{"id":660,"date":"2020-03-30T00:00:00","date_gmt":"2020-03-30T05:00:00","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=660"},"modified":"2020-08-10T23:54:10","modified_gmt":"2020-08-11T04:54:10","slug":"miles-davis-bitches-brew-50th-anniversary-celebration-part-four-non-jazz","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-four-non-jazz\/","title":{"rendered":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Four: \u201cNon-Jazz\u201d"},"content":{"rendered":"\n<p>This is the final segment of our four-part series celebrating the legacy of the landmark <em>Bitches Brew<\/em> on its Fiftieth Anniversary. Our prior pieces emphasized the album\u2019s compositions, production techniques, and recent \u201cjazz\u201d albums it influenced. Each adopts the list format and follows two general guidelines: that the artist presented still performs today, and that they never collaborated with Miles Davis. 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<p>This chapter examines \u201cnon-jazz\u201d albums released since the year 2000 which have been inspired by <em>Brew<\/em>. While we at Postgenre do not enjoy applying labels to art, we do so solely to assist those who do rely on such categorizations. In this case, none of the five works showcased are likely to be labeled as \u201cjazz\u201d by any listener. In his work, Miles often transcended genres, even becoming <a href=\"https:\/\/www.rockhall.com\/inductees\/miles-davis\">one of the few brass players in the Rock and Roll Hall of Fame. <\/a>Indeed, if anything, his work shows the overall futility of forcing art to fit narrow categories and labels. As such, it should be no surprise that his followers appear all over the musical spectrum. In addition to those showcased here and on our other lists, a wide range of additional artists and groups including Gov\u2019t Mule, Henry Rollins, Phish, Phil Lesh, Chon, Pavement\u2019s Stephen Malkmus, and Metallica\u2019s Robert Trujillo cite <em>Brew <\/em>as an influence. In many ways, it is fitting that of our four parts, this one is published on the golden anniversary date of the album\u2019s initial release. <\/p>\n\n\n\n<iframe loading=\"lazy\" title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/100322247\" allowfullscreen=\"\" width=\"640\" height=\"360\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Acid Mothers Temple &amp; the Melting Paraiso U.F.O. &#8211; <em>Son of a Bitches Brew<\/em> (Important Music, 2012)<\/strong><\/p>\n\n\n\n<p>In case the album\u2019s title did not already make it sufficiently clear, this work was significantly inspired by Miles\u2019 original. Even the cover art is similar and, additionally, most of the songs also take their titles from modified versions of the trumpeter\u2019s tunes. The Japanese group employs all types of sonic generators &#8211; nei, pungi, electronics, fuzz-otamaton, tape machine, yanquin, space whisper, and tabla &#8211; to produce something that aims to be a successor to the original. One of the more interesting facets of the release is that the band decided to completely eschew the use of any computers or hard disk recorders throughout both its recording session or in its mixing. As a result, akin to <em>Brew<\/em>, any unusual effects are the result of adopting older technologies. The band consists of Shimura Koki, Cotton Casino on space whisper, Tabla Man on Tabla, Higashi Hiroshi on synthesizer, Stoo Odom on vocals, and Tsuyama Atushi and Kawabata Makoto each on numerous instruments.&nbsp; <\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_1RGFkfMhuMU\"><div id=\"lyte_1RGFkfMhuMU\" data-src=\"\/\/i.ytimg.com\/vi\/1RGFkfMhuMU\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/1RGFkfMhuMU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/1RGFkfMhuMU\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><strong>Tortoise- <em>TNT<\/em><\/strong><strong> (Thrill Jockey, 1998)<\/strong><\/p>\n\n\n\n<p> While Tortoise\u2019s collaborations with the Chicago Underground Orchestra under the name Isotope 217 more readily display Miles\u2019 influence at a surface level, it nevertheless permeates through <em>TNT<\/em>. <em>Brew<\/em>\u2019s shadow is particularly apparent in the first two songs &#8211; the title track and \u201cSwung from the Gutters\u201d- which both mix the electric and acoustic into a cohesive whole that sounds paradoxically foreign and familiar. Similar to how Miles created a \u201cpost-jazz\u201d concept, Tortoise creates what they call \u201cpost-rock\u201d by borrowing from a wide range of styles including afrobeat, minimalism, avant-garde, electronica, krautrock, and dub. Their approach is so eclectic that the musicians refuse to be identified by their instrument on the liner notes. Instead, Dan Bitney, David Pajo, Douglas McCombs, Jeff Parker, John Herndon, and John McEntire simply go by \u201cperformer.