Copyright 2021, Glen Andrew Ackerman

Cross-pollination: The Effect Of Rock Music on Jazz In The Late 1960’s And Early 1970’s AsDemonstrated By Miles Davis’s Album Bitches Brew

byGlen Andrew Ackerman

A Thesis submitted to the Moores School of Music, McGovern College of the Arts

in partial fulfillment of the requirements for the degree of

Bachelor of Arts

in Music

Chair of Committee: Noe Marmolejo

Committee Member: Dr. Woody Witt

Committee Member: Dr. Benjamin T. Rayder

University of HoustonJuly 2021

Copyright 2021, Glen Andrew Ackerman

ABSTRACT

The question of “What is Jazz?” has been vigorously explored in academic and cultural circles.

While defining it is not within the scope of this thesis, a common feature of the genre has always

been to adopt into its core elements, the nuances of the popular music of the times. Jazz, as it is

currently understood, has equal footing in traditional and modern conventions. A technological

and musical analysis of Miles Davis’s critically acclaimed release “Bitches Brew”, will reveal

the effects of rock music of the late 1960’s on jazz. This new adaptation of jazz (still performed

today) was later dubbed “fusion-jazz” or “jazz-rock”. That is to say, the fusion of rock rhythmic

and harmonic styles into jazz. Additionally it represents the fusion of electric instruments into a

historically acoustic genre. During the late 1960’s, rock music was still a relatively new genre.

However, it’s undeniable popularity in the late 1960’s inspired Miles Davis to rethink his

approach to rhythm and harmony. Several albums of his in this era share this new approach. The

most notable of this new genre being “Bitches Brew”, released in 1969. An analysis of

compositions featured on this album reveals what later became a trend in jazz performance of the

period; single chord or limited harmonic movement over a simpler repetitive rock drum beat

(what Bitches Brew keyboardist Chick Corea describes as “Beat music”), with both features

being in sharp contrast to the standard performative methods of the era. The secondary point of

this thesis will be the “fusion” of electric instruments into jazz, which up until this era, was a

traditionally acoustic genre. Davis’s choices of instrumentation reflect his desire to achieve a

more “rock” sound and the continued body of work by the sidemen on this album are the test of

this new sounds durability. As demonstrated by “Bitches Brew” with it’s inclusion of electric

rhythm section instruments (those used predominantly in rock music), and the absence of many

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of their acoustic counterparts, is the beginning of a genre-wide change in the instrumentation

used in jazz.

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TABLE OF CONTENTS

ABSTRACT.............................................................................................................i

I. INTRODUCTION..............................................................................................1

II. HARMONY AND RHYTHM OF TRADITIONAL JAZZ..........................2

III. HARMONY OF DAVIS’S MODAL AND AVANT-GARDE PHASE …..7

IV. RHYTHM IN JAZZ........................................................................................8

IV. ROCK AND ROLL HARMONY AND RHYTHM.....................................9

V. INFLUENCE OF JIMI HENRIX AND BETTY MABRY.........................11

VI. RECORDING AND TECHNOLOGICAL CONSIDERATIONS............13

VII. HARMONIC AND RHYTHMIC ANALYSIS OF BITCHES BREW...15

VIII. SIGNIFICANCE OF THE ELECTRIC GUITAR..................................21

IX. HISTORY SINCE BITCHES BREW.........................................................25

X. CONCLUSION................................................................................................26

XI. TRANSCRIPTIONS.....................................................................................28

UHGS V1:1 062019

Introduction

From its inception at the beginning of the 20th century, jazz has always been a mode of musical

expression that espouses adaptability. Its practitioners continuously adapt to the ever colliding

landscapes of American music and in doing so have established new sub-genres, while simultaneously

affecting the overarching genre. One such collision, which is the focus of this thesis, occurred at the

end of the 1960’s to the early 1970’s. This collision involves changes in musical consumption,

challenges to social and political norms, recording and technological advances, and the desire of jazz

figurehead Miles Davis to reach a wider audience. A historic, musical, and technological analysis of

Miles Davis critically acclaimed release titled Bitches Brew, (recorded in August of 1969) will reveal

the effects of the emerging genre of rock on jazz. As exemplified by Davis’s compositional decisions

and choices of instrumentation, this cross-pollination gave birth a new sub-genre of jazz. Its

commercial influence being demonstrated by being his bestselling album, with 400,000 units sold in its

first year after its release.1 Still performed today, this genre has been dubbed “fusion-jazz” or “jazz-

rock.” That is to say the fusion of rock’s rhythmic and harmonic styles into jazz, as well as the fusion of

electric instruments into jazz as a historically acoustic genre.

In order to effectively describe the changes that overcame jazz in this period it is important to

paint a historical picture of the era. Throughout the 60’s, the consumption of jazz in America was on

the decline. A new genre named “rock and roll” (or simply “rock”) was quickly supplanting jazz (and

frankly all other forms of music). In spite of this, performance avenues such as the Newport Jazz

Festival continued to provide a place for jazz musicians to perform. However, as a sign of jazz’s

decline, the Sunday 1968 show at Newport had the smallest turnout since the shows inception2.

The very next year, in what is clearly an attempt to appeal to a younger more relevant audience,

the 1969 Newport Jazz Festival showcased popular rock acts such as; Blood Sweat and Tears, Sly and

1 Gioia, Ted “The History of Jazz” Oxford University Press NY 2011 (pg 324-7) 2 Goldblatt, Burt “Newport Jazz Festival. The Illustrated History” Dial Press NY 1977 (pg 160)

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the Family Stone, Jethro Tull, Frank Zappa, and Led Zeppelin, alongside stalwart jazz artists such as

Miles Davis and Art Blakey. To underscore the emerging popularity of rock at the time, not only did

Newport have record attendance that year, the surge and quantity of people led to massive crowd

control issues and civic disarray.3

Miles Davis indicates in his autobiography that he was aware of these cultural changes. He

states “In 1969 was the year rock and funk were selling like hotcakes and all this was put on display at

Woodstock. There were over 400,000 people at the concert. That many people at a concert makes

everybody go crazy, and especially people who make records. The only thing on their minds is, How

can we sell records to that many people all the time?… That was the atmosphere all around the record

companies… and jazz music seemed to be withering on the vine, in record sales and live performances.

It was the first time in a long time I didn’t sell out crowds everywhere I played.” He goes on to say

about the record industry of the era, “What they didn’t understand was I wasn’t prepared to be a

memory yet, wasn’t prepared to be listed on Columbia’s so-called classical list. I had seen the way to

the future with my music and I was going for it…”4 Judging by Davis’s musical decisions in the years

just before the Woodstock concert and after, one can observe how profound the new burgeoning

musical environment effected his composition style.

Harmony and Rhythm of Traditional Jazz

The rock music of this era had a profound effect on jazz in its change to simpler harmonies and

rhythmic riffs as a backdrop for improvising. The sea-change in popular music that occurred as the 60’s

drew to a close provided Davis with an altered sonic pallet upon which to draw. An analysis of the

“typical” Miles Davis recording from the preceding years (in as much as the word “typical” can even

be applied), as well as popular rock tunes from the era is necessary to base any comparison.

3 Goldblatt, Burt “Newport Jazz Festival. The Illustrated History” Dial Press NY 1977 (pgs 169-177, 273-5)4 Davis, Miles. Troupe, Quincy “Miles, the Autobiograpy” Simon and Schuster NY 1989 (pg 297-8)

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Furthermore, an exploration of Davis’s use of rhythm and harmony in the years preceding Bitches Brew

will demonstrate his wholesale shift to combining the two genres.

The harmony in jazz up to the 60’s was dynamic and complex. In the course of single tune there

might be many “changes”. That is to say the harmony used to backdrop the melody and subsequent

improvisation, went through many chord changes. If one were to analyze the harmony used on Davis’s

earlier recordings, one would find a plethora of; ii V7 I progressions, key changes, chord substitutions,

borrowed chords, dominant chords, secondary dominants, as well as other similar harmonic effects. To

analyze this further, some historical context is needed.

The harmonic beginnings for jazz in Miles Davis’s time has its roots in the Bebop Era (roughly

the 1940’s). An influential harmonic concept from this era was to use standardized chord progressions

from popular tunes with rewritten melodies. An example would be “How High the Moon”. Originally

written by Morgan Lewis and performed on Broadway as early as 1940, the chord changes were

appropriated (with slight variation) by influential bebop pioneer Charlie Parker in his tune

“Ornithology.”

