Album of the Week: August 10 - 16

[Big Al]

Miles Davis - Nefertiti (click here to buy)

Not to disappoint fans of the greeeeeeaze, but I've been plannin' this since the whole AOW concept started. Besides, we haven't had any Miles yet, and this is my favorite era of his.

I did a poll a few weeks back, and while I still want to discuss both albums discusses in the poll, I figured it would be easier and keep things consistent by just naming one album. So Nefertiti is the official Album of the Week (Because it actually got votes), but I also plan on discussing Sorcerer and the tracks from Water Babies that were recorded during this time.

Looking forward to this one. Thanks again, Ed!

[connoisseur series500]

Cool choices.

[AfricaBrass]

Nice choices, Big Al!

I hate to admit this, but I've never gotten as deeply into this period of Miles as I should have. This album of the week will be a great opportunity to do so. It's amazing how much I've learned from what you guys have had to say during the course of these Albums of the Week. I never imagined I'd be a fan of Weather Report, but now I have a bunch of their early cds.

I'll start listening to this AofTW selection early.

[Big Al]

EXTREMELY LONG POST ALERT (don’t say you weren’t warned; go get something to drink, prop up yer feet, this gonna be a loooooong ride!)

My first exposure to this quintet came about as a result of hearing Hancock’s HEADHUNTERS album a few years ago. The unbelievably unreal FUNK of that album (and as I write this, I can’t remember if I’d already heard all of Herbie’s Blue Note recordings (the box) or not; I was thinking that had some historical or chronological significance to all this) sent me in search of more along the same lines. I wish I could remember where I read it, but something pointed me in the direction from this to late-period Miles Davis Quintet. I had the opportunity to trade for MILES IN THE SKY and needless to say, THAT record blew me away. More solid funk, but what made this so special was this was my first real exposure to the (and I think the term is justified here) GENIUS of Tony Williams!

Around that time, Where(aretheynow)house Music was having a huge Sony sale, so I figured now would be as good a time as any to start collecting the albums by this quintet. So I picked up NEFERTITI and SORCERER. (If memory serves me correct, either they were out of MILES SMILES, or it wasn’t on sale. Can’t remember which)

NEFERTITI’s title track didn’t take long to permanently fasten itself to my brain. A theme repeated over and over, as the piano, bass, and drums do all the improvising. What a concept! And what execution! And it’s not like this theme is all that easy to play, either; playing it in unison, entering at the same time as someone else, and fighting the temptation to take off on some flight of improvisatory fancy takes a special kind of talent. It’s a testament to Miles and Wayne that they were able to sustain this level of concentration for this long. But it’s Herbie, Ron, and Tony who are the stars of this track. Herbie’s comping in particular is inspired: instead of concentrating on being melodic, it’s more percussive, following the old Miles adage of “Play what isn’t there,” and playing it beautifully.

“Fall” is an aptly named tune, as it feels like free-falling, or perhaps floating. It seems to build on the same concept of “Nefertiti,” but this time Miles and Wayne offer commentary in the few measures between theme statements.

“Hand Jive” showed me what kind of monster Tony Williams is when he’s on fire, and even that doesn’t justifiably describe his playing on this track. At times sounding like he has a few extra set of arms playing with him, he lights a fire under Miles and Wayne. As much as I enjoy Herbie’s comping on other tracks, I like it even more when the horns have to go it alone with Ron & Tony. Echoing much of the magic from MILES SMILES (sidenote: I had thought about choosing this album for AOW, for so many reasons (one that it’s such a brilliant concentrated burst of force; two that it could very well be the KIND OF BLUE of the 60s; three because as far as group improvisation goes, it is hands down my favorite; and four simply because IMHO it’s the greatest jazz album ever!), decided against it because had I not heard NEFERTITI or SORCERER, I might not have ever picked up MILES SMILES. Don’t know why things work out that way, but they do!), each player gets their shot at cookin’ and do they ever. Everyone’s solo is fiery, especially Wayne’s, but I love how Herbie builds his solo from single notes to chords.

Then, just when you think you can catch a breather, here comes “Madness” to carry on the same intensity that was found on the previous track. Wonder how many record needles were melted by these two tracks back then?

“Riot” is good, but I actually like the multi-colored textures found on Herbie’s SPEAK LIKE A CHILD. Just a preference, though.

Finally, there’s “Pinocchio,” which has as lovely a theme as any that Wayne Shorter came up with (and continues to do so). Great solos and playing all around.