\u201d <\/p>\n\n\n\n<iframe style=\"border: 0; width: 350px; height: 786px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3449614673\/size=large\/bgcol=333333\/linkcol=ffffff\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/tortoise.bandcamp.com\/album\/tnt\">TNT by Tortoise<\/a><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Flaming Lips &#8211; <em>Embryonic<\/em> (Warner Brothers, 2009)<\/strong><br><\/p>\n\n\n\n<p>The Oklahoma band\u2019s first double-album, Embryonic is highly experimental, drawing from \u201960s and \u201870s psychedelic rock and noise. Like Brew, it originated from a search for unheard sounds which was recorded and later re-edited and mixed to present a fresh perspective. As leader Wayne Coyne recalled regarding the sessions \u201cWe&#8217;d do these jams for Embryonic that would go on for 20-minutes and you could grab a couple of bits out here and there. Cut out the other stuff. Even Miles Davis would do that and put stuff together. And it&#8217;s not about saying how it is a performance. Because to me it&#8217;s neither. We&#8217;re just making a sound. We&#8217;re not capturing something. We&#8217;re finding something. It&#8217;s just something that we play.\u201d \u201cAquarius Sabotage\u201d particularly captures this approach. It starts with the ferocity of many of Brew\u2019s pieces before transitioning into a more serene sound reminiscent of \u201cSanctuary.\u201d Here is an interview by Milesdavis.com with Coyne discussing Bitches Brew. <\/p>\n\n\n\n<iframe loading=\"lazy\" title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/99651614\" allowfullscreen=\"\" width=\"640\" height=\"360\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Joining him are multi-instrumentalists Steven Drozd, Michael Ivins, and Kliph Scurlock.&nbsp;<br><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_cVu-RYX9AXI\"><div id=\"lyte_cVu-RYX9AXI\" data-src=\"\/\/i.ytimg.com\/vi\/cVu-RYX9AXI\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/cVu-RYX9AXI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/cVu-RYX9AXI\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><strong>Jim James &#8211;&nbsp; <em>Eternally Even <\/em>(ATO Capitol, 2016)<\/strong><\/p>\n\n\n\n<p> The My Morning Jacket frontman\u2019s second solo album fuses alternative rock, psychedelia, funk, and R&amp;B into a unique form. Additionally, some jazz sentiments sprinkled throughout, including a synthesized Harmon-muted trumpet sound on \u201cIn the Moment.\u201d The blurring of forms in itself<em> <\/em>evokes <em>Brew<\/em> as does the fact it sometimes seems to sonically transport the listener to another planet. Like Miles, James pushes the boundaries of music to create a new art form.&nbsp; He is joined by Rob Moose on strings and vocalist Shungudzo Kuyimba. Chris \u201cDaddy\u201d Dave, a name familiar to a large number of \u201cjazz\u201d fans, performs on drums alongside Brian Reitzell. There are also guest appearances by Jim Keltner and legendary saxophonist Charlie Gabriel of the Preservation Hall Jazz Band.  <br><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_34ROrHV20Dk\"><div id=\"lyte_34ROrHV20Dk\" data-src=\"\/\/i.ytimg.com\/vi\/34ROrHV20Dk\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/34ROrHV20Dk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/34ROrHV20Dk\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>While not from an album per se, My Morning Jacket\u2019s \u201cOctoplasm\u201d likewise hints at the sounds of <em>Brew<\/em>.&nbsp;<br><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_cEwaiUSRtNw\"><div id=\"lyte_cEwaiUSRtNw\" data-src=\"\/\/i.ytimg.com\/vi\/cEwaiUSRtNw\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/cEwaiUSRtNw\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/cEwaiUSRtNw\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><strong>Radiohead &#8211; <em>OK Computer<\/em><\/strong><strong> (Parlophone\/Capitol, 1997)<\/strong><\/p>\n\n\n\n<p>\nRegularly hailed as one of the finest albums of all time, an entire chapter could be written solely on the inspiration <em>OK Computer<\/em> draws from <em>Brew<\/em>. Leader Thom Yorke has consistently cited its origins in <em>Brew<\/em>\u2019s <a href=\"https:\/\/web.archive.org\/web\/20070814183856\/http:\/\/music.yahoo.com\/read\/interview\/12048024\">\u201cincredibly dense and terrifying sound.\u201d<\/a><a href=\"https:\/\/citizeninsane.eu\/media\/uk\/q\/03\/pt_1997-10_q.htm\">As he told Q magazine<\/a> \u201c\u2018Subterranean Homesick Alien\u2019 was born out of listening to [<em>Brew<\/em>] endlessly every time I drove my car&#8230;The first time I heard it I thought it was the most nauseating chaos. I felt sick listening to it. Then gradually something incredibly brutal about it and incredibly beautiful&#8230; you&#8217;re never quite sure where you are in it, it seems to be swimming around you. It has that sound of a huge empty space, like a cathedral. It wasn&#8217;t jazz and it didn&#8217;t sound like rock&#8217;n&#8217;roll. It was building something up and watching it fall apart, that&#8217;s the beauty of it. It was at the core of what we were trying to do with <em>OK Computer<\/em>.