Miles Davis' Second Great Quintet

In 1963 Miles began a search for a new group of young musicians to work with (he always received quite a boost in inspiration with the new ideas the young bloods would bring in.) 22-year old Herbie Hancock was a shoe-in due to his rocket rise to fame with the 1962 monster hit, "Watermelon Man" from his debut album, Takin' Off. 25-year old Ron Carter had been making a mark while gigging during his formal training from the Eastman School of Music (graduating in 1959) and the Manhattan School of Music (1961). 17-year old drumming phenom Anthony "Tony" Williams III was a lesser known quantity, thus his use on only half the tracks on Seven Steps to Heaven. Miles first attempt also tested out drummer Frank Butler, tenor saxophonist George Coleman, and multi-instrumental phenom, Victor Feldman (then 29-years old). This is the quintet that toured extensively in 1963, covering many of Davis' classic tunes with a fresh, new, highly kinetic approach. It is also the band captured on live albums, Seven Steps to Heaven (1963), Miles Davis in Europe (released in 1964), My Funny Valentine (1965), and Four & More (1966). But this whole time Miles knew that he wanted innovative saxophone player Wayne Shorter in his quintet but Wayne was under contractual obligations to Art Blakey and his Jazz Messengers. Shorter was finally brought on board in 1964 whereupon he became the principle composer of the majority of the Quintet's new material until 1969.

I highlight Miles' "Second Great Quintet" because of a result of my current two-year "deep dive" into the history and formation of the musical sub-genre that the world now calls, "Jazz-Rock Fusion." Over the course of exploratory period, I have become a student of far more than personalities, music, and history but an accidental neophyte journalist into the world of jazz music in the 1960s. I cannot say that I understand jazz (or, as Miles himself preferred to call it, "Social Music"), or that I will ever understand jazz much less any musical tradition with any depth or skill, but I can say that, after studying Jazz-Rock Fusion through hundreds of articles and probably thousands of albums and videos, the music that came out of Miles Davis "Second Great Quintet" from 1963 through 1968--even before he met, dated, and married his pop culture "guru," NYC extravert Betty Mabry--was pushing, challenging, and expanding boundaries of jazz by experimenting with more current influences and technologies and equipment than most other jazz musicians were willing to try. I attribute this fact to the very nature of the "youth" that Miles chose to surround himself with: young people quite naturally bring "new" ideas from their own individual experiences, preferences, and predilections--and let's face it: with an average age from his four collaborators of 23 in 1962 to 29 in 1968 lends veracity to the assertion that 40+-year old Miles was surrounding himself with youth! 

MILES DAVIS Seven Steps to Heaven (Released July 15, 1963)

(Note. This was the beginning of the Quintet, no Wayne Shorter yet but Herbie Hancock, Ron, Carter, Tony Williams were present for 50% of the album.)

Recorded for Columbia Records in Hollywood (tracks A1, A3, B2) on April 16, 1963 and in New York City (tracks A2, B1, B3) on May 14, 1963.

Line-up / Musicians:

- Miles Davis / trumpet

- Ron Carter / bass

- Frank Butler / drums (A1, A3, B2)

- Victor Feldman / piano (A1, A3, B2)

- George Coleman / tenor saxophone (A2, B1, B3)

- Anthony "Tony" Williams / drums (A2, B1, B3)

- Herbie Hancock / piano (A2, B1, B3)

A1. "Basin Street Blues" (10:29) a quartet piece (no George Coleman) with Frank Butler on brushes in the right channel, center occupied by Ron Carter and Miles playing his muted, New Orleans-sounding "piccolo" horn (Miles up high and forward), and Victor Feldman's romantic piano in the left channel for the first minutes of this gentle "late night" tune. For the first five minutes this is really calming, but then a little bluesy vim and vinegar creeps into the tune before Miles finally backs down to allow someone else a chance to have some shine. Victor at the end of the seventh minute (where I keep expecting Frank Sinatra or Sammy Davis, Jr. to step in with an impassioned "hep cat" vocal) and then a return to Miles to close. Nice--though nothing that wows me or that will replace my memories of other great Miles tunes (like "Flamenco Sketches"). (17.75/20)

A2. "Seven Steps To Heaven" (6:24) clean, clear sound with acoustic double bass front and center, clean, clear capture of Tony Williams' crisp drumming relegated to the right channel, Herbie Hancock's choppy-style of piano zip occupying the left, George Coleman's tenor sax also in the right, and Miles' intimate trumpet front and center. My favorite parts are in the final minute when Miles and George harmonize the speedy melody in perfect unison. Fun tune--though fully-entrenched in the be-bop category. (9/10)

A3. "I Fall In Love To Easily" (6:47) a pretty late-night quartet cover of the Julie Styne Sammy Cahn classic has Frank Butler playing with some gentle stick play while a very active and smoothly melodic bass plays from Ron Carter while Victor Feldman accents and bridges from the left. Miles is up front with his muted trumpet again but for some reason he doesn't feel like the show on this one as he did on "Basin Street Blues": the performances of Ron and Victor feel equally important. I like the more respectful and collaborative feel of this one. (13.375/15)

