Miles Davis
Directions

In 1979, Columbia released "Circle In The Round" to try to fill the void left by Miles Davis's retirement from the scene. Two years later, the situation hadn't changed (although soon Miles would be back on track with "The Man With The Horn"), so the record label released the double album "Directions", containing tracks recorded from 1960 to 1970, mainly focusing on the period between 1967-1970. Just like with "Circle In The Round," it seems appropriate to conduct a track-by-track analysis for "Directions," given the underlying disunity of the album.

CD1

1. "Song For Our Country" (1960); Davis (trumpet), Evans (arranger, conductor), Chambers (upright bass), Cobb (drums), Jones (percussion), same orchestra of trumpets, tubas, flugelhorns, bass clarinet, oboe, french horns, bassoon, and harp that recorded "Sketches Of Spain" (3:28 min)

A track also included as a bonus on the reissue of "Sketches Of Spain," it's one of the most beautiful pieces of Davis and Gil Evans's orchestral masterpiece. Miles must have been out of his mind not to include it in the original album. That said, considering the mood of the other pieces in "Directions," this as an opener isn't the best choice, both for the chronological and sonic distance. Still, I repeat, it's a beautiful piece in itself, with Miles's phrases being simply devastating.

2. "'Round Midnight" (1961); Davis (trumpet), Mobley (tenor sax), Kelly (acoustic piano), Chambers (upright bass), Cobb (drums) (7:41 min)

Miles exudes solitary melancholy, but is quickly supported by the rhythm section. Wynton Kelly occasionally suggests some melodic lines before the famous break that cues Hank Mobley, who deserves rediscovery. He's neither Coltrane, Shorter, nor Coleman. His style is hybrid and deserves more attention. The interpretation of "'Round Midnight" is proof: the melody is there, ever-present, but Hank plays with it, colors it, and hints at it, as only great musicians can. This live piece was also released in "Saturday Night - Miles Davis In Person At The Blackhawk, San Francisco."

3. "So Near, So Far" (1963); Davis (trumpet), Coleman (tenor sax), Feldman (acoustic piano), Carter (upright bass), Butler (drums) (5:16 min)

One of the few recordings with Frank Butler and Victor Feldman, this is an alternate take of a track from "Seven Steps To Heaven." Don't be fooled by Ron Carter's presence; this piece is quite far from the sound of the second great quintet. It's a nice track, nothing revolutionary, but it’s an excellent listen, especially due to the mastery of the soloists and Butler's rhythmic figures. From Feldman's brief solo spots, as well as hearing him accompany, one can realize what was lost without him being part of Miles's group longer. An intelligent musician (Davis loved his playing style) who meshes well with the melody and the imagination of the great George Coleman.

4. "Limbo" (1967); Davis (trumpet), Shorter (tenor sax), Hancock (acoustic piano), Williams (upright bass), Williams (drums) (5:32 min)

A classic piece from the second great quintet, with a static upright bass (Buster Williams occasionally replacing Carter) against Tony Williams's crazy figures, and above all, Hancock's unperturbed piano dances. Above all, Shorter's brief strokes, a master of suggesting more than saying, as usual. Unlike eloquent saxophonists like Coleman, Shorter's phrasing is more convoluted, more cerebral, but no less sincere for that. Miles's solo is fuller than usual, quite rare for him who loved to play few notes, and his understanding with Williams is fantastic: they comprehend and accompany each other with disarming ease. The synergy with Buster Williams is also incredible, proving that one doesn’t need to play together for years to understand each other if they are great musicians.

5. ""Water On The Pond" (1967); Davis (trumpet, chimes, tubular bells), Shorter (tenor sax), Hancock (electric piano, clavinet), Carter (upright bass), Williams (drums), Beck (electric guitar) (7:03 min)

Belonging to the very early phase of the electric period, where Miles attempted to add Joe Beck's electric guitar. Though not the masterpiece that "Circle In The Round" (from the same period) is, this composition is noteworthy for its sunny start reminiscent of Weather Report, and the contrast between Miles’s somewhat ethereal solo and Hancock’s highly present rhythm section, utilizing both electric piano and clavinet, foreshadowing a characteristic of his '70s funk period. Carter moves beneath the piano's carpet, providing solid foundations with a mix of walking bass and melody, resembling Dave Holland's style. Then Williams pauses, Herbie becomes even more present, and Miles allows himself a more relaxed space. This concession isn't given to Shorter, as Tony returns and plays like only he can, with the drum’s frenzy clashing and merging with the sax, which only occasionally aligns with its madness.

6. ""Fun" (1968); Davis (trumpet), Shorter (tenor sax), Hancock (electric piano, harpsichord), Carter (upright bass), Williams (drums), Pizzarelli (electric guitar) (4:10 min)

The bass line is an ascending chromaticism resolving into a wonderful melodic phrase, and on this "Fun" is constructed. The harpsichord is omnipresent and blends well with the bass's rhythm. Down below is Tony Williams, who generally maintains a rather calm demeanor compared to his standards. Bucky Pizzarelli's guitar is a rhythmic addition, not standing out, just like Joe Beck's in previous recordings. Once again, Shorter delivers quick raids and more extended phrases, where Trane’s initial influence on his style stands out.

