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Bitches Brew

Reissued, 2 CD, Extra Tracks, Remastered

4.7 4.7 out of 5 stars 2,162 ratings

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Track Listings

Disc: 1

1 Pharaoh's Dance
2 Bitches Brew

Disc: 2

1 Spanish Key
2 John McLaughlin
3 Miles Runs the Voodoo Down
4 Sanctuary
5 Feio - Miles Davis feat. Wayne Shorter, John McLaughlin, Chick Corea, Joe Zawinul, Dave Holland

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 5.6 x 4.9 x 0.4 inches; 3.2 ounces
  • Manufacturer ‏ : ‎ Sony Legacy
  • Item model number ‏ : ‎ 2012449
  • Original Release Date ‏ : ‎ 1999
  • Run time ‏ : ‎ 1 hour and 46 minutes
  • Date First Available ‏ : ‎ December 7, 2006
  • Label ‏ : ‎ Sony Legacy
  • ASIN ‏ : ‎ B00000J7SS
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 2
  • Customer Reviews:
    4.7 4.7 out of 5 stars 2,162 ratings

Customer reviews

4.7 out of 5 stars
2,162 global ratings

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One Of Miles Davis’ Most Important Albums
5 out of 5 stars
One Of Miles Davis’ Most Important Albums
I think at this juncture not much needs to be said critically about “Bitches Brew”. There are many people that loathe this album while there are others that consider it one of Davis’ masterpieces. For me, I lie firmly in the latter camp. I loved “Bitches Brew” on first-listen, which I was probably 25 years ago. It is difficult to fathom this album has been around for 50 years now (March of this year marked its 50th anniversary). For those that haven’t heard “Bitches Brew”, please stop reading this review and just go listen to it. I can guarantee you one thing and that is you’ve never heard anything like at this point in time. The fact that it still sounds as relevant and fresh day is a testament to creativity and ingenuity of Miles Davis, but also Teo Macero who is very much a member of the band as it was his ear that helped shape this music and give it structure. My understanding is Miles brought in only a few sketches for the music, but wanted to keep the music spontaneous and lively with a thrilling, fly by the seat of your pants improvisational approach. Make no mistake there are themes in each of these pieces and each of themes are basically almost like whispers or clouds of smoke as they vanish quickly. There are some themes that stick around for a longer time like in the piece “John McLaughlin” for example.I do want to talk a little about the Mobile Fidelity Sound Lab hybrid SACD. While it sounds great throughout, there is some distortion in the last 50 seconds or so in “Pharaoh’s Dance”. I’m not sure if this is a tape issue or what as it’s not heard in the 2018 Japanese remaster from the Quadraphonic hybrid SACD release or the 1998 remaster. I found this rather disappointing, but thankfully the rest of this MFSL doesn’t have this issue. It was pointed out to me that it might be a tape issue, which is probably what it is or sounds like to me as well.If you don’t own “Bitches Brew”, I suggest starting with the 1998 remaster to get your ‘feet wet’ so to speak. If you dig this album and want to explore more, there is a box set dedicated to these entire sessions called “The Complete Bitches Brew Sessions” and it’s worth its weight in gold. I can’t recommend the MSFL hybrid SACD for the afore mentioned reason, but there are so many other worthy masterings that I wouldn’t worry too much about it.Happy listening!
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Top reviews from the United States

  • Reviewed in the United States on March 28, 2006
    In August of 1970, Miles Davis changed the face of jazz, yet again, in the recording of "Bitches Brew". It is an album that receives a lot of attention, both positive and negative-- for some, it's the end of an era of greatness, for others, it's the beginning, and still for others, it's a pale imitation. But what "Bitches' Brew" is clearly is a statement by one of the most respected jazz musicians and an album that would change the landscape of jazz forever.

    Davis was by 1970 no doubt totally alientating his crowds-- having surrendered the ballads and hard bop pieces that made his reputation first for the new compositions of his second great quintet, Davis further confused and alientated his audience by his use of electric instruments in establishing the soundscape of "In a Silent Way" the year before. In the interim, Jimi Hendrix brought distortion and feedback to mas attention and Tony Williams had a jazz group playing rock and roll. Davis took all of these ideas and, like Hendrix brought distortion to the masses, brought rock music to jazz in a way no one else could do.

    For the album, Davis began with his working quintet-- then saxophonist Wayne Shorter (performing exclusively on soprano here), pianist Chick Corea (heard here on electric piano), bassist Dave Holland and added to them guitarist John McLaughlin-- Davis courted McLaughlin endlessly and he's present on virtually all of Davis' early electric albums. Davis also doubled reeds (Bennie Maupin on bass clarinet), keys (Joe Zawinul, with Larry Young also playing on a couple pieces), bass (Harvey Brooks) and drums (Lenny White), as well as adding percussion to the mix (Don Alias and Jumma Santos). The result is a dense stew that, contrary to the notion of this being a jazz/rock fusion album, creates a structure that is wholly unique-- there is always something going on, sometimes several things, with the wash of keys and percussion providing a backdrop on which the horns and guitar and emerge from the backdrop to provide lead voices. For his part, Davis seems unnervingly inspired, either by the sound or the music or the musicians, his playing is superb, exploring his upper register and playing with a passion and energy. But really it's the group performance that shines-- the band (McLaughlin in particular) find ways to counter, backup, reply and encourage the lead voice or to provide a constant blend and shifting sound base where no one is really the lead.

