Really happy with this UHQR (number 7700) and surprised it is clearly better than both my Classic 33 and 45! Just sounds beautiful and alive! Well done Chad and Co.! Myers, Marc (October 7, 2014). "Miles Davis's Jazz Masterpiece 'Kind of Blue' Is Redone". The Wall Street Journal . Retrieved January 31, 2023. ARIA Charts – Accreditations – 2016 Albums" (PDF). Australian Recording Industry Association . Retrieved September 19, 2008.

Kind of Blue has been lauded as one of the most influential albums in the history of jazz. One reviewer has called it a "defining moment of twentieth century music". [42] Several of the songs from the album have become jazz standards. Kind of Blue is consistently ranked among the greatest albums of all time. [43] In a review of the album, AllMusic senior editor Stephen Thomas Erlewine stated: Andy Mabbett (1995). The Complete Guide to the Music of Pink Floyd. Omnibus Press, 14/15 Berners Street, London. pp.178–179. ISBN 0-7119-4301-X. A must have! I have the MOFI 45rpm and I honestly think this one blows it away. Kudos to all involved in putting this masterpiece together!! Simmons, Ted (February 26, 2013). "Bilal's 25 Favorite Albums". Complex . Retrieved August 28, 2020.Barber, Geoff (October 27, 2004). "1959: A Great Year in Jazz". All About Jazz . Retrieved September 10, 2023. For example, Michael knows and is more truthful about his findings on ANYTHING as he has the experience and knowledge from listening to the best and worst gear on the planet. THIS allows us to tell the truth, because one actually understands what truth is in any audio parameter from system matching experience, not bullshit theory."

No chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically innovative you can be. When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them. [3] This is by far and away the most vivid incarnation I’ve experienced. One impressive element is not even the playing: It’s the ‘air’ in the recording. You hear breathing, you hear valves opening.” So by this logic one has to actually work specifically in pressing records to have "knowledge about this." And if not they are a liar when expressing any assertions of fact regarding vinyl. So by that logic even a leading R&D scientist in advanced plastics would have "no knowledge" on the subject pressing vinyl records because he or she has not been directly making actual vinyl records. OTOH you give Fremer a free pass on the subject. How much hands on experience does Fremer have in making records? More to the point how much hands on experience does he have in pressing records with and without the vibration controls in place? How is his assertion of it's effectiveness any less a "lie?"a b Cook, Richard; Morton, Brian (2008). The Penguin Guide to Jazz Recordings (9thed.). Penguin. p.343. ISBN 978-0-141-03401-0. Considering the care that's gone into this Mobile Fidelity reissue, the high quality RTI pressing and the reasonably well produced booklet with great studio photos , this reissue strikes me as a complete success and as good as can be expected fifty six years after it's original release. I know the folks at Mobile Fidelity worked really hard and spent the money to get this one right. Sound 10/10 Music 11/10 Michael Fremer Analogue Planet

Mobile Fidelity 180g 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations. a b "Kind of Blue". Acclaimed Music. Archived from the original on April 21, 2017 . Retrieved September 19, 2015.

Credits

In 1959, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club, consolidated by the release of his The Shape of Jazz to Come LP in 1959, muted the initial impact of Kind of Blue, a happenstance that irritated Davis greatly. [44] Though Davis and Coleman both offered alternatives to the rigid rules of bebop, Davis would never reconcile himself to Coleman's free jazz innovations, although he would incorporate musicians amenable to Coleman's ideas with his great quintet of the mid-1960s, and offer his own version of "free" playing with his jazz fusion outfits in the 1970s. [45] The influence of Kind of Blue did build, and all of the sidemen from the album went on to achieve success on their own. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley fronted popular bands with his brother Nat; Kelly, Chambers and Cobb continued as a touring unit, recording under Kelly's name as well as in support of Coltrane and Wes Montgomery, among others; and Coltrane went on to become one of the most revered and innovative of all jazz musicians. Even more than Davis, Coltrane took the modal approach and ran with it during his career as a leader in the 1960s, leavening his music with Coleman's ideas as the decade progressed. [46] Spend thousands more, and parts quality goes up, and the 'unmeasurables' become more audible, as it should be.""

Philips Compact Cassette versions of the original album prior to the Jazz Masterpiece remaster, and of the 1987 Jazz Masterpiece remaster. Neither are at the correct speed. [82]Arguing with them about classical music led to their profound hatred for me, and contributed to being permanently banned. Incidentally, they do know a lot about classical recordings. I didn't challenge them on that topic. Just about knowledge of music itself. History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.