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Kind Of BlueRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
High quality 180 gram Audiophile Vinyl
Replication of Original Artwork
Released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.
After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sketches of SpainRanked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Limited individually Numbered Edition!
The conception of ''Sketches of Spain'' in 1960, can be placed in the ''most melodic era'' of Miles Davis. It is one of his most accessible and less improvisational albums, some even outclassed it from the reigns of Jazz.
This is one of the four albums where Miles and Gil Evans (arranger & conductor) were together with a small orchestra of horns and percussion, and it was fueled by Spanish melodies that fascinated Davis to the point he needed to get into them and go beyond: El Concierto de Arajuez by Joaquín Rodrigo and El Amor Brujo by Manuel de Falla.1. Concierto de Aranjuez
2. Will O the Wisp
3. The Pan Piper
5. Solea$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Seven Steps To Heaven (200 Gram)200-Gram Vinyl Pressed At Quality Record Pressings
Mastered From The Original Analog Master Tapes By Ryan K. Smith At Sterling Sound
Deluxe Tip-On Gatefold Jacket From Stoughton Printing
In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic Seven Steps To Heaven, Joshua and slow passionate versions of Basin Street Blues and Baby Won't You Please Come Home.
This title is not eligible for discount.1. Basin Street Blues
2. Seven Steps To Heaven
3. I Fall in Love Too Easily
4. So Near So Far
5. Baby Won't You Please Come Home
6. Joshua$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In A Silent WayFloat Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in 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 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 CoolCapitol Records 75th Anniversary Vinyl
Birth of the Cool is a compilation album by American jazz musician Miles Davis, originally released in 1957 on Capitol Records. It compiles twelve tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950.
Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title implies, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long.1. Jeru
5. Venus de Milo
11. Moon Dreams
12. Darn That Dream$19.99Vinyl LP - Sealed Buy Now
Kind Of Blue: 50th Anniversary Collector's EditionRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Best Selling Jazz Album of All-Time Gets the Super Deluxe Treatment for its 50th Anniversary!
Includes the Original Remastered CD, a CD of Bonus Material, a DVD of the Making of Kind of Blue, an Incredible Full-Color Book, Photos from the Sessions, Miles' Notes and the LP of the Original Album Pressed on Blue Vinyl!
In 1958, after a string of critically acclaimed and successful albums, Miles Davis was searching for a new direction to take the music, and signs were pointing him off the chordal highway into a new jazz style: modal. His innovations would open up the world for improvisers. He recruited key players with the potential to solidify his new approach, forming his famed sextet with rising jazz giants John Coltrane, Cannonball Adderley, Bill Evans & Wynton Kelly, Paul Chambers and Jimmy Cobb. Miles hired the little-known Evans because he needed a pianist who was into the modal thing. Davis and Evans both had developed personal voices characterized by a melodic flow that suggested, rather than defined, musical structure. It was his relationship with Evans that created the spark that resulted in the album Kind of Blue.
In only two impromptu sessions in March and April of 1959, Miles Daviss sextet created a tour de force 5 original tunes built on simple scales. Davis is committed to getting something spontaneous out of his musicians. The entire album was composed as a series of modal sketches and was conceived only hours before the recording dates. The outcome? Pure inspiration, and the stuff of legend an album made up of the first full take of each tune, captured at the historic Columbia 30th Street Studio. The album was originally released on Columbia Records in 1959, stunning the jazz world by practically creating a new language of music. Its influence goes far beyond jazz. Kind of Blue is universally considered to be one of the best albums of all time, of any genre. Fifty years later, Kind of Blue the epitome of spontaneous inventionis still the best selling jazz album ever.
This Collectors Edition marks the 50th Anniversary with an unprecedented presentation of music, images, insight and history to celebrate the album that is essential to any music collection, the ideal gift item for any jazz lover, especially fans of Miles Davis a true collectors set.
