MILES DAVIS QUINTET: MILES SMILES

The middle of the 60's was time that shifted to the stage where the world of the following Jazz was created from the mode for Miles Davis. Intense of Sax player's changing places might have been one Kan of the challenge of Miles Davis to music in the flow that kept being performed aggressively. His music in the middle of the 60's always certainly continued a high-quality performance. It inevitably conceived the presentiment that received one the top for musicians who enclosed Miles Davis and surroundings.

Miles Davis will receive Wayne Shorter in own band in January, 1965. He is made to join the combo as Sax player and it begins the recording of "E. S.P.". However, Miles is hospitalized for the operation on the thighbone immediately after that. However, Miles to accomplish live at the last few days of the year starts the recording of the second work of this new Quintet in October, 1966. It is this "Miles Smiles".

An obviously obvious difference point can be found by comparing "E. S.P." of the former work and this album. The performance with this Quintet has some respects. Point that element of Jazz of standard is considerably excluded compared with performance till then. And, the element to which jazz by the mode that Miles voluntarily built is developed further. Point to make listener imagine constant line and to present some aspects of improvisation. Or, it gets rid of Harmony. Making the sound of the code is resolved as one of the concepts of mode Jazz and there is a diagram that attempts the decentralization of the ad-lib. The feeling restrained to the element might go out to the average of the performance if musical instruments that each musician and of course one person play originate harmony. However, Miles was ordered to exclude this element to the piano that especially put out harmony easily. Miles prohibited the performance in Harmony to Herbie Hancock as much as possible in a word. A composition advanced to straight line directionality at once from the theme of each tune gives the listener the impression in an abstract element and a sense part.

It gets rid of a basic rhythm of jazz as an element of this album. That is, it can be thought that the development of the rhythm and the element by degree of freedom are strong. The idea that Tony Williams in addition to the rhythm of the free flow that jazz originally has took obviously becomes a part of the circle while devoted to the role to help Solist for the maintenance of the rhythm till then and has expanded the width of Improvisation. The speed of the correspondence of the accurate sheath flexibility of the rhythm of Tony Williams and the response might have been live proven of course. Those ideas can be discovered also with this album. Especially, the conversion of the battuta in "Footprints" strikes close to home to the listener. There is indeed no sense of incompatibility and a splendid jugglery is imagined momentarily move from the performance legato free to 6/8 Afro's patterns. It has the flow that bases "Freedom Jazz Dance" added to one of standard back on three ream [**] and runs to the rhythm of the lock. It might be a performance that this performance is made only this Quintet, too. And, the presentiment that appears to the work of the following Miles might already been conceived.

Miles put the expectation in the performance with an able musician who always had the desire. And, it knows a wonderful experience can be done momentarily at the time of united into one by the element. The work at this time might project considerably in the work that is called Quintet of gold. Of course, it is possible to think about "E. S.P." and this album as a pair. And, if the work of Miles at this time is pursued, the line will have to be drawn at a wonderful element of "Nefertiti" gripping the flow from "E. S.P.".