“How High the Moon” as transcribed from the original Mitchell Ayers version (see transcription

1) ; the tune (starting at 1:19 seconds, where Mary Ann Mercer sings the chorus) starts in D, moves

through a ii V I progression to C, followed by another ii V I progression to Bb, then quickly a V7/IV

chord to iv V7 to i and iv in the parallel minor in the home key, then I and IV in the home key, the

section ends with a turnaround, the second half of the tune is identical up to where it changes to the

parallel minor, at that point the tune reverts to the home key, after a lengthy turnaround the tune ends in

the home key.5

A transcription of Parker’s “Ornithology” demonstrates the harmonic similarity of the contrafact

(see transcription 2): the tune starts in G, moves to F through a ii V7 I, then a ii V in Eb. Eb serves as a

5 Ayers, Mitchell. “How High the Moon” with Mary Ann Mercer and Mitchell Ayers and his Fashions in Music. Recorded February 8th 1940. Bluebird B-10609-A. LP 78

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pivot chord as the harmony moves to the parallel minor of the home key through a bVI7 to V7

progression. The section ends with a turnaround. The second half of the tune is identical up to where it

changes to the parallel minor, instead is arrives in the home key, followed by a turnaround.6

Another example of pre-fusion-jazz era contrafact harmony is the bebop tune “Donna Lee.”

Recorded for Savoy Records in 1947 by Parker and Davis, the tune uses the chord changes to the 1917

Tin Pan Alley tune “(Back Home Again in) Indiana”. As a side note, there is some confusion as to the

original author of Donna Lee. Savoy credits state Parker with authorship. However, in his

autobiography, Davis’ cites himself as author and that it was the first tune of his to be recorded.7

A simultaneous analysis of Parker/Davis’s “Donna Lee” and a 1944 recording of “(Back Home

Again In) Indiana” performed by Lester Young clearly demonstrates the contrafact concept as well as

many of the harmonic devices (ii V7 I’s, Dominant chords, modally borrowed chords, ect) found in the

era (see transcription 3). A timeline of the tune is as follows:

(Measure 1) Starting as each tunes respective melodies, they both start on the tonic

(Measure 2) there is a secondary dominant, followed by a II7, then

(Measure 5) both tunes change to V7 I in the home key

(Measure 9) secondary dominant ending on the IV (the Parker/Davis version has a tri-tone substitution

ending on IV), then a modally borrowed iv (the Parker/Davis version has a bVII7 chord)

(Measure 17) The first four measures of the second half are identical to the first.

(Measure 21) both tunes go to a secondary dominant where they tonicize the relative minor.

(Measure 25) there is a further V7 i tonicization (still in the key of relative minor),

(Measure 28) both tunes use a difficult to analyze diminished 7 which pivots back the home key.8

6 Parker, Charlie “Ornithology” from The Genius of Charlie Parker recorded between 1944 and 1948. Savoy Records. MG 12079 Compact Disk

7 Davis, Miles. Troupe, Quincy “Miles, the Autobiograpy” Simon and Schoster NY 1989 (pg 103-4)8 Parker, Charlie “Ornithology” from The Genius of Charlie Parker recorded between 1944 and 1948. Savoy Records.

MG 12079 Compact Disk

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It is arguable that the “contrafact” concept (that is; a familiar or standard chord progression with

a new melody) can be found in thousands of jazz tunes, and is a fundamental to the development of

jazz harmony. It is common knowledge that in the decades preceding the fusion era, this was a standard

way of creating the harmonic backdrop in which the improviser can ply his craft.

Another example of jazz chordal complexity can be found in the hundreds of variations of

twelve bar blues. This originally simple call and response set of chord changes followed a tonic,

subdominant, dominant structure that underwent dramatic innovations during the jazz era. Examples of

these variations being used can be found in Davis’s tune, “Freddie the Freeloader” released on the

historically significant “Kind Of Blue”, as well as Parker’s tune “Au Privave”. An example closer in

time to the Bitches Brew release can be found in Davis band-mate Wayne Shorter’s tune “Adams

Apple”.

Due to its aural tradition in post slavery culture in the deep south, the origin of the twelve bar

blues progression is unclear, however the twelve bar blues progression as stated in “Anthology for

Musical Analysis” is as follows9:

measure: 1 2 3 4 5 6 7 8 9 10 11 12

chord: I IV I V I

As compared to Davis’s “Freddie the Freeloader”10:(all chords are dominant in this tune)

measure: 1 2 3 4 5 6 7 8 9 10 11 12

chord: I IV I V IV bVII

measure: 13 14 15 16 17 18 19 20 21 22 23 24

chord: I IV I V IV I

“Freddie the Freeloader,” has a melody that spans two chorus’s of twelve measures each. With a bVII

variation in the first chorus at measure 12 and a V IV variation in measure 21 and 22.

9 Charles, Burkhart. “Anthology for Musical Analysis” Thompson Learning/Schirmer US (pg 544)10 Davis, Miles “Freddie the Freeloader” from Kind of Blue recorded in 1959. Legacy/Columbia CK 64935 Compact Disk

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“Au Privave” is a complex re-harmonization of the original blues progression11:

measure: 1 2 3 4 5 6 7 8

chord: I7 ii, vii/iii I7 ii/IV, V7/IV IV7 ii/ii, V7/ii

measure: 9 10 11 12

chord: ii V7 I7,VI7 ii, V7

As compared to “Adams Apple”12:

measure: 1 2 3 4 5 6 7 8 9 10 11 12

chord: I7 bVII7

measure: 13 14 15 16 17 18 19 20 21 22 23 24

chord: I7 i7 iv7 ii7 V7 I7

“Adam’s Apple” has a form that is double the time of the traditional blues form. The written part is

twenty four measures, however the passage of the chords and their functions remain. Furthermore,

Adam’s Apple has a bVII chord instead of the typical IV chord in measures 9 through 12, and ii V

variations through the 17th to the 20th measures.

A final harmonic backdrop would be musicians writing an original melody with its own original

harmony. It is easily arguable that by and large these tunes mimicked the chordal complexities found in

contrafact and blues changes. An example of this complexity would be Thelonious Monk’s tune “Well

You Needn’t” composed in 1947. A version of which was recorded on Davis’s 1956 album Steamin’. A

subtle harmonic irony herein is that Davis’s recorded a contrafact version of this tune a year earlier

titled “I Didn’t”. The form of “Well You Needn’t” is the standard AABA form, with the harmony in the

A sections alternating from tonic to dominant (with the use of the tri-tone substitution). The B section

11 Goldsen, Michael (editor) “The Charlie Parker Omnibook” Criterion Music Group 1978 (pg 24-5)12 Shorter, Wayne “Adam’s Apple” from Adam’s Apple re-released in 2003. Blue Note 80912 Compact Disk

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starts on the bVI7 and moves up and back down planing chromatically (Davis’s version plane’s

similarly from the II)13.

History of Davis’s Modal and Avant-Garde Phases

In terms of harmonic expression it is important to note that not all of Davis’s timeline

demonstrated the jazz harmonic inventions of the period. There are several notable exceptions.

“Milestones” (released in 1958 on his album with the same name) as well as “So What” (released in

1959 on the seminal Kind Of Blue) typify the minimalist modal approach. Both tunes have only 2

chords in their prospective progressions. Furthermore, as Miles moved to a more avant-garde approach

in the mid 60’s, his group explored a modal/chromatic approach. An example being Wayne Shorter’s

composition “Masqualero”. This tune was released on Davis’s 1967 album Sorcerer. The A section is

largely chromatic with hints at G phrygian with a quartal-ish bass ostenato. The tune’s B section (which

is not always played throughout the soloists) consists of E min moving up to F (sometime minor,

sometimes major)14. Secondly, on his 1968 album Miles Smiles, the tune “Freedom Jazz Dance”

explores a single harmony of Bb-alt with a highly chromatic overlay provided by the soloist and piano.

Again there is some discrepancy as to the authorship of this tune as Sony Music credits Davis, whereas

Chuck Sher credits Eddie Harris15.

What the above tunes demonstrate, is that jazz harmony can be intricate and contain seemingly

infinite variations. In essence, a jazz tune is harmonized through a dynamic set of chord changes that in

most cases had varying degrees of complexity. In many cases the tunes mimicked the harmony of

preexisting tunes. This radical and often rapid set of changes provided a constantly shifting backdrop in

which the soloist could explore melodic ideas.

13 Monk, Thelonious “Well You Needn’t” recorded by Miles Davis, on Steamin’ With the Miles Davis Quintet re-released 2005 Prestige VICJ-2065 Compast Disk

14 Shorter, Wayne “Masqualero” recorded by Miles Davis on Sorcerer. Re-released 1998 Sony Legacy Distribution CK 65680 Compact Disk

15 Sher, Chuck (editor) “New Real Book Volume 2” Sher Publishing CA 1984 (pg110)

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Rhythm in Jazz

Many jazz musicians (including Davis) often considered rock musicians to be creators of a sort-

of introductory or perhaps simplistic music. When asked about the rock music of the era, Bitches Brew

keyboardist Chick Corea called it ‘...beat oriented music.’16 His implication being the music had a more

rigid drum/bass pattern, or set of riffs, in which to draw upon. To support this, Wayne Shorter states in

his biography, “We went with Miles [Davis] to see James Brown at the Apollo Theater when he was

doing his ‘Night Train’ groove. Not the song itself, but that feeling. That’s when Miles was already

saying that jazz didn’t have a strong enough or driving enough motor to get into peoples bones… the

same old ding-ding-da-ding-ding… was kind of boring and all used up.”17 By “Night Train groove...”,

Shorter is most likely referring to the affinity of rock musicians of the era for the simple patternistic

rhythmic phrases of r&b and rock. On the other hand, his “ding-ding-da-ding” statement is obviously a

reference to the quasi improvisational ride cymbal pattern used as the rhythmic basis by pre fusion era

jazz drummers. Analysis of the transcriptions of the rhythmic ideas presented in the rhythm section

parts of some of the above tunes will reveal the role that these instruments have in creating the

foundation for the improviser as represented in traditional jazz.

