Miles Davis Kind Of Blue HeavyVinyl Rare Sealed 50+ Set
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MILES DAVIS 50 PLUS LP Collectors SET Collectors Alert: All of these Columbia Titles will never be available again in these pressings. Their license to produce these 180 Gram Masterpieces with has Ended. This means that this specific title is now out of print forever and there are very few remaining is sealed condition. This title is going to skyrocket in value & price over the next few months. So Don't Miss Out on being one of the last people to own this outstanding pressing. E-BAY STORE. FOR YOUR INDIVIDUAL MILES SELECTIONS - INDIVIDUAL TITLE INFORMATION OR INDIVIDUAL PURCHASE JUST HIT THIS STORES TAB >. & TYPE IN MDAVIS INTO THE SEARCH FIELD WITHIN OUR STORES SECTION AS YOUR PERSONAL CODE AND ALL INDIVIDUAL TITLES + INFORMATION WILL APPEAR Please also visit mymusicfix e-bay stores site for each individual title listed IN THIS AUCTION or additional Rare Vinyl Records or 24k Gold CD's at http://stores.ebay.com/Mymusicfix Check out my other items! ALL TITLES LISTED BELOW ARE 180 GRAM LIMITED EDITION PRESSINGS. MOST OUT OF PRINT FOREVER MILES DAVIS KIND OF BLUE (200 GRAM) - THE BIRTH OF COOL (200 GRAM) - MAN WITH A HORN (180 GRAM) - E.S.P. (180 GRAM) - MILESTONES (180GRAM) - SORCERER (180 gram), - BALLADS (180 gram), - SKETCHES OF SPAIN (180 gram) - GREATEST HITS (180 Gram) - SOMETHING ELSE - 180 GRAM - BASIC MILES (180 GRAM) - COOKIN' AT THE PLUGGED NICKEL (180 GRAM) - DECOY (180 GRAM) - FILLES DE KILIMANJARO (180 GRAM) - FOUR & FOUR MORE (180 GRAM) - IN EUROPE LIVE (180 GRAM) - FRIDAY NIGHT AT THE BLACKHAWK - (180 GRAM) - SATURDAY NIGHT @ THE BLACKHAWK - (180 GRAM) - QUITE NIGHTS (180 GRAM ) - MILES IN THE SKY (180 GRAM) - MY FUNNY VALENTINE (180 GRAM) - MILES SMILES (180 GRAM) - SEXTET VOLUME 1 JAZZ AT THE PLAZA LIVE (180 GRAM) - SOMEDAY MY PRINCE WILL COME (180 GRAM) - SEVEN STEPS TO HEAVEN (180 GRAM) - STAR PEOPLE (180 GRAM) - MILES DAVIS & THELONIOUS MONK AT NEWPORT JAZZ FESTIVAL (180 GRAM) - WATER BABIES (180 GRAM) - YOU'RE UNDER ARREST (180 GRAM) - STEAMIN' WITH MILES DAVIS (180 GRAM) - COOKIN' WITH THE MILES DAVIS QUINTET (180 GRAM) - THE NEW MILES DAVIS QUINTET - (180 GRAM) - WORKIN' WITH THE MILES DAVIS QUINTET (180 GRAM) - RELAXIN' (180 GRAM) These additional vinyl masterpieces in 140 Gram Pressings Miles Davis & the Lighthouse All-Stars - Miles Davis & John Coltrane - Miles & Coltrane - Round About Midnight - Quintet/Sextet with Milt Jackson - The Musings of Miles Davis - Miles Davis Blue Moods - Doo-Bop - Collectors Items - Blue Haze - Dig with Sonny Rollins - Bags Groove with Rollins & Milt Jackson - The Modern Jazz Greats with Jackson-Monk-Coltrane - Miles Davis & Horns with Sims-Rollins-Lewis - Miles Davis All-Stars PLUS THE 5 10' LP'S LISTING A THE BOTTOM OF THIS LISTING. TITLES WITHIN LISTING WITH INFORMATION ABOUT EACH LIMITED EDITION PRESSINGS. MILES DAVIS KIND OF BLUE (200 GRAM) - Kind of Blue, the most successful Jazz album in history is back in print from Classic Records. Hear this masterpiece like never before on Classic's new Quiex SV-P 200-gram Super Vinyl. These are very limited and certainly won't last long. Grab it this time before it's out of print - Again! "Miles Davis' 1959 Kind of Blue is a truly revolutionary concept album that's also a giant hit. Instantly appealing on a dozen levels, it's still a best-seller after nearly a half-century." - Fred Kaplan, The Absolute Sound, December 2005 (included in Kaplan's "Best-Sounding Jazz LPs") Track Listings 1. So What 2. Freddie Freeloader 3. Blue In Green 4. All Blues 5. Flamenco Sketches SOMETHING ELSE - (180 GRAM 1ST EDITION) - When alto saxophonist Cannonball Adderley culled together this quartet, he grabbed three champions from seemingly disparate schools to complement his flinty solos: Miles Davis, the king of cool; Art Blakey, the thundering force of hard bop; Hank Jones, a veteran of swing; and Sam Jones, a versatile bassist adaptable to nearly any setting. The results are one of Blue Note's most beloved albums. The open-ended beauty of "Autumn Leaves," which features Davis beautifully stating the melody on muted trumpet, sounds like it could easily be an outtake from Kind of Blue (which it isn't). The midtempo title track provides the centerpiece of this classic as Adderley echoes Miles's swaggering melody before both unravel wonderful solos. Tracks include: -. Autumn Leaves . Love For Sale - Somthin' Else - One For Daddy-o -. Dancing In The Dark - Bangoon - A must-have Blue Note album THE BIRTH OF COOL (200 GRAM) MAN WITH A HORN (180 GRAM) - The Man With The Horn was Miles Davis's first comeback record after his almost six-year hiatus from performing and recording. With Davis, Bill Evans on soprano, and electric bassist Marcus Miller forming the core of his band, Miles Davis was ready to embark upon the next juncture of his career. T THE LP IS A in the dreary funk of thevintage "Fat Time",the hard rocking "Back Seat Betty",thegalvinizingly contemporary "Shout" and the artful "Aida" thatassures Miles was back and back to stay. Track Listings 1. Fat Time 2. Back Seat Betty 3. Shout 4. Aida 5. Man With the Horn 6. Ursula E.S.P. (180 GRAM) - E.S.P. is an inventive post-bop treasure that finds Miles Davis totally re-energized by the young guns of his second quintet. Davis's first album of new material in six years (most of it written by the band), E.S.P. is a brilliantly-executed treatise on the workings of tension and release. The songs are predominantly modal and the structures themselves are different, with a minimalist bent and more emphasis placed on melodies that are repeated, fractured, improvised upon, and released into the ether of total, free sound. The supple rhythm section--powerhouse drummer Tony Williams and bassist Ron Carter--provide ample room for Davis, Hancock, and Shorter to explore interlocking melodies, notably on the jaunty "Eighty-One" and the sweet lullaby "Iris." On "Agitation," Williams brings the noise, grafting the rhythmic freedom of the day's free-form music to the group's tuneful and "out" playing. Tracks include: