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Here are some liner notes from the back of the cd set:
"On August 19, 1969, the day after Jimi Hendrix's sunrise set concluded the now-legendary Woodstock Music and Art Fair, Miles Davis began recording Bitches Brew, the two-LP package that would inexorably change the notably protean trumpet giant's approach to improvisation, the very nature of improvised music, and the demographic of the jazz audience. While Davis (1926-1991) had since 1967 been gradually bringing electric sounds into hsi bands, and moving more toward the rock 'n' soul 'n' funk rhythms, vamps, and bass lines of James Brown and Woodstock stars Hendrix and Sly and the Family Stone, Bitches Brew's long and intrepid jams threw down the gauntlet. He may not have been the first to fuse jazz and rock, but no one did more significantly, creatively, or enduringly than did Davis.
With his core quintet (Wayne Shorter, Chick Corea, Dave Holland, Jack DeJohnette) in tow, Davis expanded his ensemble to as may as 12, bringing in an exciting mix of older guard (including keyboardist-composer Joe Zawinul, who had much to do with the trumpeter's move in a more contemporary direction, and John McLauglin, then emerging as a major figure on guitar) and fresh presences (Bennie Maupin, Larry Young, Lenny White). He sometimes deployed a percussion quartet and used acoustic and electric bass simultaneously, which added to the oceanic depth of the grooves.
By turns churning and contemplative, airy and grounded structured and free, Bitches Brew streched and sculpted the music into previously unheard shapes — which is, of course, impossible, unless one is speaking metaphorically. Or unless you're Miles Davis.
Given a bright new remix, this special edition of Bitches Brew has gained an extra track (Feio), retains its original liner notes by Davis' friend, and late critic Ralph J. Gleason, and now contains perceptive analysis by musician/Davis scholar Bob Belden, who produced the four-CD Miles Davis—The Complete Bitches Brew Sessions. These performances comprise nothing less than an American musical milestone."
Here are some liner notes from the back of the cd set:
"On August 19, 1969, the day after Jimi Hendrix's sunrise set concluded the now-legendary Woodstock Music and Art Fair, Miles Davis began recording Bitches Brew, the two-LP package that would inexorably change the notably protean trumpet giant's approach to improvisation, the very nature of improvised music, and the demographic of the jazz audience. While Davis (1926-1991) had since 1967 been gradually bringing electric sounds into hsi bands, and moving more toward the rock 'n' soul 'n' funk rhythms, vamps, and bass lines of James Brown and Woodstock stars Hendrix and Sly and the Family Stone, Bitches Brew's long and intrepid jams threw down the gauntlet. He may not have been the first to fuse jazz and rock, but no one did more significantly, creatively, or enduringly than did Davis.
With his core quintet (Wayne Shorter, Chick Corea, Dave Holland, Jack DeJohnette) in tow, Davis expanded his ensemble to as may as 12, bringing in an exciting mix of older guard (including keyboardist-composer Joe Zawinul, who had much to do with the trumpeter's move in a more contemporary direction, and John McLauglin, then emerging as a major figure on guitar) and fresh presences (Bennie Maupin, Larry Young, Lenny White). He sometimes deployed a percussion quartet and used acoustic and electric bass simultaneously, which added to the oceanic depth of the grooves.
By turns churning and contemplative, airy and grounded structured and free, Bitches Brew streched and sculpted the music into previously unheard shapes — which is, of course, impossible, unless one is speaking metaphorically. Or unless you're Miles Davis.
Given a bright new remix, this special edition of Bitches Brew has gained an extra track (Feio), retains its original liner notes by Davis' friend, and late critic Ralph J. Gleason, and now contains perceptive analysis by musician/Davis scholar Bob Belden, who produced the four-CD Miles Davis—The Complete Bitches Brew Sessions. These performances comprise nothing less than an American musical milestone."
