{"title":"Billy Cobham","description":null,"products":[{"product_id":"milt-jackson-sunflower","title":"\u003ctranscy\u003eMilt Jackson - Sunflower\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Jackson (vibes) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Milt Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\"\u003e[click here to see more vinyl featuring Milt Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddie Hubbard (trumpet, fluglehorn) \u003ca title=\"Vinyl featuring Freddie Hubbard\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock (piano) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" title=\"vinyl featuring Herbie Hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay Berliner (guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Ron Carter (bass) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Ralph MacDonald (percussion)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello : Alan Shulman, Charles McCracken, George Ricci\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Clarinet : George Marge\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEnglish Horn : George Marge, Phil Bodner, Romeo Penque\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute : George Marge, Phil Bodner, Romeo Penque \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarp : Margaret Ross \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOboe : Romeo Penque \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Piccolo Flute : Phil Bodner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolin : Charles Libove, David Nathien, Elliot Rosoff, Emanuel Green, Gene Orloff, Irving Spice, Joe Malin, Max Ellen, Paul Gershman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged and conducted by Don Sebesky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Van Gelder Studio, Englewood Cliffs, New Jersey on\u003c\/strong\u003e \u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eDecember 12 and 13, 1972.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced \u0026amp; engineered by Creed Taylor\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. For Someone I Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. What Are You Doing The Rest Of Your Life?\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. People Make The World Go Round\u003cbr data-mce-fragment=\"1\"\u003e2. Sunflower\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Recorded over two days in December of 1972 at Rudy Van Gelder's Englewood, New Jersey home studio, vibraphonist Milt Jackson's Sunflower is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. (And one of the finest offerings on the label.) With a core band consisting of Herbie Hancock (playing electric and acoustic piano), bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer\/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. Jackson's \"For Someone I Love,\" opens the five-tune set, with Berliner playing solo flamenco guitar before the vibes, trumpet, and elements from the chamber orchestra delicately, impressionistically color the background. It gradually moves into a languid, bluesy ballad that slowly gains in both texture and dynamic until the strings trill tensely. Hubbard and Hancock engage them in solos that gently swing out the tune. The reading of Michel Legrand's \"What Are You Doing for the Rest of Your Life\" is a gorgeous showcase for Jackson; his solo dominates the arrangement. Carter gets downright funky on his upright to introduce Thom Bell's \"People Make the World Go Round,\" and Hancock follows him on Rhodes. Jackson takes the melody, striking a layered contrast as Hubbard slips around all three playing an extension of the melody with requisite taste, fluidity, and taut phrasing. Hancock gets funky to the bone in his brief solo, as the vibes soar around and through his phrases. The title track is a Hubbard composition that floats and hovers with a Latin backbeat before shifting tempos as the solos begin. The expanded harmonic palette of trumpet with the reeds, woodwinds, and strings on the melody add an exotic textural palette for his solo. Jackson's \"SKJ\" closes the set with an old-school, swinging hard bop blues with barely detectable embellishments by Sebesky. While Sunflower sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty. [In 2011, Sunflower saw reissue as part of Sony's 40th Anniversary series celebrating CTI. It was remastered from the original two-track analog tapes in order to best capture the sound of the LP.] » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40707388866711,"sku":"PPAN CTI6024","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/milt-jackson-sunflower-audiosoundmusic-1.png?v=1719852053"},{"product_id":"ron-carter-all-blues","title":"\u003ctranscy\u003eRon Carter - All Blues\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRon Carter, bass \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003eJoe Henderson, tenor saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/joe-henderson\" title=\"vinyl featuring Joe Henderson\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Joe Henderson]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003eRoland Hanna, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/roland-hanna\" title=\"vinyl featuring Roland Hanna\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roland Hanna]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003eRichard Tee, electric piano (A3)\u003cbr\u003eBilly Cobham, drums, percussion\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eWritten by Ron Carter (A1, A2, A3, B1), Miles Davis (B2), Matt Dennis \u0026amp; TOm Adair (B3)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : CTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eRecorded at Van Gelder Studio, Englewood Cliffs, New Jersey, on October 24\u003csup\u003eth\u003c\/sup\u003e 1973 by Rudy Van Gelder\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Creed Taylor\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan\u003eRemastered by Ray Staff at\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan lang=\"EN-US\"\u003e \u003c\/span\u003e\u003cstrong\u003eAir Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv class=\"product-details__product-description\" id=\"productDescription\" itemprop=\"description\"\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. A Feeling\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Light Blue\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. 117 Special\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Rufus\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. All Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Will You Still Be Mine\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« One of bassist Ron Carter's better albums as a leader, this CTI LP features a very compact quartet comprised of tenor saxophonist Joe Henderson, pianist Roland Hanna (keyboardist Richard Tee sits in on one number), drummer Billy Cobham and Carter. All of the music (even the ballad \"Will You Still Be Mine?\") has a blues feeling although several are not really blues. However, the quality of the solos is high, and this date lives up to one's expectations. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\"Surprisingly, though, Ron Carter’s second CTI recording, \"All Blues\", fell well below the radar. It was hardly noticed when it was first issued in early 1974 (his 1973 CTI debut, \"Blues Farm\", which was hardly a hit, still remains better known). Interestingly, it’s probably among the best of the albums the bassist waxed for the CTI label between 1973 and 1976. This is due in no small measure to the commanding presence of tenor saxophonist Joe Henderson on ‘A Feeling’, ‘117 Special’, ‘Rufus’ and ‘All Blues’. Carter here also solidifies a simpatico musical kinship with pianist Roland Hanna, who he’d first played with on a European tour in 1969. Hanna is especially featured on the florid trio feature, ’Light Blue’ (not the Monk piece), as well as Carter’s bop-y ‘Rufus’ (not the Archie Shepp piece). Not surprisingly, Ron Carter dominates the proceedings, with his especially distinctive bass helming any number of attractive solo features (not to mention the overdubbed bass 'solo' of ‘Will You Be Mine’).\" - Doug Payne\/Jazzonline\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.54 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40716127731863,"sku":"CTI6037","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ron-carter-all-blues-audiosoundmusic-1.jpg?v=1719852106"},{"product_id":"stanley-clarke-school-days-translucent-golden-yellow-blue-swirl-vinyl","title":"\u003ctranscy\u003eStanley Clarke - School Days (Vinyle translucide avec des marques dorées, jaunes et bleues)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eStanley Clarke – electric bass guitar (A1,A3,B2,B3), vocals (A1,B3), handbells (A1), acoustic piano (A2, A3), piccolo bass guitar (A2-3, B3), humming (A3), acoustic bass (B1, B3), gong (B3), chimes (B3), arranger, conductor, producer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin – acoustic guitar (B1) \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Duke – keyboards (B3) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duke\" title=\"vinyl featuring George Duke\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duke\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring George Duke]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Gomez – electric guitar (A1, A3, B2), rhythm guitar (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIcarus Johnson – acoustic guitar (B3), electric guitar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Sancious – keyboards (A1), Minimoog (A2, A3), organ (A3), electric guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGerry Brown – drums (A1, A3), handbells (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham – drums (B3), Moog 1500 (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Gadd – drums (A2, B2) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\" title=\"vinyl featuring steve gadd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Steve Gadd]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Holland – percussion (A3), triangle (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Malone, Dave Taylor – trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJon Faddis, Alan Rubin, Lew Soloff – trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Chapin, John Clark, Peter Gordon, Wilmer Wise – horns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Aarons, Stewart Blumberg, George Bohanon, Buddy Childers, Robert Findley, Gary Grant, Lew McCreary, Jack Nimitz, William Peterson, Dalton Smith - brass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarilyn Baker, Thomas Buffum, David Campbell, Rollice Dale, Robert