Wilder certainly doesn't offer those criticisms in the interview. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Considered one of the highlights of Miles Davis career, the sound presentation of this masterpiece is different from other more traditional jazz albums, with a larger and deeper than usual sound stage as well as more pronounced ambient sound from the large studio as the result of the orchestral arrangement that we usually associate with Classical Music recordings. While no one has ever completely identified the magic behind the record's allure--the otherworldly nature is part of its inherent charm--much of the success lies with the band members. Notes I took when listening to Speakers Corner version of Round About Midnight: - Overall tonality is less natural, sounds over produced, it feels more like the mastering work was heavy-handed. Hope you stick around Joel! Like the other iconic Davis titles in Mobile Fidelity's reissue series, this analog version also puts a premium on tonality and preservation of individual notes, which arc and decay with uncanny realism. How does one properly introduce an epochal record? Drummer Jimmy Cobb and pianist Wynton Kelly had been hired in 1958, but most difficult for Davis was the departure of John Coltrane, who stayed on for a spring tour of Europe but left to form his own quartet in the summer of 1960.
In 1959, Cannonball Adderley left to form his own group with his brother, reducing the sextet to a quintet. Not only this made them sound more artificial but it also becomes tiring to the ears making it much more difficult for the listener to become involved with the music. There's also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. Davis and Wayne Shorter's horns crackle with electricity. In fact, listening to Miles and Philly Joe on this track is a little like hearing some of the sparring matches between Diz and Bird! The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero.
Here, these distinct creations take shape with utmost realism. Music would never again be the same. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. It turns out the original master tapes for this session and apparently for as well were done as three-channel, with Davis occupying center, Wynton Kelly on left, drummer Jimmy Cobb on right, bass Paul Chambers either center or panned over all three channels especially for his solos , Coltrane and Mobley mostly right. The piles of evidence lay within the thrills, adventurousness, and curiosities staked to every composition.
Neither will experiencing Miles Smiles once you hear this definitive-sounding vinyl reissue. Davis and company play against coal-black backgrounds that serve to illuminate every detail, texture, and nuance. Oh Bess, Oh Where's My Bess 7. Moreover, he's following the economical, pungent and tight-lipped, ultra-attitudinous and cool solo by Miles. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling. Everywhere you turn, genius abounds. Someday My Prince Will Come is the seventh studio album by Miles Davis for Columbia Records, released in 1961.
In 1965 after Wayne Shorter replaced George Coleman, this quintet of Miles, Shorter, Herbie Hancock, Ron Carter and Tony Williams recorded E. By the way, Ian MacDonald, author of Beatles Revolution in the Head, wrote an excellent essay about Filles that was included in a collection of his work called The People's Music. So something is up with your order. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Recorded at Columbia's 30th Street Studio in Manhattan, it marked the only Miles Davis Quintet studio recording session to feature saxophonist Hank Mobley.
You can live with a certain edition for years perfectly happy until a new mastering comes along and shakes your sound tree showing you just what you've been missing all that time. A number of listeners immediately interpret the obvious disparity between the two tenor giants as either a sign of Coltrane's unassailable superiority or Mobley's middleweight mediocrity. On Miles Smiles, the band simply has and does it all. But I feel the Mosaic set should have been included in the discussion. I never tire of listening to it. Compositions stretch across jet-black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas.
I'm sure there are good things and bad things to each of these preferences and it's always interesting to see how this varies from release to release and between mastering engineers. Similarly, Davis' touring band had been in flux. I ordered a copy on Tuesday and got it in the mail today. This is clearly a reference record allowing the listener to enjoy the full scope of this recording and brilliant performance. I have to be one of their best customers. If this one is like the others in this series I'm sure we're in for a treat once again, with superb mastering and pressing of the highest quality standards from the analog Master Tapes approved by Sony.
Holy crap, this sounds great. I'll probably eventually get them, but I'm 45'd out, as I'm currently repurchasing titles Music Matters originally issued on 45 because of the improved sonics and unbroken flow of the music at 33! It's Coltrane's entrance on the title tune that elevates the proceedings which follow to the level of another Miles masterpiece. Dynamics are much more flat, and even if this effect can make everything sound louder with apparently more thump and energy, it does so at cost of a natural realistic sound presentation. A classic jazz album that — despite the fact that the material has been rendered almost overly familiar due to countless interpretations — still sounds remarkably fresh four decades after its initial release. My Man's Gone Now 10. In 1960, Davis went through saxophonists Jimmy Heath and Sonny Stitt before settling on Hank Mobley in December, the band re-stabilizing for the next two years. So you actually have it in your possession? Perhaps by unequivocally stating that it is the best-selling jazz album in history.
But now let's talk about the sound! Listening now with all of this musical movement in perspective clarifies the progression and in many ways makes it even more enjoyable and remarkable. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Having established new possibilities for studio recording techniques, this all analog edition let's you experience it perfectly! Even with all the headway the ensemble made on its subsequent albums together, many jazz cognoscenti and Davis diehards strongly feel Miles Smiles remains the apex of their vast accomplishments. If I was forced to choose my favorite Miles record, it would be Filles, albeit a close call. So, if you pre-ordered a month ago you definitely should have received yours if I ordered mine 2 days ago. In my humble opinion, this is one of the finest albums that Miles Davis ever did.
Notes I took when listening to MoFi's version of Round About Midnight: - Overall dryer and sweeter sound, everything sounds natural and effortless. Of the MoFi reissues, I have Four and More, In a Silent Way, and Bitches Brew. Like other reissue labels, Mobile Fidelity has its hits and misses. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. The rest of Filles de Kilimanjaro was recorded starting in September of 1968 with Chick Corea and Dave Holland in the group. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet.