FEATURE:
Vinyl Corner
Miles Davis – In a Silent Way
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THIS is a bit of a different…
PHOTO CREDIT: Herman Leonard Photography, LLC, courtesy of the Miles Davis Estate
one for me on Vinyl Corner, as I am including a Jazz album composed of two songs! There are so many Miles Davis albums that could have been included but, for me, In a Silent Way deserves spotlighting as one of Davis’ greatest works. It is definitely worth buying the album on vinyl as it is a fantastic and thrilling listen. The fact there are two songs/suites makes it a bit of an unconventional album. Consisting of the Shhh/Peaceful suite on the first side, and the In a Silent Way/It's About That Time suite on the second side, I would encourage Jazz and non-Jazz fans alike to give the album a try! With Davis leading an incredible band - Wayne Shorter – soprano saxophone, John McLaughlin – guitar, Chick Corea – electric piano, Herbie Hancock – electric piano, Joe Zawinul – electric piano, organ, Dave Holland – bass, Tony Williams – drums -, one can easily lose themselves in the blend of soothing sounds and more frenzied moments. Produced by Teo Macero, the album was recorded in one session on 18th February, 1969, at CBS 30th Street Studio in New York City. Marking the beginning of his ‘electric’ period, In a Silent Way has been seen by music writers as Davis' first fusion recording. In a Silent Way saw Davis moving more into Rock territory and, whereas the follow-up, Bitches Brew of 1970, outsold In a Silent Way, one cannot deny the influence and importance of Davis’ 1969 evolution.
I can understand why some critics were a little wary or distant when the album arrived. In a Silent Way was different to what Davis had produced before and, in the same way Dylan was judged by the Folk fraternity when he went electric, there were splits from those in Rock and Jazz when Davis went a similar way. I am not a massive Miles Davis fan, but I have always admired his work and the way he could transform between albums. One cannot easily compare albums like In a Silent Way with Kind of Blue or Sketches of Spain. An endlessly innovative and restless artist, I really like what he did on In a Silent Way. Critics have changed their perspective in the years following In a Silent Way’s release in 1969. I think the fact Davis went even further into Rock and harder territory for Bitches Brew helped when it came to assessing In a Silent Way but, fortunately, the album is seen now as one of Davis’ grandest works. I want to bring in a detailed review from AllMusic, who had this to say:
“Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in.
The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era”.
If you want some background and education regarding In a Silent Way, Pitchfork wrote about The Complete in a Silent Way Sessions in 2001. I don’t feel you need to be steeped in Jazz knowledge to appreciate an album like In a Silent Way as it is simply a gorgeous album that everyone can understand and appreciate. If some were confused or unsure about In a Silent Way in 1969, I think it makes better sense regarding Davis’ cannon and career. Go and get a sensational album on vinyl that has the power to…
IN THIS PHOTO: Miles Davis playing at Fillmore East, N.Y.C. on 18th June, 1970/PHOTO CREDIT: Glen Craig
MOVE you like few other albums can!