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The Final Tour: Copenhagen, March 24, 1960 (Pre-Order)Showcasing the musical chemistry shared by Miles and Trane and lets fans experience the magic of both artists at the peak of their collective powers. Miles and Trane each implemented their own jazz revolutions at the time of this concert and the electrifying sonic frisson produced by the sometimes competing/sometimes intertwining music visions of these artists perplexed contemporary jazz fans
As quoted by music historian Ashley Kahn, "it's not that the band members were so much apart, but rather that each were more themselves within the same unit - that divergence could co-exist and make music together."
Focuses on the final chapter in the landmark collaboration between Davis and Coltrane.1. Introduction (Live from Tivoli Konsertsal, Copenhagen)
2. So What (Live from Tivoli Konsertsal, Copenhagen)
3. On Green Dolphin Street (Part 1) (Live from Tivoli Konsertsal, Copenhagen)
4. On Green Dolphin Street (Part 2) (Live from Tivoli Konsertsal, Copenhagen)
5. All Blues (Live from Tivoli Konsertsal, Copenhagen)
6. The Theme (incomplete) (Live from Tivoli Konsertsal, Copenhagen)$19.99Vinyl LP - Sealed PRE-ORDER 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
Final All-Acoustic Outing from Davis' Classic Second Quintet
Mastered from the Original Master Tapes: Record's Tonal Shadings, Gradations, and Textures Come Alive
Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism
Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.
Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.
As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track-during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section-shines as a textbook example of such chemistry and unity.
Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot," Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.
Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.
This title is not eligible for discount.1. Nefertiti
3. Hand Jive
6. Pinocchio$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Kind of Blue (Mono) (Awaiting Repress)Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Best-Selling Jazz Album Of All Time
A Cornerstone Of Recorded Music
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.1. So What
2. Freddie Freeloader
3. Blue In Green
4. Flamenco Sketches
5. All Blues$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
SONM-LEG-0514xMiles Davis Quintet
'Round About MidnightAt 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.1. 'Round Midnight2. Ah-Leu-Cha3. All Of You4. Bye Bye Blackbird5. Tadd's Delight6. Dear Old Stockholm$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Kind Of Blue (Awaiting Repress)Ranked 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 AWAITING REPRESS Buy Now
Relaxin' With The Miles Davis QuintetFeaturing John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. The greatest small group in the history of jazz recorded at their peak in 1956. Featuring joyous, straight-ahead swinging and melodic improvisation, this is a near-perfect album. Contains 'If I Were A Bell,' 'It Could Happen To You,' 'I Could Write A Book' and several others.1. If I Were A Bell
2. You're My Everything
3. I Could Write A Book
5. It Could Happen To You
6. Woody'n You$21.99Vinyl LP Reissue - Sealed Buy Now
Birth Of The Cool (Awaiting Repress)Capitol 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 AWAITING REPRESS Buy Now
Ascenseur Pour L'Echafaud (2LP)Ascenseur Pour L'Échafaud is a 1958 French film directed by Louis Malle. It was released as Lift to the Scaffold in the UK. The film was nothing special, but it did accomplish one thing: it proposed a new ideal of cinematic realism, a new way to look at a woman. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's Soundtrack. He showed Davis a screening of the movie, and afterwards Miles knew exactly how to portray the smoky hazed or frantic scenes through sonic imagery. On December 4 1957, he brought four French Jazzmen (Barney Wilen / tenor saxophone, RenÉ Urtreger / piano, Pierre Michelot bass and Kenny Clarke drums) to the recording studio Le Poste Parisien Studio without having them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. Eventually Ascenseur Pour L'Échafaud has become a great achievement of artistic excellence.
For the first time since its original release in 1958, Music On Vinyl combined the original soundtrack and the additional recordings and created an essential 2LP set with the original artwork.Side 1 (ORIGINAL 1958 A-SIDE)
2. L'Assassinat De Carala
3. Sur L'Autoroute
4. Julien Dans L'Ascenseur
5. Florence Sur Les Champs-Élysees
Side 2 (ORIGINAL 1958 B-SIDE)
1. Dîner Au Motel
2. Évasion De Julien
3. Visite Du Vigile
4. Au Bar Du Petit Bac
5. Chez Le Photographe Du Mot
1. Nuit Sur Les Champs-ÉlysÉes (TAKE 1)
2. Nuit Sur Les Champs-ÉlysÉes (TAKE 2)
3. Nuit Sur Les Champs-ÉlysÉes (TAKE 3)
4. Nuit Sur Les Champs Elysees (TAKE 4)
5. Assassinat Visite Du Vigil
6. Assassinat Julien Dans L'ascenseur
7. Assassinat L'Assassinat De Carala
1. Final (TAKE 1)
2. Final (TAKE 2)
3. Final (TAKE 3)
5. Le Petit Bal (TAKE 1)
6. Le Petit Bal (TAKE 2)
7. SÉquence Voiture (TAKE 1)
8. Sequence Voiture Sur L'Aut (TAKE 2)$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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.
