Miles Davis HHV Records 187 Items

180 gram pressing!

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

Attn.: We did not receive this record in time for RSD, but we will get it this week.

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.

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
.

Scorned by critics at the time of its release, Miles Davis' 1972 album 'On The Corner' is now seen as a forerunner of Post Punk, Hip Hop, Drum and Bass and Electronic music, thanks to its revolutionary recording techniques. Miles wanted to reconnect with a younger audience, who had forsaken him for Rock and funk, and the experimental On The Corner was his answer. Leaning more heavily on a drum and bass groundwork, the overdubs consisted of free improvisations held in the studio. On The Corner' isn't one of Miles easiest records to listen to, but it can yield the most fruits. Now released with completely re-mastered audio.

The release comes on 180g Vinyl.

180 gram 45rpm audiophile vinyl, limited & numbered!

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 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.

Pressed ON Crystal Clear Vinyl Housed IN A Gatefold Jacket With Japanese Stylized Insert AND Deluxe OBI Strip Remastered From The Original Analog Tapes A partner album to the previous Miles release Decoy this album is also produced by Miles and loaded with the synths of Robert Irving. You’re Under Arrest has some surprising new looks at pop tunes by Micheal Jackson and Cyndi Lauper and also features the return of John McLaughlin on guitar, and a guest performance from Sting. This is the nal installment of the proli c and brilliant collaboration between Miles and Columbia Records. Also featured on this album are Al Foster, Kenny Garret, and Daryl Jones.

The classical line-up with a twist…Recorded live at Jazz Villa in St. Louis on May 29th 1963. George Coleman sitting on tenor sax, right before he left band (with incoming talent Wayne Shorter on the spot)

Miles Davis, trumpet - George Coleman, tenor sax - Herbie Hancock, piano - Ron Carter, bass - Tony Williams, drums

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

Miles Davis, the so called "dark magus", caught in full electric flight in Sao Paulo - Brazil in 1974 featuring Dave Liebman on soprano and tenor sax and flute, the electric guitars tandem of Reggie Lucas and Dominique Gaumont, the bass anchor of Michael Henderson and the deep groove of Al Foster on drums and James "Mtume" Forman on percussion. This was Miles's mid Seventies band, a great coalition of young talents ready to set stages on fire with their visionary funk explorations.

Miles Davis and Gil Evans’ Porgy and Bess Is a Landmark of Arrangement, Performance, and Emotion: 1959 Adaptation of George Gershwin Opera Advances
Jazz Idioms and Modal Playing

· Mastered from the Original Master Tapes, Mobile Fidelity Reissues Play with Reference-Level Tonality, Depth, and Openness: Strictly Limited to 4,000
Numbered Copies on 180g 45RPM 2LP and 3,000 Numbered Copies on Hybrid SACD

· Davis’ First Great Quintet Delivers Soul, Sweetness, Spirituality, and Intensity: Unsurpassed Jazz Dance Includes the Eternal “Summertime” and Harmonic
“Prayer”

If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans’ Porgy and Bess, society hasn’t seen it. It’s impossible to overstate
the importance of the pair’s collaboration on the landmark 1959 update of George Gershwin’s opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing
modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form’s still-classic era. Davis and Evans’ adaptation of Porgy and Bess remains of
a piece, an American touchstone that immediately separated itself from the multiple other versions released during the same period. And that’s saying nothing of the soulful playing—legendary
performances by Davis’ first great quintet that can now be heard in pristine detail courtesy of these definitive editions.

Mastered from the original tapes and strictly limited to 4,000 numbered copies on 180g 45RPM 2LP and 3,000 numbered copies on hybrid SACD, Porgy and Bess attains previously unheard
degrees of clarity, openness, immediacy, and depth on Mobile Fidelity’s meticulous reissues. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional
images. Davis’ iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans conducted orchestra emerges with room-filling bloom, colour, and
dynamics. At once sweet and spiritual, sure and steady, graceful and exuberant, happy and sad, Porgy and Bess is a phenomenal jazz dance that has never been equalled. You can’t afford not to hear
it in the finest-possible fidelity.

Limited Edition.