B1. "So Near, So Far" (7:00) a cover of a Tony Crombie & Bennie Green composition, this turns out to be the most progressive and refreshing tune on the album as each of the musicians seems to be working in their own universes while being cleverly overlayed as they are all woven together quite magically as one beautiful (though busy) tapestry. Herbie and Tony are present on this one with both adding their own syncopated accents beneath Miles' dominant-though-relaxed open trumpet play. George Coleman is given the green light for a solo in the third and fourth minutes. Starting out rather stiffly he sticks to the script pretty tightly for the first minute, but then he loosens up and starts to slur and spew some cool little riffs and flourishes. Herbie is given the sixth minute before the band returns to the neat little five-part harmony weave for the final minute. I like this song! (13.75/15)

B2. "Baby Won't You Please Come Home" (8:27) a more traditional slow swing song with Miles playing a muted trumpet and Victor Feldman and Frank Butler sitting in behind him with Ron (no George). The song is a Charles Warfield and Clarence Williams (grandfather of contemporary stage and film actor, Clarence Williams III) composition from way back in 1919, here given shifting tempos throughout the song (my favorite thing about the song). Though considered a blues classic, Miles, Ron, and Victor have definitely brought it fully into the realm of jazz. Other Miles, Victor is the only other significant soloist on this quartet performance. (17.75/20)

B3. "Joshua" (7:01) the third and final song involving the full quintet, all parts are up and running from the opening notes: Ron walking all over that upright fretboard, Tony contributing his otherworldly syncopated and off-center accents, Herbie stretching out his harmonic gifts, while Miles and George explore the melodic possibilities up top. A great, adventurous, spirited, and highly-creative tune that really puts on full display the talents of these artists. It's so nice to hear Herbie, Ron, and Tony given a short leash: feeling alive! (14.125/15)

Total Time: 46:20

Though produced by Miles' longtime "finisher," Teo Mecero, this was still before the explosion of new sound engineering ideas and possibilities had emerged, so there is more of Miles and the band here than Teo's cut-and-splicing. Too bad that there are no original compositions on this album--especially with all of the talent he's got with him.

Though not a Jazz-Rock Fusion album--and by no means exhibiting the fire and brimstone of the fully-formed "Second Great Quintet"--there are a couple of songs here that push the envelope of traditional and accepted jazz modalities a bit ("So Near, So Far" and "Joshua").

90.26 on the Fishscales = A-/4.5 stars; a very solid contribution of skillful and accessible Jazz that shows some interesting ideas being developed in Miles' thinking. 

MILES DAVIS E.S.P. (Released August 16, 1965)

After a couple of years of touring, testing out new lineups and new formats while trying to form a new quintet (and releasing several live albums in the interim), Miles has his new dream lineup--what will be remembered as his "Second Great Quintet"--as superstar Wayne Shorter has finally come aboard to join Miles and Ron Carter with wunderkinder Tony Williams and Herbie Hancock. The first studio album to feature the full lineup of the Second Great Quintet is recorded at Columbia Studios in Los Angeles on January 20-22, 1965. Producer Teo Macero has by now been exposed to the amazingly new and expanding possibilities of sound engineering (he's had lots of fun practicing with a couple of live albums released between this and 1963's Seven Steps to Heaven as well as the long process of finishing the classic Gil Evans big band collaboration, Quiet Nights, which had been recorded in 1962 and early 1963 but not released until December of 1963), thus the six months between recording sessions and the final Columbia Records release. 

Line-up / Musicians:

- Miles Davis / Trumpet
- Wayne Shorter / Tenor saxophone
- Herbie Hancock / Piano
- Ron Carter / Double bass

- Tony Williams / Drums

A1. "E.S.P." (5:29) there is a sense of comfort and ease from the very onset of this song: this band "clicks." Wayne Shorter leads on his tenor sax from the opening note with Ron Carter and Tony Williams running like mice beneath and Herbie accenting the mid-range on piano. When Miles takes over the lead in the second minute it feels like everybody kicks into hyper-focus: "Got to impress the boss" they're thinking. Herbie gets the next solo starting at 4:05. His melodies are impressive for how quickly things are moving along. At the advent of the sixth minute Ron slows down as Wayne and Miles recapitulate the main melody together, bringing the song to a close. Impressive jazz. (9.125/10)

A2. "Eighty-One" (6:14) Herbie leads on this one while Miles and Wayne inject a few interesting blasts before the reins are handed over to the bandleader. There is a definite fresh, innovative feeling to this song: I'm not sure if it's the odd structure or mix of changing motifs from partial elements of the group while the soloists play, but there is something very interesting here. It's like the band members are each allowed to change things up--to shift gears or styles--whenever the mood or whim excites them. Tony, Herbie, and Ron all do it and a few times the whole band follows suit but sometimes they don't! I'm not sure what you call that which I'm listening to here but it's very different from the jazz I'm used to hearing. When Miles and Wayne join forces to play in tandem over Herbie's solo in the final minute, it is so cool! It's as if they're playing a game: trying to read each other's minds while not taking too much away from Herbie. A very cool jazz song that feels as if it's pushing boundaries. (10/10)