The alternate to this track is fascinating in every aspect, not the least of which is the slower tempo. In fact, much as I love the album version, this one moves me much the same way that “Dance Cadaverous” does. I love that lilting feeling, and Ron Carter shows what a delicate touch he has on slower tunes such as this. Yet another reason to get the box!

I want to offer a few comments on SORCERER and the box before turning it to the floor: I find SORCERER to be every bit the equal to NEFERTITI, and this might’ve made a fantastic double-album. These guys were at their creative peak at this time, with Wayne Shorter and Tony Williams coming into their own as writers. On these two albums, there are no covers and no tunes by Miles. Every tune is by Herbie (“Sorcerer” and “Riot” among others), Wayne (“Prince of Darkness” among others, which floored me on first listen when Wayne’s solo dovetails so naturally back into the theme statement at the end), or Tony (the raucous “Hand Jive” and the lovely “Pee Wee” among others). Herbie is improving not only as a player but as a listener by his laying out during solo statements.

The box, of course, is worth every penny just to be able to hear the entire output from those inspired months in 1967 when this music was made. Getting WATER BABIES is fine and all (all three tunes from this era are from the pen of Wayne Shorter, each a sadly overlooked gem on its own, and each fitting in perfectly with these two albums), but you still miss all the OTHER unreleased gems. I’m not gonna go into detail here, but suffice to say that SORCERER and NEFERTITI made me get the box, and as a result, hear MILES SMILES. But then, I guess that’s another AOW for another time.

Much fodder for discussion, I hope. Fire away!

[Big Al]

I know you're out there, I can hear you typing!

[Harold_Z]

About 20 years ago I put NEFERTITI on one side of a cassette and MILES SMILES on the other. No big intention of pairing the two beyond the fact that it was the same band. Since then those two are the most frequently played Miles recordings I have - and I have many.

[Dmitry]

Finally, there’s “Pinocchio,” which has as lovely a theme as any that Wayne Shorter came up with (and continues to do so). Great solos and playing all around.

The alternate to this track is fascinating in every aspect, not the least of which is the slower tempo. In fact, much as I love the album version, this one moves me much the same way that “Dance Cadaverous” does.

You know, I felt the same way! It's a very moving composition.

Nefertiti has the mid-60s Blue Note feel, like Herbie's and Wayne's albums for instance, doesn't it?

Like on the Sorcerer there's not a single Miles composition.

Solos are generally understated and restrained. I love this record and you just gave me an excuse to play it again. And again...

[Dmitry]

How important are the bonus tracks compared to the "straight" Lp?

Worth buying the cd?

[Rooster_Ties]

How important are the bonus tracks compared to the "straight" Lp?

Worth buying the cd?

My god, Dmitry - do get the "complete 65-68" box set someday. The bonus tracks are very well worth it (at least to me), and there are a few gems that aren't on any of the single-CD releases as bonus tracks, which you'll never get otherwise (except on the box set).

Or at the very least, the next time I send you a disc or something in the mail, remind me to include a burn of all the tracks on the box set, that aren't on any of the single CD's.

Limbo [alternate take] performed by Miles Davies Quintet - 5:31

Masqualero [alternate take] performed by Miles Davies Quintet - 7:30

Madness [Rehearsal] performed by Miles Davies Quintet - 1:54

Hand Jive [First Alternate Take] performed by Miles Davies Quintet - 6:45

Hand Jive [second Alternate Take] performed by Miles Davies Quintet - 8:00

Madness [alternate take] performed by Miles Davies Quintet - 6:40

Pinocchio [alternate take] performed by Miles Davies Quintet - 5:05

Thisness performed by Miles Davies Quintet - 5:49 (completely unreleased tune)

Circle in the Round performed by Miles Davies Quintet - 33:32 (mega-long version)

Teo's Bag [alternate take] performed by Miles Davies Quintet - 5:56

I Have a Dream [Rehearsal] performed by Miles Davies Quintet - 6:43 (the Herbie tune, later on "The Prisoner")

Speak Like a Child [Rehearsal] performed by Miles Davies Quintet - 2:25 (the Herbie tune)

Country Son [alternate take] performed by Miles Davies Quintet - 14:38

Black Comedy [alternate take] performed by Miles Davies Quintet - 6:23

Tout de Suite [alternate take] performed by Miles Davies Quintet - 14:36

Some of these are being released as bonus tracks on the single-CD issues, but surely not all of them.

