Miles Davis Miles In Tokyo CD

Miles Davis's most successful groups--his first great quintet with John Coltrane, for example, and his mid-1960s outfit with saxophonist Wayne Shorter--are well known, but the ensembles in-between are also notable. On this 1964 concert, recorded in Tokyo, Japan, Miles was already working with the rhythm section he would maintain until 1970--drummer Tony Williams, bassist Ron Carter, and pianist Herbie Hancock. The saxophonist, remarkably enough, is subsequent avant-garde legend Sam Rivers.

Rivers is a unique and under-appreciated player not bound by stylistic constraints; he plays with great verve, humor, and invention. Though Rivers seems a bit out of place on this set of mostly standards (which includes "My Funny Valentine" and "All of You"), it is interesting to hear how his sound changes the group, pushing it toward more flexible rhythmic and harmonic structures. "So What," for example, grows to skittering near-cacophony, with a series of complex solos. Hancock's blinding right hand and the propulsive rhythms of Carter and Williams also drive Davis to some of the edgiest playing of his career at that point. MILES IN TOKYO is a fascinating document of Davis in transition, but is also worth picking up for the chance to hear Rivers in such unique company.

MILES IN BERLIN, recorded in September of 1964, is the first recording trumpeter Miles Davis made with what would be regarded as his "second great quintet." Though Davis had been working with pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams for about a year, the addition of tenor saxophonist Wayne Shorter was the perfect last piece of the puzzle. Shorter built on John Coltrane's innovations from the 1950s, but also brought an abstract, impressionistic sensibility and a sensitivity to the group's unique dynamics. The chemistry worked perfectly, and it is hard to believe--given the rapport the musicians have here--that they had been playing together only a month.

The set features gems that had been part of Davis's repertoire since the mid-'50s, including "Autumn Leaves" and the bop staple "Walkin'," yet the quintet's interpretations leave them virtually unrecognizable. Tempos are quickened to a breathless pace, complex cross-rhythms clatter, and solos spin out into the abstract on furious bebop excursions (a racing "Milestones") and gorgeously colored impressionistic ballads ("Stella by Starlight"). This is a landmark recording, both for its historical importance (this ensemble would make some of the most revered albums in jazz), and its stunning music.

After George Coleman left the Miles Davis Quintet, tenor saxophonist Sam Rivers took his place for a short period including a tour of Japan. Davis did not care for Rivers' avant-garde style (they failed to develop any chemistry) and soon replaced him, but this live LP (originally only issued in Japan) survived to document this brief association. The music (five lengthy versions of standards) is actually of high quality, with both Davis and Rivers in fine form and the young rhythm section (pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) pushing the trumpeter/leader to open up his style. In 2005 the set was remastered and reissued by Sony's Legacy imprint. Other than sound, and a deluxe package that offers many new photographs and essays by jazz critics who attended the concert, is the inclusion of "Go-Go (Theme and Announcement)" at the end of the set for historical purposes.

All tracks have been digitally remastered.

Personnel: Miles Davis (trumpet); Miles Davis; Sam Rivers (tenor saxophone); Ron Carter (bass instrument); Tony Ruption Williams , Toni Williams, Tony Williams (drums); Herbie Hancock (piano).

Liner Note Author: Takao Ogawa.

Recording information: Kohseinenkin Hall, Tokyo, Japan (07/14/1964).

Photographer: Akiyoshi Miyashita.

Personnel: Miles Davis (trumpet); Sam Rivers (tenor saxophone); Herbie Hancock (piano); Ron Carter (acoustic bass); Tony Williams (drums).Mojo (Publisher) (p.124) - 4 stars out of 5 - "Miles himself is definitely in a routine...Rivers is delightfully slithery and unpredictable..."