js “ Quiet Nights” could have been a much better album, but unfortunately the meddling greed of Columbia never let this project develop naturally. Miles and Gil had a sincere interest in Brazilian music and put together a couple of art pop covers of Brazilian songs which Columbia jumped on in an attempt to ride the new Bossa Nova fad. The songs did not make the pop charts so the whole project was shelved for a while. Later Miles and Gil recorded several more songs in a Brazilian style and then again the project sat for a while. At a later date, in an anxious move to satisfy the suits at Colombia, Theo Macero dug up a ballad Miles had recorded with his previous combo, slapped that with the other tunes and released the album which now contained only 25 minutes of music. Miles was quite angry with the move and broke relations with Macero and Columbia for some time.

It’s a shame that it turned out as it did because much of the music on “Quiet Nights” is excellent. Most, but not all, of the tunes are complex and interesting, and Gil Evan’s orchestrations are as imaginative as ever, while Miles delivers one soliloquy after another in some of the better ballad playing of his life. The album’s mix of jazz and lounge sensibilities foreshadow the modern era of ambient nu jazz, and this album has a strong following amongst fans of 60s exotica. In another bad moment of commercialism, Columbia touts this album on its back cover notes as being a Bossa Nova album, but although it is very Brazilian, standard Bossa Nova it isn’t.

One issue with this album that I have never seen raised before is the high volume at which the trumpet is mixed. Miles is front and center and quite a bit louder than the orchestra background and the frustratingly faint percussion. In the era when this was recorded, popular ballad instrumentals, often played by a tenor sax, sounded better coming out of a car dashboard speaker if there was not too much orchestral clutter. Possibly this is the sound they were going for. Still, I think some of tone colors might have sounded more interesting if there had been more of an attempt to blend Miles with Gil’s imaginative orchestrations.