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| music for body and soul |______________________|| |
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|| release infos |
'| |
| |
| + artist ........... Miles Davis |
| + album ............ Nefertiti |
| + label ............ Columbia |
| + cat .............. 65681 |
| + year ............. 1998 |
| + genre ............ Jazz |
| + source ........... CDDA |
| + quality .......... 192kbps / 44,1Khz / Full Stereo |
| + release date ..... 06.11.2003 |
| + size ............. 91,2 MB |
| + link ............. www.milesdavis.com |
.| |
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|| tracklist |
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| |
| 01.Nefertiti 07:54 |
| 02.Fall 06:38 |
| 03.Hand Jive 08:57 |
| 04.Madness 07:33 |
| 05.Riot 03:05 |
| 06.Pinocchio 05:08 |
| 07.Hand Jive [first Alternate Take] 06:51 |
| 08.Hand Jive [second Alternate Take] 08:17 |
| 09.Madness [alternate Take] 06:45 |
| 10.Pinocchio [alternate Take] 05:09 |
| |
| |
| (t!) total 66:17 min |
| |
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|| release notes |
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| Biography:----------------------------------------------------- |
| |
| Miles Davis was born on May 26, 1926 in Alton, Illinois. He was |
| known to the general public primarily as a trumpet player. |
| However, in the world of music he had a great deal of influence |
| not only as a innovative bandleader but also as a composer. His |
| music and style was important in the development of |
| improvisational techniques incorporating modes rather than |
| standard chord changes. Miles experiments with modal playing |
| reached its apotheosis in 1959 with his recording of Kind of Blue. |
| |
| Many of the great improvisers and their ideas within the Davis |
| groups were nurtured through Miles Davis, as he acted as |
| inspirational overseer. The music and styles of Miles Davis from |
| one period of his life to the next varied quite differently. He |
| has composed many tunes that today are considered standard |
| repertoire for aspiring jazz musicians. Tunes such as Nardis, |
| Milestones, and So What are typical examples. Miles Davis had an |
| uncanny ability of always selecting great sidemen for his |
| recording sessions. These recordings are full of original and |
| creative sensitivity and are outstanding examples of jazz |
| recordings made at that time. |
| |
| His popularity was so great that he mistakenly received composer |
| credit for a number of modern jazz standards such as Blue in Green |
| (by Bill Evans) Tune Up and Four (by Eddie Vinson). |
| |
| His creative and innovative approach to performing such great |
| standards as Bye Bye Blackbird and On Green Dolphin Street has |
| resulted in these tunes becoming great jazz standards. Considered |
| one of the all time great melodic soloist of our time, Miles Davis |
| can be characterized as having unusual and very skillful timing |
| with simple or complex melodic phrases. As were his counter parts, |
| Thelonious Monk Count Basie, Miles was a true master of restraint |
| with regard to the creative process of his improvised lines. |
| |
| His recording in 1954 of The Man I Love with Milt Jackson and |
| Thelonious Monk and Bags Grove are typical examples of his inner |
| ability of restraint with regard to phrasing and time. Other |
| dramatic technique Miles used was his placement of notes and the |
| use of silence during his solos. Known in the 1950s for his |
| ability to vary the color of his sound, pitch, and the use of a |
| Harmon mute, Miles solos resulted in a warm, rich, wispy, and even |
| intimate improvisation. Examples are Seven Steps to Heaven and |
| Kind of Blue, and today are part of every jazz musicians |
| repertoire. Late in the 1960s Miles began to play more in the |
| upper register. |
| |
| Listen to Miles recordings in 1963 of Miles In Europe and Four and |
| More (1964). In 1969 facing swirling social and musical currents, |
| Miles incorporated the use of electronic instruments into his |
| music. Using harsh dissonance's sounds from electronic instruments |
| he changed the way music of the time was performed and understood. |
| If you listen to his recordings in 1970 you notice his more |
| explosive and violent style with long burst, shattered tones, |
| electronic echoes, and numerous other alterations on his trumpet. |
| Listen to Live -Evil and Bitches Brew. Although Miles Davis does |
| not seem to play as fast or as high as other trumpet players such |
| as, Maynard Ferguson, Dizzy Gillespie, or Clifford Brown, he |
| always maintained a constant momentum at any tempo. The fact that |
| Davis may or may not have been as technical as other trumpet |
| players, still does not detract from the fact that his lines are |
| more varied and original than any other trumpeter of his time. |
| |
| It should be mentioned that Miles Davis is also considered a great |
| artistic painter. In 1988 he created a series of abstract |
| paintings. He was inspired by a Milan -based design movement known |
| as "Memphis" founded by Ettore Sottsass. Known for "hot colors" |
| and "clashing shapes" Memphis mixed and matched a variety of |
| historical motifs and closely resembled a "postmodernism" style. |
| Miles found this style appealing and created a large quantity of |
| paintings. Most of the time Miles appeared on-stage in bright |
| colored clothing that matched his painting style. He always seemed |
| to dazzled his audiences with the color of sound that emanated |
| from his horn and from his clothing. His paintings in New York |
| City (1990) received enthusiastic reviews, as they did in Spain, |
| West Germany and Japan. |
| |
| Davis had a great artistic gift for painting and creating music. |
| He is one of the very few jazz musicians of our time who had the |
| ability to improvise and swing at a constant tempo. When Miles |
| played a tune it became part of his soul and it never lost |
| character. He passed away September 28, 1991 and he will be deeply |
| missed. His music and influence in the world of jazz and art will |
| remain with us for eternity. |
| |
| Review:--------------------------------------------------------- |
| |
| This album is definitely one of the more progressive Miles Davis |
| efforts. It was the last "straight-ahead" jazz album he made |
| before experimenting with electric bass and keyboards in his |
| rhythm section on Miles In The Sky and Filles De Killemanjaro |
| (both released the following year, in 1968). Nefertiti showcases |
| Wayne Shorter's great compositions once again, and Herbie Hancock |
| also contributes a couple pieces. Tony Williams also composed a |
| piece. This album is painfully under-appreciated compared to Miles |
| Davis's other classic releases, although all the real Miles |
| listeners know about Nefertiti. Every track is pulsed by Ron |
| Carter's exquisite basslines and the drumming battery of Tony |
| Williams. "Nefertiti", a Shorter composition, has the melody |
| repeated for about seven and a half minutes, but it's repeated in |
| a different way each time. The moods of the piece change |
| distinctively throughout. There are no solos, and the hypnotic |
| melody will get to you over time. "Fall" is a mysterious, lilting |
| ballad which comes out to be a true gem. Another piece by Wayne |
| Shorter, the abstract setting makes the piece sound like it could |
| speed up at any second, but it remains a beautiful, slow piece. |
| Miles and Wayne both take excellent solos here, and Herbie takes a |
| nice solo here as well sh