E.S.P-. Eighty-One -. Little One -. R.J. - Agitation - Iris - Mood MILESTONES (180GRAM) - Milestones" is a tasty lp complete with some of the most furious recordings of this group's short recording career- Miles tears into "Two Bass Hit," "Dr, Jekyll", and his Own "Miles" like the world was coming to an end..astounding playing. Red Garland (who would shortly be replaced by Bill Evans) is in fine form, as his rendition of "Billy Boy" clearly shows. His simple solos are accentuated beautifully by Paul Chambers on bass and Philly Joe Jones on the drums. A great trio setting for 3 fine musicians. Also in fine form is the twin sax tendem of John Coltrane (fully recooperated from his drug ordeals that plagued him several years earlier) and Cannonball Adderly, both of whom add tasty licks, especially on Thelonious Monk's "Straight, No Chaser." I highly recommend the Columbia set from this period so that you can hear alternate takes, unreleased tracks from these recordings, and the like, as well as getting these tracks mixed properly and sounding their best. If you can not afford that set, then this lp is a fine example of the Sextet during this pivotal period. (Garland and Jones would both be out of the group shortly thereafter, both battling heroin addictions) Amazing work. Track Listings 1. Dr. Jackle 2. Sid's Ahead 3. Two Bass Hit 4. Milestones 5. Billy Boy 6. Straight, No Chaser SORCERER (180 gram), - Released between 2 of the quinetet's greatest efforts ("Miles Smiles," and "Nefertiti") is "Sorcerer," one of the band's most underrated efforts, but no less amazing. Music that is dark, powerful, dignified. The power of the album starts with Wayne Shorter and his compositions (he wrote all but the oddly out of place "Nothing Like You," the title track, penned by Hancock, and "Pee-Wee," a Tony Williams effort). Shorter's skills have blossomed during his tenure with Miles- especially his lyrical sensibilities. "Limbo," for example, is both a lyrical wonder yet still a powerful forum for Tony Williams, who was on fire. "Masqualero" is one of Shorter's darker pieces, with its recurrent theme. The soloists are allowed to explore as Herbie and Ron play around with the tempos, changing them as they go. "Vonetta" is much the same way. "Prince of Darkness" is a rather conventional song structure but with this band, nothing remained conventional for long, as the results show.... Hancock and Williams each contribute a number for the lp, and in the case of Williams' "Pee Wee," a rarity- a quartet setting on his ballad, as Miles chooses to not play. Known as the driving force of the group, "Pee Wee" (his first songwriting contribution to the group) shows a softer side of Williams that is refreshing... The collection shows a work in progress. The band is by this time fully integrated, on the loose, and, as always, restless, eager to try new things, grow. The picture of Tyson on the cover also shows that- she is free and not afraid to show it. The band has yet to reach its pinnacle with "Nefertiti," but shows great progress on this underrated gem An amazing effort. Track Listings 1. Prince of Darkness 2. Pee Wee 3. Masqualero 4. Sorcerer 5. Limbo 6. Vonetta 7. Nothing Like You BALLADS (180 gram), - INFORMATION AT THE BOTTOM OF PAGE SKETCHES OF SPAIN (180 gram) - INFORMATION AT THE BOTTOM OF PAGE GREATEST HITS (180 Gram) - INFORMATION AT THE BOTTOM OF THE PAGE JAZZ AT THE PLAZA - Miles Davis's KIND OF BLUE is nothing if not legendary, and this live date captures most of the classic Kind of Blue band in concert. Recorded at the Plaza Hotel in Manhattan in 1958 and originally released in 1973, this live set superbly spotlights Davis's "walking on eggshells" melodicism. Pianist Bill Evans, alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Jimmy Cobb, bassist Paul Chambers, and Davis blow the blues on Sonny Rollins's "Oleo" and Thelonious Monk's "Straight No Chaser." Davis's warm, Harmon-muted trumpet melodically shoots Cupid's arrow on "If I Were a Bell" and "My Funny Valentine," with Evans's piano lines sounding equally footed in Ravel and modal bop. Add the Bird flights of Adderley and the spooling energy of Coltrane and you have one of the top groups at the top of their game. This is a marvel, a hot and cool preview to the band's landmark 1959 KIND OF BLUE exploration. BASIC MILES (180 GRAM) - A COLLECTION OF MILES DAVIS STANDARDS FROM 1955 - 1962 Track Listings 1. BUDO 2. STELLA BY STARLIGHT 3. SWEET SUE JUST YOU 4. LITTLE MELONAE 5. MILES AHEAD 6. ON GREEN DOLPHIN STREET 7. ROUND MIDNIGHT 8. FRAN-DANCE 9. DEVIL MAY CARE COOKIN' AT THE PLUGGED NICKEL (180 GRAM) - During the era when Miles Davis played his vaunted stint at the Plugged Nickel in 1965, he had two distinct personas. When playing live, Davis led his "second great quintet" in the performance of lots of standards and familiar tunes from his own book. When recording in the studio, Davis turned over much of the composition to his young band, creatively advanced members (including Wayne Shorter and Herbie Hancock). But on these tunes the personalities merged, using the familiar to create great trampolines to edgy improvising. Shorter sounds beyond inspired, opening every phrase to vertical and horizontal inspection while (very young) drummer Tony Williams throws rhythms in every direction. Tracks include: If I Were A ell - Stella By Starlight - Walkin’ - Miles DECOY (180 GRAM) - No matter who backed him up, Miles always played in his own way and one could always tell it was him. The trio of songs that begin the album-the title cut,"Robot 415" and "Code M.D." are pulsing electro-funk hip/hop numbers that stand as the beginnings of jazz-hop and are therefore a precursor to what music would be doing a decade later. "What Is It" and "That's What Happened" are organic, white-hot, live-in-the-studio jams where Miles blows like a siren. The moody "Freaky Deaky" and "That's Right" add enough change of pace to make this one of Mile's better 80's albums by far! FILLES DE KILIMANJARO (180 GRAM) - Filles de Kilimanjaro has an odd pedigree for an "album" -- it was recorded in two different sessions, featuring