Jack DeJohnette:Everything that Miles did, you knew was making some history. The music wasn’t difficult, but what it was, it was groove-orientated music. And he wrote sketches, little melodies, some chords, bass riffs, and had the drums find a groove. When the groove was right, you know, meanwhile Teo Macero, who was a great producer who put this stuff together and you know, made sense of all the tracks that we did. You know, put all these things together so we would just do all these things and then play these grooves. When these grooves would get the right place, and Miles would cue different players to come in and play solo, then he'd cue them out, and then the tape would stop. Then we'd start something else. So it was a creative work in progress. Miles was really excited because he had access to this big, big Columbia studio down on 53rd Street, or 52nd. And he could just create, on the spot, you know, and document it. So, it was a very, very, very productive period for him.
In this excerpt from the podcast, DeJohnette recalls the recording sessions for Bitches Brew, Davis' seminal 1970 album. [1:22]