This title is not eligible for discount.1. Someday My Prince Will Come
2. Old Folks
4. Drad Dog
6. I Thought About You$39.99200 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 guitar
This title is not eligible for discount.1. 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
The Columbia Years 1968-1969All Tracks Previously Unreleased (Except Track B5/8)
Production By Miles Davis & Teo Macero
Featuring Performances From Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John Mclaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band Of Gypsys), Larry Young, And Members Of The Jazz Crusaders
Remastered From The Original Analog Master Tapes
New Interviews, Rare Photos, And Unseen Historical Documents From The Teo Macero Archive
One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of 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 have rhymed over her intensely strong but sensual music. Betty penned the song ''Uptown'' for The Chambers Brothers and wrote 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 DIY 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 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix-personally inspiring the classic album, Bitches Brew.
Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions-never heard, never bootlegged-predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.
The vibe is intrinsically unique, fresh, and futuristic-jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.
Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders-including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.
This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela-the entire project overseen with Betty's full blessing.1. Hangin' Out
2. Politician Man
3. Down Home Girl
4. Born On The Bayou
5. I'm Ready, Willing & Able (Take 1)
6. I'm Ready, Willing & Able (Take 9)
7. It's My Life (Alternate Take)
8. Live, Love, Learn
9. My Soul Is Tired$25.99Vinyl LP - Sealed Buy Now
Kind Of Blue (Mono)180 Gram Audiophile Vinyl
Listed as one of the four most influential Jazz albums that happened to be released in 1959 (Dave Brubeck - Time Out & Charles Mingus - Ah Um among them), so much has been said and written about Miles Davis' Kind Of Blue, it's virtually impossible to summarize all the necessary info to the length of this page. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why it's 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.1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches$39.99180 Gram Audiophile Vinyl LP Mono - Sealed Buy Now
UNIM-PRE-7034xMiles Davis & Milt Jackson
Quintet/ SextetDr. Jackle
Changes$21.99Vinyl LP Reissue - Sealed Buy Now
Somethin' Else (Stereo)Blue Note Reissue
As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008
One of the best known record dates in the history of modern jazz, the chemistry among Adderley, Miles Davis, Hank Jones, Sam Jones and Art Blakey is amazing. Their reworkings of Autumn Leaves and Love For Sale are masterpieces. Miles' title tune and Nat Adderley's One For Daddy-O are classics.
This title is not eligible for discount.Autumn Leaves
Love For Sale
One For Daddy-O
Dancing In the Dark$54.99200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
In A Silent Way (Awaiting Repress)Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Weather Report/Friday Music 180 Gram Audiophile Series Continues!
The Original #1 1977 Jazz Rock Fusion Classic Heavy Weather
First Time 180 Gram Audiophile Vinyl & Gatefold Cover Presentation
Mastered By Joe Reagoso And Manufactured At R.T.I.
The legendary Weather Report set the music world on fire back in the early seventies with their hypnotic blend
of progressive-fused jazz with funk, prog-rock and soul, augmented with the brilliant and skillful musicianship of their
superstar founders Wayne Shorter on saxophone and various electronic reeds and the late great Joe Zawinul on a
stunning array of keyboards and electronic instruments. Both of these legendary musicians/composers worked with
Miles Davis on his classics like Bitches Brew, plus solid tenures with legends like Cannonball Adderley (Zawinul) and
Art Blakey (Shorter) all of which would prove to become the huge catalyst for things to come.
Throughout the remainder of the late seventies and beyond, Weather Report's fine arsenal of recordings would
take the band to the top of all the popular music charts. The 1977 fusion classic Heavy Weather would go on to yield
one of the biggest albums of their career as it hit the top rungs of the jazz charts, plus major showings in the pop and
R&B charts thanks to the top charting hit single Birdland.
No stone is left unturned, as this masterpiece is loaded with smashes like Joe Zawinul's brilliant ballad A Remark
You Made, the powerful Palladíum by Wayne Shorter and of course the funk assault of Jaco's Pastorius on Teen Town
all which made this a top charting album in 1977.
