It’s especially remarkable that the solos by trumpet & tenor reflect both sides of the modern jazz coin:
The new rockin’ binary groove, and the ternary, the “old” swingin’ flow of jazz.
Listen to Miles, how he “forces” his unique rhythm section (what an odd word to use in this context, huh?) to switch to the swing feeling after three innovative rock chorusses on this modal blues.
Wayne’s slightly, err, shorter (sorry, I couldn’t resist, hmpfff!) solo excursion is deeper rooted in the blues tradition than Miles’ expressively understated, more abstract chromatic contribution.
Wayne Shorter pays tribute to his three predecessors John Coltrane, Hank Mobley & George Coleman.
>>>—> Brew’s proclamation to all Miles Davis bashers <—<<<
The terrific trumpet solo is just another proof for Miles Davis’ ability to swing greatly. This man *had* chops. — If you like to hear that, or not…
Ron Carter’s 24-bar composition itself consists of a hymnic beginning in quarter triplets, followed by a short reply in semiquavers, crescendoing & de-crescendoing long tones, interpolated with startling big-band-like unison accents, and a relaxed, triad-structured phrase, introducing the 2nd part of the theme.
The crucial happening at this track is not its melody, it’s the seething rhythmical accompaniment underneath the quiet exposition of the theme.
This is the coolest of the cool, and it’s exciting at the same time.
I hope you will enjoy listening to EIGHTY-ONE.
Personnel, location & date: Miles Davis (tp) Wayne Shorter (ts) Herbie Hancock (p) Ron Carter (b) Tony Williams (d) – Columbia Studios, Los Angeles, CA, January 21, 1965
Buy Miles Davis/E.S.P @amazoom and learn more about the album HERE, @WikiPedia.