A3. "Little One" (7:21) soft, slow, and spacious piano-led (and Herbie-composed) jazz music over which Miles and Wayne each take turns soloing with pensive intent. Ron and Tony are there in the background, trying to feed off the leader's energy (Tony trying to hold back his penchant for more dynamic play) and Wayne's "thought trains" a little more active-preoccupied than Miles' reflective ones. Even Herbie in the background feels as if he's ready to exude more enthusiasm than his leaders have laid down, yet his turn in the spotlight is perhaps the most beautiful in its contemplative expression of all of them. (It's between he and Miles.) The support from the rhythm section backs way down in the seventh minute, giving the song a much more "finished" feeling to its end. Nice exercise in mental discipline. The boys did well! (14/15)

A4. "R.J." (3:56) back to a quicker pace with Tony keeping time while Ron runs through a two-measure sprint over and over with a brief piano-filled break in between each race. Wayne takes the first solo but I find myself so distracted by the intriguing little dance that Herbie and Ron are doing that I find it hard to pay attention to the soloists. Fascinating! (9.3333/10)

B1. "Agitation" (7:45) Tony, sticks on the skins, for the first two minutes of this before Miles' muted trumpet squeaks into the soundscape with Ron and Herbie tip-toeing beneath. Eventually, Ron, Tony, and Herbie fall into sync with one another creating what feels like a motif that is intended to mesmerize the listener; they're sneakily trying to brainwash us! Miles distracts us from "behind" with his muted trumpet while the other three go through their Marth Graham-like angular motions with the consistency of time pieces. Wayne steps in to give a gentle solo that continues to lull us while the scientists do their work underneath. Again: fascinating! Miles and his collaborators are definitely exploring the structural rules of jazz--testing the confining boundaries with these mathematical exercises. I find myself really enjoying this (and the process)! A Miles composition, I imagine he was quite exacting of his demands on the rhythmatists here. (14/15)

B2. "Iris" (8:31) opening like a late-night piece from Kind of Blue we are informed very early on by Herbie that this is in no way anything like anything from Bill Evans or Wynton Kelly. Ron and Tony stay pretty firm in their commitment to standard jazz support, but Miles and Wayne are definitely stretching the familiar routes of melody and dynamics on this Wayne Shorter composition. While I truly enjoy all of the solos, it is Herbie's humane piano solo in the seventh minute that I love the most. (It is actually quite a lot like something Bill Evans or Vince Guaraldi might do. Lovely!) Wayne, too has manifests some pretty awesome ideas here. One of the few songs on which it is the soloists/melody-makers that impress me the most! This might actually be my favorite song on the album! (19.25/20)

B3. "Mood" (8:49) once again we've got a set up in which Tony is keeping time while Ron and Herbie play off of one another to help create a kind of see-saw rhythm track. Then Miles, playing another muted trumpet, and Wayne, here playing a breathy (slightly muted?) sax, play off each other in a way that is similar to Ron and Herbie. In both duo's cases one of the members is being more steady (Ron and Wayne) while the other is spicing things up a bit (Herbie and Miles). But then, in the fourth minute, Wayne is given the spotlight while Miles sits back and watch/listens. Nice solo here, Wayne! For the sixth minute, Herbie gets the next solo. Again, I am so impressed by his discipline and presence: the way he takes time to let the next chord or phrase emerge out of him without ever seeming to press or rush. Amazing! Miles and Wayne return to their original binary star dance for the final minute. Interesting, lovely, though a bit soporific. (17.875/20)

Total Time: 48:23

I am rather surprised at the way the music on this album somehow manages to keep the band's usually-hyperactive drummer in a rather sedate state. The dynamic rock inputs of the previous album are totally absent. (Perhaps Tony is spent or distracted from the energy he is putting into his solo projects at the time. Or perhaps Miles put some heroin into Tony's chamomile tea.) 

93.58 on the Fishscales = A/five stars; a masterpiece of jazz music that I hold up as one of the finest demonstrations of boundary-pushing jazz I've ever heard. Though there is little to no influence of rock music here, the mentality of mathematical experimentation with structure that is supremely present here is something that I find very essential to the "progressive" part of both high arts of Progressive Rock and Jazz-Rock Fusion. HIGHLY recommended--even essential to any music lover's album collection.

MILES DAVIS Miles Smiles (Released Feb. 17, 1967)

Recorded at Columbia's 30th Street Studio, New York City, on October 24 and October 25, 1966. Whereas the previous studio album (recorded all the way back in January of 1965) showed the band experimenting with very subtle structural elements in what felt like very profound and skill-building ways, this one shows a return to more dynamic, loosely-constrained improvisational music. The band has had over a year and a half of almost continuous touring and live performing to hone their skills as well as play with and express their transcendent subliminal connections, and now they're ready to re-enter the studio not just as a machine but as a fully-fledged organic organism capable of fluid and united here-and-now morphing: something like the murmurations of a flock of starlings. 

