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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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