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Miles DavisBitches Brew

Label:Columbia – GP 26
Format:
2 x Vinyl, LP, Album, Stereo, Santa Maria Pressing
Country:US
Released:
Genre:Jazz
Style:Fusion

Tracklist

APharaoh's Dance
Written-ByJ. Zawinul*
20:07
BBitches Brew
Written-ByM. Davis*
27:00
C1Spanish Key
Written-ByM. Davis*
17:30
C2John McLaughlin
Written-ByM. Davis*
4:23
D1Miles Runs The Voodoo Down
Written-ByM. Davis*
14:03
D2Sanctuary
Written-ByM. Davis*, W. Shorter*
10:54
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Credits

Notes

1st pressing on "two-eye" Columbia labels. This version pressed at Columbia Records Pressing Plant, Santa Maria, as indicated by the 'S' in the runouts. Mastered by Customatrix, as per the 'o' in runouts.

A nearly identical and presumably later Santa Maria two-eye pressing also exists, with a credit reading only "-W. Shorter -" on track D2 (no "M. Davis-"), as per Bitches Brew.

Differs from the Columbia Records Pressing Plant, Terre Haute 1st pressing (Bitches Brew), and the Columbia Records Pressing Plant, Pitman 1st pressing (Bitches Brew).

Released in a gatefold jacket.

Interior gatefold panel:
Manufactured by Columbia Records/CBS, Inc./51 W. 52 Street, New York, N.Y./ ® "[Invalid Label]," 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

  • Pressing Plant ID (In runouts): S
  • Rights Society: BMI
  • Matrix / Runout (Label matrix side A): XSM 152412
  • Matrix / Runout (Label matrix side B): XSM 152413
  • Matrix / Runout (Label matrix side C): XSM 152414
  • Matrix / Runout (Label matrix side D): XSM 152415
  • Matrix / Runout (Runout side A (stamped), 1 S A6 (etched)): o XSM152412-1C 1 S A6
  • Matrix / Runout (Runout side B (stamped), 1 S (etched)): o XSM152413-1C 1 S
  • Matrix / Runout (Runout side C (stamped), 2 2 Ab (etched)): o XSM152414-1C 2 2 Ab
  • Matrix / Runout (Runout side D (stamped), S- (etched)): o XSM152415 1D S-

Other Versions (5 of 177)View All

Title (Format)LabelCat#CountryYear
Bitches Brew (2×LP, Album)CBS, CBSS 66236, CBS S 66236Europe1970
Bitches Brew (2×LP, Album, Repress, Santa Maria Press, Gatefold)ColumbiaGP 26US1970
New Submission
Bitches Brew (2×LP, Album)CBSS 66236France1970
Bitches Brew (2×LP, Album)ColumbiaGP 26Canada1970
Bitches Brew (2×LP, Album, Stereo, Gatefold Sleeve)CBS, CBS, CBS66236, S 64010, S 64011UK1970

Reviews

J-Keller's profile picture
J-Keller
I inherited a mint copy of this from my Dad's collection. This is a fantastic press! Vinyl is dead quiet and the mastering is very good. Worth picking up used if you can find one at a decent price.
Milanino's profile picture
Milanino
apart from the 40th anniversary vinyl (coming in the box set) are there standalone LPs that use the ORIGINAL mix? 4 example the newest reissues called "we are vinyl" use the Macero or the Wilder mix?
DJEZLOU's profile picture
DJEZLOU
Absolutely brilliant. Picked up my copy late 1971 and it is in regular listening rotation. Just watch the documentary "Mile Davis, Birth of Cool". Now I am listening to Spanish Key. Absolutely brilliant
critboy's profile picture
critboy
Just a wonderful recording in so many ways. Not only can you 'picture' where the trumpet is in the soundscape, on certain tracks you can hear the way it is aimed.
sefridie's profile picture
sefridie
CAN THIS HAPPEN? My copy of the LP album has 2 different labels on the two records. The first record (sides XSM 152412 and 13) has the black and white ink "2 eyes" "360 SOUND" labels. The second record (Sides XSM 152414 and 15) has the black and yellow ink with the word "COLUMBIA" 6 times around the edge, with "Eye" logos in between. I only own one copy, so I couldn't have accidentally switched them. Has anyone ever heard of this kind of thing?
gothicturbines's profile picture
gothicturbines
Edited 5 years 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.
poneromusikologist's profile picture
poneromusikologist
Edited 6 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's profile picture
Darksidefloyd
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's profile picture
markjazz
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.