Analog Master Tapes By Ryan K. Smith At Sterling Sound
Deluxe Tip-On Jacket From Stoughton Printing
A beautiful addition to the Davis canon. Recorded over the course of three days in April 1961, Someday My Prince Will Come showcases Miles' second great rhythm section, here at the absolute peak of their telepathic interplay. Wynton Kelly, Paul Chambers and Jimmy Cobb were as tight a unit as any ever formed, grooving so successfully that they went on to leave Miles and form the Wynton Kelly trio. Someday My Prince Will Come also includes some positively blistering solos from guest John Coltrane in his final recording with Miles. And Hank Mobley offers up some beautiful bluesy solos.1. Someday My Prince Will Come
2. Old Folks
4. Drad Dog
6. I Thought About You$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Kind Of BlueRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
High quality 180 gram Audiophile Vinyl
Replication of Original Artwork
Released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.
After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Kind Of Blue (Box Set)Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes
Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations
If Theres a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions
Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History
How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.
Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If theres a stairway to heaven, this is the soundtrack.
In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.
While no one has ever completely identified the magic behind the records allurethe otherworldly nature is part of its inherent charmmuch of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.
An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, youll feel as if youve been whisked away to a jazz holy land. Quintessential.
This title is not eligible for discount.1. So What
2. Freddie Freeloader
3. Blue in Green
4. All Blues
5. Flamenco Sketches$59.99180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed Buy Now
Ascenseur Pour L'Echafaud (2LP)Ascenseur Pour L'Échafaud is a 1958 French film directed by Louis Malle. It was released as Lift to the Scaffold in the UK. The film was nothing special, but it did accomplish one thing: it proposed a new ideal of cinematic realism, a new way to look at a woman. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's Soundtrack. He showed Davis a screening of the movie, and afterwards Miles knew exactly how to portray the smoky hazed or frantic scenes through sonic imagery. On December 4 1957, he brought four French Jazzmen (Barney Wilen / tenor saxophone, RenÉ Urtreger / piano, Pierre Michelot bass and Kenny Clarke drums) to the recording studio Le Poste Parisien Studio without having them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. Eventually Ascenseur Pour L'Échafaud has become a great achievement of artistic excellence.
For the first time since its original release in 1958, Music On Vinyl combined the original soundtrack and the additional recordings and created an essential 2LP set with the original artwork.Side 1 (ORIGINAL 1958 A-SIDE)
2. L'Assassinat De Carala
3. Sur L'Autoroute
4. Julien Dans L'Ascenseur
5. Florence Sur Les Champs-Élysees
Side 2 (ORIGINAL 1958 B-SIDE)
1. Dîner Au Motel
2. Évasion De Julien
3. Visite Du Vigile
4. Au Bar Du Petit Bac
5. Chez Le Photographe Du Mot
1. Nuit Sur Les Champs-ÉlysÉes (TAKE 1)
2. Nuit Sur Les Champs-ÉlysÉes (TAKE 2)
3. Nuit Sur Les Champs-ÉlysÉes (TAKE 3)
4. Nuit Sur Les Champs Elysees (TAKE 4)
5. Assassinat Visite Du Vigil
6. Assassinat Julien Dans L'ascenseur
7. Assassinat L'Assassinat De Carala
1. Final (TAKE 1)
2. Final (TAKE 2)
3. Final (TAKE 3)
5. Le Petit Bal (TAKE 1)
6. Le Petit Bal (TAKE 2)
7. SÉquence Voiture (TAKE 1)
8. Sequence Voiture Sur L'Aut (TAKE 2)$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Recorded in March of 1958, Cannonball Adderley's Somethin' Else was recording during the era when Adderley was part of the Miles Davis Sextet.
Featured on the album are Adderley on alto sax along with Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass and Art Blakey on drums.
Of note, this is one of the few post-1955 appearances of Miles Davis as a sideman. Somethin' Else will be reissued on vinyl as part of an overall Blue
Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.1. Autumn Leaves
2. Love For Sale
3. Somethin' Else
4. One For Daddy-O
5. Dancing In The Dark$19.99Vinyl LP - Sealed Buy Now
Seven Steps To Heaven (200 Gram)200-Gram Vinyl Pressed At Quality Record Pressings
Mastered From The Original Analog Master Tapes By Ryan K. Smith At Sterling Sound
Deluxe Tip-On Gatefold Jacket From Stoughton Printing
In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic Seven Steps To Heaven, Joshua and slow passionate versions of Basin Street Blues and Baby Won't You Please Come Home.1. Basin Street Blues
2. Seven Steps To Heaven
3. I Fall in Love Too Easily
4. So Near So Far
5. Baby Won't You Please Come Home
6. Joshua$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Lost BroadcastLimited Edition Of 500 Copies Pressed On 140 Gram Vinyl
Recorded April 9th, 1970 At The Fillmore West - San Francisco, CA
The recording on this release was made the night before Black Beauty was recorded, albeit at the same venue, with the same line-up (Davis, Corea, Grossman, Holland, De Johnette and Airto Moreira on percussion) and also as support to the Dead (and Stone the Crows). This April 9th gig however is a different beast to that of its predecessor. A differing set-list and very sparse arrangements, absent the night before, make this previously unreleased recording very much a 'lost broadcast' (it was transmitted live by local FM radio) and will delight fans of Davis' mid period work.LP 1
2. Miles Runs the Voodoo Down
4. It's About That Time
1. I Fall in Love Too Easily
3. Spanish Key
4. Bitches Brew/The Theme$37.99Vinyl LP - 2 LPs Sealed Buy Now
Chicago Jazz Festival 1990Classic late period festival show from Miles' final tour.