Do Not Miss this Limited-Edition Collector's Edition!Blue Colored Vinyl LP:
1. So What
2. Freddie The Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches
Disc 1 - CD:
1. So What (9:22)
2. Freddie Freeloader (9:46)
3. Blue In Green (5:36)
4. All Blues (11:32)
5. Flamenco Sketches (9:25)
6. Flamenco Sketches (alternate take) (9:31)
7. Freddie Freeloader - studio sequence 1 (0:51)
8. Freddie Freeloader - false start (1:26)
9. Freddie Freeloader - studio sequence 2 (1:34) (*)
10. So What - studio sequence 1 (1:55) (*)
11. So What - studio sequence 2 (0:12) (*)
12. Blue In Green - studio sequence (1:57) (*)
13. Flamenco Sketches - studio sequence 1 (0:43)
14. Flamenco Sketches - studio sequence 2 (1:10) (*)
15. All Blues - studio sequence (0:19) (*)
(*) previously unreleased
Disc 2 - CD:
1. On Green Dolphin Street (9:48)
2. Fran-Dance (5:48)
3. Stella By Starlight (4:43)
4. Love For Sale (11:46)
5. Fran-Dance (alternate take) (5:51)
6. So What (17:28) (**)
(**) previously released in unauthorized form
• Rare musical material including the first session by the Miles Davis sextet, May 26, 1958
• Over 30 minutes of studio material
• First authorized release of two extended live performances from April 9, 1960 Den Haag Concert and The Zurich Concert.
• Documentary - Story Behind Kind of Blue
• April 2, 1959 TV program, Robert Herridge Theater: The Sound of Miles Davis$109.99Colored Vinyl LP + 2 CDs + DVD - Sealed Buy Now
ACSO-ANA-7130xRed Garland Quintet
All Mornin' Long200-Gram Pressing by Quality Record Pressings has a Flat Edge Profile and Deep Groove Label, True to the Original LP, and a Deluxe High-Gloss Tip-on Album Jacket.
All-Star Musician Lineup of Red Garland, John Coltrane, Donald Byrd, George Joyner and Arthur Taylor. Originally Released in November 1957.
Some groups have existed only in the recording studio but have produced music of lasting value.
This quintet, under pianist Red Garland's leadership, actually did play some gigs around New York in the fall of 1957, but even if it hadn't, the rapport in the studio would still have been powerful. Beginning with the association of Garland and sax master John Coltrane in the Miles Davis Quintet and continuing with Arthur Taylor's trio connection with Garland, and trumpeter Donald Byrd's having worked with all of them in one form or another, there was enough of a common spirit in the musical attitudes of all the participants. The title blues spans an entire side; the overleaf is shared by Gershwin's They Can't Take That Away from Me and Dameron's Our Delight.
This title is not eligible for discount.1. All Mornin' Long
2. They Can't Take That Away From Me
3. Our Delight$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
E.S.P.Numbered, Limited Edition
Pressed At RTI
A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.
Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.
For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.
As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.
Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
This title is not eligible for discount.1. E.S.P.
3. Little One
7. Mood$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Tokyo 1973Live At Shinjuku Kohseinenkin Kaikan in Tokyo, Japan On June 19th, 1973
On June 19th, 1973, Miles Davis took to the stage at Shinjuku Kohseinenkin Kaikan in Tokyo, Japan, backed by a band of Dave Liebman on saxophone and flute, guitarists Pete Cosey and Reggie Lucas, Michael Henderson on electric bass, Al Foster on drums and James Mtume Forman on percussion. Playing two sets, both of which are included here, Davis' band were in interstellar form. Playing a selection of previously-recorded numbers and extended jams during a show broadcast live across the region by a local FM station in superb quality, the music performed by the famed trumpeter and his majestic band at this superb show pushes the musical boundaries even further than Davis had at any time in the past.LP 1
2. Tune In 5
3. Right Off
2. Aghartha Prelude
3. Zimbabwe$37.99Vinyl LP - 2 LPs Sealed Buy Now
On The CornerMiles Davis On the Corner on Numbered Limited Edition 180g LP from Mobile Fidelity
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 its time upon release in 1972, the jazz cognoscenti rejected its 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.
