Miles Ahead session details

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October 26, 1956 (15 items; TT = 75:00)
Rudy van Gelder Studio, Hackensack NJ
Commercial for Prestige
Miles Davis Quintet

Miles Davis (tpt); John Coltrane (ts); William "Red" Garland (p); Paul Chambers (b); Philly Joe Jones (d)

1 If I Were a Bell (F. Loesser) 8:13

Most issues include a brief exchange between Davis and Weinstock at the beginning ("I'll play it and tell you what it is later") and count-off until 0:10
2 Well, You Needn't (T. Monk) 6:15
3 'Round Midnight (B. Hanighen-C. Williams-T. Monk) 5:21
4 Half Nelson (M. Davis) 4:43
5 You're My Everything (false start) (M. Dixon-J. Young-H. Warren) 0:30

Davis: "'You're My Everything', Red... Hold it, ev -- you, when you see a red light on, everybody's supposed to be quiet." Van Gelder: "Here we go, Miles." Davis: "All right." False start. Davis: "Play some block chords, Red. All right, Rudy? Block chords, Red..."
6 You're My Everything (M. Dixon-J. Young-H. Warren) 4:46
7 I Could Write a Book (R. Rodgers-L. Hart) 5:05

Issued without p solo on Prestige 45-195
8 Oleo (false start) (S. Rollins) 0:36

False start. Davis: "Uh, it's got a four-bar beat." Tuning and rehearsal. Weinstock: "One thousand one..." Davis: "Rudy, turn on the red light." Chambers: "What is it?" Davis: "Newk's number one." Chambers: "Number one... Just like we do it at work?" Davis: "Yeah, watch your tempo, Paul, willya?" Jones: "Yeah, let's keep it up there." Davis: "There you go."
9 Oleo (S. Rollins) 5:49
10 Airegin (S. Rollins) 4:21
11 Tune Up (M. Davis) 5:40
12 When Lights Are Low (B. Carter-C. Williams) 7:27

At the end Davis says "OK... All right. OK." Listed as "Just Squeeze Me" on cover (but not label) of Prestige 7094
13 Blues by Five (false start) (R. Garland) 0:24

Garland: "Who's this? You gonna blow on it?" Davis: "No, you -- the rhythm section's gonna play it first. You're gonna play it first, we're gonna come in. Here you go." Snaps fingers. Garland: "Right on it?" Davis: "Yeah... Right on it." False start. Davis: "Hold it, hold it. That's right on it. That's the chorus, Joe. That's the chorus... Here we go..." Coltrane warming up.
14 Blues by Five (R. Garland) 9:54
15 My Funny Valentine (R. Rodgers-L. Hart) 5:56

Coltrane out


1 If I Were a Bell
45 rpm: Prestige 45-123
12" LP: Prestige 7129, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 7129, Analogue Productions AJAZ 7129 (45 rpm), Analogue Productions ARPJ 7129 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6532, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-190, OJC-6017, Fantasy PRCD 7129, Prestige PRSA 7129, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1052, Analogue Productions APJSA 7129, Victor VICJ-23504, Victor VICJ-23850, Victor VICJ-5093, Victor VICJ-40225/32, Victor VICJ-60236, Victor VICJ-41438, Victor VICJ-60266, Victor VICJ-60125, Victor VICJ-60522 (= VICJ 60525), Victor VICJ-60818, Victor VICJ-41437, Victor VICJ-2063, Victor VICJ-61047, Victor VICJ-41025, Victor VICJ-41605, Victor VICJ-41122, Victor VICJ-60525, Victor VICJ-41434, Universal UCCO-5012, Universal UCCO-9020, Universal UCCO-9212, Universal UCCO-9652

2 Well, You Needn't
12" LP: Prestige 7200, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 7200, Analogue Productions AJAZ 7200 (45 rpm), Analogue Productions ARPJ 7200 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6533, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-391, Prestige PRCD 5701, Prestige PRCD 7200, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1065, Analogue Productions APJSA 7200, Victor VICJ-23506, Victor VICJ-5094, Victor VICJ-40225/32, Victor VICJ-60268, Victor VICJ-60128, Victor VICJ-2065, Victor VICJ-61049, Victor VICJ-41030, Victor VICJ-41607, Universal UCCO-5022, Universal UCCO-9021, Universal UCCO-9222, Universal UCCO-9655

