Editado entre 'Round About Midnight e Kind of Blue, esta obra prima é muitas vezes esquecida, um disco que representa as primeiras investidas de Miles Davis na sua fase "jazz modal" que viria a desenvolver em Kind Of Blue um ano depois. Este período mostra a evolução de John Coltrane no grupo onde tem um papel vital. Remasterização audiófila a partir das Fitas Master Analógicas Stereo Originais.

• Edição Limitada SuperVinyl
• Edição Numerada
• Raro mix Stereo!
• Vinil 180 Gramas de Alta Definição prensado na RTI USA
• Masterização no Gain 2 Ultra Analog System
• Masterização Mobile Fidelity Sound Lab
• Masterizado a partir das Fitas Master Analógicas Originais
• Corte por Krieg Wunderlich
• Capas interiores especiais antiestáticas
• Capa Deluxe

The Link Between 'Round About Midnight and Kind of Blue: Milestones Is the Only Album Featuring Miles Davis' Original Sextet with John Coltrane, Cannonball Adderley, and More

Sourced from the Original Master Tapes: Mobile Fidelity's Numbered-Edition 180g SuperVinyl LP Presents the 1958 Standard in Definitive Stereo Sound

1/4" / 15 IPS Dolby SR analog master to DSD 256 to analog console to lathe

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with explosive performances. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the Dolby SR analog master created from the original mono master tapes and pressed at RTI on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practiced by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.

Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music in the fidelity it deserves.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. 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.

Músicos:

Miles Davis, trompete, piano em Sid's Ahead
Cannonball Adderley, sax alto
John Coltrane, sax tenor
Red Garland, piano
Paul Chambers, contrabaixo
Philly Joe Jones, bateria

Lista de faixas:

1. Dr. Jekyll
2. Sid’s Ahead
3. Two Bass Hit
4. Milestones
5. Billy Boy
6. Straight, No Chaser  

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