![]() In The Penguin Guide to Jazz, Richard Cook and Brian Morton wrote that like its predecessor, Pangaea 's lengthy performances combined musical forms from African-American genres with Karlheinz Stockhausen's "conception of a ' world music' that moves like creeping tectonic plates". Considine rated it half-a-star higher than Agharta in The Rolling Stone Album Guide. Although he found the band less impressive here than on Agharta, Jurek said some individual members stood out more on Pangaea, which he found just "as relentless" and "plenty satisfying". ĪllMusic's Thom Jurek was more enthusiastic. Tingen also observed "a sense of tiredness and drift", which he attributed to the septet having played the first concert earlier that day: "There are several extended periods during which the band just plays out the grooves, waiting for Miles to give the next cue." In the Los Angeles Times, Bill Kohlhaase called Pangaea "a striking personal soundtrack of decline that, like Miles himself, suffers from exhaustion before playing itself out". Davis biographer Jack Chambers found the performance "vastly" inferior to Agharta, as did Paul Tingen, who lamented Davis' reduced presence and role directing his band. In The Village Voice, Robert Christgau gave Pangaea 's 1991 CD reissue an honorable mention, citing "Zimbabwe" as the highlight while lamenting the flute playing and scant track listing. Critical reception Retrospective professional reviews Review scores It did not see release anywhere else until 1991, when in May that year, Columbia Records released Pangaea on CD in the United States, as part of the label's Columbia Jazz Contemporary Masters reissue program. The album was first released exclusively in Japan by CBS Sony in 1976. The second track contains performances of "Ife", and "For Dave (Mr. According to discographer Peter Losin, the first track contains performances of "Turnaroundphrase", "Tune in 5", "Turnaroundphrase" again, "Tune in 5" again and "Zimbabwe" (not to be confused with the actual medley recording's title). This album's music was split into two tracks, "Zimbabwe" and "Gondwana", the latter of which was the name of the ancient supercontinent, as was " Pangaea". The Agharta concert took place during an afternoon matinee, whereas Pangaea was recorded in the evening. Retrieved February 4, 2017.Both Pangaea and its predecessor Agharta were recorded on February 1, 1975, in Osaka, Japan, at the Festival Hall. ^ "Rediscovering the Miles Davis Quintet".The Studio Recordings of the Miles Davis Quintet, 1965-68. Miles Davis: The Complete Illustrated History. The New Rolling Stone Album Guide: Completely Revised and Updated 4th Edition. Brackett, Nathan Hoard, Christian (eds.). Acoustic jazz couldn't go far after this masterpiece. ^ Frank Alkyer Enright Jason Koransky, eds.^ a b c d "Nefertiti – All Music Review".Sides one and two were combined as tracks 1–6 on CD reissues.īillboard Music Charts (North America) – Nefertiti.Starting with his next album, Miles in the Sky, Davis began to experiment with electric instruments, marking the dawn of his electric period. Nefertiti was the final all-acoustic album of Davis' career. Similarly, Pinocchio is a relatively fast composition on the released version and yet the group rehearsed it at a much slower pace, with the horns repeating the head whilst the rhythm section improvises underneath, in a similar manner to the master take of 'Nefertiti'. On the next two takes (including the released version) it is rendered at a fast tempo in predominantly 4/4 time. For example, the quintet initially rehearsed 'Madness' as a slow waltz. This album, along with others by this particular group, demonstrates their willingness to fundamentally alter the basics of a composition during the recording process. In 1978, Shorter recorded a new version of "Pinocchio" with Weather Report for the album Mr. Shortly after this album, Hancock recorded a different version of "Riot" for his 1968 album Speak Like a Child. Michael Bailey of All About Jazz cited it as one of the quintet's six albums between 19 that introduced the post-bop subgenre. The fourth album by Miles Davis's Second Great Quintet, Nefertiti, is best known for the unusual title track, on which the horn section repeats the melody numerous times without individual solos while the rhythm section improvises underneath, reversing the traditional role of a rhythm section. Davis himself did not contribute any compositions, which were mostly written by Herbie Hancock and Wayne Shorter. Recorded on June 7, June 22–23 and July 19, 1967, at Columbia's 30th Street Studio, the album was Davis' last fully acoustic album. Nefertiti is a studio album by American jazz musician Miles Davis, released in March 1968.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |