Miles Davis' 'Bopping the Blues' from Black Lion Records, remastered for the first time in decades by legendary engineer, Bernie Grundman. These rare performances capture 20-year-old Miles Davis in session at Radio Recorders, Hollywood, CA. This 1946 session features the vocals of Earl Coleman and Ann Baker, with tenor-saxophonist Gene Ammons and drummer Art Blakely in the backing band.
The Link Between 'Round About Midnight and Kind of Blue: Milestones Is the Only Album Featuring Miles Davis' Original Sextet with John Coltrane, Cannonball Adderley, and More Sourced from the Original Master Tapes: Mobile Fidelity's Numbered-Edition 180g SuperVinyl LP Presents the 1958 Record in Definitive Stereo RTI-Pressed SuperVinyl LP Benefits from Virtually Nonexistent Noise Floor and Superior Groove Definition Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art. Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions. Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks. Inducted into the Grammy Hall of Fame and selected as a 'Core Collection' record by the Penguin Guide to Jazz, Milestones is as famous for it's title track - widely considered ground zero for modalism and bolstered by Jones' hallmark 'Philly Lick' rim shot - as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight. Take the bravado 'Dr. Jackle,' featuring a hot-foot pace and bebop strains, or 'Sid's Ahead,' which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On 'Billy Boy,' distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practiced by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's 'Two Bass Hit.' Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time. Then there's 'Straight, No Chaser,' the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting 'When the Saints Go Marching In' while demonstrating his knowledge of tradition and casting an eye towards the future. About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on 'Sid's Ahead.' Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective - and presents the music the fidelity it deserves. 1/4' / 15 IPS Dolby SR analog master to DSD 256 to analog console to lathe Numbered 180g 33RPM SuperVinyl LP NUMBERED SPECIAL EDITION Tracklisting: Side One: Dr. Jekyll Sid's Ahead Two Bass Hit Side Two: Milestones Billy Boy Straight, No Chaser
CD reissue. Quiet Nights is Miles Davis' his fourth album collaboration with Gil Evans, originally released in 1964 on Columbia Records. Recorded mostly at Columbia's 30th Street Studios in Manhattan, it is the final album by Davis and Evans. The genesis of this Davis/Evans album encountered far greater difficulties than it's three predecessors. Bossa nova had recently become a commercial success in 1962 and Columbia executives may have pressured Davis and Evans to attempt something similar with this album.
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 it's 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 45 RPM 2-LP set. Mastered from the original master tapes and pressed on 180 gram 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 freedom 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.
Mobile since her birth in Singapore, saxophonist, composer, and vocalist Caroline Davis's expression covers a wide range of styles, owed to her shifting environment as a child. From angular, melody-present instrumental outfits to soulful, quirky song writing, Caroline's persona is recognizably present. As an improviser and saxophonist, she has released six albums under her name and has won Downbeat's Critic's Poll Rising Star.
Hipness Personified: Miles Davis' 'Round About Midnight Features Famed Quintet with John Coltrane Playing Memorable Hard Bop and Ballads
Sourced from the Original Master Tapes and Pressed on MoFi SuperVinyl
Mobile Fidelity's 180g 33RPM SuperVinyl LP presents the music with Engrossing Transparency, Presence, and Focus
Numbered-Edition Reissue of 1957 Album Features Ultra-Low Noise Floor, Dead-Quiet Surfaces, and Superb Groove Definition
Miles Davis' first album for Columbia, 'Round About Midnight, represents the beginning of a three-decade-plus relationship with the famed label and the start of an extended collaboration with saxophonist John Coltrane. It stands as a hard-bop benchmark - a summation of the styles that came before it's creation, an immersion into the period's cutting-edge strains, and a hint of the modalism that would follow. The record remains ageless, it's fundamental cool epitomized by first-rate arrangements and astonishing performances of pensive ballads, bebop classics, and pop standards.
