Filles De Kilimanjaro Miles Davis

• 1 Frelon Brun (Brown Hornet) 05:36
• 2 Tout de suite 14:04
• 3 Petits Machins (Little Stuff) 08:05
• 4 Filles de Kilimanjaro 12:00
• 5 Mademoiselle Mabry (Miss Mabry) 16:32
• Total Runtime 56:17

Info for Filles De Kilimanjaro

„Filles De Kilimanjaro“ is one of the most singular, compelling works in the entire Miles Davis discography. It marks the continental divide between the trumpeter's classic '60s quintet, and the furious period of experimentation which led to „Bitches Brew“, On The Corner“ and „Agartha“.

By 1968, Miles was feeling creatively restless, and stalwarts Herbie Hancock and Ron Carter were preparing to leave (to be replaced by Chick Corea and Dave Holland). So „Filles De Kilimanjaro“ is a transitional work, suffused in the heady abstraction of the '60s, but with an ear out for the blues tonalities, electronic textures, and dancing rhythms of the jazz-rock epoch to come. Nevertheless, FILLES is neither avant-garde jazz nor fusion; it occupies a space of its own aural design--a magnificent new direction in music.

Miles' fascination with the Fender/Rhodes electric piano, and its potential for new chordal voicings, is at the heart of „Filles De Kilimanjaro“. Herbie Hancock treats it percussively on the relentlessly driving 'Frelon Brun,' and with bell-like elan on the winsome title tune. Corea, meanwhile, feeds the horns guitar-like strums on the edgy, martial 'Petits Machins,' and bluesy washes of sound on the eerie 'Mademoiselle Mabry.' Bassists Carter and Holland find new harmonic possibilities within their vamp-like structures, freeing Tony Williams to engage Davis and Shorter in some remarkable airborne conversations: From the 'All Blues'/James Brown references on 'Toot De Suite' to the free-form mystery of 'Mademoiselle Mabry' where all the strong rhythmic beats are air-brushed away, the trumpet and tenor saxophone are allowed to create sophisticated new forms of phrasing.

'...No amount of track-by-track description here can begin to convey the beauty and intensity. There are five songs, but really they fit together as five expressions of the same basic piece, one sustained work...' (Rolling Stone)

'...A masterpiece of tropical exoticism...' (Uncut)

Miles Davis, trumpet
Wayne Shorter, tenor saxophone
Herbie Hancock, Fender Rhodes electric piano (on tracks 2, 3, 4 & 6)
Chick Corea, piano, RMI Electra-piano (on tracks 1, 5)
Ron Carter, electric bass (on tracks 2, 3, 4 & 6)
Dave Holland, double bass (on tracks 1, 5)
Tony Williams, drums

Recorded from June 19–21 and September 24, 1968 at Columbia 30th Street Studio, New York City
Engineered by Frank Laico, Arthur Kendy
Produced by Teo Macero

Digitally remastered

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This album contains no booklet.