Miles Smiles - Miles Davis

In my view, nothing is more exciting or significant than a group discovering its identity through musical exploration and innovation. I sense that in this record. This album is undoubtedly one of my favorite examples of what can be achieved by understanding convention and recognizing the right amount of experimentation.

Although this album is not strictly speaking "free" the influence of that approach is evident in this "postbop" work. The feeling of freedom in tempo, harmonic stability, and the subtle stretching of the forms themselves all emphasize this. A particularly notable aspect for me is the deliberate omission of the piano in many of the album's compositions. Miles' directive for Herbie to refrain from using his left hand significantly alters the dynamic of the entire record, allowing each instrument to emerge as its own distinct voice.

Orbits - Serves as an ideal opener for the album, establishing expectations from the start. It features fiery solos, a powerful sense of unity through individuality, and a distinctive experimental flair. I particularly enjoy how synchronized the group feels when they return to the main theme. This track, like most others on the album, feels most natural without any chordal accompaniment. The dense melodies benefit from the absence of an extra layer, allowing the songs to breathe more freely.

Circles - An interesting selection. What I find particularly intriguing about this track is its placement as the second song on the album. It serves as the perfect catalyst for the album's cohesion. Following the energetic start with Wayne's tune "Orbits," "Circles" keeps you captivated, lowering the energy while maintaining momentum. Miles' signature smoky rendition of the melody is as beautiful as ever, and Wayne flows through the changes in an almost ethereal manner. Personally, I believe Herbie's solo is the most beautiful, blending all the best elements of Miles and Wayne's approach. What truly stands out to me, however, is Herbie's touch,

"Footprints" is undoubtedly one of my favorite songs to listen to and play. I appreciate this version for its loose and intense vibe. I also love how it restores the energy and intensity that "Circles" had mellowed. Herbie's comping on this track is incredible. Miles' intensity is beautifully complemented by Herbie and Tony. I enjoy Wayne’s performance as well, and although it's his composition, I feel as though he's still discovering his sound, and this setting is perfect for that. The ending is intriguing. It seems like they weren't entirely sure how to conclude it, but they found a way. I like it.

Dolores - While Dolores might not be among my top picks on this album, I appreciate its placement within the overall flow of the record. It raises the energy level significantly, much like "Orbits" did at the start. The synergy between Tony and Ron during Miles' solo is outstanding. When Wayne takes the lead, the duo continues to excel. Ron's use of expressive inflection in his bass lines to complement or respond to Wayne or Tony showcases his exceptional musicianship. As they return to the main theme, there's a sense of uncertainty, as if they are exploring the best way to conclude, a skill I believe is becoming rarer in the modern day.

Freedom Jazz Dance (Evolution of the Groove) - I love how the phrases conclude in this tune in the head. Miles, in my opinion, delivers the standout solo, while Tony, Ron, and Herbie excel at framing and maintaining the energy for each soloist. Herbie, in particular, impresses me with his comping, as he attentively listens to the entire group, not just the soloist, and responds accordingly. I also appreciate Tony's literal evolution of the groove. As each soloist takes their turn, the groove seems to become more relaxed while still staying perfectly in the pocket. Tony's approach to the drums as an individual voice, responding to everyone else, is also fascinating.

Gingerbread Boy - I find Gingerbread Boy fascinating and I really enjoy it. I particularly appreciate Miles' solo; the way he shapes his melodies and the overall sound is outstanding. His tone is exceptionally expressive in this tune, even more so than in the other tracks, in my opinion. Again the absence of chordal playing is distinctive and feels conceptually complete with this track at the albums conclusion. As a closing track, I think it's fantastic. This is the most energetic tune on the album, and it provides a very satisfying end to the amazing collection of songs we've just experienced.