Bitches Brew (Disc 1)  (47:07)
	01	Pharaoh's Dance			20:05			20:07
	02	Bitches Brew			26:58			27:00
Bitches Brew (Disc 2)  (47:01)
	01	Spanish Key						17:31
	02	John McLaughlin						04:28
	03	Miles Runs The Voodoo Down						14:06
	04	Sanctuary						10:56

Recorded August 19 - 21, 1969
20-Bit Digitally Remastered Japanese Cardboard Sleeve Edition
Last Remaster With Teo's Original Mix

No jazz collection is complete without Bitches Brew, an influential set that was one of the first successful attempts to form a new music (soon termed fusion) by combining jazz solos with rock rhythms. "Miles Runs the Voodoo Down" is the most memorable of the six lengthy selections, featuring a fascinating ensemble with Davis's trumpet, Wayne Shorter's soprano, Bennie Maupin's bass clarinet, guitarist John McLaughlin, the keyboards of Chick Corea and Larry Young (Joe Zawinul is on some of the other selections), Dave Holland and Harvey Brooks on basses, drummers Jack DeJohnette, Charles Alias, and Lenny White, and percussionist Jim Riley. Not for the close-minded, this music brought many rock listeners into jazz and gave jazz musicians new possibilities to explore.

Bitches Brew
Date of Release Aug 19, 1969 - Aug 21, 1969 (recording)

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, Dave 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

1. Pharaoh's Dance (Zawinul) - 20:05
2. Bitches Brew (Davis) - 26:58
3. Spanish Key (Davis) - 17:32
4. John McLaughlin (Davis) - 4:22
5. Miles Runs the Voodoo Down (Davis) - 14:01
6. Sanctuary (Shorter) - 10:56
7. Feio [*] (Shorter) - 11:49

Miles Davis - Trumpet
Jack DeJohnette - Drums
Dave Holland - Bass
Bennie Maupin - Clarinet (Bass)
John McLaughlin - Guitar, Guitar (Electric)
Wayne Shorter - Sax (Soprano)
Larry Young - Piano (Electric)
Lenny White - Drums
Don Alias - Percussion, Conga, Drums
Airto Moreira - Percussion, Cuica
Joe Zawinul - Organ, Piano (Electric)
Harvey Brooks - Bass, Bass (Electric), Guitar (Bass), Guitar (Electric)
Chick Corea - Piano (Electric)
Mati Klarwein - Illustrations
Teo Macero - Producer
Jimmy Riley - Percussion
Jumma Santos - Percussion, Conga, Shaker
John Berg - Design
Jim Riley - Percussion

1999 CD Columbia/Legacy 65774
1991 CD Columbia G2K-40577
1991 CS Columbia J2T-40577
1970 LP Columbia 26
1991 LP Columbia J2C 40577
1990 CD Columbia 40577
1997 CD Columbia 65351


Bitches Brew





Bitches Brew
by Artist: Miles Davis
Manufacturer: Sony
Released: 08 June, 1999



Music > Bitches Brew > Customer Reviews:


Average Customer Rating:

Bitches Brew > Customer Review #1:
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This IS Jazz!

Jazz is a remarkable musical style because of its innovation and adaptability. The man who personifies this the most is Miles Davis, for the groundbreaking Bitches Brew is, in every sense, fantastic!! I listened to the album for the first time last night and got blown away! Daviss masterful trumpet playing and Wayne Shorters soprano sax, coupled with occasional clarinet from Bernie Maupin, give the album a wonderful horn section, Chick Corea and Joe Zawinul lend their keyboard talents, John McLaughlin plays an unparalelled guitar, and the rest of the band is superb! I think Disc 1 is slightly stronger then Disc 2, but the album is great when put togther. Pharoahs Dance and Bitches Brew are incredible experiments from an incredible band, Spanish Key and Miles Runs the Voodoo Down are joyous improvisations, John McLaughlin is a unique duet, and Sanctuary gives it a peaceful finish. But the most amazing part off this album is the attitude. These men must have known that the only way to make this LP good was to pour their heart into the music. The result was a milestone in both jazz and rock, a record that brings emotion to all who listen to it, and it all came from one mans head. Thank you, Miles.