Line-up / Musicians:

- Miles Davis / trumpet
- Wayne Shorter / tenor sax
- Herbie Hancock / piano
- Ron Carter / bass
- Tony Williams / drums

A1. "Orbits" (4:35) the first of three Wayne Shorter compostions, it opens with Miles, Wayne, and Tony bursting out some riffs before smoothing with Ron Carter's twinkle-toes support into a The nuances Tony is throwing at us from his sticks is extraordinary: it's as if he's playing multiple percussion instruments over there (in the right channel) all at the same time! Oddly, there is absolutely no presence of Herbie Hancock's piano until the 2:45 mark when he's given a solo slot. I like Herbie's lower octave piano phrasing here: it's very smooth and virtuosic--even understated--in its imitation/regurgitation and development of the main melodies offered by the horn players. (9.125/10)

A2. "Circle" (5:52) a song attributed to Miles, it harkens back to the softer, more subtly populated fare of old Miles' songs like Kind of Blue and Sketches of Spain. Miles' muted trumpet presents the melodies for the first 90-seconds and then Wayne comes in with one of his masterful melancholy solos--the kind that feel so simple and easy and yet contain untuold numbers of virtuosic touches that you and I could never duplicate. Then Herbie's solo starts and it's a beauty: so well proportioned with the play of Ron's bass and Tony's brushes. I'm glad to have Herbie's gentle phrasing bridge the rhythmatists and melody-makers for the full length of this song. Miles, Wayne, and Herbie each take second solos in the middle of the song: these being even more melodic and emotionally-charged than the first ones while Ron and Tony exude magical techniques that I've never heard before (from the double bass' upper registers and from Tony's hi-hat), and then Miles' muted trumpet takes us out--ever so gently--as everybody else also dials down their inputs. Wow! What a great song! (10/10)

A3. "Footprints" (9:44) the second Shorter composition, this one is overflowing with pleasing melodies! At the same time, the confidence exuding from the instrumental sounds played by all of the band members has grown in geometric proportions; it's as if previously Miles was tearing his young collaborators down in order to rebuild them better than before. The success shows commensurately. (18.5/20)

B1. "Dolores" (6:20) on Wayne's #3 contribution, it sounds like a slight variation on the previous track: slightly faster, slightly more dynamic, giving more open reins to Tony, in particular. It's not the dynamic, rock-muscling drumming of Lifetime, but it is virtuosic. The oddest thing about this song is that I hear absolutely no piano until 3:15! (9/10)

B2. "Freedom Jazz Dance" (7:11) something I see less frequently on Miles' studio albums: Miles covering someone else's composition--here a song by Eddie Harris. I love the interplay among the musicians--that includes Ron and Herbie as Wayne and Miles lead the way. In the meantime, underneath it all, Tony is again set free to play! And amazing is his exhibition! I have to keep going back to try to listen to the other musicians because I always seem to end up being drawn to Tony's drum play. Teo has Herbie mixed a little low in the mix--off in the left channel with Wayne and Ron, Miles right-center, while Tony is left pretty much alone in the right channel. (No wonder I can't stop listening to him: my right ear is my better ear!) The construct and play is a little more angular and less melodic in the solos, but as long as Tony is there to wow me, I don't really care. And then the song comes to a proper, natural end (as opposed to being faded out). (14/15)

B3. "Ginger Bread Boy" (7:40) another cover song, this one of a song by saxophonist Jimmy Heath. The band opens with Wayne and Miles riffing together while Tony drives his kit like he's weaving in and out of traffic on the Autbahn (while Ron tries to keep up with him by fast walking on his fretboard). Once again there is minimal (if any) piano play in the support sections. Miles gets an awesome solo in the second and third minutes in which he verily feeds off of the energy being issued by Tony. Then Wayne, too, offers up something lively and inspired--not quite as entwined with Tony's playing as Miles' solo (and mixed a little into the background) but still quite impressive. Herbie rather awkwardly gets the nod to jump in toward the end of the fifth minute. His choppy solo feels less connected to the rest--more heady and experimental than loose and free-flowing. As Wayne and Miles duet to bring us back to the opening motif with a minute to go, you think it's going to fade out, but instead they give Ron a little spotlight time with which to bring the song to a close (with the additional rasp of Miles talking to Teo at the very end). Mr. Williams is incredible and it's Miles who does the best job of feeding off his drummer's phenomenal energy. (14/15)

Total Time 40:35

Boy! Have these guys come a long way! It's so amazing to actually hear and feel the tremendous growth they've achieved as a band. My only complaint with some of the songs is the choice to not have Herbie's piano act as an accompanist: he's given solos in the second half of these songs but allowed no presence in the opening or closing portions of three songs! 

93.28 on the Fishscales = A/five stars; a masterpiece of wonderfully-cohesive quintet jazz. This band is not called "great" for no reason! Highly recommended to anyone wanting to experience a full album of really high-quality jazz music. 

MILES DAVIS Sorcerer (released on Oct. 23, 1967)

On May 16, 1967; May 17, 1967; May 24, 1967; and, for "Nothing Like You," August 21, 1962, MILES DAVIS and his Second Great Quintet laid down the music that became released by Columbia Records as Sorcerer on October 23.

