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Track Listings
| 1. Prince Of Darkness |
| 2. Pee Wee |
| 3. Masqualero |
| 4. The Sorcerer |
| 5. Limbo |
| 6. Vonetta |
| 7. Nothing Like You |
| 8. Masqualero |
| 9. Limbo |
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Customer Reviews
Most Helpful Customer Reviews
9 of 9 people found the following review helpful
Format:Audio CD
The Greatest group in jazz ever ? Judging by the CD it is difficult to suggest otherwise and listeners who have ventured no further than the ubiquitous "Kind of Blue" should check this out to see what the man could really do with a band. This is light years away from the music played on the aforementioned disc and although recorded during the week in which I was born, still sound fresh. Indeed, check out sideman Wayne Shorter's recent "Footprints, live" album just to see the similarities and how ahead of the pack these musicians were in 1967.
"Sorcerer" demonstrated that Shorter was , by now, one of the finest of Jazz composers and whilst his "Prince of Darkness" and "Masqualero" featured on this disc have become familiar, I particularly like the lilting and lesser-known "Limbo." Some of this music is very loose but Miles was never really into Free Jazz and this CD eschews some of the fashionable yet dated noises that one often finds on Blue Note records of this period. All the better for that, I say. This is far more way out!!
Mile's own playing is nothing short of amazing and Messers Shorter, Carter and Hancock are really up for the challenge. There is alot of music played on this disc and there is much reward with each repeated listen. However, the star of the show for me is the drummer, Tony Williams, who whips up a maelstrom behind the soloists, his symbols crashing down in the least expected and most exciting parts of the music. Hard to believe that he was still a teenager when he made this record !! The sound of the CD is exceptionally good for the period too. A Rolls Royce of a recording.
"Sorcerer" demonstrated that Shorter was , by now, one of the finest of Jazz composers and whilst his "Prince of Darkness" and "Masqualero" featured on this disc have become familiar, I particularly like the lilting and lesser-known "Limbo." Some of this music is very loose but Miles was never really into Free Jazz and this CD eschews some of the fashionable yet dated noises that one often finds on Blue Note records of this period. All the better for that, I say. This is far more way out!!
Mile's own playing is nothing short of amazing and Messers Shorter, Carter and Hancock are really up for the challenge. There is alot of music played on this disc and there is much reward with each repeated listen. However, the star of the show for me is the drummer, Tony Williams, who whips up a maelstrom behind the soloists, his symbols crashing down in the least expected and most exciting parts of the music. Hard to believe that he was still a teenager when he made this record !! The sound of the CD is exceptionally good for the period too. A Rolls Royce of a recording.
4 of 4 people found the following review helpful
Format:Audio CD
This is my favourite of the 2nd Great Quintet. Miles' attack, tone and phrasing are spot on. Shorter is not allowed to get too cerebral and Tony Willliams is bustin' everybody's chops throughout - wonderful! In particular listen to Masquerelo and hear the difference from Miles Smiles and later work by Wayne Shorter who forever tried to recapture the mesmerising mood of this piece. Herbie Hancock and Ron Carter are good throughout, too. Even the lyrics at the end are sung at perfect pitch. A terrific session, one of Miles' best.
3 of 3 people found the following review helpful
Format:Audio CD
The second half of the sixties was a period of intense creativity for Miles Davis. In collaboration with the other members of his new quintet: Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams, a succession of brilliantly original albums were released beginning with ESP in '65 and culminating in Filles de Kilimanjaro in '68. Also competing for attention at this time was the meteoric rise of the Beatles and Rock in general on the one hand, and the wilder excesses of `Free Jazz' on the other, with the result that a sort of `jazz-fatigue' set in. Miles' record sales didn't recover until the electric rock-influenced Bitches Brew stopped the jazz-world in its tracks in 1970.
Sorcerer, released in '67, represents the quintessential Davis quintet work from that `fatigued' time, and now that the competition has lost some of its lustre (how often do we listen to The White Album these days?), sounds better than ever. Not only is it the inspired collaboration of five outstanding musicians - who, as Davis tells it in his autobiography, empathized totally and enjoyed each others' company - it also hangs together as a suite, full of variety and contrasting moods in the Ellington or Gil Evans sense; though here the textures are so much lighter - and more startling. There are breathtaking passages where Herbie Hancock appears to withdraw and the horns are left riding on the subtle polyrhythms of Williams' percussion and Carter's agile chording base. Hancock's solos are masterpieces of spacious understatement - sometimes seemingly floating off into three-fingered haikus - and Miles and Wayne are both at the top of their game here.
Everything about this album satisfies: Subtle modal compositions (four out of the seven by Shorter), inventive musicianship of the highest calibre, impeccable style - not least the classic cover image of Cicely Tyson and the surreal afterthought of Bob Dorough's wry Gil Evans-arranged "Nothing like you has ever been seen before!" Somehow missed in the 60s, Sorcerer now gets as many plays as Kind of Blue.
Sorcerer, released in '67, represents the quintessential Davis quintet work from that `fatigued' time, and now that the competition has lost some of its lustre (how often do we listen to The White Album these days?), sounds better than ever. Not only is it the inspired collaboration of five outstanding musicians - who, as Davis tells it in his autobiography, empathized totally and enjoyed each others' company - it also hangs together as a suite, full of variety and contrasting moods in the Ellington or Gil Evans sense; though here the textures are so much lighter - and more startling. There are breathtaking passages where Herbie Hancock appears to withdraw and the horns are left riding on the subtle polyrhythms of Williams' percussion and Carter's agile chording base. Hancock's solos are masterpieces of spacious understatement - sometimes seemingly floating off into three-fingered haikus - and Miles and Wayne are both at the top of their game here.
Everything about this album satisfies: Subtle modal compositions (four out of the seven by Shorter), inventive musicianship of the highest calibre, impeccable style - not least the classic cover image of Cicely Tyson and the surreal afterthought of Bob Dorough's wry Gil Evans-arranged "Nothing like you has ever been seen before!" Somehow missed in the 60s, Sorcerer now gets as many plays as Kind of Blue.
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Most Recent Customer Reviews
Classic Miles
The classic Miles band of he mid 60s in full flow was monsterously capable, and this disc demonstrates that. Read more
Published 18 months ago by Mr. David A. Norris
One of the best
As the other reviews explain this is a recording by Miles' second great quintet - one of the best and most influential groups in the history of jazz. Read more
Published 24 months ago by I. Cameron
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