#SRCZ Album Flashback #29: Miles Davis – Bitches Brew
In the vast history of
Jazz, it’s many and various styles, threads and innovators there is one name
that comes up often when the latter is mentioned. As an innovator, Miles Davis
certainly knew how to move a scene forward with sheer brute minimalism.
That and a lot of talent! Whatever one thought of the man himself it’s
hard to deny that as force for change in the occasionally stuffy world of Jazz,
Davis did much to shape the genre into what it is now. There are, of course, many
different sub genres of Jazz that have ensued in the decades since it rose to prominence,
but in constantly changing his directions Miles Davis, for the most part, kept
his output fresh and often enigmatic as a result.
There are many, many
albums worth of material from Davis out there, from original concept albums,
off cut collections and more than the odd compilation disc, but of all the
periods of his releases it’s his late sixties to mid seventies releases that
bring you back again and again. From the awesome artwork that decorates them
almost arrogantly to the music that fills them, they are a true source of
inspiration to any person of a creative nature.
Bitches Brew, released in
1970 sets up the cycle of constant evolution that would run until 1974 when
Davis retired from public view until a return in 1980. The album is still an invigorating
and wonder filled listen decades later. Retaining its atmospheric, dark charm
and mystery even now it’s rightly celebrated as classic of the Jazz genre, and
indeed of the whole music world. But that’s all good and well, the question
remains though as to whether it’s still relevant to modern listeners?
As someone who owns at
least three copies of the album on the original vinyl pressing, the answer for
this writer is firmly positive. Starting with the still stunning album artwork
from the late Mati Klarwein, depicting two worlds in darkness and light in an
image that still demands the question of what it all means even now, it’s a
perfect first impression. Once you see that image, you don’t forget it. It’s a
definite reason for loving the art of the record cover!
The music on the album,
featuring at least twelve players at any one moment it seems, is also a reason
for loving it. There’s drama, mystique and pathos on offer in the musical
directions here and it makes for much re-listening value. There is rarely a
moment when the music lets up the frenetic tone it sets. Spanish Key sees some
hard core trumpet action from Davis himself, traditionally saying much with his
short bursts of energy. But the rest of the band is on form as well, in one of
the tightest of all the formations of Davis’ band.
Much has been written
about the individual moments that define Bitches Brew over the years that don’t
need to gone into in too much detail here but it remains to say that there are
many more albums from Davis that explore the fusion Jazz themes touched upon
here that are even more of a treat than this one. Bitches Brew got the
attention, deservedly so in many ways, but make sure to check out its thematic
follow up Live – Evil as well.
From its innovative
production techniques courtesy of Teo Macero, to the attention to detail in
visuals and music Bitches Brew is a record you should listen to even if only
once!
(C. Agent)