{"title":"MFSL Jazz","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eMobile Fidelity Sound Lab Jazz Pressings\u003c\/p\u003e","products":[{"product_id":"bill-evans-and-jim-hall-undercurrent-limited-edition-mfsl-1-031-mobile-fidelity-mofi-vinyl-lp","title":"Bill Evans and Jim Hall - Undercurrent, Limited Edition MFSL 1-031, Mobile Fidelity MoFi Vinyl LP","description":"\u003ch2\u003eBill Evans and Jim Hall - Undercurrent\u003c\/h2\u003e\n\u003cdiv class=\"product__description rte custom__description complete\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cp\u003eDIVERSE SET ENCOMPASSES BALLADS, WALTZES, HARD-SWINGING BOP\u003c\/p\u003e\n\u003cp\u003e1\/4\" \/ 15 IPS Dolby A analog copy to analog console to lathe\u003c\/p\u003e\n\u003cp\u003eBill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. \u003cem\u003eUndercurrent\u003c\/em\u003e, the outcome of two studio sessions with guitarist Jim Hall, is that project.\u003c\/p\u003e\n\u003cp class=\"musicTrackList\"\u003e \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMy Funny Valentine\u003c\/li\u003e\n\u003cli\u003eI Hear a Rhapsody\u003c\/li\u003e\n\u003cli\u003eDream Gypsy\u003c\/li\u003e\n\u003cli\u003eRomain\u003c\/li\u003e\n\u003cli\u003eSkating in Central Park\u003c\/li\u003e\n\u003cli\u003eDarn That Dream\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWhile Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.\u003c\/p\u003e\n\u003cp\u003eIn tackling standards such as Rodgers and Hart's \"My Funny Valentine\" and the Broadway classic \"Darn That Dream,\" as well as the Hall original \"Romain,\" the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows \u003cem\u003eUndercurrent\u003c\/em\u003e with a nuanced romanticism and whispered atmosphere befitting the record's title.\u003c\/p\u003e\n\u003cp\u003eIndeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":42691247505601,"sku":"","price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/Bill_Evans_Jim_Hall_Undercurrent_1500x_jpg_webp.jpg?v=1687746516"},{"product_id":"miles-davis-miles-in-the-sky-mfsl-2-437-mobile-fidelity-mofi-2xlp-vinyl-lp","title":"Miles Davis - Miles In The Sky, MFSL 2-437, Mobile Fidelity MoFi 2xLP Vinyl LP","description":"\u003ch2\u003eMiles Davis - Miles In The Sky, MFSL 2-437, Mobile Fidelity MoFi 2xLP Vinyl LP\u003c\/h2\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eMiles in the Sky\u003c\/em\u003e 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"musicTrackList\"\u003e\n\u003col\u003e\n\u003cli\u003eStuff\u003c\/li\u003e\n\u003cli\u003eParaphernalia\u003c\/li\u003e\n\u003cli\u003eBlack Comedy\u003c\/li\u003e\n\u003cli\u003eCountry Son\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003e\u003cspan\u003eThe 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGranted enhanced production and a greater field of audible information, \u003cem\u003eMiles in the Sky\u003c\/em\u003e can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed \u003cem\u003eNefertiti\u003c\/em\u003e and \u003cem\u003eFilles de Kilimanjaro\u003c\/em\u003e – the albums that precede and follow, respectively, this watershed title. Commonly branded a \"transitional\" work, \u003cem\u003eMiles in the Sky\u003c\/em\u003e 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSimilarly, so do \"Country Son\" 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 Son' recalls a fragment from his 'Summertime' solo on the \u003cem\u003ePorgy and Bess\u003c\/em\u003e album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straightahead solo here, the orderly pattern of the past is displaced and fragmented.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFlavored with humor, bossa nova, country, and even ballroom phrases, the compositions on \u003cem\u003eMiles in the Sky\u003c\/em\u003e explode with creativity, purpose, and color.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":42757187928257,"sku":"","price":165.