Miles Davis Quintet MILES SMILES (LP Vinyl, Columbia CS 9401) 1966, NM minus/VG

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"Miles Smiles" by Miles Davis Quintet
Used LP Vinyl
Columbia Records  1966
Cat. Ref CS 9401 (Stereo) 
Vinyl graded NM - (Near Mint Minus) which is highest grade we give.  Vinyl is very clean.  Can find some very faint superficial hairlines.  Second cut first side "Circle" is very minimal song, and it plays through with almost no surface static.  Plays quietly between songs, and at beginning of both sides.  
Sleeve Graded VG.  Back labels were pasted on in 1966, and a dab of adhesive in back left corner would help keep this one in place.  There is some wear on edges, but the seams are sturdy, and you can still read the title on the spine.  Please see pics
Ships USPS Media Mail from Madison, Wisconsin Order received prior 3 pm Central ships same day
All LP's ship in custom made cartons with Vinyl outside of sleeve; one sheet of cardboard on either side of LP. Poly resealable clear sleeve that fits over jacket is included.  
Expedited Shipping Is Available
International Shipping:
Worldwide  $20.95 Canada  $12.95
Please add $3.50 each for additional LP's
Tracks:
Side 1
Orbits Circle Footprints
Side 2
Dolores Freedom Jazz Dance Ginger Bread Boy
Miles Davis, trumpet Wayne Shorter, tenor saxophone Herbie Hancock, piano Ron Carter, bass Tony Williams, drums
Recorded Oct 24-26, 1966

Album Review:
With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom.  AllMusic



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