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Miles Davis - In A Silent Way MoFi LP 180g Numbered

$69

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Mobile Fidelity Sound Labs believes that mastering systems should be neutral and transparent. The essential idea is to unveil all the detailed musical information on the original master recording without adding deterioration, coloration or other sonic artefacts.

With proprietary innovations such as GAIN 2™, general music enthusiasts and audiophiles alike have reaped the benefit of a higher consumer audio standard without investing in costly new hardware.

Product Number: POS-134977
Brand: Mobile Fidelity
Model Number: LMF377
Condition: New
Warranty: 12 Months
Weight: 450

Miles Davis - In A Silent Way MoFi LP 180g Numbered

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Track Listing

A1: Shhh / Peaceful (18:24)

B1: In A Silent Way / It's About That Time (19:57)






Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognised as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who lineup that sends the music into an ethereal stratosphere.

Part of Mobile Fidelity's Miles Davis catalogue restoration series, In a Silent Way now immerses the listener in lineolate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," "rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous analogue reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch - he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight - is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons - not the least of which is the seemingly telepathic communicative methods employed by the group's members. The lineup is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.

Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt - and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

GAIN 2™ Ultra Analog™ System for Vinyl

GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of Mobile Fidelity Sound Lab'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 customised 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, Mobile Fidelity Sound Labs only utilise first generation original master recordings as source material for their releases. MFSL then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master's sonic information. The lacquers are then plated in a specialised process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial playback, but as the disc is played more, a high-quality stylus will actually polish the grooves and improve the sound). MFSL 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.

Album Credits

Produced by Teo Macero

Mastered by Krieg Wunderlich, assisted by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on the GAIN 2 ULTRA ANALOG SYSTEM.

Release Information

Label: Mobile Fidelity Sound Lab, MFSL 1-377

Series: Gain 2™ Ultra Analog, 180g Series

Format: Vinyl LP, Limited Edition, Reissue, Remastered, Numbered, 180g

Country: US

Released: 03 Jul 2013

Genre: Jazz

12 Months
All of our products include a minimum 12 month Australian warranty.

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