Miles Davis - Filles de Kilimanjaro (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)
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Miles Davis, trumpet [click here to see more vinyl featuring Miles Davis]
Wayne Shorter, tenor sax [click here to see more vinyl featuring Wayne Shorter]
Herbie Hancock, piano, electric piano [click here to see more vinyl featuring Herbie Hancock]
Ron Carter, bass [click here to see more vinyl featuring Ron Carter]
Tony Williams, drums
Chick Corea replaces Herbie Hancock on "Petits Machins (Little Stuff)" and "Mademoiselle Mabry (Miss Mabry)" [click here to see more vinyl featuring Chick Corea]
Dave Holland replaces Ron Carter on "Petits Machins (Little Stuff)" and "Mademoiselle Mabry (Miss Mabry)"
2 LPs, gatefold sleeve
Limited numbered edition
Original analog Master tape : YES
Half-speed Mastering
Gain 2™ Ultra Analog
Heavy Press : 180g
Record color : black
Speed : 45RPM
Size : 12”
Stereo
Studio
Record Press : RTI
Label : MOFI
Original Label : Columbia
Recorded June 19–21 and September 24, 1968 at Columbia Recording Studios, New York City
Engineered by Arthur Kendy, Frank Laico
Produced by Teo Macero
Remastered by Krieg Wunderlich
Originally released in 1968
Reissued in 2015
Tracks:
Side A :
- Frelon Brun (Brown Hornet)
- Tout de Suite
Side B :
- Petits Machins (Little Stuff)
Side C :
- Filles de Kilimanjaro (Girls of Kilimanjaro)
Side D :
- Mademoiselle Mary (Miss Mabry)
Reviews :
"If the iconic Miles Davis album Kind of Blue captured an event-an abrupt musical switch from melody to modal, these three mid-period quintet albums, Sorcerer (1967), Nefertiti (1968) and Filles De Kilimanjaro (1969) represent a period of transition as the quintet moves slowly towards Miles's amplified instrument embrace. ... These three double 45rpm releases along with much of the Miles catalog are among Mobile Fidelity's best work to date. For Miles fans these are not to be missed." Michael Fremer, Analogplanet.com
"Since it's billed as "Directions in Music by Miles Davis," it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it's possible to hear the breaking point -- though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it's possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in "direction" was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles de Kilimanjaro bears him out. Though the album sports inexplicable, rather ridiculous French song titles, this is music that is unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band. Where Miles in the Sky meandered a bit, this is considerably more focused, even on the three songs that run over ten minutes, yet it still feels transitional. Not tentative (which In the Sky was), but certainly the music that would spring full bloom on In a Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn't fly and search the way that Nefertiti did. But that's not a bad thing -- this middle ground between the adventurous bop of the mid-'60s and the fusion of the late '60s is rewarding in its own right, since it's possible to hear great musicians find the foundation of a new form. For that alone, Filles de Kilimanjaro is necessary listening." AllMusic Review by Stephen Thomas Erlewine
Ultra Analog™ : 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.
Half-speed mastering. In 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.
Ratings :
AllMusic : 4,5 / 5 , Discogs : 4,48 / 5 , Michael Fremer : Music = 10/11; Sound = 9/11