Miles In Berlin 高品质耳机，沉浸式音乐体验，适合旅行、通勤和居家放松

Now here's an album with something going for it: the very second concert ever played by the Second Great Quintet of Miles Davis. Completing a search that began with Coltrane's departure, Davis had slowly assembled his band over a five year stretch, moving from the tight funk of the Blackhawk band to the ballads recorded in LA with a pickup band to, at long last, a complete rhythm section capable of expanding and contracting the beat around the soloists, putting a plasticity into Davis' warhorses and recording a fine half album for "Seven Steps to Heaven". Still, Davis wasn't fully satisfied. He was also angry at Teo Macero for allowing the release of the unfinished Gil Evans project "Quiet Nights", and responded by refusing to go into the studio with Macero, opting instead to record his live shows. Those live shows include "Miles in Europe" and the one-two punch of the Philharmonic Hall sets, which is the last stand of George Coleman, a fine Memphis sax player who fit nicely with the early sixties style of Miles Davis. But Davis wasn't looking for that sound. He also wasn't looking for the more atonal sounds of Sam Rivers, whose fine playing is featured on "Miles in Tokyo". Finally, here, on a set that includes much the same songs as the other live issues, we find Wayne Shorter fitting in as if he always belonged, as if he was the only sax player who could've been here. The results, if not up to the game changing thrills of the Complete Plugged Nickel sets, still show a quintet comfortable with itself and already looking for places to make changes.With so many other live albums to choose from, of course, anyone not an avid collector might opt for the aforementioned Plugged Nickel sets, the first set of the Bootleg Series, or even "My Funny Valentine" to get the best of live Miles in this era. Still, there's some fantastic moments here, especially on "Stella by Starlight", which may be my favorite of all of Miles' versions save perhaps the original studio track. On this, Shorter shows how well rounded his sound is, then lets it loose to show his flexibility. He absolutely burns through "Milestones" (a track that really shows off Tony Williams) and the band seems happy to be alive through the ubiquitous "Walkin". Again, there's not really a bum note here, though with so much great music from this quintet, the album becomes more of a footnote than feature. There's nothing wrong with that, though, and it's great that we can hear how quickly this group came together. Not yet making their masterpieces, if nothing else it shows the originality that the complete quintet could bring to Miles' standard sets. Where they would go next is jazz history.