Miles Davis HHV Records 268 Items

Miles Davis — Birth of the Blue Smash follow-up to what many consider the greatest jazz record ever! Four more songs from the pioneering ensemble that produced Miles Davis' Kind of Blue! Modal jazz precursor laid groundwork for future jazz innovation! 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from a new 30 ips quarter-inch stereo master tape transferred from the original 3-track session tapes Plated and pressed at Quality Record Pressings for flawless production and superior fidelity! Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever! Through the years, these four remarkable performances — all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year — have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor! The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley. Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously. Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard. For this release, we started with the original 3-track recording session tapes that were mixed down to a brand-new 30 ips quarter-inch stereo master tape by senior mastering engineer Vic Anesini at Battery Studios. From that stereo master tape, Matthew Lutthans at The Mastering Lab cut the lacquers at 33 1/3 RPM utilizing the legendary Doug Sax's custom all-tube system and cutting lathe. The lacquers were plated and pressed on 180-gram vinyl at Quality Record Pressings. Lastly, the Stoughton Printing tip-on gatefold jacket with a deluxe scuff-resistant matte finish is the highest quality available. The artwork has an incredible spot-on look to a 1959 Columbia records release! Features: • Pioneering Ensemble: Captured the same rare and short-lived alignment of jazz legends including Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb, as heard on the historic Kind of Blue. • Innovative Sound: The session represented a crucial transition in jazz, blending elements of hard bop with early modal jazz influences, showcasing the ensemble's experimentation and forward-thinking approach. • Undervalued Legacy: Despite its historical and musical significance, the session's recordings have been historically overlooked, often relegated to being add-ons in compilations rather than recognized as standalone masterpieces. • Modal Jazz Precursor: Offered early glimpses into the modal jazz that would later be fully realized in Davis's groundbreaking album "Kind of Blue," laying the groundwork for future jazz innovation. • Impact on Artists: Served as a critical point of development and confidence for the musicians involved, particularly Bill Evans, who noted the significant impact of this experience on his own identity and style. • Historical Context: Occurred at a peak moment in Miles Davis's career, following his signing with Columbia Records and his critical and commercial successes with albums such as ‘Round About Midnight and Miles Ahead. • Revealed backstory: Extensive liner notes by the Grammy Award-winning author Ashley Kahn, who also penned the estential book, Kind Of Blue — The Making Of The Miles Davis Masterpiece

Strictly Limited TO 5,000 Numbered Copies Mobile Fidelity UltraDisc One-Step Process Instead of utilizing the industry-standard three-step lacquer process, UltraDisc One-Step (ud1s) uses only one step and bypasses two processes of generational loss. In addition to revealing extra musical detail and dynamics otherwise lost due to the standard copying process, the Ud1s technique produces a final LP with the lowest noise floor possible today.

• Miles Davis Double Album Remains the Template for Jazz Fusion: Bitches Brew Still Sounds Ahead of Its Time and Features ‘The Greatest Rock and Roll Band You Ever Heard’ • Strictly Limited to 5,000 Numbered Copies and Pressed at Fidelity Record Pressing: 55th Anniversary Edition Mobile Fidelity UltraDisc One- Step 180g 33rpm 2LP Set Demands You Heed Davis’ Call to ‘Listen to This’

“Listen to This.” As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered history, and still sounds ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant music outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark explores distant universes and uncharted territories. At once hypnotizing and grooving, it blends quixotic rock, funk, and R&B elements into what Davis called “a novel without words.” Sourced from the original analog master tapes, pressed at Fidelity Record Pressing, and released in celebration of the record’s 55th anniversary, Mobile Fidelity’s numbered-edition UltraDisc One-Step 180g 33rpm 2LP set enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, ample separation between instruments, and a broad dynamic range. Benefitting from the ultra-low noise floor of this edition, Davis’ distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Here’s your round-trip ticket to travel to a thrilling galaxy far from planet earth.

