Miles Davis - Bitches Brew (1970)

Bitches Brew, although one of the best-selling jazz records of all time is often seen as crossing the limits or not being jazz at all. Miles Davis, one of the most influential jazz trumpeters of the 20th century and who played an essential role in the growth and development of bebop, cool jazz, and modal jazz, began experimenting in the late 60s/early 70s with electronics and other styles. With Miles in the Sky (1968), one could already see a minor change in Miles' sound, as he began experimenting with electric piano and electric guitar at this point. The next year he released In a Silent Way which featured a full-blown electric approach and blew away the minds of many listeners as Davis shortly began to shift towards a new revelation of music - jazz fusion. Although In a Silent Way featured a huge shift and surprised many audiences, they had no idea what they were in for next. 

When Bitches Brew saw its groundbreaking release in 1970, fans, critics, and musicians worldwide went crazy. Although some see it as crossing the limits and being just all out crap, to this day the majority of society agree that it was an important and vital release. Incorporating the already introduced electronic instruments, the album also mostly rejected traditional jazz rhythms in favor of a looser, more rock-influenced improvisational style. This new style of playing music introduced a prominent style of music that has been highly influential to many musicians that came later: jazz-rock fusion. This new revelation of music was one of the most remarkable creative statements of the last century in any artistic form. 

Bitches Brew was a full on turning point in modern jazz and even music as a whole. Davis had already spearheaded two major jazz movements - cool and modal jazz - and with Bitches Brew initiated a bigger change than most thought possible. Bitches Brew was revolutionary in many ways, but perhaps its most prominent innovation was rhythmic. The rhythm section throughout the recording consists of two bassists (one on a bass guitar and the other playing a double bass), 2-3 drummers, 2-3 electric pianists, and a percussionist, all jamming at the same time, yet coordinating and communicating with each other smoothly.

If you are looking for something completely new, I can assure you that in the area of jazz fusion you will find many remarkable new things, and Bitches Brew is a great place to start, as it is essentially one of the main original roots of modern jazz fusion and even progressive rock.

Personal favorite tracks include the title track "Bitches Brew" and "Miles Runs the Voodoo Down."

Genres: Jazz-rock/jazz fusion, jazz funk, jazz, progressive rock

1. "Pharaoh's Dance" - 20:07
   
2. "Bitches Brew" - 27:00
   
3. "Spanish Key" - 17:35
   
4. "John McLaughlin" - 4:26
   
5. "Miles Runs the Voodoo Down" - 14:04
   
6. "Sanctuary" - 11:00
   
7. "Feio" - 11:47
   

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Minus the Bear - Planet of Ice (2007)

Minus the Bear's 3rd and latest studio album is just a simple step up from their previous studio album, Menos el Oso. This band never ceases to take the incredible sound they already have and just bump it up to the next level. Post rock/indie-esque guitar-taps and electronic sounds along with sophisticated time signatures defined the band's sound since their debut album, Highly Refined Pirates, and the quality of their sound is consistently being improved. Along with the indie and alternative, yet unique and distinguished sound of Menos el Oso, the band took a slightly more experimental and progressive route and refined their sound along with the help of new keyboardist Alex Rose. Smooth and catchy melodies, electronic breakdowns, math-rock style transitions, proggy interludes and jams: Planet of Ice is a fantastic album for fans of many styles of rock - from indie/experimental to Pink Floyd and Adrian Belew-era King Crimson progressive-rock. A very good listen, and every track is perfect for a just sit-down-and-relax, while on the other hand could be just as tight and energetic. Each and every track on the album is worth a listen.

Genres: Experimental rock, indie rock, math rock, alternative rock, progressive rock

1. "Burying Luck" - 4:54
   
2. "Ice Monster" - 4:04
   
3. "Knights" - 3:40
   
4. "White Mystery" - 4:39
   
5. "Dr. L'Ling" - 6:48
   
6. "Part 2" - 3:51
   
7. "Throwin' Shapes" - 2:47
   
8. "When We Escape" - 4:04
   
9. "Double Vision Quest" - 4:30
   
10. "Lotus" - 8:49
    

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Bebo & Cigala - Lágrimas Negras (2003)

Lagrimas Negras is an album that records the extraordinary encounter of young Flamenco vocalist Diego "El Cigala" and 90 year old Cuban jazz pianist Bebo Valdes. This cooperation created a wondrous project that takes you through a tour through the finest love songs of Cuba, Central & South America, and Spain. This fantastic fusion of Cuban rhythms and flamenco vocals is very calm and soothing, and even romantic, and great to listen to while cruising in your car late at night on the outskirts of the city.

