Miles Davis ‎– Bitches Brew

Label:
Columbia ‎– GP 26
Format:
2 × Vinyl, LP, Album, 360 Sound Labels, Gatefold
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A Pharaoh's Dance
Written-By – J. Zawinul*
20:07
B Bitches Brew
Written-By – M. Davis*
27:00
C1 Spanish Key
Written-By – M. Davis*
17:30
C2 John McLaughlin
Written-By – M. Davis*
4:23
D1 Miles Runs The Voodoo Down
Written-By – M. Davis*
14:03
D2 Sanctuary
Written-By – W. Shorter*
10:54

Companies, etc.

Credits

Notes

This version can be differentiated from subsequent pressings by the "360 Stereo Sound" Columbia 'two-eye' labels and by the catalog number.

Released in a gatefold jacket.

Interior gatefold panel:
Manufactured by Columbia Records/CBS, Inc./51 W. 52 Street, New York, N.Y./ ® "Columbia," Marcas Reg. Printed in U.S.A.

Full title printed on the front cover: "Directions In Music By Miles Davis Miles Davis Bitches Brew".

Barcode and Other Identifiers

  • Matrix / Runout (Label sides A and B): CS 9995
  • Matrix / Runout (Label sides C and D): CS 9996
  • Matrix / Runout (Label side A): XSM 152412
  • Matrix / Runout (Label side B): XSM 152413
  • Matrix / Runout (Label side C): XSM 152414
  • Matrix / Runout (Label side D): XSM 152415
  • Matrix / Runout (Runout side A): o XSM152412-1C 1 S A6
  • Matrix / Runout (Runout side B): o XSM152413-1C 1 S
  • Matrix / Runout (Runout side C): o XSM152414-1C 2 2 Ab
  • Matrix / Runout (Runout side D): o XSM152415 1D S-
  • Rights Society: BMI

Other Versions (5 of 101) View All

Cat# Artist Title (Format) Label Cat# Country Year
H2C 33 Miles Davis Bitches Brew(Reel, 4tr Stereo, 7" Reel, Album, Lar) Columbia H2C 33 US 1970 Sell This Version
CDCBS 66236 Miles Davis Bitches Brew(2xCD, Album, RE) CBS CDCBS 66236 UK Unknown Sell This Version
S 66236 Miles Davis Bitches Brew(2xLP, Album, Gat) CBS S 66236 Spain 1970 Sell This Version
GP 26 Miles Davis Bitches Brew(2xLP, Album) Columbia GP 26 Canada 1970 Sell This Version
18 BO 0908 Miles Davis Bitches Brew(8-Trk, Album) Columbia 18 BO 0908 US 1970 Sell This Version

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gothicturbines

gothicturbines

June 11, 2016
edited 10 months ago
Many talented musicians played on this record. It is regarded as a musical masterpiece by many. They say it grows on you. I found that it over-intelectualized the musical compositions on it to the point of the agonizing-like an ending that never ends at the end of the title track 'Bitches Brew.' Oh well. Joe Zawinul is also credited as playing on a number of tracks along with Chick Corea. I can hear Chick's playing-but I can't make out Zawinul's playing at all. Great album cover art by the same guy who did many brilliant album covers for the band Santana back in the 1970's. "Its not for jazz neophytes" pretty much covers it.
nondor

nondor

April 12, 2015
edited over 2 years ago
Fusion is either Jazz Rock or Rock Jazz.
This is Fusion's ostensible debut and it is Rock Jazz, that is, it is Jazz being Rock, whereas Ono's "Plastic Ono Band" is arguably Jazz Rock, that is, Rock being Jazz.
However, and curiously, No Wave / Punk Jazz (same thing) are idiomatically an Inversion of Fusion's goals and methods; Fusion is instrumental virtuosos and singers playing BETTER than World-Class Philharmonic professionals, with mega-prog hard-to-play erudition in impeccably recorded audiophile editions, while No-Wave / Punk Jazz is a coke-bottle-glasses-wearing college drop-out hitting a toilet with a segment of reinforcement bar or a Lower East Side dopesick Monobrow sweating into a saxophone recorded onto the very Consumer Cassette Tape you're listening to it on.
It's fascinating, in its brilliant brevity, when BAD BRAINS reveal their own Fusion Roots on their initial full-length, in a coda's conclusiv fermata that curls upward like wisps of intoxicating smoke.
The reason this BAD BRAINS reference is Germane with MILES is the fact that Fusion and No Wave/Punk Jazz are related but not musicologically contiguous. BAD BRAINS WERE a Fusion band and they wisely Regressed into a proto-virtuosic style, Punk, in a contemporaneous shift parallel to THE CONTORTIONS and New York, because at that time, in that context, it was the musical remedy to the excesses of glam, a de-hybridization, just as This album was a musical remedy to Cool Jazz and Mancini-ism, by embracing the hybrid, cream in the coffee.
Again curiously, in animal husbandry, a hybrid cannot procreate, just as Fusion may be an idiomatic dead-end, which could make Punk Jazz --which was falsely emulated by towering talents like Pastorius, again, an inversion because in his case it was the virtuoso, not the unproficient who commits fraud-- A Burro or a Jackass or a Donkey or Perhaps from Spanish, for its don-like gravity; the donkey was also known as "the King of Spain's trumpeter".
Darksidefloyd

Darksidefloyd

February 9, 2010
Miles Runs The Voodoo Down and the voodoo is still running and if this hasn't scared the shit out of you yet check it out it will When this first came out a lot of his fans said he had sold out but this was no sell out it was a birth
markjazz

markjazz

December 28, 2008
This is an album that helped get me into the jazz-funk and fusion style of jazz. It's a landmark album that set a standard for things to come. 'Pharaoh's Dance' is a 20 minute track that starts off very mellow with organ notes, timid drums and light saxophone play. Pretty soon Miles and his trumpet enters and the pace picks up. The track never gets to heavy and it pretty chill overall. It's one of my favorite on this album and I'm a big Egyptian fan so it's even easier to like it more. Getting to the title track, 'Bitches Brew', this one is a lot different. Miles uses echo in his horn from the start with simple blasts here and there and being that this track is a massive 27 minute long you expect it to build up, and it does! After a couple minutes a light bassline comes in and track progresses from there. It doesn't change a whole lot but it's still a fun track.

The other half of this album I tend to like a bit more. 'Spanish Key' is another great epic track at 17+ minutes long. I like Miles's horn in this one a lot and the track is pretty heavy at times and picks up speed right away. It never lets up. The next track, 'John McLaughlin', is of course titled after the great guitarist on this album and it's a cool little 4+ minute number that doesn't really escape from the other tunes on the album but it holds you down and keeps me interested enough to hear John's great fusion plucks. 'Miles Runs the Voodoo Down' starts off pretty slow moving and is probably my least favorite track on here. It does pick up a lot and gets pretty good near the end though. 'Sanctuary', again, starts off slow but it's pretty moving and Miles trumpet is beautiful on here. A great ending to a good album.

The best thing about his album is that is doesn't sound rehearsed, it's sound like the whole thing was done live and improv and maybe it was. That's why I like it so much. Some people get tried by the long track lengths but if you want an album to chill out to while reading or playing a game this is a good start. Be patient and let the fusion carry you away.