{"title":"Miles Davis","description":"\u003cp data-start=\"209\" data-end=\"807\"\u003e\u003cmeta charset=\"utf-8\"\u003eMiles Davis received a trumpet at thirteen, dropped out of Juilliard to play on 52nd Street, spent two years in Charlie Parker's quintet, kicked a heroin addiction in 1954 by locking himself in his father's house in East St. Louis, and then played a solo at the 1955 Newport Jazz Festival so striking that Columbia Records signed him the same week. He spent the next thirty-five years doing the thing nobody in jazz does: refusing to play the last record again. The Birth of the Cool sessions (1949-50) replaced bebop's density with space and a nonet that included French horn, tuba and Gil Evans's orchestral voicings. \"Kind of Blue\" (Columbia, 1959), with the first great quintet of Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb, built an entire modal language out of scales rather than chord changes and became the best-selling jazz album in history. The second great quintet with Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams (1964-68) made time itself negotiable: the rhythm section played \"time, no changes\" while Davis and Shorter moved freely above and below them. \"In a Silent Way\" (1969) and \"Bitches Brew\" (1970) arrived with electric instruments, rock rhythms, studio editing, and a critical reception that split the jazz world in half. Each time Davis changed direction, he did it before the previous direction had stopped working, which is either the mark of genius or of someone constitutionally unable to repeat himself. Probably both.\u003c\/p\u003e","products":[{"product_id":"miles-davis-kind-of-blue","title":"Miles Davis - Kind Of Blue (2015 Columbia Reissue LP Vinyl)","description":"\u003cp data-start=\"255\" data-end=\"583\"\u003e\u003cem data-start=\"255\" data-end=\"269\"\u003eKind of Blue\u003c\/em\u003e isn’t just Miles Davis’s most famous album — it’s the most celebrated jazz record of all time. Recorded in 1959 with a dream lineup — \u003cstrong data-start=\"404\" data-end=\"421\"\u003eJohn Coltrane\u003c\/strong\u003e, \u003cstrong data-start=\"423\" data-end=\"446\"\u003eCannonball Adderley\u003c\/strong\u003e, \u003cstrong data-start=\"448\" data-end=\"462\"\u003eBill Evans\u003c\/strong\u003e, \u003cstrong data-start=\"464\" data-end=\"481\"\u003ePaul Chambers\u003c\/strong\u003e, and \u003cstrong data-start=\"487\" data-end=\"501\"\u003eJimmy Cobb\u003c\/strong\u003e — it redefined modern jazz with its modal approach and spacious, lyrical sound.\u003c\/p\u003e\n\u003cp data-start=\"585\" data-end=\"865\"\u003eFrom the cool sway of \u003cem data-start=\"607\" data-end=\"616\"\u003eSo What\u003c\/em\u003e to the haunting beauty of \u003cem data-start=\"643\" data-end=\"658\"\u003eBlue in Green\u003c\/em\u003e and the graceful flow of \u003cem data-start=\"684\" data-end=\"695\"\u003eAll Blues\u003c\/em\u003e, every note feels timeless. The interplay between Davis, Coltrane, and Evans remains unmatched, making this an album that rewards both casual listening and deep study.\u003cstrong data-start=\"867\" data-end=\"888\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"981\" data-end=\"1093\"\u003eUniversally regarded as a masterpiece, \u003cem data-start=\"1020\" data-end=\"1034\"\u003eKind of Blue\u003c\/em\u003e belongs in every collection — the definitive jazz album.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42460431614011,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/888751119215.jpg?v=1757853398"},{"product_id":"miles-davis-round-about-midnight-180g-vinyl-lp","title":"Miles Davis - 'Round About Midnight (2025 Number One Reissue LP Vinyl)","description":"\u003cp data-start=\"195\" data-end=\"545\"\u003eReleased in 1957, \u003cem data-start=\"213\" data-end=\"236\"\u003e’Round About Midnight\u003c\/em\u003e was \u003cstrong data-start=\"241\" data-end=\"258\"\u003eMiles Davis’s\u003c\/strong\u003e first album for Columbia Records and a pivotal moment in his career. Backed by the “first great quintet” — \u003cstrong data-start=\"366\" data-end=\"383\"\u003eJohn Coltrane\u003c\/strong\u003e (tenor sax), \u003cstrong data-start=\"397\" data-end=\"412\"\u003eRed Garland\u003c\/strong\u003e (piano), \u003cstrong data-start=\"422\" data-end=\"439\"\u003ePaul Chambers\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"452\" data-end=\"472\"\u003ePhilly Joe Jones\u003c\/strong\u003e (drums) — the record balances lyrical ballads with hard-driving swing.\u003c\/p\u003e\n\u003cp data-start=\"547\" data-end=\"859\"\u003eFrom the haunting title track, Davis’s signature interpretation of Thelonious Monk’s classic, to the fiery \u003cem data-start=\"654\" data-end=\"666\"\u003eAh-Leu-Cha\u003c\/em\u003e and soulful \u003cem data-start=\"679\" data-end=\"698\"\u003eBye Bye Blackbird\u003c\/em\u003e, this album showcases the telepathic interplay that made the quintet legendary. It’s a perfect entry point for new listeners and a cornerstone for collectors.\u003cstrong data-start=\"861\" data-end=\"882\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"977\" data-end=\"1085\"\u003eElegant, emotive, and essential, \u003cem data-start=\"1010\" data-end=\"1033\"\u003e’Round About Midnight\u003c\/em\u003e remains one of Miles Davis’s defining statements.\u003c\/p\u003e","brand":"Number One Essentials","offers":[{"title":"Default Title","offer_id":42461738565691,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/test_031d5011_thumbnail_4096.webp?v=1757912586"},{"product_id":"miles-davis-1958-miles-1979-japanese-cbs-sony-mono-vinyl-lp","title":"Miles Davis - 1958 Miles (1979 Japanese CBS\/Sony Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003e1958 Miles\u003c\/em\u003e | Vinyl LP - 1979 Japanese CBS\/Sony Mono (20AP 1401, CBS Favorite Jazz series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1958 Miles\u003c\/em\u003e gathers one of the most beautiful sessions Miles Davis ever recorded. By the spring of 1958 his sextet had reached an extraordinary line-up, John Coltrane and Cannonball Adderley sharing the front line, Paul Chambers and Jimmy Cobb in the rhythm section, and a young Bill Evans newly installed at the piano in place of Red Garland. Evans changed everything. His impressionistic, classically shaded harmony pulled Miles's music towards the spare, modal, floating sound that would become \u003cem\u003eKind of Blue\u003c\/em\u003e a year later, and you can hear the shift happening in real time here. The May 1958 date is the heart of the record: a definitive \"On Green Dolphin Street\", a \"Stella By Starlight\" of almost unbearable tenderness with Miles on muted trumpet, and a long, easy \"Love For Sale\". The set opens out with \"Fran-Dance\", Miles's reworking of an old folk tune, and closes with \"Little Melonae\", a Jackie McLean line from an earlier 1958 date with Red Garland and Philly Joe Jones still aboard. It is Miles at a hinge point, and it is gorgeous.