[Quincy]

My god, Dmitry - do get the "complete 65-68" box set someday. The bonus tracks are very well worth it (at least to me), and there are a few gems that aren't on any of the single-CD releases as bonus tracks, which you'll never get otherwise (except on the box set).

Limbo [alternate take] performed by Miles Davies Quintet - 5:31

Masqualero [alternate take] performed by Miles Davies Quintet - 7:30

Madness [Rehearsal] performed by Miles Davies Quintet - 1:54

Hand Jive [First Alternate Take] performed by Miles Davies Quintet - 6:45

Hand Jive [second Alternate Take] performed by Miles Davies Quintet - 8:00

Madness [alternate take] performed by Miles Davies Quintet - 6:40

Pinocchio [alternate take] performed by Miles Davies Quintet - 5:05

Thisness performed by Miles Davies Quintet - 5:49 (completely unreleased tune)

Circle in the Round performed by Miles Davies Quintet - 33:32 (mega-long version)

Teo's Bag [alternate take] performed by Miles Davies Quintet - 5:56

I Have a Dream [Rehearsal] performed by Miles Davies Quintet - 6:43 (the Herbie tune, later on "The Prisoner")

Speak Like a Child [Rehearsal] performed by Miles Davies Quintet - 2:25 (the Herbie tune)

Country Son [alternate take] performed by Miles Davies Quintet - 14:38

Black Comedy [alternate take] performed by Miles Davies Quintet - 6:23

Tout de Suite [alternate take] performed by Miles Davies Quintet - 14:36

Some of these are being released as bonus tracks on the single-CD issues, but surely not all of them.

Ah, thanks for the list. I must have a masochistic streak as thus far I have denied myself the box, though I did trade in my old copies for the reissues some time ago. (I wanted the album covers, though I suppose they might be in the box too.) I've nearly succumbed numerous times but tell myself to make do with the great bonus tracks that I got with the reissues and wait for the next format change and buy it then (and maybe it will all fit on one or two discs.)

But dagburnit you've now made such patience more difficult!

Here is what you get with the reissues:

Filles de Kilimanjaro

Tout de Suite [alternate take] performed by Miles Davies Quintet - 14:36

Nefertiti

Hand Jive [First Alternate Take] performed by Miles Davies Quintet - 6:45

Hand Jive [second Alternate Take] performed by Miles Davies Quintet - 8:00

Madness [alternate take] performed by Miles Davies Quintet - 6:40

Pinocchio [alternate take] performed by Miles Davies Quintet - 5:05

Sorcerer

Limbo [alternate take] performed by Miles Davies Quintet - 5:31

Masqualero [alternate take] performed by Miles Davies Quintet - 7:30

Miles In The Sky

Country Son [alternate take] performed by Miles Davies Quintet - 14:38

Black Comedy [alternate take] performed by Miles Davies Quintet - 6:23

And what's left:

Madness [Rehearsal] performed by Miles Davies Quintet - 1:54

Thisness performed by Miles Davies Quintet - 5:49 ( completely unreleased tune )

Circle in the Round performed by Miles Davies Quintet - 33:32 ( mega-long version )

Teo's Bag [alternate take] performed by Miles Davies Quintet - 5:56

I Have a Dream [Rehearsal] performed by Miles Davies Quintet - 6:43 ( the Herbie tune, later on "The Prisoner" )

Speak Like a Child [Rehearsal] performed by Miles Davies Quintet - 2:25 ( the Herbie tune )

Hubba hubba!

I guess one of the many excuses I use is that I should be buying works of other artists (on an Ellington kick at the moment), but as I have spotted this used I might not wait for the next format after all!

Eric H.

[Noj]

So this is my second time intently listening to this album in the last two days, concentrating and trying to think of profound observations to add to what Big Al and the liner notes have to say. Unfortunately, I am short on profound original observations and must say that their accounts of what I am listening to are exceptionally accurate. I will echo Al and say Tony Williams was definitely on fire, I find myself following his every move for long stretches as I listen. Sophisticated, gripping, intense music.

[Big Al]

(I wanted the album covers, though I suppose they might be in the box too.)

Unfortunately not; they're in there, but their so small it's hardly worth the trouble trying to focus your eyes on them. But don't let THAT stop you from getting the box. Trust me: you will NOT regret it.

Fact is, I had three of the six CDs covered in the box before finally giving in. Just get it now, and save yourself the money.

