Nefertiti [Original recording remastered]

Product Description
The fourth studio album by the second great Miles Davis quintet, and the second comprising material recorded in the pivotal year of 1967, NEFERTITI marked yet another metamorphosis in the career of a great musician noted for welcoming change. While Davis (1926-1991) did not make wholesale, far- reaching alterations on NEFERTITI, as he had on KIND OF BLUE and E.S.P and would on BITCHES BREW, one could say that the pace-setting trumpeter-bandleader modified his approach to the freebop that had for two-and-and-half years been his group's bread and butter, at least for recording purposes.

On the title selection, and to a lesser extent on "Fall" (another indelibly aching piece) and "Pinocchio," all high water marks in the catalogue of tenor saxophonist Wayne Shorter, the group's principal composer, Davis had the front line and rhythm section reverse their traditional roles. While the horns repeated the theme again and again, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams shifted the beat's emphasis, stretched the time, and offered a full dynamic/emotional range. The effect was like a series of time lapse photographs of a particularly beautiful scene, with light and color and shadows subtly, but continually changing, thus shifting the focus of one's eye - or, in this case, ear. This made for some of Davis' most mesmerizing music since KIND OF BLUE and SKETCHES OF SPAIN.

Expanded significantly to almost 66 minutes by the the inclusion of four consistently enthralling alternate takes, NEFERTITI presents Miles Davis' second great quintet at the peak of their hypnotic, roiling, poetic powers.

Nefertiti,Miles Davis,Sony,Hard Bop,Jazz,Jazz Music,Modal Music,Modern Creative,Pop,Post-Bop

Average customer rating: Most underrated album - period. Whoa man... An overlooked gem Remaster is STUNNING The conclusion

Nefertiti Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Miscellaneous | Styles | Music Similar Items: Sorcerer Miles Smiles E.S.P. Filles De Kilimanjaro (Deluxe Edition) (Bonus Track) Miles in the Sky ASIN: B00000DCH0 Release Date: 1998-10-13

Tracks:

1. Nefertiti
2. Fall
3. Hand Jive
4. Madness
5. Riot
6. Pinocchio
7. Hand Jive (First Alternate Take)
8. Hand Jive (Second Alternate Take)
9. Madness (Alternate Take)
10. Pinocchio (Alternate Take)

Album Description

The fourth studio album by the second great Miles Davis quintet, and the second comprising material recorded in the pivotal year of 1967, NEFERTITI marked yet another metamorphosis in the career of a great musician noted for welcoming change. While Davis (1926-1991) did not make wholesale, far- reaching alterations on NEFERTITI, as he had on KIND OF BLUE and E.S.P and would on BITCHES BREW, one could say that the pace-setting trumpeter-bandleader modified his approach to the freebop that had for two-and-and-half years been his group's bread and butter, at least for recording purposes.

On the title selection, and to a lesser extent on "Fall" (another indelibly aching piece) and "Pinocchio," all high water marks in the catalogue of tenor saxophonist Wayne Shorter, the group's principal composer, Davis had the front line and rhythm section reverse their traditional roles. While the horns repeated the theme again and again, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams shifted the beat's emphasis, stretched the time, and offered a full dynamic/emotional range. The effect was like a series of time lapse photographs of a particularly beautiful scene, with light and color and shadows subtly, but continually changing, thus shifting the focus of one's eye - or, in this case, ear. This made for some of Davis' most mesmerizing music since KIND OF BLUE and SKETCHES OF SPAIN.

Expanded significantly to almost 66 minutes by the the inclusion of four consistently enthralling alternate takes, NEFERTITI presents Miles Davis' second great quintet at the peak of their hypnotic, roiling, poetic powers.

Customer Reviews:

Most underrated album - period........2007-06-07

Nefertiti is my favorite studio recording from Miles' 2nd Great Quintet.
This is not an album I would play while driving the car....I'd have to stop and listen to it. Miles Smiles seems to get the most attention from this group, but this album is more magical. When I read that it was one of Joni Mitchells favorites, I thought, well of course.

