Miles Davis - Nefertiti (Reis)
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Music CD Cover
Artist: Miles DavisBrand: Miles Davis
Edition: Music CD
Format: Extra tracks, Original recording reissued, Original recording remastered
CD Release Date: 1998-10-13
Music Label: Sony
Soundtracks:
- Nefertiti
- Fall
- Hand Jive
- Madness
- Riot
- Pinocchio
- Hand Jive (First Alternate Take)
- Hand Jive (Second Alternate Take)
- Madness (Alternate Take)
- Pinocchio (Alternate Take)
Free Music Notes for Nefertiti (Reis)
Free Music Review: The conclusion
Hit: 5 Stars
Miles Davis, especially later in his career, treated his music's progress in such a way that was stated very well in one particular set of liner notes (to Agharta maybe?): he would take a current direction, sharpen it to a razor's breadth, and then move on, never looking back. Miles was never interested in rehashing the past, in reunions, or in playing anything in one style for too long. Granted, his earlier career had a few periods of relative stagnancy (the post-Coltrane/pre-Shorter period in the early 60s, during which some incredible music was still created, see "My Funny Valentine") but once this band, the Second Great Quintet, with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, was created, Miles kept pushing forward until health and frustration with the world finally caused him to retire in 1975. Even then he returned and kept extending his music. As a result, Miles's musical directions followed the pattern of creating a new concept, and then refining and extrapolating it, until finally it reaches its logical conclusion, then finding a new thread. This present album, cut in 1967, is the end of the thread known as Freebop, one that began with "E.S.P." and broke out with "Miles Smiles," was varied and darkened with "Sorcerer" and finally became fully realized here.
Much has been written about the title track, how the horns drone the angular melody with slight variation while the rhythm section shifts the beat and the harmony and eventually just goes nuts. This is one of my favorite single tune recordings and it's fascinating to hear how much they can do within the framework of a 16 bar tune repeated probably 20 times. Let it grow on you for a while and you won't think the repetition is boring.
But this album isn't just a single tune. "Fall," a ballad by Wayne Shorter, is a beautifully simple tune. The middle two tunes, "Hand Jive" and "Madness," are the full extension of Freebop, the loose, spare improvisational sound of the earlier two albums, but taken farther out rhythmically. It becomes clear listening to these two tunes that there's really nothing more to be done with this approach, so it's fitting that these are the last two. "Riot" is a short, ominous, quasi-Latin Herbie Hancock tune which sounds fresher and sharper here than on Herbie's album "Speak Like A Child" even if this version isn't fully developed yet. "Pinocchio" is Freebop with a twist; like "Nefertiti," the melody is repeated more than usual, but it's a faster tune and the solos do eventually start. But the reason to listen is for Tony Williams, who is bar none the most creative drummer in jazz history and shows it here. He's creating tunes within tunes on his own, adding all kinds of rhythmic and almost melodic dimensions to the drums that previously wouldn't have been thought possible.
This album is not particularly accessible to the average listener; there is danger in picking random Miles Davis albums as natural followups to "Kind of Blue" because most people could listen to two Miles Davis albums recorded 20 or even 10 years apart and not be able to tell that it's the same artist. This album will appeal to more adventurous jazz listeners with more experience hearing what's going on because it's easy to get lost if you don't really understand the music and where it has come from. If you're still interested in getting there, or you like earlier Miles, check out "E.S.P." to test the waters; the approach is a little more grounded in traditional jazz in that Hancock plays chords (even if those chords are a little strange). If you like that album, you might as well go right on up the line and get "Miles Smiles," "The Sorcerer," and "Nefertiti" to complete the thought. Where Miles went after this is the highly controversial electric period (where I believe he did a lot of his best work) though he eases in slowly with "Miles in the Sky," "Filles de Kilimanjaro," and "In a Silent Way." All three of those albums are fantastic and are the next place to go if you like this.
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