MILES DAVIS

THE NEW SOUNDS

When an artist is simultaneously recognized, by critics, fellow artists, and the public analogous to his art, as the foremost in his particular field, the work of the artist invariably substantiates the status given him by this audience. Such is the position of Miles Davis as the most important creative trumpeter today. Acknowledged first by musicians, Miles, soon drew the ears of discerning critics into appreciative attentiveness and finally the jazz public accorded him their appreciation in the Metronome and Downbeat polls.

Of course, Miles is to be appreciated for bringing a new sound and conception to the trumpet but what really gives him his greatness are the intangibles he possesses, which enable him to transmit sweeping joy with his "wailing" solos and reflective beauty in the delicacy of his ballads.

This album gives Miles more freedom than he has ever had on record for time limits were not strictly enforced. There is opportunity to build ideas into a definite cumulative effect. These ideas sound much more like air-shots than studio recordings.

Upon the wonderful rhythmic foundation of Art Blakey's drums, Tommy Potter's bass, and Walter Bishop's piano, tenorman Sonny Rollins and altoman Jackie McLean are able to enjoy some of the unlimited time for their solo efforts. Rollins demonstrates the impact of the intangibles, again, with his solo on "Paper Moon". The way in which the solo is constructed and the feeling and time with which it is played, overshadow the marring reed trouble. McLean, still in his teens, is heard only on "Dig". He need not apologize for his youth after his work here. Walter Bishop appears in solo for a brief moment on "Conception" which gives only an inkling of his marvelous playing.

Here are New Sounds at greater length. Listen to them at great length.

-IRA GITLER