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Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Mademoiselle Mabry | |||
| 2. Frelon Brown | |||
| 3. Two Faced | |||
| 4. Dual Mr. Anthony Tillman Williams Process | |||
| 5. Splash | |||
| 6. Splashdown | |||
| Disc: 2 | |||
| 1. Ascent | |||
| 2. Directions I | |||
| 3. Directions II | |||
| 4. Shhh / Peaceful | |||
| 5. In A Silent Way (rehearsal) | |||
| 6. In A Silent Way | |||
See all 7 tracks on this disc
| |||
| Disc: 3 | |||
| 1. The Ghetto Walk | |||
| 2. Early Minor | |||
| 3. Shhh/Peaceful (LP Version) | |||
| 4. In A Silent Way / It's About That Time (LP Version) | |||
Product Description
From Amazon.co.uk
The Complete in a Silent Way Sessions, the latest episode in Columbia Legacy's vast project to reissue Davis's legacy in themed boxed sets, covers just six months, from late September 1968 to late February 1969. Davis was changing course (and group personnel) so quickly that half of Filles de Kilimanjaro is included here as well as a series of dates from which he chose to release nothing (much of it initially came to light after Davis had left the label in the early 1980s, while some of it gets its first airing here). All the music for In a Silent Way was recorded in a single day in February 1969 and later edited into final form by Teo Macero. Of the sessions running up to this one, a single date in September (with Chick Corea and Dave Holland taking over from Hancock and Carter in the Quintet) realised the two Filles tracks "Mademoiselle Mabry" and "Frelon Brun": the rest (three dates) all fitted into November and added both Hancock and Joe Zawinul to the basic personnel, with Jack DeJohnette taking over from Tony Williams on the very last November session. None of this music is remotely like that on Silent Way, primarily because Tony Williams has no interest in supplying the constant rock beat Miles was heading towards, and partly because Miles had still to embrace open form. These tracks were structured compositions, however free the improvisation sounded. By February all these issues were resolved and Miles, now committed to open form, was stacking up fragmented performances to be cut together by Teo Macero. Intriguingly, this set gives us the original incomplete sections as well as Macero's edits, thereby demonstrating how and where it was done. --Keith Shadwick
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