| 1. Shhh/Peaceful |
| 2. In a Silent Way/It's About That Time: In a Silent Way/It's About That T |
Editorial Reviews
Amazon.com
Miles Davis's famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a kind of line in the sand challenging jazz fans during the ascendance of electric, psychedelic rock, In a Silent Way hinted at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook generously of electric piano and bass and rekindled the tonal palette that Davis had explored famously with Kind of Blue. But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos, and they glisten in a burnished blue against his new group's strange admixture of musical moods. --Andrew Bartlett
Apart from Miles (trumpet), the list of musicians on this album reads like a who's who of jazz rock: Herbie Hancock (Fender Rhodes electric piano); Chick Corea (Fender Rhodes electric piano); Wayne Shorter (tenor saxophone); Dave Holland (acoustic bass); Joe Zawinul (Fender Rhodes electric piano and organ); the amazing John McLaughlin (electric guitar); and Tony Williams (drums).
In spite of the fact that all of these guys are virtuosos, their performances on In a Silent Way are extraordinarily disciplined and restrained. The most notable example of this is Tony Williams, who simply plays a repeated rhythm on the hi-hat for all of the lengthy Shhh/Peaceful - in fact, it is not until near the end of In a Silent Way that he plays the entire kit, and for only a short time. Even John McLaughlin turns in a very sedate performance with clean tones; a marked change from the wildly savage virtuosity that characterized his playing during this early period. Although three keyboardists of such high caliber playing at the same time might not have worked under different circumstances, it works incredibly well here; the different players weave effortlessly in and around one another.
The album is split into two lengthy tracks with Shhh/Peaceful clocking in at 18'16" and In a Silent Way/It's about that Time running for 19'52". The mood of both pieces is very dreamy and quiet, with soft electric piano parts, and shimmering textures on the electric guitar fading in and out. Miles playing is very spacey and drifting - he comes in very so often and blows a few perfect notes and then stops, letting the other players do their thing. This music is deeply reflective and meditative, which is especially borne out in the hypnotic rhythm section.
All in all, this is a landmark recording that ushered in a new direction in jazz. Very highly recommended along with Bitches Brew (1970) and the much heavier sounding Jack Johnson (1971). Although a bit controversial, On the Corner (1972) is also recommended.
What sets this apart? For one, the number of musicians. There are eight guys here, and a small army on every other album I mentioned. Eight guys contribute ideas MUCH better than a small army. Especially if Herbie Hancock, John McLaughlin, Tony Williams, Wayne Shorter and Miles himself are five of those eight guys. Hell, sneak in Ron Carter on bass and you've got the Second Great Sextet (first being the Kind of Blue band) on your hands. I know that Miles, Shorter, McLaughlin and Hancock played pivitol rows on Bitches Brew, but in a less crowded setting, they communicate better and their contributions come to the fore. Oh, and Tony Williams is my favorite drummer in the history of ever, and he left after this album, so maybe that relates to the huge drop in quality, I don't know. But even Joe Zawinul (who I'm not a fan of) and Chick Corea (who I have no opinion on) work magic on their keyboards. Basically, the only guy who DOESN'T make an amazing contribution is Dave Holland, who perfectly conforms to the stereotype of the bassist as being "random guy who nobody's heard of and doesn't draw attention to himself in his playing". He's just the bassist.
This is a haunting, restrained, atmospheric affair. The volume and tempo rarely pick up, and if they do it's only briefly (i.e. that quick little blurb in the middle of the title suite). It's an eerie calm this one gives off, like Kind of Blue (which is god) on downers. Moody, reflective Miles has always been some cool stuff, and this is no exception. Shorter's soprano is ethereal and creepy - in good senses of both terms. And John McLaughlin is, well... John McLaughlin. If you've never heard his work, this is a great place to start.
Two beautiful, otherworldly twenty-minute suites... Miles fans should be in heaven. Oh, and the cover would make a cool t-shirt. I'd buy it, at least.
I shouldn't have to belabor what these songs sound like and why they are great. I think it should be enough to say that this is Miles's best record of the '60s (and therefore pretty much his best ever, with the only possible competition coming from _Kind of Blue_ and _On the Corner_). It settles on slow, soothing grooves and throws almost surreal harmonic and rhythmic softballs where one might least expect it . . . and, like I said, takes the listener exactly where she needs to be. To unadulterated sonic bliss.
I like funk and groove so I should have done a bit more homework before trying out the jazz scene. For me this CD is mostly silent except for some irritating trumpet blowing like foxtail into your eardrums.
I was about to give up on the whole jazz scene when I came upon Panthalassa. Track 1 of that CD (In a silent way/Shhh/Peaceful) is nice; smoothing out and grooving out Miles while staying true: say the purists.
If you love it remixed and electrofied (yes sir!) check out DJ Cam's tribute to "In a silent way".
