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Bitches Brew
Bitches Brew in Bloomington, MN
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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
, and
Lenny White
among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps,
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
' conga slipping through the middle.
Corea
and
Zawinul
's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of
Harvey Brooks
Holland
. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for
Davis
to solo rhythmically over, outside the mode.
'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
' later records. Side three opens with
trading fours and eights over a lockstep hypnotic vamp on "Spanish Key."
's lyric sensibility provides a near chorus for
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
, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of
Jimi Hendrix
with its chunky, slipped chords and
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 foggy nadir. The disc closes with "Sanctuary," completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable.
is so forward-thinking that it retains its freshness and mystery in the 21st century. ~ Thom Jurek
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
, and
Lenny White
among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps,
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
' conga slipping through the middle.
Corea
and
Zawinul
's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of
Harvey Brooks
Holland
. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for
Davis
to solo rhythmically over, outside the mode.
'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
' later records. Side three opens with
trading fours and eights over a lockstep hypnotic vamp on "Spanish Key."
's lyric sensibility provides a near chorus for
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
, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of
Jimi Hendrix
with its chunky, slipped chords and
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 foggy nadir. The disc closes with "Sanctuary," completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable.
is so forward-thinking that it retains its freshness and mystery in the 21st century. ~ Thom Jurek
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