CiTR

This album marked a change and impending changes in Miles Davis music and his life. It also was the last recorded statement of the Second Great Quintet. The album is often overlooked and yet it is a rather profound musical journey. The recording took place in two different sessions. The first from June of 1968 consists of three new Miles Davis compositions recorded over three days. These were the final recorded statements from the Second Great Quintet. The changes were not only the tunes but the instrumentation, Herbie Hancock is now playing Fender-Rhodes Electric Piano and Ron Carter is playing only electric bass. Carter departed a few weeks after these recordings as he preferred not to play the electric but he and Davis remained on good terms. The three tunes reflect the concept changes by Miles and are both introverted and outgoing and are graced with changing rhythms. The tunes have all French names too. They are (1) Petits Machins (2) Tout de Suite and (3) Filles de Kilimanjaro.

Thr second session took place in September of 1968 and there were two new people in the working quintet. Chick Corea took over from Hancock and Corea played an RMI Electra Piano which sounded like an acoustic and a harp. From London, England Miles brought in Dave Holland on acoustic bass. Two tunes were recorded here and both of these Davis compositions were dedicated to Miles' new wife, Betty Mabry. The tunes are (1) Madamoiselle Mabry and (2) Frelon Brun (aka Briown Hornet). These dates led to "In A Silent Way" and then a quick step to "Bitches Brew" and a new phase for Miles Davis was opened and the rest is history. This album stands as an overlooked masterpiece and is worth your time.