I’m gonna lay this out on the line. To go track by track and analyze jazz, especially Miles Davis, is a sin. I’ll simply say this album is a masterpiece, and essential for any fans of experimental jazz. For those not acquainted with jazz at all, this will certainly not be a spring board, but for those who truly dig jazz, this is a classic. Miles let’s all his inhibitions go on this track, laying down some of his most brilliant improvisations. Filled with rock rhythms, fantastic studio edits (like the intro to the album, edited 19 times), Miles revolutionized modern jazz. It’s like by the end of this album, Herbie Hancock was born. This album is what happens if a true genius is given full range. The first time I heard this record, it’s style repelled me. Now I consider it a master work.
I could compose an essay on how innovative it was, or pick it apart compositionally, but it possesses such a magic, a mastery, that I’d rather just encourage you to listen to it with an open mind, and fully appreciate it’s brilliance. But for once, I encourage you not to sit and listen, but rather to go out. Drive. Run. Whatever. Be active, and let Bitches be the soundtrack. Nothing’s better than driving through the mist while disc one plays, being the soundtrack to your visceral experience. I keep this review short not because I have nothing to say, but that Miles Davis music is like sex. The more talking there is, the less fun it is.
-Mike
Next up, #424: King Of The Delta Blues Singers, Vol. 2 by Robert Johnson.
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