two different lineups. As a result Sony/Legacy split this album across two sets. These recordings really work well together, and as an ALBUM this is one of the highest peaks in Miles Davis's career. The three middle tracks ("Tout de Suite", "Petit Machins", "Filles de Kilimanjaro") were the last recordings of the 2nd Quintet with Ron Carter and Herbie Hancock. These five musicians played great on nearly all their recordings, but here they are really incredible. And the MVP has to be Tony Williams, who supplies the music with lots of extra juice. "Tout" combines mellow, Gil Evans arranged outer sections with an explosive rock middle section; Miles and Wayne play off the fireworks of Tony's drumming. "Petit Machins" is the most conventional melody here, but the improvisation afterward is open-ended. The title track has a gorgeous, dreamy melody a la "Footprints" or "Masqualero". "Frelon Brun" and "Mademoiselle Mabry" were recorded three months later with Chick Corea and Dave Holland replacing Herbie and Ron. "Frelon Brun" is surely one of the best boogaloos ever recorded: intense solos by Wayne and Miles, Chick's spiky comping behind them, and Tony Williams going completely crazy underneath. "Mademoiselle Mabry", on the other hand, initially seems like a bunch of languid, bluesy phrases (including a nod to Jimi Hendrix's "Wind Cries Mary") played by Chick and Dave under Miles's statement of the melody. But eventually you realize that these phrases form the frame of the song, repeated over and over while Miles, Wayne and Chick paint beautiful, unhurried solo statements over it. Tony doesn't "drum" here, instead commenting irregularly but respectfully when the music merits it. And then the tune ends just like it started, with Miles playing the melody. This is a major masterwork, a collection of five magical experiences captured in the studio. It's an album that maintains jazz's approach to improvisation, but fuses it with electric piano and rock and soul grooves in a way that's rarely been done since. Miles moved in the rock and soul direction more decisively with In a Silent Way and Bitches Brew (both wonderful albums) but unfortunately never explored the peaks of Kilimanjaro again Track Listings 1. Frelon Brun (Brown Hornet) 2. Tout de Suite 3. Petits Machins (Little Stuff) 4. Filles de Kilimanjaro 5. Mademoiselle Mabry (Miss Mabry FOUR & FOUR MORE (180 GRAM) - This recording presents portions of two Miles Davis concerts which were held iin Philharmonic Hall at Lincon Center for the Performing Arts in New York City. Miles was in rare form on both occasions. The combination of Herbie Hancock, Ron Carter, Tony Williams and George Coleman show how creative musicians can retain their individuality while performing in a well-established and well-defined area of group and solo playing. The guidelines laid down by their illustrious predecessors (Red Garland, Paul Chambers, Philly Joe Jones and John Coltrane) are very much in evidence, as are their own extensions and newer directions. This is a must have for a jazz or miles collector. It is perhaps the last album that Miles let it all out, and is a collection of the best version of these jazz standards. George Coleman lets it all out, and shows what a great journeyman he is. Herbie and Ron solidly support, and of course, the "young Tony Williams" brings a new nervous energy which vaults this album into the stratosphere. Tracks include: So What - Walkin’ - Joshua/Go-Go - Four - Seven Steps To Heaven - There is No Greater Love IN EUROPE LIVE (180 GRAM) - The recordings of Miles' 1964 Philharmonic Hall concert have acquired a reputation for being Miles' best live recordings from the '63-'64 period. As an avid Miles fan, I agreed with that assessment. That was before I had ever heard this concert from the Antibes jazz festival. This album is AS GOOD if not in some ways better than Miles' justly famous "My Funny Valentine" and "Four and More" albums. Miles himself plays as intensely as in the 1964 Phil. Hall concert, and his trumpet technique itself is often crisper in the Antibes concert. George Coleman's playing may be more adventurous and intense here than on the 1964 concert, which makes him a better fit with the Hancock/Carter/Williams rhythm section. All through this recording, the quintet's interaction has a giddy, at times playful tone, and the musicians' excitement can be easily heard. Track Listings 1. Introduction 2. Autumn Leaves 3. Milestones 4. Joshua 5. All Of You 6. Walkin FRIDAY NIGHT AT THE BLACKHAWK - (180 GRAM) - It's commonplace for Miles' followers to dismiss the groups between Coltrane and Shorter. By his actions on the stand and his comments away from it, Miles made it clear that he was unhappy with Coltrane's immediate replacements--Sonny Stitt, George Coleman and, most pointedly of all, Hank Mobley. But Miles' own insistence on the progressive, the revolutionary, the newest thing, should not be confused with the actual musical statements by his groups. No player was more welcome in a Van Gelder recording studio than Hank Mobley who, though hardly an innovator or trend-setter, was one of the most soulful, melodically inventive players on the scene. It's especially refreshing to hear him away from the Blue Note stable of players and in the company of Miles' rhythm section on this Columbia recording, which captures Hank's inspired lyricism at its best (his solo on "Blackbird" eclipses even Coltrane's on the same tune from the "'Round Midnight" session). In the case of this "transitional" group, Miles' proclaimed loss is the listener's gain. Track Listings 1. Walkin' 2. Bye Bye Blackbird 3. All of You 4. No Blues 5. Bye Bye/The Theme 6. Love, I've Found You SATURDAY NIGHT @ THE BLACKHAWK - (180 GRAM) - This LP is the second of 2 that chronicle Miles' stay at the Blackhawk in San Francisco in 1961. Both dates of the Blackhawk shows are prime examples of the greatness of MILES working group. While the Friday night show contained mainly ballads, Saturday night finds the band taking on more up-tempo numbers, and with it the band relaxes into a wonderful groove. Even the slower