Track List • Miles Davis Double Album Remains the Template for Jazz Fusion: Bitches Brew Still Sounds Ahead of Its Time and Features ‘The Greatest Rock and Roll Band You Ever Heard’ • Strictly Limited to 5,000 Numbered Copies and Pressed at Fidelity Record Pressing: 55th Anniversary Edition Mobile Fidelity UltraDisc One- Step 180g 33rpm 2LP Set Demands You Heed Davis’ Call to ‘Listen to This’

Tracklist

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

The Miles Davis Blowin' Tee is equipped with the following features:
• rib crew neck with interior tape
• Blowin' artwork printed on front
• regular fit
• 100% cotton single jersey

Pressed on 2x 200g

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Definitive limited run reissue Ultra High Quality Record!
45 RPM double LP release limited to 25,000 copies
Best-selling album in jazz history; mastered by Bernie Grundman from the original 3-track master tapes
Pressed at Quality Record Pressings using Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to centre. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition we've set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1/3 RPM is holographic at 45. Four glorious sides of 200-gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

180 gram pressing!

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' "Kind Of Blue". The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody. Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting "Kind Of Blue" where it belongs: the Ultra High Quality Record (uhqr) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record. The 200-gram records will feature the same flat profile that helped to make the original Uhqr so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every Uhqr will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each Uhqr will be packaged in a deluxe box and will include a booklet detailing the entire process of making a Uhqr along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. A minor audio complication with "Kind Of Blue" has been addressed with this Uhqr edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue In Green", making them a barely perceptible quarter-tone sharp.This issue was finally addressed with the Classic Records reissue in 1995. This Uhqr was pressed from the same parts that Bernie Grundman cut directly from the original 3-track masters for Classic in '95. Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of "Kind Of Blue", free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our Uhqr series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of "Kind Of Blue" meets the highest audiophile standards and offers the truest sound for the most enjoyment.

In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud". Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.
On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. This recording was made at night in a most informal atmosphere.
The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.
"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

2LP, 180 Gram Audiophile Vinyl, Numbered Limited-Edition

2LP, 180 Gram Audiophile Vinyl, Numbered Limited-Edition

180g audiophile pressing.

180 gram audiophile vinyl
Sleeve finished with linen laminate
Recorded live at the Philharmonic Hall at Lincoln Center, New York, February 12, 1964
Featuring Herbie Hancock, George Coleman, Ron Carter and Tony Williams
Album produced by Teo Macero
Black vinyl

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.

Miles Davis Turns Balladic on My Funny Valentine: Live Album Is Distinguished with Deep Emotions, Spontaneous Brilliance, Poetic Elegance, and Sensitive Beauty Mastered at MoFi's California Studio and Pressed on MoFi SuperVinyl for Reference Sound: Mobile Fidelity's 180g 33RPM SuperVinyl LP 60th Anniversary-Edition Reissue ofthe 1965 Set Plays with Lifelike Clarity, Balanced Tones, and Acoustic Intimacy My Funny Valentine: Miles Davis in Concert marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, the richly textured set - the bookend to the fast-paced Four & More - captures the warm ballads and delicate pieces performed at a February 12, 1964 benefit concert at New York's then-new Philharmonic Hall that occurred just months after President Kennedy's assassination. Seemingly channeling divine inspiration, Davis never sounded more elegant or poetic, particularly given the uniqueness of this 60th Anniversary Edition pressing. Mastered at MoFi's California studio, housed in a Stoughton jacket, pressed at Fideltiy Record Pressing on MoFi SuperVinyl, and strictly limited to 3, 000 numbered copies, Mobile Fidelity's 180g 33RPM SuperVinyl LP plays with stunning depth, presence, dynamics, clarity, and ambience. Benefitting from SuperVinyl's low-as-possible noise floor and superb groove definition, this audiophile LP boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns are rendered with palpable detail. Held as a benefit to support voter registration in the South - and a fundraiser for NAACP, the Congress of Racial Equality, and SNCC - the concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. The unforeseen circumstances surrounding Kennedy's death further raised the stakes. Having professed admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (in particular, the title track) as an homage to the fallen leader. Nearing their one-year anniversary together, he and his band turned half the event into a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate these performances; Davis and his Harmon mute paint with intricate brushstrokes. Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal. They would continue with Davis until later in the decade, helping form his Second Great Quintet. But the secret weapon on My Funny Valentine arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem 'one of the unsung heroes of modern jazz.' His lines are subtle and sophisticated, straight-ahead but capable of unanticipated direction. Here, Coleman comes into his own. The combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the group on My Funny Valentine exceeds that of any of Davis' live 1960s efforts. One listen confirms something special transpiring. And on this breathtaking reissue, those properties are rendered in a manner that's as transparent to the source. Here's your chance to experience them again and again. 1/4' / 15 IPS analog copy to DSD 64 to analog console to lathe Numbered 180g 33RPM SuperVinyl LP LIMITED EDITION OF 3, 000 Tracklist: Side One: 1. My Funny Valentine 2. All of You Side Two: 1. Stella by Starlight 2. All Blues 3. I Thought About You

