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Miles Davis Mfsl'
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
Four & MoreExhilarating and Immediate: Live Set Documents One of Davis Final Excursions With a Program of Standards
Hear the Interior of Philharmonic Hall at New Yorks Lincoln Center Come Alive: Mobile Fidelitys Fastidious Reissue Illuminates Venue Acoustics, Musicians Phrasings
Whirlwind Uptempo Pace Prodded by Tenor Saxophonist George Coleman and Drummer Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and In a Silent Way Also Available from Mobile Fidelity
Given his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that hed soon abandon in favor of experimentalism.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed analog edition teems with the urgency demonstrated by Davis and his band notes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy.
Recorded on February 12, 1964 in Philharmonic Hall at New Yorks Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davis accompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancock approaches standards such as So What, Seven Steps to Heaven, and Four with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos.
Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.
At last, these historic recordings are afforded the breathing room and acoustic perspective they've always deserved. For listeners that may be unfamiliar with this title, prepare to be blown away literally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Don't miss this gem.
This title is not eligible for discount.1. So What
6. Seven Steps to Heaven
7. There Is No Greater Love
8. Go-Go$34.99180 Gram Audiophile Virgin Vinyl LP - 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
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
Filles De KilimanjaroNumbered, Limited Edition
Davis' Self-Proclaimed "Directions in Music" March Begins Here
Mastered from the Original Master Tapes: Abundant Jazz, Funk, and Rock Textures Rotate Around a Luscious Tonal Center
Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion: Exotic Suite-Like Album Beautiful, Intense, Adventurous
Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45RPM 2LP set.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth.
Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.
The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun." Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.
Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.
More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music." With the jazz world still trying to wrap its collective mind around its genius, it still does.
This title is not eligible for discount.1. Frelon Brun
2. Tout de Suite
3. Petits Machins
4. Filles de Kilimanjaro
5. Mademoiselle Mary$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Miles 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
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
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
SantanaNumbered, Limited Edition
Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version
Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended
Ranked #149 on Rolling Stone's List of the Greatest Albums of All Time
Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.
Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.
Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.
For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.
Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before-as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.
Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.
This title is not eligible for discount.1. Waiting
2. Evil Ways
3. Shades Of Time
8. You Just Don't Care
9. Soul Sacrifice$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Bitches Brew (Out Of Stock)Monumental 1970 Double Album is Signpost for Jazz Fusion: Psychedelic Record Still Sounds Ahead of Its Time More Than 40 Years Later
Otherworldly Sonics: Mobile Fidelity Delivers the Consummate Pressing of the Uncompromising Work Ranked by Rolling Stone as Among the Greatest 100 Albums of All Time
Grammy Award-Winning Set Ignores Convention, Pursues Funk and Rock Directions Via Innovative Rhythms and Groundbreaking Ensemble Configurations
A Dozen Five-Star Miles Davis Albums Spanning 1958-1971 Available from Mobile Fidelity on Definitive-Sounding LP
"Listen to This." As the original working title for Bitches Brew, the invitation resonates as the best way to approach a record that shattered conventions, altered music history, and still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made in any genre.
Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's definitive 180g 2LP. Mastered from the original master tapes, these audiophile editions join the ranks of eleven other essential Davis sets given supreme sonic treatment by Mobile Fidelity.
Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism.
Mobile Fidelity's reissues envelop you in expansive warm tonal blankets.
Gathering a Hall of Fame-worthy lineup of musicians, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops speak to the leader's ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it encourages free thought-the very principle with which Davis
conceived the everlasting beauty that is Bitches Brew.
This title is not eligible for discount.1. Pharaoh's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
5. Miles Runs the Voodoo Down
6. Sanctuary$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
Kind Of Blue (Box Set) (Out Of Stock)Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes
Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations
If There's a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions
Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History
How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.
Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If there's a stairway to heaven, this is the soundtrack.
In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.
While no one has ever completely identified the magic behind the records allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.
An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.
