Mobile Fidelity - MFSL 2-436 - 180 Gram Virgin Vinyl
Numbered Limited Edition - Pressed at RTI - 45RPM
Mastered by Shawn R Britton
1/4" / 15 IPS analog master to DSD 256 to analog console to lathe
Recommended LP Reissues Worth Owning - Michael Fremer Analogplanet.
Miles + MoFi = Magic , highest recomendation - Postive Feedback
If the iconic Miles Davis album Kind of Blue captured an event-an abrupt musical switch from melody to modal, these three mid-period quintet albums, Sorcerer (1967), Nefertiti (1968) and Filles De Kilimanjaro (1969) represent a period of transition as the quintet moves slowly towards Miles's amplified instrument embrace. ... These three double 45rpm releases along with much of the Miles catalog are among Mobile Fidelity's best work to date. For Miles fans these are not to be missed." — Music = 10/11; Sound = 9/11 - Michael Fremer, Analogplanet.com
And MoFi's other 45rpm reissues of Miles Davis albums from this point on—all of which were cut from the original master tapes (perhaps the crucial difference)—sound terrific. In the wake of head-shaking over the new Kind of Blue, I listened or re-listened to MoFi's pressings of Nefertiti, Sorcerer, Filles de Kilimanjaro, and Miles in the Sky—and, to the extent I could compare them with the original pressings, they are sonically superior. (They're far superior to other reissues by Sony and Mosaic.) - www.stereophile,com
Nefertiti will always be known as the final all-acoustic record made by Miles Davis’ classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity’s analog edition bring listeners to closer to the creative passions than ever before.
Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on, a measuring stick for how all acoustic-based passages should be experienced.
As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track—during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section—shines as a textbook example of such chemistry and unity.
Throughout, the players’ confidence, and Davis’ trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock’s piano points in several different directions like a compass gone crazy. Responsible for “Madness” and “Riot,” Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.
Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis’ quintessential efforts. For historians, it’s the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record’s follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.
• Numbered, Limited Edition
• 45rpm Speed Edition
• 2LP Set
• Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 Grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes
• Pressed at RTI
Miles Davis, trumpet
Wayne Shorter, tenor sax
Herbie Hancock, piano
Ron Carter, bass
Tony Williams, drums
3. Hand Jive
GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases.
The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!)
First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first.
As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most.
RTI HQ-180 Vinyl
Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world.