あの「ウッドストック・フェスティヴァル」が開催された日、マイルスがニューヨークのスタジオで繰り広げていたサウンドとは—-。ロックやファンクの要素を大きく取り入れた、エレクトリック・マイルスの金字塔にして20世紀音楽の黙示録というべきベスト・セラー。呪術的なポリリズム、躍動的なベース・ライン、そしてマイルスのスリリングこのうえないトランペット。そのすべてが永久に新しい。グラミー賞受賞作品。

トランペッター、マイルス・デイヴィスが初めてゴールド・ディスクを獲得した1969~70年録音の2枚組アルバム。 (C)RS

  Bitches Brew / amazon.co.jp

   (Video) Bitches Brew / Youtube.com

Spotify : Bitches Brew (1969) / ビッチェズ・ブリュー

The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn’t merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who’s not so overwhelmed as to need the four-CD Complete Bitches Brew box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin’s roles in the mix have been especially clarified. With a bonus track of “Feio”–a Wayne Shorter composition recorded five months later that serves both as a warm-down for Bitches Brew and a promise of Weather Report to come–this is crucial listening. –John F. Szwed.