Paul Harvey Seminal Essay If I Were The Devil

August of 1969 marked Miles Davis’ boldest venture yet into undiscovered country.This time there was no more holding back, no more tentative experimentation, no more “walking on eggshells.” The album that emerged,, was groundbreaking, beginning with its stark title and Abdul Mati Klarwein’s memorable cover painting.Carlos Santana speculated that the album was a “tribute” to “the cosmic ladies” who surrounded Miles at the time and introduce him to some of the music, clothes, and attitudes of the ’60s counterculture.

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Made on Miles’ personal invitation, Klarwein’s expressionistic work captured the zeitgeist of free love and flower power, depicting a naked black couple looking expectantly at an ocean, a huge vibrant, red flower beside them.

The background of the title is unknown, but a clue is provided by the absence of an apostrophe at the end of the word “bitches,” making “brew” a verb, not a noun.

But Bitches Brew’s ferocity and power carried a momentum that was much harder to turn around.

The hypnotic grooves, rooted in rock and African music, heralded a dramatic new musical universe that not only gained Miles a new audience, but also divided it into two groups-each side looking at this new music from totally different, and seemingly unbridgeable, perspectives.

With none of the musicians aware of the whole picture, they would still react to the sessions with beginners’ minds. on Tuesday, August 19, 1969, 12 musicians, Teo Macero and engineer Stan Tonkel gathered at Columbia Studio B for the first day of the recordings of .

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Miles described the sessions as follows: “I would direct, like a conductor, once we started to play, and I would either write down some music for somebody or would tell him to play different things I was hearing, as the music was growing, coming together.Bitches Brew was not a sudden dramatic move in a completely new direction for Miles, though.In line with his long-standing, step-by-step working methods, the recording was maybe a large, but nevertheless logical step forward on a course he had set almost two years earlier.“There was a lot of preparations for the sessions,” the keyboardist recalled. I had a snare drum, and Jack had a snare drum and a cymbal. But he was really cool with me; he encouraged me and I ended up spending time with him at his home in later months.I was a 19-year-old kid, and I was afraid of Miles. He was a real positive influence.” Since Miles was looking for more complex, larger-scale pieces, he probably felt that he needed some rehearsals to establish at least some structure and organization to keep more than a dozen musicians focused during three days of sessions.In the words of Quincy Troupe, these two groups were like “oil and water.”[4] signaled a watershed in jazz, and had a significant impact on rock.In combination with Miles’ fame and prestige, the album gave the budding jazz-rock genre visibility and credibility, and was instrumental in promoting it to the dominant direction in jazz.While the music was developing I would hear something that I thought could be extended or cut back.So that recording was a development of the creative process, a living composition.A finishing touch, and a stroke of genius, was Miles’ instruction to Maupin to play only the bass clarinet, adding a very distinctive and enigmatic sound to the brew.According to Miles, the approach he had developed of presenting musicians with musical sketches they had never seen before was also integral to the making of a fact that is confirmed by Joe Zawinul. He chose a few and then made sketches of them.” [8] “The night before the first studio session we rehearsed the first half of the track ‘Bitches Brew,'” drummer Lenny White recalled. Jack De Johnette, Dave Holland, Chick Corea and Wayne Shorter were all there.

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