This title is not eligible for discount.1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles
2. Black Satin
3. One and One
4. Helen Butte/Mr. Freedom X$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
NefertitiRecorded in two days in the summer of 1967 Nefertiti is Miles Davis' last fully acoustic album, with no compositions from Miles himself. Most tracks are written by Wayne Shorter & Herbie Hancock.
Best known for its unusual title track, where the horns keep repeating the melody and the rhythm section improvises (in stead of the other way around).
Whilst an acoustic album, it does signals Miles' transition from bop to jazz fusion; a hint at the next albums Miles in the Sky and the critically acclaimed In A Silent Way.
Rhythm section: Tony Williams & Ron CarterSide A
3 Hand Jive
3 Pinocchio$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Doo-BopMiles Davis was on the forefront of many new subgenres of music; he even invented the mix of Jazz and Hip Hop with Doo Bop (1992), a collaboration with producer Easy Mo Bee. Bee was involved in production work for Big Daddy Kane and Notorious B.I.G., which earned him grand stature in Hip Hop circles. Miles chose him for laying down groundworks for entertaining trumpet soloing as only Miles Davis can do. Several tracks on Doo Bop were nished right after the death of Miles Davis. A worthy goodbye to the master of the Jazz trumpet.1. Mystery
2. The Doo-Bop Song
3. Chocolate Chip
4. High Speed Chase
8. Duke Booty
9. Mystery (Reprise)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
On The CornerScorned by critics at the time of its release, Miles Davis' 1972 album 'On The Corner' is now seen as a forerunner of Post Punk, Hip Hop, Drum and Bass and Electronic music, thanks to its revolutionary recording techniques.
Miles wanted to reconnect with a younger audience, who had forsaken him for Rock and funk, and the experimental 'On The Corner' was his answer. Leaning more heavily on a drum and bass groundwork, the overdubs consisted of free improvisations held in the studio.
'On The Corner' isn't one of Miles easiest records to listen to, but it can yield the most fruits. Now released with completely re-mastered audio.1. On The Corner
2. New York Girl
3. Thinkin' One Thing And Doin' Another
4. Vote For Miles
5. Black Satin
6. One And One
7. Helen Butte
8. Mr. Freedom X$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bitches Brew: LiveIt has been said that jazz stopped evolving when Davis wasn't there to push it forward.
Even if that isn't true, Miles Davis certainly was one of the greatest music innovators of the 20th century, pioneering Cool Jazz (with the 1949 recording of Birth Of The Cool), Modal Jazz (with 1959's Kind Of Blue) and Fusion with 1970's Bitches Brew.
Bitches Brew Live contains recordings from two performances: the first three songs were recorded at his Newport Jazz performance in July 1969 - a couple of weeks before the Bitches Brew Sessions in August of that year - and have remained unissued till this day.
Miles performs with Chick Corea on electric piano, Dave Holland on acoustic bass and Jack DeJohnette on drums; musicians who all went on to become leaders of the Fusion movement. (Wayne Shorter unfortunately missed this date because he was stuck in traffic.) The A1 track 'Miles Runs The Voodoo Down' is the first professionally live recorded version of this song.
The other six songs were recorded at the Isle Of Wight festival in 1970,and contain 'Directions' and 'It's About That Time' from the In A Silent Way sessions.