An analysis of the rhythm section parts played by Bud Powell, Tommy Potter, and Max Roach

on Parker and Davis’s “Donna Lee” reveals a quasi-improvisational, quarter note driven framework

that is conversational in nature (see transcription 4). Starting at the solo section, the rhythm of the

double bass in this example is playing exclusively quarter notes. However, his note selection is

harmonically driven. That is to say he connects the various chords tones of the tune through a steady

quarter note pulse, by using scales and arpeggios. The drummer performs a similar steady pulse

through his ride cymbal pattern (Shorter’s “ding ding da ding...” observation). However the drums are

16 Chick Corea “Chick On Miles as a Bandleader” YouTube. Published by the Chick Corea Academy on 8-3-2020.https://www.youtube.com/watch?v=KOnHPr6CL3U&ab_channel=ChickCorea

17 Mercer, Michelle “Footprints; The Life and Work of Wayne Shorter” Penguin 2007 (pg 123-4)

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often interjecting (as is the piano) at various intervals throughout the solo. Their accents coincide with

gaps in the phrases of the soloists, as well as at significant key changes and sonorities.

A similar role can be described in Davis’s tune “So What”. (see transcription 5) The

predominantly quarter note pulse of Paul Chambers operates in D minor and moves to Eb dorian (Db

major). He outlines the chords by walking between alternating roots and fifths on the 1st beat almost

every measure. Like before, the drums perform a ride cymbal pattern with accented interjections from

other components found on the drum kit at musically appropriate spots. Bill Evans’s role in “So What”

is similar to the role of the piano as demonstrated in “Donna Lee” with the addition that he sometimes

adds the highly rhythmic counter-melody of the tune as a comping element.

In conclusion, this is not to say that every jazz tune before Bitches Brew had complex harmonic

devices and a quarter note bass pulse. There are numerous examples of alternate and often simpler

harmonic and rhythmic devices being adopted into jazz in the preceding years. For example, ballads of

the era were commonly half note driven. Additionally the infusion of bossa-nova into jazz is well

documented. Cannonball Adderly’s 1966 release of “Mercy, Mercy, Mercy” features several chords in a

single key with a slower r&b drum beat. Additionally, this recording is also one of the first jazz

recordings that use the Fender Rhodes electric piano, upon which Davis commented that he “...really

like the sound of the instrument and wanted it in my band.”18. Secondly jazz-funk pioneer Herbie

Hancock’s “Cantaloupe Island” is a three chord, sixteen measure tune, with a Latin r&b drum beat.

There are numerous other recordings that defy the aforementioned trend. This not withstanding, the

standard backdrop by which jazz of the era was improvised over, was based on complex harmony over

a quarter note bass driven pulse.

Rock and Roll Harmony and Rhythm

18 Davis, Miles. Troupe, Quincy “Miles, the Autobiography” Simon and Schuster NY 1989 (pg 295)

9

In the late 60’s the U.S. was experiencing tremendous sociopolitical upheaval. In this era, the

Vietnam war was in full swing, the U.S. was going through it’s civil rights movement, and styles and

social norms were being challenged. Gone were the days of “Love Me Do”, which were in turn

replaced with the likes of, “Come Together”, Muhammad Ali, and the Woodstock Festival. It is in this

new social and musical environment that rock supplanted jazz. To fully appreciate rocks influence on

the jazz of this era are we must diagram some of it’s harmonic and rhythmic attributes. It would be safe

to say that rock was often raucous as its youthful practitioners were performing for increasingly larger

and larger audiences. Additionally its harmonic and rhythmic construction was, in most cases, totally

different from traditional jazz. An analysis of several tunes from the era will reveal how rock greatly

differs it is from its jazz counterpart.

A highly influential rock group of this era was Led Zeppelin. After their inception in 1969, the

release of their self-titled fourth album in 1971 was one of the greatest selling albums in recording

history. Their second album and its single “Whole Lotta Love” reached number one in the same year

that Bitches Brew was being recorded. Harmonically “Whole Lotta Love” features a repeated E

pentatonic riff as the basis for its verse and chorus (see transcription 6), with its chorus alternating

between and E and a D . A single A chord appears near the end of the tune. The tune features an

interlude in its middle that is devoid of harmony and is simply a high hat and percussion, with

recording effects (this is explained in detail later). The drums are loud and play with a heavy emphasis

on 2 and 4.19 A hugely important comparison point is that this tune is devoid of any reference the swung

eighth note rhythms commonly found in jazz up to this era. This tunes eighth notes are entirely

“straight.”

Another example can be found on hugely influential guitarist Jimi Hendrix’s tune “Voodoo

Chile” (not to be confused with the more popular “Voodoo Chile (Slight Return)”). The tune is riff

19 Page, Jimmy “Whole Lotta Love” lyrics by Robert Plant. Recorded in 1969 on Led Zeppelin II. Atlantic 82633 Compact Disk

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based in D a pentatonic sonority. The brief chorus section an Bb triad and a C triad. The rhythm heavily

mimics a slow 12/8 blues pattern with an emphasis on the 2nd and and 4th dotted quarter note (see

transcription 7). There is a drum solo/interlude at 9:00 minutes over-layed with electric guitar and

electric organ effects. This is germane to this thesis in that his use of effects and the “free time”

rhythmic nature of the interlude could be perceived as indistinguishable from some of the more

adventurous portions of Bitches Brew to the untrained ear20.

A final example of the propensity of late 60’s era rock musicians to favor simpler chord

structures and patternistic beats can be found in The Doors 1967 tune “When the Music’s Over”. The

majority of this 10 min song is an E to A chord pattern provided by the electric piano. The end of the

chorus has a D, D, D#, E, chromatic blues riff, and the bridge alternates between A7 and E7. A D triad

occurs after the last chorus. The guitar solo predominantly consists of distortion and other effects. The

rhythm of this song is a heavy accent on beats 2 and 4 throughout with the exception of the

introduction21. Like “Whole Lotta Love” this tune has no reference to the swing rhythm and is

comprised entirely of straight eighth notes.

This is not to say that these artists catalogs were exclusively as demonstrated. All the above

artists have a large variety of tunes in their releases. The purpose of these examples is to demonstrate

the propensity of rock musicians to often favor riff based tunes with simpler harmonies and rhythms

that emphasized 2 and 4. Frequently in these groups, electric instruments and similar effects were used

and experimentation was not out of the ordinary.

Influence of Jimi Hendrix and Betty Mabry

The personal and musical effect Jimi Hendrix had on Davis during this era cannot be

understated. Hendrix’s music was introduced to him through his (then significantly younger) new wife

20 Hendrix, Jimmy “Voodoo Chile” Recorded in 1968 on Electric Ladyland. Polydor 8472332 Compact Disk21 “When the Music’s Over” recorded by the Doors (Jim Morrison, Robbie Kreiger, Ray Manzarek, John Densmore) in

1967. re-released on The Doors Box Set .Elektra 7559621232 Compact Disk

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Betty Mabry. Davis states in his autobiography, “Betty was a big influence on my personal life as well

as my musical life. She introduced me to the music of Jimi Hendrix-and to Jimi Hendrix himself-and

other black rock music and musicians. She knew Sly Stone and all those guys… she also helped me

change the way I was dressing. The marriage only lasted about a year, but that year was full of new

things and surprises and helped point the way I was to go, both in my music, and in some ways, my life

style.”22 In an interview in Tales From the Tour Bus, poet and Davis autobiography co-author Quincy

Troupe states, “... [Davis and Mabry’s] relationship not only changes Miles but changes American

music.” He goes on to say she was critical of the way he dressed and helped him reinvent his style,

which in turn influenced his musical choices.23 It is not clear if this particular influence is entirely

accurate, however it does speak to a desire in Davis to change his sound and image in an effort to

appeal to a newer and perhaps younger audience. In the same interview Troupe goes on to state that

Davis made radical changes in his band by using electronic instruments (electric bass, electric piano,

electric guitar). Davis’s response to his detractors was, “All these purists are walking around talking

about how electrical instruments will ruin music. Bad music is what will ruin music, not the

instruments musicians choose to play. I don’t see nothing wrong with electrical instruments as long as

you get great musicians who play them right.” Despite the source of Davis’s desire to change to electric

instruments the change had a lasting effect.