Line-up / Musicians:

- Miles Davis / trumpet

- Ron Carter / bass

- Tony Williams / drums

- Herbie Hancock / piano

- Wayne Shorter / tenor saxophone

With:

- Bob Dorough / vocals (track B3)

- William Correa / bongos (B3)

- Paul Chambers / bass (B3)

- Jimmy Cobb / drums (B3)

- Frank Rehak / trombone (B3)

A1. "Prince Of Darkness" (6:27) the great, dynamic yet-melodic music of the Second Great Quintet here on display at its absolute finest. Everybody is in sync, feeling the spirit and excitement of this extraordinary collaboration. (9.5/10)

A2. "Pee Wee" (4:49) though slower, less animated and more docile than the album's opener, the melodic sensibilities exhibited from each of the musicians here are still very strong, very accessible. Wayne and Herbie in particular shine. (9.25/10)

A3. "Masqualero" (8:53) opening with some interesting interplay between Ron and Tony, the blending of harmonically-woven melody lines from Miles, Wayne, and Herbie is pretty amazing. Moving quickly into the lead solos--the first one from Miles--the reactive, almost predatory behavior of Tony on his drums is quite remarkable. Herbie tries to get into the act, less successfully so, while Ron holds down the foundation quite admirably. Wayne's turn up front in the fourth and fifth minute is interesting: still carrying forward that odd predatory hunt-like tension that Miles and Tony seemed to present in the second and third minutes--though Tony only begins to react in the guise of the prey again in the second half of the sixth minute. In the seventh minute Herbie gets his turn. The man performs some spectacular displays of artsy-expressive male mating dancing in his opening barrage before settling back into what feels like the expression of more cocky strut-like behaviors. Fascinating! Some truly original play in this one. (19.5/20)

A4. "The Sorcerer" (5:10) straight off to the races, the steady-eddy making the most of his circuitous track, Tony and Ron are the feet and breath while Miles and Wayne's back-and-forth dialogue is the self-reflective conscious mind and Herbie is the heartbeat. The quick exchanges between Miles and Herbie are very cool--and then they come together for perfectly synchronized chorus shouts while Herbie gets a nice piano solo in the middle. (9.3333/10)

B1. "Limbo" (7:13) two horns and Herbie's piano jump out together on this Wayne Shorter composition to introduce the main melody as an ensemble while Ron and Tony lay out the amazing rhythm track beneath. Ron is so calm and cool while sneaking in plenty of garlands and drapery into his expression while Tony the adolescent Tiger is putting on a clinic from start to five-minute mark when things slow down and thin a bit to give Herbie plenty of air for his piano solo. When Wayne and Miles return to the leads for the final minute, Tony finishes his with a cheeky statement of finality. Wow! I wouldn't want to have to learn that drum performance for a test! (14.5/15)

B2. "Vonetta" (5:36) one of Waynes' slower, more somber yet-beautiful late night pieces, it carries a bit of the classic "My Funny Valentine" feel and melody within it. Wayne gets the lead for the first four minutes while Herbie and Miles get some shine in the last 90 seconds, but the real star of the show, for me, is Ron Carter: his spicey, even cheerful bass play elevates the music out of the dregs of a late night maudlin love song into something containing a little more optimism and hope. (9.25/10)

B3. "Nothing Like You" (1:55)* why and how this little Bob Dorough song from a 1962 recording session found a place on a 1967 album release is a mystery to me. There's a completely different lineup of musicians performing on it! Did they really need the filler? How strongly Miles must have felt in order to convince Teo and everyone to include it! It's cute; it feels like a blast from the past--the 40s or before! (4.75/5)

Total Time: 40:20

I love the energy and creativity--both collectively and individually--on all five fronts--of this album! Almost every song has it! And Tony Williams is very much dialed in: at the top of his focus and flow. And this might be the best I've heard Wayne and Ron--and the most collaborative/synergistic that I've ever felt Miles: with great dual performances between he and Wayne. Awesome album!

95.10 on the Fishscales = A/five stars; a masterpiece of highly-inventive, highly-creative modal hard bop jazz! The pinnacle of the Second Great Quintet!(?)

MILES DAVIS' Nefertiti (Released Jan. 15, 1968

Recorded in June and July of 1967, it was the fourth studio album to come from the pioneering trumpeter's "Second Great Quintet." 

To be sure, this has to be one of the most talented lineups ever in jazz history and, despite Miles' young collaborators being (mostly) in their 20s and most definitely showing signs of some immaturity, the greatest innovation occurring here (in my opinion) is with 21-year old Tony Williams' drumming.

Line-up / Musicians:

- Miles Davis / trumpet
- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano
- Ron Carter / double bass
- Tony Williams / drums

1. "Nefertiti" (7:52) a rather dull and slightly melodic lead song with Miles and Wayne up front has some rather adventurous performances from Herbie Hancock and, especially, the dynamic Tony Williams. (13.25/15)

2. "Fall" (6:39) another pleasant, melodic song in which the musicians are operating more nearly on the same wavelength--until fourth minute, that is, when Tony begins to go off into his own world, rhythmically, beneath Herbie's piano solo, but then he backs off and gets very quiet during Wayne's following solo and what follows. Interesting! (8.875/10)

3. "Hand Jive" (8:54) a much more dynamic song construct with Ron Carter walking all over his upright double bass while Tony Williams flies around his cymbals and toms. There is an odd, subtle shift in tempo in the third minute that I do not think is intentional but obviously not considered significant enough to correct or redo--and Ron Carter is not always "in the pocket" (at least not according to these amateur ears), but the song certainly displays the skills of all of the band members, with a considerable amount of time given to Wayne Shorter's solo in the middle. When Herbie is next given his turn, he seems a bit lost at first, but, after he gets warmed up, he starts to move better. Maybe everybody's just a little overwhelmed or intimidated by Tony's creativity (and Ron's hot-and-cold conformity to the "pocket"). (17.5/20)