3 'Round Midnight
45 rpm: Prestige 45-413
12" LP: Prestige 7150, Prestige LP 16-3 (16-2/3 rpm LP), Prestige P-012 (12 LP), Analogue Productions APJ 347, Analogue Productions AJAZ 7150 (45 rpm), Victor SMJ-6529, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-347, OJC-6017, Prestige PRCD 6019, Fantasy PRCD 7150, Prestige 8PCD-012, Prestige PRCD4-4444, Victor VICJ-23542, Victor VICJ-23850, Victor VICJ-40225/32, Victor VICJ-60236, Victor VICJ-41438, Victor VICJ-60281, Universal UCCO-9017, Universal UCCO-5028, Victor VICJ-60818, Victor VICJ-41437, Victor VICJ-2037, Victor VICJ-41122

4 Half Nelson
12" LP: Prestige 7166, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 7166, Analogue Productions AJAZ 7166 (45 rpm), Analogue Productions ARPJ 7166 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6503, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-296, Prestige PRCD 6019, Prestige PRCD 7166, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1063, Analogue Productions APJSA 7166, Victor VICJ-23505, Victor VICJ-5095, Victor VICJ-40225/32, Victor VICJ-60267, Victor VICJ-60126, Victor VICJ-2064, Victor VICJ-61048, Victor VICJ-41029, Victor VICJ-41606, Universal UCCO-5019, Universal UCCO-9022, Universal UCCO-9219, Universal UCCO-9654

5 You're My Everything (false start)
12" LP: Prestige 7129, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 7129, Analogue Productions AJAZ 7129 (45 rpm), Analogue Productions ARPJ 7129 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6532, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-190, OJC-6017, Fantasy PRCD 7129, Prestige PRSA 7129, Prestige PRCD4-4444, DCC GZS-1052, Analogue Productions APJSA 7129, Victor VICJ-23504, Victor VICJ-5093, Victor VICJ-60266, Victor VICJ-60125, Victor VICJ-2063, Victor VICJ-61047, Victor VICJ-41025, Victor VICJ-41605, Universal UCCO-5012, Universal UCCO-9020, Universal UCCO-9212, Universal UCCO-9652

6 You're My Everything
12" LP: Prestige 7129, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 7129, Analogue Productions AJAZ 7129 (45 rpm), Analogue Productions ARPJ 7129 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6532, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-190, Prestige PRCD 6019, Fantasy PRCD 7129, Prestige PRSA 7129, Prestige 8PCD-012, Prestige PRCD4-4444, Victor VICJ-23504, DCC GZS-1052, Victor VICJ-5093, Victor VICJ-40225/32, Victor VICJ-60266, Victor VICJ-60125, Victor VICJ-60522 (= VICJ 60525), Victor VICJ-2063, Victor VICJ-61047, Victor VICJ-41025, Victor VICJ-41605, Victor VICJ-41434, Victor VICJ-60525, Universal UCCO-5012, Universal UCCO-9020, Universal UCCO-9212, Universal UCCO-9652

7 I Could Write a Book
12" LP: Prestige 7129, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 7129, Analogue Productions AJAZ 7129 (45 rpm), Analogue Productions ARPJ 7129 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6532, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-190, OJC-6017, Fantasy PRCD 7129, Prestige PRSA 7129, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1052, Analogue Productions APJSA 7129, Victor VICJ-23504, Victor VICJ-23850, Victor VICJ-5093, Victor VICJ-40225/32, Victor VICJ-60266, Victor VICJ-60125, Victor VICJ-60818, Victor VICJ-41437, Victor VICJ-2063, Victor VICJ-61047, Victor VICJ-41025, Victor VICJ-41605, Universal UCCO-5012, Universal UCCO-9020, Universal UCCO-9212, Universal UCCO-9652, Victor VICJ-41122

8 Oleo (false start)
CD: Prestige PRCD4-4444, DCC GZS-1052, Victor VICJ-60266, Victor VICJ-60125

9 Oleo
45 rpm: Prestige 45-395
12" LP: Prestige 7129, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 7129, Analogue Productions AJAZ 7129 (45 rpm), Analogue Productions ARPJ 7129 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6532, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-190, OJC-6017, Fantasy PRCD 7129, Prestige PRSA 7129, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1052, Analogue Productions APJSA 7129, Victor VICJ-23504, Victor VICJ-5093, Victor VICJ-40225/32, Victor VICJ-60266, Victor VICJ-60125, Victor VICJ-2063, Victor VICJ-61047, Victor VICJ-41025, Victor VICJ-41605, Universal UCCO-5012, Universal UCCO-9020, Universal UCCO-9212, Universal UCCO-9652

