Most sellers copies have the corrected Side 2 label, and many claim theirs is an original first pressing, simply because it is a Six-Eye. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Of the rest, you pays your money you makes your choice, condition is king: mint, looks un-played, still-sealed, storage find, you know the spiel, just forget “insanely rare! If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis’ Kind of Blue.

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. Decided to try and source an early version of Kind of blue to see what the differences might be between different cd versions. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. 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.Before we go on I ought to explain that the album was recorded in two sessions: side one on the 2nd of March 1959 and side two on 22nd of April 1959. Here we hear a blowing session that matches him with fellow tenorist Harold Ashby in a program of loose originals.

Long held as the jazz album that even non-jazz fans might own, ‘Kind Of Blue’ changed the way Jazz was perceived.Very informative, as I just picked up a copy today, and can now give a clear description of my KOB formula ‘so to speak’, but still can’t find mine on Discogs to ‘catalog’ it. To go back to the 3-track tape would be to undo the original creative process, and all of the decisions made that created the sound and the space of the original that we know and love. LJC: so 1G and 1H would be the 2nd cut from Santa Maria) “That way they could easily keep track of how many replacements were needed for each plant. o. another theory could crash and burn (If you want to let everyone know your KoB is a CD/, that joke is disallowed, don’t.

Miles’ trumpet beautifully pierces though the mix but is soft and ambient at the same time, the reverb is spot-on, it sounds so natural: again, like the original, just far more real. It is not as simple as there being a “first pressing”, then a gap of several years, and then the record company decides to reissue it, with a second pressing.Miles remained proud of the album, performing at least two of its tracks — “So What” and “All Blues” — for years after, until his musical path took him in a different direction. Also to note that different plants tended to use different paper printing companies for labels, and sometimes the fonts differed, even though both were a first press from their respective plants. If a third press was employed, Side 1 was chosen from a third lacguer, and married up with Side 2 from another available lacquer at the time. This album showcases Cooper’s theatricality, storytelling prowess, and ability to create an immersive world of horror and fantasy. The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian 'Cannonball' Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans.