The single line title appears on permutations of AE to AL on both sides, and the letter D paired with a much higher alpha like AD or AG. As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 50 years later, still sounds far ahead of its time. Of the rest, you pays your money you makes your choice, condition is king: mint, looks un-played, still-sealed, storage find, you know the spiel, just forget “insanely rare!

Here we hear a blowing session that matches him with fellow tenorist Harold Ashby in a program of loose originals. the depth and weight, the tone and texture, the tunefulness, the attack and decay of every single note. Anyway, back to the listening… here, the sense of realism again shines through in spades – microdynamics, intimacy of shape and colour. If a second press was in use, which seems likely, the opposite pairing was mounted in the second press. There are clusters around certain letters, for example 1AJ on Side 1 is found with Side 2 as 1AD, 1AE,1AF and 1AG.Apparently, the only channel fed through reverb plates was the centre channel, so any reverb was on this channel only and therefore depending on how that was mixed, it would considerably affect the overall sense of ambiance. That is 30 years of vinyl sales, guess an average 10,000 copies each year would mean total 300,000 vintage copies on vinyl. The interesting part is the lacquer numbers associated with two-eye edition, commencing with the tail end of the 1BA-1BL run, and the start of the 1CA – 1CL run. All of this becomes rather interesting and, when, listening to this tape, it becomes quite obvious – more on which later.

For example, you can hear this in the tremendous body and weight of the bass, and also the mixing of the centre channel with the left and right, which has a profound (and profoundly positive) effect of the space of the recording. LJC: so 1G and 1H would be the 2nd cut from Santa Maria) “That way they could easily keep track of how many replacements were needed for each plant. Like the recently reviewed Blue Train by John Coltrane, this release is from Hemiolia Records, a niche artisan Italian label which solely offers analogue titles. So much has been said and written about Miles Davis' Kind Of Blue, it's virtually impossible to summarize all the necessary info to the length of this page.Also, a slightly curious observation: the rear cover of the original vinyl release had the titles of the two tracks on side 2 swapped around (i. None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. I would certainly want to include ‘Kind Of Blue’, along with Dave Brubeck’s ‘Take Five’, plus some Horace Silver and Nancy Wilson, but I’m not a jazzer at heart, so I don’t feel able to start the thread. Consistently rated not just as one of the greatest jazz albums but as one of The greatest musical statements of the 20th century, its 46 minutes of improvisation and sophistication remain peerless.

Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Pietro confirmed that his source, the Ermitage production master, is in fact a first generation copy of the ‘back-up’ correct-speed original master. Stereo promos leapfrog the expected alphabetic progression jumping from E (5th cutting) to AE (16th cutting). Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley with Wyton Kelly playing piano on 'Freddy the Freeloader. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals.But, for me, there’s still something about the original which keeps pulling me back (which I find is often the case with ‘Audiophile’ reissues – but that’s a whole other conversation / ramble).