Contrary to Davis’s claim, Bitches Brew guitarist John McLaughlin cites himself as the one to

introduce Hendrix’s music.24 In either case, Hendrix and Davis became friends in the years leading up

to 1969. Davis admired him stating he had a natural ear for music and was able to pick up new musical

22 Davis, Miles. Troupe, Quincy “Miles, the Autobiography” Simon and Schuster NY 1989 (pg 290-2)23 The Fanatic, “Mike Judge’s Tale’s From the Tour Bus: Bitches Brew” YouTube. Originally aired on Cinemax 2018.

Posted 5-27-2020 (2:12) https://www.youtube.com/watch?v=wEJkL1cjHzA&ab_channel=TheFanatic24 Miles Davis, “Miles Davis - Discovering Jimi Hendrix (from The Miles Davis Story)” YouTube. Originally from “The

Miles Davis Story” Posted 8-18-2017 (1:17) https://www.youtube.com/watch?v=R9HjsqxqUos&ab_channel=MilesDavisVEVO

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ideas by ear very quickly. Davis comments about their mutual influence, “...i’d play him record of

mine… and explain to him what we were doing. Then he started incorporating things I told him into his

albums. It was great. He influenced me and I influenced him…”25

An example of the influence of both Mabry and Hendrix that is pertinent to the topic at hand,

would be Davis’s tune “Madamemoiselle Mabry”. Recorded for the 1968 album Filles de Kilimanjaro,

the tune is named for his then new wife, but borrows heavily from Jimi Hendrix’s composition “The

Wind Cries Mary” (see transcription 8).26 Additionally, this album is in the beginning of Davis’s

“electric” phase. That is, a series of albums starting in the late 60’s culminating with the release of the

certified platinum selling Bitches Brew, wherein he starts to incorporate electric instruments. It is

important to note that during this phase of his recording career the albums Miles In the Sky (1967),

Filles de Kilimanjaro (1968), and In a Silent Way (1969) were all released before Bitches Brew (1970)

and contained the electric instrument elements as well as rock inspired beats. However none of these

albums had both the critical and commercial success.27

Recording and Technological Considerations

Despite Davis’s electric period, the jazz of the decades preceding the release of Bitches Brew

was principally an acoustic art form. The recording environment was often set up in such a way as to

capture the band in a live acoustic setting. Live recording before the end of the 60’s was akin to how

classical music is recorded today. That is, a few microphones spaced accordingly throughout an

appropriately sized room mixed directly to one to three tracks, as if to document an event.28 Bitches

Brew re-issue engineer Bob Beldon calls this technique “verite”.29 An example of this acoustic

recording method can be demonstrated in an interview with one of Davis’s drummers Jimmy Cobb.

25 Davis, Miles. Troupe, Quincy “Miles, the Autobiograpy” Simon and Schuster NY 1989 (pg 292-3)26 Davis, Miles “Madamemoiselle Mabry” recorded in 1968 on Filles de Kilimenjaro Legacy/Columbia CK 46116

Compact Disk27 Beldon, Bob “Miles Davis: the Complete Bitches Brew Sessions” liner notes. Columbia Legacy C4K 6557028 Kahn, Ashley “Kind of Blue: The Making of the Miles Davis Masterpiece” Da Capo Press NY 2000 (pg 99-102)29 Beldon, Bob “Miles Davis: the Complete Bitches Brew Sessions” liner notes. Columbia Legacy C4K 65570

13

Cobb recorded on the now legendary Davis album Kind of Blue in 1959. He states in an interview that

he was worried the cymbal crash on the opening measure of the solo section to the tune “So What” was

“...too loud for the room.”30 His implication being that he was sensitive in the balance in volume of his

single cymbal hit to the other instruments in the room. By comparison, Led Zeppelin’s second album

(recorded in the same year as Bitches Brew) used 8 separate tracks with the instruments recorded at a

much higher (if not the maximum) volume in separate recording booths. These “iso-booths” are used in

modern recording studios to isolate the various instruments from on another so the balance can be

created electronically by the engineer as opposed to by the musicians in the room.31

The method used to record and produce Bitches Brew is unique unto itself, with a possible

exception found in In a Silent Way. Numerous primary sources from these recordings agree. Similarly

to Led Zeppelin II and other rock recordings of the time, the musicians were isolated from one another

to some degree, and wore headphones with monitor mixes. The musicians set up in a large room in

somewhat of a semicircle and improvised based on small musical ideas as they were conducted by

Davis. They recorded live in the studio for three days. A careful listen to the Bitches Brew album and

one can hear Davis issuing instructions during the recording process. After the sessions Davis and

producer Teo Macero edited and spliced the recordings in such a way that the compositions took on a

different form from when they were recorded.32 An example would be at the 1:40 mark of “Pharaoh’s

Dance” where the dynamics of the band suddenly change because of the two splices having different

performance volumes. Bitches Brew percussionist Don Alias states ’John McLaughlin’ (referring to the

30 Jamal Parker “1959 The Year That Changed Jazz” YouTube. Posted 5-29-2012. https://www.youtube.com/watch?v=dou3aSZmEg0&ab_channel=JamalParker

31 Cosmo Music “Eddie Kramer tells the story of Led Zeppelin's iconic sound on "Whole Lotta Love" YouTube. Posted 8-4-2017. https://www.youtube.com/watch?v=HReL_3fCvKI&t=2s&ab_channel=CosmoMusic-TheMusicalInstrumentSuperstore%21

32 Gioia, Ted “The History of Jazz” Oxford University Press NY 2011 (pg 327)

14

track from Bitches Brew titled “John McLaughlin”) is actually parts 4 and 5 of ‘Bitches Brew’

(referring to the title track, which was cut up and spliced into different tunes).”33

Another recording (and later performance) effect utilized by Davis was an ‘echo’ effect. The

effect itself is a small box with a tape loop inside that a microphone or other electric instrument would

plug into. The box contained either tape loop or electronic circuitry that would repeat what the

performer just played. The ‘echo’ effect can clearly be heard on the title track in Davis’s trumpet part.

He plays short staccato figures which are then repeated back by the echo, producing a sort of

experimental artificial cavernous sound. Examples of effects of this nature being used in jazz before

Bitches Brew are rare. However, as observed in the previous analysis, these effects as well as others

were more commonly used in the rock music of the era. An example of this would be the middle

section of Newport Jazz festival alumni Led Zeppelin’s “Whole Lotta Love”, with the difference being

the effected instrument was guitar (there are no records indicating if this effect was used at the festival

by the band, however Led Zeppelin guitarist Jimmy Page states in his pictorial biography that he

pioneered the use of many effects of this manner).34 Secondly, the echo effect is appears in a variety of

uses throughout influential rock guitarist Jimi Hendrix’s first three albums. Davis’s use of modern

recording techniques, along with his implementation of the echo effect, strongly links him to a modern

rock sound as opposed to a traditional jazz sound.

Harmonic and Rhythmic Analysis of Bitches Brew

To effectively culminate the effect of the rock music on Davis’s Bitches Brew one must do a full

harmonic and rhythmic realization of the album. From this analysis, the musical difference from the

contrafact harmony and blues progressions found in traditional jazz will become clear. Furthermore the

similarity between the riff based compositions found in Bitches Brew and those found in rock music

33 Beldon, Bob “Miles Davis: the Complete Bitches Brew Sessions” liner notes. Columbia Legacy C4K 6557034 Page, Jimmy “Jimmy Page” Genesis Publications Surry, England 2014

15

will be outlined. Additionally, effort will be spent throughout this analysis pointing out relevant

electronic effects and musical nuances commonly found in rock.35

The start of the album (side 1 in its entirety) is the first track titled “Pharaoh’s Dance”. The

track is 20:04 in length. (see transcription 9). A timeline of the relevant aspects of of rock music in this

tune are as follows:

(00:00) Drums play straight 8ths on the Hi-Hat (the pair of cymbals commonly found next to the snare

where one cymbal is on top of its upside down counterpart.) and snare on all 4 beats. As a side note,

Davis enlists two simultaneous drummers for this recording and it is often difficult for the listener to

discern which is which.

(00:06) Beginning of section A. A riff from the B minor pentatonic scale is played and then echoed and

then improvised upon by the electric piano and guitar.

(00:18) The bass enters with a repeated B blues scale riff that is used throughout this section.

(01:30) Tape edit (most likely spliced from a different part of the recording tape) wherein the above

themes are repeated.

(02:30) The drums begin to emphasize beats 2 and 4.

(03:00) Tape edit.

(06:00) The bass plays a B to E repeated riff that is an evolution of the original bass riff. The drums

have seemingly moved to a half time 2 and 4 groove.

(08:33) The B section begins with a sharp musical accent (most likely directed by Davis) The tune is

still in a half time 2 and 4 groove.

(08:42) The trumpet plays staccato figures into the previously mentioned echo effect.

(09:03) B to E repeated bass riff. (Davis uses an electric bassist as well as a double bassist and the root

note is difficult to discern).

