“Miles Smiles:” The Quintet’s Exploration into New Jazz Territories

Introduction:

Released in 1967, “Miles Smiles” is widely regarded as a landmark recording by Miles Davis and his Second Great Quintet, featuring saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This album marked the quintet’s evolution into more experimental and abstract forms of jazz, blending traditional post-bop elements with avant-garde techniques and modal jazz structures. “Miles Smiles” not only expanded the boundaries of jazz composition but also provided a framework for future explorations in improvisation and ensemble playing. This post explores the album’s context, compositions, and its lasting impact on jazz.

Context and the Second Great Quintet:

The Second Great Quintet was one of the most innovative and respected ensembles in jazz history. It consisted of Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. By the time “Miles Smiles” was recorded in October 1966, the quintet had already established a strong reputation for pushing the boundaries of jazz with the album “E.S.P.” (1965). “Miles Smiles” is the second of six albums recorded by this quintet, and it showcases the group at a creative peak, delving deeper into modal performance and freer forms of expression.

Producer Teo Macero, who had worked with Davis on some of his most groundbreaking projects, was once again at the helm, ensuring that the quintet’s experiments in rhythm, harmony, and form were captured with precision and clarity.

Musical Exploration:

At the heart of “Miles Smiles” lies Davis’ and the quintet’s desire to explore jazz beyond its conventional limits. The album is often categorized as post-bop—a genre that emerged in the 1960s as a response to both hard bop and the formlessness of free jazz. Musicologist Jeremy Yudkin describes post-bop as an approach that is abstract and intense, providing space for rhythmic and coloristic independence, especially for the drummer. This independence, combined with modal and chordal harmonies, structured choruses, and free improvisation, characterizes much of the music on “Miles Smiles.”

Keith Waters, a music theorist, explains how the album connects the quintet’s hard bop roots with avant-garde jazz, with a focus on improvisational freedom and rhythmic flexibility. One of the most notable aspects of the record is its rhythmic complexity, with Tony Williams and Ron Carter often challenging traditional notions of meter and form.

The Tracks:

The compositions on “Miles Smiles” are as adventurous as the playing. Let’s delve into the tracks:

• “Orbits” – The opening track, “Orbits,” composed by Wayne Shorter, sets the tone for the entire album. It bursts out of the gate with fast, manic energy, featuring a series of rapid melodic fragments that float over a swirling rhythmic foundation. Herbie Hancock’s approach is particularly unique on this track, as he dispenses with left-hand chords, opting to play only right-hand lines. This allows for greater freedom in rhythmic interaction between Carter and Williams, resulting in a tense but exciting musical dialogue.
• “Footprints” – One of Wayne Shorter’s most famous compositions, “Footprints” was originally recorded on his album “Adam’s Apple.” On “Miles Smiles,” the quintet explores the rhythmic relationship between African-based 12/8 and 4/4 meters. Ron Carter and Tony Williams create a dynamic interplay between these two rhythmic structures, with Williams freely moving between swing patterns and cross rhythms. The bassline, which switches between 12/8 and 4/4, mirrors Afro-Cuban tresillo rhythms, adding a deeper layer of rhythmic complexity. Miles Davis’ trumpet solo on this track is a masterclass in melodic exploration, as he effortlessly navigates between the rhythmic shifts.
• “Circle” – The ballad “Circle” is a Davis composition that stands out for its lyrical beauty. Davis’ muted trumpet playing is particularly poignant here, as it soars above the subtle accompaniment provided by Hancock, Carter, and Williams. The interaction between the musicians is restrained but highly sensitive, allowing for an emotional depth that contrasts sharply with the more intense tracks on the album.
• “Freedom Jazz Dance” – Eddie Harris’ “Freedom Jazz Dance” is one of the more conventionally structured pieces on the album, but the quintet alters it in significant ways. They insert additional bars between the melodic phrases, allowing for more space and improvisational freedom. Herbie Hancock provides a more conventional left-hand accompaniment on this track, which helps anchor the group’s freewheeling improvisations. Despite the alterations, the quintet maintains the essence of Harris’ composition, creating a version that is both adventurous and accessible.
• “Dolores” and “Ginger Bread Boy” – “Dolores,” another Wayne Shorter composition, and Jimmy Heath’s “Ginger Bread Boy” both feature prominently in Davis’ live sets from this period. These tracks showcase the quintet’s ability to groove while maintaining an edge of unpredictability. “Ginger Bread Boy,” in particular, undergoes significant transformation on “Miles Smiles,” with Davis modifying the melody to better fit the quintet’s approach. The performances of these two tracks are notable for their energy and cohesion, as each member of the quintet pushes and pulls against the others in a delicate but exhilarating balance.

The Album’s Legacy:

Upon its release in 1967, “Miles Smiles” received widespread critical acclaim. It was praised for its original compositions, the quintet’s chemistry, and Davis’ phrasing. CODA editor John Norris lauded the quintet for their “mastery of sensitive interaction,” noting that “every man is listening intently at all times, responding sensitively to mutual hints and directions.” Nat Hentoff of Stereo Review praised the rhythm section, calling Tony Williams and Ron Carter “prodigious technicians,” and emphasizing how the quintet as a whole was one of the most stimulating ensembles in jazz at the time.

The album’s long-term influence on jazz is immeasurable. It pushed the boundaries of jazz rhythm and form, and its emphasis on group interaction and improvisation would inspire countless musicians in the years to come. Tracks like “Footprints” and “Ginger Bread Boy” became staples in Davis’ live repertoire, further solidifying the album’s place in jazz history.

In retrospect, “Miles Smiles” is often viewed as one of the quintessential recordings of the Second Great Quintet. Jazz critic Stephen Thomas Erlewine noted that the album “really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound.” He also highlighted how the quintet never took “predictable paths or easy choices,” emphasizing the adventurousness of the music. Even the slower, quieter numbers were mercurial, with the voicing and phrasing never settling into a comfortable groove.

“Miles Smiles” is an essential album not only in Miles Davis’ discography but in the evolution of jazz as a whole. It marked a turning point for the Second Great Quintet, as they embraced more abstract and adventurous musical forms. The album’s emphasis on group interplay, rhythmic complexity, and improvisational freedom set it apart from previous jazz recordings and laid the groundwork for much of the jazz experimentation that would follow in the late 1960s and beyond. Decades after its release, “Miles Smiles” continues to sound fresh and vital, a testament to the enduring power of Miles Davis and his groundbreaking quintet.

References:

1. Waters, K. (2011). The Studio Recordings of the Miles Davis Quintet, 1965-68. Oxford University Press.
2. “Miles Smiles” album cover art. Retrieved from https://en.wikipedia.org/wiki/File:Miles_Davis_-_Miles_Smiles.jpg