Kind Of Blue

Product Information

It's why the our engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. I have a standard cd, a hi res copy and a Japanese cd all 3 have some kind of annoying distortion in different parts of the saxophone.

If you have an account on this site, or have left comments, you can request to receive an exported file of the personal data we hold about you, including any data you have provided to us. Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly numbered and limited, this definitive reissue enhances every element of a double album that established new possibilities for studio recording techniques. The 1D/1AE is a common combination, which suggests part of the big commercial release, which would be early rather than late. Following the alternate take, there are “studio sequences” (ranging from 11 seconds to nearly two minutes) for every one of the five titles, and one “false start” (for “Freddie Freeloader”).The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian 'Cannonball' Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans. Francis Davis (who wrote an entirely different 4,000-word liner notes essay for the box set), places the album in historic perspective: “Beyond jazz, Kind of Blue‘s long-term influence has been enormous. e. the ‘raw’ recording, before any mastering at all), what’s important to understand is that the ‘raw’ 3-track (aka multi-track) session tape is not yet ‘finished’ as such: the final mix to stereo completes the creative process of the team at the time.

The pattern of deployment of lacquers is starting to come through loud and clear, resulting in a fatal blow to Conventional Wisdom™. Almost all six eye copies are described by sellers as “rare” despite being probably the most common jazz record ever sold. The pure authenticity devoid of any sonic ‘tricks’ allows one’s psyche to truly relax so you can fully immerse in the music like a hot bath.

together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record. All users can see, edit, or delete their personal information at any time (except they cannot change their username). Maybe if only one plant had the incorrect labels it would explain why they still appear on pressings with higher lacquer numbers?

So to clarify all of that, the first track on side two is in fact ‘All Blues’ and the album closes with ‘Flamenco Sketches’. Early letter-denominated mothers and stampers were used to press further copies with the corrected label for Side 2. It opens with the effortlessly cool track ‘So What’ and had a big influence across pop and rock artists through the 1960s and 1970s.Hi – some of those high matrix codes are found both with and without CBS overprint -1BB/1BG: one CBS to five without, BG/BJ one CBS one without, so I guess a supply of CBS overprint labels were loaded into the hopper one day, with the same lacquers in use. It follows more or less the overall Columbia evolution – Guaranteed High Fidelity becoming <-360º SOUND -> MONO (white print); and <-360º SOUND -> STEREO first in black print then white print. What it is, is essentially a 1:1 copy of the original stereo master – in other words, before any kind of equalisation or compression for vinyl, cassette or compact disc production. Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. The label correction is believed to have taken place around November 1959, on the instruction of Teo Macero (hat tip Enrico!

I haven’t managed to figure out which plants had possession of which cuttings, or if that matters, still a lot of unknowns. Analogue Productions is a record label specializing in the manufacture and distribution of reissue LP record albums, CDs and SACDs that primarily include jazz, blues, rock, folk and classical styles of music.

If there are indeed only a handful of albums that marked their own times in the way that Kind of Blue did, there are even less which, 60 years later, continue to bear the same importance. Apparently, the only channel fed through reverb plates was the centre channel, so any reverb was on this channel only and therefore depending on how that was mixed, it would considerably affect the overall sense of ambiance. This entry was posted in Miles Davis and tagged Adderly misprint, Columbia matrix codes, Kind of Blue, KoB first pressing, KoB side 2 track-list misprint by LondonJazzCollector. The fabled acoustics of Boston’s Symphony Hall and the magnificent tonal hues of the Boston Pops are on full display on this fanciful and festive recording. Compared with the audiophile UHQR issue mentioned above they’re further forward and closer to the listener, more like you’re sitting just in front of the stage rather than somewhere further back in the auditorium.