Dubow, Janice Gower, Karen Jones, Dennis Karmazyn, Gordon Marron, Lya Stern, Ron Strauss, Marcia Van Dyke, John Wittenberg – strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold Cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Translucent Golden Yellow \u0026amp; Blue Swirl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Nemperor Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 1976 at  Electric Lady Studios, New York City and A\u0026amp;M Studios, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ken Scott, Stanley Clarke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSchool Days\u003c\/li\u003e\n\u003cli\u003eQuiet Afternoon\u003c\/li\u003e\n\u003cli\u003eThe Dancer\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDesert Song\u003c\/li\u003e\n\u003cli\u003eHot Fun\u003c\/li\u003e\n\u003cli\u003eLife Is Just A Game\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Every pro electric-bass player and their mothers wore out the grooves of this record when it first came out, trying to cop Clarke's speedy, thundering, slapped-thumb bass licks. Yet ultimately, it was Clarke's rapidly developing compositional skills that made this album so listenable and so much fun for the rest of us, then and now. The title track not only contributed a killer riff to the bass vocabulary; it is a cunningly organized piece of music with a well-defined structure. Moreover, Clarke follows his calling card with two tunes that are even more memorable -- the sauntering ballad \"Quiet Afternoon\" and an ebullient, Brazilian percussion-laced number with a good string arrangement and a terrific groove, \"The Dancer.\" Clarke also brings out the standup bass for a soulful acoustic dialogue with John McLaughlin on \"Desert Song.\" Evidently enthused by their leader's material, David Sancious (keyboards) and Raymond Gomez (guitars) deliver some of their best solos on records -- and with George Duke on hand on one cut, you hear some preliminary flickerings of Clarke's ventures into the commercial sphere. But at this point in time, Clarke was triumphantly proving that it was possible to be both good and commercial at the same time.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Richard S. Ginell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,07 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40880361898135,"sku":"FRM 439 Translucent Golden Yellow \u0026 Blue Swirl","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stanley-clarke-school-days-translucent-golden-yellow-and-blue-swirl-vinyl-audiosoundmusic-1.jpg?v=1719853229"},{"product_id":"billy-cobham-total-eclipse","title":"Billy Cobham - Total Eclipse","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBilly Cobham – traps, timpani, acoustic piano on \"The Moon Ain't Made Of Green Cheese\" \u0026amp; \"Last Frontier\" \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-cobham\" title=\"audiophile vinyl featuring Billy Cobham\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl\/SACD featuring Billy Cobham]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Abercrombie – electric \u0026amp; ovation guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – flute, soprano \u0026amp; tenor saxes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Brecker – trumpet, flugelhorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Ferris – tenor \u0026amp; bass trombones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilcho Leviev – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlex Blake – electric bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Earle Johnson – congas on \"Solarization\" \u0026amp; \"Moon Germs\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSue Evans – marimba on \"Solarization\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCornell Dupree – first guitar solo on \"Moon Germs\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas GmbH in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1974 at Atlantic Recording Studios and at Electric Lady Studios, New York, N.Y. by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mixed at Scorpio \u0026amp; Trident Studios, London, England\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Billy Cobham \u0026amp; Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolarization: a) Solarization b) Second Phase c) Crescent Sun d) Voyage e) Solarization-Recapitulation\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLunarputians\u003c\/li\u003e\n\u003cli\u003eTotal Eclipse\u003c\/li\u003e\n\u003cli\u003eBandits\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMoon Germs\u003c\/li\u003e\n\u003cli\u003eThe Moon Ain't Made Of Green Cheese\u003c\/li\u003e\n\u003cli\u003eSea Of Tranquility\u003c\/li\u003e\n\u003cli\u003eLast Frontier\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This is Billy Cobham's third solo recording under his own name and is a fine follow-up to Crosswinds. The mini-suite \"Solarization\" not only showcases the band's technical abilities, but also Cobham's strong compositional skills. It also features a schizophrenic piano solo (\"Second Phase\") from the underrated pianist Milcho Leviev, who sounds like a mutation of Cecil Taylor and Bill Evans. The funky \"Moon Germs,\" on which John Abercrombie is pushed to inspiring new heights, became a Cobham classic. \"The Moon Ain't Made of Green Cheese\" is a beautiful flugelhorn solo by Randy Brecker backed by Cobham's debut on piano. The band stretches out on the lengthy \"Sea of Tranquility,\" while \"Last Frontier\" is a gratuitous drum solo. This recording is highly recommended as Cobham still sounds inspired. » AlMusic Review by Robert Taylor\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3.5 \/ 5 ,  Discogs : 4.02 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41041048633495,"sku":"SD 18121","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/billy-cobham-total-eclipse-audiosoundmusic-1.jpg?v=1719854077"},{"product_id":"miles-davis-a-tribute-to-jack-johnson-ultra-analog","title":"\u003ctranscy\u003eMiles Davis - A Tribute to Jack Johnson (Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis – trumpet \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin – electric guitar \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring john mclaughlin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock – organ \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Henderson – electric bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Grossman – soprano saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrock Peters – narration\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastered\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia Masterworks \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February 18 and April 7th 1970, \u003c\/strong\u003e\u003cstrong\u003eat Columbia Recording Studios B, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Arthur Kendy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRight Off\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eYesternow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eIf you have never experienced this staggeringly creative moment in Miles Davis's (and producer Teo Macero's) art played loud, with absolute clarity and unfettered transient-prowess, you might have only a partial understanding of what a god-walking-the-earth Miles Davis was. I am currently obsessed with this delirious musical construction because it reminds me that in order to make art at the highest levels, one must first give oneself permission to emancipate and explore the uncharted.\" Stereophile\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis' promise that he could form the \"greatest rock band you ever heard.\" Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, \"Right Off,\" the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Davis; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Davis rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock \u0026amp; roll jazz. The groove gets nastier and nastier as the track carries on and never quits, though there are insertions by Macero of two Davis takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On \"Yesternow,\" the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Davis, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's \"Say It Loud, I'm Black and I'm Proud.\" The material that eases the first half of the tune into the second is taken from \"Shhh\/Peaceful,\" from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of \"Right Off.\" It gets more complex as the original lineup is dubbed back in with a section from Davis' tune \"Willie Nelson,\" another part of the ambient section of \"Right Off,\" and an orchestral bit of \"The Man Nobody Saw\" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Thom Jurek\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,64 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41081699205271,"sku":"MFSL1-440","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-a-tribute-to-jack-johnson-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854217"},{"product_id":"miles-davis-bitches-brew","title":"\u003ctranscy\u003eMiles Davis - Bitches Brew (2LP, 45 tours, Coffret, 1STEP, SuperVinyl)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, primary artist, trumpet \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Shorter, soprano saxophone \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wayne Shorter]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Maupin, bass clarinet \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bennie-maupin\" title=\"Vinyl featuring Bennie Maupin\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bennie Maupin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack DeJohnette, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin, guitar, electric guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Holland, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarvey Brooks, bass, electric bass, bass guitar, electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAirto Moreira, cuica, percussion \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Airto Moreira\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/airto-moreira\"\u003e[click here to see more vinyl featuring Airto Moreira]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Alias, congas, drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJumma Santos, congas, percussion, shaker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny White, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChick Corea, electric piano \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Chick Corea\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Chick Corea]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Young, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Zawinul, organ, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Riley, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis (B1, C1-2, D1), Joe Zawinul (A1), Wayne Shorter (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 19–21, 1969 at Columbia Studio B, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ray Moore, Stan Tonkel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo be reissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePharaoh’s Dance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBitches Brew\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Key\u003c\/li\u003e\n\u003cli\u003eJohn McLaughlin\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMiles Runs the Voodoo Down\u003c\/li\u003e\n\u003cli\u003eSanctuary\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 95\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1971 Grammy Award for Best Large Jazz Ensemble Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncluded in the 1000 Recordings You Must Hear Before You Die - Ranked 177\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. \"Pharaoh's Dance\" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on \"Spanish Key.\" Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief \"John McLaughlin,\" featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar \"Miles Runs the Voodoo Down,\" reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with \"Sanctuary,\" completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century.” AllMusic Brew Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e: Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,6 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42239362007290,"sku":"MFSL33UD1S-039","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-bitches-brew-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719857207"},{"product_id":"billy-cobham-spectrum-translucent-blue-vinyl","title":"\u003ctranscy\u003eBilly Cobham - Spectrum (Vinyle translucide bleu)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham - drums, percussion, production \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-cobham\" title=\"audiophile vinyl featuring Billy Cobham\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl\/SACD featuring Billy Cobham]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Bolin (A1, A5, B1, B5) - guitar, Echoplex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJan Hammer - electric and acoustic pianos, Moog synthesizer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Sklar - electric bass (A1, A5, B1, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Farrell (A3, B3) - soprano and alto saxes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Owens (A3, B3) - flugelhorn, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Tropea - guitar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter - acoustic bass (A3, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Barretto – congas (A3, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll songs written and composed by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, \u003c\/strong\u003e\u003cstrong\u003eGatefold Cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Translucent Blue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May 14–May 16, 1973 at Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed at Trident Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ken Scott (recording and re-mix engineering)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in October 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in March 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eQuadrant 4\u003c\/li\u003e\n\u003cli\u003eSearching For The Right Door\u003c\/li\u003e\n\u003cli\u003eSpectrum\u003c\/li\u003e\n\u003cli\u003eAnxiety\u003c\/li\u003e\n\u003cli\u003eTaurian Matador\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStratus\u003c\/li\u003e\n\u003cli\u003eTo The Women In My Life\u003c\/li\u003e\n\u003cli\u003eLe Lis\u003c\/li\u003e\n\u003cli\u003eSnoopy's Search\u003c\/li\u003e\n\u003cli\u003eRed Baron\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include \"Red Baron\") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Miles Davis, The Mahavishnu Orchestra... this American drummer was the first to fuse jazz with rock and, with his debut solo album, the first to take this freshly forged genre into the charts. His percussion powered one of Massive Attack's smash hits too...\u003c\/p\u003e\n\u003cp\u003eWilliam E Cobham Jr was born in Colón on the Caribbean coast of Panama in 1944. His mother was a singer and his father worked as a hospital statistician, but he also played piano at weekends. As such, Billy grew up listening to jazz, classical and Latin music.\u003c\/p\u003e\n\u003cp\u003eIn 1947 the family decamped to Brooklyn, New York, where, aged just four, the young Cobham began drumming, making his live debut at the ripe old age of eight when his father's drummer failed to turn up.\u003c\/p\u003e\n\u003cp\u003eAt the age of 14, Cobham passed an audition for New York's High School Of Music And Art. He was drafted into the US army in 1965 and his musical skills gave him the option of playing in an army band rather than going into combat.\u003c\/p\u003e\n\u003cp\u003eDreams Are Made\u003c\/p\u003e\n\u003cp\u003eIn 1968 Cobham secured his first jazz gig, in legendary pianist Horace Silver's trio, and thereafter his career really took off. He was an in-demand session player and formed the jazz-rock band Dreams in 1970 with horn players Michael and Randy Brecker and guitarist John Abercrombie.\u003c\/p\u003e\n\u003cp\u003eHowever, his big break came with Miles Davis. He played on the sessions for 1970's epochal jazz-rock album Bitches Brew – appearing on 'Felo', an outtake released on the 1999 reissue – and on Live-Evil and Jack Johnson (both recorded in 1970 but released in 1971).\u003c\/p\u003e\n\u003cp\u003e'[Miles] was a strong manager of musicians', Cobham said in 2014. 'He knew who to put with whom to play what. It was probably the biggest lesson I learnt: just watching how he shuffled around the pawns, to get the effect he was looking for.'\u003c\/p\u003e\n\u003cp\u003eAlthough Cobham only played briefly with Miles it was a particularly important time as it was at the sessions he met guitarist John McLaughlin. In 1971 the drummer played on McLaughlin's eastern-inspired acoustic album My Goal's Beyond with violinist Jerry Goodman. With the addition of Jan Hammer on keyboards and Rick Laird on bass guitar, this lineup grew into The Mahavishnu Orchestra.\u003c\/p\u003e\n\u003cp\u003eAs with most music that becomes influential, the musicians involved are too busy making it to reflect on how it might fit into the history – or future – of music. These were the early days of jazz-fusion or jazz-rock and Cobham has since admitted that although he liked the band's music he doubted anyone else would.\u003c\/p\u003e\n\u003cp\u003eBitches Brew still sounds unique and difficult to classify today; it was coming from jazz, but infused with rock and funk elements. And while the music had been guided by Miles Davis's imperious and enigmatic presence, in The Mahavishnu Orchestra the feeling was more of exploration as a group of peers.\u003c\/p\u003e\n\u003cp\u003eExplosive Breaks\u003c\/p\u003e\n\u003cp\u003eTheir debut LP, The Inner Mounting Flame, which arrived in 1971, was music that had come from jazz but was going right over into rock territory, and in terms of musicianship the group raised the bar beyond the reach of most. 'Mahavishnu' was the name McLaughlin adopted as a disciple of Indian spiritual leader Sri Chinmoy. The guitarist – who took to wearing all white – pointed his guitar heavenwards and played ecstatically and at thrilling velocity with a searing, distorted tone.\u003c\/p\u003e\n\u003cp\u003eGalvanised by this new company, Cobham developed his drum style by taking the swing and rhythmic invention of jazz and imbuing it with the power of rock, his playing punctuated by explosive breaks. The band exuded an air of spirituality but played with a visceral intensity that was rare in either rock or jazz. There hadn't been anything quite like it before and McLaughlin and Cobham, in particular, spawned many imitators. Yet few musicians ever managed to achieve their level of inspired virtuosity.\u003c\/p\u003e\n\u003cp\u003eToo Dangerous\u003c\/p\u003e\n\u003cp\u003eIn 1971, Ken Scott was working as an engineer with producer Gus Dudgeon on Elton John's Honky Chateau and Elton was enthusing about The Inner Mounting Flame. Scott didn't really get it to start with, but when The Mahavishnu Orchestra asked him to engineer their second album Birds Of Fire, at Trident studios in London in 1972, he gave the album a serious re-listen and was converted. 'It blew my mind – the energy, just everything about it', he said later. 'That energy continued all the way through, it almost became too dangerous for them.'\u003c\/p\u003e\n\u003cp\u003eThe group only lasted for about two-and-a-half years and Cobham has noted that while the musicians were drawn to each other like 'magnets' and produced some extraordinary music, they didn't have a great deal in common as people. And when disputes arose about McLaughlin taking all the compositional credit, the atmosphere became toxic.\u003c\/p\u003e\n\u003cp\u003eCobham realised that McLaughlin was going to dissolve the group and so he had secured a solo deal with Atlantic, assembling a band around himself and Jan Hammer, with Scott again asked to engineer. He describes his mood as one of desperation and that he needed to make an album that could at least be a 'calling card' for his abilities.\u003c\/p\u003e\n\u003cp\u003eFlying High\u003c\/p\u003e\n\u003cp\u003e'It was a natural transition for me', Cobham would say about his approach on Spectrum. 'We heard very strongly and very equally the rock 'n' roll situation as it tied into classic jazz. So it was very easy to combine the two if you were comfortable. And that's all it is. Fusion is a melting pot of different ideas that stem from what is considered jazz.'\u003c\/p\u003e\n\u003cp\u003eAnd the stylistic fusion essentially came from the players Cobham had assembled. On bass was the talented session musician Lee Sklar and the rock element was provided by 21-year-old guitarist Tommy Bolin, a flash, flamboyant player who Cobham had first met in 1969, and who had recently joined The James Gang.\u003c\/p\u003e\n\u003cp\u003eAs Lee Sklar said: 'There was a sort of fire in it. It was new ground and it wasn't very analytical. It was more flying by the seat of your pants'.\u003c\/p\u003e\n\u003cp\u003eThe rockier tracks on Spectrum on which Bolin lets fly in spectacular fashion include 'Quadrant 4' and 'Taurian Matador', but Cobham showed himself to be a talented arranger and melodic writer across a number of musical styles.