- LOCAL TRADITIONAL
- THE REST
the only studio recording released during L's quarter century lifetime, released when he was twenty one years young, this record is classic, and tracks like 'fed up with the bullshit feel even more relevant today. this line goves me goosebumps:
"this is every day not every other week / listen when this brother speak / motherfuck turning the other cheek"
this record was the last one made with all acoustic instruments by miles davis's 'second great quintet'. comparing this and 'filles de kilimanjaro', the record that immediately followed it chronologically, makes for very interesting listening, because the same players get electric on 'kilimanjaro'. i'm paraphrasing some other reviewer when i say that, among the really greatest achievements on 'nefertiti' in particular is that it is a record composed of really experimental boundary-pushing music, and yet it comes across almost like easy listening. take the first two tracks for example. the horns just mostly repeat the theme, while the rhythm section pushes and pulls underneath. the result is soothing, and upon close listen, exceedingly captivating if one tunes in to the metric modular experimentation happening underneath it all. my cousin, dj grape ape, said, 'i think that band became so influential that eventually its mannerisms became a cliche to be avoided... but when u go back to the source, they were really stretching + exploring + just firing on all cylinders.'
that's betty davis on the cover of this release. this is a seminal release for miles davis's second 'great' quartet in that it marks a beginning of an experimentation with electric intruments. from my perspective, as an electric bass guitar player, hearing tony williams' drumming, i'm liable to think, 'i have no idea what in the world i might lay down to these beats.' and here comes ron carter to the rescue, playing electric bass guitar, saying, 'here. here's how it's done.' ...essential listening.