MILES DAVIS — E.S.P. (review)

MILES DAVIS — E.S.P. album cover Album · 1965 · Post Bop Buy this album from MMA partners
3.5/5 ·
vmagistr
How many rock bands can claim that after their active phase ended, all members went on to successful solo careers, during which they continued to shape the face of "their" genre? The only ones that come to mind are The Beatles (if we cut Ringo some slack) and Cream (where all three protagonists had already been through a lot by the time the band was formed). Even in jazz, such a concentration of talent is not usual (there is always someone more or less in charge, and someone, who has no compositional ambitions or simply doesn't feel like a driving force), but one of the exceptions is undoubtedly the second quintet of trumpeter Miles Davis, whose members became major figures in jazz, jazz rock and fusion in the 1970s and 1980s.

This quintet is indeed a sovereign ensemble and not just a backing band for the clear-cut boss Davis. There is nothing easier than look at the tracklist of E.S.P. - the first studio recording on which the quintet came together as a complete line-up. Miles Davis is credited on only three of the seven recordings (two of which he co-wrote), the rest are credited to the other members of the group - bassist Carter in particular was a prolific writer during this period.

I would divide the material on the album into several categories. The listener less addicted to jazz will probably be more interested in the up-tempo pieces, in which the rhythm section creates a breeding ground on which the solo instruments can frolic ad lib. Such are the compositions Eighty-One, Iris or the title track E.S.P. More melancholy and more spare arrangements, in which every note and beat stands out, are brought by the band in pieces like Little One, Mood or Agitation. Probably the most avant-garde track for me is R.J., where I perceive a fusion of both approaches. I probably prefer the denser pieces myself - when listening to Davis and Shorter's output, I often think that one of the inspirations for hard rock guitar soloists could be right here.

Of course, in the case of this recording, we're in the realm of strictly acoustic jazz; there's no trace of electric guitar and rock in general. Still, I think that for listeners of more sophisticated rock forms, this group's records might not be a misstep - especially if you're into even a little bit of that melancholy. Because jazz (like blues) can interpret that to perfection.
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