10 Airegin
45 rpm: Prestige 45-413
12" LP: Prestige 7094, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 021, Analogue Productions AJAZ 7094 (45 rpm), Analogue Productions ARPJ 7094 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6534, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-128, Prestige PRCD 11004, Fantasy PRCD 7094, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1044, Analogue Productions APJSA 7094, Analogue Productions CAPJ 7094 SA (hybrid mono SACD), Victor VICJ-23503, Victor VICJ-5092, Victor VICJ-40225/32, Victor VICJ-60265, Victor VICJ-60127, Victor VICJ-2087, Victor VICJ-61046, Victor VICJ-41026, Victor VIAJ-60009, Victor VICJ-41604, Universal UCCO-5015, Universal UCCO-9019, Universal UCCO-9162, Universal UCCO-9215, Universal UCCO-9653

11 Tune Up
45 rpm: Prestige 45-395
12" LP: Prestige 7094, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 021, Analogue Productions AJAZ 7094 (45 rpm), Analogue Productions ARPJ 7094 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6534, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-128, Prestige PRCD 11004, Fantasy PRCD 7094, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1044, Analogue Productions APJSA 7094, Analogue Productions CAPJ 7094 SA (hybrid mono SACD), Victor VICJ-23503, Victor VICJ-5092, Victor VICJ-40225/32, Victor VICJ-60265, Victor VICJ-60127, Victor VICJ-2087, Victor VICJ-61046, Victor VICJ-41026, Victor VIAJ-60009, Victor VICJ-41604, Universal UCCO-5015, Universal UCCO-9019, Universal UCCO-9162, Universal UCCO-9215, Universal UCCO-9653

12 When Lights Are Low
12" LP: Prestige 7094, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 021, Analogue Productions AJAZ 7094 (45 rpm), Analogue Productions ARPJ 7094 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6534, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-128, Prestige PRCD 11004, Fantasy PRCD 7094, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1044, Analogue Productions APJSA 7094, Analogue Productions CAPJ 7094 SA (hybrid mono SACD), Victor VICJ-23503, Victor VICJ-5092, Victor VICJ-40225/32, Victor VICJ-60265, Victor VICJ-60127, Victor VICJ-2087, Victor VICJ-61046, Victor VICJ-41026, Victor VIAJ-60009, Victor VICJ-41604, Universal UCCO-5015, Universal UCCO-9019, Universal UCCO-9162, Universal UCCO-9215, Universal UCCO-9653

13 Blues by Five (false start)
CD: Prestige PRCD4-4444, DCC GZS-1044, Victor VICJ-60265, Victor VICJ-60127

14 Blues by Five
12" LP: Prestige 7094, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 021, Analogue Productions AJAZ 7094 (45 rpm), Analogue Productions ARPJ 7094 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6534, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-128, Prestige PRCD 11004, Fantasy PRCD 7094, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1044, Analogue Productions APJSA 7094, Analogue Productions CAPJ 7094 SA (hybrid mono SACD), Victor VICJ-23503, Victor VICJ-5092, Victor VICJ-40225/32, Victor VICJ-60265, Victor VICJ-60127, Victor VICJ-2087, Victor VICJ-61046, Victor VICJ-41026, Victor VIAJ-60009, Victor VICJ-41604, Universal UCCO-5015, Universal UCCO-9019, Universal UCCO-9162, Universal UCCO-9215, Universal UCCO-9653

15 My Funny Valentine
45 rpm: Prestige 45-353
12" LP: Prestige 7094, Prestige P-012 (12 LP), Analogue Productions APJ 035 (5 LP), Analogue Productions APJ 021, Analogue Productions AJAZ 7094 (45 rpm), Analogue Productions ARPJ 7094 (mono LP), Analogue Productions APJ 035-45 (10-45 rpm), Victor SMJ-6534, Victor VIJ-5090/5101 (12 LP)
CD: Fantasy OJC-128, Prestige PRCD 11004, Fantasy PRCD 7094, Prestige 8PCD-012, Prestige PRCD4-4444, DCC GZS-1044, Analogue Productions APJSA 7094, Analogue Productions CAPJ 7094 SA (hybrid mono SACD), Victor VICJ-23503, Victor VICJ-23850, Victor VICJ-5092, Victor VICJ-40225/32, Victor VICJ-60236, Victor VICJ-41438, Victor VICJ-60265, Victor VICJ-60127, Victor VICJ-60522 (= VICJ 60525), Victor VICJ-60818, Victor VICJ-41437, Victor VICJ-2087, Victor VICJ-61046, Victor VICJ-41026, Victor VICJ-41122, Victor VIAJ-60009, Victor VICJ-41604, Victor VICJ-60525, Victor VICJ-41434, Universal UCCO-5015, Universal UCCO-9019, Universal UCCO-9162, Universal UCCO-9215, Universal UCCO-9653