It’s worth the price of admission just to hear these tracks (particularly the NEFERTITI/SORCERER tracks) played in order of recording. Fascinating!

If I’m not mistaken, disc five is comprised mostly of unreleased (not necessarily alternate) tracks, so again, it's worth the purchase price for THIS as well! As you well know, this was an incredibly fertile time in Miles career.

[David Williams]

Well, this thread caused me to pull this off the shelf again. ESP, Smiles and, to a lesser extent, Sorcerer, I love: Nef, Sky and Filles haven't engaged me in the same way.

Playing this two or three times over the last couple of days, I still have to say I dislike the title track - I recognise what's going on behind, but the trumpet/sax theme I just find tedious, especially when they start staggering it.

From Hand Jive on, I like it though - I much prefer the 'hot' tracks on this disc, especially where there's just Miles playing with bass and drums (Madness?).

Maybe I'll try programming the tracks in a different order.

[David Williams]

Enjoyed it this morning in the following order:

Hand Jive; Madness; Fall; Riot; Nefertiti; Pinocchio

Works better as an album for me that way round - in fact, think I'll take it on holiday with me next week.

[Cali]

David, if you find Nefertiti tedious, try thinking of it as a solo vehicle for Tony Williams with the rest of the band creating an atmosphere for him to fill.

[David Williams]

OK, I will. It's growing on me, playing it several times over the last few days, so maybe concentrating on Williams will remove the feeling that the track should have been edited to end around the 5 minute mark. (I'm such a philistine.)

[Big Al]

I see where you're coming from. Tony Williams ferociously steals the show on this one!

But, I find that it's so easy to get lost in the repetition of the two themes ("Nefertiti" and "Fall"), and when the feeling is right, it feels like I'm floating. (wish they had a smilie for the look of someone who's off in dreamland!)

[jazzbo]

Well I was going through my bills for July and my eyes were popping out at how much money I spent at Red Trumpet that month on Impulse lp facimile cds cheap and I realized I hadn't bought any Miles at all (though a cdr tree set WAS obtained.) I KNEW it was a bad month. I did listen to some Miles, but lately haven't been listening to music by the Shorter-Hancock-Carter-Williams group.

Then I remembered I hadn't responded to this Album of the Week so I put on Nef and actually listened to it twice.

First off this is a Miles release I have in a Sony mini-lp, and I have had several lp copies of this and I had a big deja vu moment or two holding the minilp and listening to "Hand Jive." I must have heard this recording many times holding the lp in my lap. . . reading the liner notes I guess. Love these liner notes! (okay so there are no liner notes!) The sound is really good on this Sony disc and it's the way I listen to this session. It never sounded better; vinyl MAY WELL RULE, but my cd based system sounds so much better now than my any previous system I ever had . . . .

Anyway, I really like this "lp." These guys were superstars, and this was a supergroup recording that lives up to any hype. The lps they put out were each a little different. This one is very well programmed! The music flows from track to track, side to side, with variety and pacing that fits. My favorite section is "Hand Jive" and "Madness" which were both recorded at one session and I think the sound perfectly presents the music, with a rich bass and drums not too closely miked that they don't light up the room with rhythm and the soloists coming in and out strong. And the music is very very captivating. I find that it is at this point that my attention is fully engaged. "Nefertiti" and "Fall" are the warmup, and these two tracks are the main course. . . .

It hardly gets better than this. These cats were just so well suited to play together, so confident and listening so hard. . . . The material was varied (what no Miles tune?) and from three composers. . . . And the execution was breathtaking. IF I hadn't been listening to this music for nearly three decades and IF I weren't athat familiar with modern jazz someone could fool me into thinking this was played today. There are a lot of cats playing today who couldn't pull this off, but try like HELL.

Good choice Al! This and the music by this group before and after will always be timeless! (My bold prediction! )

Edited August 16, 2003 by jazzbo

[Big Al]

IF I hadn't been listening to this music for nearly three decades and IF I weren't athat familiar with modern jazz someone could fool me into thinking this was played today.

DAAAAAMN STRAIGHT!!!

Great commentary there, Lon! Really enjoyed reading that!

I may have said it already, but those sections where the horns have to go it alone with only Ron and Tony behind them......I love 'em, but they scare me to death! Playing yer butt off, knowing these guys're gonna be kicking yer a** all over the studio, well..... could cause a strong man to cry like a baby just thinking about it. Me, it just gives me the chills!