Miles Davis is backed by Kenny Garrett on alto saxophone and flute, Kei Agaki on synths, Richard Patterson on bass, Ricky Wellman on drums, Erin Davis (Mile's youngest son, incorrectly announced as John Bigham) on electronic percussion, and John "Foley" McCreary, Jr. on "lead bass" - a custom Blue Marble instrument tuned almost an octave higher than a standard model to fill the role of a lead guitarist.
The choice of material was equally as curious and exciting, consisting of one cut apiece from 1983's Star People and 1989's Amandla, a few numbers previously un-released on studio recordings, and a trio of covers - Scritti Politti's 'Perfect Way,' Cyndi Lauper's 'Time After Time' and Michael Jackson's 'Human Nature.'
Despite rumors of failing health during this period, Miles' playing is just as sharp and energetic as ever it was, and his band expertly blend together a complex mixture of jazz, funk and fusion.
Broadcast live on local radio for those unable to attend, this release captures the group's full set providing a snapshot of a jazz great giving one of the finest performances of his late career. Sadly, there were scant opportunities left for such as little more than a year after performing the show, now available here for the first time, Miles Davis passed away at the age of 65.LP 1
1. Perfect Way
2. Star People
1. The Senate / Me And You
2. Human Nature
3. Time After Time
5. Announcements$37.99Vinyl LP - 2 LPs Sealed Buy Now
Kind Of Blue + 2 Bonus TracksRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
So much has been said and written about Miles Davis Kind Of Blue, its virtually impossible to summarize all the necessary info to the length of this note. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why its the best jazz album ever made, but the music itself will do that to you. As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised.
The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come. We´re proud to announce a very special version of the most influential (jazz)album ever. We present the orginal album in remastered form plus an extra LP containing 2 tracks that werent available on vinyl before (an alternate take of Flamenco Sketches and a version of On Green Dolphin Street recorded prior to the Kind of Blue sessions, with the legendary line-up of Bill Evans, John Coltrane, Paul Chambers and Jimmy Cobb).
Also, we´ve graced this first-time ever 2LP edition of this musical masterpiece with a gatefold sleeve with additional liner notes.
180 grams audiophile vinyl
First-time ever 2LP edition incl. 2 bonustracks
Gatefold Sleeve incl. additional liner notesLP1
1. So What (9:03)
2. Freddie Freeloader (9:46)
3. Blue In Green (5:37)
1. All Blues (11:32)
2. Flamenco Sketches (9:24)
1. Flamenco Sketches (ALTERNATE TAKE) (9:24)
1. On Green Dolphin Street (9:48)$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Birth Of The CoolCapitol Records 75th Anniversary Vinyl
Birth of the Cool is a compilation album by American jazz musician Miles Davis, originally released in 1957 on Capitol Records. It compiles twelve tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950.
Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title implies, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long.1. Jeru
5. Venus de Milo
11. Moon Dreams
12. Darn That Dream$19.99Vinyl LP - Sealed Buy Now
The Charlie Parker StoryThe Greatest Recording Session Made In Modern Jazz History in it's Entirety. Re-release featuring Charlie Parker, Dizzy Gillespie, Miles Davis, Bud Powell, Curley Russell & Max Roach1. Billie's Bounce - New Take 1
2. Billie's Bounce - Shod Take 2
3. Billie's Bounce - New Take 3
4. Warming Up A Riff - Orig. Take 1
5. Billie's Bounce - Orig. Take 4
6. Billie's Bounce - Orig. Take 5
7. Now's the Time - Short Take 1
8. Now's the Time- Short Take 2
9. Now's the Time - New Take 3
10. Now's the Time - Orig. Take 4
11. Thriving From A Riff - New Take 1
12. Thriving From a Riff - Short Take 2
13. Thriving From a Riff - Orig. Take 3
14. Meandering - Only Take
15. Koko - Short Take 1
16. Koko - Orig. Take 2$19.99Vinyl LP - Sealed Buy Now
Kind Of Blue: 50th Anniversary Collector's EditionRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Best Selling Jazz Album of All-Time Gets the Super Deluxe Treatment for its 50th Anniversary!