This is the second of two marathon sessions scheduled in 1956 to satisfy the demands of Davis's recording contract with Prestige. The resulting four LPs were parceled out by Prestige over five years, with the last one, Steamin' with the Miles Davis Quintet (Prestige 7200), appearing in August 1961. Since the last Prestige session in May, the Davis Quintet has been in Columbia studios twice -- once on June 5 and again on September 10. With one exception, none of these recordings was released prior to the first appearance of the material recorded here by Prestige.

"If I Were a Bell" entered the Quintet's live book almost immediately, and Davis continued to play it for almost ten years. Garland announces the tune with the Big Ben chimes; Davis plays the melody in the mute and takes two choruses -- the little tag at the end of his solo sets up the contrast with the aggressive Coltrane; his two choruses end with the same tag, setting up the contrast with the supple Garland, whose three choruses include both single-note passages and block chords. Davis plays one more theme chorus.

Davis recorded a much slower (and shorter) version of "Well, You Needn't" for Blue Note in March 1954, and it stayed in the live book until the early 1960s. Here, after the theme is stated, Davis takes three ebullient choruses on open trumpet; Coltrane follows with two of his own, and Garland adds two. After a unison fanfare, Chambers takes a two-chorus bowed solo, the fanfare is repeated and the melody is re-stated.

"'Round Midnight" uses Gil Evans's arrangement. This also became a live staple, and Davis continued to play it even after making the transition to electric instruments in the late 1960s. Davis plays the melody in the mute, and the fanfare at 2:31 prepares for Coltrane's solo. Davis returns to state the doleful melody. This version of the tune isn't as haunting as the one recorded a year earlier for Columbia.

The original "Half Nelson" was recorded for Savoy in August 1947, at Davis's first session as a leader. It's based on the chord changes of Tadd Dameron's "Lady Bird." Here, after a brief introduction by the drums, Davis states the melody twice, then takes three choruses, with lots of space through which to hear the supportive rhythm section; Coltrane's two choruses are much busier. A trumpet/saxophone unison passage introduces a chorus of exchanges with Jones, which is ragged in places. In his liner notes Maher writes, "If you listen carefully, at the start of the bar trading between Miles and Philly Joe, you'll hear that Miles had originally intended to play four apiece, but Jones wanted to play eight apiece -- and got them." I'm not sure that's right. The exchanges begin at 3:06: 8 bars of the ensemble give way to 6+ of drums (3:06-3:21); this is followed another 8 bars of the ensemble and 6+ of drums (3:21-3:37); Davis comes in alone at 3:37 for 4 measures, followed by 8 measures of drums -- but Garland barges in early at 3:44. Another 8 bars of Davis is followed by another 6+ of the drums (3:52-4:07), and then the theme is re-stated on the way out. I suspect that this is just sloppy, not deliberate.

After getting the block chords he asks for on "You're My Everything," Davis takes a long, slow, muted chorus with lots of embellishments and a steady command of phrasing and tone. Coltrane's half-chorus is marked by a doubling of the rhythm, but he's still sensitive to the melody. Davis returns for the out chorus. At several points during his solo, Davis shifts his weight and you can hear the floor creak: e.g., 0:34, 1:18, 1:40.

Davis stays with the mute for "I Could Write a Book." He plays the melody, takes a one-chorus solo (the arrangement adds a four-measure tag at the end of each chorus); Coltrane charges in with an eloquent two-chorus solo, egged on by the rhythm section. Garland's two choruses are sparkling and showcase his light touch. Davis returns for the out chorus.

"Oleo" is based on the familiar changes of "I Got Rhythm," and when Davis recorded the tune in June 1954, the arrangement alternated the horns and the piano over a steady rhythm section. Likewise here. Chambers maintains a brisk walking pace throughout. In the opening chorus, Davis states the first eight measures of the melody backed only by Chambers. Garland joins Davis on the melody for the next eight. Jones joins Garland and Chambers for the bridge. Coltrane replaces Garland for the last eight measures. The pattern is repeated for Davis's two choruses: trumpet and bass; then trumpet, bass, and drums; piano joins the rhythm section for the bridge; trumpet and bass on the last eight measures. Coltrane and Garland's solos abandon this structure, but it returns for the final chorus, where Chambers takes an eight-measure solo on the final bridge before the melody is re-stated.

