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Miles Davis - Miles in the Sky CD (album) cover

MILES IN THE SKY

Miles Davis

 

Jazz Rock/Fusion

4.03 | 55 ratings

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Kazuhiro
Prog Reviewer
4 stars The flow of Quintet tried for Miles Davis reached a climax by "Nefertiti". It might not limit to Miles Davis and become one of the works that showed a very important position for the history of Jazz. However, Miles Davis might have groped for directionality to develop the flow and situation further. And, it was a rhythm of Rock taken as an expression of the directionality of the music that he tried and a contemporary part.

The part of Rock that started being established as a situation until reaching this album appeared remarkably exactly at the time of the latter half of the 60's. It will have been time of the revolution for the musician to whom the pursuit of music surrounded surroundings for Miles Davis. And, it is guessed that the music of Miles Davis since "Nefertiti" did dismantlement and restructuring at a very fast speed. And, the form of Quintet that existed as an expression gradually till then was revolutionized.

Each member that half a year passes from the announcement of "Nefertiti" acts for the following creation. To perform E-Piano to Herbie Hancock, Miles Davis demanded. The performance would be a complete revolution and be a challenge for Herbie Hancock. And, guitar player's Joe Beck also existed as a companion of the session at this time. And, guitar player's George Benson participated in the session that had been done in January, 1968.

The directionality at this time is guessed that there were some revolutions and groping for Mils Davis that did the attempt to develop the directionality of the music developed by "Nefertiti". Flow of introduction of sound of guitar by Joe Beck and George Benson. Established of the guitar player was not done to the appearance of John McLaughlin as a result. However, it tries to have tried to introduce the sound of the guitar as a change in the music character of the combo. Or, it changes in the music character to consider the part of Groove surely. They will be able to draw the flow of proceeded combo to the next step.

Competing with Gil Evans that had been done in February, 1968 will have been a flow of one revolution for Miles Davis. And, the concert is dared in Gil Evans and Los Angeles in April, 1968. The sound source of the recording done at this time is connected with the content of this album.

It is guessed that breaking down the situation and the liberalization of the rhythm exist as a nucleus when thinking as a flow of the situation. Uniting the mode and the age to establish by "Nefertiti" gives a more chaotic impression. However, the expression that each member catches while groping for directionality method might be good at the wavelength of Miles Davis each other. And, it is guessed that the part of the edit done to raise the perfection of the album had been done since this time.

"Stuff" continues atmosphere with good part of the wind instrument in close relation to the melody of E-Piano that produces the anacatesthesia. The rhythm in close relation to the part of the intermitted theme increases degree of freedom. There might be a flow distributed while developing the element of "Nefertiti" further as a concept. The expression of the performance to establish especially eight rhythms and the performance at this time is being established.

The melody of a glossy wind instrument legato of fast cymbals gets on "Paraphernalia". The progress of piano Chord is complete. And, the part where syncopation intermittently repeated was multiused decides the impression of this tune. Melody of trumpet with consistently good flow. The performance gradually gives the speed and freedom also in the part of solo of Sax. Solo of George Benson might also have originality.

As for "Black Comedy", the taste that this Quintet did has been made the best use of enough. Each member's performance in close relation to the rhythm that moves freely might be high-quality. Development and a dash feeling advanced as a comfortable tension is continued are splendid. The idea tried in the part and the past when the revolution is tried might be united.

As for "Country Son", a certain kind of order exists together in the performance that diffuses completely. The flow of Quintet is remarkably expressed. The development of the melody and the rhythm that puts fast and slow might be splendid. A chaotic introduction of Solo in close relation to the impression and the processing of the space might succeed.

The revolution and groping done at this time are exactly expressed by the work. It might be an album that exists as a work that catches the delicate time in detail.

Kazuhiro | 4/5 |

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