As for the music itself, the description has been more or less covered by the myriad of reviews already here. Suffice it to say that it is one of the rare musical documents that can be appreciated on ALL musical levels: there is enough interest in the soloists and group interaction to give it true depth and replay value, it's funky (though not overtly), it's brilliant mood music (as much as I hate that term), and it's even quiet enough to be shoved into the background (though why would you want to?). My favorite moment is when Tony Williams finally ramps up the groove about 13 minutes into the second track and pushes Miles to the next level of intensity.
Get this album to hear the music which sent forth the new wave of true innovators, arguably jazz's last (at least for now).
Apart from Miles (trumpet), the list of musicians on this album reads like a who's who of jazz rock: Herbie Hancock (Fender Rhodes electric piano); Chick Corea (Fender Rhodes electric piano); Wayne Shorter (tenor saxophone); Dave Holland (acoustic bass); Joe Zawinul (Fender Rhodes electric piano and organ); the amazing John McLaughlin (electric guitar); and Tony Williams (drums).
In spite of the fact that all of these guys are virtuosos, their performances on In a Silent Way are extraordinarily disciplined and restrained. The most notable example of this is Tony Williams, who simply plays a repeated rhythm on the hi-hat for all of the lengthy Shhh/Peaceful - in fact, it is not until near the end of In a Silent Way that he plays the entire kit, and for only a short time. Even John McLaughlin turns in a very sedate performance with clean tones; a marked change from the wildly savage virtuosity that characterized his playing during this early period. Although three keyboardists of such high caliber playing at the same time might not have worked under different circumstances, it works incredibly well here; the different players weave effortlessly in and around one another.
The album is split into two lengthy tracks with Shhh/Peaceful clocking in at 18'16" and In a Silent Way/It's about that Time running for 19'52". The mood of both pieces is very dreamy and quiet, with soft electric piano parts, and shimmering textures on the electric guitar fading in and out. Miles playing is very spacey and drifting - he comes in very so often and blows a few perfect notes and then stops, letting the other players do their thing. This music is deeply reflective and meditative, which is especially borne out in the hypnotic rhythm section.
All in all, this is a landmark recording that ushered in a new direction in jazz. Very highly recommended along with Bitches Brew (1970) and the much heavier sounding Jack Johnson (1971). Although a bit controversial, On the Corner (1972) is also recommended.
What sets this apart? For one, the number of musicians. There are eight guys here, and a small army on every other album I mentioned. Eight guys contribute ideas MUCH better than a small army. Especially if Herbie Hancock, John McLaughlin, Tony Williams, Wayne Shorter and Miles himself are five of those eight guys. Hell, sneak in Ron Carter on bass and you've got the Second Great Sextet (first being the Kind of Blue band) on your hands. I know that Miles, Shorter, McLaughlin and Hancock played pivitol rows on Bitches Brew, but in a less crowded setting, they communicate better and their contributions come to the fore. Oh, and Tony Williams is my favorite drummer in the history of ever, and he left after this album, so maybe that relates to the huge drop in quality, I don't know. But even Joe Zawinul (who I'm not a fan of) and Chick Corea (who I have no opinion on) work magic on their keyboards. Basically, the only guy who DOESN'T make an amazing contribution is Dave Holland, who perfectly conforms to the stereotype of the bassist as being "random guy who nobody's heard of and doesn't draw attention to himself in his playing". He's just the bassist.
This is a haunting, restrained, atmospheric affair. The volume and tempo rarely pick up, and if they do it's only briefly (i.e. that quick little blurb in the middle of the title suite). It's an eerie calm this one gives off, like Kind of Blue (which is god) on downers. Moody, reflective Miles has always been some cool stuff, and this is no exception. Shorter's soprano is ethereal and creepy - in good senses of both terms. And John McLaughlin is, well... John McLaughlin. If you've never heard his work, this is a great place to start.
Two beautiful, otherworldly twenty-minute suites... Miles fans should be in heaven. Oh, and the cover would make a cool t-shirt. I'd buy it, at least.
I shouldn't have to belabor what these songs sound like and why they are great. I think it should be enough to say that this is Miles's best record of the '60s (and therefore pretty much his best ever, with the only possible competition coming from _Kind of Blue_ and _On the Corner_). It settles on slow, soothing grooves and throws almost surreal harmonic and rhythmic softballs where one might least expect it . . . and, like I said, takes the listener exactly where she needs to be. To unadulterated sonic bliss.
I like funk and groove so I should have done a bit more homework before trying out the jazz scene. For me this CD is mostly silent except for some irritating trumpet blowing like foxtail into your eardrums.
I was about to give up on the whole jazz scene when I came upon Panthalassa. Track 1 of that CD (In a silent way/Shhh/Peaceful) is nice; smoothing out and grooving out Miles while staying true: say the purists.