4. "Madness "(7:31) more of the same as the previous song with Ron's fast walking and Tony's cymbal play providing the bulk of support beneath one of Miles' more dynamic and passionate solos on the album. The trio seem quite entrained. Then Wayne is given the nod to take over from Miles. He's not quite as dynamic but very impressive for his softer, breathy notes. When it comes time for Herbie's turn, everybody nearly cuts out, with only Ron and Tony remaining beneath part time, not flying around the fretboard and cymbal like they were. But then they return to their earlier form as Herbie heats up, though not quite as synched as they were with Miles--which may have something to do with Herbie's less smooth, less-melodic approach. And then they all come back together ever-so briefly before bringing the song to a quick close. (13.375/15)

5. "Riot" (3:04) Same cymbal play from Tony while Ron machine guns around the upper registers of his bass and Herbie plays a lot of chords beneath Wayne's initial lead. Then Miles is there, too. It's nice to hear the whole band working together (and Tony does get a little more active as the song develops). (8.875/10)

6. "Pinocchio" (5:08) a song that feels more like standard or old Miles bebop or hard bop. Opening with the whole rhythm section behind Wayne and Miles, Ron and Tony become more active as the song develops, something that is more noticeable during Wayne's solo (as Miles and Herbie check out). Tony really picks it up here, even when Miles and Wayne return to recapitulate the main melody. Then Herbie gets his solo. It's good, probably the best on the album, but then its over and the band pulls together to close. Very tight, "standard" jazz tune. (8.875/10)

Total Time 39:08

I think this album is most significant for confirming how much of a force drummer Tony Williams is (and is going to be). As impressive as Tony is (and Miles and Wayne, as well), I think Herbie Hancock and Ron Carter are showing how much growth they have yet to achieve--especially to be able to achieve the moment they are called upon.

88.44 on the Fishscales = B/four stars; an excellent album for prog rockers to gain insight into the genius of some of Jazz-Rock Fusion founders and all-stars--especially the phenom that was drummer Tony Williams.

Addendum: Again, I cannot help but mention the unfathomable error that Columbia Records made when mistakenly switching the two album covers intended for this album and its predecessor, Sorcerer. How do such colossal blunders occur? Wasn't it obvious that "sorcerer" is a male assignation and thus deserving of a male cover photo and "Nefertiti" female and thus deserving of a female cover photo? Was Miles (and his team) not paying attention?

In 1967 Miles Davis met and started dating 22-year old model and driven/aspiring singer, clubber, model, and extravert, Betty Mabry. The two would marry in September of 1968 and divorce one year later. The association would dramatically expand Miles' musical and cultural perspectives--especially through his exposure to the music (and style) of James Brown, Sly & The Family Stone, and Jimi Hendrix. Previous to this relationship, Miles was notoriously obsessed with classical and jazz music--to the utter exclusion of radio, pop, and television. Betty even introduced Miles to Sly Stone and her friend Jimi Hendrix--with whom Miles would form an instant and profound connection and bond (despite his marriage-ending jealousy of him). The result, of course, would be Miles looking to see, hear, and jam with more young new musicians who were exploring the new electronically-enhanced instruments (piano, guitar, bass guitar) as well as the presence of an infusion of rock 'n' roll influence from his drummers.

MILES DAVIS Miles in the Sky (Releases July 26, 1968)

In a session in Columbia Studio B on January 16, Miles Davis begins recording new material for an album that would become Miles in the Sky, (released in July). This session marks the final studio session of Miles' exclusive collaboration with Tony Williams, Wayne Shorter, Herbie Hancock, and Ron Carter--his "Second Great Quintet."

     In mid-May of 1968, Miles Davis wraps up recording the material that would become the album Miles in the Sky, an album whose music and electrified sound palette display a definitive shift in Davis' music. The May 15-17 sessions found Miles inviting electric jazz guitarist George Benson into the studio as well as asking bassist Ron Carter and keyboard master Herbie Hancock to perform on electric bass and electric piano, respectively. The sessions would also begin the trend of long, occasionally "side-long," jams: resulting here in four songs covering 51-minutes of music.  

Line-up / Musicians:

- Miles Davis / trumpet
- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano, electric piano on "Stuff"
- George Benson / electric guitar on "Paraphernalia"
- Ron Carter / bass, electric bass on "Stuff"
- Tony Williams / drums

A1. "Stuff" (17:02) the experimentation with the "new" electronic options available to jazz musicians is finally being endorsed (commanded) by Miles: electric piano for Herbie and electric bass for Ron (which we all know he never really enjoyed despite his excellence at it). The result is something that definitely feels more modern--and more sassy-smooth. The slow-down/almost pauses every 30-seconds or so are kind of hard to get used to: they make me feel as if either the song is winding down to a conclusion or that they're preparing us for a new motif (like a bridge), but, no! The same theme keeps on; only the lead instruments change (sometimes). I like the sassy performance Miles gives us: it's as if he's really locked in and enjoying a loose, carefree day--and I think his attitude is infectiously affecting his studio mates cuz this song is overall very chill and relaxed. The length of the song, however, is a matter of question: was 17 minutes really necessary? (32/35)