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/Miles_Davis_InTheSky_1200x_64c116ab-ac44-4a64-a6e7-3e4b59af8cd6.jpg?v=1690520508"},{"product_id":"copy-of-miles-davis-nefertiti-45rpm-gain-2-ultra-analog-180g-2lp-numbered-edition-mfsl-2-436-audiophile","title":"Miles Davis - Nefertiti, 45RPM 180g 2LP Numbered Edition MFSL 2-436","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch2 class=\"MdRemovedH1\"\u003eMiles Davis - Nefertiti, 45RPM 180g 2LP Numbered Edition MFSL 2-436 \u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cp\u003eSTEEPED IN INQUISITIVE INTERPLAY AND SUBCONSCIOUS IMPRESSIONISM\u003c\/p\u003e\n\u003cp\u003e1\/4\" \/ 15 IPS analog master to DSD 256 to analog console to lathe\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNefertit\u003c\/em\u003e 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 edition bring listeners to closer to the creative passions than ever before.\u003c\/p\u003e\n\u003cp class=\"musicTrackList\"\u003e \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNefertiti\u003c\/li\u003e\n\u003cli\u003eFall\u003c\/li\u003e\n\u003cli\u003eHand Jive\u003c\/li\u003e\n\u003cli\u003eMadness\u003c\/li\u003e\n\u003cli\u003eRiot\u003c\/li\u003e\n\u003cli\u003ePinocchio\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"product__description rte custom__description complete\"\u003e \u003c\/p\u003e\n\u003cp\u003eAs he does on \u003cem\u003eSorcerer\u003c\/em\u003e, 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. \u003cem\u003eNefertiti\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003eThroughout, 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.\u003c\/p\u003e\n\u003cp\u003eIndeed, 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 \u003cem\u003eNefertiti\u003c\/em\u003e 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, \u003cem\u003eMiles in the Sky\u003c\/em\u003e. For the rest of us, the album is music and music-making at its intriguing best.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"LimitContentHeightCntntFrm\"\u003e\n\u003cp class=\"pl-info jq_highlight\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"ml-ellipsis ml-ellipsis4 mt_med\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":47414984802497,"sku":null,"price":165.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/miles-davis-nefertiti_jpg.webp?v=1701226224"},{"product_id":"miles-davis-filles-de-kilimanjaro-45rpm-gain-2-ultra-analog-180g-2lp-numbered-edition-mfsl-2-438-audiophile","title":"Miles Davis - Filles de Kilimanjaro, 45RPM Ultra Analog 180g 2LP Numbered Edition MFSL 2-438 Audiophile","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch2 class=\"MdRemovedH1\"\u003eMiles Davis - Filles de Kilimanjaro, 45RPM Ultra Analog 180g 2LP Numbered Edition MFSL 2-438 Audiophile\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cp\u003eDAVIS' PRELUDE INTO FULL-ON FUSION: EXOTIC SUITE-LIKE ALBUM BEAUTIFUL, INTENSE, ADVENTUROUS\u003c\/p\u003e\n\u003cp\u003e1\/4\" \/ 15 IPS analog master to DSD 256 to analog console to lathe\u003c\/p\u003e\n\u003cp\u003eMiles 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 \u003cem\u003eFilles de Kilimanjaro\u003c\/em\u003e, 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.\u003c\/p\u003e\n\u003cp class=\"musicTrackList\"\u003e \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFrelon Brun\u003c\/li\u003e\n\u003cli\u003eTout de Suite\u003c\/li\u003e\n\u003cli\u003ePetits Machins\u003c\/li\u003e\n\u003cli\u003eFilles de Kilimanjaro\u003c\/li\u003e\n\u003cli\u003eMademoiselle Mary\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"product__description rte custom__description complete\"\u003e \u003c\/p\u003e\n\u003cp\u003eIndeed, the exotic sound, touch, and feel of the songs on \u003cem\u003eFilles de Kilimanjaro\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003eThe final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R\u0026amp;B-tinted \"Frelon Brun.\" Sparked with restrained funk, driving grooves, and bluesy accents, \u003cem\u003eFilles de Kilimanjaro\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFilles de Kilimanjaro\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003eMore 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.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"LimitContentHeightCntntFrm\"\u003e\n\u003cp class=\"pl-info jq_highlight\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"ml-ellipsis ml-ellipsis4 mt_med\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":47414999646401,"sku":null,"price":165.