BITCHES BREW

I am always nervous when spinning a new Jazz Fusion album for the first time because it is such a hit or miss affair for me. When JF is too heavy on the rock-jam side of things then the purer jazz sections start to sound misplaced and some modern jazz-fusion can be glorified pop and then there is the stuff that's just too experimental to be coherent. My fears were fed as soon as Bitches Brew (the track) started with the titular track being a 27 minute exploration that starts life sounding like a live warm-up session - simply too random and filled with jagged dissonance. After a while there is a short pause and then one of those rumbling rhythms, that characterize this album, gets started and we are immediately carried away to a dark, smoke filled room with easy flowing liquor and a thick soulful atmosphere. Now this is what I'm talking about.

From that point onwards Bitches brew is an awesome masterpiece of music. The line up of musicians contributing to this work is like a who's who of the Jazz-Rock Fusion world and when you have the likes of Cobham and Holland setting you up and then bring in Shorter, McLaughlin, Corea and Maupin you have a recipe for some amazing music. Then to top it off with the master trumpeter himself - well, can it get any better? Apparently it can because the prog world appears to rank a couple of other Miles Davis creations above this one but I am sticking to Bitches Brew as a personal favourite. The track listing is just as good if it is randomized or listened to in original double album sequence and I include the awesome Feio in that; Feio is an addition to the 1999 re-issue.

The evocation of my favourite jazz venue (the one I keep in my cranium) continues through the entire album allowing me to forget the world and to just be in the moment. Each track has this ability and despite being up to 27 minutes in length they all seem to be far too short - the come down could be somewhat deflating but fortunately this is one of the longest doubles I have and its even longer with the re-issue so you need a decent couple of hours to fully appreciate it and then wallow in the afterglow. Completely devoid of lyrics and with just a little nonsense in one or two places, Bitches Brew is not hampered by any of mankind's literary deficiencies and unlike some other JF efforts I could mention, there is no need of vocals.

The whole album has that jazz bar feel that is supported by the production which while slightly murky, is still good enough for all but the most discerning audiophile. This is plenty good enough for me and something that I would love to experience live in that small smoke filled room - not sure I can say that about any other album I've heard. What is especially awesome here is that while there is so much going on, each and every instrument can be clearly picked out so its easy to hear what each musician is contributing. Frankly you could study this album for a very long time and still not get it all. So who is it for? Obviously jazz fans will love this and fans of jazz-fusion will count this as one of the greatest of all time but I also think there is a lot here for more traditional progressive rock fans. Strangely enough I love this album despite being a guitar junkie. McLaughlin's contribution is that of a team player with understated licks and rhythm so metal fans are not going to get their daily fix from this work. For me though, the trumpet, clarinet and sometimes the keys also satisfy my habit on Bitches brew. Entirely awesome.

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