If you love it remixed and electrofied (yes sir!) check out DJ Cam's tribute to "In a silent way".
As for the music itself, the description has been more or less covered by the myriad of reviews already here. Suffice it to say that it is one of the rare musical documents that can be appreciated on ALL musical levels: there is enough interest in the soloists and group interaction to give it true depth and replay value, it's funky (though not overtly), it's brilliant mood music (as much as I hate that term), and it's even quiet enough to be shoved into the background (though why would you want to?). My favorite moment is when Tony Williams finally ramps up the groove about 13 minutes into the second track and pushes Miles to the next level of intensity.
Get this album to hear the music which sent forth the new wave of true innovators, arguably jazz's last (at least for now).
On the other hand, let's say you don't want to devote your life to an in-depth study of Miles Davis' life and music. Then you need to have his three best-known, and by most accounts his three best recordings on your shelf. No one would be disappointed with this set of diverse, yet stunningly beautiful albums.
I'd challenge all but the most addicted listener to make it through more than ten songs at a sitting, and many of these pieces are tepid, offering comfort rather than inspiration. The singers are among the best, but Graham Johnson and Steuart Beford, who do most of the accompaniments, are lackluster. I know that won't be a popular comment, yet if you compare any of these songs with rendiitons done by Janet Baker, John Shirley-quirk, and most recently Bryn Terfel and Ian Bostridge, you immediately notice how much more intensity and drama is pesent than htis colleciton reveals.
Miles Davis's famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a kind of line in the sand challenging jazz fans during the ascendance of electric, psychedelic rock, In a Silent Way hinted at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook generously of electric piano and bass and rekindled the tonal palette that Davis had explored famously with Kind of Blue. But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos, and they glisten in a burnished blue against his new group's strange admixture of musical moods. --Andrew Bartlett
In a Silent Way,Miles Davis,Sony,Avant-Garde Jazz,Fusion,Jazz,Jazz Music,Jazz-Rock,Pop,United States of America
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In a Silent Way
Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD  General
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ASIN: B00006GO9Q Release Date: 2002-08-20 |
Tracks:
- Shhh/Peaceful
- In A Silent Way
Amazon.com
Miles Davis's famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a kind of line in the sand challenging jazz fans during the ascendance of electric, psychedelic rock, In a Silent Way hinted at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook generously of electric piano and bass and rekindled the tonal palette that Davis had explored famously with Kind of Blue. But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos, and they glisten in a burnished blue against his new group's strange admixture of musical moods. --Andrew BartlettCustomer Reviews:
Electric, yet eerily quiet.......2007-05-22
Apart from Miles (trumpet), the list of musicians on this album reads like a who's who of jazz rock: Herbie Hancock (Fender Rhodes electric piano); Chick Corea (Fender Rhodes electric piano); Wayne Shorter (tenor saxophone); Dave Holland (acoustic bass); Joe Zawinul (Fender Rhodes electric piano and organ); the amazing John McLaughlin (electric guitar); and Tony Williams (drums).
In spite of the fact that all of these guys are virtuosos, their performances on In a Silent Way are extraordinarily disciplined and restrained. The most notable example of this is Tony Williams, who simply plays a repeated rhythm on the hi-hat for all of the lengthy Shhh/Peaceful - in fact, it is not until near the end of In a Silent Way that he plays the entire kit, and for only a short time. Even John McLaughlin turns in a very sedate performance with clean tones; a marked change from the wildly savage virtuosity that characterized his playing during this early period. Although three keyboardists of such high caliber playing at the same time might not have worked under different circumstances, it works incredibly well here; the different players weave effortlessly in and around one another.
The album is split into two lengthy tracks with Shhh/Peaceful clocking in at 18'16" and In a Silent Way/It's about that Time running for 19'52". The mood of both pieces is very dreamy and quiet, with soft electric piano parts, and shimmering textures on the electric guitar fading in and out. Miles playing is very spacey and drifting - he comes in very so often and blows a few perfect notes and then stops, letting the other players do their thing. This music is deeply reflective and meditative, which is especially borne out in the hypnotic rhythm section.
All in all, this is a landmark recording that ushered in a new direction in jazz. Very highly recommended along with Bitches Brew (1970) and the much heavier sounding Jack Johnson (1971). Although a bit controversial, On the Corner (1972) is also recommended.