\u003c\/p\u003e\n\u003cp\u003eThis material has been scattered across various American releases over the years, but Japanese collectors have long treasured \u003cem\u003e1958 Miles\u003c\/em\u003e as the album that gathers the best of it in one place, and this CBS\/Sony pressing is one of the reasons. Japanese buyers took the presentation seriously: the cover carries a print by Masuo Ikeda, one of the country's most celebrated postwar artists, and the pressing itself is prized for its quiet, well-defined sound.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1979 Japanese mono edition on CBS\/Sony, part of the CBS Favorite Jazz series, catalogue number 20AP 1401.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42473674768443,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8205.jpg?v=1786072538"},{"product_id":"miles-davis-bitches-brew","title":"Miles Davis – Bitches Brew (2015 Columbia Reissue 2LP Vinyl)","description":"\u003cp data-start=\"179\" data-end=\"590\"\u003eReleased in 1970 on Columbia, \u003cem data-start=\"209\" data-end=\"223\"\u003eBitches Brew\u003c\/em\u003e is \u003cstrong data-start=\"227\" data-end=\"244\"\u003eMiles Davis’s\u003c\/strong\u003e groundbreaking fusion masterpiece — the album that redefined the direction of modern jazz. With a massive ensemble including \u003cstrong data-start=\"370\" data-end=\"387\"\u003eWayne Shorter\u003c\/strong\u003e, \u003cstrong data-start=\"389\" data-end=\"404\"\u003eJoe Zawinul\u003c\/strong\u003e, \u003cstrong data-start=\"406\" data-end=\"421\"\u003eChick Corea\u003c\/strong\u003e, \u003cstrong data-start=\"423\" data-end=\"442\"\u003eJohn McLaughlin\u003c\/strong\u003e, \u003cstrong data-start=\"444\" data-end=\"460\"\u003eDave Holland\u003c\/strong\u003e, and \u003cstrong data-start=\"466\" data-end=\"485\"\u003eJack DeJohnette\u003c\/strong\u003e, Davis blended electric instruments, rock rhythms, and free improvisation into something entirely new.\u003c\/p\u003e\n\u003cp data-start=\"592\" data-end=\"917\"\u003eThe music is sprawling, atmospheric, and hypnotic: shifting grooves, layered textures, and searing trumpet lines that stretch jazz beyond its traditional boundaries. From the dark intensity of the title track to the churning momentum of \u003cem data-start=\"829\" data-end=\"846\"\u003ePharaoh’s Dance\u003c\/em\u003e, this double LP is as radical and essential today as it was in 1970.\u003cstrong data-start=\"919\" data-end=\"940\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1028\" data-end=\"1161\"\u003eA landmark release, \u003cem data-start=\"1048\" data-end=\"1062\"\u003eBitches Brew\u003c\/em\u003e stands as the birth of jazz fusion and one of the most influential albums in 20th-century music.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42474060972091,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/c551539bab2745d0b2e8df07480050f4_700x700_70836f98-97c4-4f50-9815-a79b9b0ea8c3.webp?v=1758363713"},{"product_id":"miles-davis-volume-2-1977-japanese-blue-note-gxf-3012-limited-edition-vinyl-lp-mono","title":"Miles Davis - Volume 2 (1977 Japanese Blue Note GXF-3012 Limited Edition Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eVolume 2\u003c\/em\u003e | Vinyl LP Mono - 1977 Japanese Blue Note Limited Edition Reissue (GXF-3012(M), King Record Co. Ltd)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThese sessions catch Davis before almost everything he is remembered for. He was 25 at the first of them, five years past the Charlie Parker quintet and four past the \u003cem\u003eBirth of the Cool\u003c\/em\u003e nonet, and deep enough into heroin addiction that he later wrote that he, Jimmy Heath and Art Blakey were all high in the studio at the 1953 date. The First Great Quintet was still two years away. What the three sessions document is a trumpeter working out what to do with the bebop vocabulary he had learned from Parker and Gillespie, and the results are less consistent than his later records but frequently startling. The May 1952 date, his first for Blue Note, has Jackie McLean a few days short of his twenty-first birthday alongside J.J. Johnson, Gil Coggins, Oscar Pettiford and Kenny Clarke, and McLean's own \"Donna\" is one of two tracks from it here. The April 1953 session swaps in Jimmy Heath on tenor and his brother Percy on bass with Blakey on drums, and the material is drawn from the bebop composer's canon: Bud Powell's \"Tempus Fugit,\" Gillespie and Gil Fuller's \"I Waited for You,\" Ray Brown's \"Ray's Idea.\" Both of the 1953 tracks here are alternate masters, which Lion added to fill the extra space the 12-inch format gave him.\u003c\/p\u003e\n\u003cp\u003eThe March 1954 quartet session is where the record settles. No second horn, just Davis with Horace Silver, Percy Heath and Blakey, and it accounts for six of the eleven tracks. \"Well You Needn't\" is Monk's, and Davis takes it without any of the angularity Monk brought to his own material. \"It Never Entered My Mind\" is the ballad, played with the Harmon mute and the economy that would define him within two years. \"Take-Off,\" \"Weirdo,\" \"The Leap\" and \"Lazy Susan\" fill the rest. Silver was 25 and had joined Blakey's Jazz Messengers, and his comping here is already unmistakable. Alfred Lion produced all three sessions. Doug Hawkins recorded the 1952 and 1953 dates at WOR Studios on Broadway, and Rudy Van Gelder recorded the 1954 session at Hackensack and remastered the earlier material for this compilation. F\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 Japanese limited edition on Blue Note GXF-3012(M), manufactured by King Record Co. Ltd.