35 Davis, Miles “Bitches Brew” recorded in 1969. Columbia Legacy C2K 65774 Compact Disk

16

(15:15) The beginning of section C is cued by a simple B note repeated by the bass, with the drums still

on 2 and 4. Given the nature of the editing process, this section could also be a restatement of the A

section. The tune ends with the instruments fading out.

The next track is the B side of “Pharaoh’s Dance” and is title track. “Bitches Brew” is 26:59 in

length (see transcription 10). A timeline of the relevant aspects of of rock music in this tune are as

follows:

(00:00) In the A section of the piece, there is a rhythmic C bass/keysriff that repeats and is frequently

punctuated by abrupt loud drum fills and keyboards.

(00:44) Davis plays through the echo effect, alternating through staccato and legato lines.

(02:53) The electric bass starts the B section (most likely directed by Davis as there is are audible

finger snaps in the recording). The bass plays is a simple repeated riff.

(03:48) The full band enters in the same tonality. One drummer (probably Jack DeJohnnette) plays fills

while the other (probably Lenny White), along with the guitar, continues a somewhat vague reference

to beats 2 and 4 (the drummers are listed as Lenny White on the left and Jack DeJohnnette on the right.

Despite this it is difficult to discern between the two).

(17:20) is a restatement of section B that opens with a double bass solo while the electric bass plays the

same repeated riff from before. The 2 and 4 feel is provided by the guitar and is backed up by the

percussion.

(19:00) There is a slight reference to 2 and 4 in the drums.

(19:35) Here the 2 and 4 is strongly felt by the drums as the band crecendos.

(22:02) is a sudden subito pianissimo to the same repeated bass riff (possibly a tape edit). As the band

enters, the strong reference to 2 and 4 in both the drums and guitar remain.

The next tune on the album is 17:13 in length and is titled “Spanish Key”. A timeline of the

relevant aspects of of rock music in this tune are as follows: (see transcription 11)

17

(00:00) The drums open with a drum beat accenting beat 4. The electric bass plays a repeated riff on an

E tonality. The only harmony in this section is a D7 and then back to E.

(3:14) A keyboard figure signals the arrival of the B section. The figure has a clear cadence and is

solidly tonicized on a G9 chord. One could easily compare this arrival point to the arrival at a bridge as

performed by James Brown (as a side note that may be relevant, during his late 60’s era James Brown

also used two drummers. It is rare for any group of any era to perform with two simultaneous

drummers and this coincidence bears observation). The electric bass line in “Spanish Key” is also

reminiscent of James Brown’s “Cold Sweat” or any number of similar tunes. The B section continues

with the rhythm section clearly accenting 2 and 4. The guitar does not comp for the soloist in any

traditional manner. McLaughlin uses small percussive staccato chord voicing in the style of the

emerging r&b music of the era. McLaughlin’s solo uses the soloistic nuances typical of rock guitarists

of the era, such as: pentatonic riffs, blues riffs, bending notes (that is, pushing the string towards the

middle of the neck to temporarily raise the pitch. This musical effect is common in rock guitar

playing.). The point of this thesis is not to explore the soloists on Bitches Brew, however pointing out

McLaughlin’s use of rock guitar nuances in his solo is pertinent to the effect of rock on jazz as

demonstrated in this album.

(05:22) The band returns to the section A. The drums play the same beat as beat as before (with the

accent on 4) and the bass line is largely similar. It’s important to observe the electric bass at this point

(played by pop session bassist Harvey Brooks). Not only is his repeated patterns reminiscent of rock

and r&b, but his fills by and large follow the same root 5th octave pattern (with a hint of blues) that is

common in hundreds of rock recordings from the era.

(08:46). Again the rhythm section is solidly referencing beats 2 and 4.

(10:54) Beats 2 and 4 are only hinted at.

(13:55) The band is solidly in the James Brown-esque B section with the pulse being felt on 2 and 4.

18

The next piece is titled after the Bitches Brew guitarist “John McLaughlin” and is the shortest

on the album at 4:21 (see transcription 12). The piece is one sonority and its associated riff. There are

other no meaningful defining sections. The rhythm section at the opening is clear as to the straight

eighth note pulse with references to a 4/4 rock beat. There is harmonic hints in the keyboard figure at

the beginning from Cmin7 to F7 which, given the harmonic nature of the material could simply be

regarded as a pop progression. The figure is repeated throughout the piece.

In contrast to “John McLaughlin”, the next track titled, “Miles Run’s the Voodoo Down” is

14:01 in length and is significantly more organized (see transcription 13). A timeline of the relevant

aspects of of rock music in this tune are as follows:

(00:00) At first the piece feels as if ts a much slower tempo. This is a consequence of the rhythm

section blurring the feeling of 2 and 4 into a snare-on-3-half-time feel. That is to say, putting the

emphasis on beat 3 to create a longer/slower (or exactly twice as slow) 2 and 4 feel. The bass plays a

simple repeated F minor pentatonic riff while the guitar issues short staccato phrases similar to the title

track.

(01:23) The bass changes its riff but remains largely in F pentatonic. It is important to note he uses two

electric basses on this track with one playing the role of ‘bassist’ and the other as “soloist” in its upper

register.

(4:06) Most the band utilizes freely improvised rock and blues riffs.

(4:13) This guitar solo is an excellent example of the thinner sound associated with rock guitar tone

production (this will be demonstrated in detail later in this thesis). McLaughlin also uses the same rock

and r&b soloistic techniques as stated before.

(8:05) The piece quiets down slightly to accommodate an electric piano solo. It is important to note

that here (as well as other sections of the album) the keyboard and the guitar are ‘overdriven’. That is to

say; the tube driven amplifier (the only instrument amplifiers available during this era used tube

19

technology) is turned up to such a high degree that the sound begins to intentionally distort (in other

words, ‘overdriven’). This effect was very commonly utilized in rock guitar (as well as all the

previously analyzed rock examples) and was frequently used in the keyboards and bass guitars of the

genre.

“Sanctuary” is an 11 min tune that opens with a Trumpet solo accompanied by electric piano in

free time. Bitches Brew re-issue producer Bob Belden suggests that the intro to this tune in loosely

based on the jazz standard “I Fall In Love Too Easily”, which would make this section of the song the

album’s only contrafact element.36 However it is safe to assume that a formal structure was agreed upon

at 1:26 as the melody is doubled by the soprano sax, albeit heterophonically so. (for reference see the

informal lead-sheet at the end of the transcription pages).

Its important to note that “Sanctuary” is the least “rock” sounding tune on Bitches Brew. The

authorship is credited to Wayne Shorter and its harmony and melodic shape is very much in line with

his compositional style. One could describe the tune as having a “ballad” feel. That is to say, on many

jazz albums throughout history a common formula in the program of tunes on any given album, it was

customary for one tune to be of a slow tempo of either swung or straight eights variety. As a side note

this tune is rhythmically, melodically, and harmonically very much in line with many of Shorter’s slow

tempo works, with the added instrumentation of the electric piano. In essence “Sanctuary” is the

“ballad” of Bitches Brew, with its harmonic and rhythmic structure being quasi free time, and the

melody freely interpreted.

“Feio” is the last piece on the album and is 11:48 in length. Like “Sanctuary” this tune is

credited to Shorter but is a departure from the ballad feel in the previous. A timeline of the relevant

aspects of of rock music in this tune are as follows:

36 Beldon, Bob “Miles Davis: the Complete Bitches Brew Sessions” liner notes. Columbia Legacy C4K 65570

20

(00:00) It opens with a repeated slow paced G, C, D electric bass riff. Its possible that this is an attempt

to mimic the I, IV, V chord progression commonly found in the harmonically simpler rock music, but

without substantial harmony present this cannot be confirmed. The guitar and keyboards are creating

texture by using effects such as volume swells and tremolo. The Fender Rhodes electric keyboard had a

tremolo effect built in to the control panel. Once turned on the speed of which could be adjusted

manually. Furthermore, the Fender Rhodes “tremolo” was not the akin to the tremolo found in classical

literature. It simply was a rapidly changing volume control. Additionally there are overdriven

amplifiers, bent notes, and wah-wah effects (the wah-wah effect can be found throughout the works of

Jimmy Page, Jimi Hendrix, and many other rock guitarists. It was a foot pedal that manually swept

across the tone of an instrument. When played a certain way it could produce a “wahhhh” sound), as

well as echo effects.

(01:06) The trumpet solo’s with echo effect. The entirety of the piece is constructed of a single section

based on the G, C, D bass line.

In conclusion, these analyses brings to light the numerous rhythmic and harmonic differences

between traditional jazz and that of Bitches Brew. His use of riff based compositions and limited

harmonic progressions bears a strong resemblance to rock music. For example, excluding the jazzier

“Sanctuary,” there are more chords present in the first 30 seconds of “Donna Lee” than in the entirety

of the remainder of Bitches Brew. Additionally demonstrated here, Davis’s use of electric instruments

and their sonic capabilities (with the guitar in particular) is more akin to that of the rock music of the

late 1960’s as opposed to the typical jazz recording.

