Categories:
Cart 0

Your cart is empty

Miles Davis|In A Silent Way

In A Silent Way

Miles Davis

Available in
logo Hi-Res
24-Bit 176.4 kHz - Stereo

Unlimited Streaming

Listen to this album in high quality now on our apps

Start my trial period and start listening to this album

Enjoy this album on Qobuz apps with your subscription

Subscribe

Enjoy this album on Qobuz apps with your subscription

Digital Download

Purchase and download this album in a wide variety of formats depending on your needs.

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.
© Thom Jurek /TiVo

More info

In A Silent Way

Miles Davis

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app

You are currently listening to samples.

Listen to over 80 million songs with an unlimited streaming plan.

Listen to this playlist and more than 80 million songs with our unlimited streaming plans.

From $10.83/month

1
Shhh / Peaceful (Original LP Mix From 1969)
00:18:18

Chick Corea, Piano - Dave Holland, Bass - Herbie Hancock, Piano - John McLaughlin, Electric Guitar - Josef Zawinul, Organ - Miles Davis, Composer - Miles Davis, Lyricist - Miles Davis, Performer - Miles Davis, Trumpet - Teo Macero, Producer - Tony Williams, Drums - Wayne Shorter, Soprano Saxophone

Originally released 1969. All rights reserved by Columbia Records, a division of Sony Music Entertainment

2
In a Silent Way (Original LP Mix From 1969)
00:19:52

Chick Corea, Piano - Dave Holland, Bass - Herbie Hancock, Piano - J. Zawinul, Composer - J. Zawinul, Lyricist - John McLaughlin, Electric Guitar - Josef Zawinul, Organ - M. Davis, Composer - M. Davis, Lyricist - Miles Davis, Performer - Miles Davis, Trumpet - Teo Macero, Producer - Tony Williams, Drums - Wayne Shorter, Soprano Saxophone

Originally released 1969. All rights reserved by Columbia Records, a division of Sony Music Entertainment

Album Description

Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.
© Thom Jurek /TiVo

About the album

Distinctions:

Improve this page

Qobuz logo Why buy on Qobuz...

On sale now...

Beethoven : 9 Symphonies (1963)

Herbert von Karajan

Beethoven : 9 Symphonies (1963) Herbert von Karajan

Williams: Violin Concerto No. 2 & Selected Film Themes

Anne-Sophie Mutter

Beethoven : Symphonies n°5 & n°7

Carlos Kleiber

Orff: Carmina Burana

Gundula Janowitz

Orff: Carmina Burana Gundula Janowitz
More on Qobuz
By Miles Davis

Merci Miles! Live at Vienne

Miles Davis

Bitches Brew

Miles Davis

Bitches Brew Miles Davis

Ascenseur pour l'échafaud

Miles Davis

Kind Of Blue

Miles Davis

Kind Of Blue Miles Davis

'Round About Midnight

Miles Davis

Playlists

You may also like...

You Must Believe In Spring

Bill Evans

Black Acid Soul

Lady Blackbird

Black Acid Soul Lady Blackbird

Entre eux deux

Melody Gardot

Entre eux deux Melody Gardot

Still Rising - The Collection

Gregory Porter

Sunset In The Blue

Melody Gardot

Sunset In The Blue Melody Gardot
In your panoramas...
Miles Davis, Fingers in The Plug Socket

In 1968, Miles Davis succumbed to the charm of the electricity fairy. Bewitched by the psychedelic and funky revolutions of Jimi Hendrix and Sly Stone, the trumpet player made a radical change and, in passing, changed jazz too.

Santana: The Tijuana Lizard

Santana’s CV boasts an iconic Woodstock performance, a dozen Grammy Awards, millions of record sales (thanks to his metamorphosis into a Latin pop star), and more and more prestigious collaborations... He’s one of those artists that everyone loves - peers, public and critics alike. Here, we explore the life of an accomplished artist who is constantly renewing himself, much like a lizard shedding its skin.

Bill Evans in 10 Albums

Without him, Keith Jarrett, Brad Mehldau and a few thousand other jazz pianists would play differently. More than forty years after his death, the legacy of Bill Evans hasn’t lost any of its influence. On the contrary, it is difficult to sort through his bottomless discography without finding even an incidental recording that doesn’t tower above 90% of the competition. Here are 10 of his albums, subjectively selected…

In the news...