They just released it for Record Store Day. I stumbled across it (didn’t get it) but was curious if those extra songs stood up well against the actual album

They're good, I'd say it's worth picking up.

yeah, you should go back and get that

"The Ghetto Walk" is one of my favorite Miles tracks

McCoy Tyner died at 81..he was the first person i saw live at the bluenote in nyc..he did a hell of a job with coltrane back in the day

That's sad Love The Real McCoy album:

Deeply satisfying drums and arrangements:

Went down a moderately discordant jazz rabbit hole this afternoon - a couple of Coltrane albums followed by Louis Armstrong. I might be here for a while.

Great to hear!

Really digging Eberhard Weber (bassist) lately:

That cassette tape image is fucked up.

watched the Miles Davis doc on Netflix last night. good stuff. Frances Davis is so unintentionally hilarious.

Not sure if this is on the thread yet, those new Rashied Ali reissues are WILD. Took a few listens before they stuck/I punched out, but once it hits...man oh man.

Wallace Roney who plays here with Miles died of coronavirus complications 31st of March. He was the only trumpet player Miles Davis ever mentored.

https://www.nytimes.com/2020/03/31/arts ... virus.html

always been a fan although far from my favorite...discuss

https://www.thedailybeast.com/miles-dav ... s?ref=home

This album has always sat atop the shortlist of albums that I have nothing but absolute respect for, yet don’t really enjoy listening to.

Fun Easter Egg -- that article was written by Bob Guccione, Jr., SPIN magazine figurehead famously and graphically called out by Axl Rose in his celeb drama diatribe, "Get In the Ring," from Use Your Illusion II.

I understand the idea that Bitches' Brew is an album people respect more than they enjoy; there are other electric Miles albums that are more immediately pleasurable to hear (In a Silent Way, Jack Johnson, Live-Evil), more challenging (On the Corner), and all-around wilder (Get Up With It, Dark Magus, Agharta, Pangaea), not to mention dozens of live recordings that are almost anomalously both tighter and looser, and certainly higher-energy. As electric Miles goes, Bitches Brew is an embryonic concept -- a throw-everything-at-the-wall-and-see-what-sticks experiment, and not everything necessarily does. In a lot of ways, the records he made later take the best ideas from this session and expand on them, while at the same time trying out others that, likewise, work to varying degrees of success.

I can't access the full article, but assuming it's the kind of self-satisfied, reflexively contrarian sacred-cow-slaughter that's become every bit as tedious as the inarguable received wisdom it supposedly refutes, it probably at least slightly misses the point. What's his issue with it?

Well, Stanley Crouch hates it (00:24-01:05):



But that doesn't really surprise me because he's on the jazz purists camp (among with Wynton). Bitches Brew is not an album I put on too often, and when I do I have to take it in small doses. Sanctuary is definitely my favorite track from the album.

All this talk about Bitches Brew made me want to listen to On The Corner.

I tend to view Miles's electric work (all of his work, really, but definitely his electric stuff) as plot points on a spectrum -- with the exception of In a Silent Way, none of it is nearly as singularly satisfying unless you have some frame of reference for what came immediately before and what is coming immediately after. There are hours and hours of music from this period (much of it available through legitimate means), and my experience has overwhelmingly been, the more of it I hear, the better all of it sounds.

That said, I do very much still enjoy Bitches' Brew on its own. I do understand why it's not people's favorite, but I think its stature and historical place should surprise no one.

Just stumbled across this soundtrack Brad Mehldau recorded last year, apparently with very little fanfare:
https://open.spotify.com/album/5jgEkCbqlHYIa7pMIS4spJ

Beautiful music, including versions of "Paranoid Android" and the Beatles' "And I Love Her," different from his already released versions.