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/miles-davis-filles-de-kilimanjaro_jpg.webp?v=1701226508"},{"product_id":"miles-davis-seven-steps-to-heaven-mofi-supervinyl-180g-numbered-mfsl-1-337","title":"Miles Davis - Seven Steps to Heaven, MoFi SuperVinyl 180g Numbered MFSL 1-337","description":"\u003ch2\u003eMiles Davis - Seven Steps to Heaven\u003c\/h2\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cp\u003eSOURCED FROM THE ORIGINAL ANALOG MASTER TAPES AND PRESSED AT RTI: SUPERVINYL LP PLAYS WITH SUPERB CLARITY, DETAIL, TONE, AND DEFINITION\u003c\/p\u003e\n\u003cp\u003e1\/4\" \/ 15 IPS \/ Dolby SR analog remix master to DSD 256 to analog console to lathe\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year – a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the expressive, well-played albums in the jazz canon.\u003c\/p\u003e\n\u003cp class=\"musicTrackList\"\u003e \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBasin Street Blues\u003c\/li\u003e\n\u003cli\u003eSeven Steps to Heaven\u003c\/li\u003e\n\u003cli\u003eI Fall in Love Too Easily\u003c\/li\u003e\n\u003cli\u003eSo Near, So Far\u003c\/li\u003e\n\u003cli\u003eBaby Won't You Please Come Home\u003c\/li\u003e\n\u003cli\u003eJoshua\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e is what great-sounding hi-fi is all about.\u003c\/p\u003e\n\u003cp\u003eAnd there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. \"The toughest critic I got, and the only one I worry about, is myself,\" Davis wrote in the liner notes. \"The music has to get past me.\"\u003c\/p\u003e\n\u003cp\u003eDavis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter.\u003c\/p\u003e\n\u003cp\u003eThat lineup gels for half of the six songs on \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e. Captured in Los Angeles April '63, the quintet stretches out on a luxurious reading of the late '20s New Orleans staple \"Basin Street Blues\"; lays on the romance for a candlelit stroll through the '40s standard \"I Fall in Love Too Easily\"; and explores the rounded contours and melodic crevices of the early blues \"Baby Won't You Please Come Home.\" The performances are refined, elegant, emotional; the band lets the feelings linger and gives the listener time to absorb the colors and textures.\u003c\/p\u003e\n\u003cp\u003eA month later, Davis returned to New York City with Coleman and Carter, and partnered them with Hancock and Williams. Tellingly, the quintet tried its collective hand at the title track and \"Joshua\" – Feldman-penned songs already recorded in Los Angeles – as well as the yearning \"So Near, So Far.\" Those are the tunes that comprise the other piece of \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e, with the revised quintet's liquid pulse, articulate dynamics, and timing shifts a harbinger of things to come.\u003c\/p\u003e\n\u003cp\u003eIt's also worth mentioning that the interpretations of the bounding \"Seven Steps to Heaven\" – a showcase for Davis' trumpet – and interlocking \"Joshua\" netted considerable radio airplay and attracted the attention of other contemporaries who covered the songs. Keeping Carter and Williams as the rhythmic engine, and Hancock as the anchor between solo flights and structural motifs, Davis would soon soon welcome Wayne Shorter into the family and transform jazz. Again. The aptly – and, in hindsight, perhaps prophetically titled \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e – is how he got there.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":47415013966017,"sku":null,"price":120.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/Miles_Davis_SevenStepstoHeaven_SV_1200x_jpg.webp?v=1701226748"},{"product_id":"miles-davis-milestones-mono-mofi-180g-numbered-mfsv1-528","title":"Miles Davis - Milestones, Mono MoFi 180g Numbered MFSV1-528","description":"\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eMiles Davis - Milestones, Mono MoFi 180g Numbered MFSV1-528\u003c\/h2\u003e\n\u003cp\u003eSOURCED FROM THE ORIGINAL MASTER TAPES: SUPERVINYL LP PRESENTS THE 1958 STANDARD IN DEFINITIVE STEREO SOUND\u003c\/p\u003e\n\u003cp\u003e1\/4\" \/ 15 IPS Dolby SR analog master to DSD 256 to analog console to lathe\u003c\/p\u003e\n\u003cp\u003eMiles Davis created just one studio album with his original sextet: \u003cem\u003eMilestones\u003c\/em\u003e. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis 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. Sandwiched between the more famous \u003cem\u003e'Round About Midnight\u003c\/em\u003e and the epochal \u003cem\u003eKind of Blue\u003c\/em\u003e, \u003cem\u003eMilestones\u003c\/em\u003e remains a seminal work of art.\u003c\/p\u003e\n\u003cp class=\"musicTrackList\"\u003e \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDr. Jekyll\u003c\/li\u003e\n\u003cli\u003eSid's Ahead\u003c\/li\u003e\n\u003cli\u003eTwo Bass Hit\u003c\/li\u003e\n\u003cli\u003eMilestones\u003c\/li\u003e\n\u003cli\u003eBilly Boy\u003c\/li\u003e\n\u003cli\u003eStraight, No Chaser\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.\u003c\/p\u003e\n\u003cp\u003eColors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.\u003c\/p\u003e\n\u003cp\u003eInducted into the Grammy Hall of Fame and selected as a \"Core Collection\" record by the \u003cem\u003ePenguin Guide to Jazz\u003c\/em\u003e, \u003cem\u003eMilestones\u003c\/em\u003e is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark \"Philly Lick\" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.\u003c\/p\u003e\n\u003cp\u003eTake the bravado \"Dr. Jackle,\" featuring a hot-foot pace and bebop strains, or \"Sid's Ahead,\" which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On \"Billy Boy,\" distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practiced by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's \"Two Bass Hit.\" Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.\u003c\/p\u003e\n\u003cp\u003eThen there's \"Straight, No Chaser,\" the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's 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 casting an eye towards the future.\u003c\/p\u003e\n\u003cp\u003eAbout that future. Garland already had one foot out the door during the \u003cem\u003eMilestones\u003c\/em\u003e sessions to the extent Davis spells him on \"Sid's Ahead.\" Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":47415054368961,"sku":null,"price":98.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/MilesDavis_Milestones.jpg?v=1708641222"},{"product_id":"cannonball-adderley-somethin-else-mfsl-ultradisc-one-step-lmfud1s-022-45rpm-2xlp-box-set","title":"Cannonball Adderley - Somethin' Else. MFSL UltraDisc One-Step ‎– LMFUD1S-022 45RPM 2xLP Box Set","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"MdRemovedH1\"\u003e \u003c\/p\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"custom-field--value\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eMASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 6,000 NUMBERED COPIES\u003c\/h2\u003e\n\u003ch3\u003e1\/4\" \/ 15 IPS analog master to DSD 256 to analog console to lathe\u003c\/h3\u003e\n\u003cp\u003eJulian Cannonball Adderley's only Blue Note album, \u003cem\u003eSomethin' Else\u003c\/em\u003e, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer\/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating \u003cem\u003eSomethin' Else\u003c\/em\u003e strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.\u003c\/p\u003e\n\u003cdiv class=\"musicTrackList\"\u003e\n\u003col\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003cli\u003eLove for Sale\u003c\/li\u003e\n\u003cli\u003eSomethin' Else\u003c\/li\u003e\n\u003cli\u003eOne for Daddy-O\u003c\/li\u003e\n\u003cli\u003eDancing in the Dark\u003c\/li\u003e\n\u003cli\u003eAllison's Uncle\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003eLimited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and includes the bonus track \"Allison's Uncle.\" Offering reference-caliber sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior.\u003c\/p\u003e\n\u003cp\u003eThe premium packaging and beautiful presentation of the UD1S \u003cem\u003eSomethin' Else\u003c\/em\u003e pressing befit its extremely select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.\u003c\/p\u003e\n\u003cp\u003eThe vibrant potency reveals itself openly on an analog set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there – there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.\u003c\/p\u003e\n\u003cp\u003eFor reasons that extend far beyond the outstanding playing and flawless repertoire, \u003cem\u003eSomethin' Else\u003c\/em\u003e is without question a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, \"The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer.\" Such inimitable feeling, or emotion, courses throughout every passage, and no where more obviously than on \"Autumn Leaves\" and \"Love for Sale.