eMusic Review
In 1966, Miles Davis recorded in the same New York studio as Bob Dylan, using a similar method: start rolling tape as soon as the band gets the gist of a tune, forcing them to work out an arrangement's details on the fly. That results in some warts-and-all master takes with a spontaneity that can't be faked: on tenor saxophonist Wayne Shorter's "Dolores," he and trumpeter Miles have to work out a playful, tag-you're-it ending, in the moment. Save for "Circles," there are no dreamy Harmon-muted musings this time. Miles was re-energized by his younger players, and his chops are up; hear his dramatic upward rips on the melody to Jimmy Heath's "Gingerbread Boy." On this, their second album, his second great quintet hits its stride. Herbie Hancock might sit out a whole tune, except to take a solo with one hand, in effect becoming the band's third horn player. Tony Williams frequently slides into double-time; he played so much drums he couldn't help himself. Miles Smiles gives the caffeine jitters to Eddie Harris's "Freedom Jazz Dance," and includes the definitive version of Shorter's blues "Footprints" — Ron Carter playing a mesmerizing four note bass lick… read more »
