| | 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); 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
Nefertiti
 $6.49  
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 from around the world and to reflect the influence of modern electronic composers such as Karlheinz Stockhausen.
So while ON THE CORNER is generously populated with top-flight jazz players, Davis was zeroing in on a contemporary approach not beholden to jazz players of jazz rhythmic postures--although group improvisation is still very much the order of the day. In paving the way for his Afro-psychedelic working bands of the mid-70's, Davis was roundly dissed, ...
| | Miles Davis Sorcerer CD (1967)
Nefertiti
$10.49
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.
Wayne Shorter's unique style of voice-leading is showcased on four compositions. "Prince Of Darkness" presents an airborne theme over a swinging, restless pulse, as Carter and (especially) Williams answer Shorter's every parry and thrust with lightning and thunder of their own. On his freely inflected "Masqualero," Shorter fragments the Iberian theme between the horns and Hancock's dark, impressionistic chords; the rhythm is crisp and purposeful one second, nebulous and fanciful the next, inspiring a particularly torrid ...
| | Miles Davis Miles Smiles CD (1966) Reissue
Nefertiti
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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 of the greatest jazz recordings of all time.
Performances such as "Orbits" and "Ginger Bread Boy" redefine all notions of swing, as Ron Carter and Tony Williams treat the beat in a free-flowing manner, superimposing new chords and meters over a fulminating 4/4 pulse. Pianist Hancock veers away from traditional block chord accompaniments, often providing spare polytonal counterpoint or laying out altogether. Tenor saxophonist Shorter's harmonic and melodic ...
| | Miles Davis E.S.P. CD (1965) Reissue
Nefertiti
$7.59
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.
E.S.P. marks the beginning of the quintet's collective evolution toward a new brand of modernism: freely inflected, with plenty of room for collective interplay, but still deeply rooted in chordal harmony and swing. After working with Hank Mobley, George Coleman and Sam Rivers, Miles finally got his man when Wayne Shorter left the Jazz Messengers to begin a five year stint with the trumpeter in 1964. The moody impressionistic chords Shorter penned to open "Iris" signal a new texture and harmonic palette for Miles' band, and his serpentine melodic invention, as epitomized by the title cut, acted as a creative catalyst for the entire band.
Shorter went on to become the band's de facto musical director, but on E.S.P. Davis, Hancock and Carter all make significant contributions. "Eighty-One" ...
| | Miles Davis Miles In The Sky CD (1968)
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Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
With MILES IN THE SKY, Davis began to consciously incorporate elements of popular music and blues into the quintet's open-ended style of group improvisation. This was an attempt to reach out, not sell out. By 1968, groups such as the Beatles had stretched the parameters of the pop song form way beyond their humble harmonic beginnings, while the blues trio Cream significantly elevated the level of musicianship and added a bold improvisational dimension to live performances.
It was impossible to ignore these developments. And as Miles indicated in his autobiography, he was already becoming enamored of musicians such as Jimi Hendrix, James Brown, Sly Stone and Muddy Waters (elements of soul jazz had already crept into the quintet's repertoire with "Eighty-One" from E.S.P.).
On MILES FROM THE SKY, the trumpeter's "Stuff" juxtaposes a long elliptical blues line over a harmonically varied Ron Carter bass vamp, as Herbie Hancock pumps out billowy turqoise clouds of Fender/Rhodes chords and Tony Williams alternatingly locks in and deconstructs the eighth note ...
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