Nefertiti

What? You don’t already own it? For shame! Actually, I can’t really blame you. Miles Davis has such an extensive catalogue to choose from, one is reduced to having to grab the albums one can (if only we could afford to have them all!). Nefertiti, however, is something of a specialty item among the other giants. It grants a new perspective on the roles and arrangement of the jazz group format.

Miles Davis, Wayne Shorter, Tony Williams, Ron Carter, and Herbie Hancock are all in top form on Nefertiti and so are the compositions. The album is graced with three Wayne Shorter tunes, two Herbie Hancock, and one of Tony Williams’ (Miles was prevented from having his own compositions on his albums at the time due to a struggle with his record company). And what tunes they are! Miles realized that the times were changing and he wanted the music to change with it.

The Shorter tunes are perhaps the finest of the album. Nefertiti presents this wonderful melody which is repeated by the horns again and again while the inspiration shifts to the rhythm section, particularly Tony Williams, as they build up power and intensity, giving new meaning to tension and release.

Fall is much the same as Nefertiti in that the horns are made to repeat this phrase over and over again but it is a ballad and consequently much more relaxed. This one is my personal favorite. The horns incessantly swoop in ever so eloquently, reminding you of the richness of the tune while Herbie and Ron keep things as tight as possible. The feel is perfect, the solos are unreal, and the composition is a rare jewel. This one on its own makes the album a must-have.

Pinocchio once again proves to us the power of repetition in the melody. It grants so much freedom to the rhythm section and Ron, Tony, and Herbie pick up on it so well, that it’s a wonder that other groups hadn’t really tried quite the same format before. Pinocchio is very tightly driven and can be just as enchanting as any of the other Shorter tunes.

Unlike the aforementioned Wayne Shorter compositions, Herbie Hancock’s are much briefer; the solos begin before you even realize the melody is over. Madness and Riot have a peculiarity about them that is inherent of a Herbie Hancock tune. And as far as Tony Williams’ Hand Jive goes, it stands right up there with the rest. Tony pushed things so hard that it seems like the drum set is going to leap out of your stereo and pummel you.

As far as the alternate takes go, I can’t really provide you with a lot of information. I personally hate it when they throw them in but if that’s what you’re into, Nefertiti provides you with four alternate takes to chew on.

Between Herbie’s comping, Tony’s driving force, and the sheer beauty of the Shorter tunes, you really can’t go wrong with Nefertiti. You won’t be sorry for adding this one to your collection.