Includes the Original Remastered CD, a CD of Bonus Material, a DVD of the Making of Kind of Blue, an Incredible Full-Color Book, Photos from the Sessions, Miles' Notes and the LP of the Original Album Pressed on Blue Vinyl!
In 1958, after a string of critically acclaimed and successful albums, Miles Davis was searching for a new direction to take the music, and signs were pointing him off the chordal highway into a new jazz style: modal. His innovations would open up the world for improvisers. He recruited key players with the potential to solidify his new approach, forming his famed sextet with rising jazz giants John Coltrane, Cannonball Adderley, Bill Evans & Wynton Kelly, Paul Chambers and Jimmy Cobb. Miles hired the little-known Evans because he needed a pianist who was into the modal thing. Davis and Evans both had developed personal voices characterized by a melodic flow that suggested, rather than defined, musical structure. It was his relationship with Evans that created the spark that resulted in the album Kind of Blue.
In only two impromptu sessions in March and April of 1959, Miles Daviss sextet created a tour de force 5 original tunes built on simple scales. Davis is committed to getting something spontaneous out of his musicians. The entire album was composed as a series of modal sketches and was conceived only hours before the recording dates. The outcome? Pure inspiration, and the stuff of legend an album made up of the first full take of each tune, captured at the historic Columbia 30th Street Studio. The album was originally released on Columbia Records in 1959, stunning the jazz world by practically creating a new language of music. Its influence goes far beyond jazz. Kind of Blue is universally considered to be one of the best albums of all time, of any genre. Fifty years later, Kind of Blue the epitome of spontaneous inventionis still the best selling jazz album ever.
This Collectors Edition marks the 50th Anniversary with an unprecedented presentation of music, images, insight and history to celebrate the album that is essential to any music collection, the ideal gift item for any jazz lover, especially fans of Miles Davis a true collectors set.
Do Not Miss this Limited-Edition Collector's Edition!Blue Colored Vinyl LP:
1. So What
2. Freddie The Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches
Disc 1 - CD:
1. So What (9:22)
2. Freddie Freeloader (9:46)
3. Blue In Green (5:36)
4. All Blues (11:32)
5. Flamenco Sketches (9:25)
6. Flamenco Sketches (alternate take) (9:31)
7. Freddie Freeloader - studio sequence 1 (0:51)
8. Freddie Freeloader - false start (1:26)
9. Freddie Freeloader - studio sequence 2 (1:34) (*)
10. So What - studio sequence 1 (1:55) (*)
11. So What - studio sequence 2 (0:12) (*)
12. Blue In Green - studio sequence (1:57) (*)
13. Flamenco Sketches - studio sequence 1 (0:43)
14. Flamenco Sketches - studio sequence 2 (1:10) (*)
15. All Blues - studio sequence (0:19) (*)
(*) previously unreleased
Disc 2 - CD:
1. On Green Dolphin Street (9:48)
2. Fran-Dance (5:48)
3. Stella By Starlight (4:43)
4. Love For Sale (11:46)
5. Fran-Dance (alternate take) (5:51)
6. So What (17:28) (**)
(**) previously released in unauthorized form
• Rare musical material including the first session by the Miles Davis sextet, May 26, 1958
• Over 30 minutes of studio material
• First authorized release of two extended live performances from April 9, 1960 Den Haag Concert and The Zurich Concert.
• Documentary - Story Behind Kind of Blue
• April 2, 1959 TV program, Robert Herridge Theater: The Sound of Miles Davis$109.99Colored Vinyl LP + 2 CDs + DVD - Sealed Buy Now
In A Silent WayFloat Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in lineolate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touchhe causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlightis broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorters ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasonsnot the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Coreas Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attemptand how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Hot SpotAn amalgamation of swampy blues, jazz and rock - all mixed and recorded in a sparse, bloomy and eerie sort of way. This recording is just so damn fine, so airy and warm. And the musician's aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought after and collectible record among audiophiles. A true demonstration disc.
Originally released in 1990.