Significance of the Electric Guitar

One cannot fully appreciate the effect of rock music as seen through Bitches Brew without a

demonstration of the nuances of the electric guitar present in the albums compositions. Additionally

some discussion of the tonal capabilities of the instrument as played by the late 1960’s rock musician is

21

relevant to this thesis. Simply put, the electric guitar is essential to rock music and its various tonal and

idiomatic nuances are used throughout Bitches Brew.

A significant idiomatic aspect typical to rock music that can be found on Bitches Brew is the

proclivity of bending strings. A ‘bent string’ or ‘bent note’ occurs when the guitarist pushes a

previously articulated string off to the side of its course. This in turn raises the pitch of the string

considerably (in the case of McLaughlin’s performance on Bitches Brew he commonly bends the string

up a whole step). A complication guitarists would encounter in this era when desiring to bend strings

was that strings themselves were very thick and therefore difficult to bend. University of Houston

Guitar Professor Mike Wheeler states early guitar string manufacturers produced thick strings, “...i

remember my grandfather used to go buy Black Diamond strings and I don’t even think they were in a

gauge, they were just… guitar strings. And they were big, they were heavy strings. I think guys who

wanted to get a little bit more of that twang and be able to bend notes and stuff had to find out ways to

work around that.”37 By “gauge”, Professor Wheeler is referring to the modern invention of string

manufacturers in the mid 70’s to produce strings at various thicknesses (gauges) for players to use

when when creating the desired nuances.

Guitarist of the Bitches Brew era would commonly work around the thick string issue by

moving all the strings down one course and substituting a banjo string as the highest string. Retired

Sam Houston State University guitar professor Gerald Blakeman states, “...the reason for the light

gauge was to facilitate bending… So you put the 5th string where the 6th string is, 4th where the 5th

would be, and so on. So then you get to the first and what? Use a banjo string which was thinner than

the 1st.”38 An additional tonal characteristic mentioned to by Professor Wheeler is the “twang”. This

tonal characteristic is found inherent in the tone production of the light stringed guitar when bent.

37 Wheeler, Mike. Interviewed by Glen Ackerman. June 8th 2021 (Interview in personal possession of author)38 Blakeman, Gerald. Interviewed by Glen Ackerman on June 9th 2021 (Interview in personal possession of author)

22

There is a certain thinness to the sound that is difficult to describe. These nuances can easily

demonstrated using period similar instruments equipped with the appropriate strings.

Demonstration 1

Demonstration 1: [Visual appearance of the semi-hollow body guitar with typical for the era ‘heavy’

strings. demonstrate difficulty in bending (providing the strings don’t break when doing so).] [Visual

appearance of the solid body guitar with the substitute strings. Demonstrate the ease in bending.]

[Demonstrate the ‘twang’ by playing similar riffs on each guitar.]

The above technique is a common occurrence in the above rock examples and can be found in any

given solo or melodic phrase. Furthermore one easily hear the influence in McLaughlin's playing on

Bitches Brew as this undoubtedly effected Davis’s choice in band mates.

The tone production of the instrument is also key in understanding the cross-pollination of rock

into jazz. Professor Wheeler continues, “One thing that must be said is, that shit was going on in rock

first… and Miles wanted that. He wanted that sound. He wanted that heavy rock sound in his band… if

you’re trying to get that sound its like, there’s a whole different, you need different equipment, you

need different guitar, you need different strings, you need a different approach to playing the guitar.” In

addition to the light strings to facilitate the “different approach” of bending, the electric guitar as found

in rock often had/has an ‘over-driven’ sound. This sound is well documented and there were a variety

of ways to achieve it. Essentially overdrive distorts the sound of the guitar in such a way that it sounds

dirty. Some refer to this as “fuzz”. Professor Wheeler goes on to talk about the British guitarists in

general (specifically Jimmy Page from above's example as well as Eric Clapton) using this sound to

great effectiveness. He also goes on to say how influential Jimi Hendrix (again from the example

above) was in utilizing this method of tone production, particularly in his early years producing albums

23

while in England.39 McLaughlin was undoubtedly aware of these guitarists and their sounds as he was

originally from England and uses these same methods as heard on Bitches Brew.

One common way to produce the overdriven sound is to, as Professor Wheeler puts it, “Dime

that sucker!” His meaning is to turn the first volume stage of the amplifier up to ten (the highest

setting) in order for the circuit to distort. Rather than diagram the particular electronic phenomena

associated with this, a demonstration would be more relevant. This setting is prohibitively loud, and

can produce incredible volumes (keep in mind many of these amplifiers were created before public

address was commonplace), and was often done with solid body guitar as to control feedback.

Additionally this effect was not limited to the guitar. On Bitches Brew one can clearly hear overdriven

keyboards as well.

Demonstration 2

Demonstration: [Try to play semi-hollow body with thick strings as the first gain stage is turned up to

ten] [Play solid body electric guitar with thin strings as the first gain stage is turned up to ten]

These last tonal characteristics of the late 60’s rock musicians to be explored is the echo and

wah-wah effects. These effects are simple to use and their demonstration will directly link sounds

created in rock music to that of Bitches Brew.

Demonstration 3

Demonstration: [echo effect as used on Led Zeppelin II] [echo effect as used by Davis] [Wah-wah

guitar]

These sonic effects and guitar nuances were closely related to the rock musicians of the era.

Davis’s use of these effects as well as his choice of players and their prospective instruments clearly

represent his move toward a more current rock sound.

39 Wheeler, Mike. Interviewed by Glen Ackerman June 8th 2021 (Interview in personal possession of author)

24

History Since Bitches Brew

In continuing the historical analysis found above, it is important to point out the adaptation that

jazz underwent after the release of Bitches Brew. In the book “Birds of Fire. Jazz Rock Funk and the

Creation of Fusion” by Kevin Fellezs, great attention is paid throughout the book to the phrase “ain’t

jazz, ain’t rock.”40 It is safe to assume that much of this is due to the inclusion of electric instruments

into the jazz lexicon. To punctuate this adaptation bassist Dane Alderson of the modern fusion group

The Yellowjackets, comments that in the modern era electric bass is now considered common in the

performance of jazz, and its ease of playability and variety of tonal characteristics (in contrast to that of

the double bass) drove him to want to be a specifically electric fusion jazz artist.41

A brief analysis of the history of each musician from the Bitches Brew sessions after the albums

release, demonstrates the genre wide inclusion of electric instruments, and general shift to a more rock

infused sound. Drummer Jack DeJohnnette and bassist Dave Holland continued performing with Davis

as he delved deeper into combining rock into jazz on the albums Jack Johnson and Live-Evil.

Keyboardist Chick Corea went on to form the experimental jazz group Return to Forever with Airto

Moriera. The inclusion drummer Lenny White early in the 70’s turned the band into a much more hard

rock infused sound. John McLaughlin continued to perform with Davis while fronting his own highly

influential rock jazz group called Mahavishnu Orchestra, which also included drummer Billy Cobham.

Keyboardist Joe Zawinul with Saxophinist Wayne Shorter and percussionist Don Alias formed the

fusion group Weather Report. Bernie Maupin joined Herbie Hancock with his incredibly popular jazz

funk group the Headhunters. Keyboardist Larry Young had been producing jazz rock albums before

Bitches Brew, and had performed with The Tony Williams Lifetime group. Juma Santos recorded with

many artists in the burgeoning genre including Larry Young. All the artists mentioned above have

examples of the aforementioned fusion jazz tenets established in Bitches Brew in their own recordings.

40 Fellezs, Kevin “Birds of Fire. Jazz, Rock, Funk and the Creation of Fusion” Duke University Press 2011 (pg 32-5)41 Alderson, Dane. Interviewed by Glen Ackerman July 7th, 2017 (Interview in personal possession of author)

25

“Myterious Traveller” by Weather Report has a lengthy 4/4 single chord solo section and a heavy

pentatonic unison line.42 “Hymn Of the Seventh Galaxy” as well as “Captain Senior Mouse” by Return

to Forever has a lengthy unison line backed up by a clear 4/4 rock beat that emphasizes 2 and 4.43

Additionally on this album Bill Connors can clearly be heard using a twangy electric guitar sound.

“Meeting Of the Spirits” by John Mcluaghlin’s group Mahavishnu Orchestra is essentially a two chord

tune with highly distorted guitar and organ and raucous drums.44 A deeper analysis would reveal similar

rock infused traits in all of the Bitches Brew member’s group’s.

Finally, its important to point out that bassist Harvey Brooks was an established rock/pop

session musician before the Bitches Brew sessions and continued to work in that field afterwards. It’s

also important to note that several jazz artists such as Gary Burton, Larry Coryell, and Charles Lloyd

were finding their own jazz-rock sound before the release of Bitches Brew.45 Davis was not the only

musician to explore rock music. However this thesis demonstrates that his exploration in particular is

influential and significant.

