110: BITCHES BREW | MILES DAVIS
Bitches Brew is a studio double album by American jazz musician, composer, and bandleader Miles Davis, released on March 30, 1970, on Columbia Records. It marked his continuing experimentation with electric instruments that he had previously featured on the critically acclaimed In a Silent Way (1969). With these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of loose, rock-influenced arrangements based on improvisation.
The album initially received a mixed response, due to its unconventional style and experimental sound. It gained momentum and became Davis's highest charting album on the U.S. Billboard 200, peaking at No. 35. In 1976, it was certified gold by the Recording Industry Association of America, reflecting shipments of 250,000 copies. In 1971, it won a Grammy Award for Best Large Jazz Ensemble Album.
In subsequent years, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians. In 1998, Columbia released The Complete Bitches Brew Sessions, a four-disc box set that includes the original album and previously unreleased material. In 2003, the album was certified platinum, reflecting shipments of 500,000 copies.
By 1969, Davis's core working band consisted of Wayne Shorter on tenor saxophone, Dave Holland on bass, Chick Corea on electric piano, and Jack DeJohnette on drums. The group, minus DeJohnette, recorded In a Silent Way (1969) which also featured Joe Zawinul, John McLaughlin, Tony Williams, and Herbie Hancock. The album marked the beginning of Davis's "electric period", incorporating electronic instruments such as the electric piano and guitar and jazz fusion styles. For his next studio album, Davis wished to explore his electronic and fusion style even further. While touring with his five-piece from the spring to August 1969, he introduced new pieces for his band to play, including early versions of what became "Miles Runs the Voodoo Down", "Sanctuary", and "Spanish Key". At this point in his career Davis was influenced by contemporary rock and funk music, Zawinul's playing with Cannonball Adderley, and the work of English composer Paul Buckmaster.
In August 1969, Davis gathered his band for a rehearsal, one week prior to the booked recording sessions. As well as his five-piece, they were joined by Zawinul, McLaughlin, Larry Young, Lenny White, Don Alias, Juma Santos, and Bennie Maupin. Davis had written simple chord lines, at first for three pianos, which he expanded into a sketch of a larger scale composition. He presented the group with some "musical sketches" and told them they could play anything that came to mind as long as they play off of his chosen chord. Davis had not arranged each piece because he was unsure of the direction the album was to take and that what was produced came from an improvisational process, "not some prearranged shit."
Davis booked Columbia's Studio B in New York City from August 19–21, 1969. The session on August 19 began at 10 a.m., the band attempting "Bitches Brew" first. As usual with Davis's recording sessions during this period, tracks were recorded in sections. Davis gave a few instructions: a tempo count, a few chords or a hint of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. On the quieter moments of "Bitches Brew", for example, Davis's voice is audible, giving instructions to the musicians: snapping his fingers to indicate tempo, or, in his distinctive voice, saying, "Keep it tight" or telling individuals when to solo, e.g. saying "John" during the title track. "John McLaughlin" and "Sanctuary" were also put down during the August 19 session. Towards the end the group rehearsed "Pharaoh's Dance".
Despite his reputation as a "cool", melodic improviser, much of Davis's playing on this album is aggressive and explosive, often playing fast runs and venturing into the upper register of the trumpet. His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Davis did not perform on the short piece "John McLaughlin" Full article