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Bitches Brew > Customer Review #2:
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Miles Davis VS Rock

If youre wondering were to begin with the electric period of Miles Davis, his jazz - rock fusion period, dont look any further. You just found it! Fans of fifties Miles and Kind of Blue fans, a sign of warning - youll be in for a surprise! And what a surprise it is! Listen to it with head - phones, that way youll get the full satisfaction. Mind - blowing and timeless, for the jazz and none - jazz listener alike. I dont listen to jazz (well not a lot) so when I first heard it I was astonished. I had never heard anything like that before. Although the tracks are very long (up to 27 minutes for Bitches Brew), all 94 minutes on the album will pass really quickly.
Dont expect to hear something mellow, this is dark, sometimes scary music for those late nights. The first time you listen to it you may not even like it, so it requires an open mind. There are hard rock rhythms with the fiery trumpet by Miles, the sax by Shorter, the screaming guitar work by John McLaughlin, the driving beats of the drums by Jack DeJohnette, the piano by Zawinul...Wow! Song highlights include Bitches Brew, John McLaughlin and Miles Runs The Voodoo Down. This is the album that started a revolution, that started the fusion sound of the seventies that many other groups will follow , and for that it will always be considered as one the most important jazz albums ever.




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Bitches Brew > Customer Review #3:
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Essential LISTENING

If youve never heard this album before, youve probably never heard anything like it before. Yes, its an "essential" collectors recording, documenting a sea change in jazz studio work. And yes, Miles ensemble here went on to become Weather Report, Mahavishnu Orchestra, and some of the other seminal fusion bands. But this album is like nothing before or since.
Appreciation requires close, attentive *listening*. Its about the interplay of musicians and development of themes over 20+ minute tracks. The sheer brilliance of the artists requests and requires our respectful attention. My focus shifts from listening to listening, but these days im caught up in the interplay of drummers Jack DeJohnette and Lenny White. Other times ive marveled at Bernie Maupins bass clarinet, or the interplay of three electric pianos, and of course Miles guidance coming in the form of exquisitely phrased trumpet.

I will listening to this album the rest of my life. And i will not be bored.





Miles Davis: Bitches Brew
by: ReleaseRoger 21 August 03


This is a difficult choice.

Is it possible to pick just one of this man's albums as the essential?? Probably not.
There's such a lot to choose from and all in varying styles.
Also, how much do you like Jazz??
I would suggest that if you already know that you dislike jazz with every fibre of your body and you know that no matter what I say that opinion is not going to change then link away now.........go on.........you won't miss anything....promise........!

Right then.
If you're still with me then you obviously have some inclination about the greatness of this artist and fancy killing a few minutes. If you're still here even after I told you to link out then on your own head be it!! Hey, you never know you might be convinced to buy the recording!! (also, it would make me feel I'm doing a good job!)

Miles Davis was the ultimate 'bad mofo'. Uncompromising, ruthless and totally wired. Throughout his colourful career he produced some truly wonderful music. Some of it was seminal, some of it challenging and some of it just downright out there! I doubt there will be another quite like Miles. A trumpeter of some skill and, above all, a musician of the highest claibre with an astute ear for composition and arrangement. Miles also liked to work with the best. Some of the musicians that backed Miles on his Fontana and CBS albums rank amongst some of the best ever to grace the stage of Jazz. There's far too many to mention here such was Miles endless search for creative and precision players.

Ranking alongside this recording as essential purchases in their own right are the masterpieces 'Kind Of Blue', 'Sketches Of Spain', 'Birth Of The Cool' and 'In A Silent Way'. I'd recommend all of these albums along with the album in this review. If you want to delve further then 'Miles In The Sky', 'The Sorcerer' and 'Nefertiti' add some colour to this wonderful music.

Back to the review though. It's the 1970 double album release 'Bitches Brew' I'm offering up to Collective as an essential jazz album that needs to be in your collection.

'Bitches Brew' was to mark a creative watershed in Miles career. After it's release he was (in my opinion) never to scale such creative heights again but upon hearing this album you can allow the man to take his foot off the pedal for a bit. (OK, so 'On The Corner' carried Miles off into Jazz/Funk territory and 'Get Up With It' was made on another planet but as creativity goes....!)

Heeding the call to stay fresh Miles Davis was the proverbial chameleon. Forever re-inventing himself and forever pushing the boundaries of Jazz as far as they would go until those boundaries finally merged into fledging 'electric' experimentation scene of the late 1960's. By 1969 Miles Davis was about ready to change the face of Jazz forever.

'Bitches Brew' was his most adventurous and most controversial album. He provoked fury within the snobbish Jazz community for committing the cardinal sin of including electric instruments within this new batch of compositions. (this was nothing new as he'd included electric instruments on 'Miles In The Sky' but not to this extent!)
Ironically though 'Bitches Brew' would also prove to be his best selling album securing him a Grammy award and a well-deserved Gold record to hang on the wall.

