内容紹介
The fourth studio album by the second great Miles Davis quintet, and the second comprising material recorded in the pivotal year of 1967, NEFERTITI marked yet another metamorphosis in the career of a great musician noted for welcoming change. While Davis (1926-1991) did not make wholesale, far- reaching alterations on NEFERTITI, as he had on KIND OF BLUE and E.S.P and would on BITCHES BREW, one could say that the pace-setting trumpeter-bandleader modified his approach to the freebop that had for two-and-and-half years been his group's bread and butter, at least for recording purposes.
On the title selection, and to a lesser extent on "Fall" (another indelibly aching piece) and "Pinocchio," all high water marks in the catalogue of tenor saxophonist Wayne Shorter, the group's principal composer, Davis had the front line and rhythm section reverse their traditional roles. While the horns repeated the theme again and again, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams shifted the beat's emphasis, stretched the time, and offered a full dynamic/emotional range. The effect was like a series of time lapse photographs of a particularly beautiful scene, with light and color and shadows subtly, but continually changing, thus shifting the focus of one's eye - or, in this case, ear. This made for some of Davis' most mesmerizing music since KIND OF BLUE and SKETCHES OF SPAIN.
Expanded significantly to almost 66 minutes by the the inclusion of four consistently enthralling alternate takes, NEFERTITI presents Miles Davis' second great quintet at the peak of their hypnotic, roiling, poetic powers.
Product Description
The fourth studio album by the second great Miles Davis quintet, and the second comprising material recorded in the pivotal year of 1967, NEFERTITI marked yet another metamorphosis in the career of a great musician noted for welcoming change. While Davis (1926-1991) did not make wholesale, far- reaching alterations on NEFERTITI, as he had on KIND OF BLUE and E.S.P and would on BITCHES BREW, one could say that the pace-setting trumpeter-bandleader modified his approach to the freebop that had for two-and-and-half years been his group's bread and butter, at least for recording purposes.
On the title selection, and to a lesser extent on "Fall" (another indelibly aching piece) and "Pinocchio," all high water marks in the catalogue of tenor saxophonist Wayne Shorter, the group's principal composer, Davis had the front line and rhythm section reverse their traditional roles. While the horns repeated the theme again and again, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams shifted the beat's emphasis, stretched the time, and offered a full dynamic/emotional range. The effect was like a series of time lapse photographs of a particularly beautiful scene, with light and color and shadows subtly, but continually changing, thus shifting the focus of one's eye - or, in this case, ear. This made for some of Davis' most mesmerizing music since KIND OF BLUE and SKETCHES OF SPAIN.
Expanded significantly to almost 66 minutes by the the inclusion of four consistently enthralling alternate takes, NEFERTITI presents Miles Davis' second great quintet at the peak of their hypnotic, roiling, poetic powers.
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