Miles Davis - Miles In Berlin - 180g LP Mono

Product no.: CBS62976

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Miles Davis - Miles In Berlin - 180g LP Mono
£27.99
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Columbia - CBS 62 976 - 180 Gram Virgin Vinyl 

AAA 100% Analogue  - Mastered by Rainer Mallard at Emil Berliner

Limited Edition -   Pressed  at Pallas 

This Speakers Corner LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head 25 Years pure Analogue

This quintet is still the model for much of today’s jazz, and it all began with this record. Sound 4/5 Music 4.5/5 The Absolute Sound

It is not uncommon that you are hardly aware that this is a mono recording given this fantastically presented music. One is so enthralled by the happenings that technical concerns take a back seat. Nevertheless - at least for those who pay special attention - the extremely dynamic component of this recording is striking. If you are looking for an artistically excellent record at a high sound level, you will have found a new highlight for your collection in " Miles In Berlin".PS: The original LP was only released in Germany at CBS in pseudo-stereo. In order to get hold of the old tapes, Speakers Corner had to do a long search to finally find them at the SWR. For the re-release finally managed to master the new LP from the original SFB band. The fantastic result justifies every effort! Sound 5/5 Vinyl Fan

Recorded live in Germany at the Berlin Philharmonic, Miles in Berlin represents the first recording of trumpeter Miles Davis with tenor saxophonist Wayne Shorter. For various reasons, saxophonists George Coleman and Sam Rivers had both come and gone as members of Davis' band. With the addition of Shorter in 1964, Davis had found the lineup of musicians that he would stick with until 1968 and produce some of the most influential albums of his career -- collected on The Miles Davis Quintet, 1965-68: The Complete Columbia Studio.

Eventually known as the "second great quintet," most of the players here, including pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams, had been with Davis for just under a year. In that time, they had taken his traditional repertoire of standards and originals and reworked them with a more adventurous, edgy approach that flirted with the avant-garde. There is a palpable sense of creative abandon in Davis' performance as well as synergy to the group sound that seems to foreshadow the innovative music to come.

It's 1964 and the first Berlin Jazz Festival is about to reach its absolute peak: the final concert on the night of Friday, September 25th by Miles Davis. And the European subsidiary of Columbia Records, CBS, couldn’t wait to release this legendary event on LP.

The new quintet, for the first time with Wayne Shorter on the tenor sax (and not yet as composer), thrilled and roused the audience in the Philharmonie from the first minute to the very end. The classics "Miles(tones)", "So What" and "Walkin’" were performed at an astonishingly fast pace, the ballads were tender and dreamy. Such a magical atmosphere was rarely evoked at later concerts, which was probably due to the excellent acoustics of the large concert hall. The audience were also seated behind the stage, so Miles couldn't turn his back provokingly on people; sometimes he just squatted on the stage. However, this didn’t prevent him from performing his solos lyrically and tenderly, most of them finely nuanced, soft and gentle, yet audible right into the furthest corner. The rhythmic structure created by the young drummer Anthony Williams provided the necessary excitement.

Miles at the top of his form, an enthusiastic audience, impressive acoustics and, to top it all, excellent recording technology and a fantastic pressing on virgin vinyl - what more does a jazz fan want? Worth every penny!

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.

Features:
• 180g High Quality Vinyl
• 100% Analogue
• Mono

Musicians:
Miles Davis
Wayne Shorter
Herbie Hancock
Ron Carter
Tony Williams

Selections:
Side A:
1. Milestones
2. Autumn Leaves
Side B:
1. So What
2. Walkin'
3. Theme

Recorded September 1964 live at Philharmonic Hall, Berlin by SFB Radio in Mono.

Miles Davis - Miles In Berlin - 180g LP Mono

AAA 100% Analogue   This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue
 
MADE FROM THE ORIGINAL MASTER TAPES
AAA 100% ANALOGUE - PURE ANALOGUE AUDIOPHILE MASTERING
We use the Original Tapes and work with only the Best Mastering Studios Worldwide
180 GRAM VIRGIN VINYL  PLATED & PRESSED AT PALLAS GERMANY
Faithful Reproduction of the Original Artwork and Labels
LIMITED EDITION Released in Limited Quantities
All Licences and Mechanical Rights Paid
 
                    Image result for pallas group germany vinyl pressing                  
 
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
 
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
 
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
 
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. 
 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
 
60 Years Pallas
 
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 
                               
 

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