{"id":613,"date":"2020-03-26T23:45:00","date_gmt":"2020-03-27T04:45:00","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=613"},"modified":"2020-08-10T23:53:37","modified_gmt":"2020-08-11T04:53:37","slug":"miles-davis-bitches-brew-50th-anniversary-celebration-part-three-influence-on-jazz","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-three-influence-on-jazz\/","title":{"rendered":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Three: “Jazz”"},"content":{"rendered":"\n

This is the penultimate chapter of our four-part series celebrating the legacy of the landmark Bitches Brew<\/em> on its Fiftieth Anniversary. Our first piece focused on the album\u2019s compositions, the second on production techniques, and our forthcoming final feature will emphasize its influence on  \u201cnon-jazz\u201d artists. Each adopts the list format and follows two general guidelines: that the artist presented still performs today, and that they never collaborated with Miles. The latter of these limitations is not to minimize the brilliant continued contributions of his bandmates \u2013 Wayne Shorter, Bennie Maupin, Chick Corea, John McLaughlin, Dave Holland, Lenny White, Jack Dejohnette, Billy Cobham, Harvey Brooks, and Airto Moreira \u2013 but rather to emphasize the recording\u2019s impact outside of his direct sphere of influence.<\/p>\n\n\n\n

This chapter examines \u201cjazz\u201d albums released since the year 2000 which have been inspired by Brew<\/em>. While we at Postgenre do not like applying labels to art, we do so here solely to assist those who do rely on such categorizations. Davis\u2019 album remains highly-esteemed, often being placed on a shortlist of the greatest \u201cjazz\u201d recordings. For instance, the Village Voice included it within their ten jazz albums to hear before you die.<\/a> It should come as no surprise, then, that so many artists still look up to the work. Perhaps most telling, however, is how none of these selections match a traditional definition of the music. Instead, they straddle “jazz” and one – or multiple – other styles as well in a careful balancing act that may give the most orthodox listener a bit of heartburn.
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Kneebody and Daedelus – <\/strong>Kneedelus<\/em><\/strong> (Brainfeeder, 2015)<\/strong><\/p>\n\n\n\n

Released on Flying Lotus\u2019 label, Kneedelus<\/em> captures the meeting of electronic artist Daedelus (Alfred Darlington) and the then existing configuration of the band Kneebody – trumpeter Shane Endsley, saxophonist Ben Wendel, keyboardist Adam Benjamin, drummer Nate Wood, and electric bassist Kaveh Rastegar. More recently, Rastegar has left the group, with Wood unbelievably playing both drums and bass simultaneously. Just as Brew <\/em>used then cutting-edge technology to create a new art form, the album uniquely melds both electronic and organic influences. Also like Davis\u2019 masterwork, some artificial qualities are readily apparent while others – clipped notes on Endsley\u2019s solo on \u201cLoops\u201d or Benjamin\u2019s on \u201cPlatforming\u201d – more subtle. <\/p>\n\n\n\n