That’s the late at night, lights off, candlelit sultry vibe. Both have it, but the 2-eye has just a little bit more.
Thanks for the interpretation! I haven’t yet dipped in to these releases, and am wondering if the difference between the MOFIs and Columbias is as drastic as the Music Matters and Blue Notes. Based on your review, it sounds like less of difference?
You're right, I'd say it's less of a difference with Miles Smiles. The difference between an original Blue Note and a Music Matters is much more striking, especially when you realize both were cut from the same master tapes. And yet with those MMs the sound quality is more realistic and the soundstage is unfolded before you and you feel like you are sitting right there with Rudy and the boys in the studio. And then you can pick apart the hot sound of those original Blue Note pressings, saying that Rudy did what he had to do to get that music to fit on two sides of an LP and sound good (and usually punchy) on the equipment of the day. The overall, total difference between an original pressing of Miles Smiles and the MFSL is not as astonishing. And I think that's actually a good thing given that they had to use the remix due to presumed loss/damage to the original stereo master tapes. Sure, the vinyl formulation and 45 R.P.M. cut do help the sonics. But again, with the apples-to-oranges differences with the two mixes, there is no clear winner – both releases have their strengths and weaknesses. For a more apples-to-apples comparison, let's recap some of the other MFSL Miles reissues that use the original mixes from the master tapes: Sorcerer and Nefertiti, both cut at 45, and both significantly better sonics than the original pressings. Then there's Miles In The Sky and Filles de Kilimanjaro, which IMO are among the most sonically improved of the Miles Davis reissues, due in no small part to (a) the 45 R.P.M. cutting, which allows those longer tracks to spread out and breathe like never before, and (b) some much-needed warmth in the mastering stage, which I think was left out on original pressings due to the move from tube equipment to solid-state in the late-60's. These four titles are probably the most like that "original Blue Note vs. Music Matters" scenario you mentioned. The MFSL In A Silent Way is fantastic, but clean original 2-eyes are even better, mainly due to fresh oxide on the tapes back in '69. The MFSL Jack Johnson is another winner, cut at 33 1/3 just like the original, but with a little more vividness and an improved – almost holographic – soundstage. As always, each album needs to be treated on a case-by-case scenario. I can't declare either the MFSL Miles Smiles or a first pressing as the clear winner, as both have pros and cons. Luckily both are solid contenders, and I don't think you can go wrong either way. Also, let us remember that Music Matters has several hundred Blue Note albums to chose from, and there are so many great dates that they can afford to reject the occasional album for which good tapes cannot be located. MFSL has done most of the Columbia albums to date and I most sincerely hope they continue with some of the electric double-albums. They could have easily skipped some due to tape condition but fortunately for us they have not.
Just to offer another POV, I don’t agree with some of the comments above. I’ve written elsewhere in this thread about how some of the MoFis compare to originals, so I won’t regurgitate too much info. In cases where I have compared, the originals were often better. I tend to listen for things like frequency balance as opposed to soundstages that are “holographic,” so keep in mind if searching my comparisons that I tend to focus on a different set of parameters than perhaps others are evaluating. I’ve seen it said by a commenter on Fremer’s site about KoB that some of these titles have had “rock bass” dialed in and I think that is a pretty fair criticism. Certainly on some titles it is kind of a fun ride but the originals are often more balanced to my ears. The MoFi OTC, for example, sounds like they were really trying to appeal to the “groove” crowd, which is fine. But it really cannot replace the original, IMO. The original was mixed for AM radio appeal, so I guess it depends on how revisionist one tends to want things.
Just saw a tweet from MoFi that Miles Smiles 45RPM is almost sold out. Wow. Could demand for that title really be that much more than the other SGQ albums which have been available for years?
Just got Miles Smiles. This one is a miss, IMO. Sounds very smiley compared to the old LP of the original mix that I have. The midrange has gone on vacation and the whole vibe is different. The air in the room isn't there. Sounds a bit dry and clinical. When Shorter enters in the left channel at about 1:40 on "Orbits" his tone sounds absolutely pinched. So far I don't quite get what they were going for here.
