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

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.

Cannonball Adderley's Only Blue Note Album Features Miles Davis, Art Blakey, Sam Jones, and Hank Jones: Somethin' Else Includes Reference Versions of 'Autumn Leaves' and 'Love for Sale' SOURCED FROM THE ORIGINAL ANALOG MASTER TAPES: HYBRID SACD PRESENTS 1958 LANDMARK IN DEFINITIVE SOUND Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of it's Hall of Fame personnel, enthusiasm of it's participants, and sophistication of it's arrangements - not to mention the reference-grade production and inclusion of the definitive renditions of two jazz standards. Sourced from the original analog master tapes and housed in a mini-LP-style gatefold sleeve, Mobile Fidelity's numbered-edition hybrid SACD pays tribute to the record's merit and includes the bonus track 'Allison's Uncle.' This collector's edition provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers - an arrangement that occurred as a result of Adderley having joined Davis' sextet a year prior. That vibrancy reveals itself openly on a reissue that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Lifelike in timbre, naturalism, purity, and presence. For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after it's release: 'The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer.' Such emotion courses throughout every passage, and no where more obviously than on 'Autumn Leaves' and 'Love for Sale.'

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

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.

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

First in a Landmark Series of Modal Albums That Forever Changed Jazz: 1966's Miles Smiles Features the Most Brilliant Playing of Miles Davis' Second 'Great Quintet,' Bursts with Vitality and Spirit Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g 33RPM SuperVinyl LP Plays with Previously Unheard Dynamics, Rich Tones, and Bountiful Colors Genius Abounds in Each Passage: 'Footprints' Deemed One of the Greatest Compositions of the Latter 20th Century by Countless Critics The clarity afforded by history proves Miles Davis' second great quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1966, Miles Smiles is largely responsible for the feat. The piles of evidence lay within the thrills, adventurousness, and curiosities staked to every composition. At once accessible and unpredictable, songs reflect an ever-changing mentality, an edgy mood, and a triumphant will-with each corner the band rounds serving as a new opportunity to integrate and interact, anticipate and respond, investigate open spaces and establish if not fully lock into contagious, broad, striding grooves. Music would never again be the same. Neither will experiencing Miles Smiles once you hear this definitivesounding analog reissue. Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 33RPM SuperVinyl LP takes the landmark effort into rarified sonic territory. Davis and company play against coal-black backgrounds that serve to illuminate every detail, texture, and nuance. Superb separation and plentiful air allow instruments to fully blossom, effectively taking you into Columbia's 30th Street Studio to watch the legendary combo transpire before your eyes. The brilliance of Ted Macero's original production springs forth from every passage. Never before has this standard-setting record burst with as much palpable verve, energy, and spirit. Experience it as how Davis and company heard it go down on the studio floor! 1/4' / 15 IPS Dolby SR Analog Remix Master DSD 256 Analog Console Lathe Numbered 180g 33RPM SuperVinyl LP NUMBERED SPECIAL EDITION Track List Side One: 1. Orbits 2. Circle 3. Footprints Side Two: 4. Dolores 5. Freedom Jazz Dance 6. Ginger Bread Boy

Recorded When Miles Davis Opened for the Grateful Dead in San Francisco at Fillmore West: Black Beauty Surges into a Future Jazz World, Features Superb Performances and Rich Colors First-Ever Domestic Vinyl Release of 1973 Live Album: Mobile Fidelity's 180g 33RPM 2LP Set Plays with Captivating Energy, Presence, and Clarity Dateline: April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context: Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter's home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West. Given Davis was only months away from releasing the pioneering Bitches Brew, it shouldn't come as a surprise that much of the fare here adheres to similar explorative approaches. Masted at MoFi's California studio, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g 2LP set helps bring what went down that spring evening in Bill Graham's venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late '90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. These LPs present the band's livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At it's core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. 1/4' / 15 IPS ANALOG COPY DSD 256 ANALOG CONSOLE LATHE Numbered 180g 33RPM Vinyl 2LP NUMBERED SPECIAL EDITION Track List Disc One Side A: Black Beauty Part I Disc One Side B: Black Beauty Part II Disc Two Side A: Black Beauty Part III Disc Two Side B: Black Beauty Part IV

Dark Magus Anticipates Developments in Jungle, Noise, and Drum 'n' Bass Music: Funky, Ferocious, Free-Form Miles Davis Double Album Is an Exhilarating Jazz-Rock Trip On Domestic Vinyl for the First Time: Mobile Fidelity's Numbered-Edition 180g 33RPM 2LP Set Presents 1974 Performances with Absorbing Detail, Color, and Energy It's safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus. A rhythmic bonanza rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, it's songs eschew set arrangements, solos, and, for that matter, melodic devices. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis' career - a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum 'n' bass. Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the New York venue, it gets it's first-ever domestic issue on vinyl - on a definitive-sounding pressing. Mastered at Mobile Fidelity's private studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity's numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. It presents the improvisational magic that unfolded onstage - the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals - with incredible detail, color, and pace. It also captures the band's unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At it's core, this audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company's efforts like never before. We hope your turntable and speakers are up to the challenge. 1/4' / 15 IPS analog copy to DSD 256 to analog console to lathe Numbered 180g 33RPM Vinyl 2LP NUMBERED SPECIAL EDITION Track List Side A Moja (Part I) Moja (Part II) Side B Wili (Part I) Wili (Part II) Side C Tatu (Part I) Tatu (Part II) Side D Nne (Part I) Nne (Part II)

Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each legend's legacy. The transformative record weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a like-minded partner to help draw out tones, shades, and textures. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed 'a work of unparalleled grace and lyricism' by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken 'jazz in a new direction,' Sketches of Spain remains universallyrenowned. Part of Mobile Fidelity's Miles Davis restoration series, the 1960 landmark has been afforded the ultimate white-gloves treatment for it's 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a prior dryness that many critics found inhibitive to the record's enjoyment. You'll hear the full-range extension of woodwinds, strings, and percussion, all of which come alive with superior definition and detail amid ultra-quiet backgrounds. Sonically, the results are as breathtaking as the music, and a personal invitation to pull up a chair and enjoy what went down at Columbia 30th Street Studio decades ago in New York City. 1/4' / 15 IPS ANALOG MASTER DSD 64 ANALOG CONSOLE LATHE Numbered Limited Edition UD1S 180g 33RPM LP Box Set NUMBERED LIMITED EDITION OF 5,000 Track List Side One: 1. Concierto de Aranjuez 2. Will o' the Wisp Side Two: 1. The Pan Piper 2. Saeta 3. Solea

Get Down and Make It Funky: Miles Davis' Groundbreaking On the Corner Focuses on the Groove and Bottom End Mastered From the Original Master Tapes: Mobile Fidelity 180g LP Reveals Multiple Levels of Rhythm, Visceral Bass, and Pioneering Production Techniques In Transparent Fashion Exotic, Bold, Streetwise: Spirited 1972 Album Embraces Davis' 'Jungle Sound' With Percussive Foundations, Trance Loops, and Transformational Arrangements Miles Davis' boundlessly influential On the Corner was so far ahead of it's time upon release in 1972, the jazz cognoscenti rejected it's groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches - the likes of which fill Davis' boldest and most controversial - undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling. Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid audiophile-grade sonics. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can even discern the multiple levels of rhythm Davis employed on complex tracks such as 'Black Satin,' as On the Corner stands as his first effort to use overdubbing and multiple tape machines. New degrees of spaciousness and airiness - equally important to the musique concrete arrangements - give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's analog version captures Teo Macero's innovative production - and the trumpeter's cutting-edge aural collages - in definitive fashion. Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure - he also relies on an all-star cast of sidemen for concentrated soloing and additional support. With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party. Exotic, intrepid, and filled with Davis' 'jungle sound,' On the Corner remains daringly hip more than four decades later. 1/4' / 15 IPS analog master to DSD 256 to analog console to lathe Track Listing: Side A 1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles 2. Black Satin Side B 3. One and One 4. Helen Butte/Mr. Freedom X

MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 10,000 NUMBERED COPIES Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of it's Hall of Fame personnel, enthusiasm of it's participants, and sophistication of it's arrangements - not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards. Strictly limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and enhances the intimate program for generations to come. Offering reference-caliber sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers - an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior. The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit it's extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art - and everything involved with the album, from the iconic photos to the gorgeous finishes. The vibrant potency reveals itself openly on an analog set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there - there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.

The Vibrant Bridge Between Miles Davis' First and Second Great Quintets: Seven Steps to Heaven Teems with Originality, Expressivity, Cohesiveness, and Beauty Sourced from the Original Analog Master Tapes: Mobile Fidelity 180g SuperVinyl LP and Hybrid SACD Play with Superb Clarity, Detail, Tone, and Definition Grammy-Nominated 1963 Album Is a Harbinger of Things to Come: Features Definitive Title Track and 'Joshua' Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year - a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, Seven Steps to Heaven marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the most expressive, well-played albums in the jazz canon. There's nary a passage on this landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Sourced from the original master tapes, Mobile Fidelity's 180g SuperVinyl LP and hybrid SACD of Seven Steps to Heaven add yet another step towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, these audiophile reissues pull back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl - including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition - the numbered-edition LP version presents Davis and Co. Amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. The painstakingly mastered SACD does the same. And why not: The aptly titled Seven Steps to Heaven deserves nothing less. Numbered 180g 33RPM SuperVinyl LP 1/4' / 15 IPS DOLBY SR ANALOG REMIX MASTER DSD 256 ANALOG CONSOLE LATHE Track List Side One: 1. Basin Street Blues 2. Seven Steps to Heaven 3. I Fall in Love Too Easily Side Two: 1. So Near, So Far 2. Baby Won't You Please Come Home 3. Joshua

'Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded. Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods. Davis' First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams. Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's 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 Who's Who lineup that sends the music into an ethereal stratosphere. 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 Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch - he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight - is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys. If the record's only accomplishment is it's introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons - not the least of which is the seemingly telepathic communicative methods employed by the group's members. The lineup is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet. Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as color is the primary unit of currency on Davis' Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the set's 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 producer's could attempt - and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.