A2. "Paraphernalia" (12:41) a composition credited to both Wayne and guest George Benson, as many have noted, this has got to be one of George's most unusual guitar performances, mostly sitting back as a single bass-dominant chord rhythmatist, reinforcing Tony's driving rhythm track, accenting Ron's wildly-exploratory and mountaintop-to-valley-floor walking bass line. As a matter of fact, until the sixth minute, George does little else but play one chord in perpetual rhythm--like another tom on Tony's kit. Herbie, Miles, Wayne, and even Tony, however, really flash and flair--whether in solos (Miles and Wayne), melodic support (Herbie) or rhythmic attack (Tony). Finally at 7:10, George is "allowed" to step up to the front of the stage. But by the end of the ninth minute it's over: Herbie takes over for his first and only true solo (which, to my ears, sounds a little harsh and "off"--until he hits a cool series of chords in the beginning of the 12th minute, then he's cookin'. At the end of the 12th minute the horn players rejoin--though reluctantly as it is uncertain whether Herbie has completed his statement (he has not: he just continues doing so--off in his own very cerebral world--while the others tentatively play around him. I really like this ending: the ambiguity and uncertainty is really endearing for the fact that it shows the band's individual humanity with all of its doubt and frailty! Cool song! Especially for Tony's dynamic play, Ron's amazing adventurosity, Herbie's perseverance in the face of adversity and uncertainty, and Miles and Wayne's professional maturity. As for George: he's almost a non-entity; a moot member; I can't even remember his solo! (23.75/25)

B1. "Black Comedy" (7:32 or 13:49: I'm only reviewing and rating the 7:32 version since that's all I can find posted on YouTube.) A solid nondescript hard bop (or post bop, if you must) song of the ilk that Miles has been doing for some years. I have trouble staying focused much less remembering anything from this song once it has passed. (13.125/15)

B2. "Country Son" (12:51) a more loosely organized jam that sounds like something Teo recovered from hours of tape, fade in, splice away, and faded out--which would lead me to deduce that the song was not very cleanly composed (which is probably why Miles took the writing credit); it's more of a series of themes and ideas strung together--quite possibly played in the order published, even possibly planned as is with the thematic and stylistic shifts occurring due to signals from Miles, but that third and fourth minute feels to me as if the band was just wandering around beneath Wayne's soling sax, searching and fumbling around for the right style and pace to support him with--with Ron usually the promulgator of stylistic and rhythmic changes. It's just too weird of a conglomeration of musical themes to be intentional; it has to be a flow of thematic attempts--though, hearing this, one cannot help but compare these rather severe and dramatic shifts to prog songs like "Close to the Edge," "Supper's Ready," "Tarkus," or even one of Camel or Nektar's side-long symphonic pieces. This may be able to fall under the label "symphonic" but I swear: no symphony I've ever heard has this kind of radical stylistic and melodic shifting going on within a continuous flow. I'd be more inclined to call it a medley or, less respectfully, a hodge podge of leftovers pulled randomly and sequentially out out of the refrigerator. I like many of the themes present here, I think the motif that Herbie leads in the seventh into the eighth minute might be my favorite though Miles melodic play with his band's support in the thirteenth minute is pretty cool, as well. Overall, it just leaves me with a weird aftertaste. Like leftovers. (22.25/25)

Total Time: 51:04

The presence of four notably long songs supposedly squeezed into two sides of vinyl is a bit suspicious (though Todd Rundgren would routinely squeeze 30-40 minutes into a side during his mid-1970s heyday)--and I wish I could verify if Teo and Columbia managed to squeeze the long version of "Black Comedy" onto Side Two--which would equal some 25 minutes of music  

91.125 on the Fishscales = A-/five stars; a minor masterpiece of hard bop/post bop that many people consider transitional to, or pre-, Jazz-Rock Fusion. I hear some of what they're talking about but to me its sounds more like a group of musicians who are quite familiar with one another, who are showing signs of growing a bit bored or fatigued with their collaboration: they're still performing at a high level but they feel as if, at times, they're reaching, stretching for inspiration and motivation--especially on that last song. And I agree with the critics of "Stuff" in that it begins to over stay its welcome--to sound repetitive--after about ten minutes.

MILES DAVIS Filles de Kilamanjaro (released on February 5, 1969)

In June of 1968 (June 19-21) Miles Davis returns to the recording studio, recording material that would end up on the album Filles de Kilamanjaro. At Columbia's 30th Street Studio, on the 19th, with newcomers Dave Holland and Chick Corea sitting in for Ron Carter and Herbie Hancock, respectively, they got "Petits machins (Little Stuff)" in the can. On the 20th, with the core Second Quintet, two versions of "Toute de suite (Right Away)" were taped. On the 21st, in Columbia Studio B, "Filles de Kilamanjaro (Girls of Kilamanjaro)" was recorded with the core Quintet. A final song, "Mademoiselle Mabry (Miss Mabry)" was recorded on September 24 with Holland and Corea, again, as a celebration and wedding gift to his bride-to-be, Betty Mabry. (The two were married on September 30). Despite the inputs and presence of "outsiders" Holland and Corea, Filles would be the last studio album released from Miles' "Second Great Quintet."