Lagrimas Negras is a very soothing and romantic Latin jazz-styled album and a great listen for all fans of jazz or world music.

Personal favorite tracks include the title track "Lagrimas Negras" as well as "La Bien Paga."

Genres: Latin jazz, jazz, bossa nova, Cuban, world music

1. "Inolvidable" - 3:20
   
2. "Veinte Anos" - 4:03
   
3. "Lagrimas Negras" - 5:31
   
4. "Nieblas Del Riachuelo" - 3:07
   
5. "Corazon Loco" - 3:54
   
6. "Se Me Olvido Que Te Olvide" - 3:55
   
7. "Vete De Mi" - 2:56
   
8. "La Bien Paga" - 8:58
   
9. "Eu Sei Que Vou Te Amar" - 4:19
   

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The Mars Volta - Frances the Mute (2005)

Guitarist Omar Rodriguez-Lopez and singer Cedric Bixler-Zavala disbanded their previous band At the Drive-In desiring a new musical vehicle that would provide them more flexibility and variation than the punk and hardcore roots they felt they were pigeonholed into. They pursued this new artistic vision with their biggest and best-selling project to date with its richly diverse sounds, The Mars Volta. The Mars Volta is an eclectic mix of jazz, punk, progressive-rock, salsa, Latin music, and a myriad of other musical sub-genres and appeals to a highly varied audience.

Frances the Mute, their second studio album experiments with many intense sounds and ideas. The album follows a mysterious story which is told through the ghostly and powerful sounds composed by Rodriguez-Lopez and the haunting and strongly liturgic and poetic lyrics written and sung by Bixler-Zavala. The album displays a deep jazz influence, while at the same time infusing a Latin flavor into many songs, most obviously in "L'Via L'Viaquez." During a short breakdown in "Cygnus...Vismund Cygnus," a lengthy guitar solo by Rodriguez-Lopez is played over a jazz-fusion type of style, and this intense jazzy style is also portrayed in a build up to the epic finale of the album in the 32 minute long progressive-rock suite and closer, "Cassandra Gemini" (which is split up into 8 tracks because of its length). Rodriguez-Lopez also experimented a lot in this album with the concept of ambience. With his lengthy ambience and random sounds, including trippy beats and noises at the end of "Cygnus...Vismund Cygnus" and the sounds of Coqui frogs for nearly the first 4 minutes of "Miranda, That Ghost Just Isn't Holy Anymore," Rodriguez-Lopez helps gradually build the intended mood and helps to settle and let your ears take a break after the climatic blasts that blow the listener away in every song. The title track, "Frances the Mute" was originally meant to be the first track of the album but was removed from the CD release as it did not fit on the CD-R without making a double album, which the band did not wish to do. The song serves as a prelude or prequel to the rest of the album, and is thus considered the first track of the album, leading into "Cygnus...Vismund Cygnus."

The various sounds and moods generated from this masterpiece can appeal to a huge audience and definitely take the listener through quite a journey. If you're looking for an intense and epic listening experience, Frances the Mute by The Mars Volta is precisely what you need.

Genres: Progressive rock, psychedelic rock, experimental rock, jazz/jazz fusion, Latin

1. "Frances the Mute" - 14:36
   
2. "Cygnus...Vismund Cygnus" - 13:02
   
3. "The Widow" - 5:51
   
4. "L'Via L'Viaquez" - 12:22
   
5. "Miranda, That Ghost Just Isn't Holy Anymore" - 13:10
   
6. "Cassandra Gemini I" - 4:46
   
7. "Cassandra Gemini II" - 6:40
   
8. "Cassandra Gemini III" - 2:56
   
9. "Cassandra Gemini IV" - 7:41
   
10. "Cassandra Gemini V" - 5:00
    
11. "Cassandra Gemini VI" - 3:49
    
12. "Cassandra Gemini VII" - 0:47
    
13. "Cassandra Gemini VIII" - 0:54
    

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