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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: Miles Davis' Volume 2 (Classic Vinyl Series) encapsulates the quintessence of his bebop brilliance. Originally recorded in 1953, this album showcases Davis at the peak of his improvisational prowess and backed by a stellar ensemble including Horace Silver, Percy Heath, and Art Blakey. Tracks like 'Donna' and 'It Never Entered My Mind' exemplify Davis' innovative approach to harmony and melody, while others show his ability to infuse standard tunes with newfound depth. This reissue, part of the Classic Vinyl Series, pays homage to Davis' enduring influence on jazz with an all new pressing.

Review: In a discography that is jam packed with high quality albums, Miles Davis's Sorcerer is one of the standouts. Now newly reissued by Music on Vinyl, it transports listeners into the heart of 1967's avant-garde jazz landscape when it was originally released as part of Davis's Second Great Quintet era. The music showcases the maestro's pioneering fusion of modal jazz and free improvisation from the enigmatic title track to the haunting Prince of Darkness. Davis and his ensemble craft a sonic tapestry that mesmerises with every note here and Wayne Shorter's evocative saxophone, Herbie Hancock's masterful piano, and Tony Williams's dynamic drumming all help make that so.

Review: It's the late 1950s and modernism reigns. The fires of World War II have been extinguished, leaving behind scorched earth, half-ruined cities, and a firm focus on looking ahead to a better world. How little they knew. From this Cold War setting, wherein the lines between good and bad appear deceptively clear, a new form of jazz begins to emerge. Smooth, cool, and unarguably inviting, Miles Davis was among the greatest proponents of the 'modal' movement - whereby long, linear melodic movements were favoured over the nervous energy and tension of what had come before. The legendary trumpeter, bandleader and composer gave us a lot of landmark sounds, and his score to the Louis Malle film, Ascenseur Pour L'echafaud, isn't one of the best known. Nevertheless, it defines everything that was great and timeless about the iconic brass man.

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: 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: For all but the most ardent followers of jazz and diehard Miles Davis fans, it can be hard to keep up with the many different albums he put out alongside his Quintet. That Quintet, often said to be the greatest in all of jazz history thanks to including Miles on trumpet next to John Coltrane on tenor, Red Garland on keys, bass from Paul Chambers and Philly Joe Jones on drums, put out several long players with very similar titles including this one, Miles: The New Miles Davis Quintet, in 1956. It is one of the earlier works from the then newly formed band and the songs in it are a mix of pop and jazz standards.

Review: ***B-STOCK: Slight marks/dents in vinyl record, but otherwise in working order.***


There can be few figures in jazz as iconic as Miles Davis, and for very good reason. Perhaps it's down to his restless innovation, moving through so many different eras and epochs as he explored the limits of tradition and skill, redefining the entire culture in the process. Unafraid to take huge risks and with an unapologetic personality to match his creative gifts, his legacy is quite simply phenomenal. As with any legend with such an extensive oeuvre, it can be hard to know where to start but fortunately this finely curated compilation provides a perfect overview of one of the most important figures in jazz.

Review: 1977's Quiet Nights is one of legendary American jazz figure Mile Davis' lesser known albums. It's not Bitches Brew or Kind of Blue, but it is a delightfully easy to listen work, with references taken from Brazilian folk on 'Prenda Minha' which actually gets renamed 'Song #2' here, or Spanish classical on 'Adelita' which was written by the pioneering Francisco Tarrega and is here called 'Song #1' .There are also some woozy ballads and standout big band jam 'Summer Night.' This reissue comes on heavyweight vinyl and is a great reminder of the range of the influential jazz legend.

Review: Sorcerer is a 1967 album from the Miles Davis Quintet - the third of six albums the group recorded. The line-up is a who's who of the era, with Wayne Shorter on tenor sax, Herbie Hancock on piano, Ron Carter on double bass and Tony Williams on drums. The only exception is the track 'Nothing Like You' which closes the album, originally recorded in 1962 with a wholly different line-up including Bob Dorough on vocals. It's considered one of the greatest albums of the Quintet's run, capturing a moment when Davis was moving on from trad bop and drawing on the writing talents of his peers in the group.

Review: Jazz pioneer and trumpet maestro Miles Davis was still in the early stages of his career when he played the three sessions that went on to comprise his Blue Note recordings in 1952, 1953, and 1954. A year later the final one, the seminal Blue Note label put the tracks together into two 12" albums as part of the 1500 series. They bare all the hallmarks of his early signature style from fiery bebop to beautiful ballads. Now the album comes in a mono, newly mastered version in the Blue Note Classic Vinyl Edition and pressed on 180g vinyl. Standouts include 'How Deep Is The Ocean' and 'Dear Old Stockholm.'

Review: There are various eye watering stats about the many, many million copies of this album that have been pressed and sold. For each one sold there is almost as many different versions of it, too, if you look on Discogs. But all the hype and huff aside, there is a reason it is one of jazz's most famous records. The sultry modal moods, the masterfully melancholic trumpet sounds Davis conjures and the noir, late night vibe are all perfectly realised and universally understood. Without it, music at large, let alone jazz, would sound very different.