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Miles Davis Vinyl'
Kind Of Blue (Mono)180 Gram Audiophile Vinyl
Listed as one of the four most influential Jazz albums that happened to be released in 1959 (Dave Brubeck - Time Out & Charles Mingus - Ah Um among them), so much has been said and written about Miles Davis' Kind Of Blue, it's virtually impossible to summarize all the necessary info to the length of this page. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why it's the best Jazz album ever made, but the music itself will do that to you.
As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised. The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come.1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches$39.99180 Gram Audiophile Vinyl LP Mono - Sealed Buy Now
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
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
Quintet/ SextetDr. Jackle
Changes$21.99Vinyl LP Reissue - Sealed Buy Now
Round About Midnight (Speakers Corner)
At long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.
You can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis's vibrato-less sound is taken over seamlessly by John Coltrane - wonderfully demonstrated in the middle of Bye, Bye Blackbird, while Paul Chambers' showpiece is Ack VÄrmeland du sköna (aka Dear Old Stockholm). In the years 1955/56, bebop was the talk of the day, born witness to by the classics Tadd's Delight by Tadd Dameron and Ah-Leu-Cha by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.
Although 'Round About Midnight as an album does not enjoy the reputation of Kind Of Blue, this Columbia recording contains many gems which are well worth hearing.
- Miles Davis
- John Coltrane (tenor saxophone)
- Red Garland (piano)
- Paul Chambers (bass)
- Philly Joe Jones (drums)
Recording: October 1955, June and September 1956 at Columbia's 30th Street Studio, New York
Production: George Avakian
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.
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 Buy Now
Kind Of Blue (Awaiting Repress)Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
High quality 180 gram Audiophile Vinyl
Replication of Original Artwork
Released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.
After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
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
Kind Of Blue + 2 Bonus TracksRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
So much has been said and written about Miles Davis Kind Of Blue, its virtually impossible to summarize all the necessary info to the length of this note. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why its the best jazz album ever made, but the music itself will do that to you. As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised.
The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come. We´re proud to announce a very special version of the most influential (jazz)album ever. We present the orginal album in remastered form plus an extra LP containing 2 tracks that werent available on vinyl before (an alternate take of Flamenco Sketches and a version of On Green Dolphin Street recorded prior to the Kind of Blue sessions, with the legendary line-up of Bill Evans, John Coltrane, Paul Chambers and Jimmy Cobb).
Also, we´ve graced this first-time ever 2LP edition of this musical masterpiece with a gatefold sleeve with additional liner notes.
180 grams audiophile vinyl
First-time ever 2LP edition incl. 2 bonustracks
Gatefold Sleeve incl. additional liner notesLP1
1. So What (9:03)
2. Freddie Freeloader (9:46)
3. Blue In Green (5:37)
1. All Blues (11:32)
2. Flamenco Sketches (9:24)
1. Flamenco Sketches (ALTERNATE TAKE) (9:24)
1. On Green Dolphin Street (9:48)$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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
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
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
Porgy And BessMono Pressing!
Limited Edition, Individually Numbered!
On their second conceptual album together, Miles Davis and arranger Gil Evans offered up a profound reinterpretation of George Gershwin's famed opera Porgy and Bess. A landmark release in orchestral jazz and arguably the best of their many collaborations, Evans' adaptation of Gershwin's score here is a veritable tour de force and although the outing features strong performances from Cannonball Adderley (alto sax), Paul Chambers (bass) and Jimmy Cobb (drums), Davis' poignant trumpet playing is the unequivocal star. Transcendent material like Summertime and I Love You Porgy display the true beauty of Miles Davis and Gil Evans' collective genius, their ability to reach the listener on not only a musical level but an emotional one as well.1. The Buzzard Song
2. Bess, You Is My Woman Now
4. Gone, Gone, Gone
6. Oh Bess, Oh Where's My Bess
7. Prayer (Oh Doctor Jesus)
8. Fisherman, Strawberry and Devil Crab
9. My Man's Gone Now
10. It Ain't Necessarily So
11. Here Come De Honey Man
12. I Loves You Porgy
13. There's A Boat That's Leaving Soon For New York$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
2-LP Set On 180-gram Vinyl Includes Remastered Original Studio Album, Plus Unreleased Live Performances
Extra 180-Gram Vinyl LP Of Live Performances By The Miles Davis Octet Of The Nice Jazz Festival Of 1986, Available For The First Time On Vinyl
Packaging Is A Replica Of The Original Vinyl Album, Including Stickers, LP Labels, Irving Penn's Beautiful And Iconic Photographs
30 Years ago, Miles Davis made waves in the music world when he left Columbia Records to sign recording and publishing contracts with Warner Bros. and Warner Chappell in 1985. With a new label to call home, Davis immediately started working on the album, which originally had the working title, Perfect Way, named after a song by new wave pop band Scritti Politti that he was covering on the album. The album was later renamed Tutu by producer Tommy LiPuma, taken from news headlines of the day referencing the well-known South African archbishop and anti-apartheid leader, Desmond Tutu.