As one of the most enduring albums in their massive career catalog, Heavy Weather also features the all-star
lineup of Joe Zawinul, Wayne Shorter, Jaco Pastorius (bass), Manolo Badrena (drums) and Alex Acuna (percussion).
All in all, Heavy Weather took the fans by storm, forever retaining the title superstars to the Weather Report franchise.
Friday Music is pleased to announce for the very first time here on audiophile vinyl Heavy Weather by Weather
Report. Mastered impeccably by Joe Reagoso at Friday Music Studios, this amazing classic truly shines in the
audiophile vinyl domain. Pressed at R.T.I., this brilliant masterwork truly resonates as you remember from years ago.
To enhance your limited anniversary edition album experience, this first time audiophile vinyl release is also for
a very short time being offered in a first time gatefold cover presentation, featuring the original album cover design
by Lou Beach.
Welcome back and celebrate the music of Weather Report with their masterpiece Heavy Weather an audiophile
first time 180 gram vinyl Friday Music release.
A Remark You Made!1. Birdland
2. A Remark You Made
3. Teen Town
5. Rumba Mamá
7. The Juggler
8. Havona$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Adam's Apple"Adam's Apple" by Grammy®-award winner, Wayne Shorter will be reissued as part of an overall Blue Note 75th anniversary vinyl initiative spearheaded by current Blue Note Records President, Don Was. Recorded in 1966, this is Shorter's tenth album. This album includes the first recording of Shorter's composition "Footprints" which was later recorded by the Miles Davis Quintet.1. Adam's Apple
2. 502 Blues (Drinkin' and Drivin')
3. El Gaucho
6. Chief Crazy Horse$19.99Vinyl LP Reissue - Sealed Buy Now
My Funny ValentineNumbered, Limited Edition
Historic Recording Captures Elegant Ballads Performed at February 1964 Concert
Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience
Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy
Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.
Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity's choice reissue of the trumpeter's scintillating work bookends the label's release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns-all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.
Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.
Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet." But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.
Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis' myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that's as transparent to the source as humanly possible. Do not miss this.
This title is not eligible for discount.1. My Funny Valentine
2. All of You
3. Stella By Starlight
4. All Blues
5. I Thought About You$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
1967 Post-Bop Classic the Third of Five Albums from Miles' Prized Second Quintet
Mastered from the Original Master Tapes: Sorcerer Has Never Sounded More Dynamic, Present, Warm, or Tonally Rich
Mood, Inflection, and Nuance Take Center Stage on Compositions Steeped in Sophisticated Expressionism
Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet-and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz-the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity's definitive 45RPM pressing.
Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set's warm compositions together are rendered with utmost realism.
This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.
Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page.
A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You"-a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough-the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history. Mobile Fidelity is proud to give the record the treatment it's long deserved.
This title is not eligible for discount.1. Prince of Darkness
2. Pee Wee
4. The Sorcerer
7. Nothing Like You$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - Sealed Buy Now
Birth Of The CoolCulled from three separate nonet sessions that took place from early 1949 through March of 1950, The Birth Of Cool was the literal blue print for the sound known as cool jazz thus its title. Featuring the fluidity of bop, innovative big band arrangements and a relaxed overall elegance, the Gil Evans arranged sessions find Davis supported by pivotal performances from such jazz luminaries as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach among others. Despite such a large band, the proceedings sound remarkably intimate with concise and sophisticated songs built largely on tone and mood. A seminal recording in the history of jazz!1. Jeru
5. Venus De Milo
12. Darn That Dream$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The New Miles Davis QuintetMiles Davis, trumpet
John Coltrane, tenor sax
Red Garland, piano
Paul Chambers, bass
Philly Joe Jones, drums1.JUST SQUEEZE ME
2.THERE IS NO GREATER LOVE
3.HOW AM I TO KNOW?
6.STABLEMATES$21.99Vinyl LP Reissue - Sealed Buy Now
Steamin' With The Miles Davis Quintet1. Surrey With The Fringe on Top
2. Salt Peanuts
3. Something I Dreamed Last Night
5. Well, You Needn't
6. When I Fall in Love$21.99Vinyl LP Reissue - Sealed Buy Now
Miles In The SkyNumbered, Limited Edition
1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic
Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy
Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future
Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.
The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.
Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.
Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.
Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.
This title is not eligible for discount.1. Stuff
3. Black Comedy
4. Country Son$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now