Miles Davis - Miles in the Sky (Reis)
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Music CD Cover
Artist: Miles DavisEdition: Music CD
Audio: English (Unknown)
CD Release Date: 2008-02-01
Music Label: Sbme Special Mkts.
Soundtracks:
- Stuff
- Paraphernalia
- Black Comedy
- Country Son
- Black Comedy [Alternate Take][*]
- Country Son [Alternate Take][*]
Free Music Notes for Miles in the Sky (Reis)
Free Music Review: Miles Goes Up From The Skies
Hit: 5 Stars
Miles found himself in 1968 in a very new world of music. Psychedelic sounds were everywhere and different sorts of music were bleeding together into all kinds of combinations and ending up becoming a whole new form.Sly & The Family Stone and Hendrix were popularizing it and on one of his later album with his classic quintet Miles very obviously had his ears all the way open. On the majority of this album Miles,a musician who had been edging towards a kind of avante garde sound on his previous few albums such as Miles Smiles and now a new kind of rhythm was coming into the equation. From "Paraphernalia" to "Black Comedy" onto "Country Son",even with the presence of George Benson,Miles was putting everything happening musically here into the context of rhythm. Believe it or not this was part of the beginning of the jazz-funk movement of the 70's. Recently a discussion I had with my good friend from Oakland (who I realize I name drop a lot in these reviews) bought up the point that much of jazz even at this point was not as on the stop as it seemed;that there was a deeper understanding among jazz musicians who were able to translate their musical traditions from a basic theme into something very original. The themes here do seem to be burried somewhat if your not listening close enough.But the truth is it's because their all based in some form of communal rhythm:Waynes sax,Ron's bass and Tony?Well let's just say that his drumming on everything here is far heavier-not necessarily loud but full of a weighty bottom that stands as more then steady support for Miles' playing,itself usually associated with "tugging at you a little softer" by his own description. The tune that pulls everything together here is the opener "Stuff". It opens it all up-EVERYTHING Miles would do on his breakthrough electric albums such as Bitches Brew and even to some extent On the Corner begins here;Herbie's newly found electric piano soloing,the bass leading the whole way from the bottom up and.......a rhythm that comes in and around the psychedelic stew to what is possibly Miles' first released tune in the funk genre,then a fairly new genre to most people. Even though not psychedelic music in the traditional sense of the word,everything from the trippy album cover all the way down to the rhythms and instrumentation all bleeding together find the influence firmly in place. This is the kind of jazz and funk I can imagine having a lot of appeal to people who usually listened to things like Country Joe & The Fish or even the Grateful Dead. And even for them Miles and the kind of rooted,complex funky music his quintet were making on albums like this will hopefully bring them into a good place to begin grooving to rhythms that were at once communcal,improvisations AND jamming!
Miles in the Sky (Reis) Poster
Japanese reissue of the late jazz great's 1957 album originally released on Columbia. Remastered & packaged in a miniature LP sleeve. 2000 release.The cover image alone for this 1968 release speaks loudly and clearly of something different: it looks like some weird rock record. And while it's not exactly that, Miles in the Sky hints loudly at something new, an upstart sound that would upset jazz purists far more than if he'd just made a rock record. For better or worse, the fusion revolution's baby steps can be heard right here. Time-stretcher Tony Williams's drumming encroaches upon "square" rock rhythms on the opener, a deliriously minimalist 17-minute soul-funk-tango head trip titled "Stuff." There are premonitions of the full-blown electric era of Bitches Brew and Jack Johnson: Herbie Hancock plays electric piano on a few cuts, while George Benson's electric guitar augments Wayne Shorter's "Paraphernalia." This is easily among the finest of the second quintet's six discs: Tony Williams's drumming is fantastically in, out, and on top of the groove; Wayne Shorter blows post-bop nuggets; Ron Carter cuts thick, melodic grooves; Herbie Hancock lays down tone colors; and Davis subtly pushes the envelope of the music. --Mike McGonigal
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