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Miles’ live and studio directions were strongly diverging around this time, with the studio experiments pioneering new material-incorporated elements of rock, soul and folk that only gradually filtered through to the live stage. Uncharacteristically, Miles’ live quintet also influenced Bitches Brew. Miles had pulled out the stops in his search for a heavier bottom end. On the third day the rhythm section consisted of as many as 11 players: three keyboardists, electric guitar, two basses, four drummers/percussionists and a bass clarinet. While In a Silent Way featured eight musicians and was recorded in one single session, Bitches Brew included 13 musicians and was the result of three days of recording. However, Miles related in his autobiography how he wanted to expand the canvas on Bitches Brew in terms of the length of the pieces and the number of musicians. Then all of a sudden all the elements came together.” īitches Brew and In a Silent Way are both dominated by circular grooves, John McLaughlin’s angular guitar playing and the sound of the Fender Rhodes electric piano. Teo Macero remarked that with the latter album, the music “was just starting to jell. In terms of personnel, musical conception, and sonic textures, the album was a direct descendant of its predecessor, In a Silent Way.
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In line with his long-standing, step-by-step working methods, the recording was maybe a large, but nevertheless logical step forward on a course he had set almost two years earlier. In the early 1970s, Joe Zawinul and Wayne Shorter (with percussionist Airto Moreira) were involved in Weather Report, Herbie Hancock and Bennie Maupin set up Mwandishi, John McLaughlin (with Billy Cobham) created Mahavishnu Orchestra and Chick Corea founded Return to Forever with Lenny White.īitches Brew was not a sudden dramatic move in a completely new direction for Miles, though. The recording’s enormous influence on the jazz music scene was bolstered by the fact that almost all the musicians involved progressed to high-profile careers in their own right. In combination with Miles’ fame and prestige, the album gave the budding jazz-rock genre visibility and credibility, and was instrumental in promoting it to the dominant direction in jazz. In the words of Quincy Troupe, these two groups were like “oil and water.” īitches Brew signaled a watershed in jazz, and had a significant impact on rock. The hypnotic grooves, rooted in rock and African music, heralded a dramatic new musical universe that not only gained Miles a new audience, but also divided it into two groups-each side looking at this new music from totally different, and seemingly unbridgeable, perspectives. But Bitches Brew‘s ferocity and power carried a momentum that was much harder to turn around.
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Until August of 1969 he had remained close enough to the jazz aesthetic and to jazz audiences to allow for a comfortable return into the jazz fold. For Miles it meant a point of no return for the musical direction he had initiated with the recording of “Circle in the Round” in December of 1967. The music on Bitches Brew is indeed provocative, and extraordinary. The title fit the music, the cover fit the music.” Teo Macero remarked, “The word ‘bitches,’ you know, probably that was the first time a title like that was ever used. Whatever the title meant, it sounded provocative. Just like “motherfucker,” the term “bitch” can be used as an accolade in African-American vernacular. Gary Tomlinson, on the other hand, assumed that “bitches” referred to the musicians themselves. Carlos Santana speculated that the album was a “tribute” to “the cosmic ladies” who surrounded Miles at the time and introduce him to some of the music, clothes, and attitudes of the ’60s counterculture. The background of the title is unknown, but a clue is provided by the absence of an apostrophe at the end of the word “bitches,” making “brew” a verb, not a noun.
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Made on Miles’ personal invitation, Klarwein’s expressionistic work captured the zeitgeist of free love and flower power, depicting a naked black couple looking expectantly at an ocean, a huge vibrant, red flower beside them. This time there was no more holding back, no more tentative experimentation, no more “walking on eggshells.” The album that emerged, Bitches Brew, was groundbreaking, beginning with its stark title and Abdul Mati Klarwein’s memorable cover painting. Author and Miles Davis scholar Paul Tingen takes an in-depth look at the making of Bitches Brew, one of the most influential jazz albums of the 20th century.Īugust of 1969 marked Miles Davis’ boldest venture yet into undiscovered country.