MILES DAVIS "Bitches Brew" 1970 UK CBS 1st PRESSING EX+

£ 26

$ 34

£ 26 Sold For

Sep 16, 2010 Sold Date

Sep 6, 2010 Start Date

£ 22 Start price

2 Number Of Bids

Great Britain Country Of Seller

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Description

MILES DAVIS "Bitches Brew" 1970 UK CBS 1st PRESSING EX+

EJ DAY GATEFOLD, SENSATIONAL CLEAN AUDIO, GREAT COPY

MILES DAVIS
Bitches Brew

ORIGINAL UK CBS (S 66236) FIRST PRESSING (April 1970) OF MILES DAVIS' LANDMARK MASTERPIECE "Bitches Brew" WHICH HAS SEEN ONLY LIGHT TO MODERATE PLAY AND SOUNDS SENSATIONAL THROUGHOUT WITH LITTLE TO FAULT THE CLEAN, SHARP AND BRIGHT AUDIO - GREAT COPY OF THIS STUNNING LP (and one of the cleanest UK first presses I've heard in a while)

PRESSED ON QUALITY MID/HEAVYWEIGHT VINYL WITH THE FIRST SOLID ORANGE CBS LABELS WITH 'MADE IN ENGLAND" TEXT
MATRIX: S - 66236 - A1 / S - 66236 - B1 / S - 66236 - C1 / S - 66236 - D1
THE RECORDS ARE HOUSED IN THE ORIGINAL MATT GATEFOLD SLEEVE "Printed and made by the E. J. Day Group, London and Bedford" WITH INTERNAL NOTES BY RALPH GLEASON
AND COMES COMPLETE WITH THE TWO ORIGINAL CBS COMPANY INNER SLEEVES

Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion.
The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later: Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, Lenny White, among them.
Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section.
"Pharaoh's Dance," opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea's and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland.
The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix, big chords ring up a distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis's later records.
Side three opens with McLaughlin and Davis trading fours and eights over a lock-step, hypnotic vamp on "Spanish Key." Zawinul's lyric sensibility provides a near-chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines.
It nearly segues into the brief "John McLaughlin," featuring an organ playing modes below arpeggiated blues guitar runs.
The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of Jimi Hendrix; with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foogy nadir.
The disc closes with "Sanctuary," completely redone here as a moody electric ballad, reworked for this band; but keeps enough of its integrity to be recognisable.
Bitches Brew is so forward thinking, it retains its freshness and mystery and sounds as vital today as it did over 40 years ago - an unqualified masterpiece.

Track Listing:
Side One: Pharaoh's Dance (20:07)
Side Two: Bitches Brew (27:00)
Side Three: Spanish Key (17:30) / John McLaughlin (4:23)
Side Four: Miles Runs The Voodoo Down (14:03) / Sanctuary (10:54)

LABELS: The labels are clean, fresh and unmarked with light/moderate spindle traces - played but not over-played - EXCELLENT+
VINYL Visual: All four vinyl surfaces retain their original deep, like-new lustre and are practically unmarked (some superficial light hairlines and one or two tiny little scuffs only - of no real audio consequence) - EXCELLENT (+)
VINYL Audio: Crystal clear, sharp, bright and clean audio throughout. On playback at a very loud volume (which is how I always listen to my records prior to listing and it's always a real pleasure to return to this one) all four sides play beautifully with just a few light clicks on the quite beginning to "Sanctuary" and a little surface noise on the run-ins (very, very minor issues and nothing I found at all intrusive). There are no scratches and there is no groove-wear or distortion. This set has been very carefully handled and not played that much at all and it sounds sensational. Critically graded EX+/EX+/EX+/EX for audio - this a very nice UK first pressing indeed (cleanest sounding copy I've heard in a while)
SLEEVE: The original matt, EJ DAY gatefold sleeve is good and solid with no structural damage but it does have storage rubbing to the edges and surfaces. There are however, no marks, tears or unwanted writing on the sleeve - VERY GOOD

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