numbers, like "So What," are sped up during this particular evening. The band was definitely up for the change of pace. Hank Mobley is the major recipient of the up-tempo nature of the show. His time spent with Art Blakey's Jazz Messengers proved that he had the chops needed to play quickly and confidently. Mobley at his best within Miles' group comes with his solo on Sonny Rollins' "Oleo." While the solo lasts a mere minute or so, Mobley took the tension created by Miles' calculated, reserved, mute solo, and blows it out of the water with his frenzied attack, which is certainly akin to what both Rollins and Coltrane were playing at the time. Mobley's attack is what the rhythm section of Kelly, Chambers, and Cobb needed. It allowed them to pick up the pace, and led to Kelly's tasty solo after Mobley's. Kelly's solo is a bit more refined, but no less impressive. The piece showed off prime solo chops by 2 of jazz's legends. The rest of the lp is no less impressive. The pieces are up-tempo, with all parties involved bringing their "A" games to the table. Miles' playing is wonderful, and dominated by his harmon mute. As always, his solos are short, conpact, very to the point. Mobley's playing throughout is inspired. One can sense that Mobley was on that night, and that he KNEW it, as well. Kelly's solos are always a delight to hear. His playing moves a lot, taking on octaves, arpeggios, and more of a lead character even when he's playing accompanying block chords. Chambers and Cobb were as tight a low end rhythm section as jazz had, and the lp allows them to dominate the proceedings in an up-tempo way. Both BLACKHAWK SHOWS (Friday night & Saturday night) are recommended to hear the full scale of what this short-lived working band could accomplish. Track Listings 1. Well, You Needn't 2. Fran-Dance 3. So What 4. Oleo 5. If I Were a Bell 6. Neo QUITE NIGHTS (180 GRAM ) - Quiet Nights is a project like Sketches of Spain, with a softer, more sensual, and darker (night-time) feel. The cover expresses the mood of the album well. Feels like stepping into a Jobim cocktail party onto a night patio overlooking the lights of Rio de Janeiro . Whatever its liner note details, this is an album made by Miles in his prime, and Gil Evans in his prime, and it doesn't matter that it's twenty-seven minutes long - There is no softer or warmer Miles album than this. Don't be afraid of this album. Miles doesn't have to sound "cool" all the time. MILES IN THE SKY (180 GRAM)- The cover image alone for this 1968 release speaks loudly and clearly of something different: it looks like some weird rock record. And while it's not exactly that, Miles in the Sky hints loudly at something new, an upstart sound that would upset jazz purists far more than if he'd just made a rock record. For better or worse, the fusion revolution's baby steps can be heard right here. Time-stretcher Tony Williams's drumming encroaches upon "square" rock rhythms on the opener, a deliriously minimalist 17-minute soul-funk-tango head trip titled "Stuff." There are premonitions of the full-blown electric era of Bitches Brew and Jack Johnson: Herbie Hancock plays electric piano on a few cuts, while George Benson's electric guitar augments Wayne Shorter's "Paraphernalia." This is easily among the finest of the second quintet's six discs: Tony Williams's drumming is fantastically in, out, and on top of the groove; Wayne Shorter blows post-bop nuggets; Ron Carter cuts thick, melodic grooves; Herbie Hancock lays down tone colors; and Davis subtly pushes the envelope of the music. Tracks include: 1. Stuff -. Paraphernalia - Black Comedy - Country Son - Black Comedy (Alternate Take) - Country Son MY FUNNY VALENTINE (180 GRAM) - This concert was months after the Kennedy assasination (JFK). The country was in shock. The Concert was a benefit for the NAACP, CORE and SNCC. The backup band found, when they got there, that they were donating their time. Surprise! They were quite wizzed and it showed, especially in the upbeat stuff. Miles had a change of mind (or a change of heart) after '64. He played and composed his own music and continued til his death in '91. But he never really exposed the depth of his feelings like this again. And he fled from playing standards with that harmon mute. (Yeah, Late LP's "Aura" and bit of "Tutu" are good, and other bits here and there, but he never sounded like this again.) All cuts are good. "All Blues" is far too fast, but not angry. The much maligned George Coleman, like Hank Mobley, has a fine lyric tone (less ascerbic than Coltrane). Track Listings 1. My Funny Valentine 2. All of You 3. Stella by Starlight 4. All Blues 5. I Thought About You MILES SMILES (180 GRAM) - SMILES - The most satisfying sort of audacity was the rule with Miles Davis's second great quintet. One of six studio albums cut by the group between 1965 and 1968, MILES SMILES finds them executing three Wayne Shorter compositions and one by the leader, along with Eddie Harris's "Freedom Jazz Dance," former Davis cohort Jimmy Cobb's "Gingerbread Boy," and the usual mix of finesse and barreling momentum. Even when nodding toward the then-burgeoning hard-bop movement on the Harris piece, the group makes its own mark in a hundred different ways, from Herbie Hancock's spare touch to the thoroughly declarative solo Davis lays down. It's hard to pick the most exceptional cut on such a top-flight disc, but certainly Shorter's deceptively simple "Orbits" and "Footprints" deserve mention; on the former, the players take turns stating the melody and then rumbling over it. The latter's echoes of "Caravan" make way for an improv performance that not only hangs tough in itself, but seems to have provided a template for the entire early career of Wynton Marsalis RELAXIN' (180 GRAM) - Featuring John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. The greatest small group in the history of jazz recorded at their peak in 1956. Featuring joyous, straight-ahead swinging and melodic improvisation, this is a near-perfect album. Contains "If I Were A Bell," "It Could Happen To You," "I Could Write A Book" and several