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42508891455547,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7881.jpg?v=1784876649"},{"product_id":"miles-davis-sketches-of-spain-1981-japanese-cbs-sony-vinyl-lp","title":"Miles Davis - Sketches Of Spain (1981 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eSketches Of Spain\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Reissue (18AP 2057, Miles 25 Series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEvans played Davis a recording of Rodrigo's \u003cem\u003eConcierto de Aranjuez\u003c\/em\u003e and Davis wanted to record it. The arrangement that Evans produced from the second movement (Adagio) took the 16 minutes of side A to execute, and the session on November 20, 1959 was by Davis's account one of the most physically demanding recording dates of his career. The difficulty is audible in the best way. Davis's trumpet sounds exposed against the orchestral backdrop, carrying a long, mournful melody through a web of French horns, harp, flute and bass clarinet that Evans voices in clusters so dense they shimmer rather than resolve. There's almost no improvisation in the conventional sense. Davis plays the line Evans wrote for him, and what makes it work is the tone: dry, precise, unadorned, sitting on top of the orchestra rather than blending into it. \"Will O' The Wisp,\" from de Falla's ballet \u003cem\u003eEl Amor Brujo\u003c\/em\u003e, is the shortest track and the most contained, Davis's flugelhorn carrying a fragmented melody over muted brass.\u003c\/p\u003e\n\u003cp\u003eSide B is where Evans's original compositions take over. \"The Pan Piper\" was inspired by a field recording of Peruvian music, its melody drawn from a single instrument against a rhythmic backdrop that Elvin Jones anchors with hand percussion rather than the drum kit he played in Coltrane's quartet. \"Saeta\" reimagines the vocal form sung during Semana Santa processions in Seville: Davis's trumpet functions as the human voice, crying out above a slow march. \"Solea,\" the 12-minute closing piece, is based on the soleá, one of the foundational forms of flamenco, and is the track where Davis sounds most like himself, stretching further from the written material than anywhere else on the album.\u003c\/p\u003e\n\u003cp\u003eThis is the 1981 Japanese stereo reissue on CBS\/Sony 18AP 2057.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42533950980155,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7542.jpg?v=1782603008"},{"product_id":"miles-davis-bags-groove-1976-japanese-prestige-mono-lp-with-insert","title":"Miles Davis - Bags' Groove (1976 Japanese Prestige Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eBags' Groove\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1976 Japanese Prestige Jazztime Now!! Series Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTwo historic sessions unite Miles Davis with legendary collaborators in different configurations. Side A presents the legendary December 1954 date featuring Thelonious Monk on piano and Milt Jackson on vibraphone, with two takes of the title track revealing the creative process behind this hard bop classic. Side B captures Davis with a different quintet from June 1954 including Sonny Rollins on tenor saxophone and Horace Silver on piano, performing four Rollins originals plus two takes of \"But Not For Me\". Recorded by Rudy Van Gelder and released in Japan in 1976 as part of Prestige's Jazztime Now!! series, this mono pressing manufactured by Victor Musical Industries includes an LP-sized printed insert.\u003c\/p\u003e\n\u003cp\u003eThe December session featuring Monk is particularly notable for the documented tension between the pianist and Davis, yet the music transcends any personal friction. Monk's angular, dissonant comping on the two takes of \"Bags' Groove\" provides harmonic edge beneath Davis' lyrical trumpet and Jackson's bluesy vibraphone. The June session showcases a different dynamic, Rollins' muscular tenor and Silver's funky piano creating the hard bop aesthetic that would dominate 1950s jazz. Davis' trumpet on compositions like \"Airegin\", \"Oleo\", and \"Doxy\" demonstrates the melodic invention and cool tone that made him modern jazz's most influential voice.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43140196499515,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5768.jpg?v=1768776226"},{"product_id":"miles-davis-in-a-silent-way-2015-legacy-columbia-eu-reissue-vinyl-lp","title":"Miles Davis - In A Silent Way (2015 Legacy\/Columbia EU Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis -\u003cem\u003e In A Silent Wa\u003c\/em\u003ey | Vinyl LP - 2015 Legacy\/Columbia Reissue \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eMiles Davis's 1969 landmark\u003c\/strong\u003e, recorded in a single session on 18 February 1969 at CBS 30th Street Studio in New York City, produced by Teo Macero; regarded as Davis's first fusion recording and the beginning of his electric period, with eight musicians including Wayne Shorter, John McLaughlin, Herbie Hancock, Chick Corea and Josef Zawinul\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTwo side-long pieces\u003c\/strong\u003e — \"Shhh\/Peaceful\" and \"In A Silent Way\/It's About That Time\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\u003cstrong\u003e2015 Legacy\/Columbia EU reissue\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMiles Davis recorded \u003cem\u003eIn A Silent Way\u003c\/em\u003e in a single session on 18 February 1969 at CBS 30th Street Studio B in New York City. He brought eight musicians: Wayne Shorter on soprano saxophone, John McLaughlin on electric guitar, Herbie Hancock and Chick Corea on electric piano, Josef Zawinul on electric piano and organ, Dave Holland on bass, and Tony Williams on drums. Teo Macero produced. Stan Tonkel engineered. The session ran for approximately three hours and produced around 40 minutes of committed material, the tape machine running continuously as the musicians worked through the pieces with minimal verbal instruction from Davis and no written charts.