& FREE Shipping on orders over $49. Details
Only 1 left in stock.
Ships from and sold by Amazon.com. Gift-wrap available.
E.S.P. has been added to your Cart
+ $3.99 shipping
Condition: Used: Good
Comment: Audio CD is untested, but appears in good condition and there is minimal damage to the case.
Other Sellers on Amazon
Add to Cart
$10.03
& FREE Shipping on eligible orders. Details
Sold by: MEGA Media
Add to Cart
$13.73
& FREE Shipping on eligible orders. Details
Sold by: IMS Distribution
Have one to sell? Sell on Amazon

E.S.P. Original recording remastered, Import

4.7 out of 5 stars 41 customer reviews

See all 6 formats and editions Hide other formats and editions
Price
New from Used from
Audio CD, Original recording remastered, Import, October 13, 1998
"Please retry"
$10.68
$1.81 $0.96
Includes FREE MP3 version of this album.
Provided by Amazon Digital Services LLC. Terms and Conditions. Does not apply to gift orders.
Complete your purchase to save the MP3 version to your music library.

Stream Millions of Songs FREE with Amazon Prime
Get Started with Amazon Prime Stream millions of songs anytime, anywhere, included with an Amazon Prime membership. Get started
$10.68 & FREE Shipping on orders over $49. Details Only 1 left in stock. Ships from and sold by Amazon.com. Gift-wrap available.

Frequently Bought Together

  • E.S.P.
  • +
  • Nefertiti
  • +
  • Sorcerer
Total price: $21.66
Buy the selected items together

Special Offers and Product Promotions

  • Includes FREE MP3 version of this album Here's how (restrictions apply)

Editorial Reviews

Product Description

DAVIS MILES E.S.P.

Amazon.com

E.S.P. is an inventive post-bop treasure that finds Mr. Davis totally re-energized by the young guns of his second quintet. Davis's first album of new material in six years (most of it written by the band), E.S.P. is a brilliantly-executed treatise on the workings of tension and release. The songs are predominantly modal and the structures themselves are different, with a minimalist bent and more emphasis placed on melodies that are repeated, fractured, improvised upon, and released into the ether of total, free sound. The supple rhythm section--powerhouse drummer Tony Williams and bassist Ron Carter--provide ample room for Davis, Hancock, and Shorter to explore interlocking melodies, notably on the jaunty "Eighty-One" and the sweet lullaby "Iris." On "Agitation," Williams brings the noise, grafting the rhythmic freedom of the day's free-form music to the group's tuneful and "out" playing. --Mike McGonigal
  • Sample this album Artist - Artist (Sample)
1
30
5:28
Listen Now $0.99
 
2
30
6:14
Listen Now $0.99
 
3
30
7:19
Listen Now $0.99
 
4
30
3:55
Listen Now $0.99
 
5
30
7:45
Listen Now $0.99
 
6
30
8:30
Listen Now $0.99
 
7
30
8:50
Listen Now $0.99
 

Product Details

  • Audio CD (October 13, 1998)
  • Number of Discs: 1
  • Format: Original recording remastered, Import
  • Label: Sony Columbia/Legacy
  • ASIN: B00000DCH2
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (41 customer reviews)
  • Amazon Best Sellers Rank: #146,065 in Music (See Top 100 in Music)

Amazon's Miles Davis Store

Customer Reviews

Top Customer Reviews

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.
Read more ›
4 Comments 53 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
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".
Read more ›
1 Comment 26 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
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 ›
Comment 19 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse

Most Recent Customer Reviews


Set up an Amazon Giveaway

E.S.P.
Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway
This item: E.S.P.


What Other Items Do Customers Buy After Viewing This Item?


Look for Similar Items by Category