One of the most promising developments of the jazz-rock fusion movement and Davis’ biggest selling record to date, Bitches Brew legitimized a whole new area of exploration for jazz musicians. This seminal release of 1969 signaled the advent of fusion by celebrating a more rock-oriented approach than most jazz albums of the time. By mixing the musical style characteristics of free jazz with danceable funk t

Bitches Brew and Head Hunters each individually took the world by storm and changed the face of jazz, and although they are separate musical entities, they share many similarities. Both albums use a significant amount of modal phrasing, dense harmonies, and layers of sound. Head Hunters is characterized by dense music in successive layers of sound and repetitive, danceable bass and drum compositions. The highlight of Hancock’s “Chameleon” is the modal section where the bass line shifts and there is some emotive improvisation. Hancock developed deeply funky rhythms over which he soloed. He drew on the wah-wah sound of Jimi Hendrix’s influence, and the danceable funk sound of Sly Stone, James Brown, and George Clinton. Bitches Brew drew its inspiration from the experimental early 1970s electrified space-funk of trumpeter Miles Davis with six long, dense tracks of innovative music also bearing the influence of Sly Stone and Jimi Hendrix. Another tune on Hancock’s album, “Sly,” is an obvious tribute to the masters of funk, Sly and The Family Stone. �

Some topics in this essay:
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