MILES DAVIS QUINTET Miles Davis Quintet 1965-’68 (1998)

Miles Davis Quintet 1965-’68 (1998)
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They’ve been called the greatest band that ever walked the face of the Earth (no qualifiers), by more than one of those critic types that often put a little too much stock in their own opinions. But, even skeptics are hard pressed to name a convincing alternative… and even when they do, it’s easy to forget their names when this music is in the air. Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter and the great Tony Williams are referred to as Miles’ “Second Great Quintet,” a nod of respect to the brilliance of his late-50s first (w/John Coltrane, Paul Chambers, Red Garland, Philly Joe Jones and, later, Cannonball Adderley). And, while it’s all a case of apples and oranges, the main difference here is that Miles was still restlessly tinkering with the entire idea of jazz, an attitude that would inhabit his approach to music making for a decade beyond this. In the mid-60s, jazz was looking like a museum exhibit in the wake of the new world order established by The Beatles, and Miles made a conscious decision not to adopt his expected role of traditional elder statesman. Instead, he hired young blood a decade his junior and began to rewrite some long-established rules. These days, virtually everybody dons a new musical suit to goose their careers, but that wasn’t the case in the 60s, especially in regards to a long-standing art form. But Miles didn’t give a shit, and that’s one of the main reasons we’re still dissecting his music today, instead of debating the old school merits of Clark Terry or Harry James (with due respect). I’m not equipped to offer any intelligent analysis in a couple of paragraphs, except to say that Miles’ music – once again – expanded the parameters of jazz, ripped up existing precedents, offered free jazz elements within a traditional framework and gave players unprecedented leeway in the creative process. Gone was the age-old leader/sideman blueprint. This band was a band, and Davis would often take a back seat to the compositional ideas of his players… Shorter, especially, who established his brilliance during these years. For “Nefertiti” (an eerie Shorter tune) Davis totally reverses the expected roles of the players, as the horns create a steady, repetitive melody line (like a pulse, sans solos) while the rhythm section provides the improvisation underneath. The following year, for Miles In The Sky, Davis would introduce electric instrumentation for the first time, laying the groundwork for further jazz fusion experiments, expanded the following year on Filles de Kilimanjaro. True… it might require a little jazz appreciation to grasp how unique all of this was at the time, but the rewards are worth the time investment. This box set covers the albums (and session outtakes) for E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles In The Sky and Filles de Kilimanjaro. Amazon has it if you don’t.

E.S.P. (5:33)
R. J. (3:59)
Eighty-One (6:18)
Little One (7:24)
Iris (8:34)
Agitation (7:51)
Mood (8:52)
Circle (5:54)
Orbits (4:39)
Dolores (6:24)
Freedom Jazz Dance (7:13)
Gingerbread Boy (7:48)
Footprints (9:49)
Limbo (Alternate Take) (5:29)
Limbo (7:19)
Vonetta (5:39)
Masqualero (Alternate Take) (7:06)
Masqualero (8:53)
The Sorcerer (5:11)
Prince Of Darkness (6:28)
Pee Wee (4:49)
Water Babies (5:08)
Nefertiti (7:55)
Capricorn (8:33)
Madness (Rehearsal Take) (1:57)
Hand Jive (First Alternate Take) (6:52)
Hand Jive (Second Alternate Take) (8:17)
Hand Jive (8:58)
Madness (Alternate Take) (6:46)
Madness (7:33)
Sweet Pea (8:03)
Fall (6:39)
Pinocchio (Alternate Take) (5:09)
Pinocchio (5:09)
Riot (3:05)
Thisness (5:52)
Circle In The Round (33:35)
Water On The Pond (7:10)
Fun (4:10)
Teo’s Bag (Alternate Take) (5:58)
Teo’s Bag (5:55)
Paraphernalia (12:39)
I Have A Dream (Rehearsal Take) (6:45)
Speak Like A Child (Rehearsal Take) (2:28)
Sanctuary (8:52)
Side Car I (5:05)
Side Car II (3:36)
Country Son (13:53)
Country Son (Alternate Take) (14:42)
Black Comedy (Alternate Take) (6:25)
Black Comedy (7:27)
Stuff (17:01)
Petits Machins (8:08)
Tout De Suite (Alternate Take) (14:41)
Tout De Suite (14:07)
Filles De Kilimanjaro (12:01)


  • Willard
    March 29, 2012 - 11:09 | Permalink

    Search HERE

  • Joe
    March 29, 2012 - 12:59 | Permalink

    Thanks for running the voodoo down…

  • 3410
    March 29, 2012 - 17:25 | Permalink

    I meant to say this the other day, but nice job on the Miles write-ups.

    • Willard
      March 29, 2012 - 17:27 | Permalink

      Thanks, but I wish I had more time to listen to the music before putting it up. My memory is shot these days.

  • ate2zee
    March 29, 2012 - 17:27 | Permalink

    Once again–many thanks. You’re making the world a better place.

  • JM
    March 30, 2012 - 10:34 | Permalink

    This really is one of the most ridiculously talented bands ever. “Live In Tokyo” from 1964 is worth checking out b/c it’s the same band with Sam Rivers on sax instead of Shorter.

    • Willard
      March 30, 2012 - 10:38 | Permalink

      Thanks. Miles In Tokyo is included in the Seven Steps box, HERE.

  • Brian
    April 18, 2012 - 14:32 | Permalink

    Amazing Stuff. Thank you so much. This is one I had to sell many years ago. Great to hear it again.

  • N.U.
    March 2, 2013 - 12:09 | Permalink

    Thank you very much for making this available. Love this period of Miles. Have you ever come across a decent rip of the Complete Plugged Nickel box set? I have the highlights CD and the original double LP version from the 1980s but my guess is that the rest of the material is just as good. Just curious if you’d ever come across it online anywhere. Thanks.

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