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Bitches Brew (Bonus Track Version)

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Editors’ Notes

Whatever you call Miles Davis’ music on Bitches Brew (billed as “Directions in Music by Miles Davis”), it was not exactly a subtle shift in course: the wild, surreal cover art, the menacing title, the marathon explorations, the prominent doses of psychedelic rock and heavy soul. Drawn to the primal expressiveness of rock and soul, Davis created his own sound of great ferocity and chaos, of quiet beauty and deep grooves, and when he went into the studio for three days in August of 1969 — in the immediate fallout of Woodstock — he was fortunate enough to have a slew of first-class musicians help him execute his vision: his core band of Wayne Shorter, Chick Corea, Dave Holland, and Jack DeJohnette, augmented by the likes of John McLaughlin, Bennie Maupin, Joe Zawinul, and Larry Young. The two side-length tracks, “Pharaoh’s Dance” and “Bitches Brew,” are winding jams with shifting moods and tempos; the many musicians dance gingerly around each other at times, then stomp and flail with abandon. “Spanish Key” offers intense, impenetrable funky rhythms and showcases McLaughlin’s rough-edged guitar and some rather aggressive trumpet from the leader. “Miles Runs Down the Voodoo” is a filthy, snaking, late-night R&B vamp while “Sanctuary” mixes introspective passages with a few dense bursts of activity.

Customer Reviews

A Love Supreme's evil twin

Anyone who has a chrononlogical knowledge of jazz will realize upon first listen that this album is so far and beyond every other previous jazz recording in forward progress that it is un-friggin-believable. Its strange, spiritual movements are unorthodox but never awkward and each track builds towards a different yet equal spiritual explosion that serves as a testament to the eternal creativity of the human spirit. The album was so startingly creative that it started, peaked and nearly ended the jazz fusion movement. Every succesful and worthwile fusion group after this was formed from the musicians on this album and their creative output, including miles Davis's, never paralleled this. But even more than that, this album contains a heart that is unmistakably similar to John Coltrane's A Love Supreme. Both were performed by artists that instruments act as an extension of themselves, both departed radically from the traditional jazz format, and both were the summit of the artist's creative output, never to be repeated.

Great Album but...'s almost 20 bucks for 7 songs. You can get the same seven songs in the box set edition for only $6.93 if you buy them individually. Why would iTunes do this?? Disappointing to see a company trick their customers like this. Make the regualar album $9.99, max!!

Awsome album, but for this price buy the actual CD.

This is undoubtedly one of the most important jazz albums ever and was the beginning of a revolution in music, not just jazz. On the other hand, the price is just way too high. You can buy the actual album for the same price or less. I'm not sure what iTunes is thinking here. It's great to be able to find and download the albums you want when yo want them, but there is no packaging to consider. most albums seem to be resonably priced on here, but this one is way too expensive. I do encourage any miles Davis fan to buy this album, but just save some money and buy the real thing.


Born: May 26, 1926 in Alton, IL

Genre: Jazz

Years Active: '40s, '50s, '60s, '70s, '80s, '90s

Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the...
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