The clarity afforded by history proves Miles Davisâ?? second great quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1966, Miles Smiles is largely responsible for the feat. The piles of evidence lay within the thrills, adventurousness, and curiosities staked to every composition. At once accessible and unpredictable, songs reflect an ever-changing mentality, an edgy mood, and a triumphant will with each corner the band rounds serving as a new opportunity to integrate and interact, anticipate and respond, investigate open spaces and establish if not fully lock into contagious, broad, striding grooves. Music would never again be the same. Neither will experiencing Miles Smiles once you hear these definitive-sounding vinyl and SACD reissues. Mastered from the original master tapes and pressed at RTI, Mobile Fidelityâ??s numbered 180g 45RPM 2LP set Mobile Fidelity 180g 45RPM 2LP; Hybrid SACD set take the landmark effort into rarified sonic territory.
Davis and company play against coal-black backgrounds that serve to illuminate every detail, texture, and nuance. Superb separation and plentiful air allow instruments to fully blossom, effectively taking you into Columbiaâ??s 30th Street Studio to watch the legendary combo transpire before your eyes. The brilliance of Ted Maceroâ??s original production springs forth from every passage. Never before has this standard-setting record burst with as much palpable verve, energy, and spirit. Experience it as how Davis and company heard it go down on the studio floor! - 180GR. AUDIOPHILE VINYL
Remastered 180-gram vinyl. The wonderful Post-Bop album Miles Smiles (1967) was recorded by Davis's second great quintet, which featured saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. The album showcases Davis' deeper exploration of modal performance with looser forms, tempos, and meters. Although it did not follow the conventions of Bop, the album did not follow the formlessness of Free Jazz.
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