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Bitches Brew
Reissued, 2 CD, Extra Tracks, Remastered
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From the brand
Track Listings
Disc: 1
1 | Pharaoh's Dance |
2 | Bitches Brew |
Disc: 2
1 | Spanish Key |
2 | John McLaughlin |
3 | Miles Runs the Voodoo Down |
4 | Sanctuary |
5 | Feio - Miles Davis feat. Wayne Shorter, John McLaughlin, Chick Corea, Joe Zawinul, Dave Holland |
Editorial Reviews
Amazon.com
The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who's not so overwhelmed as to need the four-CD Complete Bitches Brew box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin's roles in the mix have been especially clarified. With a bonus track of "Feio"--a Wayne Shorter composition recorded five months later that serves both as a warm-down for Bitches Brew and a promise of Weather Report to come--this is crucial listening. --John F. Szwed
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.6 x 4.9 x 0.4 inches; 3.2 ounces
- Manufacturer : Sony Legacy
- Item model number : 2012449
- Original Release Date : 1999
- Run time : 1 hour and 46 minutes
- Date First Available : December 7, 2006
- Label : Sony Legacy
- ASIN : B00000J7SS
- Country of Origin : USA
- Number of discs : 2
- Best Sellers Rank: #6,499 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #8 in Avant Garde & Free Jazz (CDs & Vinyl)
- #15 in Jazz Fusion (CDs & Vinyl)
- #2,595 in Pop (CDs & Vinyl)
- Customer Reviews:
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Davis was by 1970 no doubt totally alientating his crowds-- having surrendered the ballads and hard bop pieces that made his reputation first for the new compositions of his second great quintet, Davis further confused and alientated his audience by his use of electric instruments in establishing the soundscape of "In a Silent Way" the year before. In the interim, Jimi Hendrix brought distortion and feedback to mas attention and Tony Williams had a jazz group playing rock and roll. Davis took all of these ideas and, like Hendrix brought distortion to the masses, brought rock music to jazz in a way no one else could do.
For the album, Davis began with his working quintet-- then saxophonist Wayne Shorter (performing exclusively on soprano here), pianist Chick Corea (heard here on electric piano), bassist Dave Holland and added to them guitarist John McLaughlin-- Davis courted McLaughlin endlessly and he's present on virtually all of Davis' early electric albums. Davis also doubled reeds (Bennie Maupin on bass clarinet), keys (Joe Zawinul, with Larry Young also playing on a couple pieces), bass (Harvey Brooks) and drums (Lenny White), as well as adding percussion to the mix (Don Alias and Jumma Santos). The result is a dense stew that, contrary to the notion of this being a jazz/rock fusion album, creates a structure that is wholly unique-- there is always something going on, sometimes several things, with the wash of keys and percussion providing a backdrop on which the horns and guitar and emerge from the backdrop to provide lead voices. For his part, Davis seems unnervingly inspired, either by the sound or the music or the musicians, his playing is superb, exploring his upper register and playing with a passion and energy. But really it's the group performance that shines-- the band (McLaughlin in particular) find ways to counter, backup, reply and encourage the lead voice or to provide a constant blend and shifting sound base where no one is really the lead.
The music itself seems most similar to the sort of compositions on "Kind of Blue"-- rough sketches or simple themes serving as springboards for soloing. Several of the pieces are extended (the first disc consists of two tracks both extending past 20 minutes and three of the second disc's four tracks run past 10 minutes), but the pieces never feel overlong-- instead they feel like extended suites as ideas turn into themes and back into ideas. Individually, the tracks matter less than the whole, though I've got my favorites (the rabid jam of the sublimely titled "Miles Runs the Voodoo Down" being the high point for me), but there's no wasted time, no material not worthwhile, it's pretty much fantastic start to finish.
This reissue gives the album the sonic quality it deserves-- anyone who's got the old issue of this (withe purple border) really has no idea what you're missing-- the sound here is fantastic, crisp, clean and fresh, well worth the upgrade, and adds a bonus track from a session at the beginning of 1970 ("Feio") as well as extensive liner notes excerpted from "The Complete Bitches' Brew Sessions".
"Bitches' Brew" is often mentioned among the critical recordings that everyone should own, the best of jazz and whatnot. These things are all true, but despite it's reputation as a jazz/rock fusion label, the album is a bit less accessible then most people would assume. While I love this record, it's extended tracks and focus on improvisation can make this a difficult listen for someone unfamiliar with jazz. Conversely, it's constant ready-to-boil stew can make this equally difficult for someone used to the looseness and economy of sound on a jazz recording. In the former case, Davis' "A Tribute to Jack Johnson" would likely make a better intro-- it's a bit extended, but it's essentially an album of blues jams, in the latter, "In a Silent Way" with it's sometimes minimalist approach may work better. Regardless though, albums rarely get better than "Bitches' Brew", and it is something everyone should have.
This album was one of the first in the new jazz genre known as fusion. I wasn't familiar with jazz at all so I had no context as to what I was listening to but I liked it. A lot.
After listening to this a lot in the 70s I didn't listen to music much for many years and then listened to classical for quite a while.
But in the last couple years I returned to jazz and began building up a cd collection. I didn't get this one or Live Evil for a long time because I had listened to them so much in the past. After having been away from jazz for so long I was like a kid in a candy store with all this great music in the last several decades and now available in a digital format that you can load on your computer and listen to on the go. For people who are not very familiar with jazz I would recommend in the more mainstream venue: McCoy Tyner, Keith Jarrett, Michael Brecker, Steps Ahead, John Coltrane, Joe Henderson, Bobby Hutcherson, Miles Davis, Joey DeFrancesco. As to fusion jazz I would recommend: John McLaughlin, Steps Ahead, Weather Report, Miles Davis. For big band I would recommend: Gil Evans, Maria Schneider. (I used to have some Duke Ellington and Stan Kenton in the vinyl era that I liked but haven't delved back into those yet)
OK, anyway, now that I have gotten familiar with a lot of jazz, both mainstream and fusion, where does Bitches Brew fit in?
In my opinion it is one of the masterpieces in the fusion genre. In terms of composition, the music has the sophistication of the best jazz works for a large group (the best practitioner of which in my view is Gil Evans). It occurred to me, hey maybe Gil Evans was involved in this album. (he was the arranger on some previous Miles Davis works and Evans has done a lot of fusion.) But no, judging from the liner notes it appears he wasn't involved. Anyway, the composition in these songs is very sophisticated and beautiful.
Davis' use of of multiple pianos, often playing very different melodies but ones that interact in an intriguing way, contributes greatly to this incredible orchestration. There are beautiful melodies from the pianos (Joe Zawinul, Chick Corea and Larry Young), and the reed instruments (Wayne Shorter and Bennie Maupin). There is also fine fusion guitar from my favorite jazz guitarist, John McLaughlin.
The work of some of the players on this album is I believe the best of their careers, or at least equal to anything else they did.
For those who love jazz including the electric fusion version of which this album was one of the pioneering works, this is one of the absolutely essential recordings to have in your collection.
Top reviews from other countries
Bravoooo 👌
Yes, it is pricey
Yes, it may have been transferred to ds file prior to mastering
Even so, this issue brings the music to life much more vividly than any other pressing to date
As for the live Bitches Brew, an excellent recording of the Isle of Wight concert from 1970 plus 3 live tracks from Newport make this as essential as the studio version.
Se devo dire due parole sul contenuto beh la massima espressione della produzione musicale di Davis.