MILES DAVIS QUINTET: MILES IN THE SKY

With its psych artwork as a warning and to be truthful, I always thought this album should've come past FDK as it is more prog than the previous, but I shall stop my revisionism there. Recorded entirely with Herbie Hancock and Ron Cater on electric instruments, Miles is also toying with wa-wah effects on his trumpets (something I find less evident with FDK), Tony Williams is starting to hit those drums in a rockier fashion and just four tracks to grave this album.

I never saw the vinyl of this album (never really looked for it either), but I wonder about the track listing on which side and their respective original lengths. I have a hard time believing that the 17-mins Stuff would fit with the 12-mins+ Paraphernalia (adding up to a whopping almost 30-mins), while the flipside would only amount to 21 minutes. It would seem more likely that the shorter 7-mins+Black Comedy skipped/exchanged with Paraphernalia. In either case, the Cd version doesn't seem to care, starting on the phenomenal Stuff, probably the closest Miles ever got to jazz-rock (some would say soul-jazz, but not me) with his 60's quintet, If Hancock is great on his electric piano, Tony Williams is pounding them skins like a rock drummer, Ron Carter is not yet on electric bass. However in the following track, George Benson guests on electric guitar (yessir, you read me fine and if you don't believe, it says so on the sleeve), but the track is closer to standard jazz than Stuff.

Another reason I think the Williams-penned Black Comedy should've been on the other side is that Williams pounds again the skin as hard as in Stuff, although we're again closer to "normal jazz", but there is an unusual amount of energy for that type of jazz (as there would be even more in Frelon Brun of the following FDK) and that's probably part of what scared most purists as well. Country Son is an interesting three part track, with one clearly rock (that means 4/4 in jazz terms) section, divided by two solo interludes from HH. It might appear a little improvised to the rest of the album... and it is!!! Great Williams drumming again. He's the unsung hero of this album.

I have seen recently that this album got a remaster reissue with two alternate take of existing tracks. It's up to you to see if the upgrade is worth it. Personally this album is my personal fave from the 60's quintet (should you only have one from that period, that's the one) and it is probably easiest to jump from MITS to IASW, than from FDK to see Miles' progression.

This is the first Miles Davis album to showcase anything resembling jazz-rock. This is the Second Great Quintet, augmented with George Benson on guitar for Paraphernalia. This album has such a great lineup with Herbie Hancock, Tony Williams, Wayne Shorter, and Ron Carter. Hancock is using electric piano for (from what i know) the first time, and Ron Carter using an electric jazz bass. Tony Williams, who was probably the catalyst for Miles going into the jazz-rock direction, utilizing rock beats during certain moments on this album. Aside from these revolutionary advances in Miles Davis' music, this is still great 60s jazz as only Miles Davis could deliver, just with the twists i just mentioned. The phrases and chord sequences are still jazz by the strictest sense, but hey, Miles had to start somewhere. And this is it. This is the (un)official start to Electric Miles, which never stopped until his death in 1991.

The music is amazing. This is the Second Great Quintet at their finest. Stuff, with its haunting melody and great use of electric piano, gives this song a real jazz-rock/fusion feel. And Paraphernalia, with Miles Davis' first use of electric guitar on any of his albums. George Benson, though i dont agree with the direction he took a few years after this album came out, was and still is one of the best jazz guitarists ever. His solo on Paraphernalia is sooooo good, you must hear it to know what I'm talking about.

It's a shame this album and Filles de Kilimanjaro are so underrated. Mostly because of the following 2 albums In A Silent Way and Bitches Brew for their controversial, innovative, and powerful music. So much that MITS and FdK have this giant shadow upon them. Needless to say, this album is essential for discovering the roots of jazz-rock and for any Miles Davis fan. I will however give this album 4 stars, because well, it is not a masterpiece.

As I said, this is still jazz. However, for those seeking the origins of jazz-rock, this is one album that dates way before the jazz-rock boom. Miles may not have been the first to fuse jazz with rock, but he wasn't far behind!

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.

For whatever reasons escape me, I can't get into the groove of MILES IN THE SKY. This album represents the precursor of Miles Davis experimenting with more rock styles to spice up his own jazz style, so MILES IN THE SKY can be retconned as a transitional album of sorts. ''Stuff'' is the track that best represents the future of Davis's body of work (particularly to fans of IN A SILENT WAY), as this cut sounds more psychedelic that the other works on the album, plus the presence of an electric piano helps progress the sound. I would point ''Stuff'' out as the best track as it handles the ''service-to-the-song'' method more so than anything else on the album.

The rest of the album is locked into more traditional jazz territory, complete with walking bass lines, fast, swinging tempos (that swing is best on ''Black Comedy''), irregular chords and fastbreak horn soloing. From a technical perspective, these tracks are impressive, and I'll highlight the start-stop feel of ''Paraphernalia'' and Tony Williams's drumming overall as memorable. Yet, the last three tracks sound a bit cold. Some of the best jazz I've heard had a warmth to it that (excuse the hyperbole) could melt your soul. Albums from a decade prior to this like KIND OF BLUE or TIME OUT could nail that emotional sweet spot to the point of mesmerization. MILES IN THE SKY often makes me nod my head in indifference. Coming from Miles Davis, a man whom I respect for making jazz inviting and fun, this album is a head-scratcher.

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.

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

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.