Rhino celebrates one of jazz music's most revered and innovative talents with a 2-LP deluxe edition set on 180-gram vinyl of Miles Davis' TUTU, released to coincide with the 30th Anniversary of Davis signing with Warner. The deluxe edition includes a remastered LP of the original album and a bonus LP of live performances at the Nice Festival held in 1986, packaged with the original artwork featuring photographs by the legendary Irving Penn.
TUTU pushed Davis back into center stage, winning him two Grammy® awards, when even the most reverent seemed to admit that his best music lay in the past. Tutu stands as an important part of the Davis legacy, and a testament to a prolific artist whose boundless creativity continuously redefined a genre throughout his legendary career.
As Davis recalled, Tutu "started with some music that George Duke, the piano player sent to me." Davis' affection for the initial track - eventually titled "Backyard Ritual" and filled with synthesizer sounds and electronic beats - revealed the trumpeter's willingness to consider music written by others, and the use of cutting-edge electronics.
Producer Tommy LiPuma recruited composer and studio musician Marcus Miller to collaborate on the project, who at 27, had already made a name for himself in jazz, R&B and popular music, playing funk, rock, bebop and hip hop. Davis later praised him as being "so hip and into the music that he even walks in tempo . . . in the studio we make a great team."
"Technology was kind of exploding and I thought it would be interesting to hear Davis making his way through this new world," said Miller. Performing on the album were George Duke, Adam Holzman and Bernard Wright, percussionists Paulinho Da Costa and Steve Reid, drummer Omar Hakim and violinist Michael Urbaniak all contributed tracks; keyboardist Jason Miles played a significant role as well, programming the synthesizers and helping push the tracks to a level of sonic detail that could compete with contemporary recordings.
Tutu would feature a variety of tunes that offered a mix of flavors and mood. Besides the title track, four were composed by Miller - "Splatch," "Portia," "Don't Lose Your Mind" and "Full Nelson" (the last a tribute to another South African leader, Nelson Mandela). "Tomaas" - named by Davis for LiPuma - was co-written by Davis and Miller, based on ideas Davis had previously recorded. The selections were rounded out by one cover - "Perfect Way," which Davis had initially chosen to be the album's title track.
By that summer, Davis' group was touring Europe. With a four-night run approaching at the Grande Parade du Jazz festival in Nice, France, the decision was made to record the group at its prime. It was a wise choice. Warner Bros. hired a mobile recording truck and all four concerts were taped. "Everybody in the band knew we were being recorded so we were on our game," remembers his nephew, drummer Vince Wilburn. "Miles had an uncanny knack for knowing not only what to record but when and where. Every night was more beautiful than the one before: wonderful weather, captive audiences and the band was on fire."
"At the time, there wasn't anything that jumped out at me," LiPuma admits. "Believe me, if I thought there had been, I would've put an album out. But having spent some time with the music, it's brilliant - and I think it's an important recording." Like the best live recordings, these tracks are both historic and timeless - filled with a spirit and snap that can still be felt today, yet cannot be repeated.LP 1
5. Backyard Ritual
6. Perfect Way
7. Don't Lose Your Mind
8. Full Nelson
LP 2 - Live from Nice Festival, France, July 1986
2. Human Nature
3. Carnival Time
5. New Blues$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
In Person At The Blackhawk: Friday and SaturdayMiles Davis' two night stand at The Blackhawk in San Francisco marked a watershed in jazz history, a seminal event transforming the American musical landscape.
