MILES DAVIS - Complete Blue Note 1952-54 Studio Sessions
Essential Jazz Classics EJC55668
MILES DAVIS, trumpet on all tracks, plus:
CD1 [1-9]: J. J. JOHNSON (tb); JACKIE McLEAN (as); GIL COGGINS (p); OSCAR PETTIFORD (b); KENNY CLARKE (d)
WOR Studios, New York, May 9, 1952.
CD1 [10-20]: J. J. JOHNSON (tb); JIMMY HEATH (as); GIL COGGINS (p); PERCY HEATH (b); ART BLAKEY (d).
WOR Studios, New York, April 20, 1953.
CD2 [1-6]: HORACE SILVER (p); PERCY HEATH (b); ART BLAKEY
Van Gelder Studio, Hackensack, New Jersey, March 6, 1954.
BONUS TRACKS CD2 [7-14]
CD2 [7]: Miles Davis (tp), Jackie McLean (as), Sonny Rollins (ts) Walter Bishop, Jr. (p), Tommy Potter (b), Art Blakey (d).
New York, October 5, 1951.
CD2 [8]: Miles Davis (tp), Lee Konitz (as), Sal Mosca (p), Billy Bauer (g), Arnold Fishkin (b).
New York, March 8, 1951.
CD2 [9-14]: Miles Davis (tp), Jackie McLean (as), Don Elliott (vib, mellophone on CD2, 9 & 11),Gil Coggins (p), Connie Henry (b), Connie Kay (d).
Broadcast live from Birdland, New York, May 2 (tracks 9-10) & May 3 (tracks 11-14), 1952.
Essential Jazz Classics EJC55668
MILES DAVIS, trumpet on all tracks, plus:
CD1 [1-9]: J. J. JOHNSON (tb); JACKIE McLEAN (as); GIL COGGINS (p); OSCAR PETTIFORD (b); KENNY CLARKE (d)
WOR Studios, New York, May 9, 1952.
CD1 [10-20]: J. J. JOHNSON (tb); JIMMY HEATH (as); GIL COGGINS (p); PERCY HEATH (b); ART BLAKEY (d).
WOR Studios, New York, April 20, 1953.
CD2 [1-6]: HORACE SILVER (p); PERCY HEATH (b); ART BLAKEY
Van Gelder Studio, Hackensack, New Jersey, March 6, 1954.
BONUS TRACKS CD2 [7-14]
CD2 [7]: Miles Davis (tp), Jackie McLean (as), Sonny Rollins (ts) Walter Bishop, Jr. (p), Tommy Potter (b), Art Blakey (d).
New York, October 5, 1951.
CD2 [8]: Miles Davis (tp), Lee Konitz (as), Sal Mosca (p), Billy Bauer (g), Arnold Fishkin (b).
New York, March 8, 1951.
CD2 [9-14]: Miles Davis (tp), Jackie McLean (as), Don Elliott (vib, mellophone on CD2, 9 & 11),Gil Coggins (p), Connie Henry (b), Connie Kay (d).
Broadcast live from Birdland, New York, May 2 (tracks 9-10) & May 3 (tracks 11-14), 1952.
MILES DAVIS & SONNY ROLLINS - Complete Studio Recordings
Essential Jazz Classics EJC55662
MILES DAVIS, trumpet.
SONNY ROLLINS, tenor sax. On all tracks, plus:
CD 1 [1-6]: Bennie Green (tb), John Lewis (p), Percy Heath (b), Roy Haynes (d).
(Bennie Green out on 3-4 & 6; Sonny Rollins out on 4 Miles Davis (p) replaces John Lewis on 6.]
New York, January 17, 1951.
CD 1 [7-13]: Jackie McLean (as), Walter Bishop, Jr. (p), Tommy Potter (b), Art Blakey (d).
(McLean out on 12-13; Charles Mingus (b) replaces Tommy Potter on 7)
New York, October 5, 1951.
CD 1 (14-15) & CD 2 (1-2): Charlie Parker (ts), Walter Bishop, Jr. (p), Percy Heath (b), Philly Joe Jones (d).