\u003c\/p\u003e\n\u003cp\u003eOn The Attack\u003c\/p\u003e\n\u003cp\u003eThe title track is based on an intricate shuffle rhythm with Miles Davis alumnus Ron Carter on bass and some delicious horn arrangements. Then there's 'Le Lis', which has a sinewy Latin groove garnished by Joe Farrell's flute melodies. 'To The Women In My Life', on the other hand, is a lyrical piano vignette written by Cobham but played by Hammer.\u003c\/p\u003e\n\u003cp\u003eBut the most famous track on Spectrum is 'Stratus', which rides out on Sklar's cyclical bass line over which Cobham plays a silky funk groove punctuated by spectacular drum breaks, with each beat delivered at mind-boggling speed.\u003c\/p\u003e\n\u003cp\u003eWhen Cobham was interviewed in 2018 and quizzed about the number of times his music had been sampled, he seemed to have no idea that there were over 100 instances. 'I'm pretty comfortable with it', he replied, 'it's like involuntary advertising'. The most famous example of this is Massive Attack's 1991 international hit single 'Safe From Harm', on which the bass and drums on 'Stratus' are sampled and looped to fine effect.\u003c\/p\u003e\n\u003cp\u003eYet some pundits at the time criticised Cobham's playing for being too upfront, implying a drummer should know their place. 'I went, \"No, this is me. Like it or lump it\"', he told the FT in 2014.\u003c\/p\u003e\n\u003cp\u003eInitially Cobham wondered if Spectrum might sell only 500 units, but it became the first drummer-led album to reach No 1 in the Billboard jazz charts. More surprisingly for an instrumental fusion album it hit No 26 in the Hot 200, and endures to this day as a classic of its genre.” Mike Barnes, hi-finews, 17, 2022\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.35 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42657993556218,"sku":"FRM-7268 Blue","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/billy-cobham-spectrum-translucent-blue-vinyl-audiosoundmusic-1.jpg?v=1719858778"},{"product_id":"billy-cobham-spectrum-translucent-red-vinyl","title":"\u003ctranscy\u003eBilly Cobham - Spectrum (Vinyle translucide rouge)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham - drums, percussion, production \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-cobham\" title=\"audiophile vinyl featuring Billy Cobham\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl\/SACD featuring Billy Cobham]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Bolin (A1, A5, B1, B5) - guitar, Echoplex \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Tommy Bolin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\"\u003e[click here to see other vinyl featuring Tommy Bolin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJan Hammer - electric and acoustic pianos, Moog synthesizer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Sklar - electric bass (A1, A5, B1, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Farrell (A3, B3) - soprano and alto saxes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Owens (A3, B3) - flugelhorn, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Tropea - guitar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter - acoustic bass (A3, B3) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Barretto – congas (A3, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll songs written and composed by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, \u003c\/strong\u003e\u003cstrong\u003eGatefold Cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Translucent Red\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May 14–May 16, 1973 at Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed at Trident Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ken Scott (recording and re-mix engineering)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in October 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in February 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eQuadrant 4\u003c\/li\u003e\n\u003cli\u003eSearching For The Right Door\u003c\/li\u003e\n\u003cli\u003eSpectrum\u003c\/li\u003e\n\u003cli\u003eAnxiety\u003c\/li\u003e\n\u003cli\u003eTaurian Matador\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStratus\u003c\/li\u003e\n\u003cli\u003eTo The Women In My Life\u003c\/li\u003e\n\u003cli\u003eLe Lis\u003c\/li\u003e\n\u003cli\u003eSnoopy's Search\u003c\/li\u003e\n\u003cli\u003eRed Baron\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include \"Red Baron\") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“Miles Davis, The Mahavishnu Orchestra... this American drummer was the first to fuse jazz with rock and, with his debut solo album, the first to take this freshly forged genre into the charts. His percussion powered one of Massive Attack's smash hits too...\u003c\/p\u003e\n\u003cp\u003eWilliam E Cobham Jr was born in Colón on the Caribbean coast of Panama in 1944. His mother was a singer and his father worked as a hospital statistician, but he also played piano at weekends. As such, Billy grew up listening to jazz, classical and Latin music.\u003c\/p\u003e\n\u003cp\u003eIn 1947 the family decamped to Brooklyn, New York, where, aged just four, the young Cobham began drumming, making his live debut at the ripe old age of eight when his father's drummer failed to turn up.\u003c\/p\u003e\n\u003cp\u003eAt the age of 14, Cobham passed an audition for New York's High School Of Music And Art. He was drafted into the US army in 1965 and his musical skills gave him the option of playing in an army band rather than going into combat.\u003c\/p\u003e\n\u003cp\u003eDreams Are Made\u003c\/p\u003e\n\u003cp\u003eIn 1968 Cobham secured his first jazz gig, in legendary pianist Horace Silver's trio, and thereafter his career really took off. He was an in-demand session player and formed the jazz-rock band Dreams in 1970 with horn players Michael and Randy Brecker and guitarist John Abercrombie.\u003c\/p\u003e\n\u003cp\u003eHowever, his big break came with Miles Davis. He played on the sessions for 1970's epochal jazz-rock album Bitches Brew – appearing on 'Felo', an outtake released on the 1999 reissue – and on Live-Evil and Jack Johnson (both recorded in 1970 but released in 1971).\u003c\/p\u003e\n\u003cp\u003e'[Miles] was a strong manager of musicians', Cobham said in 2014. 'He knew who to put with whom to play what. It was probably the biggest lesson I learnt: just watching how he shuffled around the pawns, to get the effect he was looking for.'\u003c\/p\u003e\n\u003cp\u003eAlthough Cobham only played briefly with Miles it was a particularly important time as it was at the sessions he met guitarist John McLaughlin. In 1971 the drummer played on McLaughlin's eastern-inspired acoustic album My Goal's Beyond with violinist Jerry Goodman. With the addition of Jan Hammer on keyboards and Rick Laird on bass guitar, this lineup grew into The Mahavishnu Orchestra.\u003c\/p\u003e\n\u003cp\u003eAs with most music that becomes influential, the musicians involved are too busy making it to reflect on how it might fit into the history – or future – of music. These were the early days of jazz-fusion or jazz-rock and Cobham has since admitted that although he liked the band's music he doubted anyone else would.\u003c\/p\u003e\n\u003cp\u003eBitches Brew still sounds unique and difficult to classify today; it was coming from jazz, but infused with rock and funk elements. And while the music had been guided by Miles Davis's imperious and enigmatic presence, in The Mahavishnu Orchestra the feeling was more of exploration as a group of peers.\u003c\/p\u003e\n\u003cp\u003eExplosive Breaks\u003c\/p\u003e\n\u003cp\u003eTheir debut LP, The Inner Mounting Flame, which arrived in 1971, was music that had come from jazz but was going right over into rock territory, and in terms of musicianship the group raised the bar beyond the reach of most. 'Mahavishnu' was the name McLaughlin adopted as a disciple of Indian spiritual leader Sri Chinmoy. The guitarist – who took to wearing all white – pointed his guitar heavenwards and played ecstatically and at thrilling velocity with a searing, distorted tone.\u003c\/p\u003e\n\u003cp\u003eGalvanised by this new company, Cobham developed his drum style by taking the swing and rhythmic invention of jazz and imbuing it with the power of rock, his playing punctuated by explosive breaks. The band exuded an air of spirituality but played with a visceral intensity that was rare in either rock or jazz. There hadn't been anything quite like it before and McLaughlin and Cobham, in particular, spawned many imitators. Yet few musicians ever managed to achieve their level of inspired virtuosity.\u003c\/p\u003e\n\u003cp\u003eToo Dangerous\u003c\/p\u003e\n\u003cp\u003eIn 1971, Ken Scott was working as an engineer with producer Gus Dudgeon on Elton John's Honky Chateau and Elton was enthusing about The Inner Mounting Flame. Scott didn't really get it to start with, but when The Mahavishnu Orchestra asked him to engineer their second album Birds Of Fire, at Trident studios in London in 1972, he gave the album a serious re-listen and was converted. 'It blew my mind – the energy, just everything about it', he said later. 'That energy continued all the way through, it almost became too dangerous for them.'\u003c\/p\u003e\n\u003cp\u003eThe group only lasted for about two-and-a-half years and Cobham has noted that while the musicians were drawn to each other like 'magnets' and produced some extraordinary music, they didn't have a great deal in common as people. And when disputes arose about McLaughlin taking all the compositional credit, the atmosphere became toxic.\u003c\/p\u003e\n\u003cp\u003eCobham realised that McLaughlin was going to dissolve the group and so he had secured a solo deal with Atlantic, assembling a band around himself and Jan Hammer, with Scott again asked to engineer. He describes his mood as one of desperation and that he needed to make an album that could at least be a 'calling card' for his abilities.\u003c\/p\u003e\n\u003cp\u003eFlying High\u003c\/p\u003e\n\u003cp\u003e'It was a natural transition for me', Cobham would say about his approach on Spectrum. 'We heard very strongly and very equally the rock 'n' roll situation as it tied into classic jazz. So it was very easy to combine the two if you were comfortable. And that's all it is. Fusion is a melting pot of different ideas that stem from what is considered jazz.'\u003c\/p\u003e\n\u003cp\u003eAnd the stylistic fusion essentially came from the players Cobham had assembled. On bass was the talented session musician Lee Sklar and the rock element was provided by 21-year-old guitarist Tommy Bolin, a flash, flamboyant player who Cobham had first met in 1969, and who had recently joined The James Gang.