    The music itself seems most similar to the sort of compositions on "Kind of Blue"-- rough sketches or simple themes serving as springboards for soloing. Several of the pieces are extended (the first disc consists of two tracks both extending past 20 minutes and three of the second disc's four tracks run past 10 minutes), but the pieces never feel overlong-- instead they feel like extended suites as ideas turn into themes and back into ideas. Individually, the tracks matter less than the whole, though I've got my favorites (the rabid jam of the sublimely titled "Miles Runs the Voodoo Down" being the high point for me), but there's no wasted time, no material not worthwhile, it's pretty much fantastic start to finish.

    This reissue gives the album the sonic quality it deserves-- anyone who's got the old issue of this (withe purple border) really has no idea what you're missing-- the sound here is fantastic, crisp, clean and fresh, well worth the upgrade, and adds a bonus track from a session at the beginning of 1970 ("Feio") as well as extensive liner notes excerpted from "The Complete Bitches' Brew Sessions".

    "Bitches' Brew" is often mentioned among the critical recordings that everyone should own, the best of jazz and whatnot. These things are all true, but despite it's reputation as a jazz/rock fusion label, the album is a bit less accessible then most people would assume. While I love this record, it's extended tracks and focus on improvisation can make this a difficult listen for someone unfamiliar with jazz. Conversely, it's constant ready-to-boil stew can make this equally difficult for someone used to the looseness and economy of sound on a jazz recording. In the former case, Davis' "A Tribute to Jack Johnson" would likely make a better intro-- it's a bit extended, but it's essentially an album of blues jams, in the latter, "In a Silent Way" with it's sometimes minimalist approach may work better. Regardless though, albums rarely get better than "Bitches' Brew", and it is something everyone should have.
    34 people found this helpful
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  • Reviewed in the United States on January 21, 2012
    I first was introduced to jazz by my best friend back around the time this album came out. I think the first album I heard was Live Evil and then heard this one shortly thereafter. (he also got me interested in Mahler but that is another subject)

    This album was one of the first in the new jazz genre known as fusion. I wasn't familiar with jazz at all so I had no context as to what I was listening to but I liked it. A lot.

    After listening to this a lot in the 70s I didn't listen to music much for many years and then listened to classical for quite a while.

    But in the last couple years I returned to jazz and began building up a cd collection. I didn't get this one or Live Evil for a long time because I had listened to them so much in the past. After having been away from jazz for so long I was like a kid in a candy store with all this great music in the last several decades and now available in a digital format that you can load on your computer and listen to on the go. For people who are not very familiar with jazz I would recommend in the more mainstream venue: McCoy Tyner, Keith Jarrett, Michael Brecker, Steps Ahead, John Coltrane, Joe Henderson, Bobby Hutcherson, Miles Davis, Joey DeFrancesco. As to fusion jazz I would recommend: John McLaughlin, Steps Ahead, Weather Report, Miles Davis. For big band I would recommend: Gil Evans, Maria Schneider. (I used to have some Duke Ellington and Stan Kenton in the vinyl era that I liked but haven't delved back into those yet)

    OK, anyway, now that I have gotten familiar with a lot of jazz, both mainstream and fusion, where does Bitches Brew fit in?

    In my opinion it is one of the masterpieces in the fusion genre. In terms of composition, the music has the sophistication of the best jazz works for a large group (the best practitioner of which in my view is Gil Evans). It occurred to me, hey maybe Gil Evans was involved in this album. (he was the arranger on some previous Miles Davis works and Evans has done a lot of fusion.) But no, judging from the liner notes it appears he wasn't involved. Anyway, the composition in these songs is very sophisticated and beautiful.

    Davis' use of of multiple pianos, often playing very different melodies but ones that interact in an intriguing way, contributes greatly to this incredible orchestration. There are beautiful melodies from the pianos (Joe Zawinul, Chick Corea and Larry Young), and the reed instruments (Wayne Shorter and Bennie Maupin). There is also fine fusion guitar from my favorite jazz guitarist, John McLaughlin.

    The work of some of the players on this album is I believe the best of their careers, or at least equal to anything else they did.

    For those who love jazz including the electric fusion version of which this album was one of the pioneering works, this is one of the absolutely essential recordings to have in your collection.
    14 people found this helpful
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Top reviews from other countries

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  • Quinderé
    5.0 out of 5 stars um marco na história da música ocidental
    Reviewed in Brazil on March 2, 2024
    magistral, um disco de jazz fusion para os amantes desta arte. Não é para os fracos e principiantes. Aprecie sem moderação.
  • Goose 555
    5.0 out of 5 stars Nuestro querido Miles. INSUPERABLE.
    Reviewed in Mexico on October 10, 2023
    Miles Davis, una obra de arte .Jazz en su básica matemática sonora hasta lo sublime de la acústica. Un trabajo musical entre mundos y dimensiones.....

    Bravoooo 👌
  • Denise Wyse
    5.0 out of 5 stars Mofi pressing is miles above the rest
    Reviewed in Canada on July 17, 2023
    Review is for the mofi pressing of the studio version
    Yes, it is pricey
    Yes, it may have been transferred to ds file prior to mastering
    Even so, this issue brings the music to life much more vividly than any other pressing to date
    As for the live Bitches Brew, an excellent recording of the Isle of Wight concert from 1970 plus 3 live tracks from Newport make this as essential as the studio version.
  • IPHoto
    5.0 out of 5 stars Great Album
    Reviewed in the United Kingdom on December 27, 2024
    Great Album, arrived on time.
  • francesco m.
    5.0 out of 5 stars WOW
    Reviewed in Italy on December 7, 2024
    Dopo tutti questi anni, ancora mi sorprendo alla fine di ogni facciata a dire WOW, il miglior disco di Miles assieme a Kind of Blue ma questo è come un’orgia sonora, pensare che quando è uscito (avevo 13 anni) lo ritenevo inascoltabile…se ci ripenso me ne vergogno.