This chapter examines the musical composition of the album The Sorcerer by the Miles Davis Quintet. It considers the group's practice of placing complete or partial statements of the head's melody between or within solos. It discusses the singles “Vonetta”, “Prince of Darkness”, “Masqualero”, “Pee Wee”, and “Limbo”, analyzing their use of a syncopated harmonic progression which typically appears near the end of the composition's form. It considers how the feature operates as a compositional release, one that operates in the absence of standard bridge sections or harmonic turnarounds at the end of the repeating form. It also highlights Wayne Shorter's improvisation on “Vonetta”, and Miles Davis's and Herbie Hancock's improvisations to “Prince of Darkness.”
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