MILES DAVIS: The Complete Bitches Brew Sessions VINYL 12" 6 LP BOX MOSAIC JAZZ
$
355
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Description
No other musician in the 20th Century explored the possibilities of music as fiercely as trumpeter and bandleader Miles Davis. He frustrated critics and fans alike as he opened himself up to unexpected directions in musical thinking while continuously shaping and refining his remarkable skills on trumpet. Critics tried and tried to squeeze his musical journeys into a box called "jazz," but Miles would have none of it. And then, in August of 1969, Miles decided he'd put all of us in an impenetrable box and dare us to break out. When listening to the music of Bitches Brew and the Bitches Brew sessions, space and time tremble, quiver, and become elastic. One moment, you're traveling rapidly, furiously backward toward the Big Bang—the next, you've stopped and hang suspended, a million light years from nowhere, curling dangerously across some cosmic bump. Then, all at once, you're surging forth, speed increasing, any ability to gauge time lost in the burn, spinning and tumbling upward, downward, outward. Images—the elapsed time of an orchid in bloom, pixilated fast-motion fragments of urban decay—careen, stop, rewind at another speed, only to flicker forth cautiously. There is a feeling of expanding, contracting, implosion, stillness. The rules of physics have become open to interpretation. Much like the music contained within it, this box set feels mythical, a lot like some otherworldly text unearthed halfway across the cosmos. The construction of the 148-page book along with the art and the graphic design throughout is intensely aesthetic. The photographs of Miles and the essay by Carlos Santana are the jewels of the package. One complaint is that the track information is buried amidst the many pages and clumsily found—I recommend photocopying those pages, drawing or painting on the copies while listening to the music, and then posting them someplace accessible. And while Miles biographer Quincy Troupe's expansive 70-page essay is flush with compelling insights, ranging from the influence of Jimi Hendrix priestess Betty Mabry on Miles' flow to the significant use of overdubbing and other new postproduction techniques, his lengthy track-by-track analysis feels belabored and seems to miss the point. Suffice it to say that much of the previously unreleased material travels along similar time wrinkles, some of it leaving unanswered questions for the listener to forever puzzle over. That's both the punishment and the reward. The haunting riddles of Bitches Brew rip at us and taunt us—however, the willingness to engage those riddles and ghosts, fully and with heart, produces thevisceral joy that can shatter the box Miles put us in. That joy, while exhausting and unnerving, is his legacy and his gift to us. Track Listing: CD1: Pharoah's Dance; Bitches Brew; Spanish Key; John McLaughlin. CD2: Miles Runs The Voodoo Down; Sanctuary; Great Expectations; Orange Lady Yaphet; Corrado. CD3: Trevere; The Big Green Serpent; The Little Blue Frog (alternate take); The Little Blue Frog (master take); Lonely Fire; Guinnevere. CD4: Feio; Double Image; Recollections; Take It Or Leave It; Double Image. Personnel: Miles Davis: rumpet; Wayne Shorter, Steve Grossman: soprano saxophone; Bennie Maupin: bass clairnet; Joe Zawinul, Chick Corea, Larry Young, Herbie Hancock: electric piano; John McLaughlin: guitar; Dave Holland, Ron Carter: bass; Harvey Brooks: electric bass; Lenny White, Jack DeJohnette, Billy Cobham: drums; Don Alias: congas; Jumma Santos: shaker; Khalil Balakrishna: sitar; Bihari Sharma: tamboura, tabla; Airto Moreira: cuica, berimbau.
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