Bitches Brew is a studio double album by jazz musician Miles Davis, released in June of 1970 on Columbia Records.[1] Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August of 1969. The album continued Davis' experimentation of electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.
Often cited as one of Davis' best-selling albums and masterpieces, Bitches Brew marked a turning point in modern jazz. Upon release, it received mixed criticism from fans and critics, alike, due to the album's unconventional style and revolutionary sound. Later on, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians.[2] In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc box set that included the original album as well as ensuing studio sessions through February 1970.

Quote from Jazz Messengers
See: https://www.jazzmessengers.com/en/72136/gary-mcfarland/the-gary-mcfarland-orchestra-feat-bill-evans

A brilliant vibes player, arranger and conductor, Gary McFarland’s name didn’t achieve lasting fame due largely to his premature death under strange circumstances in 1971 at the age of 38. This release presents the complete original LP The Gary McFarland Orchestra / Special Guest Soloist: Bill Evans (Verve V6-8518), which was the only recorded collaboration between McFarland and Evans. As a bonus, McFarland’s previous album in its entirety: The Jazz Version of “How to Succeed in Business Without Really Trying” (Verve V6-8443), on which he arranges music from the Frank Loesser-Abe Burrows musical of the same title, as well as “Why Are You Blue?”, which was the only McFarland composition from a Bob Brookmeyer LP presenting nearly the same instrumentation as the bonus album. The McFarland orchestra featured throughout this CD is a real who’s who of jazz greats, including such names as Joe Newman, Clark Terry, Phil Woods, Bob Brookmeyer, Hank Jones, Jim Hall, Kenny Burrell, and Mel Lewis, among many others.

PERSONNEL:

THE GARY McFARLAND ORCHESTRA:

GARY McFARLAND, vibes, arranger & conductor.
BILL EVANS, piano
PHIL WOODS, clarinet
SPENCER SINATRA, alto sax, flute
JIM HALL, guitar
RICHARD DAVIS, bass
ED SHAUGHNESSY, drums
JULIEN BARBER, ALLAN GOLDBERG, viola
AARON JUVELIER, JOSEPH TEKULA, cello

(*) BONUS ALBUM [7-14]: GARY McFARLAND & HIS ORCHESTRA
The Jazz Version of “How to Succeed in Business Without Really Trying”

COLLECTIVE PERSONNEL: Doc Severinsen, Joe Newman, Bernie Glow, Herb Pomeroy (tp),
Clark Terry (tp, fl hrn), Bob Brookmeyer (v-tb), Willie Dennis, Billy Byers (tb), Eddie Wasserman (cl),
Phil Woods (as, cl), Al Cohn (ts, cl), Oliver Nelson (ts), Sol Schlinger (bar, b-cl), Hank Jones (p),
Jim Hall, Kenny Burrell (g), George Duvivier, Joe Benjamin (b), Mel Lewis, Osie Johnson (d),
Gary McFarland (vib, arr, cond), among others.

(**) BONUS TRACK (15): THE BOB BROOKMEYER ORCHESTRA.Gary McFarland (arranger).

INCLUDES 20-PAGE BOOKLET

Dorothy Jeanne Thompson (August 6, 1932 – April 13, 1986), better known as Dorothy Ashby, was an American jazz harpist and composer.

William John Evans was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continues to influence jazz pianists today.

Red Garland and Ray Bryant display their ability and good taste exploring a selection of ballads, blues, standards and originals. Despite their different styles, both pianists deliver, in their respective ways, a moving experience. The incredibly tasteful Garland s discerning touch, phrasing and innately melodic sense make his playing a constant joy and show why Miles Davis hired him for his first great quintet. Where the Ray Bryant session is concerned, the blues take over from the first dark, rolling figure that opens the date. The result is a multi-faceted, happy, dolorous, impish, whimsical blues outing played by an interpreter steeped in the genre, a set that gives full rein to Bryant to express his soul.

