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Miles Smiles

by

Miles Davis

 
Miles Smiles
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Avg: 4.5 (158 ratings)

  • Date Released: October 24, 1966
  • Genre: Jazz
  • Label: Columbia/Legacy
  • Copyright: Originally Released 1967 Sony Music Entertainment Inc.
  • We Say...

    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 straight through some of the chord changes — plus sundry other devil-may-care thrills.

  • They Say...

    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.

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