Miles Smiles is an album by jazz musician Miles Davis, released in January 1967 at Columbia Records. This was recorded by Davis and his second quintet at Columbia 30th Street Studio in New York City on October 24 and October 25, 1966. This is the second of six albums recorded by Davis's second great quartet, featuring saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams.
Video Miles Smiles
Musik
Miles Smiles features more excavations in Davis capital performance with loose form, tempo, and meter. Although the album does not follow bop conventions, it does not also follow the no-shapes of free jazz. According to music expert Jeremy Yudkin, Miles Smiles falls under the post-bop subgenre, which he defines as "an abstract and intense approach to extremes, with space created for rhythmic independence and color of drummer." - approach which incorporates capital and chordal harmony, flexible forms, structured choruses, melodic variations, and free improvisation. "Music theorist Keith Waters writes that the album" accentuates quintet connections to the tradition of hard bop and avant-garde. "
On three tracks from this album ("Orbits", "Dolores", "Ginger Bread Boy"), pianist Herbie Hancock took an unusual step in distributing left hand chords and playing only the right hand line.
"Footprint"
The composition of Wayne Shorter's "Footprints" appeared on previous albums of Adam's Apple, but on Miles Smiles, the correlation between based in Africa 12/8 (or 6/8), and 4/4 played with joy. Drummer Tony Williams moves free of swings, into a three-over-two cross rhythm - and into his 4/4 correlative. Williams's rhythmic approach, and bassist Ron Carter, strongly suggests a quadruple meter compound (12/8), rather than a triple meter (3/4), since the base of the four main beats is maintained throughout the section. Bass switches to 4/4 at 2:20. The 4/4 Carter number is known as '' tresillo '' in Afro-Cuban music and is a duple-pulse correlation of 12/8. This may be the first real expression of African-based cross-systemic rhythms used by straight-forward jazz groups. During Davis's first trumpet, Williams switched to a 4/4 jazz ride pattern while Carter continued the 12/8 bass line.
The Davis "book"
Three of the album's compositions made it a "book" of Davis's life. "Dolores" was known from a single recording in the spring of 1967. "Ginger Bread Boy" and "Footprints" were played more often. Early live versions of "Ginger Bread Boy" (from spring and summer 1966) retained the original melody of Heath version. The melody on the studio version is somewhat different (probably changed by Davis), and the next version often maintains this change. "Ginger Bread Boy" was played at the end of summer 1969. "Footprints" appeared in Live in Europe 1967: The Bootleg Series Vol. 1, 1969 Miles Festiva De Juan Pins, collection box, Live in Europe 1969, The Bootleg Series Vol. 2, and an unofficial direct recording of Fillmore West in April 1970.
Maps Miles Smiles
Reception and inheritance
Miles Smiles received a critical acclaim in 1967, and was praised for his original composition, quintet chemistry and play, and Davis's phrase. CODA editor John Norris praised the quintet's "quintessential interaction control" and wrote that they "must be one of the most beautiful integrated groups ever to play jazz." Norris noted that "Everyone is listening intently at all times, responding sensitively to reciprocity and direction," and declaring "Empathy between Carter, Williams and Hancock, the way they anticipate, encourage, support each other, and the common phrase - all this without the tension mark - is truly remarkable ". He quoted the "Circle" that Davis wrote in the album's spotlight and wrote that the composition "defines the superiority of the group... a masterpiece". Nat Hentoff of the Stereo Review was called Tony Williams and Ron Carter "incredible and restless technicians," noting "Although Wayne Shorter's saxophone does not quite reach the level of performance of incandescence achieved by his colleagues, he is inspired by conveying some of his most inventive games in the notes thus far.Hentoff calls quintet "Davis's most stimulating rhythm team so far" and concludes with a discourse on its potential significance, writing that:
Miles Smiles will certainly remain an important part of Davis's discography, both for the strong brilliance of trumpet players and for lessons by Williams and Carter in how the functions - and dynamic ranges - of the Jazz rhythm section are being explored and changed.
Martin Williams, writing for the Saturday Review, called it "a remarkable recital, Davis's best album in some time, and clear evidence of his continued dedication as an improvisational musician", stating that it is "directly in tradition Davis' experimental record, a tradition shaped by Kind of Blue in 1959 - an album with implications for jazz musicians still exploring - and continued by ESP 1965 - an album I think is lacking successful ". Williams saw every player in their best form, especially Williams and Carter, noting "their outstanding contribution was beyond words I could muster for such a short account." Left is equally honoring both musicians and stating "Williams experts helped build the mood and [Carter] has a definite feeling for notes that underscores the whirl of chords".
Revisiting the CD's publication in 1992, Q called Miles Smiles "important... one of the best albums of quintet" and quoted "Footprints" and "Dolores" as "all- time of great jazz composition ". musician quotes Miles Smiles as one of the "great quintet albums" and writes that it "has not lost any of its sharpness... Has any band ever kneeled harder than Miles and the company doing 'Orbits', 'Dolores' or 'Ginger Bread Boy' - and has Miles ever written a more touching ballad than 'Circle'? "Allmusic editor Stephen Thomas Erlewine praised the quintet composition as" memorable, yet open and full of tension, set (and create) the standard for modern bop that is imitated until the new century ". Erlewine noticed that the quintet "really started hitting their pace, digging deeper into the adventurous side, exploring their signature sounds... all their strengths were in full bloom", and outlined on the accessibility of music:
Not just fast, bead materials that have slower, quieter ends are lively, not only in how they alter melodies and chords, but how to voice and utter is never a comfortable groove. This is music that demands attention, never takes a predictable path or an easy choice. His greatest victory was that it covered this adventure in warm and accessible music - it never acted like that. No matter how easy this is, what's really brilliant about it is that the group never brings it to the audience. They play for each other, encourage and encourage each other in an effort to find new territory. As such, it creaks with vitality, sounding decades after its release.
Down Beat praised "sounds simpler, drier, harder" and stated "nonviolently, roughly Miles Smiles survived just because it was more than a jazz recording... Beautiful Waltz Davis, 'Circle,' featuring lyrical, muffled play ".
Track list
Columbia - CS 9401
Personnel
Musician
- Miles Davis - Trumpet
- Wayne Shorter - Tenor saxophone
- Herbie Hancock - Piano
- Ron Carter - Double bass
- Tony Williams - Drums
Production
- Producer - Teo Macero
- Recording recorder - Frank Laico
- Photography Cover - Vernon Smith
References
Source of the article : Wikipedia
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