MILES DAVIS – 1958 Miles
DreamCovers Records 6084
Tracks 1-4
Miles Davis (trumpet); John Coltrane (tenor saxophone); Cannonball Adderley (alto saxophone); Bill Evans (piano); Paul Chambers (bass); Jimmy Cobb (drums)
New York, May 26, 1958
Tracks 5-8
Miles Davis (trumpet; John Coltrane (tenor saxophone); Red Garland (piano); Paul chambers (bass); Philly Joe Jones (drums)
New York, October 26, 1955 & September 10, 1956
Tracks 9-11
Miles Davis (trumpet); Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Paul Chambers (bass); Art Taylor (drums)
Hackensack, New Jersey, March 16, 1956
All the material on this exemplary release has not only been available previously, but all are readily available on the originally issued albums. However if you do not have some or all of the tracks present here then this is an essential purchase.
The opening ‘On Green Dolphin Street’ is particularly memorable, and served well by the generous playing time. Clocking in at nearly ten minutes there is never a dull moment, with Miles’ pensive muted solo followed by a rejuvenated John Coltrane, who now free from his drug addiction was progressing at a phenomenal rate. His solos on the these 1958 sessions are not only assured but packed full of fresh ideas, that at this juncture in time were being allowed to develop organically. Davis’ calling of the tempi is crucial to this, with Coltrane’s playing absolutely flawless and excelling on the slower pieces. His (and Miles’) playing is controlled and alive with feeling with his solo on ‘Fran-dance’ (aka ‘Put Your Little Foot Right Out’ on which it is based) is of particular interest.
The four tracks that feature Bill Evans at the piano are the jewels in this particular crown. The pianist’s tenure with the band would only last eight months but as we all know, Miles was not finished with the pianist and recalled Evans for the historic Kind Of Blue album recorded in over two days in March and April 1959. Listening to Evan’s work here gives a tantalising hint of what was to come, with his playing economical yet seemingly opening up the harmonies, and retaining a sense of innate lyricism in his solos.
The tracks featuring the first great quintet with Red Garland and Philly Joe Jones were also recorded by Columbia, and can be found on the recently issued CD editions of ‘Round Midnight the trumpeters debut album for his new label, and have also appeared on various reissues and compilations both on Columbia and other imprints. It of course goes without saying that if you do not already have these tracks, then you should rectify this immediately if not sooner.
The tracks with Sonny Rollins, released on Original Jazz Classics under the title Collector’s Items at first seem at odds with the other material, and it perhaps would have been logical to complete the disc with other material by Miles’ Quintet/Sextet. Having said this, it is interesting to hear the contrast between the two tenor saxophonists. Rollin’s at this juncture is far more secure in his playing (although shortly after, his own self-doubt would remove him from the scene for a period of serious wood-shedding) than Coltrane was in 1955 and ’56, with his ideas tumbling out in a flow of melodic and delightfully unpredictable phrases. Listen out for ‘Vierd Blues’ on this session, as Miles would again record this later in the year with the Quintet under the title of ‘Trane’s Blues’ on the Prestige album Workin’, it is fascinating to hear how the two tenorists vary their approach.
Perhaps this album was originally overshadowed by Miles’ albums recorded either side of these 1958 sessions, as prior to this Columbia had released Milestones, the first sextet recording with Cannonball Adderley and in 1959 the aforementioned Kind Of Blue, but with Evans’ tenure with Davis so fleeting, these recordings must be considered pretty much essential.
Reviewed by Nick Lea
DreamCovers Records 6084
Tracks 1-4
Miles Davis (trumpet); John Coltrane (tenor saxophone); Cannonball Adderley (alto saxophone); Bill Evans (piano); Paul Chambers (bass); Jimmy Cobb (drums)
New York, May 26, 1958
Tracks 5-8
Miles Davis (trumpet; John Coltrane (tenor saxophone); Red Garland (piano); Paul chambers (bass); Philly Joe Jones (drums)
New York, October 26, 1955 & September 10, 1956
Tracks 9-11
Miles Davis (trumpet); Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Paul Chambers (bass); Art Taylor (drums)
Hackensack, New Jersey, March 16, 1956
All the material on this exemplary release has not only been available previously, but all are readily available on the originally issued albums. However if you do not have some or all of the tracks present here then this is an essential purchase.
The opening ‘On Green Dolphin Street’ is particularly memorable, and served well by the generous playing time. Clocking in at nearly ten minutes there is never a dull moment, with Miles’ pensive muted solo followed by a rejuvenated John Coltrane, who now free from his drug addiction was progressing at a phenomenal rate. His solos on the these 1958 sessions are not only assured but packed full of fresh ideas, that at this juncture in time were being allowed to develop organically. Davis’ calling of the tempi is crucial to this, with Coltrane’s playing absolutely flawless and excelling on the slower pieces. His (and Miles’) playing is controlled and alive with feeling with his solo on ‘Fran-dance’ (aka ‘Put Your Little Foot Right Out’ on which it is based) is of particular interest.
The four tracks that feature Bill Evans at the piano are the jewels in this particular crown. The pianist’s tenure with the band would only last eight months but as we all know, Miles was not finished with the pianist and recalled Evans for the historic Kind Of Blue album recorded in over two days in March and April 1959. Listening to Evan’s work here gives a tantalising hint of what was to come, with his playing economical yet seemingly opening up the harmonies, and retaining a sense of innate lyricism in his solos.
The tracks featuring the first great quintet with Red Garland and Philly Joe Jones were also recorded by Columbia, and can be found on the recently issued CD editions of ‘Round Midnight the trumpeters debut album for his new label, and have also appeared on various reissues and compilations both on Columbia and other imprints. It of course goes without saying that if you do not already have these tracks, then you should rectify this immediately if not sooner.
The tracks with Sonny Rollins, released on Original Jazz Classics under the title Collector’s Items at first seem at odds with the other material, and it perhaps would have been logical to complete the disc with other material by Miles’ Quintet/Sextet. Having said this, it is interesting to hear the contrast between the two tenor saxophonists. Rollin’s at this juncture is far more secure in his playing (although shortly after, his own self-doubt would remove him from the scene for a period of serious wood-shedding) than Coltrane was in 1955 and ’56, with his ideas tumbling out in a flow of melodic and delightfully unpredictable phrases. Listen out for ‘Vierd Blues’ on this session, as Miles would again record this later in the year with the Quintet under the title of ‘Trane’s Blues’ on the Prestige album Workin’, it is fascinating to hear how the two tenorists vary their approach.
Perhaps this album was originally overshadowed by Miles’ albums recorded either side of these 1958 sessions, as prior to this Columbia had released Milestones, the first sextet recording with Cannonball Adderley and in 1959 the aforementioned Kind Of Blue, but with Evans’ tenure with Davis so fleeting, these recordings must be considered pretty much essential.
Reviewed by Nick Lea