My ambition is more shallow: I want to produce the definitive Vinyl Collector’s Guide, which I don’t think has been done, or at least not for free. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment. Columbia’s 30th Street studios then used four tape decks simultaneously: a prime mono deck and a mono safety backup deck, a prime three-channel deck and three track safety backup deck, for stereo. By accepting all cookies, you agree to our use of cookies to deliver and maintain our services and site, improve the quality of Reddit, personalize Reddit content and advertising, and measure the effectiveness of advertising. 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.

All inserts are printed on high quality art board and include a track and information sheet for each reel, and a technical specification and quality control sheets for each reel, which even going as far as including the original Recording the Masters tape serial number labels. In any case, whilst the track listing appears different on this release it is in fact correct: it was the original that got it wrong. In late 1958, after some eight months, Bill Evans – the only white member of Miles’ group – left the lineup and was replaced by Wynton Kelly.Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio. but you still have a great piece of music and a cutting that is probably indistinguishable from any other copy manufactured around this time. No doubt it was corrected at some point, but not during six-eye era, the later CBS over-print, Guaranteed High Fidelity/two-eye 360º Sound, nor Columbia all-round. But I’ll just say the following, so you know what my points of reference are… I previously talked about the Analogue Productions UHQR vinyl issues on my YouTube Channel which, if you’re interested, you can check out below. We present the original album in remastered form plus an extra LP containing 2 tracks that weren't available on vinyl before.

If a second press was in use, which seems likely, the opposite pairing was mounted in the second press. I’ve multiple versions of KOB on vinyl, CD and Hi Res I’m not home so cannot list them all at the minute but my favourite is the Analogue Productions UHQR Vinyl copy though I do still listen to other copies too for different reasons like the RSD Mono version and also the 1963 stereo version again for different reasons.

Conclusion: this is the best Kind of Blue I’ve heard, bar none, and quite frankly the best I ever expect to hear. 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. Poll is also a good idea, but combination of other info might be helpful in deterring which is earlier. On Disc One, the five titles are presented intact: the first three numbers (“So What,” “Freddie Freeloader,” “Blue in Green”) that were cut on the first day of recording, two three-hour sessions on Monday, March 2, 1959; and the last two numbers (“All Blues,” “Flamenco Sketches”) recorded at the final three-hour session, Wednesday, April 22, 1959. 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.

Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. While no one has ever completely identified the magic behind the record's allure – the otherworldly nature is part of its inherent charm – much of the success lies with the band members.On the tape none of this occurs, instead I’m left in complete suspension – losing myself completely in the essence of the performance. Early letter-denominated mothers and stampers were used to press further copies with the corrected label for Side 2. Led by the trumpeter and accompanied by an exceptional line-up including John Coltrane (tenor saxophone), Cannonball Adderley (alto saxophone), Bill Evans (composition and piano), Paul Chambers (bass and double bass), Wynton Kelly (piano) and Jimmy Cobb ( drums), its five tracks display a sumptuous variety of tones and nuances. Regarded as Davis’ masterpiece, it is also reckoned to be the best selling Jazz album ever, with shipments estimated at over 5 million copies. The large number of high matrix values probably reflects a large volume of sales of stereo copies which occurred towards the end of the six-eye label period.

There are around 1,000 copies a year coming to auction, that would be 1% of total, not an unreasonable ballpark figure. Many tracks use the "Decca tree" configuration, invented by engineers in the early 1950's using 3 Neumann M50 microphones. Kevin Gray: “Columbia used PAL and PBL prefixes for side 1 and 2, and A and B suffixes for the Santa Maria, Ca.

IPS / Dolby SR analog remix master to DSD 256 to analog console to lathe Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career.