The excitement in this classic 1968 album remains as firm as it was back then. Jazz is still looking, today, for a musical voice to rival that of Miles Davis. At the peak of his career, the trumpeter was experimenting with the new sound of electric piano and electric bass when he assembled this program of straight-ahead material. The big revolution was yet to come. Filles De Kilimanjaro
is reissued here with superb sound quality and the addition of an alternate take: one is entirely with open horn and paced a little brighter, while portions of the other are with mute. This alternate take is the same one issued on the boxed set Miles Davis Quintet, 1965-‘68
. There’s also a pronounced difference in content, as is the case with most improvised work. The music flows with a lyricism that remains highly regarded in today’s format. The creativity that Davis oozed, however, isn’t found just anywhere. It takes a special desire for an artist to follow up on his true allegiance to the creative spirit. Several of the tracks here are in the 15-minute neighborhood. Quite often, it’s the only way to fully express.
Chick Corea replaced Herbie Hancock and Dave Holland replaced Ron Carter for “Felon Brun” and “Mademoiselle Mabry,” which were both recorded late in the year. Changes were being made in Davis’ approach and personnel, but the steady hand of arranger Gil Evans remained apparent. Filles De Kilimanjaro remains one of the classic albums from their collaboration, and represents a high point in modern jazz.
Personnel: Miles Davis- trumpet; Wayne Shorter- tenor saxophone; Herbie Hancock, Chick Corea- electric piano; Ron Carter, Dave Holland- electric bass; Tony Williams- drums.