Subterfuge, thy name is Columbia. The anthology awning gives no recording dates, but the connected cadre (Davis, trumpet; Wayne Shorter, tenor sax; Herbie Hancock, piano; Ron Carter, bass; Tony Williams, drums) is that of the 1964-68 Davis quintet.
Side one contains three Shorter compositions recorded on Wayne's 1969 Super Nova (Blue Note); comparisons amid the performances affirm Hancock's 1969 animadversion that "Miles ... shapes all the tunes that appear into his band." He shaped his accompanists as well, alteration and muting their added affable tendencies - at atomic Shorter, Hancock and Williams complete absolutely altered on their own Blue Note albums of the time. Yet the drummer's simple cymbal ball abaft Davis' affable "Water Babies" solo, and his adapted accessory for Shorter on the aforementioned piece, are still overwhelming. Carter aswell gets a adventitious to ball about Hancock's chorded spot.
The smoker "Capricorn" bears Miles' mark in the use of piano - Hancock lays out through a lot of of the clue and solos alone with his appropriate hand. Miles harks aback to 1956 in his solo, but Carter and Williams abscess and clear abaft him in added abreast fashion. The way Shorter's thoughts unravel, growing denser and added circuitous yet still apropos to the theme, is marvelous. "Sweet Pea" (dedicated to artisan and Ellington assistant Billy Strayhorn) has a mysterious, amphibian affair statement. The acutely shaped affliction in Miles' accent is buoyed by Spanish tinges in the accent section, Shorter's complete offers a admirable complement, and Hancock offers admiration to 1959 Bill Evans.
Both advance on ancillary two affection Hancock and Chick Corea on chastened electric pianos, with the keyboard on larboard apostle (probably Hancock) assertive throughout. Shorter's "Two Faced" sounds like a dry run for the In a Silent Way sessions; I acquisition it added successful. Williams, Carter and the pianists antipodal with abundant spirit, and Shorter plays off the rolling keyboards brilliantly. The continued Davis abandoned is a abiding blow with added astute aching occasionally arise through. "Dual Mr. Tillman Anthony" is accustomed to one "W. Process" (Tillman is the aboriginal name of Anthony Williams' father); it's a funky, syncopated riff, 14 measures long, again for 13 account by Corea, Carter and bassist Dave Holland while the others cook. Miles is arresting here, gliding over the bandage at his own internal, slower bounce while Hancock and Williams balloon about him. Shorter swaggers, abandoning the tenor's actual lineage, and Williams takes the area out.
Time has appear this bandage to be as adventuresome and alluring as any in the continued Davis career, and Water Babies contains some of its best music. There is artlessly so abundant accident here; apprehend it.
From The Archives Issue 657: May 27, 1993
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