Part of Mobile Fidelity's Miles Davis SuperVinyl reissue series, Round About Midnight resonates with newfound palpability and emotionalism on the label's 180g 33RPM SuperVinyl LP. Sourced from the original master tapes and housed in a Stoughton jacket, this numbered-edition collectible traces the individual paths each musician takes in contributing to the whole - from pianist Red Garland's left hand weaving counter-melodic chords to Coltrane infusing a tune with forward, harmony-defying patterns to the extent that iconic pianist Cecil Taylor declared 'Coltrane's what you hear on that record' the first time he heard the album. Indeed, the music sounds cohesive, immediate, and involving. Ballads are warm, lush, gentle, illuminated; upbeat pieces bounce, snap, and energize. The high ceilings at Columbia's 30th Street Studio doubtlessly add to the sonic awe. This is hipness personified.
1/4' / 15 IPS; Analog Madter DSD 64; Analog Console Lathe; 180g Numbered Special Edition
Track List:
Side One: 1. 'Round Midnight, 2. Ah-Leu-Cha, 3. All of You
Side Two: 1. Bye Bye Blackbird, 2. Tadd's Delight, 3. Dear Old Stockholm
Limited double 180gm audiophile vinyl LP pressing in gatefold jacket. Originally released in 1974, Big Fun presents music from three different phases of Miles Davis' early-seventies 'electric' period. Sides one and four ('Great Expectations' and 'Lonely Fire') were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla and other Indian instruments. They also mark the first time since the beginning of Miles Davis' electric period that he played his trumpet with the Harmon mute which had been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed more emphasis on the middle and low registers. 'Ife' was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. It has a drum and electric bass groove and a plethora of musicians improvising individually and in combinations over variations on the hypnotic bassline. Recorded in March 1970, 'Go Ahead John' is an outtake from Davis' Jack Johnson sessions. The recording is a riff and groove-based, with a relatively sparser line-up of Steve Grossman on soprano saxophone, Dave Holland on bass, Jack DeJohnette on drums and John McLaughlin on guitar with wah-wah pedal.
If I had to do it all over again, I wouldn't listen to records. I very rarely listen to jazz records because they all do the same thing. I only listen to original musicians like Ahmad Jamal and Duke Ellington, musicians like Clark Terry, Dizzy Gillespie, Sonny Rollins and John Coltrane. " A true icon, Miles Davis left an indelible mark on the genre through his recordings. "The Miles Style" is a compilation of his masterpieces, the timeless quality of the album and Miles Davis' ability to reshape jazz make it a classic. Translated with DeepL. Com (free version)"
The 'Greatest Rock and Roll Band You Have Ever Heard': Miles Davis, John McLaughlin, and Co. Merge Electric Fusion and Defiant Rock on the Funky, Freeing A Tribute to Jack Johnson Sourced from the Original Analog Master Tapes: Mobile Fidelity's Numbered-Edition 180g SuperVinyl LP Presents 1971 Landmark in Exuberant, Full-Range Sound Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the 'greatest rock and roll band you have ever heard,' his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges 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 - and just as infrequently accepted by the mainstream. Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl's nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything - from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio - in reference fashion. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires. Utilizing wah-wah and distortion, the go-to instrumentalist of the performances- guitarist John McLaughlin - attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record's creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.
Limited edition of 2000 numbered copies on smokey coloured 180-gram audiophile vinyl. Decoy is a 1984 album by the famous jazz musician Miles Davis, re- corded in 1983. Robert Irving III on keyboards took over the role that Miles had assumed with a true sense of harmony and only a rudi- mentary mastery of synthetic sounds and movements. Irving shared the responsibilities of directing with the trumpet player's nephew Vince Wilburn, Jr., but Al Foster continued to lead the tempo. John Scofield drew the funk of bassist Darryl Jones in the direction of chromatic abstraction. The two tracks that he cowrote with Miles are fragments of solos, "That's What Happened" reprising the beginning of his solo on "Speak" (Star People). Decoy offered a good balance between the dominant funk that sub- sequently took over and the jazz tradition, reflected by Scofield's angularities, Marsalis' freedom of tone, and the breadth of Miles' playing that had recovered it's full power.