\u003c\/p\u003e\n\u003cp\u003eWhat was released on 30 July 1969 was not a direct document of that session but a construction assembled by Macero using tape editing techniques he had developed across years of work with Davis, Duke Ellington and Dave Brubeck at Columbia. Macero shaped the recordings in accordance with classical sonata form — each of the two side-long pieces moves through three sections, with the opening material repeated at the close, giving the album a symmetry no single improvised take possessed. \"In A Silent Way\" is a Zawinul composition; \"It's About That Time\" is Davis's. \"Shhh\/Peaceful\" is Davis's. The album was controversial on release — jazz critics were unsettled by the electric instrumentation and the editorial construction; rock critics were divided on whether it was jazz or something else entirely. It has since been consistently placed among the most important recordings in Davis's career, and among the most significant in the history of jazz.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43285279342651,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/190759506516.jpg?v=1773649931"},{"product_id":"miles-davis-sextet-someday-my-prince-will-come-1974-us-columbia-lp-stereo-reissue","title":"Miles Davis Sextet - Someday My Prince Will Come (1974 US Columbia LP, Stereo Reissue)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis Sextet - \u003cem\u003eSomeday My Prince Will Come\u003c\/em\u003e | Vinyl LP - 1974 US Columbia Stereo Reissue (KCS 8456)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMiles Davis's 1961 Columbia album\u003c\/strong\u003e featuring his working quintet — Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, Jimmy Cobb on drums — with John Coltrane returning as a guest on two tracks; the only studio recording to pair Mobley and Coltrane in the same session\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThree original compositions by Davis\u003c\/strong\u003e: \"Pfrancing\" for his wife Frances, \"Teo\" for producer Teo Macero, and \"Drad-Dog\" (Goddard Lieberson's name reversed) for the Columbia Records president; three standards including the waltz title track from Disney's 1937 \u003cem\u003eSnow White\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe last studio encounter between Davis and Coltrane\u003c\/strong\u003e.\u003cstrong\u003e \u003c\/strong\u003eColtrane plays on A1 alongside Mobley and appears again on B2 replacing him entirely\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMiles Davis recorded \u003cem\u003eSomeday My Prince Will Come\u003c\/em\u003e over three days at Columbia's 30th Street Studio in Manhattan in March 1961. By this point, both Cannonball Adderley and John Coltrane had left the group to lead their own bands. Hank Mobley had joined in December 1960 as the new tenor saxophonist, stabilising a line-up that also included Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Teo Macero produced.\u003c\/p\u003e\n\u003cp\u003eDavis brought Coltrane back for two tracks. On the title piece — a waltz drawn from the 1937 Disney film \u003cem\u003eSnow White and the Seven Dwarfs\u003c\/em\u003e — both Mobley and Coltrane solo on the same changes back to back, Mobley's playing measured and lyrical against Coltrane's more intense and harmonically searching approach. The nine-minute track is the only recorded instance of the two tenors on the same session. On \"Teo\" (B2), Coltrane replaces Mobley entirely. The remaining four tracks are quintet recordings. The album's three Davis originals are encoded with specific dedications: \"Pfrancing\" — also known as \"No Blues\" — for his wife Frances, whose image is on the cover; \"Teo\" for Macero; and \"Drad-Dog\" — \"Goddard\" reversed — for Goddard Lieberson, then president of Columbia Records. The three standards are \"Someday My Prince Will Come,\" \"Old Folks\" and Jimmy Van Heusen's \"I Thought About You.\" This is a 1974 US Columbia stereo reissue of the original 1961 release (Columbia CS 8456).\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43308994035771,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6447.jpg?v=1774232829"},{"product_id":"miles-davis-walkin-1973-japanese-prestige-mono-lp","title":"Miles Davis - Walkin' (1973 Japanese Prestige Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis All Stars - \u003cem\u003eWalkin'\u003c\/em\u003e | Vinyl LP - 1973 Japanese Prestige Mono Reissue (LPR-8851, Toshiba Musical Industries Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMiles Davis cut these two April 1954 sessions after coming through a period of serious personal difficulty. He had been back in New York, clean, for less than a year. The same rhythm section, Horace Silver, Percy Heath and Kenny Clarke, played both dates and was by that point the default Prestige house rhythm section.\u003c\/p\u003e\n\u003cp\u003eThe April 29 session put Davis alongside J.J. Johnson on trombone and Lucky Thompson on tenor. The two pieces they recorded were long, using the 12-inch LP format to its logical extent in a way that 10-inch records had prevented. \"Walkin'\" runs thirteen minutes, a 12-bar blues at a tempo that gave every soloist room to develop extended statements. Thompson's solo was singled out by Ira Gitler in the liner notes and by subsequent critics as the high point: a solo that builds gradually across its own internal structure, Davis and Johnson riffing behind him before his final phrases. \"Blue 'N' Boogie,\" Gillespie's composition, runs eight minutes and is rarely discussed in the same breath as the title track despite containing some of Davis's most committed playing on the date.\u003c\/p\u003e\n\u003cp\u003eThe April 3 session was a quintet. Schildkraut, who had been a regular with Stan Kenton's band, played alto saxophone. \"Solar\" is four and a half minutes, Davis in the muted tone he was developing, the harmonic movement slower and more open than the Side A pieces. \"You Don't Know What Love Is\" is the DePaul and Raye standard, a ballad feature. \"Love Me or Leave Me,\" the Donaldson and Kahn piece, closes the record.\u003c\/p\u003e\n\u003cp\u003eThe album was compiled and released on Prestige as PRLP 7076 in March 1957. This is the 1973 Japanese Prestige mono reissue (LPR-8851), manufactured by Toshiba Musical Industries Ltd.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43532260081723,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7053.jpg?v=1779333920"},{"product_id":"miles-davis-round-about-midnight-1983-japanese-cbs-sony-mono-lp","title":"Miles Davis - 'Round About Midnight (1983 Japanese CBS\/Sony Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003e'Round About Midnight\u003c\/em\u003e | Vinyl LP - 1983 Japanese CBS\/Sony Mono Reissue (23AP 2552, Miles Greatest Collection 25 No. 2, CBS\/Sony Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGeorge Avakian heard Davis play \"'Round Midnight\" at the Newport Jazz Festival in 1955 with Thelonious Monk, Connie Kay, Percy Heath, Zoot Sims and Gerry Mulligan. What he heard that night convinced him to sign Davis to Columbia. The problem was that Davis was still under contract to Prestige. The solution was to record for Columbia while simultaneously fulfilling the Prestige obligation with the marathon sessions that eventually produced \u003cem\u003eRelaxin'\u003c\/em\u003e, \u003cem\u003eWorkin'\u003c\/em\u003e, \u003cem\u003eSteamin'\u003c\/em\u003e and \u003cem\u003eCookin'\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe first Columbia session took place in October 1955 at Studio D. Only \"Ah-Leu-Cha,\" Charlie Parker's contrapuntal blues, survived from that date. The quintet returned in June 1956 to Columbia's 30th Street Studio for \"Bye Bye Blackbird,\" \"Tadd's Delight\" and \"Dear Old Stockholm.\" The final session in September 1956 produced the title track and Cole Porter's \"All of You.\" Frank Laico engineered all three dates, and the sound is markedly different from the Rudy Van Gelder Prestige sessions: warmer, more spacious, the instruments given room that the Hackensack studio did not allow.\u003c\/p\u003e\n\u003cp\u003eColtrane's playing across these sessions is still developing. He had not yet arrived at the extended modal approach of 1960 and 1961. His solo on \"Bye Bye Blackbird\" became one of the most studied in his early catalogue. Davis plays with the muted tone and measured phrasing that defined his 1950s work. The album was released in March 1957.\u003c\/p\u003e\n\u003cp\u003eThis is the 1983 Japanese CBS\/Sony mono reissue (23AP 2552), Miles Greatest Collection 25 No. 2, manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43576988041275,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/FullSizeRender_38a8d82c-ad63-43cb-baf0-7296ff4363cc.jpg?v=1780793883"},{"product_id":"miles-davis-miles-davis-at-plugged-nickel-chicago-vol-2-1981-japanese-cbs-sony-stereo-lp","title":"Miles Davis - Miles Davis at Plugged Nickel, Chicago Vol. 2 (1981 Japanese CBS\/Sony Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eMiles Davis at Plugged Nickel, Chicago Vol. 2\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Stereo Reissue (18AP 2068, Miles 25 No. 18, CBS\/Sony Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Plugged Nickel was a small nightclub on North Wells Street in Chicago. Over two nights in December 1965 the Davis Quintet played seven sets, all of which were recorded. CBS\/Sony released selections from the material as two separate Japanese LPs in 1976; Vol. 1 drew from December 22, Vol. 2 from December 23. Columbia issued a worldwide double LP combining both volumes in 1982. The complete seven-set recording followed in 1992 (Japan) and 1995 (US).\u003c\/p\u003e\n\u003cp\u003eVol. 2 contains four pieces. \"'Round Midnight\" opens at under nine minutes. The Monk standard that had been the centrepiece of Davis's Columbia debut nearly a decade earlier is played here as if the melody is something to move through rather than arrive at. \"Stella by Starlight\" runs thirteen minutes, Shorter's solo in particular stretching the harmony far past Victor Young's original chord structure. \"All Blues,\" Davis's own composition from Kind of Blue (1959), is played at a different tempo from the studio version and treated with the same freedom as the standards.\u003c\/p\u003e\n\u003cp\u003e\"Yesterdays\/The Theme\" fills all of Side B at twenty minutes. Jerome Kern and Otto Harbach's 1933 ballad opens it; the quintet improvises outward from there, moving through tempo changes and dynamic shifts before closing with Davis's \"The Theme,\" the signal that the set is over. Williams, who was twenty years old, drives the performance throughout.\u003c\/p\u003e\n\u003cp\u003eThis is the 1981 Japanese CBS\/Sony stereo reissue (18AP 2068), Miles 25 series No. 18, manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43582879629371,"sku":null,"price":105.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7259_d6ee0596-42d2-4d2f-8ffa-badfe3234cd1.jpg?v=1781009036"},{"product_id":"miles-davis-a-tribute-to-jack-johnson-2020-columbia-legacy-vinyl-lp","title":"Miles Davis - A Tribute to Jack Johnson (2020 Columbia\/Legacy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eA Tribute to Jack Johnson\u003c\/em\u003e | Vinyl LP - 2020 Columbia\/Legacy European Reissue (19075950871, Record Industry)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMiles Davis made a promise during this period that he could put together \"the greatest rock band you ever heard.\" This album is the evidence.\u003c\/p\u003e\n\u003cp\u003e\"Right Off\" runs nearly 27 minutes. Henderson's bass opens alone with Cobham, a groove so locked that McLaughlin's entry over the top sounds like an explosion. The story, repeated by McLaughlin in multiple interviews, is that Davis was in the control room when McLaughlin started playing and ran into the studio to answer him. What follows is the most aggressive, rhythmically intense music Davis ever released. McLaughlin plays as if he is competing with the trumpet rather than accompanying it. Grossman's soprano saxophone enters later. At roughly 18 minutes, McLaughlin hammers a riff directly from Sly Stone's \"Sing a Simple Song,\" the citation deliberate and unashamed.