The bible of Miles' fusion period.......2007-04-28
What sets this apart? For one, the number of musicians. There are eight guys here, and a small army on every other album I mentioned. Eight guys contribute ideas MUCH better than a small army. Especially if Herbie Hancock, John McLaughlin, Tony Williams, Wayne Shorter and Miles himself are five of those eight guys. Hell, sneak in Ron Carter on bass and you've got the Second Great Sextet (first being the Kind of Blue band) on your hands. I know that Miles, Shorter, McLaughlin and Hancock played pivitol rows on Bitches Brew, but in a less crowded setting, they communicate better and their contributions come to the fore. Oh, and Tony Williams is my favorite drummer in the history of ever, and he left after this album, so maybe that relates to the huge drop in quality, I don't know. But even Joe Zawinul (who I'm not a fan of) and Chick Corea (who I have no opinion on) work magic on their keyboards. Basically, the only guy who DOESN'T make an amazing contribution is Dave Holland, who perfectly conforms to the stereotype of the bassist as being "random guy who nobody's heard of and doesn't draw attention to himself in his playing". He's just the bassist.
This is a haunting, restrained, atmospheric affair. The volume and tempo rarely pick up, and if they do it's only briefly (i.e. that quick little blurb in the middle of the title suite). It's an eerie calm this one gives off, like Kind of Blue (which is god) on downers. Moody, reflective Miles has always been some cool stuff, and this is no exception. Shorter's soprano is ethereal and creepy - in good senses of both terms. And John McLaughlin is, well... John McLaughlin. If you've never heard his work, this is a great place to start.
Two beautiful, otherworldly twenty-minute suites... Miles fans should be in heaven. Oh, and the cover would make a cool t-shirt. I'd buy it, at least.
Will Always Take You Where You Need to Be.......2006-07-26
I shouldn't have to belabor what these songs sound like and why they are great. I think it should be enough to say that this is Miles's best record of the '60s (and therefore pretty much his best ever, with the only possible competition coming from _Kind of Blue_ and _On the Corner_). It settles on slow, soothing grooves and throws almost surreal harmonic and rhythmic softballs where one might least expect it . . . and, like I said, takes the listener exactly where she needs to be. To unadulterated sonic bliss.
Shhh, don't tell anyone but Miles gives me a headache.......2006-06-18
I like funk and groove so I should have done a bit more homework before trying out the jazz scene. For me this CD is mostly silent except for some irritating trumpet blowing like foxtail into your eardrums.
I was about to give up on the whole jazz scene when I came upon Panthalassa. Track 1 of that CD (In a silent way/Shhh/Peaceful) is nice; smoothing out and grooving out Miles while staying true: say the purists.
If you love it remixed and electrofied (yes sir!) check out DJ Cam's tribute to "In a silent way".
Fusion's Mission Statement.......2006-03-02
As for the music itself, the description has been more or less covered by the myriad of reviews already here. Suffice it to say that it is one of the rare musical documents that can be appreciated on ALL musical levels: there is enough interest in the soloists and group interaction to give it true depth and replay value, it's funky (though not overtly), it's brilliant mood music (as much as I hate that term), and it's even quiet enough to be shoved into the background (though why would you want to?). My favorite moment is when Tony Williams finally ramps up the groove about 13 minutes into the second track and pushes Miles to the next level of intensity.
Get this album to hear the music which sent forth the new wave of true innovators, arguably jazz's last (at least for now).
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The Complete In a Silent Way Sessions
Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz
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ASIN: B0002199G8 Release Date: 2004-05-11 |
Tracks:
- Mademoiselle Mabry
- Frelon Brun
- Two Faced
- Dual Mr. Anthony Tillmon Williams Process
- Splash
- Splashdown
Tracks:
- Ascent
- Directions I
- Directions II
- Shhh/Peaceful
- In A Silent Way (Rehearsal)
- In A Silent Way
- It's About That Time
Tracks:
- The Ghetto Walk
- Early Minor
- Shhh/Peaceful (LP Version)
- In A Silent Way/It's About That Time (LP Version)
Customer Reviews:
The soundtrack to a religious experience.......2006-09-25
Maybe the greatest Miles ensemble ever . . ........2006-03-08
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100 Hymns & Songs of Inspiration
Manufacturer: Castle Music UK ProductGroup: Music Binding: Audio CD All Works by Arne
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ASIN: B00008GEKT Release Date: 2003-04-14 |