New York January 30, 1953.
CD 2 (3-7): Horace Silver (p), Percy Heath (b), Kenny Clarke (d).
Hackensack, New Jersey, June 29, 1954.
CD 2 (8-10): Tommy Flanagan (p), Paul Chambers (b), Art Taylor (d).
Hackensack, New Jersey, March 16, 1956.
CD2 (11-13) BONUS TRACKS:
Miles Davis (tp), Sonny Rollins (ts), J. J. Johnson (tb), Kenny Drew (p), Tommy Potter (b), Art Blakey (d).
Birdland broadcast, New York, June 2, 1951.
With Davis' vast discography, and current spate of reissues it is often difficult to see the wood for the trees. Coupled with the fact that in a long career that spanned five decades and and as many changes of innovation and musical direction how do you ascertain which are the essential purchases, and must hear albums?
Every Miles fan will have their particular favourite period(s) in the trumpeter's career, and with the passing of time the history books may whittle away at the recorded legacy to direct listeners to their perceived most important recordings, and thus influence a new generation wishing to explore the music of one of the 20th Century's greatest musicians.
Whilst few will dispute that the time frame between 1955 and 1970 witnessed frequent and sometime seismic shifts in the trumpeter's concept and produced many classic albums, however one should not overlook the period immediately before or after his self imposed 'retirement' from music in 1975 or forget the landmark recordings dubbed the Birth of the Cool, or indeed be at all dismissive of the albums that make up these two valuable reissues featuring Miles work for Blue Note records and with tenor sax giant, Sonny Rollins.
Blue Note, one of the most important labels of the time, never seemed to get the best of Miles. At the time of these recordings for the imprint, Davis was still gripped by his drug addiction, and when finally clean was recording for another independent Prestige, before Columbia came knocking at the door and his days of making sessions for instant cash for small labels with limited distribution were over (although the label did get some sort of pay back on their investment when Davis appeared as sideman for the last time on Cannonball Adderley's Somethin' Else recorded in 1958). Having said that, this is not just a set for completists as there is much of value in these recordings, and does help piece together the trumpeters development at what is one of the many crossroads in his career.
This attractively packaged 2 CD set contains all the master takes that were originally released as Young Man With A Horn, Miles Davis Vol.2 and Miles Davis Vol. 3 it is fascinating to hear in the course of these albums how the trumpeter is paring down an already sparse style and gradually forging what was to become his own distinctive and personal trumpet sound. J.J. Johnson and Jackie McLean make first rate frontline partner's with the altoist in particular establishing that relationship with Davis of being the more extrovert and verbose voice, and therefore a perfect to poise and lyricism that would unfurl in Miles' more economic use of notes.
The best, and most fully realised music of the set comes on the second disc that finds Davis with a dream rhythm section of Percy Heath and Art Blakey (who has played on a previous sessions on disc one) with Horace Silver at the piano. If Gil Goggins has been adequate for the trumpeter's needs previously, Miles was now starting to come into his own, freeing himself from his drug addiction and keen to make up for lost time, this quartet is as good as it gets. Miles was clearly to enjoy the support from this rhythm section as they would be a constant in some six sessions over a period of time that lasted just over a year, and producing some of his best work since the Birth of the Cool sessions.
The Complete Studio Recordings with Sonny Rollins features music recorded for Prestige, with dates either side of Miles' tenure with Blue Note. The first of these sessions recorded in 1951 made up the original Prestige LPs Miles Davis & Horns and Dig and like as the Complete Blue Note 1952-54 Studio Sessions discussed above produce some variable results. When Miles has it together, the music is promising although yet to show much of the originality of his later work. The long playing format that was becoming more common by 1951 suit Davis' temperament, and whereas the earlier recordings made in January of that year sound hurried and contain some poor intonation from the Miles, the music from October 1951 is very much better. Enjoying the luxury of playing over a longer period than a mere three minutes or so, Davis lays down some solid performances on 'Dig', and 'My Old Flame'.