\"\u003c\/p\u003e\n\u003cp\u003eWithout question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on \u003cem\u003eSomethin' Else\u003c\/em\u003e have long been considered part of jazz's alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on \"Autumn Leaves,\" with the latter's muted trumpet and the headliner's lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of \"Love for Sale\" – join in on the conversation with sharp economy and float-on-air roundedness.\u003c\/p\u003e\n\u003cp\u003eNot to undersell the other three numbers, all deserving five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley's brother, Nat, the 12-bar \"One for Daddy-O\" transmits funk flavors. The closing \"Dancing in the Dark\" pops with lushness and temptation, its stream of bold colors and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin' else, indeed.\u003c\/p\u003e\n\u003ch3\u003eMore About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\u003c\/h3\u003e\n\u003cp\u003eMobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called \"converts\") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.\u003c\/p\u003e\n\u003ch3\u003eMoFi SuperVinyl\u003c\/h3\u003e\n\u003cp\u003eDeveloped by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch4\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/h4\u003e\n\u003cdiv class=\"LimitContentHeightCntntFrm\"\u003e\n\u003cdiv class=\"pl-info jq_highlight\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"ml-ellipsis ml-ellipsis4 mt_med\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"LPs New","offers":[{"title":"Default Title","offer_id":47573354905793,"sku":null,"price":315.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/LMFUD1S-022.jpg?v=1705020835"},{"product_id":"miles-davis-e-s-p-mfsl-2-451-mobile-fidelity-mofi-2xlp-45rpm-vinyl-lp","title":"Miles Davis – E.S.P., MFSL 2-451 Mobile Fidelity MoFi 2xLP 45RPM Vinyl LP","description":"\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003ch2\u003eMiles Davis – E.S.P., MFSL 2-451 Mobile Fidelity MoFi 2xLP 45RPM Vinyl LP\u003c\/h2\u003e\n\u003cp\u003eSPLITS DIVIDE BETWEEN ACCESSIBLE HARD-BOP AND CUTTING-EDGE IMPROVISATION: A PARAGON OF COHESION, CHEMISTRY, INTERPLAY\u003c\/p\u003e\n\u003cp\u003e1\/4\" \/ 15 IPS analog copy to DSD 256 to analog console to lathe\u003c\/p\u003e\n\u003cp\u003eA landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' \u003cem\u003eE.S.P.\u003c\/em\u003e 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, \u003cem\u003eE.S.P.\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp class=\"musicTrackList\"\u003e \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eE.S.P.\u003c\/li\u003e\n\u003cli\u003eEighty-One\u003c\/li\u003e\n\u003cli\u003eLittle One\u003c\/li\u003e\n\u003cli\u003eR.J.\u003c\/li\u003e\n\u003cli\u003eAgitation\u003c\/li\u003e\n\u003cli\u003eIris\u003c\/li\u003e\n\u003cli\u003eMood\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003ePressed at RTI, this 180g 45RPM 2LP set of \u003cem\u003eE.S.P.\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003eFor many, \u003cem\u003eE.S.P.\u003c\/em\u003e 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 \u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e, 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, \u003cem\u003eE.S.P.\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003eAs 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.\u003c\/p\u003e\n\u003cp\u003eInterlocking 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 \u003cem\u003eE.S.P.\u003c\/em\u003e It's the avant-garde record even jazz traditionalists love, and essential on every level.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":48386821947585,"sku":null,"price":118.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/Miles_Davis_ESP_1500x_jpg.webp?v=1718758240"},{"product_id":"miles-davis-bitches-brew-mfsl-2-439-mobile-fidelity-mofi-2xlp-45rpm-vinyl-lp","title":"Miles Davis – Bitches Brew, MFSL 2-439 Mobile Fidelity MoFi 2xLP Vinyl","description":"\u003ch2\u003eMiles Davis – Bitches Brew, MFSL 2-439 Mobile Fidelity MoFi 2xLP Vinyl\u003c\/h2\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003col\u003e\n\u003cli\u003ePharaoh's Dance\u003c\/li\u003e\n\u003cli\u003eBitches Brew\u003c\/li\u003e\n\u003cli\u003eSpanish Key\u003c\/li\u003e\n\u003cli\u003eJohn McLaughlin\u003c\/li\u003e\n\u003cli\u003eMiles Runs the Voodoo Down\u003c\/li\u003e\n\u003cli\u003eSanctuary\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cbr\u003e\n\u003cp\u003eSourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBitches Brew\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ejoins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\u003c\/p\u003e\n\u003cp\u003eDavis conceived\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBitches Brew\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby 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. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAxis: Bold As Love\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAbraxas\u003c\/em\u003e. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\u003c\/p\u003e\n\u003cp\u003eAnd \"verve\" defines\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBitches Brew\u003c\/em\u003e. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to \"put together the greatest rock and roll band you ever heard.\" Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R\u0026amp;B elements.\u003c\/p\u003e\n\u003cp\u003eConceptually, Davis described\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBitches Brew\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eas \"a novel without words\" and \"an incredible journey of pain, joy, sorrow, hate, passion, and love.\" The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles with which Davis conceived the everlasting beauty and fascination that remain\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBitches Brew\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eFactory Sealed (New)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":48774434128065,"sku":null,"price":165.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/bitches_brew_mfsl.jpg?v=1731298334"},{"product_id":"miles-davis-my-funny-valentine-mofi-180g-numbered-mfsl-1-431","title":"Miles Davis - My Funny Valentine, MoFi 180g Numbered MFSL 1-431","description":"\u003ch2\u003eMiles Davis - My Funny Valentine, MoFi 180g Numbered MFSL 1-431\u003c\/h2\u003e\n\u003cdiv class=\"custom-field custom-field__track-listing custom-field__type--html teaser rte\"\u003e\n\u003cdiv class=\"custom-field--value\"\u003e\n\u003cp\u003eDeep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy\u003c\/p\u003e\n\u003cp\u003e1\/4\" \/ 15 IPS analog copy to DSD 64 to analog console to lathe\u003c\/p\u003e\n\u003cp\u003eMiles Davis'\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMy Funny Valentine\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emarks 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\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeven Steps to Heaven\u003c\/em\u003e. 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.\u003c\/p\u003e\n\u003cp class=\"musicTrackList\"\u003e \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMy Funny Valentine\u003c\/li\u003e\n\u003cli\u003eAll of You\u003c\/li\u003e\n\u003cli\u003eStella By Starlight\u003c\/li\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003cli\u003eI Thought About You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte custom__description complete\"\u003e\n\u003cp\u003ePresented 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.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eStaged 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\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMy Funny Valentine\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(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.\u003c\/p\u003e\n\u003cp\u003ePianist 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\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMy Funny Valentine\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand its sister\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFour \u0026amp; More\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003earrives 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.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Mobile Fidelity Sound Lab","offers":[{"title":"Default Title","offer_id":48777054290113,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1407\/4970\/files\/MILES_FUNNY_73834276-fcb4-4f80-a690-7a65c0d8cdcd.webp?v=1731457806"}],"url":"https:\/\/hathillrecords.com.au\/collections\/mfsl-jazz.oembed","provider":"Hat Hill Records","version":"1.0","type":"link"}