Miles in the Sky (Reis) [Original recording reissued, Original recording remastered]

Miles Davis | Format: Audio CD

Product Details

• Audio CD (October 13, 1998)
• Original Release Date: 1967
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: Sony
• ASIN: B00000DCH3
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.2 out of 5 stars  See all reviews (37 customer reviews)
• Amazon Best Sellers Rank: #202,426 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

The cover image alone for this 1968 release speaks loudly and clearly of something different: it looks like some weird rock record. And while it's not exactly that, Miles in the Sky hints loudly at something new, an upstart sound that would upset jazz purists far more than if he'd just made a rock record. For better or worse, the fusion revolution's baby steps can be heard right here. Time-stretcher Tony Williams's drumming encroaches upon "square" rock rhythms on the opener, a deliriously minimalist 17-minute soul-funk-tango head trip titled "Stuff." There are premonitions of the full-blown electric era of Bitches Brew and Jack Johnson: Herbie Hancock plays electric piano on a few cuts, while George Benson's electric guitar augments Wayne Shorter's "Paraphernalia." This is easily among the finest of the second quintet's six discs: Tony Williams's drumming is fantastically in, out, and on top of the groove; Wayne Shorter blows post-bop nuggets; Ron Carter cuts thick, melodic grooves; Herbie Hancock lays down tone colors; and Davis subtly pushes the envelope of the music. --Mike McGonigal

Product Description

An electrifying experience as Davis moves away from his traditional quintet sound toward a more jazz/rock feel later to be known as fusion. Illuminated by Herbie Hancock's Fender Rhodes, along with a guest appearance by George Benson on Paraphernalia. --This text refers to an alternate Audio CD edition.

Customer Reviews

Most Helpful Customer Reviews

28 of 28 people found the following review helpful:

5.0 out of 5 stars Fine transition effort, February 3, 2000

By 

Tyler Smith (Denver, CO United States) - See all my reviews
(REAL NAME)   

This review is from: Miles in the Sky (Reis) (Audio CD)

Shortly before embarking on the voyages of change that were "In a Silent Way" and of course "Bitches Brew," Miles and his quintet recorded this underrated record. It's unlikely that you'll find it on many listeners' "Best of" lists of Miles' recordings; however, it's a minor gem that is buried in his huge discography.

It's true that on "Miles in the Sky" the group sticks more than a collective toe into the rock waters. But jazz listeners shouldn't be frightened off by that. This is still a rock-solid jazz record. Tony Williams is especially effective at bridging the gap between rock and jazz drumming. As the best example, check out his and Miles' incredible rapport on "Country Son." Tony's fascinating work on this song and throughout the record reminds us of what a great musician we lost when he passed.

George Benson's contribution on "Paraphernalia" is superior as well. He too manages to imply a rock feel in his playing without ever abandoning the fluidity and freedom of jazz.

For those listeners more comfortable with Miles' fusion material, this might be the album that treads close enough to rock to satisfy you, but it might also be the album that whets your appetite for earlier Columbia dates that this quintet recorded. Once you get a taste of those, you might find it hard to be fully satisfied with the later material.

16 of 16 people found the following review helpful:

5.0 out of 5 stars What a difference a drummer makes, March 5, 2006

By 

Michael Hardin (South Duxbury, Vermont United States) - See all my reviews

This review is from: Miles in the Sky (Reis) (Audio CD)

When it comes to Miles's "Second Great Quintet," much is made of "Miles Smiles" and "Nefertiti" as classic albums, but I had heard next to nothing about this one. However, when I bought "E.S.P." and it blew my mind, I picked this one up along with all the other albums by this group: Wayne Shorter on saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. This album may not receive as much attention as others of the period, but it deserves just as much praise as the undisputed classics. I think there are certain things this album does BETTER than "Miles Smiles" and "Nefertiti;" when the rhythm section is playing straight time, they have never sounded more in the pocket or swung harder than here. Then within the confines of a few seconds they can break out of their perfect groove and just explode, and again, it's more effective here than any of the other albums. Central to this aspect of the music is that Tony Williams gives what was probably the best performance of his tenure with Miles. The man was a MONSTER drummer and displays major drum chops but also excellent taste and an amazing knack for shaping what the rest of the band was doing.

Part of the reason Williams's contributions are their very best is that the material plays to his personal strengths. The tunes themselves may not be the best compositions in this band's discography but they are vehicles for some killer playing. "Stuff" is the band's first obvious foray into what would become fusion; Hancock plays Fender Rhodes and Carter plays electric bass (against his will), and Williams pushes the band with his still unmatched jazz-rock feel. Then "Paraphernalia" features George Benson on guitar, but not in some kind of special guest feature gimmick common in the music industry today. Benson is there because his guitar adds to the texture of the intriguing groove, at times almost sounding like something from out of "West Side Story" but with an explosive release which lifts the band and individual soloists to new heights. Williams is absolutely brilliant in his support and energy, and it's often as interesting to listen to his "background" as it is to listen to the soloists. Williams's composition "Black Comedy" is a fantastic feature for this same role; he makes drums into a voice of equal partnership in the musical ideas. Then "Country Son" features truly inspired playing from everyone.

File this album under difficult to understand and appreciate. It took me seven years of heavy exposure to jazz before I could really appreciate or even like this band. It's not a good place to be introduced to Miles and though it is rock influenced on some tunes it doesn't make for a good crossover. But if you want to get into some fantastic, creative, energetic music, try following this band's recorded lineage, starting with "E.S.P." which is the most accessible of the band's music, as it was the first. Once you appreciate the creative depth of this band's explorations, it will make this album all the more enjoyable and amazing.

8 of 8 people found the following review helpful:

5.0 out of 5 stars This "Sky" Is Above the Limit., October 20, 2002

By 

The Groove (Boston, MA) - See all my reviews

This review is from: Miles in the Sky (Reis) (Audio CD)

It's rare that I do this, but I bought "Miles in the Sky" mainly for its album cover. It looks trippy and strange, but it also looks intriguing and would probably satisty the curiosity of those open-minded enough to give it a try. Well, I gave "Miles in the Sky" a try on my CD player, and it richly fulfills the promise of its cover. From the first track, the soulful and alluring 17-minute "Stuff" (appropriately titled, by the way), "Miles in the Sky" took me into another world that shows Davis has evolved from the days of "Kind of Blue" and "Round About Midnight." He's also taken a more experimental approach to jazz, which is evident in the musicianship from track to track. The upbeat "Paraphernalia" is classy and srtaight up brilliant, with Davis in stellar form on trumpet and featuring a welcome guest appearance from George Benson on guitar. "Country Son," written by Miles himself, is 13 minutes of pure bliss that playfully shifts tempos throughout and features some impressive piano from Herbie Hancock and popping bass from Ron Carter. There's really no structure to this track, which just randomly moves along and goes with the flow. Yet, it's "Country Son"'s very spontaneity that makes it so successful. Bold and experimental, "Miles in the Sky" shows Davis pushing the envelope even further as a musician. It's a marvelous achievement that never tires.