The real meat on this re-issue is to be found on the tracks culled from the album originally issued as Bag's Groove featuring two separate sessions recorded six months apart with Milt Jackson and Thelonious Monk; and the session with Sonny featured here from June 29, 1954 that again reunites Davis with Horace Silver and Percy Heath and Kenny Clarke rounding off a superb rhythm section. Five tracks are presented with this quintet, two takes of 'But Not For Me' and no less that three Rollins originals, 'Airegin'; 'Oleo' (the first recorded evidence of Davis' use of the harmon mute) and 'Doxy'. These performances are simply excellent with both frontline horns soloing with real authority. If the album Walkin' recorded just a few months earlier in April 1954 show the first real signs of Miles' stepping out as a truly original voice, then these cuts continue where the previous album closes, with Davis' distinctive and instantly recognisable tone on open horn and the thrilling sound of the harmon mute that would forever define his sound.
Indispensable for for these tracks alone, the set is rounded out with Davis and Rollins' last appearance on record together (issued as Collector's Items) with a quintet completed by Tommy Flanagan, Paul Chambers and Art Taylor in which the saxophonist steels the limelight on 'Vierd Blues' and Miles introduces us to a fine version of a tune that he would record again very soon after with his first great quintet, 'In Your Own Sweet Way'.
The usual 'Bonus Tracks' are live recordings from Birdland in June 1951, and after hearing the rapidly maturing Miles on the previous eight tracks are certainly lightweight, but do show how far the trumpeter has come after shrugging off his drug habit.
Essential if you are wishing to complete your discography of one the truly great artists in jazz, or piece together his early career prior to his historic recording from 1955 onwards.
Reviewed by Nick Lea
Essential Jazz Classics EJC55662
MILES DAVIS, trumpet.
SONNY ROLLINS, tenor sax. On all tracks, plus:
CD 1 [1-6]: Bennie Green (tb), John Lewis (p), Percy Heath (b), Roy Haynes (d).
(Bennie Green out on 3-4 & 6; Sonny Rollins out on 4 Miles Davis (p) replaces John Lewis on 6.]
New York, January 17, 1951.
CD 1 [7-13]: Jackie McLean (as), Walter Bishop, Jr. (p), Tommy Potter (b), Art Blakey (d).
(McLean out on 12-13; Charles Mingus (b) replaces Tommy Potter on 7)
New York, October 5, 1951.
CD 1 (14-15) & CD 2 (1-2): Charlie Parker (ts), Walter Bishop, Jr. (p), Percy Heath (b), Philly Joe Jones (d).
New York January 30, 1953.
CD 2 (3-7): Horace Silver (p), Percy Heath (b), Kenny Clarke (d).
Hackensack, New Jersey, June 29, 1954.
CD 2 (8-10): Tommy Flanagan (p), Paul Chambers (b), Art Taylor (d).
Hackensack, New Jersey, March 16, 1956.
CD2 (11-13) BONUS TRACKS:
Miles Davis (tp), Sonny Rollins (ts), J. J. Johnson (tb), Kenny Drew (p), Tommy Potter (b), Art Blakey (d).
Birdland broadcast, New York, June 2, 1951.
With Davis' vast discography, and current spate of reissues it is often difficult to see the wood for the trees. Coupled with the fact that in a long career that spanned five decades and and as many changes of innovation and musical direction how do you ascertain which are the essential purchases, and must hear albums?
Every Miles fan will have their particular favourite period(s) in the trumpeter's career, and with the passing of time the history books may whittle away at the recorded legacy to direct listeners to their perceived most important recordings, and thus influence a new generation wishing to explore the music of one of the 20th Century's greatest musicians.
Whilst few will dispute that the time frame between 1955 and 1970 witnessed frequent and sometime seismic shifts in the trumpeter's concept and produced many classic albums, however one should not overlook the period immediately before or after his self imposed 'retirement' from music in 1975 or forget the landmark recordings dubbed the Birth of the Cool, or indeed be at all dismissive of the albums that make up these two valuable reissues featuring Miles work for Blue Note records and with tenor sax giant, Sonny Rollins.
