Table of Contents

Introduction and Acknowledgements

1 The Quintet
2 Analytical Strategies
3 E.S.P.
4 Miles Smiles
5 Sorcerer
6 Nefertiti
7 Miles in the Sky and Filles de Kilimanjaro
8 The Quintet and Its Legacies

Discography
Bibliography
Index

About the Author

Keith Waters is Associate Professor of Music Theory and Composition at the University of Colorado at Boulder, and author of Jazz: The First Hundred Years, co-authored with Henry Martin (Schirmer, 2001; Second edition 2006); Essential Jazz: The First Hundred Years, co-authored with Henry Martin (Schirmer, 2005; Second edition 2008); and, Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger (Ashgate, 2002).

Reviews

"A welcome addition to the growing number of scholarly publications about jazz. While Waters approaches the topic multilaterally and comprehensively, the scope of his study is remarkable, the analytical tools innovative and penetrating, and the conclusions reflecting points of view of a fine scholar with insightful analytical prowess and a thorough understanding of extremely challenging musical repertory...[A] monumental study." --Association for Recorded
Sound Collections
"Session by session, composition by composition, what was once a profound mystery destined for eternal analytical purgatory has been freed...within this text are the keys to immediate and future musicological discoveries and exciting individual artistic developmental possibilities." --Bob Belden, composer and producer
"A major book. For serious listeners, it's a gold mine of information and analysis concerning one of the most important musical ensembles of the 20th century." --Bill Kirchner, musician, producer, historian, educator, and editor of The Oxford Companion to Jazz
"Waters' writing is impeccably clear and avoids needless jargon...This title is part of Oxford University Press' new series of book-length discussions of classic jazz albums (another is Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings). In this era of audio downloads, such serious studies that dig into the significance of the records that have shaped our world are always welcome." --Downbeat, Editor's Pick
"An excellent resource...Highly recommended." --Choice
"A detailed exploration of those recordings, with interviews, musical analysis and critical
response for both the scholar and fan." --New York City Jazz Record
"Advances the field of jazz analysis through its thporoughness and analytical insight, applying creative approaches to explain music that has often seemed structurally opaque and mysterious and that has often been discussed only in superlatives. The study has few counterparts for comparison and stands in a rather lonely position in the world of contemporary jazz analysis." --Journal of Jazz Studies
"Every music library should have a copy of Keith Waters' new book. It goes beyond a
purely descriptive analysis of the workings of the great Miles Davis Quintet of the mid-
1960s, providing technical analysis that includes in-depth notated musical transcriptions
of solos and accompaniments...This is the first book-length account devoted entirely to
unearthing the nitty gritty in this remarkable band's music. Bravo for Waters!" --Mark C. Gridley, Notes
"Systematic and thorough, Waters not only reveals the richness and complexity of the inner workings of the 1960s Davis quintet, he also placing them in relationship to the music of their time and explores their legacy to generations of jazz musicians to come after them." --ARSC Journal
"A wonderful, always enlightening, and frequently brilliant book...A landmark in the history
of jazz scholarship." --American Music
"A new seminal work in Davis scholarship." --American Music Review
"Waters's text is masterful in its own right and provides the kind of thorough grounding in musical specificity from which more interdisciplinary studies can derive a firm foundation. I find this text particularly compelling for its riff on the series' call for 'full context' in that it suggests 'that allowing for a plurality of views about music acknowledges more richly the breadth of its traditions' and insists on the author's freedom to answer the call for
interdisciplinarity and attendant questions of breadth versus depth as s/he sees fit."--Twentieth-Century Music