Circle 3. Footprints 4. Dolores 5. Freedom Jazz Dance 6. Gingerbread Boy Total Time The Miles Davis Quintet Miles Smiles This quintet of Davis, Hancock, Shorter, Carter and Williams is one of the best ever assembled in jazz, certainly the best of this era.
The performance of every song here is splendid. The recording quality is good for it's mid s vintage. The songs are all high quality melodic bebop, with an emphasis on extended soloing by the three masters, Davis, Shorter and Hancock. Ron Carter and Tony Williams generally lay back, providing the foundation for the rest of the band to play off of.
While there is no prog here, as this was a few years before Miles went off experimenting with electric fusion, the compositions and playing are so high caliber that this could find a place in any music lover's collection. Miles Davis will receive Wayne Shorter in own band in January, He is made to join the combo as Sax player and it begins the recording of "E.
However, Miles is hospitalized for the operation on the thighbone immediately after that. However, Miles to The Miles Davis Quintet Miles Smiles live at the last few days of the year starts the recording of the second work of this new Quintet in October, It is this "Miles Smiles".
February 16, . Post-bop  hard The Miles Davis Quintet Miles Smiles avant-garde jazz . Columbia CS— Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Davis and company play against coal-black backgrounds that serve to illuminate every detail, texture, and nuance.
Superb separation and plentiful air allow instruments to fully blossom, effectively taking you into Columbia's 30th Street Studio to watch the legendary combo transpire before your eyes.
Like the other iconic Davis titles in Mobile Fidelity's reissue series, The Miles Davis Quintet Miles Smiles analog version also puts a premium on tonality and preservation of individual notes, which arc and decay with uncanny realism. Add to your wish list library. NOTE: The text of this review has been edited to include information provided by the mastering engineer. A phone call from Mobile Fidelity's Rob LoVerde answered my questions about the provenance of the source. Miles The Miles Davis Quintet Miles Smiles was remixed by Mark Wilder in from original four-track session tapes.
Wilder created a new Reedale Rise Eternal Return stereo master tape directly in the analogue domain. Wilder did the same process with Kind of Blue; a remix from the three-track session tapes to a new stereo analogue master tape.
Britton transferred those recreated stereo analogue masters to SACD for the current set of releases, except where original master tapes were available.
MoFi clearly segregates ESP and My Funny Valentine, for which original master tapes either could not be Jim Sullivan UFO or were deemed unusable, from the rest of the series by designating them "Mobile Fidelity Sound Lab" rather than "Original Master Recording".
Based on listening to the SACDs and LP through loudspeakers and through planar headphones with a dedicated headphone amp, I can say that the JSACD sounds similar to the LP, but with a curious emphasis in the The Miles Davis Quintet Miles Smiles frequencies, the effect of which could be described as lively and bright if you like the way it sounds, or harsh and exaggerated if you don't.
But the piano, bass and drums on the MoFi release sound more detailed, and except for some peaks in Tony Williams' loudest drum passages, much less distorted. The tapes are Caetano Veloso Caetano Veloso excellent shape, kept in climate controlled vaults.
Tape condition is very rarely an issue. Whether they are working with Mark Wilder's newer analogue masters, or the masters created at the time of the original recording dates, Mobile Fidelity strives to provide the best experience for the listener. Mark Wilder's contribution to the MoFi projects shouldn't be overlooked. Wilder has over two decades of experience working with the extant master tapes and the Curtis Fuller Volume 3 studio work tapes of the Columbia Miles Davis recordings.
That was apparently not the case with Miles Smiles, and the interview provides a glimpse into Wilder's methods. Wilder has acknowledged that it is not possible to reproduce the original mixes of Miles Davis' albums exactly, certainly not Bitches Brew, which had a myriad of tape edits and post-production signal processing. My impression, both from the Paul Tingen interview and from listening to Wilder's work, is that he exercises his best judgment and technical ability to convey the nuances and impact of the original performance.
He's not remixing to draw attention to himself or to make our audio systems sound impressive, but to focus attention on the music. Waters sets the sessions in the context of Miles' absence from the jazz scene, and his sidemen's growing reputations, during the interim between The Miles Davis Quintet Miles Smiles January ESP sessions and the October Miles Smiles dates.
During that year and a half, Davis was sidelined by serious illness. He'd recovered sufficiently from hip surgery to perform the December Plugged Nickel The Miles Davis Quintet Miles Smiles, but then succumbed to a liver ailment related to sickle-cell anemia and alcohol abuse. During that same month period, Hancock and Shorter recorded sessions of their compositions for Blue Note Records that established them as eminent composer-soloists and maturing bandleaders.
Mobley, Kelly, Chambers, and Cobb all left Davis by the end ofand during he struggled to maintain a steady line-up. The performance style of The Miles Davis Quintet Miles Smiles Second Great Quintet was often referred to by Davis as "time, The Miles Davis Quintet Miles Smiles changes", incorporating elements of free jazz without completely surrendering to the approach, allowing the five men to contribute to the Nils Frahm Encores 2 as equals rather than as a leader and sidemen peeling off unrelated solos.
When Davis began to become more interested in the rocksouland funk music of the late s, the Second Quintet unraveled. Carter departed during the sessions for Filles de Kilimanjaroand Williams left in early to start his The Miles Davis Quintet Miles Smiles band, the Tony Williams Lifetimestaying on with Davis to record the groundbreaking In a Silent Way.
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