Fall is one of jazz's most beautifully recorded ballads (I love what Tony plays under Herbie's solo). Tony Williams drumming is amazing on this album and especially on the haunting title track. Wayne Shorter's solo on Riot is akin to something Orpheus might have performed on the fringe of Hades' underworld--that is, it's downright scary. This album also showcases some of Waynes great compositions. Ron Carter's lines are quite adventurous and when things get crazy he holds it all together. Miles provides direction, center and of course his beautifully mysterious tone.

Do yourself a favor and experience this album.

Whoa man..........2007-02-12

Miles' '60's quintet made some great music, and this is arguably their best ever. Nothin' here by Miles, but Shorter; Hancock and Williams make up for that. Wayne especially, his title track SMOKES. You'd expect a song that repeated a melody, without solos, for eight minutes to be a piece of crap, right? Well, when the melody's that awesome, when the groove's that hypnotic, when Tony Williams is proving himself the best drummer ever to walk the face of this Earth, you're wrong. It's pure dynamite. Same with his Fall, he's channeling Coltrane here. I love Coltrane, so of course I love Fall. Makes sense, no? Tony gives us the brilliant modern-bop Hand Jive, while Hancock provides the short-but-sweet Riot. Really, Miles kinda takes a backseat and lets the rest of his group show off, and of course I won't complain about that, but his trumpet's still great throughout. But it's Tony Williams and Wayne Shorter who make this record the near-masterpiece (I reserve "masterpiece" for the VERY best of the best) that it is.

An overlooked gem.......2007-01-01

Nefertiti would be the fourth album recorded by the second Miles Davis Quintet and would further point to the fusion era that began with Davis' album In a Silent Way. While its predecessor, Sorcerer, was steeped in hard bop and has a lot more soloing, Nefertiti is more about mood. The title track boasts one of their most memorable themes played over a shuffle while Tony Williams' rapid fills become more prevalent as the track progresses. The next track, "Fall", is simply a beautiful piece of music. While the restraint taken by Williams and bassist Ron Carter help the song gel, it is Wayne Shorter's solo and Hancock's exquisite playing, that make it a work of art. "Hand Jive" finds the band returning to hard bop as Shorter bounces between expression and rapid flurries of notes while Carter and Williams provide a relentless pace. "Madness" is more dramatic and features great bass work from Carter and a cool solo, some of it unaccompanied, from Hancock. "Riot" is another moody albeit short track where Shorter, Davis, and Hancock all belt out strong solos. "Pinocchio" is very melodic, similar to the tunes on Miles Smiles, and finds Williams playing like an absolute monster. The remastered version includes four alternate takes including two versions of "Hand Jive" that are even hotter than the original and a subdued version of "Pinocchio" taken at a slower tempo that works very well. All told, while it doesn't get the attention of E.S.P. or Miles Smiles, Nefertiti is another gem from the second Miles Davis Quintet. Highly recommended.

Remaster is STUNNING.......2006-12-18

Miles shook things up by reversing the role of the melody and rhythm instruments. On the title track, Miles and Wayne play a repeating figure while the rest of the band, especially Williams, "solo" over the repitition. Miles would take this approach on future sessions like the ones that yielded 'Great Expectations" and "Quiet Fire" (from "Big Fun"). All of the tunes are killer and you get some alternate takes that are as good, maybe even better in some cases, than the master takes. I also liked the way they changed up the tempo on the alternate take of 'Pinocchio" giving it a whole new feel. The alternate takes of "Hand Jive" are very good, the 2nd may even exceed the master take.

No Miles Davis collection is complete without Nefertiti. Williams never played better with Miles. This is a very cool, at times searching release, the remastering is stellar, it's innovative, and it sounds as fresh as ever today. If I have one small quibble about this release it is that Bob Belden's liner notes and track analysis is a tad scant compared to some of the other Miles 75th anniversary releases.

Just a side note... Surely Manfred Eicher of the ECM label had this Quintet's records in mind when he started his own label. I find a parallel in the way these records sound to the exquisite releases on ECM.

