MILES DAVIS

Recently I've been disturbed and annoyed by some of the "johnny come latelys" to jazz. I'm not referring to musicians but rather the new generation of jazz listeners consisting of college and high school students and others of their age range who are under the misapprehension that jazz begins with the quartets of Dave Brubeck and Gerry Mulligan. There is no disparagement intended of these musicians but when phrases such as "Lee Konitz, he sounds like Paul Desmond," or "Oh, Miles Davis, you mean the sloppy Chet Baker?" are among the recent comments I have overheard, it is obvious that some people need enlightening.

The history of jazz encompasses many years and it would do these neophytes much good to explore all its various periods to improve their perspective, but immediately they need go no farther than the direct antecedents and contemporaries of their current idols.

A good starter would be Miles Davis. He is an original style, a fountainhead of ideas in the late Forties which formed the base

of many ideas and certainly much of the spirit of jazz of the Fifties. That he is still a vital factor in the Fifties is well indicated by the selections in these albums which include many engaging originals and much of his convincing horn.

Miles has that certain something that most musicians can never have even if they practice for an eternity. On the other hand he would be producing much greater things if he applied himself more intensely. But he is like the schoolboy who can do very well without trying too hard and there seems to be no incentive to spur Miles on to the full limit of his potential. Of course there have been unjustified setbacks such as being unable to work more than two weeks with his band, one of the greatest jazz has known - the nine piece group that made the momentous sides MOVE, JERU, VENUS DE MILO et al. Jazz is fortunate to have the talent of Miles Davis in any degree it receives it. He is still the most important trumpeter today. Listen my children and you shall hear.

MILES DAVIS QUARTET
prLP 161

This album is composed of two different sessions. The first was recorded on May 19, 1953 with personnel consisting of Miles Davis, trumpet; John Lewis, piano; Charlie Mingus, bass, piano (on SMOOCH only); Percy Heath, bass; Max Roach, drums.

WHEN LIGHTS ARE LOW is a delicate solo by Miles at a medium tempo. John Lewis contributes a thoughtful chorus between Miles' open and close.

TUNE UP is a Miles original with a long string of exhilirating choruses by Miles. After John solos, Miles and Max trade "fours".

MILES AHEAD is another original by Miles. Based on the changes of MILESTONES, it features the same format as TUNE UP with the exchanges between Miles and Max especially interesting. John's comping underlines and punctuates beautifully.

SMOOCH was composed by Charlie Mingus and because John Lewis was forced to leave because of an emergency, the composer had the opportunity to assist in the playing of his piece. Miles solos throughout, conveying the haunting mood perfectly.

engineer - Doug Hawkins

The second session was taped on March 10, 1954. Miles Davis, trupet; Horace Silver, piano; Percy Heath, bass; Art Blakey, drums.

FOUR, written by Miles, shows his certain "something" wonderfully both in its theme and his solo. Horace, who would swing even if he was trying not to, has a sparkling solo here.

THAT OLD DEVIL MOON is a tune of a number of years back which Miles seems to have revived. Since his recording, both Sarah Vaughan and Carmen McRae have also done it. The stopping and then swinging is most effective as Miles romps with Art Blakey adding timely comments with his sticks.

BLUE HAZE could easily be subtitled "When Lights Are Out" for that was the situation in the studio when this was made. Only the light from the control room shed slight illumination. The blues mood was aided greatly as everyone relaxed in the haze. Percy sets the pace and then Miles takes an extended set of choruses. Horace has a short but moving solo before Miles closes it out.

engineer - Les Cahan
cover - David Young

MILES DAVIS ALL STAR SEXTET
prLP 182

A Hi-Fi Modern Jazz Jam Session
recorded April 29, 1954

Miles Davis, trumpet; Jay Jay Johnson, trombone; Lucky Thompson, tenor sax; Horace Silver, piano; Percy Heath, bass; Kenny Clarke, drums.

This session follows to the letter all its headings. Each musician involved is a star in his own right and Rudy Van Gelder proves (as he consistently does) that he is a star engineer.