Conclusion

Through observing the continued popularity of electric instruments and rock rhythms in jazz

one can conclude that the cross-pollination of rock into jazz was a lasting adaptation. This fusion of

electric instruments into jazz as a historically acoustic genre, as well as using modern recording

techniques and effects has also changed the way jazz is recorded. In conclusion it is undeniable that

Bitches Brew has had a lasting effect on jazz. That effect being to help usher in the next era of the

genre’s history. Additionally, the next fusion generation of jazz artists by and large sprang from being

sidemen in Davis’s group to front their own groups.“Jazz rock”, “jazz fusion” or just “fusion” as it is

often referred to, still exists today through a variety of artists. As demonstrated by Miles Davis’s

42 Weather Report “Mysterious Traveler” released in 1974. Columbia 5076576 Compact Disk43 Return to Forever “Hymn of the Seventh Galaxy” released in 1973. Polydoor 8253362 Compact Disk44 Mahavishnu Orchestra “The Inner Mounting Flame” released in 1971. SonyBmg 675019 Compact Disk45 Fellezs, Kevin “Birds of Fire. Jazz, Rock, Funk and the Creation of Fusion” Duke University Press 2011

26

compositional choices and choices of instrumentation, this new sub-genre of jazz is replete with rock

rhythms, and various methods of tone production. These sounds continue to occur to this day as the

genre continues to be pollinated.

27

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How High the Moon HarmonyMitchell Ayers

©1940

(transcription by Glen Ackerman)Transcription 1

(1:19 melody for reference)

Key D: iidim/I I Key C: ii

V7 iidim/I I Key Bb: ii

V7 I Key Gm: V7 i Key Dm: V7 i

iv Key D: I IV I i V6 6

iidim/I I Key C: ii V

iidim/I I Key Bb:ii V7

I Key Gm: V7 i Key D: V7 I vi bVI+5

I i V I6 6

% 33 ’ ’ ’ ’G ’ ’ ’ ’ ’ ’ ’ ’G m ’ ’ ’ ’C 7

%5

’ ’ ’ ’F ’ ’ ’ ’ ’ ’ ’ ’F m ’ ’ ’ ’C 7

%9

’ ’ ’ ’Eα’ ’ ’ ’D 7 ’ ’ ’ ’G m6 ’ ’ ’ ’

%13

’ ’ ’ ’G ’ ’ ’ ’ ’ ’ ’ ’B m B α7 ’ ’ ’ ’A m A α7

%17

’ ’ ’ ’G ’ ’ ’ ’ ’ ’ ’ ’G m ’ ’ ’ ’C 7

%21

’ ’ ’ ’F ’ ’ ’ ’ ’ ’ ’ ’F m ’ ’ ’ ’C 7

%25

’ ’ ’ ’Eα7 ’ ’ ’ ’D 7 ’ ’ ’ ’G ’ ’ ’ ’

%29

’ ’ ’ ’B m B α7 ’ ’ ’ ’A m A α7 ’ ’ ’ ’G

Ornithology HarmonyCharlie ParkerCharlie Parker

(transcription by Glen Ackerman)Transcription 2

(1:05)

KeyG: I Key F: ii V7

I Key Eb ii V7

I Key Gm: V7 i

Key G: I iii tritone sub/VI7 ii tritone sub/V7

I Key F: ii V7

I Key Eb: ii V7

I Key G: V7 (ii V7 implied) I

(ii V7 implied)

iii tritone sub/VI7 ii tritone sub/V7 I

%

%

33

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Donna Lee 2

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’’’’

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’’’’

E α7

E α7

’’’’

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’’’’

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Aα

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D7

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9

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’’’’

’’’’

F7

F7

’’’’

’’’’

B α

B α

’’’’

’’’’

’’’’

’’’’

B αm7

B αm7

’’’’

’’’’

E α7

E α7

’’’’

’’’’

Aα

Aα

%

%

18

’’’’

’’’’

F7

F7

’’’’

’’’’

B α7

B α7

’’’’

’’’’

’’’’

’’’’

C 7

C 7

’’’’

’’’’

’’’’

’’’’

Fm

Fm

’’’’

’’’’

C 7

C 7

’’’’

’’’’

Fm

Fm

’’’’

’’’’

C 7

C 7G ø

%

%

27

’ ’ ’ ’

’ ’ ’ ’

Fm

Fm

’ ’ ’ ’

’ ’ ’ ’

Aαdim7

Aαdim7

’ ’ ’ ’

’ ’ ’ ’

Aα Fm

Aα Fm

’ ’ ’ ’

’ ’ ’ ’

B αm E α7

B αm E α7

’ ’ ’ ’

’ ’ ’ ’

Aα

Aα

Donna Lee/(Back Home Again In) Indiana Harmonyas perfeormed by Parker/Davis, Young

©1944, 1947

Transcribed by Glen AckermanTranscription 3(0:05)

Key Ab: I V7/ii II7 V7 I Key Db: V7

I IV7

i

Key Ab I V7/II II ii V7 I

V7/ii II7 Key Fm: V7 i V7 i ii V7

i (pivot to Ab) I vi ii V7 I

%>

ã

α α α α

α α α α

33

33

33

Piano

Acoustic Bass

Drum Set

Û Œ Óœ œ œ œ

x x x x x x

œ Œ Œ Œ

A α Û { ‰ ΙÛœ œ œ œµ

x x x x x x

∑

A α F 7 B α ∑œ œ œµ œ

x x x x x x

∑

Œ − ΙÛ −Û ΙÛœ œ œ œ

x x x x x x

Œ Œ œe Œ

B α7 Eα

%>

ã

α α α α

α α α αA.B.

D. S.

5 ‰ ΙÛ Œ Œ ‰ ΙÛ5 œ œ œ œ

5x x x x x x

∑

Eα7 Œ ‰ ΙÛ Œ ‰ ΙÛœ œ œ œ

x x x x x x

∑

Eα7 A α{œ œ œ œ

x x x x x x

∑

Û −{œ œ œµ œ

x x x x x x

Œ Œ Œ ‰ Ιe

A α D 7

%>

ã

α α α α

α α α αA.B.

D. S.

9 Û Œ Œ ‰ ΙÛ9 œ œ œ œ9

x x x x x x

Ó Ó

D α G αsus Û { ‰ ΙÛ

œ œ œ œ

x x x x x x

Œ ‰ Ιœ Ó

G α7 A αmaj7‰ ΙÛ { ‰ ΙÛ

œ œ œ œ

x x x x x x

A α B 7 ‰ ΙÛ { ‰ ΙÛ

œ œ œ œ

x x x x x x

Œ œe

œ Œ

B α7

Donna Lee Rhythm Sectionas performed by Bud Powell, Max Roach, Tommy Potter

©1947

Transcribed by Glen Ackerman

Transcription 4(0:34) top of the form

%>

ã

α α α α

α α α αA.B.

D. S.

13

{13

œ œ œµ œ13

x x x x x x

œ Œ Ó

−Û ΙÛ −Û ΙÛ

œ œ œ œµ

x x x x x x

Œ Œ Œ eœ

C m F B αm −{ ‰ ΙÛœ œ œ œx x x x x x

‰ Ιœ Œ Ó

Eα7 Œ −{

œ œ œ œ

x x x x x

Œ Œ ‰ e ‰ e

Eα7

2 Donna Lee Rhythm Section

%>

ã

α

α

33

33

33

Piano

Acoustic Bass

Drum Set

Ó Û ‰ ΙÛ

œ œ œ œµ œαx x x x

Πx Πx

∑

œ œ œ œx x x x

Πx Πx

Ó Û Û ‰ Û

œ œ œ œ œ

x x x x

Πx Πx

Œ ‰ ΙÛ Óœ œα œ œ

x x x x x

Πx Πx

%>

ã

α

αA.B.

D. S.

5 ∑5 œ œ œ œ5

x x x x x

Πx Πx

∑

œ œ œµ œαx x x x x

Πx Πx

∑

œ œ œ œx x x x x

Πx Πx

Ó œ œ

œ œ œ œ œ

x x x x

Πx Πx

œ œ Óœ œα œ œ

x x x x

Œ œx

œ Œ œx

œ

%>

ã

α

αA.B.

D. S.

10 Œ Û −Û ΙÛ10 œ œ œ œ10

x x x x x

Πx Πx

∑

œ œ œ œµ œαx x x x

Πx Πx

Œ Œ Û Û Û Û3 3

œ œ œ œx x x x

Œ œx Œ œ

x

Ó Œ Û Û

œ œ œ œ œ

x x x x x

Πx Πx

{ −Û ΙÛœ∀ œ œ œ

x x x x

Πx Πx

"So What" Rhythm Sectionas performed by Jimmy Cobb, Bill Evans, Paul Chambers

©1947

Transcribed by Glen Ackerman

Transcription 5(1:32) top of the form

Piano comps D Dorian

%>

ã

α

αA.B.