The conclusion.......2006-09-08

Miles Davis, especially later in his career, treated his music's progress in such a way that was stated very well in one particular set of liner notes (to Agharta maybe?): he would take a current direction, sharpen it to a razor's breadth, and then move on, never looking back. Miles was never interested in rehashing the past, in reunions, or in playing anything in one style for too long. Granted, his earlier career had a few periods of relative stagnancy (the post-Coltrane/pre-Shorter period in the early 60s, during which some incredible music was still created, see "My Funny Valentine") but once this band, the Second Great Quintet, with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, was created, Miles kept pushing forward until health and frustration with the world finally caused him to retire in 1975. Even then he returned and kept extending his music. As a result, Miles's musical directions followed the pattern of creating a new concept, and then refining and extrapolating it, until finally it reaches its logical conclusion, then finding a new thread. This present album, cut in 1967, is the end of the thread known as Freebop, one that began with "E.S.P." and broke out with "Miles Smiles," was varied and darkened with "Sorcerer" and finally became fully realized here.

Much has been written about the title track, how the horns drone the angular melody with slight variation while the rhythm section shifts the beat and the harmony and eventually just goes nuts. This is one of my favorite single tune recordings and it's fascinating to hear how much they can do within the framework of a 16 bar tune repeated probably 20 times. Let it grow on you for a while and you won't think the repetition is boring.

But this album isn't just a single tune. "Fall," a ballad by Wayne Shorter, is a beautifully simple tune. The middle two tunes, "Hand Jive" and "Madness," are the full extension of Freebop, the loose, spare improvisational sound of the earlier two albums, but taken farther out rhythmically. It becomes clear listening to these two tunes that there's really nothing more to be done with this approach, so it's fitting that these are the last two. "Riot" is a short, ominous, quasi-Latin Herbie Hancock tune which sounds fresher and sharper here than on Herbie's album "Speak Like A Child" even if this version isn't fully developed yet. "Pinocchio" is Freebop with a twist; like "Nefertiti," the melody is repeated more than usual, but it's a faster tune and the solos do eventually start. But the reason to listen is for Tony Williams, who is bar none the most creative drummer in jazz history and shows it here. He's creating tunes within tunes on his own, adding all kinds of rhythmic and almost melodic dimensions to the drums that previously wouldn't have been thought possible.

This album is not particularly accessible to the average listener; there is danger in picking random Miles Davis albums as natural followups to "Kind of Blue" because most people could listen to two Miles Davis albums recorded 20 or even 10 years apart and not be able to tell that it's the same artist. This album will appeal to more adventurous jazz listeners with more experience hearing what's going on because it's easy to get lost if you don't really understand the music and where it has come from. If you're still interested in getting there, or you like earlier Miles, check out "E.S.P." to test the waters; the approach is a little more grounded in traditional jazz in that Hancock plays chords (even if those chords are a little strange). If you like that album, you might as well go right on up the line and get "Miles Smiles," "The Sorcerer," and "Nefertiti" to complete the thought. Where Miles went after this is the highly controversial electric period (where I believe he did a lot of his best work) though he eases in slowly with "Miles in the Sky," "Filles de Kilimanjaro," and "In a Silent Way." All three of those albums are fantastic and are the next place to go if you like this.

Average customer rating: cream of the cream Gorgeous and lush! Strange and wonderful avant-garde opera One of the best Real live electric combustion

Songs from the Trilogy Manufacturer: Sony ProductGroup: Music Binding: Audio CD Glass, Philip | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music All Works by Glass | Glass, Philip | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | New Age | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music Minimal Techno | Techno | Dance & DJ | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Philip Glass - Songs from Liquid Days Satyagraha The Photographer Glass: Akhnaten Glass: Symphony no 5 (Choral): Requiem, Bardo, Nirmanakaya ASIN: B0000026Y7 Release Date: 1989-08-07

Tracks:

1. Protest (Satyagraha)
2. Evening Song (Satyagraha)
3. Hymn To The Sun (Akhnaten)
4. Trail/Prison (Einstein)
5. Akhnatin And Nefertiti (Akhnatin)
6. Kuru Field Of Justice (Satyagraha)
7. Knee I (Einstein)
8. Tolstoy Farm (Satyagraha)
9. Window Of Appearances (Akhnatin)
10. Bed (Einstein)
11. Epilouge (Akhnatin)
12. Knee 5 (Einstein)

Customer Reviews:

cream of the cream.......2006-01-20

The three operas comprising Glass' trilogy are something special, but this disc of arias from those three operas is even better. The selections themselves, the pacing of the sequencing, and absolutely top-drawer performances make this a standout disc. It's a great introduction disc for those seeking to learn more about Philip Glass's operas without having to invest in the full length recordings, although Akhnaten especially is a masterpiece and more than worthy of the price for the complete opera. I've given this disc to many friends and received only grateful raves, even from those already familiar with Glass' music. Douglas Perry's singing deserves special mention; his singing of Evening Song from Satyagraha is perfect in every way, with immaculate phrasing and a kind of passion of restraint that is mesmerizing. Glass' intentions are deceptive to the ear; he is master of a simplicity that keeps giving. The selections from Einstein on the Beach are richly complex; even after years of listening, new directions continue to appear in the score, each time revealing another dimension, an idea not really noticed before will suddenly become clear and engaging, creating a wonderfully familiar listening experience. Beautiful stuff. The melismatic Bed aria from Einstein on the Beach is a joy, heartbreaking as it is. Milagro Vargas contributes passionate singing in the Window of Appearances, and some marvelous ensemble singing is generously spread throughout the entire disc. Glass' best work may be found in his opera scores, and this disc presents the cream of the cream. Check it for yourself. You won't be disappointed.

Gorgeous and lush!.......2004-06-02

This album is my favorite Philip Glass album. I remember the discordance of "Glassworks" in the early 1980s when Philip Glass became more well known with Steve Reich, John Adams, and other "minimalist" composers. Somewhere along the line, Glass has lost a lot of the real shocking discordance that he used to express energy. Some individuals cannot stand Glass's music and lament about its repetitive (and therefore boring) nature. Repetition is the real seed of this music. The repetition by itself can be a simple and beautiful thing, just like a fugue. Then it grows and blossoms out into various new and unexpected ways. I think that Glass really stuns the listener by using the speaking voice as an instrument. Voices read at times. The importance is in the sound of the voice, not the meaning of what is being read. It's an intellectual exercise as well as a lush and beautiful garden of sound and movement. Listen to it and experience its simple beauties. This is not country music. This is not "traditional" opera. It's a work of creativity and sensitivity. Shut your eyes and enjoy.

Strange and wonderful avant-garde opera.......2001-05-08

Man . . . how the hell do I start?

This is a collection of pieces from three operas scored by Philip Glass: "Satyagraha," "Akhnaten" and "Einstein on the Beach." They're about spiritual and moral pioneers: Ghandi in South Africa, the Egyptian leader who introduced monotheism and, well, Einstein.

I haven't seen these; I'm not sure if I'd like them. But some of these pieces are so stunningly beautiful and profound that I feel like looking up the full scores.

Not for everybody, especially the bits from Einstein, which consist of barely audible and repetitive muttering to the accompanyment of a chorus chanting numbers. Damn cool.

One of the best.......1999-12-01

I would say this is Mr. Glass' best work. The songs are simply beautiful. The orchestration is rich and complex, yet gives a tranquil quality. I highly recommend this album.

