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