\u003c\/p\u003e\n\u003cp\u003eAs Lee Sklar said: 'There was a sort of fire in it. It was new ground and it wasn't very analytical. It was more flying by the seat of your pants'.\u003c\/p\u003e\n\u003cp\u003eThe rockier tracks on Spectrum on which Bolin lets fly in spectacular fashion include 'Quadrant 4' and 'Taurian Matador', but Cobham showed himself to be a talented arranger and melodic writer across a number of musical styles.\u003c\/p\u003e\n\u003cp\u003eOn The Attack\u003c\/p\u003e\n\u003cp\u003eThe title track is based on an intricate shuffle rhythm with Miles Davis alumnus Ron Carter on bass and some delicious horn arrangements. Then there's 'Le Lis', which has a sinewy Latin groove garnished by Joe Farrell's flute melodies. 'To The Women In My Life', on the other hand, is a lyrical piano vignette written by Cobham but played by Hammer.\u003c\/p\u003e\n\u003cp\u003eBut the most famous track on Spectrum is 'Stratus', which rides out on Sklar's cyclical bass line over which Cobham plays a silky funk groove punctuated by spectacular drum breaks, with each beat delivered at mind-boggling speed.\u003c\/p\u003e\n\u003cp\u003eWhen Cobham was interviewed in 2018 and quizzed about the number of times his music had been sampled, he seemed to have no idea that there were over 100 instances. 'I'm pretty comfortable with it', he replied, 'it's like involuntary advertising'. The most famous example of this is Massive Attack's 1991 international hit single 'Safe From Harm', on which the bass and drums on 'Stratus' are sampled and looped to fine effect.\u003c\/p\u003e\n\u003cp\u003eYet some pundits at the time criticised Cobham's playing for being too upfront, implying a drummer should know their place. 'I went, \"No, this is me. Like it or lump it\"', he told the FT in 2014.\u003c\/p\u003e\n\u003cp\u003eInitially Cobham wondered if Spectrum might sell only 500 units, but it became the first drummer-led album to reach No 1 in the Billboard jazz charts. More surprisingly for an instrumental fusion album it hit No 26 in the Hot 200, and endures to this day as a classic of its genre.” Mike Barnes, hi-finews, 17, 2022\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.35 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42658363474170,"sku":"FRM-7268 Red","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/billy-cobham-spectrum-translucent-red-vinyl-audiosoundmusic-1.jpg?v=1719858805"},{"product_id":"miles-davis-bitches-brew-2lp","title":"Miles Davis - Bitches Brew (2LP)","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, primary artist, trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Shorter, soprano saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wayne Shorter]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Maupin, bass clarinet \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bennie-maupin\" title=\"Vinyl featuring Bennie Maupin\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bennie Maupin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack DeJohnette, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin, guitar, electric guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Holland, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarvey Brooks, bass, electric bass, bass guitar, electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAirto Moreira, cuica, percussion \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Airto Moreira\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/airto-moreira\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/airto-moreira\"\u003e[click here to see more vinyl featuring Airto Moreira]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Alias, congas, drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJumma Santos, congas, percussion, shaker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny White, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChick Corea, electric piano \u003ca title=\"Vinyl featuring Chick Corea\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Chick Corea]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Young, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Zawinul, organ, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Riley, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis (B1, C1-2, D1), Joe Zawinul (A1), Wayne Shorter (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 19–21, 1969 at Columbia Studio B, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ray Moore, Stan Tonkel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo be reissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePharaoh’s Dance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBitches Brew\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Key\u003c\/li\u003e\n\u003cli\u003eJohn McLaughlin\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMiles Runs the Voodoo Down\u003c\/li\u003e\n\u003cli\u003eSanctuary\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 87\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1971 Grammy Award for Best Large Jazz Ensemble Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncluded in the 1000 Recordings You Must Hear Before You Die - Ranked 177\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. \"Pharaoh's Dance\" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on \"Spanish Key.\" Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief \"John McLaughlin,\" featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar \"Miles Runs the Voodoo Down,\" reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with \"Sanctuary,\" completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century.” AllMusic Brew Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,77 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":44094981767418,"sku":"MFSL 2-439","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-bitches-brew-2lp-audiosoundmusic-1.jpg?v=1719861072"},{"product_id":"miles-davis-a-tribute-to-jack-johnson-supervinyl","title":"Miles Davis - A Tribute to Jack Johnson (SuperVinyl)","description":"\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis – trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin – electric guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock – organ \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" title=\"vinyl featuring Herbie Hancock\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Henderson – electric bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Grossman – soprano saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrock Peters – narration\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket \u003c\/strong\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eprinted by Stoughton Printing\u003c\/span\u003e  \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia Masterworks \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February 18 and April 7th 1970, \u003c\/strong\u003e\u003cstrong\u003eat Columbia Recording Studios B, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Arthur Kendy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRight Off\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eYesternow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eIf you have never experienced this staggeringly creative moment in Miles Davis's (and producer Teo Macero's) art played loud, with absolute clarity and unfettered transient-prowess, you might have only a partial understanding of what a god-walking-the-earth Miles Davis was. I am currently obsessed with this delirious musical construction because it reminds me that in order to make art at the highest levels, one must first give oneself permission to emancipate and explore the uncharted.\" Stereophile\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis' promise that he could form the \"greatest rock band you ever heard.\" Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, \"Right Off,\" the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Davis; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Davis rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock \u0026amp; roll jazz. The groove gets nastier and nastier as the track carries on and never quits, though there are insertions by Macero of two Davis takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On \"Yesternow,\" the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Davis, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's \"Say It Loud, I'm Black and I'm Proud.\" The material that eases the first half of the tune into the second is taken from \"Shhh\/Peaceful,\" from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of \"Right Off.\" It gets more complex as the original lineup is dubbed back in with a section from Davis' tune \"Willie Nelson,\" another part of the ambient section of \"Right Off,\" and an orchestral bit of \"The Man Nobody Saw\" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Thom Jurek\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,64 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48846061044047,"sku":"MFSL 1-516SV","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/miles-davis-a-tribute-to-jack-johnson-supervinyl-audiosoundmusic.jpg?v=1719864136"},{"product_id":"miles-davis-bitches-brew-hybrid-sacd","title":"Miles Davis - Bitches Brew (2 Hybrid SACD, UltraDisc UHR)","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, primary artist, trumpet \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more Vinyl \/ SACD featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Shorter, soprano saxophone \u003ca title=\"vinyl featuring Wayne Shorter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more Vinyl \/ SACD  \u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003efeaturing Wayne Shorter]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Maupin, bass clarinet \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Bennie Maupin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bennie-maupin\"\u003e[click here to see more Vinyl \/ SACD featuring Bennie Maupin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack DeJohnette, drums \u003ca title=\"vinyl featuring Jack Dejohnette\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more Vinyl \/ SACD featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin, guitar, electric guitar \u003ca title=\"vinyl featuring john mclaughlin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more Vinyl \/ SACD featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Holland, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarvey Brooks, bass, electric bass, bass guitar, electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAirto Moreira, cuica, percussion \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/airto-moreira\" title=\"Vinyl featuring Airto Moreira\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more Vinyl \/ SACD featuring Airto