Miles Davis."Fillies de Kilimanjaro".Orig Columbia CS-9750('68) T=Terre Haute.Ex
$
100
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Description
This is The Original 1st.Pressing of The Legendary Miles Davis – Filles De Kilimanjaro.
Miles Davis LP - Filles De Kilimanjaro Columbia – CS 9750(1968) Red Label "2 Eyes" Logo 1B/1D Lacquer Stampers in Runouts or Dead Wax T=Terre Haute Pressing Lacquer Stampers in Runouts or Dead Wax Take a look at Pictures I've Posted as Evidence/Proof of Originality of 1st Pressing T=Terre Haute Pressing Lacquer Stampers in Runouts as Reference.
LP\Vinyl Grade: Excellent Condition with light sleeve scuff lines & Sleeve marks.All Superficial.An Excellent Fantastic,Hard To find Orig.1st.Press on Columbia 2 Eyes T=Terre Haute Press Stampers Lacquers.LP Plays Ex..Do Not Miss Out!
Jacket Grade: Vg+ Condition with shelf and storage wear front and back. Back with a S on red ink on top right. Liner notes are intact.
Album Description: Personnel: Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock, Chick Corea (electric piano); Dave Holland (bass); Ron Carter (electric bass); Tony Williams (drums). Recorded at Columbia Studios, New York, New York between June 21 and September 24, 1968. Originally released on Columbia (9750). Includes liner notes by Ralph J. Gleason and Lawrence Kart. FILLES DE KILIMANJARO is one of the most singular, compelling works in the entire Miles Davis discography. It marks the continental divide between the trumpeter's classic '60s quintet, and the furious period of experimentation which led to BITCHES BREW, ON THE CORNER and AGARTHA. By 1968, Miles was feeling creatively restless, and stalwarts Herbie Hancock and Ron Carter were preparing to leave (to be replaced by Chick Corea and Dave Holland). So FILLES DE KILIMANJARO is a transitional work, suffused in the heady abstraction of the '60s, but with an ear out for the blues tonalities, electronic textures, and dancing rhythms of the jazz-rock epoch to come. Nevertheless, FILLES is neither avant-garde jazz nor fusion; it occupies a space of its own aural design--a magnificent new direction in music. Miles' fascination with the Fender/Rhodes electric piano, and its potential for new chordal voicings, is at the heart of FILLES DE KILIMANJARO. Herbie Hancock treats it percussively on the relentlessly driving "Frelon Brun," and with bell-like elan on the winsome title tune. Corea, meanwhile, feeds the horns guitar-like strums on the edgy, martial "Petits Machins," and bluesy washes of sound on the eerie "Mademoiselle Mabry." Bassists Carter and Holland find new harmonic possibilities within their vamp-like structures, freeing Tony Williams to engage Davis and Shorter in some remarkable airborne conversations: From the "All Blues"/James Brown references on "Toot De Suite" to the free-form mystery of "Mademoiselle Mabry" where all the strong rhythmic beats are air-brushed away, the trumpet and tenor saxophone are allowed to create sophisticated new forms of phrasing.
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