[.:.impossible]

Miles Davis Quintet .:. Nefertiti

I am writing this before reading any other commentary. Sorry if there is some overlap, as I'm sure there will be! What a great recording.

I have been listening to Miles Smiles almost religiously for the past couple of weeks. Nefertiti, until now, was just another neglected and shiny disc packed onto the shelves with the others, poised and ready to go.

It practically jumped off the shelf and into the player as soon as I turned for it. No hesitation. Nefertiti was moving in full force before I could get situated.

This is one of those albums where I have I very difficult time sitting still. I’m sent in all directions and before I know it I have too much going on and I have to prioritize. The same can be said for most all of what this Quintet recorded for Columbia. As Bob Belden observes, “The consistency of sound and approach the group attained and maintained throughout this summer of activity is amazing.” The entire body of work is of utmost quality in my mind and Nefertiti is another example of the high standard that the Quintet maintained.

I am listening to the 1998 re-issue including the alternate takes. “The consistency of sound and approach” makes it very difficult to discern between master and alternate here. Like the multiple alternate takes of “Downstairs Blues Upstairs” included in the Sam Rivers Mosaic set, it is a real treat to hear Tony Williams drumming multiple takes of his composition “Hand Jive.”

Miles’ trumpet remains unmuted for both recording sessions that make up this album. His sound is bold and his playing is full, unlike the trumpet that was recorded at the Plugged Nickel a few years before. The group is more cohesive than its early foundation as well. By this time, they have really developed an immediately distinctive sound that is unmistakable.

Wayne Shorter. I have more respect for Wayne Shorter as a composer than just about anybody I have heard to date. Another immediately recognizable element of this recording is the handful of Wayne Shorter tunes that bookend the play order. Not to mention his improvisation and tone. Wayne Shorter the composer, I have immense respect. As a musician, the utmost. He has it all! The consistent quality of his recorded work is simply incredible to me. (I listened to Speak No Evil last weekend for the first time, over and over and over again. I don’t know how I still don’t own my own copy, but that’s another thread.)

Herbie Hancock’s playing is fairly sparse for the most part. No one ever really overplays in this group for that matter. So controlled. I love the single-handed solos and I love how he will duck out during a horn solo as well. The trumpet -or- tenor, bass, drums trio sections are amazing! Ron Carter keeps the music buoyant with that largely rounded tone. His bass sounds wonderful in combination with Tony’s kit, namely Tony’s confined ride sound. The amount of tension that they are able to absorb is incredible. Incredible.

An excellent album of the week. This is as sophisticated as jazz in my collection gets. I would have loved to have been living in Greenwich Village that summer, that is certain!

Postscript.:. I am now listening to Sorcerer. Water Babies is next.

[shawn·m]

It took me a long time to appreciate “Fall.” I just didn’t get it. Then one night while I was in that state between wake and sleep, it all suddenly made sense. It still does and now it might be my favorite cut from Nefertiti.

[Jad]

Don't have a copy of 'Nefertiti' yet (saving up for the box set), but 'Sorcerer' is one of my favorite albums, period. If I ever get tired of listening to Miles or Wayne or Herbie, I will never tire of listening to Tony and Ron playing together.

[Big Al]

Just wanted to post a small but humble "thank you" to all who participated, as today marks the "official" end of my AOW thread. This is my favorite period in Miles career, and you guys helped me enjoy this album as much as I did the first time I heard it a few years back.

In fact, I wish I could have posted a link to the thread I started at the BN Bored when I first heard this music. There was lots of great commentary on that thread as well, and I always enjoyed going back and reading it and recapturing that initial burst of excitement I felt the first time I heard this stuff.

The thread may be gone, but the excitement still lingers. Thanks again, all! If I ever get nominated again, I PROMISE I'll nominate something greeeeeeeazy!

[JohnS]

I'd been a jazz fan for several years when I first heard this on its initial release. At the time I thought this is some new stuff and I found it quite hard to take. Time has mellowed things but listening today this is still a daring and innovative record especially when compared to the majority of jazz churned out at present.

Moody compositions, sparkling improvs, churning drums and held together by Carter's swinging bass. Great album but I too would have prefered a more conventional version of the title tune with solos.

[jazzbo]

David, John, I can sympathize and hear what you are saying. . . but I think that the lack of solos and the form of that title song. . .sets one up for the whole rest of the album. . . makes the drama and release larger when "Hand Jive" gets really cooking!