Recorded：March 22, 1957 (#1-4, 7-8) December 14, 1956 (#5-6)
Red Garland - piano
Paul Chambers - bass
Art Taylor - drums

*集結鋼琴巨匠奧斯卡‧彼德生生涯顛峰時期之兩張經典逸作，盡顯酣暢淋漓的舒適快意及渾然天成的舒緩妙韻
*奧斯卡‧彼德生領軍低音提琴手雷‧布朗及鼓手艾德‧提格潘聯演三重奏，技巧及情感兼備的精采典範
★ AMG 4星評價
1949年因獲名製作人諾曼‧葛蘭茲邀請參加「爵士走進愛樂廳」音樂會而一舉成名的加拿大籍奧斯卡‧彼德生，其演奏風格承襲自一代宗師亞特‧泰坦的瑰麗斑斕語彙，明快觸鍵裡總是充滿著勁道能量且始終閃耀著繽紛華麗光譜，而鋪陳之際如泉湧般的靈妙樂思盡是滿溢搖擺風情的典藏精粹，也因此由他領軍的三重奏作品始終是餘韻無窮的美饌佳釀，令人反覆聆聽、回味再三！本輯集結彼德生於五０年代末期至六０年代初期與長年合作夥伴低音提琴手雷‧布朗及鼓手艾德‧提格潘攜手聯演的「夜行列車」及「爵士精神」兩張作品，可謂他在彈奏技巧及即興創意上臻至顛峰的極致經典錄音，在早期藍調爵士經典曲的詮釋裡，無論是“Night Train”或“C Jam Blues”，其演奏宛若飛瀑傾瀉而下的滑順琴音，暢快而沁涼；在慢版抒情曲的演繹裡，無論是“Georgia On My Mind”或“My Heart Stood Still”，其所細膩勾勒撩動心弦的抒情感懷，泱然而典雅！

BILL EVANS - piano
SCOTT LAFARO - bass
PAUL MOTIAN - drums
Recorded live at the Village Vanguard New York; June 25, 1961.

Herbert Jay Solomon, known professionally by his stage name Herbie Mann, was an American jazz flautist and important early practitioner of world music. Early in his career, he also played tenor saxophone and clarinet, but Mann was among the first jazz musicians to specialize on the flute.

'The Shakedown' is the debut album from Tenderlonious and features a new band - the dream team of top talent he named the 22archestra, who he leads seamlessly throughout. Listeners are exposed to the full breadth of Tender's technical and compositional skills, ranging from subtly meandering jazz, to hip-hop, afrobeat, latin and exhilarating free form jazz.
'SV Disco,' a nod to the mighty Slum Village, is a chunk of sensually-contorted disco vibes that brings on full party mode instantaneously, with the slinky bass licks and pitch-bent synthesiser recalling Roy Ayres’s blissed-out funk, blended with flute flurries reminiscent of mind Max Cilla’s La Flûte des Mornes.
'Maria' showcases Ed’s roots as sample-based producer, pulling influence from around the globe to create an undulating piece of flute-led Brazilian fusion that fans of Ruby Rushton will find familiar. The eastern-inspired embellishments raise the temperature further, whilst former Yussef Kamaal member Yussef Dayes’ sizzling cymbals and shuffling snare work propel the track onwards, locking down a signature 22a groove.
Latin and African influence can be heard across many of the tracks. 'Togo' is a smokey afrobeat jam that leaves space for Tenderlonious’ flute to soar above, his playing mimicking old school styles you might catch from MF Doom or J Dilla.
'Yussef’s Groove' kicks off with driving drums, and each of the 22archestra enter steadily, fully utilising their virtuosic power, switching between low-slung bass, chic open piano solos and hazy electric piano.
'The Shakedown' exercises more restraint, with Bitches Brew style ambience providing a palpable sense of anticipation and passion, whilst still retaining that stomping, low-riding 70s swing they do so well.
The 22archestra was conceived after Tenderlonious was invited to record at Abbey Road Studios. The whole crew was rounded-up and the album was recorded during a single 8 hour session – a testament to their musicianship and ability to nail a take, which has been honed on stage.