This title is not eligible for discount.1. So What
2. Freddie Freeloader
3. Blue in Green
4. All Blues
5. Flamenco Sketches$59.99180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock
E.S.P. (Out Of Stock)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 Temporarily out of stock
Miles Davis - A Tribute To Jack Johnson (Out Of Stock)Audiophile Reference Sonics: Mobile Fidelity LP Presents Lean, Stripped-Back, and Open Sound With Startling Immediacy and Realism
Soundtrack Merges Electric Fusion, Slashing Rock, and Aggressive Funk Via Astounding Lineup: Guitarist John McLaughlin and Trumpeter Davis Turn In Blistering Performances
Powerhouse 1971 Album the Greatest Jazz-Rock Record Ever Made
The album cover to Trust speaks volumes: Elvis Costello, bathed in shadows, his eyes nervously peering out from behind his sunglasses, his face conveying a combination of edgy noir purpose and guilt-ridden anxiety. Indeed, the tension-rich songs within largely convey the opposite meanings of the record's title, with the British icon musing on what lies beyond arrogant youth and immediate success with a jaundiced, scarred perspective informed by his country's political climate and his own experiences.
Miles Davis' A Tribune to Jack Johnson is the best jazz-record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over 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. Mobile Fidelity's sterling reissue brings it all to fore with unsurpassed realism.
Mastered from the original master tapes and pressed at RTI, this collectable audiophile vinyl version of A Tribute to Jack Johnson joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. The most prominent difference longtime fans will notice is how much more aggressive and immediate the music sounds, aspects central to the composer's desires. Amazing degrees of instrumental separation and imaging allow you to focus on singular musicians and the roles they play.
Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimension bass lines emerge amidst an ink-black background.
This title is not eligible for discount.1. Right Off
2. Yesternow$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Sunday at The Village Vanguard (Out Of Stock)
Mastered from the Original Master Tapes With Mobile Fidelity's One-Step Process: Sunday at the Village Vanguard UD1S 45RPM Box Set the Ultimate Analog Version of Bill Evans' 1961 Jazz Staple
Deluxe Packaging Includes Opulent Box, Special Jackets and Unique Bonus Artwork: No Expense Spared, Strictly Limited to 3000 Numbered Copies
Gorgeous Romanticism, Seamless Chemistry, Group Interplay, and Symbiotic Trio Performances Forever Changed Jazz: Evans' Live Masterwork Boasts Brilliant Sound, Lyrical Pianism, Magical Feel
The gorgeous romanticism of Bill Evans' Sunday at the Village Vanguard cannot be overstated. Neither can the iconic record's place in history - nor what it signifies to generations upon generations of listeners hypnotized by the consummate playing, resplendent compositions, and seamless chemistry. Originally released in1961, the live set remains the gold standard for symbiotic trio performance, empathy, and communication. Because of Orrin Keepnews' brilliant recording, it also survives as one of the best-sounding jazz albums extant - a fact confirmed by its appearance on multiple reissues over the past few decades. But it's never sounded better than this.
Evans' masterwork reaches three-dimensional sonic and emotional heights never before attained by analog recordings on this opulent Mobile Fidelity UD1S box set complete with special jackets and a unique insert. Strictly numbered to 3000 copies, this ultra-hi-fi audiophile edition literally and figuratively brings you closer to the music of this Riverside staple that, along with the complementary Waltz for Debby, transformed Evans into a legend and became a blueprint for how jazz trios should work together. You'll enjoy deep-black backgrounds, pointillistic details, and staggering dynamics. Experienced via UD1S, Sunday at the Village Vanguard places Evans and his esteemed colleagues in your listening room. Every note, breath, and movement captured by the microphones are reproduced with exquisite accuracy and wowing clarity.
The deluxe packaging and gorgeous presentation of this Sunday at the Village Vanguard pressing befit its extremely select status. Housed in an opulent box, this UD1S edition contains special jackets and unique bonus artwork that further illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this Sunday at the Village Vanguard is a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound and creativity, and who desire to fully immerse themselves in the music - and everything involved with the album, from the graphics to the textures.