Moreira]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Alias, congas, drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJumma Santos, congas, percussion, shaker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny White, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChick Corea, electric piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\" title=\"Vinyl featuring Chick Corea\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more Vinyl \/ SACD featuring Chick Corea]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Young, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Zawinul, organ, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Riley, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis, Joe Zawinul, Wayne Shorter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 Hybrid SACD, UltraDisc UHR, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 19–21, 1969 at Columbia Studio B, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ray Moore, Stan Tonkel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo be reissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc 1\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePharaoh’s Dance\u003c\/li\u003e\n\u003cli\u003eBitches Brew\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eDisc 2\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Key\u003c\/li\u003e\n\u003cli\u003eJohn McLaughlin\u003c\/li\u003e\n\u003cli\u003eMiles Runs the Voodoo Down\u003c\/li\u003e\n\u003cli\u003eSanctuary\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 87\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1971 Grammy Award for Best Large Jazz Ensemble Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncluded in the 1000 Recordings You Must Hear Before You Die - Ranked 177\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. \"Pharaoh's Dance\" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on \"Spanish Key.\" Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief \"John McLaughlin,\" featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar \"Miles Runs the Voodoo Down,\" reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with \"Sanctuary,\" completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century.” AllMusic Brew Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eUltra High-Resolution (UHR)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,77 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49478781370703,"sku":"UDSACD 2-2149","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2024-08-16a12.58.56.png?v=1723831237"},{"product_id":"billy-cobham-total-eclipse-test-pressing","title":"Billy Cobham - Total Eclipse (Test Pressing)","description":"\u003ch3\u003e\n\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eTest pressing - Rarity - Unsealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBilly Cobham – traps, timpani, acoustic piano on \"The Moon Ain't Made Of Green Cheese\" \u0026amp; \"Last Frontier\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Abercrombie – electric \u0026amp; ovation guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – flute, soprano \u0026amp; tenor saxes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Brecker – trumpet, flugelhorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Ferris – tenor \u0026amp; bass trombones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilcho Leviev – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlex Blake – electric bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Earle Johnson – congas on \"Solarization\" \u0026amp; \"Moon Germs\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSue Evans – marimba on \"Solarization\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCornell Dupree – first guitar solo on \"Moon Germs\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, \u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003cstrong\u003eTest pressing sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited Edition (\u003cmeta charset=\"utf-8\"\u003eTest Pressing only 30 records pressed)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas GmbH in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1974 at Atlantic Recording Studios and at Electric Lady Studios, New York, N.Y. by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mixed at Scorpio \u0026amp; Trident Studios, London, England\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Billy Cobham \u0026amp; Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolarization: a) Solarization b) Second Phase c) Crescent Sun d) Voyage e) Solarization-Recapitulation\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLunarputians\u003c\/li\u003e\n\u003cli\u003eTotal Eclipse\u003c\/li\u003e\n\u003cli\u003eBandits\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMoon Germs\u003c\/li\u003e\n\u003cli\u003eThe Moon Ain't Made Of Green Cheese\u003c\/li\u003e\n\u003cli\u003eSea Of Tranquility\u003c\/li\u003e\n\u003cli\u003eLast Frontier\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This is Billy Cobham's third solo recording under his own name and is a fine follow-up to Crosswinds. The mini-suite \"Solarization\" not only showcases the band's technical abilities, but also Cobham's strong compositional skills. It also features a schizophrenic piano solo (\"Second Phase\") from the underrated pianist Milcho Leviev, who sounds like a mutation of Cecil Taylor and Bill Evans. The funky \"Moon Germs,\" on which John Abercrombie is pushed to inspiring new heights, became a Cobham classic. \"The Moon Ain't Made of Green Cheese\" is a beautiful flugelhorn solo by Randy Brecker backed by Cobham's debut on piano. The band stretches out on the lengthy \"Sea of Tranquility,\" while \"Last Frontier\" is a gratuitous drum solo. This recording is highly recommended as Cobham still sounds inspired. » AllMusic Review by Robert Taylor\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3.5 \/ 5 ,  Discogs : 4.02 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":54601729311055,"sku":"ATLANTIC SD 18121","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Capture_d_ecran_2025-03-14_a_16.25.50.png?v=1741966045"},{"product_id":"billy-cobham-spectrum-2lp-45rpm","title":"\u003ctc\u003eBilly Cobham - Spectrum (2LP, 45 tours)\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham - drums, percussion, production \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-cobham\" title=\"audiophile vinyl featuring Billy Cobham\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl\/SACD featuring Billy Cobham]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Bolin (A1, A5, B1, B5) - guitar, Echoplex \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\" title=\"Vinyl featuring Tommy Bolin\" style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Tommy Bolin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJan Hammer - electric and acoustic pianos, Moog synthesizer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Sklar - electric bass (A1, A5, B1, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Farrell (A3, B3) - soprano and alto saxes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Owens (A3, B3) - flugelhorn, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Tropea - guitar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter - acoustic bass (A3, B3) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Barretto – congas (A3, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll songs written and composed by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LPs, gatefold jacket printed by \u003c\/strong\u003e\u003cstrong\u003eStoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 2,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions - Atlantic 75 series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May 14–May 16, 1973 at Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed at Trident Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in October 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2025\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eQuadrant 4\u003cmeta charset=\"utf-8\"\u003e \u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSearching For The Right Door\u003c\/li\u003e\n\u003cli\u003eSpectrum\u003c\/li\u003e\n\u003cli\u003eAnxiety\u003c\/li\u003e\n\u003cli\u003eTaurian Matador\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStratus\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTo The Women In My Life\u003c\/li\u003e\n\u003cli\u003eLe Lis\u003c\/li\u003e\n\u003cli\u003eSnoopy's Search\u003c\/li\u003e\n\u003cli\u003eRed Baron\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include \"Red Baron\") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“Miles Davis, The Mahavishnu Orchestra... this American drummer was the first to fuse jazz with rock and, with his debut solo album, the first to take this freshly forged genre into the charts. His percussion powered one of Massive Attack's smash hits too...\u003c\/p\u003e\n\u003cp\u003eWilliam E Cobham Jr was born in Colón on the Caribbean coast of Panama in 1944. His mother was a singer and his father worked as a hospital statistician, but he also played piano at weekends. As such, Billy grew up listening to jazz, classical and Latin music.\u003c\/p\u003e\n\u003cp\u003eIn 1947 the family decamped to Brooklyn, New York, where, aged just four, the young Cobham began drumming, making his live debut at the ripe old age of eight when his father's drummer failed to turn up.\u003c\/p\u003e\n\u003cp\u003eAt the age of 14, Cobham passed an audition for New York's High School Of Music And Art. He was drafted into the US army in 1965 and his musical skills gave him the option of playing in an army band rather than going into combat.\u003c\/p\u003e\n\u003cp\u003eDreams Are Made\u003c\/p\u003e\n\u003cp\u003eIn 1968 Cobham secured his first jazz gig, in legendary pianist Horace Silver's trio, and thereafter his career really took off. He was an in-demand session player and formed the jazz-rock band Dreams in 1970 with horn players Michael and Randy Brecker and guitarist John Abercrombie.\u003c\/p\u003e\n\u003cp\u003eHowever, his big break came with Miles Davis. He played on the sessions for 1970's epochal jazz-rock album Bitches Brew – appearing on 'Felo', an outtake released on the 1999 reissue – and on Live-Evil and Jack Johnson (both recorded in 1970 but released in 1971).\u003c\/p\u003e\n\u003cp\u003e'[Miles] was a strong manager of musicians', Cobham said in 2014. 'He knew who to put with whom to play what. It was probably the biggest lesson I learnt: just watching how he shuffled around the pawns, to get the effect he was looking for.'