THE COMPLETE BITCHES BREW SESSIONS won the 2000 Grammy Award for Best Boxed Recording Package. Released in 1970, BITCHES BREW undeniably changed the shape of jazz to come. Fundamentalists groan that it diluted the form, bringing on the fusion plague and sowing the germs of smooth jazz. But a cross-section of adventurous listeners recognized it for the monumental sonic breakthrough it was: slabs of free jazz mixed with hard-funk rhythms, rock's electric textures and a meditative blues spirit, with the studio used as the editing desk to tie these elements together.
From the opening four notes of Michael Henderson's hypnotically minimal bass that open the unedited master of "On the Corner," answered a few seconds later by the swirl of color, texture, and above all rhythm, it becomes a immediately apparent that Miles Davis had left the jazz world he helped to invent – forever. The 19-minute-and-25-second track has never been issued in full until now. It is one of the 31 tracks in The Complete On the Corner Sessions, a six-disc box recorded between 1972 and 1975 that centers on the albums On the Corner, Get Up with It, and the hodgepodge leftovers collection Big Fun. It is also the final of eight boxes in the series of Columbia's studio sessions with Davis from the 1950s through 1975, when he retired from music before his return in the 1980s. Previously issued have been Davis' historic sessions with John Coltrane in the first quintet, the Gil Evans collaborations, the Seven Steps to Heaven recordings, the complete second quintet recordings, and the complete In a Silent Way, Bitches Brew, and Jack Johnson sessions. There have been a number of live sets as well; the most closely related one to this is the live Cellar Door Sessions 1970, issued in 2005.
Though BITCHES BREW has attained iconic status as one of the most important, progressive statements in post-bop jazz history, it's predecessor IN A SILENT WAY–though less widely acknowledged–was perhaps even more revolutionary for its dissolution of the songform-oriented cool jazz approach and introduction of electric instruments. This three-disc set, featuring all the material laid down in those vaunted 1969 sessions, is a revelatory sonic document that further illuminates the maverick genius of Miles Davis. In addition to the original SILENT WAY tracks as we know them, there are previously unheard compositions and alternate versions that shed new light on Miles's process.
When Miles Davis released Live-Evil in 1970, fans were immediately either taken aback or keenly attracted to its raw abstraction. It was intense and meandering at the same time; it was angular, edgy, and full of sharp teeth and open spaces that were never resolved. Listening to the last two CDs of The Cellar Door Sessions 1970, Sony's massive six-disc box set that documents six of the ten dates Davis and his band recorded during their four-day engagement at the fabled club, is a revelation now. The reason: it explains much of Live-Evil's live material with John McLaughlin.
Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence.