Miles Davis
Circle In The Round

Miles Davis was absent from the music scene for the entire second half of the '70s, and Columbia, as expected, released compilation after compilation of "unreleased recordings", including this Circle In The Round (1979), containing recordings ranging from 1955 to 1970. Since there is no cohesive project, I find it appropriate to analyze the album track-by-track.

CD1

1. "Two Bass Hit" (1955); Davis (trumpet), Coltrane (tenor sax), Garland (piano), Chambers (bass), Jones (drums)

Earlier version by 3 years than the one released on "Milestones". Written by John Lewis and Dizzy Gillespie, it's one of the few examples (the only one? I don't remember) where we find the first great quintet tackling remnants of orchestral arrangements (the trumpet counterpointing the sax solo). Chosen by Miles as a showcase for Coltrane, who is the only soloist here, unlike the longer version from '58 where he shares the scene with Cannonball Adderley.

2. "Love For Sale" (1958); Davis (trumpet), Coltrane (tenor sax), Adderley (alto sax), Evans (piano), Chambers (bass), Cobb (drums)

Already released in the album/compilation "1958 Miles", this is an exceptional version of an exceptional piece. The group makes a famous composition their own, adapting it to their own sensibilities. It's curious to hear Bill Evans, in response to the typical trumpet theme, using block chords (stopped chords), with an approach much closer to Garland's than his own. Miles stands out prominently, as do Coltrane and (especially) Cannonball, often praised more for their originals than for their interpretations of standards which they've always demonstrated they could play ("My Favourite Things" by Trane is proof of this).

3. "Blues No.2" (1961); Davis (trumpet), Mobley (tenor sax), Kelly (piano), Chambers (bass), Jones (drums)

One of the few recordings with Hank Mobley, "Blues No.2" is characterized mainly by the occasional return of Philly Joe Jones, three years after he left the group. The piece is almost a dialogue, a reunion after a long time of two old friends who have had quite the time together, to say the least. Mobley's contribution, a musician always too underrated, should not be overlooked.

4. "Circle In The Round" (1967); Davis (trumpet, chimes, tubular bells), Shorter (tenor sax), Hancock (celeste), Carter (bass), Williams (drums), Beck (electric guitar)

The guitar of Joe Beck (sorry, it's not Jeff) playing an extremely repetitive figure, the use of the celeste instead of the canonical piano, the reiteration of the theme over time, and the wind solos mainly focused on variations on the theme give a sense of the undefined and mysterious which soon delves into the hypnotic and psychedelic. This is a track (over 25 minutes long) from the very early period of electric experimentation. Before increasing the number of keyboards/organs, Miles tried to introduce the electric guitar into his sound. The result didn't convince him, but the idea was revisited later with George Benson and especially John Mclaughlin. In "Circle In The Round" (the title is emblematic of the hypnotic effect the track creates), the main soloist is Tony Williams, whose simultaneous solos with Davis and Shorter are quite peculiar. Masterpiece.

CD2

1. "Teo's Bag" (1968); Davis (trumpet), Shorter (tenor sax), Hancock (piano), Carter (bass), Williams (drums)

Typical piece of the second great quintet: use of the piano exclusively in the solo and not as accompaniment (greater expressive freedom for Miles and Wayne), typical free jazz component primarily given by Tony Williams' drumming. Interesting is Ron Carter's alternation between classic walking bass and repetition of figures (almost as if it were a loop), giving a fluctuating sensation to the track, between stasis and movement. In any case, even if there's elegance to spare, this is certainly not the gem of the album.

2. & 3. "Side Car I & II" (1968); Davis (trumpet), Shorter (tenor sax), Hancock (piano), Carter (bass), Williams (drums), Benson (electric guitar on "Side Car II")

I don't know if I should consider them two versions of the same track or one the continuation of the other, but the fact is that it's the same piece, approached somewhat differently in the two cases. More classic (always by the standards of the second great quintet, far from classic) "Side Car I", a bit more experimental "Side Car II", with the presence of George Benson's electric and a more innovative use of the piano, often as accompaniment/counterpoint (on the highs and not on the lows) to the guitar.

4. "Splash" (1968); Davis (trumpet), Shorter (tenor sax), Hancock (electric piano), Corea (electric piano), Holland (bass, electric bass), Williams (drums)

A piece with a vaguely rock attitude (noticeable particularly in some of Williams' breaks), characteristic of the electric Miles "white" period (when he was referring to white rock and not the black funk which would be his reference in the '70s). Davis is particularly inspired, although Shorter already shows a certain affinity with more electric atmospheres. Otherwise, nothing spectacular, the usual Dave Holland halfway between double bass lines and constant soloing, excellent synergy between Hancock and Corea, Williams always unpredictable.

5. "Sanctuary" (1968); Davis (trumpet), Shorter (tenor sax), Hancock (piano), Carter (bass), Williams (drums), Benson (electric guitar)

From the same February '68 sessions (therefore more than a year before "Bitches Brew") that produced "Side Car I" and "Side Car II", this "Sanctuary" differs from the much more famous version found in "Bitches Brew" for being much closer to the last acoustic Miles than the first electric Miles. True, there's the presence of the electric guitar, but Hancock is still the only one maneuvering between black and white keys. The keys of an acoustic piano, no less. In essence, it's a very interesting version, especially when compared to the definitive one, of another atmosphere but not superior in charm.

6. "Guinnevere" (1970); Davis (trumpet), Shorter (soprano sax), Maupin (bass clarinet), Mclaughlin (electric guitar), Corea (electric piano), Zawinul (electric piano), Holland (electric bass), Cobham (drums), DeJohnette (drums), Moreira (percussion), Balakrishna (electric sitar)

Full electric period, 18 minutes of class to conclude this compilation well. The keyword is, rather than mystery and ambiguity, relaxation. The track, originally written by David Crosby for the first Crosby Stills & Nash album, already has an extremely calm and sweet mood, typical of country/country rock. Davis' interpretation transforms it: it's another track. Two drums, electric bass, percussion, two electric pianos, wind instruments, electric guitar, electric sitar: it would seem a jumble of sounds, but everything is perfectly calibrated. Pastoral, relaxed, evocative.

In closing, "Circle In The Round" is a collection with magnificent and very interesting peaks ("Sanctuary", "Love For Sale" and especially the title-track) and some minor episodes, but nonetheless worthy of note and attention. As always, Miles is a step ahead, his music is fresh, innovative, and characteristic. If this album doesn't deserve more than three points, it's because it is an inherently disjointed collection (how could it be otherwise, comprising recordings from '55 to '70?), although it's very beautiful. Essential for Miles fans, recommended to everyone else.