\u201d&nbsp;<br><\/p>\n\n\n\n<p>However, Yorke is far from the only member of Radiohead guided by<em> <\/em>the groundbreaking 1970 recording. <a href=\"https:\/\/jazztimes.com\/archives\/radioheads-jazz-frequencies\/\">As guitarist Jonny Greenwood has expressed&nbsp; <\/a>\u201c[w]e love all the atmosphere and chaos on Bitches Brew-the fat, dirty sound of two electric pianos and the [multiple] drummers\u2026 That\u2019s why Bitches Brew is so good, beyond just Miles\u2019 trumpet playing. We love how he got together that sense of chaos.\u201d<br><\/p>\n\n\n\n<p>From a musical standpoint, their admiration is obvious in both the taping together of seemingly disparate portions to form \u201cParanoid Android\u201d and the background atmospherics of \u201cSubterranean Homesick Alien.\u201d&nbsp;<\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL__fTWmUlTEqE\"><div id=\"lyte__fTWmUlTEqE\" data-src=\"\/\/i.ytimg.com\/vi\/_fTWmUlTEqE\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/_fTWmUlTEqE\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/_fTWmUlTEqE\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><strong>The preceding, and artists featured on our prior three lists, are just a few of the countless artists who were inspired by <em>Brew<\/em>. Infinitely more have been indirectly and yet further musicians will be over the next fifty years.&nbsp;<\/strong> <a href=\"https:\/\/www.milesdavis.com\/news\/miles-davis-bitches-brew-50th-anniversary-celebrated-with-vinyl-reissue-full-live-videos\/\"><strong>A special vinyl reissue of the masterwork is available at MilesDavis.com.<\/strong><\/a><strong> <\/strong><\/p>\n\n\n\n<p><br><strong>Postgenre would like to issue a sincere and heartfelt thank you to Vince Wilburn Jr. of Miles Davis Properties LLC for his assistance with this project and for his and Erin Davis\u2019 fine work to continue to keep Miles\u2019 artistic legacy alive. Additional thanks to Karen Sundell of Rogers and Cowan, Zach Hochkeppel of Sony Music, and Bruce Lampcov of Downtown Music Holdings.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This is the final segment of our four-part series celebrating the legacy of the landmark Bitches Brew on its Fiftieth Anniversary. Our prior pieces emphasized the album\u2019s compositions, production techniques, and recent \u201cjazz\u201d albums it influenced. Each adopts the list format and follows two general guidelines: that the artist presented still performs today, and that [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":622,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":31,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1169,561],"tags":[236,168,368,384,370,350,339,367,282,238,352,353,354,385,358,337,341,240,351,58,363,369,355,357,375,380,243,362,345,361,21,378,379,343,342,340,371,364,346,381,237,365,383,344,360,241,347,372,373,349,242,376,377,359,382],"class_list":["post-660","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bitches-brew-50th-anniversary","category-special-series","tag-acid-mothers-temple-the-melting-paraiso-u-f-o","tag-bitches-brew","tag-brian-reitzell","tag-bruce-lampcov","tag-charlie-gabriel","tag-chicago-underground-orchestra","tag-chon","tag-chris-daddy-dave","tag-chris-dave","tag-cotton-casino","tag-dan-bitney","tag-david-pajo","tag-douglas-mccombs","tag-downtown-music-holdings","tag-flaming-lips","tag-govt-mule","tag-henry-rollins","tag-higashi-hiroshi","tag-isotope-217","tag-jeff-parker","tag-jim-james","tag-jim-keltner","tag-john-herndon","tag-john-mcentire","tag-jonny-greenwood","tag-karen-sundell","tag-kawabata-makoto","tag-kliph-scurlock","tag-metallica","tag-michael-ivins","tag-miles-davis","tag-miles-davis-properties","tag-miles-davis-properties-llc","tag-pavement","tag-phil-lesh","tag-phish","tag-radiohead","tag-rob-moose","tag-robert-trujillo","tag-rogers-and-cowan","tag-shimura-koki","tag-shungudzo-kuyimba","tag-sony-music","tag-stephen-malkmus","tag-steven-drozd","tag-stoo-odom","tag-tabla-man","tag-thom-yorke","tag-thomas-yorke","tag-tortoise","tag-tsuyama-atushi","tag-vince-wilburn","tag-vince-wilburn-jr","tag-wayne-coyne","tag-zach-hochkeppel"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_nonjazz.