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Davis composed most of the music on the album. The rhythm section for this recording consists of two bassists one playing bass guitar , the other double bass , two to three drummers , two to three electric piano players, and a percussionist , all playing at the same time. It is also profoundly flawed, a gigantic torso of burstingly noisy music that absolutely refuses to resolve itself under any recognized guise. They didn't understand how to play funk. In a contemporary review for Rolling Stone , Langdon Winner said Bitches Brew showed Davis' music expanding in "beauty, subtlety and sheer magnificence", finding it "so rich in its form and substance that it permits and even encourages soaring flights of imagination by anyone who listens".

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Miles Davis at Fillmore His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Retrieved May 15,

Davis called the musicians to the recording studio at very short notice. The two important exceptions were the complex "Pharaoh's Dance" composed by Joe Zawinul and the ballad "Sanctuary" composed by Wayne Shorter. Miles and his producer, Teo Macero , used the recording studio in radical new ways, especially in the title track and the opening track, "Pharaoh's Dance". Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. It is also profoundly flawed, a gigantic torso of burstingly noisy music that absolutely refuses to resolve itself under any recognized guise. They weren't steady enough. The Illustrated Encyclopedia of Music 1st ed. The Penguin Guide to Jazz 8th ed.