- A Shootout Winning copy of this Miles Davis-Gil Evans classic and one of only a handful to hit the site in years
- Side one earned our top grade of Triple Plus (A+++), side two was close behind at A++ to A+++
- Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ on both sides – but obviously one of the best sounding
- Fred Plaut engineered the sessions, and on this amazing early pressing they sound rich, warm, smooth and clear
- In the Saturday Review, Quiet Nights received praise for Davis’ “wonderfully songful trumpet in a Latin-American vein”, set against “piercingly lustrous curtains of tone and discreet Caribbean rhythms.”
We recently shot out a short stack of these — not an easy record to find in clean condition, in stereo, on the earlier labels, at affordable prices these days, so we didn’t have the eight to ten copies we like to have for a full shootout — and found that the music on Quiet Nights was every bit as enchanting as we remember it.
The music is very much in the style of Sketches Of Spain and the sound is comparable to that album as well. This is Davis’ final official collaboration with arranger and conductor Gil Evans. The quintet on this album includes Miles Davis on the trumpet, George Coleman on tenor sax, Victor Feldman on piano, Ron Carter on bass and Frank Butler on drums.
Fred Plaut, Engineer Extraordinaire
Frederick “Fred” Plaut was a recording engineer and amateur photographer. He was employed by Columbia Records during the 1940s, 1950s, and 1960s, eventually becoming the label’s chief engineer.
Plaut engineered sessions for what would result in many of Columbia’s famous albums, including the original cast recordings of South Pacific, My Fair Lady, and West Side Story, jazz LPs Kind of Blue and Sketches of Spain by Miles Davis, Time Out by Dave Brubeck, Mingus Ah Um and Mingus Dynasty by Charles Mingus.
In the Saturday Review, Quiet Nights received praise for Davis’ “wonderfully songful trumpet in a Latin-American vein”, set against “piercingly lustrous curtains of tone and discreet Caribbean rhythms.”
Amazon 4 Star Review by RH
What would turn out to be the last great collaboration between Miles Davis and big band arranger Gil Evans for Columbia Records, the two jazz giants decided to pay a special homage to The Bossa Nova Craze, but this album had also evinced the other sides of Miles, jazz’ most brilliantly protean figure.
Starting off with the eclectic, but brief opening track Song No. 2, the sincere track set concludes on a delightful set of bossa nova and pop standards like Once Upon A Summertime, Aos Pez Da Cruz, Song No. 1, Wait Till You See Her, the superb Corcavado, Summertime and the 13-minute Grande finale Song For The Barracudas.
Quiet Nights showcases Miles performing at his uncoiling best and even found him using his hallmark Harmon mute.
Finally, for the final track, Time For The Barracudas, composed by Miles and Evans, in which the extended work in progress performed by a 13-piece ensemble that features the at once astonishing rhythm section of Herbie Hancock at the piano, Ron Carter on bass and the 17-year old drumming sensation Tony Williams.
Which makes Quiet Nights the kind of music that dreams are made of.
Song No. 2
Once Upon a Summertime
Aos Pes da Cruz
Song No. 1
Wait Till You See Her