D. S.

15

{15 œ œα œ œµ

15x x x x

Œ œx Œ œ

xœ

Ó −Û ΙÛœ œ œ œ

x x x x

Πx Πx

2 "So What" Rhythm Section

Ebm9

%

%

%>

ã

∀

∀

∀

∀

33

33

33

33

33

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−− −−

Electric Guitar 1

Electric Guitar 2

Electric Guitar 3

Electric Bass

Drum Set

œœ œ œ œœœ œ œ œ

œœ œ œ œ œ œ œŒ Œ ≈ Û Û Û Û Û Û

∑

œ œ œ œ œ œ œ œ œ œ œ œx x x x x x x x

œ œ œœ ≈

œ œ ≈ œ œ ≈ œœ

D

œœ œ œ œœœ œ œ œ

œœ œ œ œ œ œ œ

ΙÛ ‰ Œ ≈ Û Û Û Û Û Û

Œ ˙̇ œœœ œ œ œ œ œ œ œ œ œ œ œx x x x x x x x

œ œ œœ ≈

œ œ ≈ œ œ ≈ œœ

E D E

}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}

%

%

%>

ã

∀

∀

∀

∀

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−−

−− −−

E.Gtr. 1

E.Gtr. 2

E.Gtr. 3

E.B.

D. S.

3 œœ œ œ œœœ œ œ œ

œœ œ œ œ œ œ œ∑

∑

œ œ œ œ œ œ œ œ œ œ œ œ3 x x x x x x x x

œ œ œœ ≈

œ œ ≈ œ œ ≈ œœ

Whole Lotta Love Rhythm Section Riffs

as performed by Jimmy Page, John Bonham, John Paul Jones

©1969

Transcribed by Glen Ackerman

Transcription 6

(0:35) at the first chorus

4X

Verse. Many Repeats

%>

ã

701

701

701

−− −−

−− −−

−− −−

Organ

Electric Bass

Drum Set

’ ’ ’ ’

œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ∀x

=x

=x

äx x x x

=x

=x

äx x x

œ Ιœœ

]

Ιœ œ Ιœœ

]

ΙœΟ

−{

œα ιœ œ ιœ œ ιœ œ ιœx x x x x x x x x x x x

œ Ιœœ

Ιœ œ Ιœœ

Ιœ

B α

ƒ%>

ã

E.B.

D. S.

3

{3

œ ιœ œ ιœ œœ ιœ œœ ιœ3 x x x x x x x x x x x x

œ Ιœœ

Ιœ œ Ιœœ

Ιœ

C ιœœ ‰ ‰ œœ ιœœιœœ ‰ ‰ œœ ιœœ

œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ∀x

=x

=x

äx x x x

=x

=x

äx x x

œ Ιœœ

]

Ιœ œ Ιœœ

]

Ιœ

ιœœ ‰ ‰ œœ ιœœιœœ ‰ ‰ œœ ‰

œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ∀x

=x

=x

äx x x x

=x

=x

äx x x

œ Ιœœ

]

Ιœ œ Ιœœ

]

Ιœ

Voodoo Chile Rhythm Section Riffsas performed by Jimi Hendrix, Steve Winwood, Mitch Mitchel, Noel Redding

©1968

transcribed by Glen Ackerman

Transcripton 7

Verseroughly at 1:00Gtr/Organ solo Dmin blues throughout

H.H. Ride

Drums quasi aldib

% 33 ιœœαα œœµµιœœ ˙̇ θœ Ι

œœœαα θœ∀œœœµ∀µ θœ Ι

œœœ ˙̇̇

%6

ΙÛ Û ΙÛ {F Eα E Œ ‰ ΙÛ {

F7sus4

{ {E/F F phrygian

{B αlydian

ΙÛ Û ΙÛ {B α B C Œ ‰ ΙÛ {

C 7sus

%12

{A αmaj7(∀5)

{B α(add9)

ΙÛ Û ΙÛ {D α E B α/C Œ ‰ ΙÛ {

F7sus4

Madamemoiselle Mabry/The Wind Cries Mary ExcerptsAs performed by Miled Davis/Jimi Hendrix

©1968.1968

Transcribed by Glen Ackerman

Transcription 8"Wind Cries Mary" riff

"...Mabry" riffs

% 33 œ œ œ œ −œ ΙœA

œ œ œ œ ˙ œ œ œ œ ˙ > Ιœ œœ

Ιœ œ œ ϖ

>6

œ ‰ œ œ œ œ ‰ œ % œœœœ −−˙̇

ΤD α/CB

ϖϖ=Τ ϖϖ=

Τ ’’’’A

’’’’

% ’ ’ ’ ’C

Pharaoh's Dance as performed on Bithces Brew

©1969

transcribed by Glen AckermanTranscription 9A section B minor pentatonic riff A section B blues scale bass riff

played freely

E-B bass variation

echo effect/improvisation

B tonal center E tonal centerrestatement of A section

B tonal center vamp and fade

each section is freely interpreted

> 33 −− œ, œ, œ, ιœ− ‰ΤA ιœ− ‰ œ, ιœ− ‰ œ

ΤC m(maj7)

œ, œ, œ, ιœ− ‰Τ ιœ− ‰ œ, ιœ− ‰ œΤC m(maj7)

> −− −−5

œ, œ, œ, ιœ− ‰Τ ιœ− ‰ œ, ιœ− ‰ œΤC m(maj7)

Ó Œ ‰ ιœ œ ‰ ιœ∀ ˙B

> −−10

œ∀ œ ‰ œ −œ ιœ

Bitches Brewas recorded on Bitches Brew

©1969

transcribed by Glen AckermanTranscription 10

F Bb Eb Ab Db Gb solo's no key center

> 33 −− −− −− −− −−œ ≈ œ œ ≈ œ œ œ ≈ œ œ ≈ œ %A

œ œ œ∀ œ œ∀ −œ ˙E7(∀ 9)

∑ ’’’’D 7( α 9)

% −− −− −− −− −−5

’’’’ ’’’’E7(∀ 9)

’’’’ Œ œœα −−œœα œœ ≈ œœ œœœµ ϖϖϖ ’’’’G 9B

’’’’

%12 Œ œœα −−œœα œœ ≈ œœ œœœµ ϖϖϖ

Spanish Keyas perforemed on Bitches Brew

©1969

Score

transcribel by Glen AckermanTranscription 11

Bass figure

Main theme played by trumpet

Keyboard figure

to A section ect...

% 33 −−Œ Œ Œ ≈ œœα œœ œœ œœαα œœ œœ œœ œœ œœ œœ −−œœ œœ œα œµC m7

œ −œ= −˙F 7

’’’’

% −− −− −−5

’ ’ ’ ≈ œœα œœ œœ ’ ’ ’ ’C m7

’ ’ ’ ’

John Mclaughlinas perforemed on Bitches Brew

©1969

transcribel by Glen AckermanTranscription 12

Collective imrovisationC tonal center

Keyboard theme

> 33 −− −−’’’’ ’ ’ ’ ‰ œ œα Ιœ ‰ ˙α œα œ œ Ιœ ‰ ˙α ‰ œ œα %

%5 ‰ θœ∀

ιœ −˙F 7(∀ 9)

−œ œ ≈ œ ≈ œ ˙ ’’’’ ’’’’> œ ‰ œ ‰ ιœ ‰ œα œ œ

>10 œ ‰ œ ‰ ιœ ‰ œα œ œ ’ ’ ’ ’ ’ ’ ’ ’

Miles Runs the Voodoo Downas performed on Bitches Brew

©1969

transcribed by Glen AckermanTranscription 13

Drums only Sample Bass Riff

Theme paraphsed throughout Breif solo bass riff at 1:23

solo's theme continue

© 1971 Miyako Music

Freely

D/B¨ D¨/E¨ G/E¨ G¨/D A¨/D

G^#11 D‹13 G¨/D A¨/D E¨/D

A‹9/D E7#9/D B¨^/D A7åÁ/D

C‹7/D C‹13 B7åÅ D/B¨ D¨/E¨ G/E¨

& <n>U

U

WAYNE SHORTERSANCTUARY

?

(bn

U )

&

U U U U

?

&U

?

& <n>U

?

(bn

) (bn

U )

œ œ# œœb œ

˙ ™œ œ ˙ ˙b œb ‰ œbJ ˙ ˙b ™ ‰ œ

J

œœb ™™ œœœœb

bbJ

œœœœ ˙ ™œ œ# ˙nwn w

˙# ˙ ˙# œnœn œ w

˙b œb ‰ œb ‰w œ

˙ ˙

wwww# w w w w

w œ ‰ œJ

wœœœ ‰ œ

j

www

œœœ ‰ œ

jww œ ‰ œ

j

w ™ www#www

b wwww#

w˙̇ w

œ œ# œœb œ

˙ ™œ œ ˙

wwww ˙n

www#

œœb ™™ œœœœb

bbJ

œœœœ ˙ ™œ œ# ˙n