Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. Read Full BioNefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.
Miles Davis trumpet
Wayne Shorter tenor sax
Herbie Hancock piano
Ron Carter bass
Tony Williams drums
rec. 1967
Miles Davis trumpet
Wayne Shorter tenor sax
Herbie Hancock piano
Ron Carter bass
Tony Williams drums
rec. 1967
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Jason N Stegall
According to jazz "legend & lore", Miles, Wayne (who composed this tune), Herbie, Ron & Tony were rehearsing in the studio and almost 'by accident' realized that having Tony (and to a lesser extent, Herbie) solo while Miles, Wayne & Ron played the melody & rhythm was the only real way this particular tune could really be performed. [Also tried this idea on an early take of Pinocchio, not coincidentally also written by Wayne.] Oh, and by "solo" I mean that Tony would, in a way, "compose" his drum part around the melody that Wayne himself composed and that Miles & Wayne played together in unison.
Kendall K
Now knowing that, I tend to pay particular attention to Tony and Herbie, and it changes the listening experience a little for me. Thanks.
Willie Brown
Wayne Shorter is so amazing playing the sax.
deja75m
Drummer sets it..and nails it..genius percussion saint! Aagghhhhh peace..in
H. Glennwade Holloway
THE greatest Bop Combo ever. Man life is worth living!! This swings so hard I am...going to jump out of my skin.
Better Call Brunowski
Teo Macero: how many times are you and Wayne going to repeat the head?
Miles: yes
Alex VanBergeijk
I read somewhere that they had done a great take before this one (with some stellar soloing) only to discover that the tape hadn’t been rolling. They were all really bummed out ‘cause they had to re-do the song, and it kind of shows in the performance. Even so, it’s still perfect IMO!
Michael D. Nichols
Great-ness such control not to break away ......notes only needed are played.
deja75m
Can I say how much I love grilled cheese sandwiches?
Pete Hill
Colaiuta's most inpirational album.