MILES DAVIS — Bitches Brew (review)

Album · 1970 · Fusion

4/5 · 2024-10-11
FunkFreak75

I've been listening to this album with great attention for the past couple years, trying to fully comprehend the accolades it has received over the years--especially from a prog perspective--as well as in the context of Miles' own personal evolution. What I've truly come to appreciate, more than anything else, is Miles' amazing, almost unique desire to grow, to absorb all that he hears, to gather, listen to, and integrate the leading innovators of the younger generations around him. His track record is truly astounding (and perhaps a bit of a psychological issue: feeding like a vampire off of fresh, young blood and then taking all the credit). For fifteen years Miles had been learning how to command and squeeze the best out of his studio musicians in as little time as possible, and Bitches Brew offers yet another example of this. After a year of introduction to modern psych-pop culture via socialite wife Betty Mabry, the changes in Miles manifest in everything from clothes, food, and cars, to music, social circles, and concert attendance choices. Miles was now hep to Hendrix, Sly Stone, James Brown, The Byrds, Aretha Franklin, and Dionne Warwick/Burt Bacharach. Then came the 1969 Newport Jazz Festival in July. Witnesses say that after that--after seeing James Brown staged next to Frank Zappa and the Mothers and Dave Brubeck and Art Blakey, as well as a roster that included Sun Ra and his Arkestra, Roland Kirk, Herbie Hancock, Bill Evans and Freddie Hubbard, B B King, Sly and the Family Stone, Led Zeppelin and Blood, Sweat and Tears--Miles was super stoked to get back into the studio. (His first funk-infused album, In a Silent Way was already in the can but would not be released for another three weeks!) He was itching to try out some of the musicians and styles and recording techniques that he'd been hearing, seeing, learning about. Over the course of three days in August, using a kind of revolving door of musicians and multiple instrumentalists at each main instrument (three keyboard players, two drummers, two bass players [one acoustic, one electric], four drummers [not all at once; two at a time], and three percussionists, three horn players and electric guitarist John McLaughlin, the expanded or "new style big band" ensemble rehearsed and laid down six long tracks, only one of which had been composed and performed before ("Miles Runs the Voodoo Down" was one of the songs he played in his 24-minute set with his quartet at Newport--which may be one reason that song occupied all of Saturday, August 20). Then it was Miles' permission given to producer Teo Macero that led to much of the magic that we hear in the final release as he used many editing techniques in the post production, including tape loops, tape delays, reverb chambers and echo effects as well as splicing and micro-edits. In effect, it is the production work of Teo Macero that really brought Miles' work and Bitches Brew into the realm of modern sound recording and, thus, the attention and adulation of experimental rock and jazz musicians. While not the start of the jazz-fusion movement (that honor would have to be wrestled for between Gary Burton, Herbie Mann, Don Ellis, Larry Coryell, and Jimi Hendrix [this latter due to his influence on The Soft Machine), Bitches Brew was certainly the album that blew open the floodgates for musicians EVERYWHERE to experiment and dabble in the "dark arts." For me, the contribution of Bitches Brew is more in the story, the lineup, the production, the rather noticeable (some might say "drastic") shift in the direction of Miles' sound, not in the songs, per se. I find the songs interesting but none have ever found their way into my jazz-rock/jazz fusion playlists. Thus my four star rating: while the entire album is fascinating and essential for the observation of the evolution of Miles Davis, I would not recommend any of these songs as introductions to the world of jazz-rock fusion.

A "Pharaoh's Dance" (19:25) the long, slowly developing opening is kind of unusual for its meandering, amorphous way, but eventually the band members seem to get into their own individual grooves. One can easily sense that the trumpet player is in command with each other soloist getting a nod of permission for their turns in the spotlight, no more. The song chugs along, moving but never really getting anywhere; it's like a 19-minute video clip of a train motoring through Wyoming. (35/40)

B "Bitches Brew" (26:45) this one is quite a bit more diversified and dynamic than the opener: with enough twists and turns, stops and gos, to keep it interesting. (48.5/55)

C1 "Spanish Key" (17:30) definitely a more rock-oriented rhythm track, which is probably why the keys and guitar (and drums) are more aggressive and abrasive. (31/35)

C2 "John McLaughlin" (4:23) If this was Miles' nod to John, why didn't he let the guitar innovator use more of the distortion and other effects he was using on his other State-side shows and recording gigs? (8.75/10)

D1 "Miles Runs The Voodoo Down" (14:03) just a little too much on the bluesy side of R&B for my tastes, though I actually love the perfect recording and mix of all the instruments in the weave. My favorite part is the tenth and eleventh minutes when the Chick Corea's dirty Fender Rhodes and Larry Young's organ (as well as the bassists) go bat shit crazy--not a typical phenomenon in a Miles song. (26.5/30)

D2 "Sanctuary" (10:54) opens with rich Fender Rhodes support of Miles' plaintive, almost-tender trumpet play. I love it when Dave Holland and Bennie Maupin join during the second minute, Bennie trying to second Miles' melody line (but being a bit off). Until the song gels into its "solid form" at 3:!5 the drummers feel as if they're just warming up, each in their own universe. Joe Zawinul also has a rather unusual way of play off the beat (Teo Maceo's choice?) and yet, this is probably the album's most accessible song for me and, thus, my favorite. (18/20)

A little more exciting, diverse, and dynamic than its predecessor, In a Silent Way, I still have great difficulty understanding what people see in this album's music that elevates it to such high ratings. I understand the landmark it represents historically in the rise and development of that which will become the Jazz-Rock Fusion sub-genre, but there are very few moments on this album in which my blood gets pumpin' or my brain gets blown away by the solos, duels, or interface of these expanded lineups and their "new and exciting" electrified instruments. I mean, had I heard them in the day--in the context of what was going on sonically, evolutionarily, at that time, sure I would probably have been impressed. But, would it have made me inspired to become a musician? Would I have been blasting these songs across the Quad from my dormitory windows? Would I have been wearing out the grooves of my vinyl copy because I was playing it so much? I seriously think not!

Total Time: 93:00

B/four stars; a ground-breaking album, as they say, but to me this is just a rather messy conglomeration of highly creative musicians who have been given a certain amount of instruction, a little more freedom, and a lot of time. I mean, let's give credit where credit is due: Teo Macero took the tapes from the recording sessions and made whatever he thought sounded good to him, right? I mean, how much say did Miles or any of the other musicians have in the finished product that was released seven months after the recording sessions? Probably very little, so, then, in reality, how much credit should Miles receive for this product? Did he ever perform these songs live, in concert, the way they appeared here on vinyl? I seriously doubt it. I think we've been giving too much credit to a bandleader who had very little to do with the product that the world and posterity can own when in fact it is, according to what I've read, Teo Macero who shaped the finished product.