\u003c\/p\u003e\n\u003cp\u003e\"Yesternow\" fills the entire second side and occupies different territory: slower, more spaced out, closer to the ambient drift of \u003cem\u003eIn a Silent Way\u003c\/em\u003e. At one point Macero splices in a passage from \"Shhh\/Peaceful,\" Davis literally sampling his own earlier work.\u003c\/p\u003e\n\u003cp\u003eThe credited personnel tells only part of the story. Macero built both tracks from multiple session tapes, incorporating material from musicians not listed on the LP: Sonny Sharrock, Chick Corea, Dave Holland, Jack DeJohnette and Bennie Maupin all contributed to the raw sessions.\u003c\/p\u003e\n\u003cp\u003eThis is the 2020 EU Columbia\/Legacy reissue, pressed at Record Industry in the Netherlands.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43653814353979,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/190759508718.jpg?v=1781390288"},{"product_id":"miles-davis-milestones-1977-japanese-cbs-sony-vinyl-lp-mono","title":"Miles Davis - Milestones (1977 Japanese CBS\/Sony Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eMilestones\u003c\/em\u003e | Vinyl LP Mono - 1977 Japanese CBS\/Sony Reissue (25AP 753)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe sextet that recorded \u003cem\u003eMilestones\u003c\/em\u003e was Davis's working band at its peak. Coltrane had just come out of detox. Adderley had been added to the quintet on alto, giving Davis two contrasting saxophone voices: Coltrane's sheets of sound against Adderley's blues-rooted lyricism. The rhythm section (Garland, Chambers, Philly Joe) had been together for three years and understood each other completely. On \"Dr. Jekyll\" (Jackie McLean's tune), \"Two Bass Hit\" (Gillespie\/Lewis) and Monk's \"Straight, No Chaser,\" the group plays hard bop at its most concentrated. Coltrane's solo on \"Two Bass Hit\" is a tight, rapid burst that shows how far his technique had developed. Adderley's blues phrasing on \"Dr. Jekyll\" sounds effortless in a way that belies its complexity. Then the title track arrives. \"Milestones\" (mislabelled \"Miles\" on this pressing's side B label) strips the harmony down to two scales. No chord changes to follow, just modal colours that open space for the soloists to think in longer, more melodic lines. It's a modest revolution in under six minutes, and the three horn solos (Adderley first, then Davis, then Coltrane) are marvels of economy. Davis was already working out the approach he would use for \u003cem\u003eKind of Blue\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Sid's Ahead\" runs past 13 minutes and contains one of the album's most telling stories. Red Garland, tired of Davis's demands, walked out of the studio mid-session. Davis sat down at the piano himself and played the accompaniment for the rest of the take. \"Billy Boy\" is a Garland trio feature: Davis, Coltrane and Adderley sit out entirely, and it's Garland, Chambers and Philly Joe swinging through a folk tune at a brisk pace. Five days after the March 4 session, Davis and Adderley went into Rudy Van Gelder's Hackensack studio to record \u003cem\u003eSomethin' Else\u003c\/em\u003e for Blue Note. A year later, Davis replaced Garland with Bill Evans and Philly Joe with Jimmy Cobb, kept the rest, and recorded \u003cem\u003eKind of Blue\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 Japanese mono reissue on CBS\/Sony 25AP 753. Note the two misprints: the back cover spells Adderley's first name as \"Jnliau\" (for \"Julian\"), and the side B label titles the track \"Miles\" instead of \"Milestones.\"\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43708869181499,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7494.jpg?v=1782445216"},{"product_id":"the-miles-davis-quintet-relaxin-with-the-miles-davis-quintet-1973-japanese-prestige-vinyl-lp-mono","title":"The Miles Davis Quintet - Relaxin' With The Miles Davis Quintet (1973 Japanese Prestige Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eThe Miles Davis Quintet - \u003cem\u003eRelaxin' With The Miles Davis Quintet\u003c\/em\u003e | Vinyl LP Mono - 1973 Japanese Prestige Reissue (LPR-88001, Toshiba EMI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDavis wanted out of Prestige. Columbia had offered him a contract, but Weinstock still had him under obligation for more recordings. The solution was to bring the quintet into Van Gelder's studio, play the live book, and record everything in two sessions with minimal takes. The result was enough material for four albums: \u003cem\u003eCookin'\u003c\/em\u003e, \u003cem\u003eRelaxin'\u003c\/em\u003e, \u003cem\u003eWorkin'\u003c\/em\u003e and \u003cem\u003eSteamin'\u003c\/em\u003e, released piecemeal between 1957 and 1961. \u003cem\u003eRelaxin'\u003c\/em\u003e draws almost entirely from the Great American Songbook. \"If I Were A Bell\" (from \u003cem\u003eGuys and Dolls\u003c\/em\u003e) and \"I Could Write A Book\" (from \u003cem\u003ePal Joey\u003c\/em\u003e) get the muted trumpet treatment Davis was perfecting, the Harmon mute close to the microphone, the tone thin and dry and intimate. \"You're My Everything\" is a ballad where Garland's block chords carry the middle of the arrangement and Coltrane's solo pushes into the harmonically searching territory he was developing away from the bandstand. \"It Could Happen To You\" stretches past six minutes with some of the most relaxed playing on any of the marathon session albums.\u003c\/p\u003e\n\u003cp\u003e\"Oleo,\" the Sonny Rollins contrafact on \"I Got Rhythm\" changes, is the only jazz original on the album and the one track that pushes the tempo. Philly Joe's drumming on it is sharp and insistent, and Coltrane's solo builds through rapid runs that would, within two years, become the \"sheets of sound\" Ira Gitler described. \"Woody'n You,\" Gillespie's bebop standard, closes the album at a brisk clip. What makes these marathon sessions exceptional is how little effort the quintet appears to be making. The group had been playing these pieces live for months, and the studio performances sound like a particularly good club set captured by accident.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese mono reissue on Prestige LPR-88001, from the Jazz Right Now series, manufactured by Toshiba EMI.