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Books > Arts & Architecture > Music > Contemporary popular music > Jazz
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The Studio Recordings of the Miles Davis Quintet, 1965-68 (Hardcover)
Loot Price: R3,993
Discovery Miles 39 930
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The Studio Recordings of the Miles Davis Quintet, 1965-68 (Hardcover)
Series: Oxford Studies in Recorded Jazz
Expected to ship within 10 - 15 working days
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The influence of Miles Davis's "second great quintet," consisting
of Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock
(piano), Ron Carter (bass), and Tony Williams (drums) continues to
resonate. Jazz musicians, historians, and critics have celebrated
the group for its improvisational communication, openness, and its
transitional status between hard bop and the emerging free jazz of
the 1960s, creating a synthesis described by one quintet member as
"controlled freedom." The book provides a critical analytical study
of the Davis quintet studio recordings released between 1965-68,
including E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the
Sky, and Filles de Kilimanjaro. In contrast to the quintet's live
recordings, which included performances of older jazz standards,
the studio recordings offered an astonishing breadth of original
compositions. Many of these compositions have since become jazz
standards, and all of them played a central role in the development
of contemporary jazz composition. Using transcription and analysis,
author Keith Waters illuminates the compositional, improvisational,
and collective achievements of the group. With additional sources,
such as rehearsal takes, alternate takes, session reels, and
copyright deposits of lead sheets, he shows how the group in the
studio shaped and altered features of the compositions. Despite the
earlier hard bop orientation of the players, the Davis quintet
compositions offered different responses to questions of form,
melody, and harmonic structure, and they often invited other
improvisational paths, ones that relied on an uncanny degree of
collective rapport. And given the spontaneity of the recorded
performances-often undertaken with a minimum of rehearsal-the
players responded with any number of techniques to address formal,
harmonic, or metrical discrepancies that arose while the tape was
rolling. The book provides an invaluable resource for those
interested in Davis and his sidemen, as well as in jazz of the
1960s. It serves as a reference for jazz musicians and educators,
with detailed transcriptions and commentary on compositions and
improvisations heard on the studio recordings.
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