August 1969, the psychedelic rock takes over, and Miles Davis seizes everything you hear and it happens your environment, once again, to transform the jazz. The result is Bitches Brew, an album prophetic. Touches of Jimmy Hendrix, James Brown, John Coltrane are mixed, unsophisticated, simple melodies, repeated over and hypnosis.
With this album, Miles is immersed in the electronic stage, which had begun some years earlier and Filles de Kilimanjaro In a Silent Way, two jewels. Surrounded by young musicians (Miles had a nose for talent) as Chick Corea, Jack de Johnette, John McLaughlin, Joe Zawinul, among others, Miles looking for new sounds, new textures. Moves away from the jazz purist to extend their limits, to design original streaks where his companions later-disciples continued, giving rise to two of the most important jazz fusion: Weather Report and Mahavishnu Orchestra. But what is fusion jazz virtuosity, playfulness, Bitches Brew is in aggressive pursuit, narcotic originality.
Fans Miles seemed to forgive him away from more traditional jazz, or heroin, but Miles made up for them, but as a compulsion, as the unbridled excitement that was his own life, seeking new areas where spill insatiable talent.
Up to 75 took the electronic age. But so much psychedelia, both jazz, rock much, much excess led him to silence. Between 75 and 80 did not touch even once the trumpet. My main activity was to take five hundred dollars of cocaine a day and take all the women who managed to take home. He also was addicted to Percodan and Seconal, which accompanied with beer and cognac.
Bitches Brew is the euphoria, delirium creative, liberating key jazz explosion experienced by the Beatles and Pink Floyd in the rock, Ginsberg and Kerouac in the literature, Warhol and Basquiat in the paint. Then came depression closure, after the excess vacuum creative. Disco
gear between traditional jazz and jazz fusion, full of visceral honesty, Bitches Brew invites us to listen to dismantle the organized, to plunge us into the entropic harmony of his improvisations.
Bitches Brew, Miles Davis, 1969, Sony.
With this album, Miles is immersed in the electronic stage, which had begun some years earlier and Filles de Kilimanjaro In a Silent Way, two jewels. Surrounded by young musicians (Miles had a nose for talent) as Chick Corea, Jack de Johnette, John McLaughlin, Joe Zawinul, among others, Miles looking for new sounds, new textures. Moves away from the jazz purist to extend their limits, to design original streaks where his companions later-disciples continued, giving rise to two of the most important jazz fusion: Weather Report and Mahavishnu Orchestra. But what is fusion jazz virtuosity, playfulness, Bitches Brew is in aggressive pursuit, narcotic originality.
Fans Miles seemed to forgive him away from more traditional jazz, or heroin, but Miles made up for them, but as a compulsion, as the unbridled excitement that was his own life, seeking new areas where spill insatiable talent.
Up to 75 took the electronic age. But so much psychedelia, both jazz, rock much, much excess led him to silence. Between 75 and 80 did not touch even once the trumpet. My main activity was to take five hundred dollars of cocaine a day and take all the women who managed to take home. He also was addicted to Percodan and Seconal, which accompanied with beer and cognac.
Bitches Brew is the euphoria, delirium creative, liberating key jazz explosion experienced by the Beatles and Pink Floyd in the rock, Ginsberg and Kerouac in the literature, Warhol and Basquiat in the paint. Then came depression closure, after the excess vacuum creative. Disco
gear between traditional jazz and jazz fusion, full of visceral honesty, Bitches Brew invites us to listen to dismantle the organized, to plunge us into the entropic harmony of his improvisations.
Bitches Brew, Miles Davis, 1969, Sony.
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