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43712213385275,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7558.jpg?v=1782616847"},{"product_id":"miles-davis-e-s-p-1981-japanese-cbs-sony-vinyl-lp","title":"Miles Davis - E.S.P. (1981 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eE.S.P.\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Reissue (18AP 2066, Miles 25 Series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eShorter had joined the band four months before these sessions. He replaced George Coleman, a strong and conventional tenor saxophonist, and the change transformed the group. Coleman played the changes. Shorter played around them, through them, sometimes against them, and the rest of the band adjusted accordingly. The title track (co-written by Davis and Shorter) opens the album with a theme so rhythmically fragmented it barely holds together as a melody, the five musicians slipping in and out of unison in a way that sounds both rehearsed and spontaneous. \"Eighty-One\" (Davis and Carter) settles into a groove, but even here Williams's drumming keeps shifting accents and textures underneath. Hancock's \"Little One\" is a ballad with a harmonic sophistication that gives Davis and Shorter space to play melodically without falling into conventional ballad phrasing. Carter contributes three pieces: \"R.J.\" is the shortest and most direct, \"Mood\" closes the album with nearly nine minutes of open, searching interplay, and his co-written \"Eighty-One\" provides the album's most grounded rhythmic foundation.\u003c\/p\u003e\n\u003cp\u003eSide B opens with \"Agitation,\" Davis's most aggressive composition here, Williams pushing the tempo and density until the music threatens to come apart before pulling back. \"Iris\" is Shorter's other composition and one of the most beautiful pieces in the quintet's catalogue, the melody unfolding slowly with Hancock's chords creating an ambiguity between consonance and dissonance that defines the album's harmonic language. Williams was 19 when these sessions were recorded. His drumming already sounded like nobody else's: polyrhythmic, reactive, capable of shifting the entire feel of a piece within a single bar.\u003c\/p\u003e\n\u003cp\u003eThis is the 1981 Japanese reissue on CBS\/Sony 18AP 2066, number 16 in the Miles 25 series, manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43745209450555,"sku":null,"price":110.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7622.jpg?v=1783208931"},{"product_id":"miles-davis-on-the-corner-1972-us-columbia-vinyl-lp-gatefold-first-pressing","title":"Miles Davis - On The Corner (1972 US Columbia Vinyl LP Gatefold, First Pressing)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eOn The Corner\u003c\/em\u003e | Vinyl LP Gatefold - 1972 US Columbia First Pressing (KC 31906)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDavis was explicit about what he wanted. The young Black audience had moved to rock and funk, and he wanted them back. What he made to get them was not a funk record in any conventional sense. Paul Buckmaster, the British cellist and arranger who had scored records for Elton John, David Bowie and the Rolling Stones, had introduced Davis to Karlheinz Stockhausen the same year, and Davis took to it immediately, reportedly keeping a cassette of Stockhausen's \u003cem\u003eHymnen\u003c\/em\u003e in his Lamborghini. What appealed to him was the treatment of music as a process of addition and elimination rather than a sequence of themes and solos. Buckmaster described his own contribution as an attempt to combine strange space music with street music, and he supplied sketches that Davis largely discarded, using them as starting points and nothing more. The result is two sides built on locked, circumscribed grooves. On the opening twenty-minute sequence the bass plays the same handful of notes throughout while tabla, sitar, congas, wah-wah guitar and electric keyboards move in and out of the mix. There are no solos in the traditional sense, no heads, no beginnings or endings. Teo Macero assembled the finished pieces from tape.\u003c\/p\u003e\n\u003cp\u003eThe critical response in 1972 was brutal. Reviewers called it repetitious and an insult to the intellect, and it became one of Davis's worst-selling albums. Even some of the participants were unconvinced: Dave Liebman said he did not think much of it, and Buckmaster later described it as probably his least favourite Davis record. Davis deliberately left the musician credits off the sleeve so that listeners would come to it without preconceptions, which meant that for years nobody outside the sessions knew with any certainty who was playing. The reappraisal took decades, and it arrived through musicians rather than critics. The rhythmic construction, the density, the treatment of the studio as an instrument and the refusal to resolve anything all became foundational for later electronic and hip-hop production, and Columbia eventually issued the six-disc \u003cem\u003eComplete On the Corner Sessions\u003c\/em\u003e in 2007.\u003c\/p\u003e\n\u003cp\u003eRecorded at Columbia's New York studio on 1 June, 6 June and 7 July 1972. This is the 1972 US first pressing on Columbia KC 31906 in gatefold sleeve.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43813147639867,"sku":null,"price":125.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_78202.jpg?v=1784447908"},{"product_id":"miles-davis-miles-davis-at-plugged-nickel-chicago-1981-japanese-cbs-sony-vinyl-lp","title":"Miles Davis - Miles Davis At Plugged Nickel, Chicago (1981 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eMiles Davis at Plugged Nickel, Chicago\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Reissue (18AP 2067, Miles 25 series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn December 1965 Miles Davis brought his second great quintet into the Plugged Nickel in Chicago, and what they recorded across two nights is the only complete live document of the band that made \u003cem\u003eE.S.P.\u003c\/em\u003e and \u003cem\u003eMiles Smiles\u003c\/em\u003e. Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams were by this point so far inside each other's playing that they decided to test it. The band made a private pact to work against expectation, to answer anything predictable with its opposite, and the result is the sound of five musicians dismantling their own repertoire while it plays. This volume gathers four long performances from the second night: \"Walkin'\" and \"On Green Dolphin Street\" run past eleven minutes, \"So What\" past thirteen, and none of them stays where it starts. Tempos lurch, forms dissolve and reassemble, and Shorter and Hancock keep pushing to the edge of free playing without ever quite letting the song go. It is one of the most fearless things any Miles group put on tape.\u003c\/p\u003e\n\u003cp\u003eThe Plugged Nickel recordings sat mostly unreleased for a decade. CBS\/Sony in Japan issued them first, in 1976, across two volumes, before the complete run finally appeared as an eight-disc box in 1995. What the concerts capture is the quintet at a hinge point, months before it moved fully into the abstraction of the studio records that followed, still working through standards but treating them as raw material rather than songs to be honoured.\u003c\/p\u003e\n\u003cp\u003eThis is Volume One. This copy is the 1981 Japanese reissue on CBS\/Sony, part of the Miles 25 series, catalogue number 18AP 2067, with Japanese liner notes by Kiyoshi Koyama.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43866636386363,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7981.jpg?v=1785120254"},{"product_id":"miles-davis-quintet-miles-smiles-1973-japanese-cbs-sony-sx68-mark-ii-vinyl-lp","title":"Miles Davis Quintet - Miles Smiles (1973 Japanese CBS\/Sony SX68 Mark II Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Miles Davis Quintet - \u003cem\u003eMiles Smiles\u003c\/em\u003e | Vinyl LP - 1973 Japanese CBS\/Sony Reissue (SOPL 165, SX68 Mark II series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMiles Smiles\u003c\/em\u003e is where Miles Davis's second great quintet came fully into focus. By 1966 he had assembled a band of astonishing talent, Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass and the young Tony Williams on drums, and on this, their second studio album, they arrived at a way of playing that changed jazz. The music is loose and open, built less on fixed chord changes than on mood, motion and constant interaction. Hancock often drops his left hand entirely, leaving the harmony floating and ambiguous, while Williams pushes and pulls at the time and Shorter and Davis trade ideas that feel invented on the spot. \"Footprints\", Shorter's minor blues in waltz time, is the centrepiece in its definitive version, and it has been played by everyone since. \"Circle\" is a hushed ballad, \"Freedom Jazz Dance\" and \"Ginger Bread Boy\" are angular and funky, and the whole record has a quicksilver, questing quality. It is one of the defining albums of sixties jazz, the sound of five masters thinking as one.\u003c\/p\u003e\n\u003cp\u003eThis quintet, often just called the second great quintet to distinguish it from the fifties band with Coltrane, is now regarded as one of the finest groups in the history of the music, and \u003cem\u003eMiles Smiles\u003c\/em\u003e sits at its heart, alongside \u003cem\u003eE.S.P.\u003c\/em\u003e, \u003cem\u003eNefertiti\u003c\/em\u003e and the live recordings. Everyone in it went on to shape jazz for decades.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1973 Japanese reissue on CBS\/Sony, part of the SX68 Mark II series, one of the label's better mastering lines, catalogue number SOPL 165.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":44023521378363,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8276.jpg?v=1787279899"},{"product_id":"miles-davis-birth-of-the-cool-1980-japanese-capitol-mono-vinyl-lp","title":"Miles Davis - Birth Of The Cool (1980 Japanese Capitol Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eBirth Of The Cool\u003c\/em\u003e | Vinyl LP - 1980 Japanese Capitol Mono (ECJ-50050, Toshiba-EMI Ltd)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMiles Davis was twenty-two and lately out of Charlie Parker's quintet when he started turning up at Gil Evans's basement flat on West 55th Street, where a loose crew of modernists were working out a new idea. The plan was to shrink Claude Thornhill's big band down to nine pieces and keep its cool, blended sound. What they settled on was trumpet, trombone, French horn, tuba, alto and baritone sax, piano, bass and drums, the French horn and tuba giving the group a soft, rounded weight nobody else had. Across three sessions in 1949 and 1950 the nonet cut twelve sides for Capitol. It was an arranger's band above all, with charts from Mulligan, Evans, Lewis and Carisi. Mulligan's \"Jeru\" and \"Venus De Milo\", Evans's \"Boplicity\", Lewis's \"Move\" and \"Rouge\", Carisi's blues \"Israel\", all of it bebop's harmony pulled back into something unhurried and exact. Lee Konitz's dry alto and Max Roach's drums do a lot of the talking.\u003c\/p\u003e\n\u003cp\u003eNone of it sold. The singles slipped out over the next couple of years to shrugs from critics, and Capitol let Davis go. It took until 1957, when the sides were finally gathered onto a single twelve-inch LP, for the shape of the thing to come clear, and the title Capitol hung on it, Birth of the Cool, is the name that stuck to a whole movement. The players scattered Mulligan to his quartet with Chet Baker, Lewis to the Modern Jazz Quartet, Evans back alongside Miles for \u003cem\u003eMiles Ahead\u003c\/em\u003e, \u003cem\u003ePorgy and Bess\u003c\/em\u003e and \u003cem\u003eSketches of Spain\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is the 1980 Japanese pressing on Capitol's Jazz Great 1800 series, manufactured by Toshiba-EMI, in mono as the nonet was recorded, with the white obi, Swing Journal seal and Japanese insert. Liner notes are by Shoichi Yui.\u003c\/p\u003e","brand":"Capitol","offers":[{"title":"Default Title","offer_id":44024982143035,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8291.jpg?v=1787316918"}],"url":"https:\/\/lushliferecords.com.au\/collections\/miles-davis.oembed?page=2","provider":"Lush Life Records","version":"1.0","type":"link"}