\u003c\/p\u003e\n\u003cp\u003eAlthough Cobham only played briefly with Miles it was a particularly important time as it was at the sessions he met guitarist John McLaughlin. In 1971 the drummer played on McLaughlin's eastern-inspired acoustic album My Goal's Beyond with violinist Jerry Goodman. With the addition of Jan Hammer on keyboards and Rick Laird on bass guitar, this lineup grew into The Mahavishnu Orchestra.\u003c\/p\u003e\n\u003cp\u003eAs with most music that becomes influential, the musicians involved are too busy making it to reflect on how it might fit into the history – or future – of music. These were the early days of jazz-fusion or jazz-rock and Cobham has since admitted that although he liked the band's music he doubted anyone else would.\u003c\/p\u003e\n\u003cp\u003eBitches Brew still sounds unique and difficult to classify today; it was coming from jazz, but infused with rock and funk elements. And while the music had been guided by Miles Davis's imperious and enigmatic presence, in The Mahavishnu Orchestra the feeling was more of exploration as a group of peers.\u003c\/p\u003e\n\u003cp\u003eExplosive Breaks\u003c\/p\u003e\n\u003cp\u003eTheir debut LP, The Inner Mounting Flame, which arrived in 1971, was music that had come from jazz but was going right over into rock territory, and in terms of musicianship the group raised the bar beyond the reach of most. 'Mahavishnu' was the name McLaughlin adopted as a disciple of Indian spiritual leader Sri Chinmoy. The guitarist – who took to wearing all white – pointed his guitar heavenwards and played ecstatically and at thrilling velocity with a searing, distorted tone.\u003c\/p\u003e\n\u003cp\u003eGalvanised by this new company, Cobham developed his drum style by taking the swing and rhythmic invention of jazz and imbuing it with the power of rock, his playing punctuated by explosive breaks. The band exuded an air of spirituality but played with a visceral intensity that was rare in either rock or jazz. There hadn't been anything quite like it before and McLaughlin and Cobham, in particular, spawned many imitators. Yet few musicians ever managed to achieve their level of inspired virtuosity.\u003c\/p\u003e\n\u003cp\u003eToo Dangerous\u003c\/p\u003e\n\u003cp\u003eIn 1971, Ken Scott was working as an engineer with producer Gus Dudgeon on Elton John's Honky Chateau and Elton was enthusing about The Inner Mounting Flame. Scott didn't really get it to start with, but when The Mahavishnu Orchestra asked him to engineer their second album Birds Of Fire, at Trident studios in London in 1972, he gave the album a serious re-listen and was converted. 'It blew my mind – the energy, just everything about it', he said later. 'That energy continued all the way through, it almost became too dangerous for them.'\u003c\/p\u003e\n\u003cp\u003eThe group only lasted for about two-and-a-half years and Cobham has noted that while the musicians were drawn to each other like 'magnets' and produced some extraordinary music, they didn't have a great deal in common as people. And when disputes arose about McLaughlin taking all the compositional credit, the atmosphere became toxic.\u003c\/p\u003e\n\u003cp\u003eCobham realised that McLaughlin was going to dissolve the group and so he had secured a solo deal with Atlantic, assembling a band around himself and Jan Hammer, with Scott again asked to engineer. He describes his mood as one of desperation and that he needed to make an album that could at least be a 'calling card' for his abilities.\u003c\/p\u003e\n\u003cp\u003eFlying High\u003c\/p\u003e\n\u003cp\u003e'It was a natural transition for me', Cobham would say about his approach on Spectrum. 'We heard very strongly and very equally the rock 'n' roll situation as it tied into classic jazz. So it was very easy to combine the two if you were comfortable. And that's all it is. Fusion is a melting pot of different ideas that stem from what is considered jazz.'\u003c\/p\u003e\n\u003cp\u003eAnd the stylistic fusion essentially came from the players Cobham had assembled. On bass was the talented session musician Lee Sklar and the rock element was provided by 21-year-old guitarist Tommy Bolin, a flash, flamboyant player who Cobham had first met in 1969, and who had recently joined The James Gang.\u003c\/p\u003e\n\u003cp\u003eAs Lee Sklar said: 'There was a sort of fire in it. It was new ground and it wasn't very analytical. It was more flying by the seat of your pants'.\u003c\/p\u003e\n\u003cp\u003eThe rockier tracks on Spectrum on which Bolin lets fly in spectacular fashion include 'Quadrant 4' and 'Taurian Matador', but Cobham showed himself to be a talented arranger and melodic writer across a number of musical styles.\u003c\/p\u003e\n\u003cp\u003eOn The Attack\u003c\/p\u003e\n\u003cp\u003eThe title track is based on an intricate shuffle rhythm with Miles Davis alumnus Ron Carter on bass and some delicious horn arrangements. Then there's 'Le Lis', which has a sinewy Latin groove garnished by Joe Farrell's flute melodies. 'To The Women In My Life', on the other hand, is a lyrical piano vignette written by Cobham but played by Hammer.\u003c\/p\u003e\n\u003cp\u003eBut the most famous track on Spectrum is 'Stratus', which rides out on Sklar's cyclical bass line over which Cobham plays a silky funk groove punctuated by spectacular drum breaks, with each beat delivered at mind-boggling speed.\u003c\/p\u003e\n\u003cp\u003eWhen Cobham was interviewed in 2018 and quizzed about the number of times his music had been sampled, he seemed to have no idea that there were over 100 instances. 'I'm pretty comfortable with it', he replied, 'it's like involuntary advertising'. The most famous example of this is Massive Attack's 1991 international hit single 'Safe From Harm', on which the bass and drums on 'Stratus' are sampled and looped to fine effect.\u003c\/p\u003e\n\u003cp\u003eYet some pundits at the time criticised Cobham's playing for being too upfront, implying a drummer should know their place. 'I went, \"No, this is me. Like it or lump it\"', he told the FT in 2014.\u003c\/p\u003e\n\u003cp\u003eInitially Cobham wondered if Spectrum might sell only 500 units, but it became the first drummer-led album to reach No 1 in the Billboard jazz charts. More surprisingly for an instrumental fusion album it hit No 26 in the Hot 200, and endures to this day as a classic of its genre.” Mike Barnes, hi-finews, 17, 2022\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.35 \/ 5\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":55885857685839,"sku":"AAPA072-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Billy_Cobham_-_Spectrum_1.webp?v=1766773106"},{"product_id":"billy-cobham-spectrum-hybrid-sacd","title":"Billy Cobham - Spectrum (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham - drums, percussion, production \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-cobham\" title=\"audiophile vinyl featuring Billy Cobham\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl\/SACD featuring Billy Cobham]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Bolin (1, 5, 6, 10) - guitar, Echoplex \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\" title=\"Vinyl featuring Tommy Bolin\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl\/SACD featuring Tommy Bolin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJan Hammer - electric and acoustic pianos, Moog synthesizer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Sklar - electric bass (1, 5, 6, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Farrell (3, 8) - soprano and alto saxes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Owens (3, 8) - flugelhorn, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Tropea - guitar (8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter - acoustic bass (A3, 8) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Barretto – congas (3, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll songs written and composed by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e1 Hybrid SACD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions - Atlantic 75 series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May 14–May 16, 1973 at Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed at Trident Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Billy Cobham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in October 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2025\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eQuadrant 4\u003cmeta charset=\"utf-8\"\u003e \u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSearching For The Right Door\u003c\/li\u003e\n\u003cli\u003eSpectrum\u003c\/li\u003e\n\u003cli\u003eAnxiety\u003c\/li\u003e\n\u003cli\u003eTaurian Matador\u003c\/li\u003e\n\u003cli\u003eStratus\u003c\/li\u003e\n\u003cli\u003eTo The Women In My Life\u003c\/li\u003e\n\u003cli\u003eLe Lis\u003c\/li\u003e\n\u003cli\u003eSnoopy's Search\u003c\/li\u003e\n\u003cli\u003eRed Baron\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include \"Red Baron\") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“Miles Davis, The Mahavishnu Orchestra... this American drummer was the first to fuse jazz with rock and, with his debut solo album, the first to take this freshly forged genre into the charts. His percussion powered one of Massive Attack's smash hits too...\u003c\/p\u003e\n\u003cp\u003eWilliam E Cobham Jr was born in Colón on the Caribbean coast of Panama in 1944. His mother was a singer and his father worked as a hospital statistician, but he also played piano at weekends. As such, Billy grew up listening to jazz, classical and Latin music.\u003c\/p\u003e\n\u003cp\u003eIn 1947 the family decamped to Brooklyn, New York, where, aged just four, the young Cobham began drumming, making his live debut at the ripe old age of eight when his father's drummer failed to turn up.\u003c\/p\u003e\n\u003cp\u003eAt the age of 14, Cobham passed an audition for New York's High School Of Music And Art. He was drafted into the US army in 1965 and his musical skills gave him the option of playing in an army band rather than going into combat.\u003c\/p\u003e\n\u003cp\u003eDreams Are Made\u003c\/p\u003e\n\u003cp\u003eIn 1968 Cobham secured his first jazz gig, in legendary pianist Horace Silver's trio, and thereafter his career really took off. He was an in-demand session player and formed the jazz-rock band Dreams in 1970 with horn players Michael and Randy Brecker and guitarist John Abercrombie.\u003c\/p\u003e\n\u003cp\u003eHowever, his big break came with Miles Davis. He played on the sessions for 1970's epochal jazz-rock album Bitches Brew – appearing on 'Felo', an outtake released on the 1999 reissue – and on Live-Evil and Jack Johnson (both recorded in 1970 but released in 1971).\u003c\/p\u003e\n\u003cp\u003e'[Miles] was a strong manager of musicians', Cobham said in 2014. 'He knew who to put with whom to play what. It was probably the biggest lesson I learnt: just watching how he shuffled around the pawns, to get the effect he was looking for.'