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Filles De Kilimanjaro Original recording remastered, Extra tracks

13 customer reviews

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Product details

  • Audio CD (19 Aug. 2002)
  • Number of Discs: 1
  • Format: Original recording remastered, Extra tracks
  • Label: Columbia Legacy
  • ASIN: B000069RHU
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Bestsellers Rank: 12,154 in Music (See Top 100 in Music)

1. Frelon Brun
2. Tout De Suite
3. Petits Machins (Little Stuff)
4. Filles De Kilimanjaro
5. Mademoiselle Mabry
6. Tout De Suite

Product Description

DAVIS MILES

Customer Reviews

4.5 out of 5 stars
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Most Helpful Customer Reviews

26 of 26 people found the following review helpful By Mr P VINE VOICE on 30 July 2002
Format: Audio CD
Its 1968 and its a heady brew of highly original, dark, intense, ethereal jazz from Davis.
Personnel: Davis, Wayne Shorter, Herbie Hancock or Chic Corea, Ron Carter or Dave Holland and Tony Williams.
Williams has ants in his pants throughout. What energy. He is phenomenal.
Its a very unique sound even for this band.
Hancock or Corea play both piano and electric piano.
The horn players come out with some weird haunting melodies.
You can certainly hear the influences of rock creeping in. (James Brown, Jimi Hendrix, Cream)
As the sleeve notes put it: "bestrides the fault line between jazz abstraction and blues diffraction" Could not have put it better myself, whatever it means.
The closing 16 minutes of the final track Mademoiselle Mabry is the highpoint of a staggering piece of work.
Recommended.
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25 of 26 people found the following review helpful By Ian Thumwood on 5 May 2004
Format: Audio CD
The album "Filles de Kilimanjaro" has been heralded by critics as marking the point at which rock began to influence the trumpeter's work. Forty years later, the influence of rock is barely discernable as contemporary musicians have very much absorbed these ideas to such an extent that they have become part of the jazz mainstream. Indeed, Dave Douglas' recent "The Infinite" is very much a homage to this earlier album as it too features the electric piano in an otherwise acoustic setting. (The exceptance being the judicial use of electric base.)
Curiously, this album therefore sounds more contemporary than much of Miles' subsequent output and, for this reviewer, marks a creative highpoint.It is a fitting, adventurous swan song for his classic Quintet of the 1960's.
Throughout Miles' tailors his style to fit the new grooves that the band were now playing. Primarily noted as a cool player, it is doubtful as to whether his groups played any hotter than on "Felon Brun" and "Petits Machins", the two of the most exciting tracks in the Davis discography. His playing is also particularly delicate on "Mademoiselle Mabry." Shorter continues his harmonic explorations and throughout the tracks Tony Williams, the star of the show, whips up a maestrom behind his kit. Elsewhere, the excitement is generated by the electric piano playing of either Herbie Hancock or Chick Corea who prompt the soloists with jabs of exotic colour or scurrying runs up and down the keyboard. Even on the slower tracks, you can feel the energy bubbling away. Bass duties are shared between Ron Carter and a young Dave Holland.
Miles Davis sub-titled this album "Directions in music" and he clearly sensed that he was onto something new when he recorded it.
Read more ›
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7 of 7 people found the following review helpful By molondas on 4 Oct. 2007
Format: Audio CD Verified Purchase
Filles de Kilimanjaro is one of Davis' best albums. It takes a bit of getting into, but it really is worth the effort. Hard to know where to start as the music sort of defies description, but the percussion of Tony Williams on this music is dazzling: not overbearing or thudding, but ever present, driving forward the bluesy, mellow improvisations. Bass and keyboards are very pared down, spare and relaxed, and the main action is between Williams, Shorter and Davis.

Struggling for words, I'd say it's the kind of music that only a band this good could get away with - the improvisations really push the shape of the music to its outer limits. But Davis, Williams, Hancock and Shorter are the best of their generation on their particular instruments and the end product is sparkling, joyous and groovy.
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14 of 15 people found the following review helpful By Jason Parkes #1 HALL OF FAME on 4 Oct. 2002
Format: Audio CD
Davis is of more interest to me from the mid to late 1960's up until his retirement in the mid 1970s. These are the 'directions in music' that lead both to and away from the classic Bitches Brew album.
Fille de Kilimanjaro is an example of this development, Davis accompanied by regular players Herbie Hancock, Tony Williams, Chick Corea and Wayne Shorter. Recorded in June and September of 1968, Davis moves from the 'Miles Smiles' period of transition to another period of his music which would be as much influenced by Jimi Hendrix and Sly Stone as Charlie Parker and Louis Armstrong...This is an album that feels like one long piece, in five phases- and is best listened to next to Nefertiti and Sorcerer- prior to In a Silent Way (also reissued with this) and Bitches Brew. The story didn't end with BB- as Davis developed a more funk orientated take on this type of jazz with the excellent Jack Johnson and On the Corner albums (the coda to this era is Get Up With It- particularly the timeless He Loved Him Madly). Fille de Kilimanjaro is initially hardwork, but repeated listens will reveal its qualities. This edition comes with superior notes to the prior version and an alternate take of Tout de Suite (which is as nice to have as the other bonus cuts on recent reissues). Not sure about the change from red to grey on the cover, but this is another Davis album you have to own.
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3 of 3 people found the following review helpful By Simon Mack - uk creative TOP 1000 REVIEWER on 25 July 2009
Format: Audio CD
yes - i have loved this lp for many years now. for me - its one of his most accessible and coherent later era lps (from 1968), where Miles' sounds still retains the "classic" lyrical trumpet playing that made him famous in the late 50's (on the lp "kind of blue" most famously) yet the sound on "filles" although still cool and minimal from his earlier years, is moving towards his electric era from the following year onwards. slow, late night,bluesy grooves mark the sound to be found here with exquisite solos form Miles himself with empathetic support and counter-point from luminaries Wayner Shorter, Anthony Wiliams, Herbie Hancock, Ron Carter and new arrivals in waiting :Chick Corea and Dave Holland.

the inclusion of both acoustic and electric instruments on the lp mark this album as a pivotal yet a deeply satisfying work jusr prior to Bitches Brew etc. buy without doubt.
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