Limited edition of 1500 numbered copies on gold & black marble coloured 180-gram audiophile vinyl. The Man With The Horn is the 1981 album by Miles Davis, which he recorded after persuasion by his nephew Vince Wilburn, a drummer in a Chicago group that played music that combined funk, soul, and fusion jazz. Miles also met the saxo- phonist Bill Evans, the bass guitarist Marcus Miller and called the drummer Al Foster. The studio result was a hybrid record, divided between the Chicago group's pieces that he himself referred to as "bubble gum music" and a very free jazz-rock. However, it's less somber and dense than the damp jungles he wandered through without direction during the 1970s. The hit "The Man With The Horn" and it's sugary-sweet refrain received a lot of airplay on FM stations. Jazz lovers, rejoicing in Miles' return, delighted in the rest of the repertory. But it was Mike Stern's incandescent solo on "Fat Time" that everyone relished.
Limited edition of 1500 numbered copies on orange & white marble coloured 180-gram audiophile vinyl. Star People is a 1983 album by the famous jazz trumpeter and composer Miles Davis. It is the first to feature electric guitarist John Scofield, who was recommended by saxophonist Bill Evans, and the last to be produced by long-standing collaborator Teo Macero. Bassist Marcus Miller plays on five of the tracks. Electric guitarist Mike Stern features on most of the pieces, and drummer Al Foster and percussionist Mino Cinelu round out the rhythm section. Davis played trumpet and Oberheim synthesizer simultaneously (without using overdubs), and on separately recorded interludes for the over-18-minute-long blues composition "Star People".
180g Black Vinyl. Comes in a sleeve finished with linen laminate. Recorded live at the Philharmonic Hall at Lincoln Center, New York, February 12, 1964. Featuring Herbie Hancock, George Coleman, Ron Carter and Tony Williams. Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of "Four" and "Walkin', " newer, original free bop compositions like "Joshua" and "Seven Steps To Heaven, " and the standard "There Is No Greater Love, " which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis' work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he "played better that night than I ever heard him play."
Miles Davis Turns Balladic on My Funny Valentine: Live Album Is Distinguished with Deep Emotions, Spontaneous Brilliance, Poetic Elegance, and Sensitive Beauty Mastered at MoFi's California Studio and Pressed on MoFi SuperVinyl for Reference Sound: Mobile Fidelity's 180g 33RPM SuperVinyl LP 60th Anniversary-Edition Reissue ofthe 1965 Set Plays with Lifelike Clarity, Balanced Tones, and Acoustic Intimacy My Funny Valentine: Miles Davis in Concert 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 to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, the richly textured set - the bookend to the fast-paced Four & More - captures the warm ballads and delicate pieces performed at a February 12, 1964 benefit concert at New York's then-new Philharmonic Hall that occurred just months after President Kennedy's assassination. Seemingly channeling divine inspiration, Davis never sounded more elegant or poetic, particularly given the uniqueness of this 60th Anniversary Edition pressing. Mastered at MoFi's California studio, housed in a Stoughton jacket, pressed at Fideltiy Record Pressing on MoFi SuperVinyl, and strictly limited to 3, 000 numbered copies, Mobile Fidelity's 180g 33RPM SuperVinyl LP plays with stunning depth, presence, dynamics, clarity, and ambience. Benefitting from SuperVinyl's low-as-possible noise floor and superb groove definition, this audiophile LP 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 are rendered with palpable detail. Held as a benefit to support voter registration in the South - and a fundraiser for NAACP, the Congress of Racial Equality, and SNCC - the concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. The unforeseen circumstances surrounding Kennedy's death further raised the stakes. Having professed admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (in particular, the title track) as an homage to the fallen leader. Nearing their one-year anniversary together, he and his band turned half the event into a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate these 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. They would continue with Davis until later in the decade, helping form his Second Great Quintet. But the secret weapon on My Funny Valentine 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. Here, Coleman comes into his own. The combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the group on My Funny Valentine exceeds that of any of Davis' live 1960s efforts. One listen confirms something special transpiring. And on this breathtaking reissue, those properties are rendered in a manner that's as transparent to the source. Here's your chance to experience them again and again. 1/4' / 15 IPS analog copy to DSD 64 to analog console to lathe Numbered 180g 33RPM SuperVinyl LP LIMITED EDITION OF 3, 000 Tracklist: Side One: 1. My Funny Valentine 2. All of You Side Two: 1. Stella by Starlight 2. All Blues 3. I Thought About You