Blue Note, one of the most important labels of the time, never seemed to get the best of Miles. At the time of these recordings for the imprint, Davis was still gripped by his drug addiction, and when finally clean was recording for another independent Prestige, before Columbia came knocking at the door and his days of making sessions for instant cash for small labels with limited distribution were over (although the label did get some sort of pay back on their investment when Davis appeared as sideman for the last time on Cannonball Adderley's Somethin' Else recorded in 1958). Having said that, this is not just a set for completists as there is much of value in these recordings, and does help piece together the trumpeters development at what is one of the many crossroads in his career.
This attractively packaged 2 CD set contains all the master takes that were originally released as Young Man With A Horn, Miles Davis Vol.2 and Miles Davis Vol. 3 it is fascinating to hear in the course of these albums how the trumpeter is paring down an already sparse style and gradually forging what was to become his own distinctive and personal trumpet sound. J.J. Johnson and Jackie McLean make first rate frontline partner's with the altoist in particular establishing that relationship with Davis of being the more extrovert and verbose voice, and therefore a perfect to poise and lyricism that would unfurl in Miles' more economic use of notes.
The best, and most fully realised music of the set comes on the second disc that finds Davis with a dream rhythm section of Percy Heath and Art Blakey (who has played on a previous sessions on disc one) with Horace Silver at the piano. If Gil Goggins has been adequate for the trumpeter's needs previously, Miles was now starting to come into his own, freeing himself from his drug addiction and keen to make up for lost time, this quartet is as good as it gets. Miles was clearly to enjoy the support from this rhythm section as they would be a constant in some six sessions over a period of time that lasted just over a year, and producing some of his best work since the Birth of the Cool sessions.
The Complete Studio Recordings with Sonny Rollins features music recorded for Prestige, with dates either side of Miles' tenure with Blue Note. The first of these sessions recorded in 1951 made up the original Prestige LPs Miles Davis & Horns and Dig and like as the Complete Blue Note 1952-54 Studio Sessions discussed above produce some variable results. When Miles has it together, the music is promising although yet to show much of the originality of his later work. The long playing format that was becoming more common by 1951 suit Davis' temperament, and whereas the earlier recordings made in January of that year sound hurried and contain some poor intonation from the Miles, the music from October 1951 is very much better. Enjoying the luxury of playing over a longer period than a mere three minutes or so, Davis lays down some solid performances on 'Dig', and 'My Old Flame'.
The real meat on this re-issue is to be found on the tracks culled from the album originally issued as Bag's Groove featuring two separate sessions recorded six months apart with Milt Jackson and Thelonious Monk; and the session with Sonny featured here from June 29, 1954 that again reunites Davis with Horace Silver and Percy Heath and Kenny Clarke rounding off a superb rhythm section. Five tracks are presented with this quintet, two takes of 'But Not For Me' and no less that three Rollins originals, 'Airegin'; 'Oleo' (the first recorded evidence of Davis' use of the harmon mute) and 'Doxy'. These performances are simply excellent with both frontline horns soloing with real authority. If the album Walkin' recorded just a few months earlier in April 1954 show the first real signs of Miles' stepping out as a truly original voice, then these cuts continue where the previous album closes, with Davis' distinctive and instantly recognisable tone on open horn and the thrilling sound of the harmon mute that would forever define his sound.
Indispensable for for these tracks alone, the set is rounded out with Davis and Rollins' last appearance on record together (issued as Collector's Items) with a quintet completed by Tommy Flanagan, Paul Chambers and Art Taylor in which the saxophonist steels the limelight on 'Vierd Blues' and Miles introduces us to a fine version of a tune that he would record again very soon after with his first great quintet, 'In Your Own Sweet Way'.
The usual 'Bonus Tracks' are live recordings from Birdland in June 1951, and after hearing the rapidly maturing Miles on the previous eight tracks are certainly lightweight, but do show how far the trumpeter has come after shrugging off his drug habit.
Essential if you are wishing to complete your discography of one the truly great artists in jazz, or piece together his early career prior to his historic recording from 1955 onwards.
Reviewed by Nick Lea
