FILLES DE KILIMANJARO

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."

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?

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.

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