Back catalogue: All genres

Review: As it is the month of love - or another overbearingly capitalist instruction to treat people for the sake of it, depending on your viewpoint - why no indulge in some loved up jazz from Miles Davis? My Funny Valentine captured delicate ballads and was met with immediate critical successes. It is an album that demonstrated profound emotion with minimal fuss and represents a high point in Miles Davis' early 1960s career, capturing the excitement and sound of a road-honed group at its peak. Herbie Hancock's piano intros, George Coleman's melodic tenor, Ron Carter's steady bass, and Tony Williams' unexpected drumming contributed to an unforgettable collective sound.

Review: Captured live in 1974, this performance at Carnegie Hall showcases Miles Davis at the height of his electric fusion era, blending jazz with rock in a fierce, exploratory manner. The show features the monumental 'Moja' and 'Wili,' each spread across two parts, with the band improvising freely and building intricate, pulsating rhythms. Davis's trumpet and organ create a swirling, unpredictable sound, while the guitar work from Pete Cosey and Reggie Lucas adds texture and energy. Tracks like 'Tatu' and 'Nne' display Davis's shift towards African-inspired sounds, experimenting with complex rhythms and haunting melodies. This is a tour de force, an unfiltered snapshot of Davis's creative genius.

Review: Miles Davis's Seven Steps to Heaven album came in 1963 and was recorded in two different studios at a vital time in his career. It was the first new work in a year (back then he had released thick and fast since debuting in 1950) and can be rightly thought to be the first time his second great quintet really came together and showed their mettle. The album got two Grammy nominations and is also noted for being the last time Davis mixed up standards with original works. It's one of his most expressive and well-played oeuvres. This special edition reissue has been remastered from the original analogue master tapes so sounds of the highest quality and is backed with detail, tone and definition.

Review: April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.

Review: Milestones is the full-pun-intended landmark 1958 album by the legendary jazz trumpeter Miles Davis, which marked his transition from hard bop to modal jazz. Featuring classics like 'Milestones', 'Straight, No Chaser' and 'Two Bass Hit', it was notable as one of Davis' earliest experimentations in public with modal scale patterns that was available commercially. Marking a great milestone since its original release in mono, it now comes pressed on numbered 180 gram SuperVinyl - which is a new ultra-quiet vinyl formulation which enhances the sound quality and durability of original recordings - as well as with a deluxe gatefold jacket and a booklet with rare photos and liner notes.

Review: ***B-STOCK: Slight surface mark on the record sleeve***


April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.

Review: Miles Davis' On the Corner was released in 1972 and was initially dismissed by jazz purists for its unconventional style but over time its visionary approach has been rightfully given the respect it deserves. Davis' boldest and most controversial album in a discography full of them, On the Corner shifted jazz's focus to groove and bass-heavy funk and reshaped the genre and pioneering techniques that anticipated remix culture and electronica by over a decade. This special pressing, sourced from the original master tapes and pressed on MoFi SuperVinyl, enhances the record's deep basslines and intricate studio techniques to offer a vivid and immersive listening experience that underscores its groundbreaking influence.

Review: Miles Davis' A Tribute to Jack Johnson stands as a pinnacle of jazz-rock fusion, blending slashing rock and aggressive funk with an astounding lineup. Mastered from the original tapes, Mobile Fidelity's reissue captures the music's aggression and immediacy like never before. Guitarist John McLaughlin delivers a nasty edge and vicious streak, bridging the gap between rock and jazz with his slashing style. Davis' trumpet solos sizzle with exuberance, surrounded by urgent backbeats and knifing riffs. An amazing degree of instrumental separation and imaging allow you to focus on singular musicians and the roles they play. The album, often overshadowed by Davis' other works, serves as a personal manifesto, saluting boxing legend Jack Johnson. Producer Ted Macero seamlessly assembles sessions, resulting in a lean, guitar-heavy sound that hits with brutal force and graceful elegance. A Tribute to Jack Johnson remains a monster album, demanding to be experienced in all its ferocious glory.

Review: Three decades before he released The Philosophy of Modern Song - an insightful book devoted to 66 tunes that both impacted his career and the music world at large - Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan's first solo acoustic album in nearly 30 years and first all-covers effort in nearly twenty years, can be seen as a prophetic prelude to what has become the Nobel Laureate's celebrated late-career arc. It's also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.