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-aE","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":613,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-three-influence-on-jazz\/","url_meta":{"origin":660,"position":0},"title":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Three:  &#8220;Jazz&#8221;","author":"Rob Shepherd","date":"March 26, 2020","format":false,"excerpt":"This is the penultimate chapter of our four-part series celebrating the legacy of the landmark Bitches Brew 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\u00a0 \u201cnon-jazz\u201d artists. Each adopts the list\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew \"Jazz\"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":255,"url":"https:\/\/postgenre.org\/staging\/4567\/bitches-brew-50th-compositions\/","url_meta":{"origin":660,"position":1},"title":"Miles Davis&#8217; Bitches Brew 50th Anniversary Celebration- Part One: The Compositions","author":"Rob Shepherd","date":"March 23, 2020","format":false,"excerpt":"On March 30, 1970, Miles Davis shocked the world with his groundbreaking Bitches Brew (Columbia Records, 1970). Although the trumpeter had been increasingly trending towards merging jazz with rock since at least Miles in The Sky (Columbia Records, 1968), Brew destroyed any divide between the two. At the time, some\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew I: Composition","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":598,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-two-the-influence-of-production\/","url_meta":{"origin":660,"position":2},"title":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Two: Production","author":"Rob Shepherd","date":"March 25, 2020","format":false,"excerpt":"This is the second of our four-part series of lists celebrating the legacy of the landmark Bitches Brew\u00a0on its Fiftieth Anniversary. Our first piece focused on the compositions while forthcoming ones will emphasize the album's influence on subsequent \"jazz\" and \"non-jazz\" artists.\u00a0 Each list follows two general guidelines: that the\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew Production","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_production.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_production.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_production.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_production.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7839,"url":"https:\/\/postgenre.org\/staging\/4567\/language-lenny-white-i\/","url_meta":{"origin":660,"position":3},"title":"Translating the Language: A Conversation with Lenny White (Part One)","author":"Rob Shepherd","date":"February 20, 2024","format":false,"excerpt":"This site primarily emphasizes music that pushes - or even transcends - preexisting concepts of how certain music \"should sound.\" Arguably, jazz itself is an amalgamated confluence of diverse stylistic perspectives. One of the best examples of such music can be found in Miles Davis'\u00a0Bitches Brew\u00a0(Columbia, 1969). The record's boldness\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":11798,"url":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","url_meta":{"origin":660,"position":4},"title":"The Cellar Door Sessions at Fifty-Five: An Introduction","author":"John Chacona","date":"December 17, 2025","format":false,"excerpt":"Fifty-five years ago this week, Miles Davis brought a new-ish band into Washington D.C.\u2019s Cellar Door club for a four-night engagement. Columbia Records, perhaps hoping to catch lightning in a bottle, sent a crew and two eight-track tape machines to record the ten sets. https:\/\/youtu.be\/d4dtGbrYKLs?si=uaLubwdtr11eKZ4P Edited versions of material from\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":3297,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-revisited-introduction\/","url_meta":{"origin":660,"position":5},"title":"Miles Davis: The Final Decade Revisited, Introduction","author":"Rob Shepherd","date":"September 28, 2021","format":false,"excerpt":"On September 28, 1991, the world lost a musical giant. An artist who, by his own estimation, changed the face of music five or six times. Miles Davis.\u00a0 During the mid-1940s, Miles was a sideman for one of history\u2019s great compositional innovators, Charlie Parker. He would follow it up by\u2026","rel":"","context":"In &quot;Miles Davis: Final Decade Revisited&quot;","block_context":{"text":"Miles Davis: Final Decade Revisited","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/miles-davis-final-decade-revisited\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/0mM5IegQ.png?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/0mM5IegQ.png?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/0mM5IegQ.png?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/0mM5IegQ.png?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/660","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=660"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/660\/revisions"}],"predecessor-version":[{"id":1028,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/660\/revisions\/1028"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/622"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=660"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=660"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=660"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}