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

At the start of the Fifties Miles Davis’ career had hit a barrier which, for a period of time, seemed insurmountable, but by mid-decade, with his substance-abuse troubles behind him, he had established himself as one of the major artists on the modern jazz scene. ‘Kind Of Blue’ can often be found at the very top of jazz record polls and, despite competing claims, is probably the best-selling jazz record of all time. The listener should be in no doubt that they now own some of the most essential music of the twentieth century!

Pressed ON Opaque Yellow Vinyl With Japanese Stylized Insert AND Deluxe OBI Strip Remastered From The Original Analog Tapes The first live Miles Davis electric band release since 1977’s very dark and heavy Dark Magus. The album features live performances from shows at Boston’s Kix Club. The double vinyl release contains reimagined versions of songs from The Man With the Horn (1981), tunes from the pre-electric Gil Evans collaboration Porgy and Bess (1959), and a dedication to the Boston venue called Kix. While this was one of the first live Miles Davis performances in over half a decade it certainly did not show!!! This album features R&B legend Marcus Miller on bass, Mike Stern on guitar, Bill Evans on saxophone, Mino Cinelu on percussion, and electric band alumni Al Foster on drums. Produced and edited by long time Miles collaborator Teo Macero.

... that groundbreaking album that changed jazz music ... sampled by Aceyalone, Black Moon, Chi-Ali, Fabe, Heavy D, Lootpack and others!

Rediscover one the best jazz artist with 7 unforgottable songs

US original.
Sleeve has heavy wear.
LPs have scratches.

Vinyl LP pressing. A Tribute to Jack Johnson is a studio album and soundtrack by jazz trumpeter, composer, and bandleader Miles Davis. It was released on February 24, 1971. The album was conceived by Davis for Bill Cayton's documentary of the same name, on the life of boxer Jack Johnson. It's two 25-minute-plus tracks were produced from recordings made on February 18 and April 7, 1970, at 30th Street Studio in New York City. Davis was inspired by the political and racial subtext of Johnson's saga as well as the hard rock and funk sounds of his own era, leading a rock-inspired line-up of musicians in the studio: guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, clarinetist Bennie Maupin, and drummers Jack DeJohnette and Billy Cobham.

The release comes on 180g Vinyl.

Live-Evil (1970) by Miles Davis is a double live album which features different settings of Miles Davis' bands. One of such recordings is of a 1970 gig at the Cellar Door, which featured a band comprised of Miles, bassist Michael Henderson, drummer Jack DeJohnette, guitarist John McLaughlin, saxophonist Gary Barts, and Keith Jarrett. The group is groovy, fast, and funky.

The best-selling album in jazz history receives the prestigious Mobile Fidelity treatment: mastered from the original master tapes.
Deluxe 180g 45RPM 2LP box set is definitive version: your choice seat to hear the dream team of Miles Davis, John Coltrane, Bill Evans, and more make history
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