Miles Davis – E.S.P.
Label: |
Sony Music Commercial Music Group – 88725471991 |
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Format: |
Vinyl
, LP, Album, Limited Edition, Numbered, Reissue, Remastered, Stereo
|
Country: |
US |
Released: |
|
Genre: |
Jazz |
Style: |
Post Bop |
Tracklist
A1 | E.S.P. | 5:27 | |
A2 | Eighty-One | 6:11 | |
A3 | Little One | 7:21 | |
A4 | R.J. | 3:56 | |
B1 | Agitation | 7:46 | |
B2 | Iris | 8:29 | |
B3 | Mood | 8:50 |
Companies, etc.
- Record Company – Sony Music Entertainment
- Published By – Musical Frontiers Pub. Co., Inc.
- Published By – Hancock Music Company
- Published By – Ronald Carter Music Co.
- Copyright © – Columbia Records
- Manufactured For – Impex Records
- Manufactured By – Sony Music Entertainment
- Lacquer Cut At – Bernie Grundman Mastering
- Pressed By – Record Technology Incorporated – 22196
- Pressed By – Record Technology Incorporated – 21096
- Published By – Musical Frontiers Pub. Co., Inc.
- Published By – Hancock Music Company
- Published By – Ronald Carter Music Co.
Credits
- Bass – Ronald Carter*
- Cover [Cover Photo], Photography By [Cover Photo] – Bob Cato
- Drums – Tony Williams*
- Lacquer Cut By – CB*
- Liner Notes [Notes By] – Ralph J. Gleason
- Piano – Herb Hancock*
- Producer [Produced By] – Irving Townsend
- Tenor Saxophone – Wayne Shorter
- Trumpet – Miles Davis
Notes
First audiophile reissue of Miles Davis' E.S.P. LP using all-tube/all analog mastering by Chris Bellman at Bernie Grundman Mastering. Featuring faithfully reproduced jacket and labels. Individually numbered and strictly limited to 3,000 copies.
© 1965, 2013 Columbia Records, a division of Sony Music Entertainment / Originally released 1965.
Tracks A1, A2, B1 to B3: Musical Frontiers Pub. Co., Inc. (BMI)
Track A3: Hancock Music Co. (BMI)
Track A4: Ronald Carter Music Co. (BMI)
Runouts are etched.
© 1965, 2013 Columbia Records, a division of Sony Music Entertainment / Originally released 1965.
Tracks A1, A2, B1 to B3: Musical Frontiers Pub. Co., Inc. (BMI)
Track A3: Hancock Music Co. (BMI)
Track A4: Ronald Carter Music Co. (BMI)
Runouts are etched.
Barcode and Other Identifiers
- Barcode (Scanned, UPC-A - sticker): 725543955012
- Barcode (Text - sticker): 7 25543 95501 2
- Rights Society: BMI
- Matrix / Runout (Side A runout): 22196.1(3)... 88725471991-A CB
- Matrix / Runout (Side B runout): 21096.2(3)... 88725471991-B CB
Other Versions (5 of 95)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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E.S.P. (LP, Album, Stereo) | Columbia | CS 9150 | US | 1965 | |||
Recently Edited
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E.S.P. (LP, Album, Mono, Pitman Press) | Columbia | CL 2350 | US | 1965 | ||
Recently Edited
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E.S.P. (LP, Album) | CBS | S 62577 | 1965 | |||
New Submission
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E.S.P. (LP, Album) | CBS | S 62577 | Netherlands | 1965 | ||
Recently Edited
|
E.S.P. (LP, Album, Stereo) | CBS | 62577, Sbpg 62577, CS 9150 | UK | 1965 |
Recommendations
Reviews
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Noticed that on the back of the album jacket, below the main text, Miles Davis/EPS, only the tracks on side A are listed. Must be a printing/layout error.
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Sound quality is very good, but not, IMO, in the same league with most other similarly-priced audiophile reissues from the same recording era (mid-1960s jazz). I've not heard any other vinyl version of this, so maybe this is just how it sounds? Clean/flat/centered and all that, though.
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Edited 4 years agoThe 1965 release E.S.P. is often referred to as the first album of Miles Davis's second great quintet. Miles pushes in new directions with Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. E.S.P. is post-bop excursions with Miles, Wayne and Herbie playing interlocking melodies that they improvise and fracture into something all togther new and innovative. This one is remastered using all analog master tapes by Chris Bellman at Bernie Grundman's Studio. Limited edition of 3,000. Simply brilliant. A rare gem.
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I have this, stereo remaster through IMPEX, but it isn't numbered. looks like it is the exact same though... I cant find the entry for it on Discogs. Should I make a new one?
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I have no original pressing to compare this record to, but the sound of this record is amazing. Airy and present highs that aren't obtrusive, clearly defined space between all that goes on in the midrange, and a super solid bass that s the music. I couldn't ask for more; this reissue sounds amazing, and I can't fathom why someone would ever need it to sound better than this. Played on extensively modified Rega P3 with Nagaoka MP200 cartridge, Schiit Mani phono stage with Swagman Labs power supply, via PS Audio amplification and Dynaudio EMIT M10 speakers and Polk Audio subwoofer.
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Edited 4 years agoAfter some brief comparing with a 70s Columbia copy I honestly found myself a little surprised at how equal they are. Id expected the Impex to come out ahead by a long shot.
There may be a little more presence in the drums (Except for Agitations intro for some reason) and overall balance of the Impex but the Columbia seems slightly more ethereal and smooth with piano notes reverberating through more of the soundstage and the perhaps slightly lower EQ boosting bass a smidge and shaving off some harsh trumpet notes.
The problem with comparing them is that the original is louder and Im not sure how much to compensate for.
The preferences here are very subjective I feel, but I think that if I had very clean copies of both versions I would reach for the Columbia more so.
Update:
With some closer inspection I found a few interesting things. I was sort of in contradiction when I said the drums are more present on the Impex, which is true for the most part, but also mention that the intro to Agitation with its drum solo actually felt more impactful and real in the Columbia.
After dissecting further, things become apparent regarding my preferences for the 70s copy. The old mastering is quite clearly using less stereo separation or panning in many cases. This does a few things, as mentioned the reverberations are more apparent in the soundstage and instruments seem less phoned in like the Piano and in this case Drums.
The Impex can be wider and more clinical in sound while the Columbia more meshed. However I dont recall feeling the original cut as distorted or unclear despite this, only adding fullness and atmosphere.
Simply put, I like the old mastering better, but both have their own place.
Update 2:
I was always under the impression that this used the original master tape, but it seems that was perhaps not the case, instead supposedly using a Mark Wilder Remix tape. This surely also contribute to why I felt the earlier pressing was better.
Equipment Used:
Technics SL-1210GR Turntable
Paratrace tipped Nagaoka MP-200 Cartridge
Cyrus 2 Amplifier
System Fidelity SF-3050 Tower Speakers -
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Nice pressing. Clean flat and quiet. Comes in non poly lined inner that requires immediate replacement with something of higher quality. Pretty happy other than that.
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