others. Mastered by Kevin Gray. Track Listings 1. If I Were A Bell 2. You're My Everything 3. I could Write A Book 4. Oleo 5. It could Happen To You 6. Woody'n You SEXTET VOLUME 1 JAZZ AT THE PLAZA LIVE (180 GRAM) SOMEDAY MY PRINCE WILL COME (180 GRAM) - During this period, Miles had a slight creativity draining after having released intense classics like Round About Midnight, Miles Ahead, Milestones, Porgy & Bess, Kind Of Blue and Sketches Of Spain. However, that is not evident on this LP. Made in 1961, Miles played with a solid group consisting of Hank Mobley on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Also, John Coltrane and Philly Joe Jones stop by for an excellent reunion. John Coltrane is on fire on the famous title track while Miles uses his trademark harmon mute. Miles is also muted on the breathy ballad "Old Folks", which is really a pretty, haunting melody. "Pfrancing", a song dedicated to his wife, is great playful blues with Miles stealing the show with an outstanding solo. Everyone really swings here, with Wynton Kelly supplying a piano solo. Miles puts the harmon mute back in on "Drad-Dog", which is Goddard spelled backwards. The song is named after former Columbia Records executive Goddard Liberson. There is no melody to this tune, it's basically just Miles and the band playing off of each other in a ballad form. It's very beautiful. On the Spanish-tinged "Teo", Miles and company recall Kind Of Blue and Sketches Of Spain with an interesting latin tune. Coltrane shows up on this one and goes insane again. Miles plays a risky solo and keeps everything interesting, with Wynton holding everything together. The final song is yet another ballad, "I Thought About You". Here, Miles proves why he helped make this one of the most often recorded standards following this album. SEVEN STEPS TO HEAVEN (180 GRAM) - In 1963, the Kelly/Chambers/Cobb rhythm section packed up and left, leaving Miles Davis without a band. Despite being at an age when most musicians would rather sit on their laurels and play on some giants of jazz tour, he decided to assemble a new working band. This LP shows that assembly in progress. The three ballads were recorded in LA with George Coleman (tenor sax), Victor Feldman (piano), Ron Carter (bass), and Frank Butler (drums). "Basin Street Blues" is very different from Louis Armstrong's version -- Davis's trumpet playing is much sadder, merging abstraction and the blues. But the real treasures in the set are the three tunes recorded one month later with Carter, Coleman, and two younger musicians: pianist Herbie Hancock and drumming prodigy Tony Williams. Williams, only 17 years old here, generates an incredible level of excitement on "Joshua" and the title track. These may be the most exciting up-tempo tracks Davis had recorded since "Two Bass Hit" and "Straight, No Chaser". The quintet with Coleman, Hancock, Carter and Williams would soon evolve into one of the trumpeter's greatest groups, and this is where they got started. Tracks include: 1. Basin Street Blues 2. Seven Steps to Heaven 3. I Fall in Love Too Easily 4. So Near, So Far 5. Baby Won't You Please Come Home STAR PEOPLE (180 GRAM) - Recorded in 1983 featuring sidemen such as: Bill Evans (saxes), Al Foster (drums), Marcus Miller (bass), John Scofield (guitar) and Mike Stern (guitar). Includes the songs: 'Come Get It', 'Star People' and ' Star on Cicely'. Great electric fusion album which also contains a long awaited collaboration by jazz legend Gil Evans and Miles on several arrangenments. Track Listings 1. Come Get It 2. It Gets Better 3. Speak 4. Star People 5. U 'N' I 6. Star on Cicely MILES DAVIS & THELONIOUS MONK AT NEWPORT JAZZ FESTIVAL (180 GRAM) WATER BABIES (180 GRAM) - Water Babies was one of the first albums to be released durings Miles's retirement in the late 70s. Columbia was digging through the archives and they packaged together two very different sessions. They used Corky McCoy's cartoons as cover art, but this music has very little in common with On the Corner. The first three tracks are from June 1967 and feature the 2nd Great Quintet (Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams). All 3 themes are by Shorter, and feature the same dry, exploratory style that this group perfected on its other LPs. If you like the albums Sorcerer and Nefertiti, you'll enjoy this stuff as well. The next TWO tracks were recorded in November 1968. By this time Dave Holland had replaced Carter on bass. Chick Corea and Herbie Hancock both play electric piano, giving the music a similar feel to Filles de Kilimanjaro excellence. "Two Faced" is a haunting Shorter composition that runs for 18 minutes and features beautiful playing by Wayne and Miles. "Dual Mr. Anthony..." is a typical late 60s boogaloo -- funky, really distinctive for Tony Williams's explosive drumming and Wayne Shorter's fierce blowing. Track Listings 1. Water Babies 2. Capricorn 3. Sweet Pea 4. Two Faced 5. Dual Mr. Tillman Anthony YOU'RE UNDER ARREST (180 GRAM) - No harsh words of criticism for Miles' 1985 pop-soft jazz effort. While so-called die hard fans of Miles or jazz used adjectives such as "flop", "poor quality", and "worst", it is anything but...The only slight unstable choices he made was to do cover instrumentals of Michael Jackson's Human Nature and Cyndi Lauper's Time After Time at a time when the original songs were still fresh. Instead, he should have opted for writing a couple of original tunes himself (even if they were only going to be filler material---the key word being original).These two tracks ended up being played as light elevator music tunes in department or grocery stores. The rest of the album, however, showed that Miles could adapt to the changing times and styles of music in order to reach younger listeners as well. No longer was his music exclusive to hardcore jazz purists...Miles Davis is for the entire world ! Tracks include: One Phone Call/Street Scenes - Human Nature - MD1 Something’s On Your Mind - MD 2 - Ms. Morrisine - Katia Prelude - Katia - Time After Time - You’re Under Arrest - Medley MILES AHEAD 180 GRAM - These 1957 recordings