Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)
Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)
Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)
Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)
Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)
Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)
Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)
Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)

Miles Davis Quintet - Round About Midnight (Mono, Ultra Analog)

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€169,00
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WE USUALLY SHIP VINYL WITHIN 3 TO 5 WORKING DAYS
But due to high demand we sometines need more time

Miles Davis - trumpet [click here to see more vinyl featuring Miles Davis]

John Coltrane - tenor saxophone [click here to see more vinyl featuring John Coltrane]

Red Garland - piano [click here to see more vinyl featuring Red Garland]

Paul Chambers - bass [click here to see more vinyl featuring Paul Chambers]

Philly Joe Jones - drums [click here to see more vinyl featuring Philly Joe Jones]

Written by Bernie Hanighen (A1), Cootie Williams (A1), Thelonious Monk (A1), Charlie Parker (A2), Cole Porter (A3), Mort Dixon (B1), Ray Henderson (B1), Tadd Dameron (B2). B3 is a traditional song.

 

1 LP, standard sleeve

Limited number edition

Original analog Master tape : YES

Gain 2™ Ultra Analog

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Mono

Studio

Record Press : Record Technology Incorporated

Label : Mofi

Original Label :  Columbia

Recording: October 1955, June and September 1956 at Columbia’s 30th Street Studio, New York in mono

Production: George Avakian

Mastered by Krieg Wunderlich

Originally released in 1957

Reissued in 2013

 

Tracks :

Side A :

  1. ‘Round Midnight
  2. Ah-Leu-Cha
  3. All Of You

Side B :

  1. Bye Bye Blackbird
  2. Tadd’s Delight
  3. Dear Old Stockholm

 

Reviews :

"A couple of the earlier albums are more consistently top-notch (Workin' and Relaxin'), but this one is just as hard-driving on the uptempos and as crisp and moody on the ballads, especially the title track (maybe the most galvanizing version of Monk's anthem), 'All of You,' and 'Bye, Bye Blackbird.' Columbia's sound was equal to that of Rudy Van Gelder's as well." – Fred Kaplan, Stereophile

At long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.

You can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis’s vibrato-less sound is taken over seamlessly by John Coltrane – wonderfully demonstrated in the middle of "Bye, Bye Blackbird", while Paul Chambers’ showpiece is "Ack Värmeland du sköna" (aka "Dear Old Stockholm"). In the years 1955/56, bebop was the talk of the day, born witness to by the classics "Tadd’s Delight" by Tadd Dameron and "Ah-Leu-Cha" by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.

Although "’Round About Midnight" as an album does not enjoy the reputation of "Kind Of Blue", this Columbia recording contains many gems which are well worth hearing.

 

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 : 5 / 5 ; Discogs  4,82 / 5

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