Real live electric combustion.......1999-01-25

Alright people listen up... This is Dusty Tex Tumbleweed of the American Funboys and I have a thing or two which I would like to share with all the Philip Glass fans out there regarding this here album. At first I was'nt quite sure what to make of it - I was a little hesitant because of the weird-looking artwork on the cover { I usually pick out my music based on several criteria - one of which is album cover art... I only see in pinks and browns so some album cover art makes my eyes hurt } When I saw this album it immediately made me feel sick to my stomach, but when I listened to it I was pleasantly surprised. Philip Glass went out on a limb by combining monotonous keyboard riffs and bizarre electronic chirrups { made my girlfriend Shawangtang have a kiniption fit on my red leather sofa.. } Anyway, I found that the more I listened to this album the more I liked it - at one point about seven minutes into the first movement you can distinctly here the sound of a dozen or so camouflage parrots sqwaking in time with the simple yet extremely tedious keyboard noodling of this great boring composer Philip Glass... simply ear spliting. I'm going to wrap up this album review by saying that Philip Glass is an amazing gentleman with an ear for really live electric sounding combustion... Peace, I'm out { Shawangtang and I are taking our manager Sir William Buorbonaugh out for raisin corndogs and chocolate ice water... and keep an eye out for me and the rest of the funboys this summer on the Tab sodapop steam-engine jetski tour }

Average customer rating: If you love Cecil... 1962!!? 5-Star Content, 1-Star Packaging Penalty A Great Leap Forward When will they get it????

Nefertiti, the Beautiful One Has Come Cecil Taylor Manufacturer: Revenant Records ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Avant Garde & Free Jazz | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music General | Jazz | Indie Music | Stores | Music Avant-Garde | Jazz | Indie Music | Stores | Music Similar Items: Jazz Advance Conquistador Machine Gun Lenox Avenue Breakdown Unit Structures ASIN: B000001Z3V Release Date: 1997-03-18

Tracks:

1. Trance
2. Call
3. Lena
4. D Trad That's What
5. Unknown
6. Bonus Track

Tracks:

1. What's New
2. Nefertiti, The Beautiful One Has Come
3. Lena (Second Version)
4. Nefertiti, The Beautiful One Has Come
5. Unknown
6. Bonus Track

Amazon.com

Uncompromising and endlessly controversial, Cecil Taylor's percussive, intellectual approach to jazz composition, improvisation, and piano remain largely outside the mainstream after more than 40 years. The performances on these live recordings, made in Copenhagen in 1962, are as bracing and unexpected today as they were the night they were created. A classically trained pianist prior to discovering the music of Thelonious Monk, Duke Ellington, and Horace Silver, Taylor soon developed a percussive, clustered, impressionistic style that, while taking Monk as a harmonic starting point, charts a course straight for the stratosphere. Indeed, Taylor frequently seems to have dispensed with both melody and form, yet he's brilliant at conveying a broad complex of emotions, from introspection to tenderness to rage. Recorded at the famous Cafe Monmartre, these performances capture Taylor in his classic bass-less trio with drummer Sonny Murray and his longtime foil, alto saxophonist Jimmy Lyons. It is a breathtaking, sometimes unnerving, recording. --Fred Goodman

Customer Reviews:

If you love Cecil..........2006-07-24

...you MUST own these two discs. I really enjoy all of his other recordings, but this one is perfect. I've listened to this maybe 500 times; each time it's fresh and interesting. Lyons and Murray, who play brilliantly here, are all Cecil needs; any other players would have gotten in the way. This recording and Charles Gayle's "Touchin' on Train" are the only music I listen to regularly. Those are my picks if I was stranded on a desert island.

1962!!?.......2006-07-12

Man, hard to believe when this album was recorded. True, compared to Taylor's own work earlier releases foreshadowed this and the definitive classic _Unit Structures_ was only four years away. But no contemporary was anywhere close to what Cecil Taylor was doing at this time. Taylor is as much an extension of the modernist composers like Bartok, Stravinsky, Cowell, and the Viennese School, as he was of Ellington and Monk, and he has been a leader of avant-jazz virtually since day one. Even when people were first getting into free-jazz, picking up momentum in the musical culture, Taylor's music was still considered way out there. Anyway. _Nefertiti, the Beautiful One Has Come_ is incredible, as breathtaking in twenty-first century context as it must have been fifty years ago. Recorded in Copenhagen, Taylor appears in trio format with Sunny Murray (drums) and Jimmy Lyons (alto saxophone). They play Taylor's original compositions except for a fiery version of Haggart and Burke's "What's New" as a launch pad for improvisation. The combination of psychic interplay, dazzling composition, ultra-jazziness, and perfect dissonances was perfect for these men on this day. The huge "D Trad That's What" proves you can have the sickest jazziness in music that is atonal as hell. The first two pieces "Trance" and "Call" make for one of the most intense first 20 minutes of jazz ever. Lyons uses the sax quite idiomatically but with chromatic contours and Murray understands the heavily _percussive_ nature of Taylor's music, and his clearly minded towards interplay vis-à-vis another percussion instrument. The inimitable Taylor is jaw-dropping as always. As a reissue, the package is nice but more liner notes would have been appreciated. It seems there are hidden bonus tracks on each disc as well, featuring fairly poor recordings of high free-jazz. There is input from Lyons and Murray but mostly they are Taylor going crazy. Pretty awesome!