\u003c\/p\u003e\n\u003cp\u003eAlthough Cobham only played briefly with Miles it was a particularly important time as it was at the sessions he met guitarist John McLaughlin. In 1971 the drummer played on McLaughlin's eastern-inspired acoustic album My Goal's Beyond with violinist Jerry Goodman. With the addition of Jan Hammer on keyboards and Rick Laird on bass guitar, this lineup grew into The Mahavishnu Orchestra.\u003c\/p\u003e\n\u003cp\u003eAs with most music that becomes influential, the musicians involved are too busy making it to reflect on how it might fit into the history – or future – of music. These were the early days of jazz-fusion or jazz-rock and Cobham has since admitted that although he liked the band's music he doubted anyone else would.\u003c\/p\u003e\n\u003cp\u003eBitches Brew still sounds unique and difficult to classify today; it was coming from jazz, but infused with rock and funk elements. And while the music had been guided by Miles Davis's imperious and enigmatic presence, in The Mahavishnu Orchestra the feeling was more of exploration as a group of peers.\u003c\/p\u003e\n\u003cp\u003eExplosive Breaks\u003c\/p\u003e\n\u003cp\u003eTheir debut LP, The Inner Mounting Flame, which arrived in 1971, was music that had come from jazz but was going right over into rock territory, and in terms of musicianship the group raised the bar beyond the reach of most. 'Mahavishnu' was the name McLaughlin adopted as a disciple of Indian spiritual leader Sri Chinmoy. The guitarist – who took to wearing all white – pointed his guitar heavenwards and played ecstatically and at thrilling velocity with a searing, distorted tone.\u003c\/p\u003e\n\u003cp\u003eGalvanised by this new company, Cobham developed his drum style by taking the swing and rhythmic invention of jazz and imbuing it with the power of rock, his playing punctuated by explosive breaks. The band exuded an air of spirituality but played with a visceral intensity that was rare in either rock or jazz. There hadn't been anything quite like it before and McLaughlin and Cobham, in particular, spawned many imitators. Yet few musicians ever managed to achieve their level of inspired virtuosity.\u003c\/p\u003e\n\u003cp\u003eToo Dangerous\u003c\/p\u003e\n\u003cp\u003eIn 1971, Ken Scott was working as an engineer with producer Gus Dudgeon on Elton John's Honky Chateau and Elton was enthusing about The Inner Mounting Flame. Scott didn't really get it to start with, but when The Mahavishnu Orchestra asked him to engineer their second album Birds Of Fire, at Trident studios in London in 1972, he gave the album a serious re-listen and was converted. 'It blew my mind – the energy, just everything about it', he said later. 'That energy continued all the way through, it almost became too dangerous for them.'\u003c\/p\u003e\n\u003cp\u003eThe group only lasted for about two-and-a-half years and Cobham has noted that while the musicians were drawn to each other like 'magnets' and produced some extraordinary music, they didn't have a great deal in common as people. And when disputes arose about McLaughlin taking all the compositional credit, the atmosphere became toxic.\u003c\/p\u003e\n\u003cp\u003eCobham realised that McLaughlin was going to dissolve the group and so he had secured a solo deal with Atlantic, assembling a band around himself and Jan Hammer, with Scott again asked to engineer. He describes his mood as one of desperation and that he needed to make an album that could at least be a 'calling card' for his abilities.\u003c\/p\u003e\n\u003cp\u003eFlying High\u003c\/p\u003e\n\u003cp\u003e'It was a natural transition for me', Cobham would say about his approach on Spectrum. 'We heard very strongly and very equally the rock 'n' roll situation as it tied into classic jazz. So it was very easy to combine the two if you were comfortable. And that's all it is. Fusion is a melting pot of different ideas that stem from what is considered jazz.'\u003c\/p\u003e\n\u003cp\u003eAnd the stylistic fusion essentially came from the players Cobham had assembled. On bass was the talented session musician Lee Sklar and the rock element was provided by 21-year-old guitarist Tommy Bolin, a flash, flamboyant player who Cobham had first met in 1969, and who had recently joined The James Gang.\u003c\/p\u003e\n\u003cp\u003eAs Lee Sklar said: 'There was a sort of fire in it. It was new ground and it wasn't very analytical. It was more flying by the seat of your pants'.\u003c\/p\u003e\n\u003cp\u003eThe rockier tracks on Spectrum on which Bolin lets fly in spectacular fashion include 'Quadrant 4' and 'Taurian Matador', but Cobham showed himself to be a talented arranger and melodic writer across a number of musical styles.\u003c\/p\u003e\n\u003cp\u003eOn The Attack\u003c\/p\u003e\n\u003cp\u003eThe title track is based on an intricate shuffle rhythm with Miles Davis alumnus Ron Carter on bass and some delicious horn arrangements. Then there's 'Le Lis', which has a sinewy Latin groove garnished by Joe Farrell's flute melodies. 'To The Women In My Life', on the other hand, is a lyrical piano vignette written by Cobham but played by Hammer.\u003c\/p\u003e\n\u003cp\u003eBut the most famous track on Spectrum is 'Stratus', which rides out on Sklar's cyclical bass line over which Cobham plays a silky funk groove punctuated by spectacular drum breaks, with each beat delivered at mind-boggling speed.\u003c\/p\u003e\n\u003cp\u003eWhen Cobham was interviewed in 2018 and quizzed about the number of times his music had been sampled, he seemed to have no idea that there were over 100 instances. 'I'm pretty comfortable with it', he replied, 'it's like involuntary advertising'. The most famous example of this is Massive Attack's 1991 international hit single 'Safe From Harm', on which the bass and drums on 'Stratus' are sampled and looped to fine effect.\u003c\/p\u003e\n\u003cp\u003eYet some pundits at the time criticised Cobham's playing for being too upfront, implying a drummer should know their place. 'I went, \"No, this is me. Like it or lump it\"', he told the FT in 2014.\u003c\/p\u003e\n\u003cp\u003eInitially Cobham wondered if Spectrum might sell only 500 units, but it became the first drummer-led album to reach No 1 in the Billboard jazz charts. More surprisingly for an instrumental fusion album it hit No 26 in the Hot 200, and endures to this day as a classic of its genre.” Mike Barnes, hi-finews, 17, 2022\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.35 \/ 5\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":55885883834703,"sku":"CAPA 072 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2025-09-07a19.07.23.png?v=1757264884"},{"product_id":"carlos-santana-john-mclaughlin-love-devotion-surrender-multi-hybrid-sacd-japanese-edition","title":"Carlos Santana \u0026 John McLaughlin - Love Devotion Surrender (Multi Hybrid SACD, Japanese edition)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e50th anniversary edition – first time ever as SACD Multi Hybrid edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Santana – guitar, producer \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Carlos Santana]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMahavishnu John McLaughlin – guitar, piano, producer \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"Vinyl featuring John McLaughlin\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKhalid Yasin (Larry Young) – organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoug Rauch – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Alias – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJan Hammer – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Shrieve – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArmando Peraza – congas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John Coltrane (1, 2), John McLaughlin (3, 4, 5), traditional arranged by Carlos Santana \u0026amp; John McLaughlin (4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid Multichannel SACD (original quadraphonic 4-channel master) + stereo SACD layer + CD layer , 7-inch cardboard mini LP sleeve with OBI strip ; Includes a 20-page booklet and a replica of the CBS ad poster\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition – Japanese import\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Sony Japan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Glen Kolotkin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Carlos Santana, John McLaughlin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Mitsuyasu Abe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in September 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Love Supreme\u003c\/li\u003e\n\u003cli\u003eNaima\u003c\/li\u003e\n\u003cli\u003eThe Life Divine\u003c\/li\u003e\n\u003cli\u003eLet Us Go Into The House Of The Lord\u003c\/li\u003e\n\u003cli\u003eMeditation\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« A hopelessly misunderstood record in its time by Santana fans -- they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration -- it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians -- McLaughlin, of course, was a former Davis sideman -- this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's \"Naima\" and McLaughlin's \"Meditation,\" this album consists of merely three extended guitar jams played on the spiritual ecstasy tip -- both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young -- a colleague of McLaughlin's in Tony Williams' Lifetime band -- that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air. In the acknowledgement section of Coltrane's \"A Love Supreme,\" which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check \"Let Us Go Into the House of the Lord,\" which was musically inspired by Bobby Womack's \"Breezing\" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent \"The Life Divine,\" for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003eFor some, \"Love Devotion Surrender\" is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of \"Love Supreme\", Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition \"Naima\" is performed in a flowing and inspired manner by the duo on their acoustic guitars.\u003c\/p\u003e\n\u003cp\u003eThe arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song \"Let Us Go Into The House\", they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5 , Discogs : 4.56 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":59352759828815,"sku":"SICP-10145","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Carlos-Santana-_-John-McLaughlin-Love-Devotion-Surrender-1.webp?v=1793945270"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/Billy_Cobham.png?v=1794423452","url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/billy-cobham.oembed","provider":"AudioSoundMusic","version":"1.0","type":"link"}