Sorcerer

Label
Columbia/Legacy
Release date
1967
Running length
12 tracks
Running time
66:55

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Tracklist

    Track     Duration Listeners
1 Miles Davis - Prince Of Darkness 6:24 10,741
2 Miles Davis - Pee Wee 4:47 10,510
3 Miles Davis - Masqualero 8:51 17,723
4 Miles Davis - The Sorcerer 5:07 9,626
5 Miles Davis - Limbo 7:11 9,357
6 Miles Davis - Vonetta 5:33 9,032
7 Miles Davis - Nothing Like You 2:00 7,155
7 Miles Davis;Gil Evans - Nothing Like You (master) 2:00 17
8 Miles Davis - Masqualero (alternate take) 7:02 4,726
8 Miles Davis - Maqualero (alternate take) 7:08 74
9 Miles Davis - Limbo (alternate take) 5:27 3,823
9 Miles Davis - Limbo (Alternate version) 5:25 693

About this album

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there’s little of the dense, manic energy on Miles Smiles — this is about subtle shadings, even when the compositions are as memorable as Tony Williams’ “Pee Wee” or Herbie Hancock’s “Sorcerer.” As such, it’s a little elusive, since it represents the deepening of the band’s music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren’t placed at the forefront the way they were on the two predecessors — it all merges together, pointing toward the dense soundscapes of Miles’ later ’60s work. It’s such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it’s intended as a tribute to Miles’ then-wife, Cicely Tyson (whose image graces the cover).




Miles Davis trumpet
Wayne Shorter tenor sax
Herbie Hancock piano
Ron Carter bass
Tony Williams drums
Bob Dorouhg voc. on 7

Recorded may 1967
Prod. Teo Macero

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