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The story of Walkin', insofar as I know it, goes back to
1950 when Prestige issued a record by Gene Ammons entitled Gravy. Its
theme is almost identical, but not note for note, to Walkin' and the tag
is a slightly abbreviated version of what now serves as the introduction as
well as the tag to Walkin' as it is played today. For collectors: The 78
rpm version of Gravy was number 717; on 10 inch LP it is 112.)
My next encounter with the tune was when Miles Davis and the Jazz
Inc. group with Milt Jackson, played it at Le Downbeat on 54th St. in 1952. Gravy
had been pushed into my subconscious and all that occurred (besides my
enjoyment of the number) was that irritating feeling that you've all had, the
feeling of knowinq that you know something but not being able to place it. All
I knew was that it reminded me of El Sino (a tune recorded by Leo Parker
in the Forties) but wasn't. My curiosity was aroused anew several times in the
next few years but not until Miles recorded it in 1954 and it was dubbed Walkin',
did I go back and finally solve my dilemma by uncovering Gravy.
Since Miles' recording, Walkin' has become a standard at
sessions, ranging from the amateur to the professional. It has been recorded by
Hampton Hawes, Tal Farlow and Paul Bley (under a different title on the
latter's version), and others.
Walkin' is a 12 bar blues and its theme is an example of
"funky" modern, a characteristic which has been infused into Bop in the Fifties
to produce a new musical alloy. It is only fitting that pianist Horace
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Silver, one of the outstanding "funk" dispensers, is present here.
After the introduction, the insinuating, swelling theme enters. Miles plays
seven telling choruses. Then Jay Jay constructs a solo of the same length which
illustrates why he is considered to be the modern master of the slide trombone.
Lucky Thompson celebrates, what was then, his return to records with a soulful
effort that made people aware of his talent once again. During one point, the
other horns play the theme behind him. Horace plays two and Miles comes back
for two before the ensemble punches out a blues riff with Kenny Clarke
underlining and then returns to the theme.
The blues continue as the topic of conversation with Dizzy
Gillespie's Blue 'N Boogie. The tempo is up and everyone is in fine
form. First Miles, then Jay Jay and third Lucky dig in and sink their teeth in
to the meaty blues. Lucky's choruses receive a sendoff from the brass with the
same figure that Diz used on his original recording and Miles and Jay also riff
behind him. Then Horace comes in for nine (everyone has approximately this
many) intensely swinging choruses and Miles finishes off two more choruses
before they take it out.
In the remainder of this LP, the scene shifts away from the blues
and to a recording session of the same month and year as Walkin' wherein
Miles placed a mute in the bell of his horn and didn't remove it until he was
finished playing for the day. His partner is Davey Schildkraut, an
"ornithologist" who has been heard with Stan Kenton, Pete Rugolo and George
Handy.
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He comes through powerfully on Solar, which he, and many
others, consider to be his best solo on record. The rhythm section of Silver,
Heath and Clarke is at its zenith with Kenny's brushwork extremely articulate.
Solar is a Davis expedition in the general direction of the
moon with the main locomotion supplied by Kenny's brushes. Solos are by Miles,
Schildkraut and Silver with the leader returning for a short one before heading
back to earth.
You Don't Know What Love Is but you may have more of an
idea after you hear Miles tell his story. Jazz is of the emotions and Miles
makes use of the haunting, penetrating melodic structure to convey his.
Love Me Or Leave Me is heard here for the first time. Its
length prevented its inclusion in the original 10 inch LP version of this
session (Note: I'll Remember April which was included, can now be
heard in Blue Haze, Prestige LP 7054). Miles states and embellishes the
melody in the first chorus and Horace trades thoughts with the ensemble in the
second. Solos by Davis (two choruses), Schildkraut (four) and Silver (two)
follow. Then Miles and Kenny Clarke exchange four bars apiece for two choruses
with Kenny making expressive use of his brushes. He carries their pulsating
drive into the next two choruses which are handled by Miles with fluent heat.
Then Miles states the melody with Percy Heath's swing coming to the top for the
bridge.
notes by IRA GITLER
supervision by Bob Weinstock
recording by Van Gelder
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