Miles Davis, trumpet
Tim Drummond, bass
Bradford Ellis, keyboards
John Lee Hooker, guitar, vocals
Taj Mahal, guitar, vocals
Earl Palmer, drums
Roy Rodgers, slide guitar1. Coming to Town
2. Empty Bank
3. Harry's Philosophy
4. Dolly's Arrival
5. Harry and Dolly
7. Bank Robbery
9. Gloria's Story
10. Harry Sets up Sutton
13. End Credit$54.99Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Birth Of The CoolCulled from three separate nonet sessions that took place from early 1949 through March of 1950, The Birth Of Cool was the literal blue print for the sound known as cool jazz thus its title. Featuring the fluidity of bop, innovative big band arrangements and a relaxed overall elegance, the Gil Evans arranged sessions find Davis supported by pivotal performances from such jazz luminaries as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach among others. Despite such a large band, the proceedings sound remarkably intimate with concise and sophisticated songs built largely on tone and mood. A seminal recording in the history of jazz!1. Jeru
5. Venus De Milo
12. Darn That Dream$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Frantic Soundtrack1. GÉnÉrique
2. L'Assassinat De Carala
3. Sur L'Autoroute
4. Julien Dans L'Ascenseur
5. Florence Sur Les Champs-Élysees
6. Dîner Au Motel
7. Évasion De Julien
8. Visite Du Vigile
9. Au Bar Du Petit Bac
10. Chez Le Photographe Du Mot
11. On Green Dolphin Street
13. Stella By Starlight$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ColtraneAfter establishing himself as a star on the rise with the Miles Davis quintet, the Thelonious Monk quartet, and various Prestige recordings with Sonny Rollins, Hank Mobley, and Tadd Dameron, John Coltrane made his debut as a leader on this excellent self-titled 1957 release. The 6-song set finds the tenor sax giant joined by John Splawn (trumpet), Sahib Shihab (baritone sax), Mal Waldron (piano), Red Garland (piano), Paul Chambers (bass) and Al Heath (drums) on a pair of Trane's own compositions in Straight Street and Chronic Blues, alongside Cal Massey's Bakai and pop fare such as Violets for Your Furs, While My Lady Sleeps and Time Was.1. Bakai
2. Violets For Your Furs
3. Time Was
4. Straight Street
5. While My Lady Sleeps
6. Chronic Blues$21.99Vinyl LP Reissue -Sealed Buy Now
Miles Davis - A Tribute To Jack JohnsonAudiophile Reference Sonics: Mobile Fidelity LP Presents Lean, Stripped-Back, and Open Sound With Startling Immediacy and Realism
Soundtrack Merges Electric Fusion, Slashing Rock, and Aggressive Funk Via Astounding Lineup: Guitarist John McLaughlin and Trumpeter Davis Turn In Blistering Performances
Powerhouse 1971 Album the Greatest Jazz-Rock Record Ever Made
The album cover to Trust speaks volumes: Elvis Costello, bathed in shadows, his eyes nervously peering out from behind his sunglasses, his face conveying a combination of edgy noir purpose and guilt-ridden anxiety. Indeed, the tension-rich songs within largely convey the opposite meanings of the record's title, with the British icon musing on what lies beyond arrogant youth and immediate success with a jaundiced, scarred perspective informed by his country's political climate and his own experiences.
Miles Davis' A Tribune to Jack Johnson is the best jazz-record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. Mobile Fidelity's sterling reissue brings it all to fore with unsurpassed realism.
Mastered from the original master tapes and pressed at RTI, this collectable audiophile vinyl version of A Tribute to Jack Johnson joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. The most prominent difference longtime fans will notice is how much more aggressive and immediate the music sounds, aspects central to the composer's desires. Amazing degrees of instrumental separation and imaging allow you to focus on singular musicians and the roles they play.
Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimension bass lines emerge amidst an ink-black background.
This title is not eligible for discount.1. Right Off
2. Yesternow$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Round About Midnight (Awaiting Repress)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 discount.1. Round Midnight
3. All of You
4. Bye Bye Blackbird
5. Tadds Delight
6. Dear Old Stockholm$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
NefertitiRecorded in two days in the summer of 1967 Nefertiti is Miles Davis' last fully acoustic album, with no compositions from Miles himself. Most tracks are written by Wayne Shorter & Herbie Hancock.
Best known for its unusual title track, where the horns keep repeating the melody and the rhythm section improvises (in stead of the other way around).
Whilst an acoustic album, it does signals Miles' transition from bop to jazz fusion; a hint at the next albums Miles in the Sky and the critically acclaimed In A Silent Way.
Rhythm section: Tony Williams & Ron CarterSide A
3 Hand Jive
3 Pinocchio$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Miles In The SkyNumbered, 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 discount.1. Stuff
3. Black Comedy
4. Country Son$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
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.
- 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
3. All Of You
4. Bye Bye Blackbird
5. Tadds Delight
6. Dear Old Stockholm$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Filles De KilimanjaroNumbered, 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 discount.1. Frelon Brun
2. Tout de Suite
3. Petits Machins
4. Filles de Kilimanjaro
5. Mademoiselle Mary$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Miles Davis At Carnegie Hall180 gram vinyl of the 1961 album includes the bonus track 'I Thought About You', which was recorded at the same concert but not released on the original release.So What
Spring Is Here
Someday My Prince Will Come
The Meaning of the Blues/Lament
I Thought About You*
*Bonus Track$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now