Nefertiti (Miles Davis album)
Occupation
- Trumpet: Miles Davis
- Tenor Saxophone: Wayne Shorter
- Piano: Herbie Hancock
- Bass: Ron Carter
- Drums: Tony Williams
Nefertiti is a jazz composition by Wayne Shorter, while the title track of the same name jazz album by Miles Davis, recorded in four recording sessions on days 7, 22 and 23 June and on 19 July 1967, and released by Columbia Records.
The album
The Nefertiti album is by ESP, Miles Smiles and Sorcerer, the fourth and final studio album recorded completely acoustically on the classic second Miles Davis Quintet. What followed was the introduction of electric pianos and the involvement of the fusion guitarist George Benson in the following album Miles in the Sky ( January and May 1968) and the arrival of Chick Corea and Dave Holland in the band during the sessions for Filles de Kilimanjaro. The Nefertiti album so represents the square of the transition, from which Miles Davis's development as " jazz " musicians at a crossroads between its rich past and what should happen in the next two years, when finally in the summer of 1969 Bitches Brew Sessions took place. [ Ephland 1]
The Nefertiti album is a final synthesis of the development of the " second quintet "; 1965-1967 put Miles Davis to four stylistically similar studio productions whose themes were almost exclusively written by the musicians of his ensembles, or by himself. Here especially the posts sticking Wayne Shorter to the repertoire of the band out of the title as "ESP ", " orbit ", " Footprints", "Prince of Darkness ", " Masqualero ", " Paraphernalia " and "The Sorcerer" contributed. Miles Davis said to his saxophonists, " only since Nefertiti was clear to everyone that Wayne Shorter was a great composer. " [ Davis 1]
The Davis biographer Peter Wießmüller remarked: " The result is a further development of the basic repertoire to altered types of topics and the consequent improvisations, in which the influence of saxophonist Wayne Shorter comes to fruition. The tonality, which emerged from this period compositions, Blue recordings differs approximately by the child of the Quartenmelodik; that is, the former modality - which the major-minor system related scales - is replaced in chromatic continuation of ' altered, Lydian and Ionian ' scales, which also serve as a basis for improvisation " [ Wießmüller 1].
The album by its title track, " Nefertiti " by Wayne Shorter was known; the unusual " compositional masterpiece" ( Wießmüller ) repeated several times the melody without individual solo contributions, while the rhythm section improvises about creating dynamics and thereby reverses its traditional role. Saxophonist Shorter introduces the slightly melancholic theme; during the first iteration takes the trumpet added in unison playing style; in following the theme is varied only by the intensity of the presentation and by the break design. [ Wießmüller 1] Eric Nisenson wrote to the play, he would be " no solos in the traditional sense, but piano, bass and drums respond to the issue with always trickier rhythmic patterns. " [ Nisenson 1]
The following, strongly accented rhythmic ballad " case " which is also from Shorter is similar to the previous " Nefertiti " determined by repetitions; in addition to the fixed -arranged ensemble playing sound again and again to short trips, the near -oriented on topic, be absorbed by the each -present ensemble passages again. [ Wießmüller 1] Similar case is also rehearsed on June 7 ballad Water Babies designed. She found on the Nefertiti album, however, and appeared only in 1977 on the eponymous album in the time of Miles Davis ' Retraction between 1975 and 1981. John Ephland wrote in the liner notes that in addition to the melancholy of the piece is also a restlessness of the band members felt was; the solos were created only briefly; "Case" stand on the album by the more traditional harmonic and melodic structures a piece on its own, as if it was taken a few years earlier. However, the balance of the recording apparent to the listener refractions and phrases that express discomfort with the traditional jazz, similar to that in earlier pieces like " Limbo " and " Masqualero " ( on the previous album Sorcerer ) was expressed. [ Ephland 1]
" Hand Jive " is a more applied to the hard bop composition Tony Williams 'whose 4/4-time specified by urging dynamic bass Ron Carter, " lives from lightning quick and rushing Cymbalsound " [ Wießmüller 1] Tony Williams'.
In the fast " Madness", a Herbie Hancock Title feels Wießmüller by Peter Miles ' trumpet symbol, followed by the bass at higher elevations, reminiscent of the mood of the intonation, as she liked Don Cherry in the Ornette Coleman Quartet. [ Wießmüller 1]
The only three minutes short " Riot " as well as the last piece of "Pinocchio" indicate the " restlessness " of the band members. [ Ephland 1]
" Riot " exudes the Jazz Messengers - mood; solo highlights put here Herbie Hancock and Davis [ Wießmüller 1] " Pinocchio ", the third Shorter piece, marks the end of the album.; " The solos by Miles and Shorter count again to master class, with the possible use fewer notes leads to a clear expression. " [ Wießmüller 1]
Effective history
The album reached 1968 in the United States # 8 on the Billboard Music Charts. The innovations of Miles Davis ' second quintet " gave the tonal jazz of the post bop era, new life," wrote his biographer Eric Nisenson on the reception of Davis albums this stage, " but unfortunately were then taken over by very few groups; most bands played modern jazz of the mid 1950s, or belonged to the free jazz camp. " " The albums that Miles Davis has recorded with his quartet of the 60s, are among the most important works of his career, but the subtle changes, they contain, have been ignored by most, as the extremely radical music of Coltrane, Taylor, Shepp, Sanders and others more attracted attention. During the free jazz was also a reaction to the ossification and ossification of the post-bop, Miles ' quintet developed this music beyond the clichés on. " [ Nisenson 1]
The Nefertiti album had finally - as well as his three previous albums -. Using Miles ' " concept of controlled freedom " (Joachim -Ernst Berendt ) lasting influence on the post bop of 1980/90er years [ Berendt 1]
Album Review
The critics Richard Cook & Brian Morton gave the album in the Penguin Guide to Jazz is the second highest rating and call it cool and strict, but designate Wayne Shorter's piece " Nefertiti " as one of the greatest compositions of that time. [ Morton / Cook 1] Scott Yanow, the knew the album in the All Music Guide with 5 stars, noting that Miles Davis ' fourth album, the second classic quintet " the forward development of Sorcerer continuing set by the group to play in a low-key discovery-based groove and recognizable music with even Subjects games; but these issues are played deliberately dissonant from her. " In a sense, this is mood music, Yanow wrote," by the individual components continue to spin in unpredictable directions and flowing soundscapes would be created. This music Anticipate much of the impressionistic work of In a Silent Way album (1969 ), but still remains in the navigable waters of the hard bop. What impress at all sessions of this quintet, is the interplay off artistic solo Einzeleistungen; The musicians follow an unpredictable path as a kind of unit and can be applied to a style of play, which has a little search end, always provocative, and above all never boring. Perhaps the charm of the Nefertiti album was more subtle than its predecessors, but that makes it so fascinating. Incidentally show this album already clearly on the path to fusion, where it remains purely acoustic; and this may force listeners from the other side of the curtain in a different direction. "
The title
- Miles Davis Quintet: Nefertiti (Columbia CS 9594 )
The title " Nefertiti " was recorded on June 7, " Madness" on 22 June, and " Hand Jive " on June 23 and produced by Teo Macero. "Case", " Riot " and " Pinocchio" emerged on 19 July 1967; Producer of this session was Howard Roberts. Later CD editions also contained the alternate takes of " Hand Jive " (two takes ), " Madness" and " Pinocchio". Expenses incurred during this time entitled " Water Babies " ( June 7 ), " Capricorn" (June 13 ) and "Sweet Pea " (June 23 ) published the mid-1970s on the album Water Babies ( Columbia S 34396 )