I have that one as well and absolutely love it, fantastic master/recording. I have spent more time with the Miles Smiles 45 version and still think it sounds incredible. We all listen/hear things differently. Many great reviews of it posted on different sites out there. 4000 of these and almost sold out, that speaks loudly for this one. I turned one of my son's on to the MoFi of "Jack Johnson" and told him before he listened to it, that this record will blow your mind, of course he agreed after he took it for a spin...
It looks to me like Irving Townsend was the primary producer but that Teo Macero was on the seen. Interestingly, the original LP did not credit a producer. Okay, here's what the collective minds of Wiki have to say: Kind of Blue Production credit Kind of Blue was produced by Columbia staff producer Irving Townsend. However, over the years there has been confusion, with Davis's subsequent producer Teo Macero getting partial or full credit. "In the case of Kind of Blue there were two producers: Teo Macero and Irving Townsend," said jazz historian Eric Nisenson. "Macero's role, however, was clearly that of an apprentice and observer." The recording session was also cited by Nisenson as Macero's first experience with "the highs and lows of working with Miles." From Macero's own recollection, his involvement in the recording included "box[ing] everyone in so that there would be a physical closeness among the musicians, not like today when the musicians are spread all over the place." According to High Fidelity, "though his role in Kind of Blue has been disputed," the recording was "made under the auspices" of Macero. However, it is Townsend's voice heard on the session tapes, who became Davis's producer after the departures of George Avakian and Cal Lampley. Macero did not produce Davis until after Townsend took over West Coast production duties for Columbia Records, when Macero took his place. Macero's first Davis production was his next record, Sketches of Spain. I think this video is worth looking at. Teo is a hoot!
Question for anyone out there. I finally got around to buying Kind of Blue on vinyl. Have the SACD and standard CD releases. We played it in our stores on Jazz Sunday's all the time so I have heard it many times to say the least and just would rather listen to more of his other titles. I have a respectable collection of his vinyl, so I have been pretty content. I went with the Legacy RSD (non numbered) mono version and got it last week. The sound is excellent and very happy with this indeed! I see that the MoFi 45 stereo LP numbered version is now available again for $59.99...my question, is do I need this one or should I hold out for a possible One Step version in the future...thanks in advance!
The Mofi of Kind of Blue is the only Miles Mofi I ended up selling. I really didn't care for the bloated bass. But opinions seem split on the album with others loving the set.
I haven't sold my copy, but I never listen to it either, for the same reason. I have the Classic 33 and RSD mono I prefer to play.
I don't have the Classic but I do have the RSD mono which I prefer. I kept the Mofi SACD as a compromise.
Are you for some reason limited to buying only a brand new record? If not, then buy any one of the dozens of vintage stereo pressings of Kind Of Blue and get to listening. Waiting around for some possible future “audiophile” reissue that probably won’t be any better anyway doesn’t make much sense, IMO. Look what happened to anybody who used that approach when MoFi did it before. Their version was inferior to any standard $15 minty ‘70s reissue to my ears.
ordered MFSL Miles Smiles from Deep Discount / Google express for 20% off with promo code. Just a heads up
Thanks for the feedback, I paid $22 for the Legacy mono and pleased as can be with it! Even "Fremer" gave the sound an 11/10...I actually think I like this album in mono better.
Agreed - the best part of Miles and Columbia is they pressed and sold a lot of copies! My local was selling a quality 1st reissue of Miles Smiles from 70’d that I’m sure sounded great for $10 but someone snagged it before I got there. I’m happy with the MFSL but I know I would have been plenty ok with the Columbia 70’d pressing too.
I'd be surprised if Sound Garden doesn't have it or can't get it. It's in stores around me, a few hours south of you.
AS has it if you’re unable to grab it locally. I’m sure you could find it cheaper if you look around. Well worth the price. Miles Davis-Kind Of Blue-180 Gram Vinyl Record|Acoustic Sounds Miles Davis - Kind Of Blue
For what it's worth, I think the Legacy stereo version also sounds better on my system than the MOFI stereo. Tonally, it's much closer to the Legacy mono, though I believe it was mastered by Kevin Gray and the mono by Ryan Smith.
To each his own, but to me the studio is a critical element of Kind of Blue. Listening in mono, I lose that awesome spacious ambience. I grew up with the stereo version anyway, so the mono just sounds claustrophobic to me.