5-Star Content, 1-Star Packaging Penalty.......2005-04-19

As the other reviews state, this is some brilliant music. However, the premium price for these discs does not reflect what the packaging offers. As the AMG would say, somewhat disdainfully, this is a "straight re-issue" of the two-LP set on Freedom available in the 70s. While that edition added to the 1964 single Fantasy "Montmarte" LP, Revenant's minimalist package has no notes beyond the wrap-around J-card on the outside of the case. The Fantasy LP had a striking color photo of CT; the Freedom had some nice artwork. For $32, I would like an essay or at least a couple of photos of the players.

A Great Leap Forward.......2002-08-09

This astonishing album marked another great leap forward by Cecil Taylor in his musical evolution. This live date was recorded by Taylor with an eary trio consisting of Jimmy Lyons on alto and Sunny Murray on Drums. All three players were reaching forward. Lyons alto lines are steeped in the bebop tradition, influenced by the cerebral approach of some of the cool school players, and yet they wander free of their bop boundaries...more and more as the session goes on. Murray is in the midst of discovering his signature drum style...fast but without traditional time keeping feature. And Taylor is a marvel, even with the out of tune piano. His works is steadily outgrowing it's roots in Monk and Ellington. Even in his approach to the standard What's New, the work approaches the more frenetic phrasing of his mature work.

This is a fascinating album to fill in the pieces of Taylor's career, but it is a revelation in it's own right. There are paths in this music that Taylor never followed, but that could be worked by other musicians. Any great innovator leaves side braches in development that spark music from those who follow. Taylor's early career is full of this sort of thing. Perhaps some enterprising musicians will travel through Taylor's unexplored territory.

When will they get it????.......2001-05-18

Cecil Taylor is one of the great jazz pianists, and all creative improvisors need to deal with his music. This session from 1963 features some great music (the out-of-tune piano and the recording quality don't detract much from my enjoyment of it). Cecil's compositions and the group's playing are great.

This is actually a fairly conservative record, and it puzzles me why other people find this music so difficult. The group's rendition of "What's New" follows the standard form and chord changes (the greats, from Bud Powell and Cecil to Anthony Braxton and Paul Smoker, can all make powerful music with the standards as well as their own compositions). I can tap my foot to almost all of the record, and some of it swings quite outright. Most of Cecil's chord voicings are standard, and he also plays quite a few roots on the head and in Jimmy Lyons' first chorus. I'll never understand why people think this stuff is strange.

Average customer rating: hella great

L.I.F.E.: Living in Fear of Extinction Nefertiti Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD General | R&B | Styles | Music General | Soul | R&B | Styles | Music Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music General | Rap & Hip-Hop | Styles | Music Similar Items: Rebel Soul Gotta Get a Grip Street Nigga Dirty Harriet Cuts for Luck and Scars for Freedom ASIN: B000008IU6 Release Date: 1994-02-22

Tracks:

1. Birth
2. Mecca to Watts
3. Don't Drink the Water
4. Revolving into Zero
5. Family Tree
6. No Nonsense
7. Ruff Shit
8. My Soul Good
9. Walkin' da L.I.F.E.
10. Come Down, Baby
11. Just Move Yo'
12. No Feelin' Inside
13. Visions of Nefertiti
14. After Birth
15. Miss Amutha Nature
16. Trouble in Paradise

