169.00 PLN

LP-180G 33rpm:

Nr kat.: CS9401
Label  : SpeakersCorner

po KIND OF BLUE oraz SKETCHES OF SPAIN - NAJWAŻNIEJSZA PŁYTA DAVISA

Miles Davis' restless curiosity would never allow him to look back, and as a result, he sought out new blood and fresh challenges over the course of six decades of innovation. When modernists such as Ornette Coleman, Cecil Taylor and John Coltrane began stretching the parameters of form and improvisation in the early '60s, Davis was leery, even hostile at first. But as the saying goes, if you can't beat 'em, join 'em--and by 1964 Miles had assembled his own dream team of innovative young turks, who began to vivisect the entire Davis book, before moving confidently into uncharted waters. MILES SMILES marks a sea change in which the Miles Davis Quintet really begins to stretch out and confront the avant-garde with a modern thrust of their own--resulting in one of the greatest jazz recordings of all time. Performances such as "Orbits" and "Ginger Bread Boy" redefine all notions of swing, as Ron Carter and Tony Williams treat the beat in a free-flowing manner, superimposing new chords and meters over a fulminating 4/4 pulse. Pianist Hancock veers away from traditional block chord accompaniments, often providing spare polytonal counterpoint or laying out altogether. Tenor saxophonist Shorter's harmonic and melodic abandon inspire Davis to explore bold new vocal nuances in his phrasing, even as his classic compositions--such as "Footprints"--alter the harmonic language of jazz forever. And from the joyous hyper-funk of "Freedom Jazz Dance" to the serene misterioso of the trumpeter's remarkable ballad "Circles," MILES SMILES defines a new performance standard for collective improvisation. Muzycy: Miles Davis Quintet: Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano); Ron Carter (acoustic bass); Tony Williams (drums). Poniżej recenzja nawiązująca do aspektów brzmieniowych nagrania: Back in Issue 33 of Positive Feedback, I reviewed one of my favorite jazz albums, Miles Smiles, by the second great Miles Davis Quintet. [See https://positive-feedback.com/Issue33/miles.htm] Outstanding musical content, for sure; but I lamented about the fact that there weren't any audiophile releases available to do sonic justice to the music that was laid down on this classic recording. Well high praise to the reissue gods at Speakers Corner: they've answered my prayers with the release of this high quality, super-quiet, 180 gram reissue of Miles Smiles. And what a fine reissue job they've done: Miles Smiles a la Speakers Corner is now a more refined-sounding album, virtually rid of the sonic bunions of earlier releases—all the while staying true to the recording intent of the original engineer, Teo Macero. Gone is the slightly raspy timbre and rough edge to Miles' signature trumpet tone mentioned in my earlier review; Wayne Shorter's sax has a more realistic, slightly rounder tone; and Tony Williams' cymbals have more natural shimmer and decay. Herbie Hancock's piano also sounds cleaner, devoid of the clipped harmonics and sharpness found on the standard weight LP. There is however one minor drawback when comparing this reissue to the fine-sounding (but out of print) Columbia 180 gram pressing: the tonal balance of the Speaker Corners is marginally leaner with a little less weight to Ron Carter's upright, and there's a smidge less piano presence in the mix. Nevertheless, the Speakers Corner version does have better clarity across the board, making it easier to follow individual instruments. Overall, Speakers Corner has done an excellent job with Miles Smiles, improving upon every other available release of this gem in sonically subtle yet musically important ways. That they've chosen to stay faithful to the character of the original release while refining the sound speaks very highly to their passion for delivering quality LPs you'll enjoy listening to over and over again—and this is definitely one of 'em. Well done, Speakers Corner!