Included in this exclusive release is a 12 page booklet with a liner note essay by renowned music journalist Michael Azzerad, and a special etch on the D side.Side 1
1. Miles Runs The Voodoo Down
3. It's About That Time/The Theme
2. Bitches Brew
1. It's About That Time
3. Spanish Key
4. The Theme
D-Side is etched$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
PangaeaRecorded on the same day as Agharta, Pangaea's two LPs worth of material were culled from the evening performances at Osaka's Festival Hall. Featuring just 2 songs, both clocking in at over 40 minutes, Pangaea finds Miles Davis and company, which includes Sonny Fortune, Pete Cosey, Reggie Lucas, Michael Henderson, Al Foster and James 'Mtume' Forman, really stretching themselves to the limit. Live electric jazz-fusion from the undisputed master of the genre. Double 180g vinyl from 4 Men With Beards housed in a gatefold jacket.LP 1
2. Gondwana$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Black Beauty180 Gram Audiophile Vinyl
Includes 4-Page Booklet
Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.
Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.
The songs in the band's setlist were as followed: Directions, Miles Runs the Voodoo Down, Willie Nelson, I Fall In Love Too Easily, Sanctuary, It's About That Time, Bitches Brew, Masqualero, Spanish Key, and The Theme. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.
The original Japanese booklet is included in this vinyl package.LP 1
1. Black Beauty Part I
2. Black Beauty Part II
1. Black Beauty Part III
2. Black Beauty Part IV$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Cookin' With The Miles Davis Quintet1. My Funny Valentine
2. Blues By Five
4. Tune-Up/When Lights Are Low$21.99Vinyl LP Reissue - Sealed Buy Now
AghartaAgharta was recorded at the Osaka Festival Hall on February 1, 1975 and originally released on double LP only in Japan. Featuring one of Miles Davis' strongest line-ups from his electric period, Agharta is a smoking set of jazz-funk fusion, highlighted by blistering live interpretations of some of his finest compositions. Davis recorded another fantastic double LP, Pangaea, on the same day proving him to be unrivaled in both creativity and output. Double 180g vinyl from 4 Men With Beards housed in a gatefold jacket.LP1
1. Prelude Part 1
2. Prelude Part 2
1. Theme from Jack Johnson
2. Interlude$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Milestones (Mono)Masterwork is Oft-Overlooked Link Between Round About Midnight and Kind of Blue
Vanguard Sonics: Mobile Fidelity Reissue Presents The 1958 Standard with Unparalleled Sound Quality
In MONO You Will Not Hear a Better Analog Edition
Only Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones
Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs
Sketches of Spain, Kind of Blue, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the records standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control rooms window.
Davis burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltranes trademark saxophone? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garlands swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.
If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis (and later, his contemporaries) improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliners argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether its the bravado No Jackle, featuring a hot-foot pace and bebop strains, or Sids Ahead, which continues the albums blues theme while tossing around edgy harmonics and inside-out structures.
Then theres Straight, No Chaser, the absolutely definitive rendition of Thelonious Monks signature piece. Coltranes marbled playing pulls at the tunes lobed 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 eye towards the future. A milestone if there ever was. And now, in resplendent mono.
This title is not eligible for discount.1. Dr. Jackle
2. Sids Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$34.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
Miles AheadMiles Davis' 1957 Columbia Records release Miles Ahead finds the jazz legend renewing his creative partnership with arranger Gil Evans which began in 1949 with the Birth of the Cool. Featuring a 19-piece band assembled by Evans and supple arrangements highlighting Davis as the central voice, the evocative 10-song set is anchored by a passionate take on John Carisi's Springsville, the Iberian shadings of Delibes' The Maids of Cadiz and the excellent Blues for Pablo, which foreshadowed the directions Evans and Davis would go on the subsequent masterpiece Sketches of Spain.1. Springsville
2. The Maids of Cadiz
3. The Duke
4. My Ship
5. Miles Ahead
6. Blues for Pablo
7. New Rhumba
8. The Meaning of the Blues
10. I Don't Wanna Be Kissed (By Anyone But You)$32.99Vinyl LP - Sealed Buy Now
Bags' Groove (take 1)
Bags' Groove (take 2)
But Not For Me (take 2)
But Not For Me (take 1)$21.99Vinyl LP Reissue - 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