were the first of Miles Davis's collaborations with arranger Gil Evans for Columbia, renewing a relationship that had begun with the Birth of the Cool sessions in 1949. It was perhaps the most important relationship ever forged between a jazz soloist and an arranger, for Evans excelled at finding fresh material (like Delibes's "The Maids of Cadiz") and then adding subtle voicings and blending unusual instruments to highlight Davis's central voice. Everything Evans does enhances the trumpeter's keen sense of space and his evocative sound. He could construct complex arrangements and make them fly (as on the opening "Springsville," by John Carisi), contrast Davis's voice with tuba or bass clarinet, or create the longing, Spanish-inflected "Blues for Pablo," a precursor to their later Sketches of Spain. - Tracks include: . Springville - Maids of Cadiz -. Duke - My Ship - Miles Ahead - Blues for Pablo - New Rhumba - Meaning of the Blues -. Lament - I Don't Wanna Be Kissed (By Anyone But You) - Springsville [Remake Take 7]-. Blues for Pablo [Take 1). Meaning of the Blues/Lament [Rehearsal I Don't Wanna Be Kissed (By Anyone But You) STEAMIN' WITH MILES DAVIS (180 GRAM) - All of the stylistic elements that made Miles Davis’ 1956 quintet one of the immortal bands in jazz history are on display in this collection. “Surrey with the Fringe on Top” and “Diane” are medium-tempo standards that highlight the contrast between the leader’s Harmon-muted horn, the explorations of John Coltrane’s tenor sax and Red Garland’s sparkling piano. “Salt Peanuts” and “Well, You Needn’t,” each a modern jazz classic, allow for intense swinging over the beat of Paul Chambers’ bass and Philly Joe Jones’ drums. And “Something I Dreamed Last Night” and “When I Fall in Love” give us vulnerable, visceral ballad playing by Davis that remains unsurpassedMastered by Kevin Gray. Track Listings 1. Surrey With The Fringe on Top 2. Salt Peanuts 3. Something I Dreamed Last Night 4. Diane 5. Well, You Needn't 6. When I Fall in Love WORKIN' WITH THE MILES DAVIS QUINTET (180 GRAM) - Undeniably one of the best small bands in the history of jazz, the Miles Davis quintet of the mid-1950s made history at the Cafe Bohemia on Manhattan's Barrow Street and in the New Jersey studio of Rudy Van Gelder for Prestige. This is the 3rd in a series of four LPs taped in two marathon studio sessions, done in the style of sets at the Bohemia, producing music of high energy and immediacy. This is a mix of standards and originals, up-tempos and ballads, and a trio number, "Ahmad's Blues." Miles is the sole survivor of this quintet but the music made in the mid-50's period will live forever. The excitement of the emerging John Coltrane; the informed, melodic swing of Red Garland; the tremendous snap and pop of the rhythm trio of Garland, Paul Chambers and Philly Joe Jones, and Miles' poignancy and intense swing. Recording engineered by Rudy Van Gelder. Mastered by Kevin Gray. Track Listings 1. It Never Entered My Mind 2. Four 3. In Your Own Sweet Way 4. The Theme (take 1) 5. Trane's Blues 6. Ahmad's Blues 7. Half Nelson 8. The Theme (take 2) THE NEW MILES DAVIS QUINTET - (180 GRAM) - This is the first LP to be issued featuring the Miles Davis Quintet — a group that was to become one of the most influential small bands of the Fifties. It also introduced John Coltrane to the jazz public, launching him on his significant career. Davis’ singular mastery with a mute, exemplified on The Musings of Miles, is further emphasized, as is Red Garland’s penchant for picking “new” old standards for Miles. Mastered by Kevin Gray. Track Listings 1. Just Squeeze Me 2. There Is No Greater Love 3. How Am I To Know? 4. S''posin 5. The Theme 6. Stablemates COOKIN' WITH THE MILES DAVIS QUINTET (180 GRAM) - From the muted eloquence of My Funny Valentine, through the finger-poppin' Blues By Five, to the urgent swing of Airegin and Tune Up, Cookin' has the ability to thrill the listener no matter how many times it is played - the mark of an all-time great performance. Mastered by Kevin Gray. Track Listings 1. Airegin 2. Tune Up 3. Blues By Five 4. My Funny Valentine These additional vinyl masterpieces in 140 Gram Pressings Miles Davis & the Lighthouse All-Stars Miles Davis & John Coltrane - Miles & Coltrane Round About Midnight Quintet/Sextet with Milt Jackson The Musings of Miles Davis Miles Davis Blue Moods - Miles was fresh from his triumph at the 1955 Newport Jazz Festival when he agreed to record for his old friend Charles Mingus's label (they had first met in California ten years before). Considering the volatile temperaments of the two protagonists, the music is surprisingly calm, but according to Elvin Jones (a new face in town), "if they had just printed the conversations in the studio at that time, that would have been a best-seller." Woodman had known Mingus since boyhood, and Charles was then a frequent musical associate with similar ideas about composing and arranging. The charts here are all by Teddy, except "Alone Together," which is by Mingus. Track Listings 1. Nature Boy 2. Alone Together 3. There's No You 4. Easy Living Doo-Bop Collectors Items Blue Haze - This potpourri of Davis-led small combos is an indicator of the kind of important playing he was doing in the years leading up to his famous "comeback" in 1955. But if the majority of the critics were asleep on Miles, the musicians were not. These recordings went a long way toward entrenching him as an influence. The pianists are John Lewis, Horace Silver and, on his own composition "Smooch," Charles Mingus. The drummers are the trinity of bebop: Max Roach, Art Blakey and Kenny Clarke; the bassist throughout is Percy Heath; and on "I'll Remember April," the alto saxophonist is Davey Schildkraut, once mistaken for Charlie Parker by Mingus in a "Blindfold Test." Track Listings 1. I'll Remember April 2. Four 3. Old Devil Moon 4. Smooch 5. Blue Haze 6. When Lights Are Low 7. Tune Up 8. Miles Ahead Dig with Sonny Rollins - Another example of Prestige's policy of stretching out past the confines of the three-minute recording, instituted with Zoot Sims in August 