Miles Davis - Bitches Brew (2 Hybrid SACD, UltraDisc UHR)
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Miles Davis, primary artist, trumpet [click here to see more Vinyl / SACD featuring Miles Davis]
Wayne Shorter, soprano saxophone [click here to see more Vinyl / SACD featuring Wayne Shorter]
Bennie Maupin, bass clarinet [click here to see more Vinyl / SACD featuring Bennie Maupin]
Jack DeJohnette, drums [click here to see more Vinyl / SACD featuring Jack DeJohnette]
John McLaughlin, guitar, electric guitar [click here to see more Vinyl / SACD featuring John McLaughlin]
Dave Holland, bass
Harvey Brooks, bass, electric bass, bass guitar, electric guitar
Airto Moreira, cuica, percussion [click here to see more Vinyl / SACD featuring Airto Moreira]
Don Alias, congas, drums, percussion
Jumma Santos, congas, percussion, shaker
Lenny White, drums
Billy Cobham, drums
Chick Corea, electric piano [click here to see more Vinyl / SACD featuring Chick Corea]
Larry Young, electric piano
Joe Zawinul, organ, electric piano
Jim Riley, percussion
Written by Miles Davis, Joe Zawinul, Wayne Shorter
2 Hybrid SACD, UltraDisc UHR, Gatefold jacket
Limited numbered edition
Stereo
Studio
Label : MOFI
Original Label : Columbia
Recorded August 19–21, 1969 at Columbia Studio B, New York City
Engineered by Ray Moore, Stan Tonkel
Produced by Teo Macero
Originally released in 1970
To be reissued in 2014
Tracks:
Disc 1
- Pharaoh’s Dance
- Bitches Brew
Disc 2
- Spanish Key
- John McLaughlin
- Miles Runs the Voodoo Down
- Sanctuary
Awards:
Rolling Stone 500 Greatest Albums of All Time - Ranked 87/500
1971 Grammy Award for Best Large Jazz Ensemble Album
Included in the 1000 Recordings You Must Hear Before You Die - Ranked 177
Reviews:
“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 Brew Review by Thom Jurek
Ultra High-Resolution (UHR) is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.
Ratings :
AllMusic : 5 / 5 , Discogs : 4,77 / 5