Bitches Brew is a double album by Miles Davis, recorded in 1969 and released in early 1970, and widely considered one of the most revolutionary albums in jazz history alongside Davis' Kind of Blue. While it wasn't the first album mixing rock and jazz, or even Miles' first album using electric instruments, it's often seen as the Trope Codifier for fusion jazz, mixing traditional jazz instruments with electric guitars and keyboards improvising over long, funk-inspired rhythms, inspired by contemporary artists like Jimi Hendrix and Sly and the Family Stone.
- "Pharaoh's Dance" (20:00)
- "Bitches Brew" (26:59)
- "Spanish Key" (17:29)
- "John McLaughlin" (4:26)
- "Miles Runs the Voodoo Down" (14:04)
- "Sanctuary" (10:52)
- Miles Davis: trumpet
- Wayne Shorter: soprano saxophone
- Bennie Maupin: bass clarinet
- Joe Zawinul: electric piano
- Chick Corea: electric piano
- John McLaughlin: electric guitar
- Dave Holland: bass
- Harvey Brooks: electric bass
- Lenny White, Jack DeJohnette, Billy Cobham: drums
- Don Alias: congas
- Juma Santos: shaker, congas
- Airto Moreira: percussion, cuica
- Alliterative Title: "Bitches Brew".
- Blatant Lies: Any song on The Complete Bitches Brew Sessions that isn't one of the above listed tracks was actually recorded long after the sessions for Bitches Brew ended.
- Bookends: A retroactive example; the first and last songs were written by Joe Zawinul and Wayne Shorter, the future founders of Weather Report.
- Cover Version: The sessions for the album included a take on David Crosby's "Guinnevere". It was left off the album after Crosby told Miles he hated it.
- Design Student's Orgasm: The psychedelic album cover.
- Distinct Double Album: One of the most famous double albums in jazz. The first half's lengthy compositions were spliced together by producer Teo Macero in the studio, which completely altered the composition of the songs. The famous intro to "Pharaoh's Dance" is actually the entire first 1:38 repeating twice and even that section is spliced up a bit. The whole process pissed off jazz purists, who said it compromised the integrity and improvisation of the genre. The second half of the album are one-take recordings.
- Epic Rocking: It's a six-song double album. Only one song clocks in at under 10 minutes, and the longest ("Bitches Brew") is twenty-seven minutes long. Keep in mind that this was in an era where where it was extremely rare for songs to exceed about 25 minutes due to LP space limitations - to press longer album sides, one would have to reduce the volume, which would in turn increase the noise floor.
- Gratuitous Panning: The songs have at least two drummers or keyboardists at once, mixed all the way on the left or the right channels. Arguably a Justified Trope, since the panning makes it easier to distinguish the musicians' parts.
- Improv: Miles' direction was so sparse that no sheet music was prepared, and he gave directions on the fly. He can be heard in the quieter sections of "Bitches Brew".
- Intentionally Awkward Title: So it's 1969, and we have an African-American artist with a large white fanbase famous for playing smooth, cool jazz... and he puts out an album called Bitches Brew, with a stylized painting of naked black god-like characters on the cover, and loud, funky, very electric songs. This album wasn't looking to get overlooked.
- Leave the Camera Running: "Sanctuary" is actually two consecutive takes of the song.
- Limited Special Collector's Ultimate Edition: The 4-CD Complete Bitches Brew Sessions. The title is a bit of a misnomer, though - many of the tracks included on it did not come from the sessions for the album.
- Neoclassical Punk Zydeco Rockabilly: How some people saw it initially; it still remains controversial for jazz fans.
- New Sound Album: This album defined jazz fusion and spelled the end of Miles' "cool jazz" period.
- One-Word Title: "Sanctuary".
- Pun-Based Title: On "Witches Brew" from Shakespeare's play Macbeth.
- Rearrange the Song: Sort of. Much of the album, especially "Pharaoh's Dance" and "Bitches Brew", is actually edited together by Record Producer Teo Macero, who used a ton of studio tricks including looping and editing tapes.
- Son of a Bitches Brew by the prolific Japanese Psychedelic Rock band Acid Mothers Temple is a shout-out to this album.
- Canadian punk/jazz/Math Rock band Nomeansno recorded a With Lyrics cover of the title track on their album One. While it's shorter than the original, it's still fifteen minutes long.
- Shout-Out: To Shakespeare: The title is a play on "Witches' brew", as in the opening scene of Macbeth.Lennie White: Bitches Brew was like a big pot and Miles was the sorcerer. He was hanging over it, saying, Im going to add a dash of Jack DeJohnette, and a little bit of John McLaughlin, and then Im going to add a pinch of Lenny White. And heres a teaspoonful of Bennie Maupin playing the bass clarinet. He made that work.
- Singer Name Drop: "Miles Runs The Voodoo Down" refers to Miles Davis. The track "McLaughlin" is a shout-out to John McLaughlin.
- Step Up to the Amp: Miles doesn't play on "John McLaughlin", instead letting his guitarist take over.
- Super Group: As with many of Miles' albums. Sidemen include Wayne Shorter, Joe Zawinul, Chick Corea, John McLaughlin and Jack DeJohnette, all of whom had successful careers in other bands or as band leaders.
- This Is for Emphasis, Bitch!: The title.