Line-up / Musicians:
- Miles Davis / trumpet

- Wayne Shorter / tenor saxophone

- Tony Williams / drums

- Ron Carter / bass (A1, A2, B1)

- Herbie Hancock / piano, electric piano (A1, A2, B1)

- Dave Holland / bass (A3, B2)

- Chick Corea / piano, electric piano (A3, B2)

A1. "Frelon Brun (Brown Hornet)" (5:37) the newcomers (Holland and Corea) definitely present some new spice to Miles' music, while Tony seems content to play Tony (as only Tony can) no matter who he sits in with. (He is indomitable.) Meanwhile, Miles and Wayne seem to start out rather cautiously, conservatively, before really allowing themselves to feed off of Tony's controlled mayhem. Dave Holland certainly acquits himself of any accusations of wrongdoing with his performance in the second half of the song. Not one of Miles' classics but definitely a prime display of Tony's indefatigable spirit. (8.875/10)

A2. "Tout De Suite" (14:05) smooth and kind of laid back, even lazy, especially from the horn players, it is Ron Carter's bass play that feels the most alive--though he is matched perfectly by Tony's astute cymbal play. At the end of the third minute Herbie's Fender Rhodes seems to get a paroxysmal glitch in its rhythmicity--which is then met and matched by Ron's equally-herky-jerky bass--while Miles solos confidently and rather smoothly over the top. Soon we find Tony succumbing to the spasmodic malady that Herbie and Ron have contracted. When Herbie is given the nod to take the lead to perform his solo in the tenth minute his paroxysms continue (as do those of Ron and Tony) though their shaky, unstable-feeling rhythm play is by now beginning to feel "normal." Then, at the very end of the 11th minute, the band suddenly, subtly switches into a very smooth standard rhythm pattern--as if the dance of the paralytic spastics never even occurred. (They must have received the antidote.) At this point you think the song is going to quit, but, no! They plug along, as if they're unable to concede defeat, even as they appear to fall out of synchrony and inspiration. Quite the odd tune! I wonder if pulling off this tune presented any hardships. It was definitely interesting if not quite comprehensible. (26.125/30)

A3. "Petits Machins (Little Stuff)" (8:05) another song that, for me, offers little grist or grit--little meat for me to grab hold of; little familiar content for me to feel able to digest. It just passes by, nondescript, with me waiting for material to notice, single out, draw my attention. When the eighth minute draws to an end I find myself scratching my head wondering how the time passed by, how I missed everything--wondering if there was anything there to miss! (13/15)

B1. "Filles De Kilimanjaro (Girls Of Kilimanjaro)" (12:00) more conscribed and restricted play for Tony "the monster" Williams. The dude must have been going crazy! But then the boring single note bass line that Ron Carter was held to for 90% of the song must have also felt frustrating and belittling. Contrarily, the sax, Fender Rhodes, and trumpet solos are all fairly enjoyable. (22/25)

B2. "Mademoiselle Mabry (Miss Mabry)" (16:33) a jam executed on the weekend before his wedding (perhaps as a wedding present to his new bride), Miles summoned Wayne, Tony, and bassist Dave Holland with Chick Corea to the studio for this jam based on Jimi Hendrix's song, "The Wind Cries Mary." The pensive, attentive collaborative reactivity of Dave, Tony and Chick throughout the song's opening three minutes is quite amazing--even mesmerizing, despite Tony's syncopated tom-tom and conga play. When Miles enters in the fourth minute it is with a sensitive, uncharacteristically soulful and heart-felt emotionality--something his collaborators seem to feed off of--especially Chick. The pianist comes up with some absolutely brilliant chord sequences as response and accents to Miles trumpet play--until the end of the seventh minute when some of his choices become rather schlocky lounge chords. Still, about 75% of his piano play on this song is quite novel and creative. In the tenth minute Miles hands the spotlight over to Wayne--inciting some rebellious (or celebratory?) bursts from Tony: here beginning to employ the snare and hi-hat for the first time in the song. Wayne, then, hands the talking stick over to Chick at the end of the 13th minute. Chick takes this time to really play on and with the chord and rhythmic structure of "The Wind Cries Mary" using lots of bluesy riffs and flourishes as well as interesting chord and key shifts during the spaces between the quick three-chord sequence at the end of each section that distinguishes Hendrix's song. And then it's over! A brief, almost obligatory appearance by Miles in the song's final minute seems reflective of Miles attitude toward his new wife (and women in general): you use 'em and like when you think of them but then quickly (and easily) find yourself diverted by any number of equally (or more) interesting phenomena, customs, and habits experienced by men in general. Still, this makes for the most interesting and engaging song on the album and, thus, my favorite. (27.3333/30)

Total Time: 56:30

I really miss the wild and crazy, dynamic shaker and mover, that was Tony Williams in the early Sixties. How much did Tony like these sessions? How crazy was he going And why the French titles?

88.48 on the Fishscales = B/four stars; an interesting if sometimes confusing and difficult-to-access musical exhibition in the transitional period between Miles' Second Great Quintet and his Jazz-Rock Fusion stage. 

And thus ends the duration of Miles' Second Great Quintet. With the conflagration of the Betty Mabry influence coupled with the new presence of John McLaughlin in New York City would begin the sessions that would lead to Miles' full breakout into the open seas that would become known as "Jazz-Rock Fusion."