1951. While this October session does not include any numbers that take up an entire LP side, no track is less than 5:23, the title track is 7:33, and the classic "Bluing" is five seconds short of ten minutes. It also spotlights three young musicians–Sonny Rollins, Jackie McLean, Walter Bishop–who grew up playing in the same Harlem neighborhood band during the first flowering of bebop. Track Listings 1. Dig 2. It's Only a Paper Moon 3. Denial 4. Bluing 5. Out of the Blue Bags Groove with Rollins & Milt Jackson - More than 30 years ago Miles Davis recorded this music in the company of such other giants as Milt Jackson, Thelonious Monk, Kenny Clarke, Percy Heath, Sonny Rollins, and Horace Silver. Today the music they made is regarded as classic, Bags Groove in two versions, is perfect illustration of the improvisary process, and the various delights that can develop from time to time; the date with Rollins reveals his development toward major status. It is hard to believe that having heard these 1954 recordings, the critics could have called Davis's triumph at the Newport Jazz Festival in 1955 a comeback. Track Listings 1. Bags' Groove 2. Bags' Groove 3. Airegin 4. Oleo 5. But Not For Me 6. Doxy 7. But Not For Me The Modern Jazz Greats with Jackson-Monk-Coltrane Miles Davis & Horns with Sims-Rollins-Lewis - The sextet tracks with Sonny Rollins and Bennie Green were the first recordings Miles made after his affiliation with Capitol ended, a hiatus of approximately ten months. It began a long and fruitful association with Prestige, first in all-star contexts and, later, with the first of his regular quintets. Miles was battling personal problems in this period and also was not in favor with the critics. Some of them still thought of his tone and style as "a man walking on egg shells," when, in reality, he was into a more popping, burning attack. The 1953 tracks with Al Cohn and Zoot Sims (all compositions by Cohn) are in a more laid-back groove, striking a balance between the Capitol nonet and the fierce swing of the "Blue 'n' Boogie" with J.J. Johnson and Lucky Thompson to come in 1954. Track Listings 1. Tasty Pudding 2. Floppy 3. Willie the Wailer 4. For Adults Only 5. Morpheus 6. Down 7. Blue Room 8. Whispering Miles Davis All-Stars Here is some information on some of the titles but all can be found in our E-Bay Stores Section by just hitting this Stores Tab GREATEST HITS - Unlike jazz contemporaries Dave Brubeck and bandmates Cannonball Adderley and Herbie Hancok, Miles Davis never had a Top 40 hit single. This collection is an excellent sampler of Miles Davis first 15 years on Columbia Records. Two KIND OF BLUE tracks are heard - wider versions than on that legendary LP. Miles’ influential ballad style shows up on the haunting “My Funny Valentine”. And “Walkin” here is from a live Antibes, France Concert LP featuring a young Tony Williams on drums. Thos unfamiliar with Miles’ music should use this as a springboard to Miles’ most accessible music. Those owning KIND OF BLUE, but no other Miles albums, should get this to sample other Miles’ moods and styles. Other Tracks include: “Seven Steps To Heaven“- “All Blues“ - “Someday My Prince Will Come“ - “Round Midnight“ - “So What“. SKETCHES OF SPAIN is an Out Of Print 180 Gram Limited Edition classic LP high-definition Virgin Vinyl pressing for superior fidelity. The nicest thing you can do for your stylus and your ears. The ultimate record -- the way music was meant to be heard and of superior quality for any Audiophile. Miles Davis’ impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking BIRTH OF THE COOL sessions, to his stunning small groups of the ‘50s and ‘60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz’s true giants. SKETCHES OF SPAIN, though one of Davis’ most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis’ 1949 BIRTH OF THE COOL recordings, Davis recorded a series of large group albums beginning in the late ‘50s, including PORGY AND BESS, MILES AHEAD, and QUIET NIGHTS. SKETCHES OF SPAIN, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis’ most mellow recordings and proved to have broad appeal -- it is a mixture of Spanish classical scores and jazz melody. If you love Miles Davis and want something very relaxing and beautiful from him, this is a great album to own. Essential for Miles Davis fans MILES DAVIS: BALLADS is an Out Of Print 180 Gram Limited Edition classic LP high-definition Virgin Vinyl pressing for superior fidelity. The nicest thing you can do for your stylus and your ears. This collection of ballads are from 1961 to 1963, mostly played with the Gil Evans Orchestra in 1962 . Tracks on this album include: Baby Won’t You Please Come Home - Once Upon A Summertime - I Fall In Love Too Easily - Bye Bye Blackbird - Wait Till You See Her - Basin Street Blues and Corcovado. These tracks are a wonderful look at Miles’ sometimes underrated ballad and lyrical side. His use of harmon mutes was common during this period, and it heightens the sensitivity of his playing. Gil Evans was always able to coax a good performance from Miles, and these tracks are no different. A great collection for those wanting a small taste of the many sides of the Man With The Horn. SORCERER - May 1967 was the beginning of an amazing burst of studio creativity for Miles Davis; the first recordings in that burst are on this album. SORCERER is even darker and moodier than its predecessor, Miles Smiles. The improvisations go further away from the jazz mainstream. "Masqualero", a Wayne Shorter tune, is essentially an anything-goes performance with a Spanish tinge; there's a lot of fireworks in Miles's solo as the rhythm section rumbles under him, and Herbie Hancock's solo is a textbook example of tension and release. Another one of Shorter's compositions, "Vonetta", takes a quirky ballad and marries it to martial drumming by Tony Williams. There's also "Pee Wee", a Williams ballad with some beautiful playing. The other three tunes are similar -- haunting, dreamy themes coupled with complex group interaction. For additional Rare, Out of Print, Factory-Sealed Audiophile Recordings, visit