His legacy might be best summed up by suggesting that he was not interested merely in excellence he wanted to matter. Like any exceptional artist, Miles was restless and did not (or could not allow himself to) care about yesterday. Of course, Miles scoffed at the notion of playing it safe, and constantly created challenges for himself. Here was a man that could have coasted on a richly-deserved reputation, and even if he’d never strayed far from the formula he perfected in the mid-‘50s, or late ‘50s, or mid-‘60s (get the picture?), he would have undoubtedly made remarkable music. The list of legends that cut their teeth in his employ remains astounding: John Coltrane, Bill Evans, Wayne Shorter, Herbie Hancock, Tony Williams and John McLaughlin, just to name a handful.
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In this creative cauldron that he tended to over the better part of four decades, Miles served as inventor, instigator and mentor. His ultimate achievement-beyond the staggering scope of his recorded works-may have been providing a forum where the best players could congregate. He did, after all, actually change music several times, and he was normally the first person to remind doubters and neophytes of this fact. Indeed, the Man with the Horn was being uncharacteristically modest, and he knew it. Despite both the criticism and hype that Bitches Brew receives, it remains to be one of the most revolutionary, interesting and enjoyable jazz records ever made.Shortly before his death in 1991, Miles Davis remarked “You don’t change music, music changes you.” While that statement is unassailable regarding the vast majority of artists, no matter how influential, Miles Davis was definitely an exception. Switching between his funk comping of jazz chords and soloing over the music, John McLaughlin's guitar work is some of the best guitar work ever seen in jazz. The two basses and keyboards are nothing short of incredible, creating some excellent grooves for Miles and the saxophones to play over. The drumming, while very much jazz drumming has a large rock influence with it's shuffles and groovy fills. Ranging from staccato to that "jump out of your seat" sound heard on the title track, to the smooth and sexy, as a musician, Bitches Brew is certainly one of Davis' finest moments. Davis' soloing is nothing short of incredible. The sounds created by the lineup (often using 12 or more musicians at once) aren't often heard in jazz and before Bitches Brew's release, had never been heard before. Bitches Brew is an incredibly mysterious album.
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Often accused to being 'too arty', Bitches Brew is still seen as one of the most important and revolutionary albums in jazz. Whether it be Davis' extremely innovative playing, the odd sax solo here and there, the excellent rhythm section or McLaughlin's excellent funk style guitar work, "Bitches Brew" makes more sense with each consecutive listen. With each listen, there is always something new to discover. On further and closer listens, however, Bitches Brew proves to be an expertly constructed piece of work. On first listen, Bitches Brew appears to be nothing more than an extended jam session, a mess of keyboards and rhythm section, while Davis' staccato solos sweep between the rest of the band. With it's dark sound and incredible musicians, such as John McLaughlin and Chick Corea (musicians who are incredibly sucessful in their own right), Bitches Brew was the start of fusion jazz. Not enough can be said about the impact that Bitches Brew has had on music. In addition to this, he practically invented Jazz-Rock and created a style that countless fusion and funk musicians would continue to draw on. He released two classic albums, "In A Silent Way" and Bitches Brew.