Filles De Kilimanjaro - Miles Davis

Mar

24

Filles De Kilimanjaro - Miles Davis

≡ Category: 1960s, Essential, Jazz Funk, Jazz Rock, Post Bop, Reviews |
≅ Written by: Michael Kydonieus

JAZZBO NOTES ESSENTIAL RECORDING

Rating:

Filles De Kilimanjaro represents one of many transition points for Miles Davis. It marks the end of the 2nd great quintet with Wayne Shorter, Tony Williams, Ron Carter, and Herbie Hancock. It was the last date before the epochal In A Silent Way.

Miles had just married Betty Mabry, a young R&B artist, so it was only natural that his music developed in that direction. There is a huge difference however between the music on Filles De Kilimanjaro and the vamps that dominate In A Silent Way.

To be sure, all of the compositions on Filles De Killimanjaro are built on R&B rhythms, but the harmonies are still quite complex. Davis manages this by using the bass (either Ron Carter or Dave Holland) as a pedal point and having the keyboardist (either Chick Corea or Herbie Hancock) play chords that revolve around the tonic. The other technique Davis uses quite a lot is to have the bassist avoid the tonic, instead playing lots of 3rds, 5ths, and passing tones. Even the R&B rhythms are fractured and rearranged — this isn’t slavish imitation, but inspiration. Miles himself lays out a lot, but when he solos, his choice of notes is not much different from what he was playing on Nefertiti. On the other hand, Wayne Shorter’s playing is romantic and lyrical for the most part, more in keeping with his solo work than with the quintet.

The effect of all of these choices is a tantalizing ambiguity, but at the same time, Filles De Kilimanjaro is extremely accessible. Filles De Kilimanjaro is a gorgeous album, and despite the variations in the bass and piano chairs, internally consistent to a surprising extent, musically speaking. Rather than being fiery, it’s exploratory and contemplative. It’s hard to believe that a scant year and a half later, Davis and his band would tear the roof off on Black Beauty: Miles Davis at Fillmore West.

For me, Filles De Kilimanjaro is to be treasured. It’s the only record Miles Davis made with this precise balance of interests.

One more thing I should mention. Filles De Killimanjaro is part of the three-CD set The Complete Silent Way Sessions, which is a fantastic document and far superior to producer Teo Macero’s cut and paste creations on A Silent Way. It’s a great way to own this material, although personally I enjoy listening to Filles De Killimanjaro by itself.