Mymusicfix E-Bay Store by hitting the STORES TAB on this titles’ Home Page. ADDITIONAL MILES DAVIS Rare All-Stars SIX 10” LP SET – Sealed OUT OF PRINT – Gone Forever. These Prestige 10-inch LPs were pressed several years ago in the U.S. for a custom order to Japan. The remaining stock is extremely limited and therefore highly collectable. The covers match the original graphics. There are no bar codes or legal lines. Get 'em while they last. These are rare, one-time-only issues. Featuring Miles Davis, trumpet; Milt Jackson, vibes, Percy Heath, bass; Kenny Clarke, drums; and Thelonious Monk, piano. MILES DAVIS Rare All-Stars Vol #2"Each of the soloists contributed a tune to the session. Milt Jackson's BAGS' GROOVE has reached the position of jazz standard at a young age and rightfully so. BEMSHA SWING is a joint effort by Thelonious Monk and Denzil Best and was previously heard in Monk's trio album (Prestige LP 142). The lively SWING SPRING is Miles' written offering to the proceedings. For the fourth selection George Gershwin's THE MAN I LOVE provides an excellent vehicle for improvisation as it has many times in the past." - from the original liner notes by Ira Gitler Track Listings 1. The Man I Love 2. Bensha Swing Miles Plays Cohn Compositions Since the 'records heard 'round the world,' GODCHILD, JERU, MOVE, et al, Miles Davis has made many other fine records to enhance his position as top modern trumpeter, but in the main they have been three horn groups (including himself) with an emphasis on solo work. After the original melody, usually stated in tight unison, each hornman played again only when his solo turn came. The soloists had to be good to sustain interest, and they were, but it was felt that Miles needed a change of pace for his next recording date; compositions and arrangements which would suit him and result in a happy combination of arranged music and solo work. The man who achieved this was Al Cohn, the unheralded great of the tenor saxophone, as well as the composer's and arranger's desk." - from the original liner notes by Ira Gitler Track Listings 1. Tasty Pudding 2. Floppy 3. Willie the Wailer 4. For Adults Only MILES DAVIS BLUE PERIOD An album by Miles Davis represents modern jazz at its best. In this album as in Miles' PRESTIGE LP 124, the length of time for each selection is not restricted to the usual limits except in the case of BLUE ROOM, which was cut at a more conventional session. BLUING, the high spot of this set, is over nine minutes of freedom of expression on modern blues chord changes. At the very end, Art Blakey continues playing after everyone else has stopped. If you listen closely, you will hear Miles say something like, "You know that ending man, let's do it again", but why do it again when you've captured the feeling in the solos of Walter Bishop, Miles, Sonny Rollins, Jack McLean, and the inventive drumming of Art Blakey. The advantage given by LP, of not having to make a 'product' for the juke boxes, allowed us to keep this take. OUT OF THE BLUE (Miles' plea to get happy) was done at the same session and although not as lengthy as BLUING, still provided ample time for relaxed improvisation." - from the original liner notes by Ira Gitler Track Listings 1. Bluing 2. Blue Room 3. Out of the Blue MILES NEW SOUNDS "This album gives Miles more freedom than he has ever had on record for time limits were not strictly enforced. There is opportunity to build ideas into a definite cumulative effect. These sides sound much more like air-shots than studio recordings." - from the original liner notes by Ira Gitler Track Listings 1. Conception 2. My Old Flame 3. Dig? 4. It's Only a Paper Moon MILES DAVIS SEXTET Once upon a time, jam sessions were the rule rather than the exception. Musicians would rent studios for the express purpose of blowing. Even those who were working regular jazz engagements would get together afterwards and sometimes blow until they had to go to work the next evening. Unfortunately, inspired events like these rarely happen anymore. With the great emphasis on recording in jazz today, it is only natural that the LP has been called on to resuscitate the medium of the jam session. An important difference between the informal session and one recorded for public consumption is that in the latter it is not a matter of anyone "falling in" to play. The participants must be able to sustain melodic, harmonic and rhythmic interest for more than one chorus. Miles Davis and Milt Jackson not only do this but they get better as they go along. With Thelonious Monk adding his wry witticisms and rhythmic fillips and the All-American rhythm team of Kenny Clarke and Percy Heath supplying the power, Miles and Milt create an atmosphere rich in idea and warmth." - from the original liner notes by Ira Gitler. Track Listings 1. Bags' Groove 2. Bemsha Swing 3. Swing Spring 4. The Man I Love SHIPPING AND PAYMENT -- In the Continental United States, ADD $75.50 for UPS Ground Freight/Insurance for this 6 LP Set. International via U.S. Post Office -- Airmail Letter/Parcel Post. Visa/MasterCard by calling the office at 949 454-8577 EX 10 - Money Order- PayPal with confirmed address or insured international orders- (MONEY ORDERS IN U.S.DOLLARS for International customers with uninsured orders) accepted. Check out Mymusicfix for additional Audiophile Vinyl by hitting “ME” OR the “STORE” tab on the Title Purchase Page to view our current items up on E-Bay. Mymusicfix2@msn.com has been told we have the best collection of Rare, Out of Print music collectibles on E-Bay. You can reach us daily M - F Pacific Standard Time at 949 454-8577 for any questions or further information. Mymusicfix2@msn.com has been told we have the best collection of Rare, Out of Print music collectibles on E-Bay. You can reach us daily M - F Pacific Standard Time at 949 454-8577 for any questions or further information. Jaz mdavis jazzrotation vinylrotation On Oct-04-06 at 08:20:28 PDT, seller added the following information: On Jan-23-08 at 03:19:54 PST, seller added the following information:
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