Davis had never been recorded live in a club with his combo and the performances over the course of two sets a night on April 21 and 22, 1961 more than justify the legend.
The New York Times, in its review of the Columbia Records release of the complete Blackhawk shows, called the music the gold standard for straight-ahead, postwar jazz rhythm.
Impex Records is proud to present a performance unequaled, a recording unparalleled and the must-have audiophile release of this or any other year.
This title is not eligible for discount1. Walkin'
2. Bye Bye Blackbird
3. All Of You
4. No Blues
5. Bye Bye (Theme)
6. Love, I've Found You
1. Well You Needn't
3. So What
5. If I Were A Bell
6. Neo$59.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Miles Davis & The Modern Jazz GiantsThe Complete, Historic, All-Star Recording Session Of Decemeber 24, 1954. Miles Davis and the Modern Jazz Giants is an album recorded by Miles Davis, for Prestige Records. Most of the album comes from a session on December 24th 1954, but 'Round Midnight is from the sessions by Davis's new quintet in 1956 which resulted in Steamin' with the Miles Davis Quintet and three other albums to fulfill Davis's contract with Prestige.
The 1954 session is notable as the only time Thelonious Monk made a studio recording with Davis - the two men did not get on well, as Davis felt Monk ought to be laying out (refraining from playing) during the trumpeter's solos. Ira Gitler, who was present at the session and wrote the sleeve notes for the album, dispels the myth that the two men confronted each other physically, but there was argument throughout the session. The first take of The Man I Love has a false start caused by Monk asking when he should start playing, and an exasperated Davis telling engineer Rudy Van Gelder, Hey Rudy, put this on the record, man - all of it!.1. Bags' Groove(Take 1)
2. Bags' Groove(Take 2)
3. Bemsha Swing
4. The Man I Love(Take 1)
5. The Man I Love(Take 2)
6. Swing Spring$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Miles Davis At Carnegie Hall180 gram vinyl of the 1961 album includes the bonus track 'I Thought About You', which was recorded at the same concert but not released on the original release.So What
Spring Is Here
Someday My Prince Will Come
The Meaning of the Blues/Lament
I Thought About You*
*Bonus Track$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Milestones (Stereo)Milestones is Miles Davis' only original sextet recording featuring John Coltrane, Paul Chambers, Cannonball Adderley, Philly Joe Jones and Red Garland. This 1958 masterpiece captured Davis' rst modal jazz experiments in pieces like "Straight, No Chaser" and the title track. Both the song and the album proved to be actual milestones in Jazz, as the modalism Davis introduced on this record continued to inuence Jazz on a global scale.1. Dr. Jekyll
2. Sid's Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$34.99180 Gram Audiophile Virgin Vinyl 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
Birth Of The CoolCulled from three separate nonet sessions that took place from early 1949 through March of 1950, The Birth Of Cool was the literal blue print for the sound known as cool jazz thus its title. Featuring the fluidity of bop, innovative big band arrangements and a relaxed overall elegance, the Gil Evans arranged sessions find Davis supported by pivotal performances from such jazz luminaries as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach among others. Despite such a large band, the proceedings sound remarkably intimate with concise and sophisticated songs built largely on tone and mood. A seminal recording in the history of jazz!1. Jeru
5. Venus De Milo
12. Darn That Dream$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Ascenseur Pour L'Echafaud (2LP)Ascenseur Pour L'Échafaud is a 1958 French film directed by Louis Malle. It was released as Lift to the Scaffold in the UK. The film was nothing special, but it did accomplish one thing: it proposed a new ideal of cinematic realism, a new way to look at a woman. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's Soundtrack. He showed Davis a screening of the movie, and afterwards Miles knew exactly how to portray the smoky hazed or frantic scenes through sonic imagery. On December 4 1957, he brought four French Jazzmen (Barney Wilen / tenor saxophone, RenÉ Urtreger / piano, Pierre Michelot bass and Kenny Clarke drums) to the recording studio Le Poste Parisien Studio without having them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. Eventually Ascenseur Pour L'Échafaud has become a great achievement of artistic excellence.