Recorded just ten days before bassist Scott LaFaro perished in a car accident, Sunday at the Village Vanguard changed the way jazz trios were perceived by audiences and musicians alike. Up until Evans, LaFaro, and drummer Paul Motian proved otherwise, a trio configuration meant two sidemen served as rhythmic support to spotlight the virtuosity of a headline performer or primary soloist. Here, the three instrumentalists operate in complete unison and achieve supreme democratic balance. Expressing their intent via shared conversations, they alight on sublime pieces flush with thematic discovery, improvisational dialog, and raw feeling.
A quest for discovery informs the music as well as the playing. Evans' lyrical pianism met at every turn by LaFaro's chorded responses and harmonic counterpoints. Indeed, Sunday at the Village Vanguard remains LaFaro's standout moment, his soloing helping shape the melodies and striking a keen equilibrium between modality and traditionalism. Joining poignant renditions of Miles Davis, Cole Porter, and Gershwin numbers, two LaFaro originals - Jade Visions and the opening Gloria's Step - further demonstrate his genius. They furnish the album a supernatural aura that matches the jovial mood of the musicians. It's impossible to think this album could be improved in any way. Particularly now that this UD1S pressing brings the Village Vanguard into your room. Prepare to witness history. Again and again.
More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior:
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a convert. Delicate converts are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
This title is not eligible for discount.1. Gloria's Step
2. My Man's Gone Now
4. Alice in Wonderland
5. All of You
6. Jade Visions$99.99Vinyl LP UltraDisc One-Step 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock
On The Corner (Out Of Stock)Miles 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 Temporarily out of stock
Sketches of Spain (Out Of Stock)Ranked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations
Sublime Sound: Mobile Fidelity Reissue Corrects the Dry Sound That Plagues Previous Editions
Flamenco-Themed 1960 Set Develops Synergy Between Orchestrations and Melancholic Jazz Phrasings
Urge by Davis to Develop Techniques Possessed by Forbearers Finds Him Expanding Palette, Spinning Webs of Lyrical Sound and Emotion
Kind of Blue, Milestones, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminarys career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.
Part of Mobile Fidelitys Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180g LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.
Indeed, in its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers have taken every available measure to insert listeners into the space occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and the 18-piece orchestra. With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.
Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
Whether its the somber mood piece of the standout Concierto de Aranjuez (Adagio), renowned forDavis flugelhorn performance, or the folktale-based Solea, Mobile Fidelitys enhanced Sketches of Spain transfixes with playing, ideas, and innovations that remain exclusive to this incomparable record.
This title is not eligible for discount.1. Concierto de Aranjuez (Adagio)
2. Will O the Wisp
3. The Pan Piper
5. Solea$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Round About Midnight (Out Of Stock)Hipness Personified: Davis Columbia Records Debut Highlights His Diverse Palette and Famed Quintet
Lifelike Sonics: Mobile Fidelity Presents This Standard with a Dynamic Sound That Allows You to Picture Davis Mouth as He Blows Harmon-Muted Trumpet
Blowing Cool and Hot Jazz: Quintet Plays Reflective Ballads, Pop Standards, and Fervent Bop on One of Eras Only Complete Start-to-Finish Full-Length LPs
Sketches of Spain, Milestones, Kind of Blue, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis first album for Columbia, Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the eras only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmarka summation of the styles that came before its creation, an immersion into the periods cutting-edge strains, and a hint of the rivoluse modalism that would follow.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Round About Midnight now resonates with a physical palpability and emotional heft never before experienced. Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition traces the individual paths each musician takes in contributing to the whole, whether its pianist Red Garlands left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.
Historically, few jazz records claim the significance boasted by Round About Midnight. The albums creationand the assembly of Davis quintet, which also includes Paul Chambers and Philly Joe Jonesstems from the headliners rousing rendition of the title-inspired track, Round Midnight, a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasnt the composers only surprise.
'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during Ah-Leu-Cha and its Dixieland shades. Soak up the progressive drama and swinging tempos on All of You and Bye Bye Blackbird. Delight in the mÉlange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers.
Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and light a cigarette. This is Miles and Co. at their best. Hipness personified.
This title is not eligible for discount.1. Round Midnight
3. All of You
4. Bye Bye Blackbird
5. Tadds Delight
6. Dear Old Stockholm$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock