Miles Davis - Bitches Brew (1970)

Directions in Music by Miles Davis

Why that title? Theories abound. Here's some examples from Paul Tingen over at JazzTimes

The background of the title is unknown, but a clue is provided by the absence of an apostrophe at the end of the word “bitches,” making “brew” a verb, not a noun. Carlos Santana speculated that the album was a “tribute” to “the cosmic ladies” who surrounded Miles at the time and introduce him to some of the music, clothes, and attitudes of the ’60s counterculture. Gary Tomlinson, on the other hand, assumed that “bitches” referred to the musicians themselves. Just like “motherfucker,” the term “bitch” can be used as an accolade in African-American vernacular. Whatever the title meant, it sounded provocative. Teo Macero remarked, “The word ‘bitches,’ you know, probably that was the first time a title like that was ever used. The title fit the music, the cover fit the music.”

In any case, the title historically brought about a little anxiety for producer Macero:

merch available!

I won't go into great detail about the groundbreaking recording sessions here. That information, along with details on alternate takes and tape editing, is available in this brief oral history from 1999 and/or one of the better books in the 33⅓ series, written by George Grella:

The album would eventually spawn the use of the word "fusion" as a music genre. Meaning "jazz-rock fusion," the terminology ultimate falls short because, while the music is both, it is neither. My best attempt at describing the music is an understated mix of rhythm-driven blues funk. Plus, from the above-mentioned book: "abstract, formless, resolutely non-commercial music that has substantial popular appeal." (p. 102) Headphones recommended.

I normally wouldn't say anything about vinyl being preferable to compact disc, but the double LP set does have two distinct advantages:

1. the full, fold-out cover art on the gatefold sleeve by artist Mati Klarwein
   
2. the time required to flip over the sides and change the record give the listener time to recover and absorb what has just been heard.

Reviews/ratings:

• Stereo Review: "going to be as influential upon the jazz of the Seventies as Davis' 'All Blue' [sic] was upon the jazz of the Sixties - and that's saying a lot"
• Billboard: "More adventures of Miles in the hybrid musical landscape that he is making his own."
• CashBox: "instant jazz classic"
• Rolling Stone: "Miles' music continues to grow in its beauty, subtlety and sheer magnificence."
• Record World (★★★★): "Without question one of Miles' most important albums."
• Robert Christgau (A-): "Enormously suggestive, and never less than enjoyable, but not quite compelling. Which is what rock is supposed to be."
• Downbeat (★★★★★): "You'll have to experience this for yourself - and I strongly advise that you do experience it."
• The Penguin Guide to Jazz (5th ed., 2000):★★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★★

In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked Bitches Brew at #87.

Album chart peaks:

• US Billboard 200: #35
• Billboard Jazz: #1
• Billboard R&B: #4
• CashBox: #43
• Week-by-week chart breakdown

Tracks: My favorite track is Spanish Key, but my favorite track title is Miles Runs The Voodoo Down. I often make weak attempts at incorporating similar phrases into my life.

Wife: Could you stop by the grocery store for some bell peppers?
Me (under my breath): Mark runs the produce down.

There's really no bad track as they're all so innovative. Miles Runs The Voodoo Down was butchered to 2:49 for a single release with Spanish Key (down to 2:50) as the b-side.

Personal Memory Associated with this CD: When I was 17 years old, one of my high school directors tried to get me to give this album a listen, but the music is admittedly hard to describe and my idea of jazz at the time was smooth jazz. Needless to say, I didn't even give it a chance. Probably for the best. I wasn't ready at 17 and not really sure I'm ready all these years later. But the journey is a gas.

Back in 1993, I suggested to my wife that we name our firstborn son Miles. She nixed the idea with one of her peremptory challenges.

Previously revisited for the blog:

At Newport 1958 (2001)	Tutu (1986)
Panthalassa Remixes (1999)	In A Silent Way (1969)
Complete Birth of the Cool (1998)	At Carnegie Hall (1961)
Acoustic (1996)	Sketches of Spain (1960)
Live Around The World (1996)	Kind Of Blue (1959)
The Hot Spot Soundtrack (1990)	Milestones (1958)
Music from Siesta (1987)	'Round About Midnight (1957)

Blog post #1950