Tracks:
- Love Divine All Loves Excelling - Choir Of Gloucester Cathedral
- Father Hear the Prayer We Offer - Choir Of Gloucester Cathedral
- Now Thank We All Our God - Choir Of Gloucester Cathedral
- This Day, The First of Days - Choir Of Gloucester Cathedral
- Stars of the Morning So Gloriously Bright - Choir Of Gloucester Cathedral
- God Save the Queen - Choir Of Gloucester Cathedral
- Day of Resurrection - Choir Of Gloucester Cathedral
- God Rest You Merry Gentlemen - Choir Of Gloucester Cathedral
- Of the Father's Heart Begotten - Choir Of Gloucester Cathedral
- O Come All Ye Faithful - Choir Of Gloucester Cathedral
- Awake My Soul and With the Sun - Choir Of Norwich Cathedral
- Thine Arm O Lord in Days of Old - Choir Of Norwich Cathedral
- All People That on Earth Do Dwell - Choir Of Norwich Cathedral
- Good Christian Men Rejoice and Sing - Choir Of Norwich Cathedral
- There Is a Green Hill - Choir Of Norwich Cathedral
- Lord of Beauty - Choir Of Sheffield Cathedral
- Rejoice Today With One Accord - Choir Of Sheffield Cathedral
- New Every Morning - Choir Of Sheffield Cathedral
- Lead Us Heavenly Father Lead Us - Choir Of Sheffield Cathedral
- O God Our Help in Ages Past - Choir Of Sheffield Cathedral
Tracks:
- Morning Has Broken - Choir Of Marlborough College Chapel
- Happy Are They - Choir Of Marlborough College Chapel
- In Christ There Is No East or West - Choir Of Marlborough College Chapel
- Silent Night - Choir Of Marlborough College Chapel
- Be Thou My Guardian - Choir Of Marlborough College Chapel
- Ye Servants of the Lord - Choir Of Marlborough College Chapel
- At the Name of Jesus Every Knee Shall Bow - Choir Of Marlborough College Chapel
- To Thee O Lord Our Hearts We Raise - Choir Of Marlborough College Chapel
- Behold the Great Creator Makes - Choir Of Marlborough College Chapel
- Rejoice the Lord Is King - Choir Of Marlborough College Chapel
- Creator of the Stars of Night - Ely Cathedral Choir
- He Comes With Clouds Descending - Ely Cathedral Choir
- O Little Town of Bethlehem - Ely Cathedral Choir
- Alleluya Alleyluya Alleyluya - Ely Cathedral Choir
- This Is the Day the Lord Hath Made - Ely Cathedral Choir
- How Sweet the Name of Jesus Sounds - Ely Cathedral Choir
- Lord Thy Word Abideth - Ely Cathedral Choir
- Jesus Lord We Look to Thee - Ely Cathedral Choir
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Tracks:
- Soldiers of Christ Arise - Choir Of Wakefield Cathedral
- Lift Up Your Hearts - Choir Of Wakefield Cathedral
- Holy Father, Cheer Our Way - Choir Of Wakefield Cathedral
- Maker of the Sun - Choir Of Wakefield Cathedral
- O King Most High - Choir Of Wakefield Cathedral
- O Praise Our Great and Glorious Lord - Choir Of Wakefield Cathedral
- Forgive Our Sins as We Forgive - Choir Of Wakefield Cathedral
- We Love the Place O God - Choir Of Wakefield Cathedral
- Let Us With a Gladsome Mind - Choir Of Wakefield Cathedral
- Give Rest O Christ - Choir Of Wakefield Cathedral
- Come Holy Ghost Our Hearts Inspire - Choir Of Truro Cathedral
- O Thou in All Thy Might So Far - Choir Of Truro Cathedral
- O Christ, Who Art the Light and Day - Choir Of Truro Cathedral
- O God Thy Soldiers' Crown and Guard - Choir Of Truro Cathedral
- Strife Is O'er the Battle Done - Choir Of Truro Cathedral
- O Christ Our Hope, Our Hearts' Desire - Choir Of Truro Cathedral
- Jesus Shall Reign - Choir Of Truro Cathedral
- God of Love My Shepherd Is - Choir Of Truro Cathedral
- O Jesu Saviour of Mankind - Choir Of Truro Cathedral
- Immortal Invisible God Only Wise - Choir Of Truro Cathedral
Tracks:
- Ride on Ride on in Majesty - Choir Of All Saints - Margaret Street, London
- All Glory Laud and Honour - Choir Of All Saints - Margaret Street, London
- Come Rejoicing - Choir Of All Saints - Margaret Street, London
- God Is Love and Where True Love Is - Choir Of All Saints - Margaret Street, London
- Magnificat: The Great Advent Antiphons - Choir Of All Saints - Margaret Street, London
- Come, Christ's Beloved - Choir Of All Saints - Margaret Street, London
- Children of the Hebrews (Palm Procession) - Choir Of All Saints - Margaret Street, London
- Veneration of the Cross/The Reproaches (Veneratum and Reproaches) - Choir Of All Saints - Margaret Street, London
- Once in Royal David's City - Choir Of Keble College
- God Be in My Head - Choir Of Keble College
- O Thou Who Camest from Above - Choir Of Keble College
- Judge Eternal Throned in Splendour - Choir Of St Edmunsbury Cathedral
- Christ the Lord Is Risen Again - Choir Of St Edmunsbury Cathedral
- For All the Saints - Choir Of St Edmunsbury Cathedral
- Thy Hand O God Has Guided - Choir Of St Edmunsbury Cathedral
- Christ the Dawn of Our Salvation - Choir Of Eastbourne College Chapel
- I Was Glad - Choir Of Eastbourne College Chapel
