In the early spring of 1970, jazz fans were only talking about one album — a rich, textured blast of sound played with freestyle mastery and driven by an enormous rhythm section. Miles Davis, the prince of cool, had plugged in and gone electric. Not only was Davis’ use of electrical instruments an innovation on Bitches Brew, so was his use of post-production techniques in the studio. The double album was recorded over three short days in August 1969, but Davis went on to edit, layer, insert and resplice in the studio for months with his producer Teo Macero. The result was a chef d’oeuvre that spawned a new genre — […]
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