The core group that contributed to 'Bitches Brew' was made up of the then famous 'Miles Davis Quintet' consisting of Miles (trumpet), Wayne Shorter (saxophone), Chick Corea (piano), Dave Holland (bass) and Jack DeJohnette (drums).
Along with this quintet Miles invited down some of the new kids in town to help him and his group create something a bit more dramatic and out there. A collaboration of old and new if you like.
The obvious standout of the new brigade and 'Bitches Brew' shining star was guitarist John McLaughlin. Easily one of the best guitarists of his generation he provided some stunning solos to this album. Joining McLaughlin and the rest of the Quintet was Bernie Maupin (bass clarinet), Joe Zawinul (keyboards), Larry Young (keyboards), Harvey Brooks (electric bass), Lenny White (drums) and Jumma Santos and Don Alias (both percussion). Just by reading back the list of musicians that contributed to 'Bitches Brew' you can begin to see just how 'different' this new jazz release was going to be. Radical isn't the word!!

'Bitches Brew' consisted of six tracks split over four sides of vinyl. It contained two 'side-long' tracks, three middle-length cuts and a quick four-minute burst. The album was packaged in a lavish gatefold cover with some stunning artwork reflecting the madness and 'dabbles with the darkside'! If you can find an original CBS issue of this album then snap it up! It's a work of art!

Side one contained the first of the aforementioned side-long cuts. ''Pharaoh's Dance' kicks off proceedings with a statement of intent. It's got a groove as yet unheard off at that time in jazz. The combination of acoustic and electrical instruments clatter together in a subliminal way. Apart from it's content, 'Pharaoh's Dance' is a triumph of studio editing. (expertly handled by Teo Macero under Miles' supervision, natrually!) No less than 17 edits of sections of jams make up this 20 minute track and the edits are seamless. The edits give this track a rigid structure that sounds like it's was written rather than arranged via edits and jams.

The title track took up all of Side Two. Clocking in at over 26 minutes it's an absolute frenzy. A 'Bitches Brew' indeed. I can't explain it, you're just going to have to listen to it!

Side Three contains 'Bitches Brew's best section. The wonderfully funky 'Spanish Key' is the most cohesive piece here. Wonderful solo's, Miles especially takes some lovely breathy solo's throughout these 17-odd minutes. John McLaughlin's guitar leaps about in bursts of inspired playing. The two drummers lay down some perfect grooves capped off with a throbbing bass-line and manic keyboards. It sounds a mess but somehow all these instruments find room within the structure to flourish. It's a truly, innovative masterpiece.
'John McLaughlin' closes the side. A nice little showpiece for John to flex his considerable guitars skills. At four minutes it doesn't outstay its welcome and acts as a nice counterbalance.

Onto the final side then. A real Jeckyll and Hyde side. Two tracks of opposite styles. The first track is a rollercoaster of a ride. The undeniably brilliant 'Miles Runs The Voodoo Down' takes us on one hell of a journey for 14 minutes. You can actually imagine the voodoo being hunted down by Miles' fierce soloing. It's inspired and downright funky to boot. Again, words can't do this track justice. 'Sanctuary' closes the album with over ten minutes of wonderfully laid-back soloing from all concerned. Again the star of the show is undoubtedly Miles' trumpet but special mention goes to the rest of the gang playing some fantastic melodies and challenging harmonies underneath the refrain that allows Miles to fly.

And there you have it. Over sixty minutes of music from one of the most remarkable albums of all time. My review really can't do this music justice. To be honest, some of it is beyond definition such is the blinding talent on show here.

Amazingly for such challenging music, this record sold. It provided Miles Davis with his highest chart placing and finally set his legend in stone forever.
Just as amazing was the fact that the foundations for these six tracks were laid down in just three days. This man was working at a furious pace and expected his fellow musicians to keep up with him.

'Bitches Brew' has had many comparisons thrown at it. You'll read reviews citing influences of Jimi Hendrix, Sly Stone, Grateful Dead and even Karlhienz Stockhausen. My personal opinion is that it was the other way round. People were influenced by Miles Davis explorations into the unknown and encouraged to incorporate a different way of thinking not only in the approach to composition but the use of the mixing console as an instrument as well.
(OK, except for Stockhausen...he really was a law unto himself!)

So, Is it for you? Depends on just how far you want to delve into this type of music. It's certainly not for amateurs that's for sure! You have to listen to this album several, several times to get it's greatness. I, myself, have struggled with this album from time to time. It's certainly demands your attention.
Don't let that put you off though. It's not unlistenable. In fact, its very listenable such is it's appeal but it is unforgiving at times.
If you buy it then find the time to really sit down with this album and pay full attention to it.
It will be a rewarding experience.

'Bitches Brew' represents one of the biggest creative musical peaks of the last century and on that basis alone you've got to at least listen to it once.