Product Description

Miles Davis' restless curiosity would never allow him to look back, and as a result, he sought out new blood and fresh challenges over the course of six decades of innovation. When modernists such as Ornette Coleman, Cecil Taylor and John Coltrane began stretching the parameters of form and improvisation in the early '60s, Davis was leery, even hostile at first.
But as the saying goes, if you can't beat 'em, join'em--and by 1964 Miles had assembled his own dream team of innovative young turks, who began to vivisect the entire Davis book, before moving confidently into uncharted waters. MILES SMILES marks a sea change in which the Miles Davis Quintet really begins to stretch out and confront the avant-gardewith a modern thrust of their own--resulting in one of the greatest jazz recordings of all time.
Performances such as "Orbits" and "Ginger Bread Boy" redefine all notions of swing, as Ron Carter and Tony Williams treat the beat in a free-flowing manner, superimposing new chords and metres over afulminating 4/4 pulse. Pianist Hancock veers away from traditional block chord accompaniments, often providing spare polytonal counterpoint or laying out altogether. Tenor saxophonist Shorter's harmonic and melodic abandon inspire Davis toexplore bold new vocal nuances in his phrasing, even as hisclassic compositions--such as "Footprints"--alter the harmonic language of jazz forever. And from the joyous hyper-funkof "Freedom Jazz Dance" to the serene misterioso of the trumpeter's remarkable ballad "Circles", MILES SMILES defines anew performance standard for collective improvisation.

Track Listing

1. Orbits
2. Circle
3. Footprints
4. Dolores
5. Freedom Jazz Dance
6. Gingerbread Boy

Product Details

• Amazon Sales Rank: #24645 in Music
• Released on: 1998-10-26
• Number of discs: 1

Amazon.co.uk Review
In 1965 Miles Davis had a hip operation, suffered from Sickle Cell Anaemia and his mother died--so it is perhaps remarkable that the album he released following those dramas was called Miles Smiles. It was the second album (the first was ESP) by his second great quintet, which aside from the man himself on trumpet had the line-up of Wayne Shorter on tenor sax, Ron Carter on bass, Tony Williams on drums and a young musician by the name of Herbie Hancock on piano. This quintet released four stunning studio albums on Columbia in the late 1960s (the other two are Sorcerer and Nefertiti), which are all worth getting. But Miles Smiles is the best. Using largely Shorter's compositions and powered by Williams's pounding drumming, Miles mixed the abstract with the blues. Supported by the brilliance of one of jazz's finest bass players, not to mention one of jazz's piano icons, Miles Smiles simmers, broods and explodes. It is one of his last before "going electric" and incorporating rock, which challenges the listener without totally forgetting structure unlike some of the avant-garde of the time. The result is not only one of his, but one of jazz's finest ever albums. --Phil Brett

Customer Reviews

miles davis's masterpiece
miles smiles is an excellent album from the legendary jazz trumpeter miles davis and is one of my favorites. this is his best ones along with kind of blue, b#$ches brew, in a silent way, and round about midnight. i wish miles davis was alive today then i can see him in concert. he is my favorite artists besides metallica and joe satriani.

Absolutely Beautiful
I'm a massive Miles fan and i think this ranks right up there with his best albums. Every member of this hugely important quintet plays there ass off on this album creating music which shows how free and abstract this style of jazz can get while still being immediately and viscerally attractive.

Buy this album!.

My favourite 60's Miles Album
In 1967 Miles Davis recorded what was to be the last album before venturing into his electric period. Soon he would be using the Fender Rhodes and the Fender Bass, so it could be seen as his last truly acoustic album. Many jazz purists see Miles Smiles as his last true jazz album because of the above. However beneath the superficial details, it can also be seen as rhythmically one of the trumpeters most explorative works. One has only to listen to Herbie Hancock, Tony Williams and Ron Carter work on the multi-tempo track Footprints to hear this. There are so many subtle rhythmical implications within this piece that it leaves me feeling this was my favourite Miles rhythm section, as much as I love Miles fifties Columbia band. Being a rhythm section player myself, I can constantly find enjoyment and inspiration within this track alone.

Miles himself plays out of his skin throughout and stretches out in a manner far different than what I have heard previously or since. Whilst never being known as the most technically dazzling of trumpeters, he produces some absolutely mind-boggling solos, which leaves me wondering if some critics sat down and listened to this album instead of panning his technically weaker work with Parker, they might give him more credit than he's been allowed for. Tone wise it's generally conceded that Miles was beautiful and Miles Smiles is no exception. Circle showcases some of his most intimate and pleasant moments.

The writing is mostly Wayne Shorter's. Wayne, one of Jazz's most gifted writers never allows the arrangements to inhibit the soloists. In fact it inspires them to greater heights, his own playing included.

If I was to name my top five jazz albums of the sixties, I would like to think this would be in there. I would certainly say to someone who wasn't into Miles in a big way, like some of my colleagues in the industry, check it out. There's something in this album for everyone, whether it be the advanced rhythmic explorations, Wayne's compositions or Miles stronger, busier lead work.
I hope my review does Miles Smiles justice anyway. Happy listening.