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The original column was published on January 15th, 2019 and can be found below.
Shhh. Peaceful. Silent.
Happy new year, everybody! It’s January, and while I’m generally not one to make resolutions, there is still something about changing out my calendar that gets me thinking about where I should go next. 2018 was a big year for me and I feel like I’ve grown a lot. But that always pushes me to think “Ok, so I did all that, now what?” And I found myself gravitating towards music that asks the same questions.
There’s something about Miles Davis. Every single time I hear his trumpet come in over any of his incredible rhythm sections, I can’t help but think “why the hell don’t I listen to more Miles Davis?” But for Davis’ In A Silent Way, it doesn’t even take that long. It takes this record 7 seconds to kick in and it does not let up until it’s over. It opens with Joe Zawinul’s low organ hum until Tony Williams’ hi-hats, John McLaughlin’s guitar, Dave Holland’s bass, and Chick Corea’s and Herbie Hancock’s electric pianos kick in and just like that jazz fusion was brought in to the limelight, all in 7 seconds. Rounding out the band is Wayne Shorter’s beautiful soprano saxophone. And then, there’s Miles. His trumpet is unparalleled here. Sure, most people prefer his deeper exploration into the murky waters between rock and jazz in the following year’s Bitches’ Brew, but for me, In A Silent Way is where it’s at.
By the late 60s, Miles Davis was already an incredible musician and a huge force in the jazz world. In 1968 he had just gotten married to Betty Mabry, who introduced him to a whole lot of funk, soul, and rock throughout the New York scene, and as I talked about in my previous few columns on Prince and Bowie, newlyweds discovering music together is something I can really get into right now. But even though they were divorced the following year, her impact on his music was hardly a temporary thing. With 1969’s In A Silent Way, Davis had fully integrated the guitars, electric pianos, and organs of rock music into his jazz ensemble. There had been a handful of artists pioneering this mix of jazz and rock (eventually called fusion), but few had the jazz world’s respect that Davis had. As he continued to explore with dissonant and challenging mixes of genres throughout the 70s, he became so controversial and reviled in the jazz world, he went in to retirement for a bit, but very little of that strife is heard here.
The record is two acts, one on each side. Side A is an 18 minute suite of “Shhh” and “Peaceful.” As I said up top, this piece is one of my favorites. The bass, drums, and pianos hold a perfect rhythm while the leads go explore. Davis lets the guitars and keys explore for about two minutes before he comes in. This is the kind of improvisational jam you would later hear on albums like The Rolling Stones’ Sticky Fingers or The Grateful Dead’s Europe ’72 tour, but here, it’s more… adventurous. Don’t get me wrong, I’m not knocking those fantastic records. But when rock bands jam, you feel the music building heavier and heavier and the focus is often on the dynamics, to give the musicians and the audience the release of an explosive crescendo. The exploratory jams are some of my favorite things in rock, for sure, but it’s a different vibe. You can feel the band’s energy as they push the jam bigger and bigger. But on this record, Davis grows the music sideways instead of up. The bass and drums never get more intense, they just evolve. The keyboards never start hammering away, they only add different kinds of texture. Just about all of my improv experience is through rock, so when I really listen to an improvisational piece like this, I’m always amazed at where the musicians choose not to go. When they choose to just stop and let someone else completely take over. Davis spends a lot of the song in the background while the guitars and keyboards complement each others. Every time the song builds up to just when I’m really feeling it, the band stops. Waits a second. And comes back in, just like before. With that organ hum, then hi-hats and bass. But this time, it’s somehow even better. I love a lot of Davis’ earlier work, but In A Silent Way is truly a whole other animal.
Side B is another suite, this time the Zawinul-penned titular track, sandwiching the Davis number “It’s About That Time.” “In A Silent Way” is a beautiful, soft ballad between guitar and keyboard that lets every note ring and flow just long enough to make me nostalgic for a time I don’t quite remember. But when Davis’ trumpet comes in with an overlaid melody, be still my beating heart, I feel like I’m falling in love for the first time again. But after a few minutes, the underlying harmonies start to get just a little darker and the melody starts to get a little more dissonant and just when I start to feel it, it ends and the funk-infused “It’s About That Time” kicks in. This one doesn’t have the same driving rhythms that “Shhh” and “Peaceful” had and it takes its time on the main themes longer than Side A, but the melody in the organ is just as strong, if not stronger. This is where Shorter’s sax really shines, too. The entire midsection of this piece is playing off a simple, but perfect melody that I never want to end, but of course, like all things on this record, it suddenly stops just when it really starts to hit its stride, going right back into the reflective and tranquil beauty of “In A Silent Way,” but this time closing out the record with a flawless reprise.
Miles Davis was never satisfied doing the same old thing over and over again. He could’ve easily kept cranking out albums derivative of some of his earlier masterpieces like A Kind Of Blue or Sketches Of Spain. But he didn’t. He pushed fusion into the mainstream, often up against the derision of both critics and audiences, and brought jazz into the world of so many new listeners. His entire “electric period” is brilliant, but my favorite is the one that really started it all. Yes, he hinted at a few of the things to come on the record or two before it, but In A Silent Way stands out as his testament to always push forward. Building from where he was, but never afraid to show just how far he was willing to go. Heading in to 2019, I think that’s as inspiring a message as I’m gonna find, and I hope for just a fraction of the creative bravery found on this record.