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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
Round About MidnightHipness 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 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
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
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$34.99Vinyl LP - 2 LPs 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
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$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Someday My Prince Will ComeRemastered on 180 Gram Audiophile Vinyl!
After John Coltrane and Cannonball Adderly left the 'quintet', Miles Davis was forced to search for new qualified musicians. He found them in Hank Mobley, Wynton Kelly, Jimmy Cobb and Paul Chambers. In 1961, just two years after recording Kind Of Blue, Miles and his new line up started recording energetically and finished Someday My Prince Will Come after only three days.
This album is a cross-over from Kind Of Blue, which is known for the typical Miles Davis-tunes, to traditional pop-standards such as the eponymous title track from Snow White And The Seven Dwarfs.1. Someday My Prince Will Come
2. Old Folks
6. I Thought About You$32.99180 Gram Audiophile Virgin Vinyl 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
Betty DavisOne can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.
There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their "Lady Marmalade" for another year while Millie Jackson wasn't "Feelin' Bitchy" until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.
Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song "Uptown" for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew.'
But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.
In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.1. If I'm In Luck I Might Get Picked Up
2. Walkin Up The Road
3. Anti Love Song
4. Your Man My Man
5. Ooh Yeah
6. Steppin In Her I. Miller Shoes
7. Game Is My Middle Name
8. In The Meantime$18.99Vinyl LP - 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
Miles Davis & The Modern Jazz GiantsThe Complete, Historic, All-Star Recording Session Of Decemeber 24, 1954. Miles Davis and the Modern Jazz Giants is an album recorded by Miles Davis, for Prestige Records. Most of the album comes from a session on December 24th 1954, but 'Round Midnight is from the sessions by Davis's new quintet in 1956 which resulted in Steamin' with the Miles Davis Quintet and three other albums to fulfill Davis's contract with Prestige.
The 1954 session is notable as the only time Thelonious Monk made a studio recording with Davis - the two men did not get on well, as Davis felt Monk ought to be laying out (refraining from playing) during the trumpeter's solos. Ira Gitler, who was present at the session and wrote the sleeve notes for the album, dispels the myth that the two men confronted each other physically, but there was argument throughout the session. The first take of The Man I Love has a false start caused by Monk asking when he should start playing, and an exasperated Davis telling engineer Rudy Van Gelder, Hey Rudy, put this on the record, man - all of it!.1. Bags' Groove(Take 1)
2. Bags' Groove(Take 2)
3. Bemsha Swing
4. The Man I Love(Take 1)
5. The Man I Love(Take 2)
6. Swing Spring$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
MilestonesMiles Davis created just one studio album with his original sextet and he made every moment count. Joined by Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but created a genuine modern-jazz masterwork laden with performances that are among the most explosive of his distinguished career in the process.
Due to its position between the more famous 'Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic. Every song here is a highlight, whether it's the influential title track, the bravado of "No Jackle," the blues themed "Sid's Ahead," or the definitive rendition of Thelonious Monk's signature piece "Straight, No Chaser," this 1958 release is a milestone indeed!1. Dr. Jackle
2. Sid's Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$24.99180 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
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
Vol.1Miles Davis Volume 1 is the first in a pair of compilation albums of recordings made by Miles Davis over 1952-1954, released by the Blue Note Record label.
The twelve inch LP (BLP 1501) was originally released in 1956 (followed by Volume 2 (BLP 1502)) after Davis won the Down Beat readers poll as best trumpeter.The two volumes of rereleased Miles Davis material were the first releases in Blue Note's new 1500 series of 12LPs. The music compiled on the two volumes was from three separate recording sessions made over 1952-1954, some of which had been previously issued as singles, and as three now discontinued 10 inch LPs. Volume 1 contained takes of the May 9, 1952 and April 20, 1953 sessions for the label, including alternate takes of some songs.1.Tempus Fugit
5.How Deep Is The Ocean
7.Dear Old Stockholm
12.Woody'n You$19.99Vinyl LP Reissue - Sealed Buy Now
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
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 (Awaiting Repress)Miles Davis presents Kind Of Blue. Features exclusive cover by photographer Jean-Pierre Leloir.1. So What (Miles Davis)
2. Freddie Freeloader (Miles Davis)
3. Blue in Green (Miles Davis-Bill Evans)
4. All Blues (Miles Davis)
5. Flamenco Sketches (Miles Davis)$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Volume 2A Blue Note Essential, Miles Davis Volume Two Is Part Of The Blue Note 75 Anniversary Vinyl Reissue Campaign
The twelve inch LP was originally released in 1956 (following Miles Davis Volume 1 after Davis won the Down Beat readers poll as best trumpeter. The two volumes of repackaged Miles Davis material were the first releases in Blue Note's new 1500 series of 12LPs. The music compiled on the two volumes was from three separate recording sessions made over 1952-1954, some of which had been previously issued as singles, and as three now discontinued 10 LPs.
Volume 2 contained material from all three sessions, and some previously unreleased alternate takes. The master takes of the March 6, 1954 session, which made up the bulk of the 12LP, had originally been issued in 10LP format under the title Miles Davis, Volume 3, and the May 9, 1952 material had been previously released the 10LP Young Man with a Horn.1. Take Off
3. Would'n You
4. I Waited For You
5. Ray's Idea (Alternate Take)
7. Well You Needn't
8. The Leap
9. Lazy Susan
10. Tempus Fugit (Alternate Take)
11. It Never Entered My Mind$19.99Vinyl LP Reissue - 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
Black Beauty180 Gram Audiophile Vinyl
Includes 4-Page Booklet
Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.
Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.
The songs in the band's setlist were as followed: Directions, Miles Runs the Voodoo Down, Willie Nelson, I Fall In Love Too Easily, Sanctuary, It's About That Time, Bitches Brew, Masqualero, Spanish Key, and The Theme. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.
The original Japanese booklet is included in this vinyl package.LP 1
1. Black Beauty Part I
2. Black Beauty Part II
1. Black Beauty Part III
2. Black Beauty Part IV$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Dark MagusThe double live album Dark Magus was recorded on March 30, 1974, at Carnegie Hall in New York City. Davis' group at the time included bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, saxophonist Dave Liebman, and guitarists Pete Cosey and Reggie Lucas. Dark Magus was produced by Teo Macero and featured four two-part recordings titled after Swahili names for the numbers one through four.
Dark Magus was released after Davis' 1975 retirement. After releasing the live recordings Agharta (1975) and Pangaea (1976), Dark Magus was originally only released in Japan.
The album inspired noise Rock acts during the late 1970s and the experimental Funk artists of the 1980s. In retrospective reviews, critics praised its Jazz-Rock aesthetic and the group members' performances, and felt that parts of the music foreshadowed jungle music. In 2001, Q magazine named Dark Magus one of the 50 Heaviest Albums of All Time.LP 1
1. Dark Magus - Moja
2. Dark Magus - Wili
1. Dark Magus - Tatu
2. Dark Magus - Nne$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now