Like I said earlier in the thread, I have a rip of the mono LP and it is by far the best sounding version of the album. The instruments sound just right, especially Tony Williams' drums, which are a bit too distant in the stereo mix.
It's a real shame the double-LPs are not being done (besides Bitches Brew), since of course they include some of Miles's best work from the 70s: Live-Evil, Get Up with It, Agharta and Dark Magus are masterpieces.
I don't have Dark Magus on vinyl, but the original release of Get Up with It does not seem to suffer, imo, from the long sides.
The 2005 Cellar Door box predates the Bootleg Series; I think the packaging style suggests that it was meant to be part of the 'Complete Recordings' series. Maybe yasujiro was thinking of the Miles at Fillmore album.
+1 Got mine today, listened to the entire album on headphones, sounded great, nice soundstage, and lots of instrumentation subtleties I'd never truly heard before. So, perhaps a silly question from me: why did Miles end 3 of the songs by calling out producer Teo Macero's name?
Has anyone compared this to the old Vic Anesini remaster? I'm guessing that, at very least, the soundstage is wider. The Anesini sounds nice, but is kind of "in your face".
Amen, and amen! Even with the song lengths, they could cut it at 33 1/3 like they did with Bitches Brew, Jack Johnson and On The Corner, and it would still probably match or beat an original pressing, which are getting harder and more expensive to find in clean condition.
On your final point: agreed. I'm considering going for the Music on Vinyl editions, even though they are digitally sourced.
You could go that route and I'm sure they would sound okay. But if you can I'd highly recommend going with original pressings, even despite maybe having to patiently wait for copies in nice condition at a good price to come around. Get Up With It is no audiophile production, but I remember when I finally got a first LP pressing after hearing the CD for so long, I was really amazed at the sonic improvement.
Wow, just wow. My first MFSL pressing was E.S.P. - not the best but the best I'd heard to that point. Sent me on a voyage of discovery. Anyway, after banking all of the second quarter mofi SACDs (bar Miles Smiles which hasn't made it to the UK at a decent shipping price yet), and Kind of Blue, Four + More (each disc so good it made me buy the next disc), two more discs arrived today... sketches of spain and my funny valentine. I don't want to get bogged down in hyperbole, but... just... Sketches Of Spain I've never heard the instrumentation so clearly delineated (even if I can still hear the limitations of the recording technology - which is actually a great thing, first time I've been able to pick out the limitations of the hardware choices), but My Funny Valentine.. those opening notes before bass kicks in.... literal chills. I thought Miles had been resurrected and forced to play in my living room... First time, non-live that I've heard the trumpet totally go through me like that. Later I hear the Microphone limitations, but those opening notes... Even after buying Four & More that completely floored me. Here's to hoping Porgy & Bess is not the end...
My first Miles MoFi SACD is on the way from Elusive Disc Milestones Almost afraid it will be great.....because then I’ll have to buy more
Do you have the mono box? The last time I compared, I preferred the mastering in the mono box a bit more.
Milestones is a weird one for me, I love all of the albums around that time, and most of them I can sink in to like I'm collapsing into a beanbag. But I've never heard a mastering of Milestones that I like. I have the 1997, Columbia complete box set and the JSACD (which I hate because it's way too bright - that's not the way a trumpet actually sounds, where has any of the grit gone?). Is there a mastering you can recommend? I really hate the album but love everything around it and think it might be an EQ issue for me.
