Saturday, 22 August 2009

Miles Davis Quintet ”Miles Smiles”

Miles Davis Quintet

”Miles Smiles”
( LP Columbia/Legacy Records, 1966 )
Catalog # CS 9401, CL 2601

A1 Orbits (4:35)
A2 Circle (5:52)
A3 Footprints (9:44)
B1 Dolores (6:20)
B2 Freedom Jazz Dance (7:11)
B3 Ginger Bread Boy (7:40)

Personnel & Credits:
Bass – Ron Carter
Drums – Tony Williams
Mastered By [Remastering], Remix – Vic Anesini
Piano – Herbie Hancock
Producer – Teo Macero
Reissue Producer – John Snyder
Saxophone [Tenor] – Wayne Shorter
Trumpet – Miles Davis
Written-By – Eddie Harris (tracks: 5), Jimmy Heath (tracks: 6),
Miles Davis (tracks: 2), Wayne Shorter (tracks: 1, 3, 4)

1st U.S. Pressing.
The following is printed on the inner label of the LP record:
<-”360 SOUND” STEREO “360 SOUND”->
(in white lettering, located at the bottom of the inner label on the record)
Format:Vinyl, LP, Stereo, Album
Original record rip from the Columbia/Legacy reissue.

* Part of Mosaic MQ10-177; Columbia/Legacy C6K 67398
**Also reissued on CK 48849, CK 48849, CK 65682
Notes:This 20-bit release is a reissue of the original LP edition, also on Columbia (CS 9401). Recorded at Columbia 30th Street Studio, New York City, on October 24 (tracks 1,2,4,5) and October 25 (tracks 3,6), 1966. Originally released in 1967.
Remixed from the original 4-track tapes and mastered at Sony Music Studios, NYC.

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as “Orbits” comes crashing out the gate, but it’s not just the fast, manic material that has an edge — slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible — it just never acts that way. No matter how accessible this is, what’s so utterly brilliant about it is that the group never brings it forth to the audience. They’re playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom.
By Stephen Thomas Erlewine (AMG)

By Pier

1 comment:

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