The blues are a topic of conversation here with the fast BLUE 'N BOOGIE on one side of the record and the slower, rocking WALKIN' on the other. Perhaps the blues do not have quite the same importance they once had, but they are still one of the backbones of jazz. Any musician who can't play convincing blues (and I can think of some very quickly) is lacking a basic part of the jazz personality.

BLUE 'N BOOGIE, Dizzy Gillespie's composition, is expounded on by Miles; Jay Jay; then Lucky with backgrounds by the brass. Horace comes in for nine (everyone has approximately this many) swinging choruses and Miles blows one more and out.

WALKIN' starts with an interesting introduction into its swelling theme. Miles plays seven telling choruses. Then Jay Jay constucts a solo of the same length which shows why he stands alone as the master of the slide trombone. Lucky celebrates his return to records with one of his best solos, a soulful effort which has caused critics and fans alike to warmly welcome him back. Horace then has two choruses and Miles comes in for two before the ensemble riffs for two more with Kenny punctuating.

photo - Popsie
engineer - Rudy Van Gelder

MILES DAVIS QUINTET
prLP 185

recorded April 3, 1954

Miles Davis, trumpet; Davey Schildkraut, alto sax; Horace Silver, piano; Percy Heath, bass; Kenny Clarke, drums.

The title for this album could very appropriately be MUTED MILES as Miles employs a mute on all portions of all selections. In this set he is in rare reflective form. showing off well the intricate idea patterns which make him so absorbing to listen to.

SOLAR is a Davis expedition in the general direction of the moon with the main locomotion supplied by Kenny's brushes. First Miles solos at length. Then Davey Schildkraut, last year a member of Stan Kenton's organization, shows some of the reasons many musicians consider him so highly. Horace Silver, one of the most inherently swinging pianists to come along in a great while, solos at his usual high level and then Miles has a short one before returning the outing to earth.

YOU DON'T KNOW WHAT LOVE IS but you may have more of an idea when Miles tells his story. Jazz is of the emotions and Miles make use of the basic melodic structure to covey this.

I'LL REMEMBER APRIL is rendered at up tempo with two choruses each by Miles, Horace and Davey. Horace comes back for another and then the rhythm section comes to the fore with Kenny's impeccable brushwork outstanding and Percy's tremendous rock of a beat a joy to hear, all by itself.

cover - Don Schlitten
engineer - Rudy Van Gelder

MILES DAVIS QUINTET
prLP 187

recorded June 29, 1954

Miles Davis, trumpet; Sonny Rollins, tenor sax; Horace Silver, piano; Percy Heath, bass; Kenny Clarke, drums.

In this session Miles and Sonny Rollins renew a tandem that had combined in the past for such great recordings as DIG and PAPER MOON (prLP 124). The great rhythm section of Silver, Heath and Clarke is on board again and makes everything move as always.

AIREGIN is not a purified alcoholic beverage (spell it backwards). It features brilliant choruses by Miles and Sonny both of extended length.

OLEO is spiritually reminiscent of some of the things that Bird and Miles used to do together. Miles opens the soloing with a muted, puckish bit. Only bass and drums back him until the bridge when Horace chords in, then drops out on the last eight bars. This pattern is followed in Sonny's choruses. After Horace solos, Miles returns for another muted stint with Percy backing him. Kenny joins in and the final theme carries it to a conclusion.

BUT NOT FOR ME is a wistful story of rejection. Miles improvises on the melodic line with tender imagination. Sonny's choruses are fraught with romantic sadness. Horace carries the mood into his chorus and Miles comes back to weave his intricate coils of thoughtful sound.

DOXY can either be an opinion or a mistress, according to the disctionary. I wasn't around when they named this one but I'd take it represent Miles' opinions on mistresses. In fact it could be one chick that he's describing. Everything is in a funky swinging groove as Miles sketches his portrait, filling in the details. Sonny shouts it out very much in a story telling manner. In fact both horns are very vocal. Horace adds comments throughout with his comping and then tells what he knows.

photos - Bob Weinstock
layout - Don Schlitten
engineer - Rudy Van Gelder

Notes by IRA GITLER