Miles Davis 1968 Filles De Kilimanjaro - 01 Frelon Brun (Brown Hornet) | Текст песни

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• Miles Davis 1968 Filles De Kilimanjaro
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Filles de Kilimanjaro
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Filles de Kilimanjaro
Studio album by Miles Davis
Released 1968
Recorded June 19–21 and September 24, 1968; Columbia 30th Street Studio, New York City
Genre Post-bop[1]
Length 56:30
Label Columbia
Producer Teo Macero
Miles Davis chronology
Miles in the Sky
(1968) Filles de Kilimanjaro
(1968) In a Silent Way
(1969)

Filles de Kilimanjaro (French for "Girls/Daughters of Kilimanjaro") is a studio album by American jazz recording artist Miles Davis. It was recorded in June and September 1968. The album was first released in the United Kingdom by Columbia (CBS) in 1968,[2] and subsequently in the United States in 1969.

The album is a transitional work for Davis, who was shifting stylistically from acoustic recordings with his second "great" quintet to his subsequent "electric" period. Filles de Kilimanjaro was well received by contemporary music critics, who viewed it as a significant release in modern jazz.

Contents

1 Background and recording
2 Music
2.1 Composition
3 Critical reception
4 Track listing
5 Personnel
5.1 Musicians
5.2 Production
6 References
7 Bibliography
8 External links

Background and recording

The June sessions featured Wayne Shorter on saxophone, Herbie Hancock on the electric Rhodes piano, Ron Carter on electric bass, and Tony Williams on drums. The September sessions replaced Hancock with Chick Corea, and Carter with Dave Holland, making Filles de Kilimanjaro the last Miles album to feature his Second Great Quintet, although all except Carter would play on his next album, In A Silent Way. During the September sessions, Holland played acoustic bass and Corea played an RMI Electra-piano in addition to acoustic piano.[3]:52 These are Holland and Corea's first known recordings with Davis. The album was produced by Teo Macero and engineered by Frank Laico and Arthur Kendy.

The album title refers in part to Kilimanjaro African Coffee, a company in which Davis had made a financial investment.[4]:272 Davis decided to list all the song titles in French to give the album an exotic touch.[4]:272

Davis married Betty O. Mabry Davis in September 1968, and named "Mademoiselle Mabry (Miss Mabry)" for her.[3]:52 The song itself was recorded during the same month as Davis' wedding.[3]:52 Betty Davis appears on the album cover.[4]:269
Music

"Petits Machins (Little Stuff)"
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Exemplifying Davis's musical transition at the time, the recording incorporates electric bass and piano, while the improvisations focus on a single tonal center.[5]
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The album can be seen as a transitional work between Davis's mainly acoustic recordings with the Second Quintet and his later electric period (for example, Bitches Brew). It is suffused in the heady abstraction of the 1960s, but attentive to blues tonalities, electronic textures, and dancing rhythms of later jazz fusion.[6] Davis apparently saw it as a transitional work for him, as the album was the first in what would become a series of his releases to bear the subtitle "Directions in music by Miles Davis." However, author Paul Tingen points out that while Carter and Hancock played electric instruments at the first recording session, the later session was a bit of a throwback, in which Holland played only acoustic bass and Corea played both acoustic and electric piano.[3]:52

Stanley Crouch, a staunch critic of Davis' use of electric instruments, has described the album as "the trumpeter's last important jazz record."[3]:40,46 Noted linguist and Miles Davis-biographer Jack Chambers later wrote that the band sought to expand beyond their usual minimal structure and find a common mood, wanting listeners to "discover the unity of the pieces instead of just locatin