[4] It is the second of six albums recorded by Davis' second great quintet, which featured tenor saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams.

"[3] On three tracks from this album—"Orbits", "Dolores", and "Ginger Bread Boy"—pianist Herbie Hancock takes the unusual liberty of dispensing with left-hand chords and playing only right-hand lines.

[10] 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".

[10] 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.

[11] Time similarly complimented both musicians and stated "Williams expertly helps build the mood and [Carter] has a sure feel for the note that underlines the swirl of chords".

[14] Reviewing the record's 1992 CD reissue, Q called Miles Smiles "essential...one of the quintet's best albums" and cited "Footprints" and "Dolores" as "all-time great jazz compositions".

"[4] Allmusic editor Stephen Thomas Erlewine praised the quintet's compositions as "memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century".

[5] Erlewine viewed that the quintet "really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound ... all their strengths are in full bloom", and elaborated on the music's accessibility: It's not just the fast, manic material that has an edge—slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove.

[5]Down Beat complimented its "simpler, drier, more austere sound" and stated "the unrehearsed, rough Miles Smiles holds up so well simply because it was more of a jazz record ... Davis' exquisite waltz, `Circle,' showcases his lyrical, muted-trumpet playing".