7. & 8. "Directions I & II" (1968); Davis (trumpet), Zawinul (electric piano, organ), DeJohnette (drums, percussion) Shorter (tenor & soprano sax), Hancock (electric piano), Corea (electric piano), Holland (electric bass), Macero (percussion) (6:48 & 4:49 min)

On a repetitive phrase by Dave Holland, Jack DeJohnette echoes slightly Tony Williams, but with more rhythm and fewer virtuoso moments, Wayne Shorter echoes only Wayne Shorter. No one plays like him, no one can conceive a solo as he does. It's a way of playing that doesn't take your breath away like Coltrane’s, but it holds you still, focused on understanding what he's saying. Here's an allusion, then a clearer phrase, a little more mystery... After Wayne (playing both tenor and soprano), the baton is passed to a lively electric piano solo (one of the three? honestly, I can't say), which then leads to another electric piano solo. Brief intro to "Directions II," roles are more defined, there's generally more confidence. Same phrase by Holland, same unison theme of the horns, but there's more aggression, DeJohnette hits harder, the dynamics are greater, but what strikes is Miles’s solo: without abandoning his characteristic lyricism, he brings more force, more aggression, creating an atypical sound for him that will also be found in other tracks, like "Duran."

CD2

1. "Ascent" (1968); Davis (trumpet), Zawinul (electric piano, organ), Jack DeJohnette (drums), Shorter (tenor & soprano sax), Hancock (electric piano), Corea (electric piano), Holland (electric & upright bass) (14:41 min)

An atmospheric piece; the soloists move on the suggestions of the electric pianos, creating an uncertain mood, yet devoid of unease. The double bass isn't the centerpiece, just the foundation, the drums almost disappear, it's just cymbal play. On this backdrop, Shorter sings, describes the night. Miles reaches upward, ascending but remains well anchored to jazz ballad motifs, which is a strength, creating contrast with the mood given to the track by the rhythm section, resembling the "Bitches Brew" sound albeit with virtually absent psychedelia.

2. "Duran" (1970); Davis (trumpet), Shorter (soprano sax), Maupin (bass clarinet), McLaughlin (electric guitar), Holland (electric bass), Cobham (drums) (10:58 min)

Heading towards funk/jazz. Another hypnotic phrase by Holland, this time supported by Billy Cobham's funk drumming. McLaughlin’s electric guitar is rough, often Hendrixian, perfect for the occasion. The theme is melodic, but also rhythmic, essentially funk. Here are the pauses, as expected! Then Davis takes the solo, and after a while, Cobham starts playing more, the dynamics increase, at moments Miles closely resembles Freddie Hubbard. Then it's John McLaughlin's turn, engaging the distortion and off he goes. A rather rock solo, just as the leader wanted during that period, even though his focus was already shifting from white rock to funk-tinged black rock. This track is right in the middle, bridging the two periods of electric Davis. Shorter blends with Maupin (a combination that would yield much great music), hinting at the manic frenzy that would characterize "On The Corner." Cobham's brief solo is 95% funk and 5% latin, but just a dash, a couple of hits here and there. Then Holland resumes, and it heads towards the end.

3. "Konda" (1970); Davis (trumpet), Jarrett (electric piano), McLaughlin (electric guitar), DeJohnette (drums), Moreira (percussion) (14:08 min)

What a peculiar piece! No drums (at first...), no bass, just one piano (and we are in 1970, marked by an abundance of black and white keys, although not for much longer). Keith Jarrett lays the carpet on which the theme and its variations move, accompanied and partially doubled by John McLaughlin's jazz guitar with a Hendrix/Hazel flavor. There is no uncertainty, nor aggression. Occasionally Airto Moreira adds color, and he's a master at doing so, with those light, yet evocative, percussions. Then, after almost ten minutes, DeJohnette starts a simple battery accompaniment, always expanded by the percussions. The rhythm takes over; everything becomes rhythm. In fact, you realize it's always been that way, rhythm has always been the king of the composition, which is likely what Miles aimed for, the focus has been there from the start. "On The Corner" is born from pieces like this. Different lineup, different way of playing. But the initial idea, who can say if it's subconscious or not, the sprout, is here.

4. "Willie Nelson" (1970); Davis (trumpet), Grossman (soprano sax), McLaughlin (electric guitar), Holland (electric bass), DeJohnette (drums) (10:20)

The guitar gives that oriental touch, Miles plays few notes and much rhythm (by now his attention is on the black rock/funk of Sly & The Family Stone and the soul/funk of James Brown), although occasionally he indulges in fuller moments, never losing sight of the rhythm aspect, which absolutely dominates his solo and the whole piece. DeJohnette's hammer is the base, Holland provides reinforcement, a funk pattern, sometimes a color, a repetition, but the essence is still this: rhythm. The overlapping of Davis and Grossman is a mere hint at times; for the rest, it's the saxophonist who delivers the best performance. "On The Corner" is now on the horizon, and "Willie Nelson" shows how much of that sound comes from Steve Grossman. McLaughlin in pieces like these is like cheese on maccheroni. DeJohnette raises the bar and Holland becomes more repetitive, but the rhythm doesn't lose any of its solidity.

In conclusion, "Directions" is a very good compilation, less uneven than "Circle In The Round" (the rating is 3.5). The best tracks are "Duran" and the two title-tracks, but being a compilation, even in its disunity, less disunited than the previous one, it's harder to find tracks that clearly stand out among others. You've probably realized that the period in focus is mainly that of the early electric Miles, even more so than on "Circle In The Round." And in "Directions," there are some of the most beautiful things Miles Davis did in that phase, and if I don't give it 4 stars, it's only due to its non-unitary nature, certainly not because there isn't great music here.