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- Stand Up! Stand Up for Jesus! - The Choir of the Abbey School, Tewkesbury
- While Shepherds Watched Their Flocks - The Choir of the Abbey School, Tewkesbury
- O Worship the King - The Choir of the Abbey School, Tewkesbury
- O Heavenly Word of God on High - Choir Of The Collegiate Church Of St Mary
- Praise to the Lord, The Almighty - Choir Of The Collegiate Church Of St Mary
- Jesus Christ Is Risen Today - The Choir of York Minister
- First Nowell - The Choir of York Minister
- Abide with Me - The Choir of York Minister
- Breathe on Me Breath of God - Choir Of Keble College
- Rock of Ages - Choir Of Keble College
- On This Day, The First of Days - Choir Of Keble College
- Jesu Sweet and Mary - Choir Of Eastbourne College Chapel
- O Quam Gloriosum - Choir Of Eastbourne College Chapel
- Ye Holy Angels Bright - Choir Of Eastbourne College Chapel
- O for a Closer Walk With God - Choir Of Eastbourne College Chapel
- Prayer of St Patrick - Choir Of Eastbourne College Chapel
- Lord's Prayer - Choir Of Eastbourne College Chapel
- Blessed Be the God and Father - Choir Of Eastbourne College Chapel
- Day Thou Gavest Lord Is Ended - Choir Of Eastbourne College Chapel
- Jerusalem (And Did Those Feet in Ancient Times) - Choir Of Eastbourne College Chapel
Album Description
Full Title - 100 Hymns & Songs Of Inspiration. UK box-set featuring 100 tracks performed by Britain's finest Cathedral Choirs including, Gloucester Cathedral, Norwich Cathedral, Sheffield Cathedral, & many more. Five standard jewel cases housed in a slipbox. Castle Pulse. 2003.Customer Reviews:
The picture.......2006-12-11
Average customer rating: 
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In a Silent Way (Dlx) (Stereo/Multi)
Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B00006GO7T Release Date: 2002-08-20 |
Customer Reviews:
(SACD) too much hiss..........2006-04-30
my favorite miles.......2004-08-19
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In a Silent Way
Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz
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Jazz Fusion
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ASIN: B000002699 Release Date: 1990-10-25 |
Tracks:
- Shhh/Peaceful
- In A Silent Way/It's About That Time
Amazon.com
Miles Davis's famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a kind of line in the sand challenging jazz fans during the ascendance of electric, psychedelic rock, In a Silent Way hinted at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook generously of electric piano and bass and rekindled the tonal palette that Davis had explored famously with Kind of Blue. But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos, and they glisten in a burnished blue against his new group's strange admixture of musical moods. --Andrew BartlettCustomer Reviews:
Electric, yet eerily quiet.......2007-05-22
Apart from Miles (trumpet), the list of musicians on this album reads like a who's who of jazz rock: Herbie Hancock (Fender Rhodes electric piano); Chick Corea (Fender Rhodes electric piano); Wayne Shorter (tenor saxophone); Dave Holland (acoustic bass); Joe Zawinul (Fender Rhodes electric piano and organ); the amazing John McLaughlin (electric guitar); and Tony Williams (drums).
In spite of the fact that all of these guys are virtuosos, their performances on In a Silent Way are extraordinarily disciplined and restrained. The most notable example of this is Tony Williams, who simply plays a repeated rhythm on the hi-hat for all of the lengthy Shhh/Peaceful - in fact, it is not until near the end of In a Silent Way that he plays the entire kit, and for only a short time. Even John McLaughlin turns in a very sedate performance with clean tones; a marked change from the wildly savage virtuosity that characterized his playing during this early period. Although three keyboardists of such high caliber playing at the same time might not have worked under different circumstances, it works incredibly well here; the different players weave effortlessly in and around one another.
The album is split into two lengthy tracks with Shhh/Peaceful clocking in at 18'16" and In a Silent Way/It's about that Time running for 19'52". The mood of both pieces is very dreamy and quiet, with soft electric piano parts, and shimmering textures on the electric guitar fading in and out. Miles playing is very spacey and drifting - he comes in very so often and blows a few perfect notes and then stops, letting the other players do their thing. This music is deeply reflective and meditative, which is especially borne out in the hypnotic rhythm section.
All in all, this is a landmark recording that ushered in a new direction in jazz. Very highly recommended along with Bitches Brew (1970) and the much heavier sounding Jack Johnson (1971). Although a bit controversial, On the Corner (1972) is also recommended.
