| | Miles Davis Nefertiti CD Miles Davis Discography of CDs
 (4 Customer Reviews)
Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
NEFERTITI represents the final "straight-ahead" offering by Miles Davis' legendary '60s quintet, the culmination of a creative arc which began with E.S.P.. On four subsequent albums--MILES IN THE SKY, FILLES DE KILIMANJARO, IN A SILENT WAY and BITCHES BREW--Davis forged a fresh creative arc in which he allowed elements of electronics, blues, funk and rock to intermingle with his own post-modernist sensibility to launch the jazz-rock fusion era.
NEFERTITI was the fruition of all Davis' experiments in free form, bebop, cool and modal jazz. Davis's signature as an improviser and musical editor is writ large on each composition, particularly in the provocative use of space. On Shorter's famous title tune, the trumpet and tenor saxophone shadow each other's line in a deliberately inexact manner, almost like a form of silkscreening, as Hancock's piano tolls away suggestively and Tony Williams drops percussive grenades all over the canvas--as if the drums were the lead voice (and don't think they aren't).
Shorter's floating melody on "Fall" and his boppish figures on "Pinocchio" have also become essential elements of the modern jazz lexicon, and listen to how bassist Carter and Williams suspend, subdivide and generally subert the traditional 4/4 swing pulse on the later. Williams' "Hand Jive" and Hancock's "Madness" offer cubist shards of melody as the take off point for more resounding swing interplay with Carter and Williams, while the pithy "Riot" redefines Afro-Cuban in a decidedly modern manner. NEFERTITI is a mysterious, meliflouous, enduring classic.
Recorded at Columbia 30th Street Studio, New York, New York on between June 7 and July 19, 1967. Originally released on Columbia (9594). Includes liner notes by Bob Belden.
Reissue producers: Michael Cuscuna, Bob Belden.
Personnel: Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano, electric piano); Tony Williams (drums).
Audio Remixer: Mark Wilder.
Liner Note Authors: John Ephland; Bob Belden.
Recording information: Columbia 30th Street Studio, New York, NY (06/07/1967-07/19/1967); New York, NY (06/07/1967-07/19/1967).
Photographer: Jan Persson.
Personnel: Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano); Ron Carter (bass); Tony Williams (drums).
Producers: Teo Macero, Howard Roberts.
Re-Issue
Q (1/92, p.89) - 5 Stars - Excellent - "...Acoustic jazz couldn't go far after this masterpiece..."
Down Beat (p.66) - 4.5 stars out of 5 -- "Offset by Hancock's staggered lines, drummer Tony Williams' cymbal taps during `Fall' reel you into the song in a mesmerizing manner..." Miles Davis Nefertiti Songs Nefertiti Music Review Average Rating: (4.3 out of 5 stars)   A BOLD AND STRONG MUSIC
I FIND VERY INTERESTING THIS MUSIC.MILES DAVIS IS MY PATTERN
Submitted by ioulioskerpis (ATHENS CREECE) 
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Musical Poetry
The choice and use of color by all the players is imagnative and spell binding - made so by melodic lines that are timeless,as if created that very moment .
Best yet , it's fresheness is new with each listen as new things are heard with a different listening emphasis or change in your mood or enviroment .
Submitted by fullerg (Philly)
Was This Review Helpful? Yes No  Yawn!
Though I am a huge Miles Davis appreciator and collector, I must admit, this album is so, so, overrated. It's a common occurrence in jazz: a project has great players and a famous leader, so we're all supposed to love it, forever. The problem with 'Nefertiti' is that the melodies are too spare (no hooks, bridges, or counterplay) and, even though this band plays at the highest available level, the songs don't go anywhere. Actually, it's all kinda boring. What I really hate are the alternate takes on cd versions. Who have you ever known who wants to hear virtually identical versions of the same song on the same disc? Who ever started this idea?
Submitted by St.Davey (Windham, Me.)
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Free jazz at its best
With Herbie Hancock and Wayne Shorter how could you go wrong? This is a top Miles Davis album which shows his ability to choose excellent personnel. Tony Williams plays how he feels and gets it all right while Ron Carter lays down the bass to allow Davis, Hancock and Shorter to solo with easy, making beautiful and exciting sound scapes.
Submitted by Anton (Cleveland, Qld, Aus)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Nefertiti CD To buy, Click on price to add to cart | Miles Davis On The Corner CD (1972) Remastered
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ON THE CORNER enjoys a special cult status among musicians, anticipating as it does the punk funk/acid jazz movements. For Miles Davis, ON THE CORNER was another seismic shift. Miles was particularly fond of the lyric sweep of Hendrixian electric guitar, the James Brown-like rhythmic thump of Fender bass, and the bell-like timbre and chordal possibilities of the Fender/Rhodes electric piano. Now the trumpeter sought to incorporate the feel of street rhythms ...
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Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
This is a specially imported limited edition 20-bit digital remaster from Japan.
By the time Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams recorded SORCERER in 1967, they were the most acclaimed ensemble in all of jazz. The Miles Davis Quintet had by this time perfected an intuitive style of collective improvisation that distilled the revolutionary changes of '60s jazz, but without rejecting elements of the mainstream tradition. In fact the Quintet's approach to melody, harmony and rhythm on SORCERER and NEFERTITI formed the basis for many of the Marsalis Brothers' popular recording projects of the 1980s.
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Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
Miles Davis' restless curiosity would never allow him to look back, and as a result, he sought out new blood and fresh challenges over the course of six decades of innovation. When modernists such as Ornette Coleman, Cecil Taylor and John Coltrane began stretching the parameters of form and improvisation in the early '60s, Davis was leery, even hostile at first.
But as the saying goes, if you can't beat 'em, join 'em--and by 1964 Miles had assembled his own dream team of innovative young turks, who began to vivisect the entire Davis book, before moving confidently into uncharted waters. MILES SMILES marks a sea change in which the Miles Davis Quintet really begins to stretch out and confront the avant-garde with a modern thrust of their own--resulting in one ...
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Digitally remastered using 20-bit technologyby Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
As Miles Davis' music evolved in the early '60s, he worked through aspects of his old repertoire, show tunes and the music of Gil Evans with a series of transitional bands, whose members dated from the late '50s on up. As he gradually assembled his dream band, the music began to take on a more modernist perspective, but it wasn't until he added saxophonist Wayne Shorter that this quintet finally gelled.
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