Miles Davis Nefertiti 45RPM (2 LP)

Michael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 19/100!
Numbered, Limited Edition! 180g 45rpm 2LP!
Mastered from 1/4" / 15 IPS Analog Master to DSD 256 to Analog Console to Lathe & Pressed at RTI!
Final All-Acoustic Outing from Davis' Classic Second Quintet!
Mastered from the 1/4"/15 IPS Analog Master to DSD 256: Record's Tonal Shadings, Gradations, and Textures Come Alive!
Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism.
In 1968, the last purely acoustic album of the second Miles Davis Quintet was released. "Nefertiti" is a quiet album of subtle nuances, on which the musicians listen wonderfully to each other, but are still committed to the tradition of the hard bob. Jazz connoisseurs describe this album as the last and necessary step Davis had to take before he could devote himself to fusion jazz. It features Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums.
The MFSL Re-Issue generously distributes the six tracks of this album on four sides of 180g thick vinyl that wants to be played at 45rpm.
Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.
Mastered from the 1/4"/15 IPS analog master to DSD 256 and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.
As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section—shines as a textbook example of such chemistry and unity.
Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot", Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.
Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.
"Mo-Fi's Miles reissues keep coming. Porgy and Bess another atmospheric Miles-Gil Evans collaboration dropped early 2020. While all of these Miles albums are musically significant and many are sonically excellent on both original pressings and on these reissues, the biggest sonic surprise was how much better the reissued quintet (Shorter, Hancock, Carter, Williams) recordings sound compared to the originals. Whatever happened in the original mastering has been vastly improved on Nefertiti, Miles in the Sky and Filles De Kilimanjaro. If you have originals and think, you're covered, you're not! Get these while you can." - Michael Fremer, Analog Planet's Best Reissues of the Decade, March 2020

Features:

• Numbered, Limited Edition
• 45rpm Speed Edition
• Double Vinyl
• Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 Grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the 1/4"/15 IPS Analog Master to DSD 256 to Analog Console to Lathe
• Pressed at RTI
  

Musicians:

• Miles Davis, trumpet
• Wayne Shorter, tenor sax
• Herbie Hancock, piano
• Ron Carter, bass
• Tony Williams, drums

Selections:

Side A
1. Nefertiti
2. Fall
Side B
1. Hand Jive
Side C
1. Madness
Side D
1. Riot
2. Pinocchio