The bible of Miles' fusion period.......2007-04-28
What sets this apart? For one, the number of musicians. There are eight guys here, and a small army on every other album I mentioned. Eight guys contribute ideas MUCH better than a small army. Especially if Herbie Hancock, John McLaughlin, Tony Williams, Wayne Shorter and Miles himself are five of those eight guys. Hell, sneak in Ron Carter on bass and you've got the Second Great Sextet (first being the Kind of Blue band) on your hands. I know that Miles, Shorter, McLaughlin and Hancock played pivitol rows on Bitches Brew, but in a less crowded setting, they communicate better and their contributions come to the fore. Oh, and Tony Williams is my favorite drummer in the history of ever, and he left after this album, so maybe that relates to the huge drop in quality, I don't know. But even Joe Zawinul (who I'm not a fan of) and Chick Corea (who I have no opinion on) work magic on their keyboards. Basically, the only guy who DOESN'T make an amazing contribution is Dave Holland, who perfectly conforms to the stereotype of the bassist as being "random guy who nobody's heard of and doesn't draw attention to himself in his playing". He's just the bassist.
This is a haunting, restrained, atmospheric affair. The volume and tempo rarely pick up, and if they do it's only briefly (i.e. that quick little blurb in the middle of the title suite). It's an eerie calm this one gives off, like Kind of Blue (which is god) on downers. Moody, reflective Miles has always been some cool stuff, and this is no exception. Shorter's soprano is ethereal and creepy - in good senses of both terms. And John McLaughlin is, well... John McLaughlin. If you've never heard his work, this is a great place to start.
Two beautiful, otherworldly twenty-minute suites... Miles fans should be in heaven. Oh, and the cover would make a cool t-shirt. I'd buy it, at least.
Will Always Take You Where You Need to Be.......2006-07-26
I shouldn't have to belabor what these songs sound like and why they are great. I think it should be enough to say that this is Miles's best record of the '60s (and therefore pretty much his best ever, with the only possible competition coming from _Kind of Blue_ and _On the Corner_). It settles on slow, soothing grooves and throws almost surreal harmonic and rhythmic softballs where one might least expect it . . . and, like I said, takes the listener exactly where she needs to be. To unadulterated sonic bliss.
Shhh, don't tell anyone but Miles gives me a headache.......2006-06-18
I like funk and groove so I should have done a bit more homework before trying out the jazz scene. For me this CD is mostly silent except for some irritating trumpet blowing like foxtail into your eardrums.
I was about to give up on the whole jazz scene when I came upon Panthalassa. Track 1 of that CD (In a silent way/Shhh/Peaceful) is nice; smoothing out and grooving out Miles while staying true: say the purists.
If you love it remixed and electrofied (yes sir!) check out DJ Cam's tribute to "In a silent way".
Fusion's Mission Statement.......2006-03-02
As for the music itself, the description has been more or less covered by the myriad of reviews already here. Suffice it to say that it is one of the rare musical documents that can be appreciated on ALL musical levels: there is enough interest in the soloists and group interaction to give it true depth and replay value, it's funky (though not overtly), it's brilliant mood music (as much as I hate that term), and it's even quiet enough to be shoved into the background (though why would you want to?). My favorite moment is when Tony Williams finally ramps up the groove about 13 minutes into the second track and pushes Miles to the next level of intensity.
Get this album to hear the music which sent forth the new wave of true innovators, arguably jazz's last (at least for now).
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The Collection: Sketches of Spain/Kind of Blue/In a Silent Way
Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Cool Jazz
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ASIN: B000BM6AT2 Release Date: 2005-11-15 |
Tracks:
- Concierto de Aranjuez (Adagio)
- Will O' the Wisp
- Pan Piper
- Saeta
- Solea
- Song of Our Country [Issued Take][*]
- Concierto de Aranjuez, Pt. 1 [Alternate Take][*]
- Concierto de Aranjuez, Pt. 2 (Ending) [Alternate Take][*]
Tracks:
- So What
- Freddie Freeloader
- Blue in Green
- All Blues
- Flamenco Sketches
- Flamenco Sketches [Alternate Take][*]
Tracks:
- Shhh/Peaceful
- In a Silent Way/It's About That Time: In a Silent Way/It's About ...
Customer Reviews:
Obvious choice for the beginner.......2007-03-13
On the other hand, let's say you don't want to devote your life to an in-depth study of Miles Davis' life and music. Then you need to have his three best-known, and by most accounts his three best recordings on your shelf. No one would be disappointed with this set of diverse, yet stunningly beautiful albums.
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The Collection: Sketches of Spain/Kind of Blue/In a Silent Way
Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Cool Jazz
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ASIN: B0002IQEX2 Release Date: 2004-07-13 |
Tracks:
- Concierto de Aranjuez (Adagio)
- Will O' the Wisp
- Pan Piper
- Saeta
- Solea
- Song of Our Country [Issued Take][*]
- Concierto de Aranjuez, Pt. 1 [Alternate Take][*]
- Concierto de Aranjuez, Pt. 2 (Ending) [Alternate Take][*]
Tracks:
- So What
- Freddie Freeloader
- Blue in Green
- All Blues
- Flamenco Sketches
- Flamenco Sketches [Alternate Take][*]
Tracks:
- Shhh/Peaceful
- In a Silent Way/It's About That Time: In a Silent Way/It's About ...
