single recording in the spring of 1967. "Ginger Bread Boy" and "Footprints" were played much more frequently. Early live versions of "Ginger Bread Boy" (from the spring and summer of 1966) retained the melody of Heath's original version. The melody on the studio version is somewhat different (presumably changed by Davis), and ensuing versions often retain this change. "Ginger Bread Boy" was played as late as the summer of 1969. "Footprints" appears on Live in Europe 1967: The Bootleg Series Vol. 1, 1969 Miles Festival De Juan-les-Pins, the box collection, Live in Europe 1969, The Bootleg Series Vol. 2, and unofficial live recordings from the Fillmore West in April 1970. Reception and legacy Miles Smiles received critical acclaim in 1967, and was praised for its original compositions, the quintet's chemistry and playing, and Davis' phrasing. CODA editor John Norris praised the quintet's "mastery of sensitive interaction" and wrote that they "must be one of the most beautifully integrated groups ever to play jazz". Norris noted that "Every man is listening intently at all times, responding sensitively to mutual hints and directions", and stated "The empathy between Carter, Williams and Hancock, the way they anticipate each other, push each other, support each other, and phrase together - all this without a sign of strain - is really amazing". He cited the Davis-penned "Circle" as the album's highlight and wrote that the composition "defines the excellence of the group... a masterpiece". Nat Hentoff of Stereo Review called Tony Williams and Ron Carter "prodigious technicians and restless", while noting "Though tenor saxophonist Wayne Shorter does not quite reach the incandescent performance level attained by his colleagues, he is inspired by them to deliver some of his most inventive playing on records so far." Hentoff cited the quintet as Davis' "most stimulating rhythm team so far" and concluded with a discourse on its potential significance, writing that: Martin Williams, writing for the Saturday Review, called it "an exceptional recital, Davis' best album in some time, and clear evidence of his continuing dedication as an improvising musician", while stating that it is "directly in the tradition of the 'experimental' Davis recordings, the tradition established by Kind of Blue in 1959—an album whose implications jazz musicians are still exploring—and continued by ESP of 1965—an album which seemed to me much less successful". Williams viewed each player as in their best form, particularly Williams and Carter, noting