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Quiet Nights Original recording reissued, Original recording remastered

3.8 out of 5 stars 22 customer reviews

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Editorial Reviews

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Product Details

  • Audio CD (September 23, 1997)
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: Sony
  • ASIN: B000002AJC
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (22 customer reviews)
  • Amazon Best Sellers Rank: #548,561 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
I read a bunch of quite negative reviews here which base most of their negativity on details extraneous to the music, like "Miles said this" or "The studio dates that." I've liked Miles for almost twenty years; I have many of his albums, including the officially "good" ones, and Quiet Nights remains one of my favorites of his or of anyone's. It is a project like Sketches of Spain, with a softer, more sensual, and darker (night-time) feel. I have always thought the cover expresses the mood of the album well. I feel as if I've stepped out of a Jobim cocktail party onto a night patio overlooking the lights of Rio de Janeiro when I hear it. Whatever its liner note details, this is an album made by Miles in his prime, and Gil Evans in his prime, and it doesn't matter that it's twenty-seven minutes long (or short) unless you are the kind of person who thinks small paintings are necessarily worse than big ones and short books are worse than long ones. There is no softer or warmer Miles album than this. Don't be afraid of this album. Miles doesn't have to sound "cool" all the time.
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Format: Audio CD
Ah, the poor lamented 'Quiet Nights.' An album I recently saw referred to as the "wicked step-child" of Miles' output. And here it is, re-mastered and souped up with a beautiful new set of liner notes (which, as it happens, have little nice to say about it). The album that Miles decryed instantly, that sent Gil lamented, that caused Columbia to rethink the strategy of the Miles-Gil teamups. But is it really all that bad?
As it turns out, no. If this album were made by, say, Frank Sanchez and the Red Cloud Rumblers it would be remembered (if it were remembered at all) as a bit too-short middle of the road excursion into Bosso Nova. The problem is that this was the follow up (of sorts) to 'Sketches of Spain' and it was by Miles Davis and Gil Evans, they of 'Miles Ahead' 'Porgy and Bess' and the aforementioned Spanish excursion. So it is a huge letdown, though Miles gets a few good moments. Really though, this shouldn't have been released. Many of the tracks were pieced together by Teo Macero (to Miles' horror) and even then they only had half an album. Columbia let that sit in the vaults for a couple of years, then tacked on "Summer Nights" which Evans had no involvement with whatsoever. Strangely, it is here that the album gets interesting.
The song (6:03 long, by the way, not 3:19 as the cover says...the original cover has it right on the inside jacket!) was a leftover from the brief quartet sessions of April 1963 that produced one half of 'Seven Steps to Heaven' (yes, I said Quartet...the cd gets it wrong again in listing George Coleman as playing). The song is great cool bop, and it's always a joy to hear Miles pull out his mute. Here the original album ended, but now we get the REAL treat.
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Format: Audio CD
Maybe Quiet Nights isn't one of Miles's freshest albums, but it is a great orchestral effort from him. It sometimes sounds like Sketches Of Spain, but really carries that bossa nova groove that was so popular in 1962. It is a shame that the album wasn't finished, yet it is great that the song used to fill the album is "Time Of The Barracudas". This was a soundtrack song used to a short-lived stage play starring Laurence Harvey, and it lasted about a month. It is a medley of many other pieces, including "Barracudas", "Hotel Me Blues", and other pieces that are not named. It is a great effort, and the last orchestral effort from Miles and Gil Evans. As for the other bonus track, the beautiful "Summer Night", Miles joins Victor Feldman, Ron Carter and Frank Butler for a ballad that was recorded the same time as Seven Steps To Heaven was. Quiet Nights has nice portions of bossa nova("Aos Pes De Cruz, "Song #2"), and many others, but I saw right through what they did on "Corcovado". They sampled "On Green Dolphin Street", a previous Miles recording, along with an attachment from an alternate take of "Aos Pes De Cruz" to finish the song! Disorganized yes, but classic, yes too.
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Format: Audio CD Verified Purchase
This 1962 set was the fourth studio collaboration between Miles Davis on trumpet and Gil Evans as arranger and conductor. Once Upon a Summertime in particular reflects the bossa nova influence which was so prevalent at the time these tracks were laid down. Some of the sides were recorded in 1963. Aos Pes de Cruz has that same hip swaying rhythm. And their transformation of the old Rodgers and Hart gem, Wait Till You See Her, is nothing less than riveting in its beauty.

A half century on these performances continue to reward repeated listenings. Ole!
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Format: MP3 Music
What would turn out to be the last great collaboration between Miles Davis and
big band arranger Gil Evans for Columbia Records, the two jazz giants decided to
pay a special homage to The Bossa Nova Craze, but this album had also evinced
the other sides of Miles, jazz’ most brilliantly protean figure, where he managed to
give a fine performance. Recorded in 1962 (the year of the worldwide bossa nova
boom) and released in 1963, Quiet Nights—despite it’s idyllic rendering of Antonio
Carlos Jobim’s title song, wasn’t Sketches Of Spain as this session consists of the
penetrating beauty of the Miles- Evans collaboration. Starting off with the eclectic,
but brief opening track Song No. 2, the sincere track set concludes on a delightful
set of bossa nova and pop standards like Once Upon A Summertime, Aos Pez Da
Cruz, Song No. 1, Wait Till You See Her, the superb Corcavado, Summertime and
the 13-minute Grande finale Song For The Barracudas. What did contribute to the
digitally-remastered edition of Quiet Nights is the way it showcases Miles perform-
ing at his uncoiling best that even found him using his hallmark Harmon mute, and
featured at the helm is a quartet featuring Victor Feldman at the piano. Finally, for
the final track Time For The Barracudas, composed by Miles and Evans, in which
the extended work in progress performed by a 13-piece ensemble that feature the
at once astonishing rhythm section of Herbie Hancock at the piano, Ron Carter on
bass and the 17-year old drumming sensation Tony Williams, which makes Quiet
Nights the kind of music that dreams are made of.
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