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MILES DAVIS

with CHICK COREA, WAYNE SHORTER, DAVE HOLLAND, LENNY WHITE, LARRY YOUNG

JOE ZAWINUL, JOHN McLAUGHLIN, HARVEY BROOKS, JACK DeJOHNETTE, etc.

The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s. A monumental innovator, icon, and maverick, trumpeter Miles Davis helped define the course of jazz as well as popular culture in the 20th century, bridging the gap between bebop, modal music, funk, and fusion. Throughout most of his 50-year career, Davis played the trumpet in a lyrical, introspective style, often employing a stemless Harmon mute to make his sound more personal and intimate. It was a style that, along with his brooding stage persona, earned him the nickname "Prince of Darkness." However, Davis proved to be a dazzlingly protean artist, moving into fiery modal jazz in the '60s and electrified funk and fusion in the '70s, drenching his trumpet in wah-wah pedal effects along the way. More than any other figure in jazz, Davis helped establish the direction of the genre with a steady stream of boundary-pushing recordings

"BITCHES BREW"

Produced by  Teo Macero

1970      2LP     CBS RECORDS       S 64010   STEREO

MADE IN ITALY    ORIGINAL PRESSING

Released in a gatefold laminated cover + company inner sleeves.

Barcode and Other Identifiers

Barcode: none

LABEL: CBS - ORANGE LABEL -  BLACK TEXT

Catalog on cover: (front) 66236     (spine) S 66236

DISC ONE Catalog on labels: S 66236 (S 64010) CI 64010-1L  /  S 66236 (S 64010) CI 64010-2L

DISC TWO Catalog on labels: S 66236 (S 64011) CI 64011-1L  /  S 66236 (S 64011) CI 64011-2L

Matrix / Runout (Side A, Stamped): CI 64010?1L   cgd   25/9/70    (Etched): ZZZ ?

Matrix / Runout (Side B, Stamped): CI 64010?2L   cgd   25/9/70    (Etched): ZZZ ?

Matrix / Runout (Side A, Stamped): CI 64011?1L   cgd   25/9/70    (Etched): ZZZ ?

Matrix / Runout (Side B, Stamped): CI 64011?2L   cgd   25/9/70    (Etched): ZZZ ?

On labels: top rim text reads "Riservati Tutti......CBS-SUGAR S.p.A."

bottom rim text reads "Made in Italy"

STEREO

? 1970     S.I.A.E.(boxed)

Prod. Teo Macero

Rights Society / Publishing: S.I.A.E. (printed on all sides and stamped on sides A & C)

On Front Cover : Directions in music by Miles Davis

On Inside Right Panel: Notes by Ralph J. Gleason

Tracklist & Credits

CBS is a Trademark of the Columbia Broadcasting System, Inc. -

CBS-SUGAR Compagnia Genereale del Disco S.p.A. - Milano

Distribuzione Messaggerie Musicali - Milano - Roma

Stampa Reparto Grafico C.G.D.

tracklisting

Side A: PHAROAH'S DANCE

Side B: BITCHES BREW

Side C: SPANISH KEY - JOHN McLAUGHLIN

Side D: MILES RUNS THE VOODOO DOWN - SANCTUARY

  grading

RECORDS NEAR EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. "Pharaoh's Dance" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on "Spanish Key." Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief "John McLaughlin," featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with "Sanctuary," completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century...(AllMusic)