Customer Reviews:

hella great.......2003-04-01

nefertiti shows that women arent just for soul and r&b, with crazy hard flow, she brings one of the freshest, hardest, dopest albums since boss was rappin the gangsta shiit, the best cut on this is with out a doubt, Mecca to watts, with hard hittin bass lines which drive your neck in to a everlasting wiplash. the other cuts are just as great with mad production by rakim and some other producers that makes the album a classic in my opinion. with slamming funk/gangsta beats and a women thats not afraid to tell em whos on the mic. some might say her flows reminds of salt-n-pepa, I say forgett salt-n-pepa it`s all about nefertiti.

Average customer rating:

Nefertiti Miles Davis Manufacturer: Sony/Columbia ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Miscellaneous | Styles | Music Jazz | Imports | Stores | Music ASIN: B000A3H6X6 Release Date: 2005-11-07

Tracks:

1. Nefertiti
2. Fall
3. Hand Jive
4. Madness
5. Riot
6. Pinocchio
7. Hand Jive (First Alternate Take) (Bonus Track)
8. Hand Jive (Second Alternate Take) (Bonus Track)
9. Madness (Alternate Take) (Bonus Track)
10. Pinocchio (Alternate Take) (Bonus Track)

Album Description

Limited edition Japanese pressing of the 1967 album includes 4 bonus tracks. Sony. 2005.

Average customer rating:

A Portrait of Clifford Brown Featuring Bobby Shew Capital Jazz Project Manufacturer: Nefertiti ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music ASIN: B000CAFGQG Release Date: 2004-04-13

Tracks:

1. Daahoud
2. Joy Spring
3. Parisian Thoroughfare
4. Sandu
5. Jordu
6. Tibor's Gergley
7. Brown Shew
8. Gerkin for Perkin
9. Shew Lace
10. Tiny Capers
11. Gertrude's Bounce
12. Delilah
13. Blues Walk

Average customer rating:

When Fortresses Fall Henry Robinett Manufacturer: Nefertiti ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music ASIN: B000006KPJ Release Date: 1995-08-01

Tracks:

1. When Fortresses Fall
2. The Gift
3. Laura's Eyes
4. Cloud Bursting
5. Once A Gaucho
6. Cedar
7. Forever Be
8. Your Look
9. Blue Note
10. Behind Irish Passions
11. The Laws Of Returning

Average customer rating:

Nefertiti Miles Davis Manufacturer: Columbia ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Miscellaneous | Styles | Music Jazz | Imports | Stores | Music ASIN: B000HBK1YC Release Date: 2006-10-30

Tracks:

1. Nefertiti
2. Fall
3. Hand Jive
4. Madness
5. Riot
6. Pinocchio
7. Hand Jive [First Alternate Take][*]
8. Hand Jive [Second Alternate Take][*]
9. Madness [Alternate Take][*]
10. Pinocchio [Alternate Take][*]

Album Description

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. Sony. 2006.

Album Details

Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.

Average customer rating:

Life X 2 Henry Robinett Group Manufacturer: Nefertiti ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music ASIN: B000008QN8 Release Date: 1996-01-16

Tracks:

1. Hayley's Day
2. Life x 2
3. Chotto Nihongo
4. We Need More Time
5. Another Road
6. Just Is
7. If and When
8. Not Like Before
9. Maradona
10. Tom and Mary Got Married

Average customer rating:

Note You Left Wayne Brasel Manufacturer: Nefertiti ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music ASIN: B000006KPK Release Date: 1996-01-16

Pop Music:

1. Neighbourhood [Import]
2. New Vintage
3. Nice & Slow
4. Now Playing: Movie Themes - Solo Piano
5. Our Man in Paris [Extra tracks] [Original recording remastered]
6. Out of the Blue
7. Page One [Original recording remastered]
8. Paseo
9. Pleasures of the Night
10. Reckless Nights & Turkish Twilights [Original recording remastered]

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