E.S.P.

October 6, 1998 | Format: MP3

$5.99
Also available in CD Format
Song Title Artist
Time
Popularity  
30
1
5:28
30
2
6:14
30
3
7:19
30
4
3:55
30
5
7:45
30
6
8:30
30
7
8:50
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Product Details

  • Original Release Date: July 2, 1997
  • Release Date: October 6, 1998
  • Label: Columbia/Legacy
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 48:01
  • Genres:
  • ASIN: B00138CUT2
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (41 customer reviews)
  • Amazon Best Sellers Rank: #18,147 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.7 out of 5 stars
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Most Helpful Customer Reviews

49 of 51 people found the following review helpful By Michael Hardin on March 3, 2006
Format: Audio CD
I had the misfortune of buying "Miles Smiles," the album recorded after this one, way before my ears were ready for it. As a result, I disliked that album and got turned off of Miles' second great quintet. Since then I've come to understand post-bop ironically through the work of the sidemen on this album (Wayne Shorter in particular) and I recently picked up this album. It blew my mind. I remembered this group and its musical philosophy as uninteresting, as they tended towards dispensing with the chord changes on almost every tune. Thus there was a quality of sameness (to the uneducated or closed ear) to the approach of all the tunes. But that preconception was totally blown out of the water when I listened to this album. Rather than sameness, the compositions are harmonically varied and go in fascinating, unconventional directions. This, to me, is what jazz is about: the search for new ways to express melody, rhythm, and harmony, while retaining beauty and emotion. This album succeeds brilliantly in that quest, particularly Wayne Shorter's compositions. The title cut essentially defines a new set of rules for chord motion, and "Iris" is one of the most beautiful tunes Wayne has ever written while defying any and every cliche of modern harmony. "Eighty-One" looks at the blues as a song form and alters the conventional harmony just enough to retain its integrity and flow while creating new interest. "Mood" returns to Miles' signature brooding, slow minor-key playing without sounding like a copy of anything he had played before in this vein.

As for the playing itself, the level of musicianship on display from Davis, Shorter, Herbie Hancock, Ron Carter, and Tony Williams, is at an expected high. A certain telepathy existed between the members of the rhythm section (yes, E.S.P.
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26 of 28 people found the following review helpful By Michael Stack VINE VOICE on October 20, 2005
Format: Audio CD
By 1965, the world of jazz had changed almost unrecognizably from just five years ago, and Miles Davis was in danger of being left behind. After the triumphs of his first few years with Columbia, it seems Davis had had enough. His past few records and his live performances found him falling back on old habits, exploring standards and hard bop pieces that he'd been playing for the past several years. Meanwhile, Ornette Coleman, Cecil Taylor and Albert Ayler shook the foundations of jazz and John Coltrane in December of 1964 had just aligned himself with them by recording his masterpiece "A Love Supreme". All this time, Davis had been standing still, but he'd assembled a new quintet, completed by plucking his crown jewel and tenor saxophonist Wayne Shorter from Art Blakey's band to add to his working band of pianist Herbie Hancock, bassist Ron Carter and drum prodigee Tony Williams. And while his band dutifully played the hard bop he was paying them for, they wanted to stretch out, to build on the innovations of Coleman, Taylor, Ayler and Coltrane, and remarkably, they inspired Davis to do so as well. In January of 1965, they went into the studio to record their first album together-- "E.S.P", and it was clear that, to steal an Ayler song title, change has come.

Now granted, the music here isn't quite free jazz, but it's certainly a lot more adventerous than anything Davis had done since "Sketches of Spain".
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18 of 20 people found the following review helpful By JetTone12 on November 5, 2003
Format: Audio CD
Miles was at his best on this recording. He had been re-energized once again by Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams, and it is displayed here. Miles solos with phenomenal upper register control and great ideas, and Wayne Shorter and Herbie also play great solo work. Ron and Tony are the fuel of this group and keep the energy flowing at all times. The album jumps right at you with the title track, a wonderful tune written by Wayne and Miles, where it continiously builds up in intensity, and it seems as if Wayne is simply building the intensity for Miles to take it into a whole different, more insane place, and then Herbie takes it from there and gradually cools it down again. Then there's the great radio feel of "Eighty-One", which is a very catchy little tune, and everyone in the band plays great. Herbie and Miles sound really hip on this one. "Little One" is a beautiful ballad written by Herbie, and is one of my personal favorites. Herbie also recorded this tune outside of Miles's group with Freddie Hubbard, Wayne, Ron and Tony, but I personally prefer the version with Miles (although they're both great). "RJ" is another faster hard bop tune, this one written by Ron Carter, and is a bit brief but makes a point as a transitional part of the album. "Agitation" is a composition by Tony Williams, and the title could not describe the piece better. The whole song gives a feeling of agitation. Tony Williams opens the song with a drum solo for two minutes, running through all sorts of complex rhythms. Miles comes in on harmon mute over this freeform rhythm and sounds great. This is one of the album's most interesting songs.Read more ›
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