{"id":120423,"date":"2023-03-27T10:00:00","date_gmt":"2023-03-27T08:00:00","guid":{"rendered":"https:\/\/pan-african-music.com\/?p=120423"},"modified":"2023-03-27T10:27:50","modified_gmt":"2023-03-27T08:27:50","slug":"london-brew","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/london-brew\/","title":{"rendered":"London Brew: the new jazz scene revisits Miles’ cosmic classic"},"content":{"rendered":"\n

As a bandleader Miles Davis<\/a> famously told his musicians; \u201cDon\u2019t play what\u2019s there, play what\u2019s not there\u201d <\/em>his meaning being to play the next idea rather than what already existed. Nowhere is this instruction to charter new musical space more evident than on his 1970 release Bitches Brew<\/em>. <\/strong>Now fifty years on, a who\u2019s who of the London jazz scene have delivered on the same challenge to celebrate this avant-garde masterpiece. <\/strong> <\/p>\n\n\n\n

It was the week after Woodstock when Miles called his musicians to the studio to record Bitches Brew<\/em>. Assembled at Columbia\u2019s Studio B were some of Miles\u2019 regular sidemen including saxophonist Wayne Shorter<\/a>, pianist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Others got the call at late notice, but all<\/em> arrived with no knowledge of what was to be recorded and no music on paper. Instead, Miles provided pointers such as a tempo count, a few chords, a hint of harmony, and some scant suggestions as to mood or tone. A blank canvas to be filled.<\/p>\n\n\n\n

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