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Beyond Noend with Errante
F. Gerard Errante Manufacturer: Drimala ProductGroup: Music Binding: Audio CD General Modern
| Modern, 20th, & 21st Century
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ASIN: B00004SAHO Release Date: 2000-01-24 |
Tracks:
- Silent Tears
- Cantabile
- Tagore Songs
- Kaleidoscope
- Twilight
- Captured Light
- Interlude
- Innerutterance
- The Widening Gyre
- Lyric Prelude
Album Description
Beyond Noend with Errante includes ten compositions for acoustic and electronic clarinet uniquely woven by Errante into an aural fabric that points the way to a new millennium in music. This evocative recording features the world recording premier of three new works by contemporary new music composers Jane Brockman, Robert Scott Thompson, and Peter Terry. The CD also features the new classical crossover hit single, Silent Tears, by F. Gerard Errante and John Toomey that was commissioned for this recording. Beyond Noend with Errante blurs the line between contemporary classical, new age, and jazz to create a listening space beyond genre, somewhere in time.
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English Song
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Britten
| Britten, Sir Benjamin
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Gibbs, Cecil Armstrong
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ASIN: B0002JEG6I Release Date: 2005-03-22 |
Tracks:
- A Soft Day - Bernadette Greevy
- Irish Skies - Bernadette Greevy
- Cherry Ripe - Janice Watson
- Mustard And Cress - Neal Davies
- The Lily Of A Day - Janice Watson
- Henry King - Neal Davies
- Fain Would I Change That Note - Graham Johnson
- In Summer-Time On Bredon - Christopher Maltman
- The Lads In Their Hundreds - Christopher Maltman
- Among The Rocks - Graham Johnson
- It Was A Lover And His Lass - Anthony Rolfe Johnson
- The Water Mill - Anthony Rolfe Johnson
- On Wenlock Edge - Anthony Rolfe Johnson
- The Call - Graham Johnson
- Silent Noon - Graham Johnson
- Now In These Fairylands - Philip Langridge
- The Dream-City - Philip Langridge
- Margrete's Cradle Song - Susan Gritton
- The Heart Worships - Christopher Maltman
- Take, O Those Lips Away - Anthony Rolfe Johnson
- Now Sleeps The Crimson Petal - Graham Johnson
- Love Calls Through The Summer Night - Anthony Rolfe Johnson
- I Will Go With My Father A-Ploughing - Graham Johnson
- The Rio Grande (Capstan Shanty) - Ian Partridge
- Theodore, Or The Pirate King - Ian Partridge
- A Long Time Ago (Hilliard's Shanty) - Ian Partridge
- Oh Dear, What Can The Matter Be? - Bernadette Greevy
Tracks:
- The Grenadier - Richard Edgar-Wilson
- The Young Lover - Richard Edgar-Wilson
- Betty And Johnny - Richard Edgar-Wilson
- Rise Up And Reach The Stars - Richard Edgar-Wilson
- The Bells - Nik Hancock-Child
- Ann's Cradle Song - Nik Hancock-Child
- As I Lay In The Early Sun - Nik Hancock-Child
- The Cherry Tree - Nik Hancock-Child
- Dusk - Nik Hancock-Child
- Peter Warlock's Fancy - John Constable
- The Frostbound Wood - John Constable
- Chopcherry - John Constable
- A Sad Song - John Constable
- Rutterkin - John Constable
- Bethlehem Down - John Constable
- Wapping Old Stairs - Felicity Lott
- Long Steel Grass - Martyn Hill
- Tango-Pasodoble - Martyn Hill
- Popular Song - Martyn Hill
- Beatriz's Song - Felicity Lott
- Lay Your Sleeping Head, My Love - Philip Langridge
- Early One Morning - Felicity Lott
- The Foggy, Foggy View - Philip Langridge
- Now The Leaves Are Falling Fast - Philip Langridge
- Tell Me The Truth About Love - Della Jones
- The Choirmaster's Burial - Philip Langridge
Customer Reviews:
A century of British art songs to delight those who love them.......2006-06-26
I'd challenge all but the most addicted listener to make it through more than ten songs at a sitting, and many of these pieces are tepid, offering comfort rather than inspiration. The singers are among the best, but Graham Johnson and Steuart Beford, who do most of the accompaniments, are lackluster. I know that won't be a popular comment, yet if you compare any of these songs with rendiitons done by Janet Baker, John Shirley-quirk, and most recently Bryn Terfel and Ian Bostridge, you immediately notice how much more intensity and drama is pesent than htis colleciton reveals.
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Tower (Featuring Verde)
Circle Manufacturer: Last Visible Dog ProductGroup: Music Binding: Audio CD ASIN: B000OHIPPG |
Jazz Music: