Album Info
| Artist: | Miles Davis |
| Album: | Bitches Brew Live |
| Released: | Europe, 8 Feb 2011 |
Tracklist:
| A1 | Miles Runs The Voodoo Down | 10:26 |
| A2 | Sanctuary | 3:58 |
| A3 | It's About That Time / The Theme | 9:40 |
| B1 | Directions | 7:30 |
| B2 | Bitches Brew | 10:09 |
| C1 | It's About That Time | 6:17 |
| C2 | Sanctuary | 1:10 |
| C3 | Spanish Key | 8:15 |
| C4 | The Theme | 2:10 |
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Description
"Bitches Brew Live," released in 2011, captures Miles Davis during a transformative period, offering a fascinating glimpse into the evolution of his music from jazz into the burgeoning realm of jazz fusion. This album, unlike studio recordings, is a collection of live performances from two pivotal moments in Davis's career: the Newport Jazz Festival in 1969 and the Isle of Wight Festival in 1970. These performances encapsulate the raw energy and experimental spirit that defined Davis's late 1960s and early 1970s output, marking a departure from traditional jazz into more electric, rock, and funk-influenced soundscapes.
The album begins with tracks from the Newport Jazz Festival, where Davis's group included luminaries such as Chick Corea on electric piano, Dave Holland on bass, and Jack DeJohnette on drums. From the outset, it's clear that Davis is venturing into uncharted territory, with the group's exploratory improvisations and the dense, layered textures signaling a radical departure from his earlier acoustic work.
One of the standout tracks from the Newport set is "Miles Runs the Voodoo Down," a precursor to the studio version that would appear on the seminal "Bitches Brew" album. The live version is rawer and more immediate, with the band delving into deep grooves and electrifying interplay. Davis's trumpet, distorted through a wah-wah pedal, adds a sharp, cutting edge to the music, blending seamlessly with the swirling electronic keyboards and the rhythm section's complex patterns.
The Isle of Wight performance presents Davis's music on an even larger stage, both literally and metaphorically, with an audience of over 600,000 people. The lineup for this performance includes additional heavyweights such as Gary Bartz on saxophone, Keith Jarrett on electric organ, and Airto Moreira on percussion, further expanding the sonic palette. The set from this festival is presented as a continuous medley, showcasing the band's ability to weave different compositions into a cohesive, expansive musical journey.
"Call It Anything," the name given to the Isle of Wight medley, encapsulates the essence of Davis's fusion phase, with elements of rock, funk, and avant-garde jazz converging into a mesmerizing sonic whirlwind. The improvisational prowess of each musician is on full display, with the collective pushing the boundaries of conventional jazz structures and rhythms.
The production and recording quality of "Bitches Brew Live" bring the listener right into the heart of these historic performances, capturing the intensity and spontaneity of Davis's live sets. The rawness and immediacy of the recordings serve to highlight the innovative spirit of the music, offering a stark contrast to the more polished sound of studio albums.
"Bitches Brew Live" is not just a live album; it's a pivotal document that captures the moment of transition in Miles Davis's career, where the traditional and the avant-garde collide. The album offers invaluable insight into the creative process of one of jazz's most iconic figures, showcasing the evolution of his sound in a live context.
In conclusion, "Bitches Brew Live" is an essential listen for anyone interested in the development of jazz fusion and the groundbreaking trajectory of Miles Davis's career. The album stands as a testament to the power of live performance and the boundless possibilities of musical exploration.
