FunkFreak75
To be sure, this has to be one of the most talented lineups ever in jazz history--and despite Miles' collaborators being in their young 20s and most definitely showing signs of some immaturity, the greatest innovation occurring here is with Tony Williams' drumming.
1. "Nefertiti" (7:52) a rather dull and slightly melodic lead song with Miles and Wayne up front has some rather adventurous performances from Herbie Hancock and, especially, the dynamic Tony Williams. (13.25/15)
2. "Fall" (6:39) another pleasant, melodic song in which the musicians are operating more nearly on the same wavelength--until fourth minute, that is, when Tony begins to go off into his own world, rhythmically, beneath Herbie's piano solo, but then he backs off and gets very quiet during Wayne's following solo and what follows. Interesting! (8.875/10)
3. "Hand Jive" (8:54) a much more dynamic song construct with Ron Carter walking all over his upright double bass while Tony Williams flies around his cymbals and toms. There is an odd, subtle shift in tempo in the third minute that I do not think is intentional but obviously not considered significant enough to correct or redo--and Ron Carter is not always "in the pocket" (at least not according to these amateur ears), but the song certainly displays the skills of all of the band members, with a considerable amount of time given to Wayne Shorter's solo in the middle. When Herbie is next given his turn, he seems a bit lost at first, but, after he gets warmed up, he starts to move better. Maybe everybody's just a little overwhelmed or intimidated by Tony's creativity (and Ron's hot-and-cold conformity to the "pocket"). (17.5/20)
4. "Madness "(7:31) more of the same as the previous song with Ron's fast walking and Tony's cymbal play providing the bulk of support beneath one of Miles' more dynamic and passionate solos on the album. The trio seem quite entrained. Then Wayne is given the nod to take over from Miles. He's not quite as dynamic but very impressive for his softer, breathy notes. When it comes time for Herbie's turn, everybody nearly cuts out, with only Ron and Tony remaining beneath part time, not flying around the fretboard and cymbal like they were. But then they return to their earlier form as Herbie heats up, though not quite as synched as they were with Miles--which may have something to do with Herbie's less smooth, less-melodic approach. And then they all come back together ever-so briefly before bringing the song to a quick close. (13.375/15)
5. "Riot" (3:04) Same cymbal play from Tony while Ron machine guns around the upper registers of his bass and Herbie plays a lot of chords beneath Wayne's initial lead. Then Miles is there, too. It's nice to hear the whole band working together (and Tony does get a little more active as the song develops). (8.875/10)
6. "Pinocchio" (5:08) a song that feels more like standard or old Miles bebop or hard bop. Opening with the whole rhythm section behind Wayne and Miles, Ron and Tony become more active as the song develops, something that is more noticeable during Wayne's solo (as Miles and Herbie check out). Tony really picks it up here, even when Miles and Wayne return to recapitulate the main melody. Then Herbie gets his solo. It's good, probably the best on the album, but then its over and the band pulls together to close. Very tight, "standard" jazz tune. (8.875/10)
Total Time 39:08
I think this album is most significant for confirming how much of a force drummer Tony Williams is (and is going to be). As impressive as Tony is (and Miles and Wayne, as well), I think Herbie Hancock and Ron Carter are showing how much growth they have yet to achieve--especially to be able to achieve the moment they are called upon.
B/four stars; an excellent album for gaining insight into the genius of some of Jazz-Rock Fusion founders and all-stars--especially the phenom that was drummer Tony Williams.