|Dimensions||31.43 x 31.43 x 0.5 cm|
Brand New, Sealed
Miles Davis – E.S.P.
Pressed at RTI, Mobile Fidelity’s Reference-Caliber 45RPM Vinyl 2LP Set Presents the Music In Intimate, Transformational, Lifelike Sound
First Album Recorded by Davis’ Classic Second Quintet: E.S.P. Teems With Brilliant Intensity, Energy, Emotion, Steadiness, Tension, and Interplay
A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis’ E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis’ classic second quintet made together, it’s also very arguably the group’s best. Never before has the effort been experienced in such transformational sound.
Pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music’s dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.’s creations. Whether it’s the distinctive snap of Tony Williams‘ drum sticks against the snare head, air moving through Davis’ trumpet, acoustic thrum of Ron Carter’s bass, or upper register of Herbie Hancock‘s piano, the sound is better than you’d even hear in the most intimate jazz clubs. Prepare to be swayed on every level.
“Mobile Fidelity’s 45rpm two-disc vinyl reissue—mastered from the original ¼-inch, 15ips, two-track tapes by Krieg Wunderlich—captures the sound’s bloom and detail with more warmth and detail than any previous pressing, including Columbia’s original. The instruments all sound present, especially Carter’s bass, which is clearer, pluckier, and woodier than on any other album by this band; I’m left with a deeper appreciation than I’ve had for his role in shaping the new Miles sound.”
—Fred Kaplan, Stereophile
3. Little One
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