Name: Miles Davis - At Newport 1958
Brand: Columbia
SKU: 1068727v1
Price: 3.99 EUR
Availability: InStock

Miles Davis

Cookin' Black Vinyl Edition

LP | 1957 | EU | Reissue (SAAR)

24,69 €* 25,99 € -5%

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Release: 1957 / EU – Reissue

Genre: Organic Grooves

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Cookin’ is the first of four albums derived from the Miles Davis Quintet’s fabled extended recording session on Octobre 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band’s live sets– as well as the overwhelming conviction in the quintet’s studio sides– would produce the lion’s share of the Cookin’, Relaxin’, Workin’ and Steamin’ albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band– consisting of Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums)– to work so efficiently both on the stage and the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. « Blues by Five » reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each others’ thoughts musically. Cookin’ features the pairing of « Tune Up / When the Lights Are Low » which is, without a doubt, a highlight no only of this mammoth session, but also the entire tenure of Miles Davis mid-‘50’s quintet. All the éléments converge upon this fundamentally swinging medley. Davis’s pure-toned soloes and the conversational banter that occurs with Coltrane, and later Garland during « When the Lights Are Low », resound as some of these musicians’ finest moments.

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Miles the Third

Miles Dewey Davis III went down in music history as one of the most visionary and at the same time mysterious icons. And that’s not all; through his great intuition for musicians, he also discovered one or two jazz legends, such as John Coltrane. The genius saw the light of day in 1926 in a middle-class, African-American family and was also taught the trumpet at an early age using unconventional methods. At 18, he moved to New York to study music, but only hung out in The Street, which was the nickname of the wicked 52nd at the time. Among hip New York students, the avant-garde of jazz such as Gillespie or Parker, the still unsuspecting Davis bustled about, seduced by the sounds of bebop. He soon dropped out of college to get his first paying gigs as a composer. At 23, he wrote The Birth of the Cool, which propelled his career to an international level. After discovering Cool Jazz, he traveled to Paris, where he met Sartre, Beauvoir, Picasso and Heroin. The latter was to accompany him throughout his life.

The Big Bang of Jazz Rock

Before the world could digest Cool Jazz, Davis III had already preceded most of them, forming new band formations after his famous appearance at the Newport Jazz Festival, such as the Kind of Blue sextet that turned the jazz world blue. Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams then joined Davis in 1960 to build the walls of Avant-Bop. Also with further albums like In Silent Ways the coasts of the music were expanded. First glimpses of ambient or Jazz Rock were what Davis and his musicians were pulling out of their fingers. Indeed, albums like Bitches Brew were improvisations he had scribbled in the studios. His compositions became more intense and faster and faster until finally the big bang of Jazz Rock was conjured up. On The Corner (1972), with a 13-piece band, little melody, stacked rhythms and Indian instruments, was the most controversial and hated album in Jazz. Thirty years of excess, of course, did not leave him unscathed. He was ready for retirement. 9 years later he followed with The Man with the Horn, Star People and Decoy. Drum machines, synthesizers, chromatic funk and the switch from Columbia to Warner were his resurrection from the dead.

Should I wait for you?

That sounds like Miles Davis! What many consider THE typical sound, you get out of a trumpet like that by experimenting with a Harmon Mute. This is one of those things you put in the front of the trumpet. He died in 1991 from a stroke and pneumonia. His influence was immense and he went down in history with 51 studio albums, 36 live albums, 35 compilation albums, 17 box sets, 4 soundtracks and 8 Grammys. He shaped the course of music with his inventiveness and tested the limits of what was possible. Be it the crazy production on Bitches Brew with 3 keyboardists, 2 bassists, 2 drummers and 2 percussionists or the mysterious appearance of the trumpeter. He was one step ahead of everyone. Just like his answer to the question of a fan who wanted to make clear to him his review of the latest album: “Should I wait for you?”

Miles Davis HHV Records 206 Items

Miles the Third

The Big Bang of Jazz Rock

Should I wait for you?