miles davis - bitches brew - 2cd - 1969 - faf int
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-====={{{{{{{ FAF Presents }}}}}}}=====- Miles Davis - Bitches Brew INFO Label........: CBS Records Ripper.......: abbe Genre........: Jazz Grabber......: EAC Type.........: Album Encoder......: LAME 3.90 # Of Songs...: 06 Quality......: VBRkbps/44,1kHz Release Date.: May-01-2002 Size.........: 99,7 MB TRACK NFO Track Time cd1 01.Pharaoh's Dance 20:00 02.Bitches Brew 27:01 cd2 01.Spanish Key 17:29 02.John Mclaughlin 04:26 03.Miles Runs the Voodoo Down 14:05 04.Sanctuary 10:54 93:55 min RELEASE NOTES Thought by many to be the most revolutionary album in jazz history, having virtually created the genre known as jazz-rock fusion (for better or worse) and being the jazz album to most influence rock and funk musicians, Bitches Brew is, by its very nature, mercurial. The original double LP included only six cuts and featured up to 12 musicians at any given time, most of whom would go on to be high-level players in their own right: Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Holland, Don Alias, Benny Maupin, Larry Young, Lenny White, and others. Originally thought to be a series of long jams locked into grooves around one or two keyboard, bass, or guitar figures, Bitches Brew is anything but. Producer Teo Macero had as much to do with the end product on Bitches Brew as Davis. Macero and Davis assembled, from splice to splice, section to section, much of the music recorded over three days in August 1969. First, there's the slow, modal, opening grooves of "Pharaoh's Dance," with its slippery trumpet lines to McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. The keyboards of Corea and Zawinul create a haunting, riffing groove echoed and accented by the two basses of Harvey Brooks and Dave 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 and distorted harmonics ring up a racket for Davis to solo over rhythmically outside the mode. McLaughlin is comping on fat chords, creating the groove, and the bass and drums carry the rest for a small taste of deep-voodoo funk. Side three opens with McLaughlin and Davis trading funky fours and eights over the lock-step groove of hypnotic proportion that is "Spanish Key." Zawinul's trademark melodic sensibility provides a kind of chorus for Corea to flat around, and the congas and drummers working in complement against the bass lines. This nearly segues into the four-and-a-half minute "John McLaughlin," with its signature organ mode and arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," echoes the influence of Jimi Hendrix; with its chuck-and-slip chords and lead figures and Davis playing a ghostly melody through the shimmering funkiness of the rhythm section, it literally dances and becomes increasingly more chaotic until about nine minutes in, where it falls apart. Yet one doesn't know it until near the end, when it simmers down into smoke-and-ice fog once more. The disc closes with "Sanctuary," a previously recorded Davis tune that is completely redone here as an electric moody ballad reworked for this band, but keeping enough of its modal integrity to be outside the rest of Bitches Brew's retinue. The CD reissue adds "Feio," a track recorded early in 1970 with the same band. Unreleased -- except on the box set of the complete sessions -- "Feio" has more in common with the exploratory music of the previous August than with later, more structured Davis music in the jazz- rock vein. A three-note bass vamp centers the entire thing as three different modes entwine one another, seeking a groove to bolt onto. It never finds it, but becomes its own nocturnal beast, offering ethereal dark tones and textures to slide the album out the door on. Thus Bitches Brew retains its freshness and mystery long after its original issue. -- Thom Jurek WHAT'S FAF? FAF releases are not about the quantity of releases, nor speed. FAF is strictly about Quality. How many times have you downloaded that album you really wanted only to find out it pops and skips throughout the entire rip. The ripper never bothered to listen to his release or use good software. Well, we decided not to bitch and do something about it. Any Audio Release you see from us will be ripped with Exact Audio Copy (EAC) and encoded with the LAME mp3 plugin for maximum compression quality (it doesn't get any better than this, we've tested them all). Unlike most other audio extracters EAC uses a "Secure" reading method. This means that all audio sectors are read at least twice (other ripping programs read it only one time). When a read error occurs EAC will reread the audio data up to 82x to get the correct data. EAC takes significantly longer to rip a cd because of this precision, and that is the price we are willing to pay to bring you the highest quality music. For people wanting the best rips possible this is not a problem, but for those others ripping and shipping so they can "win the race": this program is not for you. The best thing about EAC is that it's free and part of the open MP3 movement. We don't want to hide the technology we use, if anything we are going to encourage you to use it. LEARN MORE ABOUT EAC HERE http://www.ping.be/satcp/tutorials.htm LEARN MORE ABOUT LAME HERE http://www.mp3dev.org/mp3/ WHAT CAN YOU DO TO HELP -Start by learning to use EAC and LAME. -Support your local music and club scene, after all when they become famous you can tell your kids that you saw them in some shitty club when they were nobodies. -Don't be afraid to question the way things are, push the envelope. |
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