For the first time since its original release in 1958, Music On Vinyl combined the original soundtrack and the additional recordings and created an essential 2LP set with the original artwork.Side 1 (ORIGINAL 1958 A-SIDE)
2. L'Assassinat De Carala
3. Sur L'Autoroute
4. Julien Dans L'Ascenseur
5. Florence Sur Les Champs-Élysees
Side 2 (ORIGINAL 1958 B-SIDE)
1. Dîner Au Motel
2. Évasion De Julien
3. Visite Du Vigile
4. Au Bar Du Petit Bac
5. Chez Le Photographe Du Mot
1. Nuit Sur Les Champs-ÉlysÉes (TAKE 1)
2. Nuit Sur Les Champs-ÉlysÉes (TAKE 2)
3. Nuit Sur Les Champs-ÉlysÉes (TAKE 3)
4. Nuit Sur Les Champs Elysees (TAKE 4)
5. Assassinat Visite Du Vigil
6. Assassinat Julien Dans L'ascenseur
7. Assassinat L'Assassinat De Carala
1. Final (TAKE 1)
2. Final (TAKE 2)
3. Final (TAKE 3)
5. Le Petit Bal (TAKE 1)
6. Le Petit Bal (TAKE 2)
7. SÉquence Voiture (TAKE 1)
8. Sequence Voiture Sur L'Aut (TAKE 2)$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Birth Of The Cool (Awaiting Repress)Capitol Records 75th Anniversary Vinyl
Birth of the Cool is a compilation album by American jazz musician Miles Davis, originally released in 1957 on Capitol Records. It compiles twelve tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950.
Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title implies, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long.1. Jeru
5. Venus de Milo
11. Moon Dreams
12. Darn That Dream$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
StardustLimited Edition of 500 on Audiophile Clear Vinyl
During his final months with Miles Davis' group, John Coltrane participated in a number of recording sessions for Prestige and New Jazz independently of Davis (though frequently with one or more members of the Davis rhythm section) in both leader and side-man roles. This album continues the already extensive series of recordings from that period which is now in release. Limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).
About Audiophile Clear Vinyl
Audiophile Clear Vinyl is made using the highest quality co-polymer available and processed without any carbon additive in order to dramatically reduce the "electrical distortion" often found on records. By itself the co-polymer of vinyl is transparent. In order to make the record black in color the plant must use a carbon additive with trace metals that can become magnetized. This is what causes electrical distortion during playback. That is the reason why we choose to offer our records in the following manner:
- Audiophile Clear Vinyl (ACV)
- 140 gram limited to 500 copies
- 25 minutes maximum per side1. Stardust
2. Time After Time
3. Love Thy Neighbor
4. Then I'll Be Tired Of You$27.99Clear Vinyl LP - Sealed Buy Now
Chicago Jazz Festival 1990Classic late period festival show from Miles' final tour.
Miles Davis is backed by Kenny Garrett on alto saxophone and flute, Kei Agaki on synths, Richard Patterson on bass, Ricky Wellman on drums, Erin Davis (Mile's youngest son, incorrectly announced as John Bigham) on electronic percussion, and John "Foley" McCreary, Jr. on "lead bass" - a custom Blue Marble instrument tuned almost an octave higher than a standard model to fill the role of a lead guitarist.
The choice of material was equally as curious and exciting, consisting of one cut apiece from 1983's Star People and 1989's Amandla, a few numbers previously un-released on studio recordings, and a trio of covers - Scritti Politti's 'Perfect Way,' Cyndi Lauper's 'Time After Time' and Michael Jackson's 'Human Nature.'
Despite rumors of failing health during this period, Miles' playing is just as sharp and energetic as ever it was, and his band expertly blend together a complex mixture of jazz, funk and fusion.
Broadcast live on local radio for those unable to attend, this release captures the group's full set providing a snapshot of a jazz great giving one of the finest performances of his late career. Sadly, there were scant opportunities left for such as little more than a year after performing the show, now available here for the first time, Miles Davis passed away at the age of 65.LP 1
1. Perfect Way
2. Star People
1. The Senate / Me And You
2. Human Nature
3. Time After Time
5. Announcements$37.99Vinyl LP - 2 LPs 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