"Airegin" is a Sonny Rollins original which Davis recorded for Prestige in June 1954. The tempo is faster here, and the tune begins with a vamp by the rhythm section. Also, the choruses now include a suspended-rhythm tag that adds tension to the arrangement. After the melody is stated, Davis has two fiery choruses on open trumpet; Garland drops out occasionally to allow him to stroll with the bass and drums, and Davis's solo encroaches on Coltrane's space. Coltrane responds by playing two commanding choruses (Garland allowing him to stroll as well), and the melody is briefly re-stated at the end.

"Tune Up," often credited to Eddie "Cleanhead" Vinson (as on Max Roach's Mercury LP from the 1958 Newport Jazz Festival, Mercury 80080) was recorded in May 1953 at Davis's first quartet session for Prestige. It was in the live book (it is perfomed with a pick-up band in Boston in February 1955), and Davis would continue to perform it for the next year or so. The tempo is faster on this version, and the drum introduction is new. Coltrane adds a nice counter-melody at the beginning of the theme, which is played twice before Davis takes his solo. Toward the end of the solo he toys with the melody, repeating the same note six times (with Jones' emphasis) and setting up a vigorous Coltrane solo. Garland's five choruses begin with a break figure, repeated at the beginning of the second chorus, and again showcase his light touch. Davis rejoins and sets up two rounds of eight-measure trumpet/drums exchanges before the theme is re-stated.

"When Lights Are Low" was also recorded at the May 1953 quartet session. Davis takes the same liberties with Benny Carter's 1936 melody as he had earlier: the original bridge has been re-harmonized in a way that creates the sort of tension the Quintet employs on many popular tunes. Davis takes two lovely choruses, ending with a phrase echoed by Garland, which prepares the way for another magnificent Coltrane solo (is that a splice at the end of Coltrane's first chorus, at 4:03?), Garland's one-and-a-half choruses end with block chords; Davis enters at the bridge and finishes the melody.

"Blues by Five" is a tour de force. The theme is stated by the rhythm section. Davis's expressive solo unfolds over several choruses. Coltrane plays another commanding solo, with Garland's steady block chords guiding the way. Garland's solo is another gem, with light single-note runs and inventive chords. The four block chords at the end cue up a long Chambers solo, backed by Jones' steady brushes. The exchange chorus is unusual in that it is Garland, rather than Davis or Coltrane, who trades fours with Jones. Listen to how Jones adjusts his attack depending on whether Garland is playing single notes or chords. As at the beginning, Davis and Coltrane do not play on the outgoing statement of the theme.

Coltrane does not play on "My Funny Valentine," a tune that quickly became one of Davis's signatures, and which he continued to perform for ten years. The version here begins and ends with a delicate piano passage. Davis, tightly muted, states the melody. Van Gelder's recording captures his vulnerable sound, as well as ambient creaks of the floor (e.g. at 0:42). Davis's solo overlaps Garland's space, and Garland responds with a figure that invites comment by Chambers and Jones. His solo maintains the mood, except for the corny "Country Gardens" allusion at 3:34-3:36. Davis's second chorus omits the swing tempo at the bridge.

There are some quite audible sonic defects in the original tapes, most notably on "Half Nelson," released in 1960 on Workin'. But remember -- these tapes are from the mid-1950s; the microphones, especially on Davis's muted trumpet, were often badly overdriven; in many places the tape is saturated. For most releases, engineers have compensated for these defects, e.g. by rolling off the cutting masters at low levels. If you don't mind occasional distortion from the above-mentioned causes, the Analogue Productions LPs and CDs allow you to get much closer to these recordings than even the original LPs. With a good turntable and cartridge you will hear things you never knew were there! (See my review of the Analogue Productions sets for more details.)

In the period between Davis's last two Prestige sessions (May 11 and October 26), during which he was actively recording for Columbia, the Quintet maintained a busy touring schedule: Café Bohemia, New York (May 3-9 and May 25-June 10); Blue Note, Philadelphia (June 11-16); Crown Propeller Lounge, Chicago (June 19-July 8); Graystone Ballroom, Detroit (Monday, July 9); Peacock Alley, St. Louis (July 13-21); Rouge Lounge, Detroit (July 24-29, probably canceled); Café Bohemia, New York (September 7-29); Storyville, Boston (October 1-7); Café Bohemia, New York (October 15-29).

Soon after this session, Davis put the Quintet on hold for a month while he participated in the "Birdland All-Stars in Europe" tour.

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