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| 1. | Someday My Prince Will Come
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| 2. | Old Folks
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| 3. | Pfrancing
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| 4. | Drad Dog
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| 5. | Teo
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| 6. | I Thought About You
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| 7. | Blues No. 2 [*]
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| 8. | Someday My Prince Will Come [Alternate Take] [*]
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Jazz / Cool, Torch Songs, Hard Bop
Recorded at 30th Street Studio, New York, New York on March 7, 20 & 21, 1961
Originally released on Columbia (8456)
Digitally remastered by Teo Macero (CBS Records Studio, New York).
This is part of the Columbia Jazz Masterpieces series.
Miles Davis - Trumpet
Hank Mobley - Sax (Tenor)
Jimmy Cobb - Drums
John Coltrane - Sax (Tenor)
Paul Chambers - Bass
Philly Joe Jones - Drums
Wynton Kelly - Piano
Recorded shortly after the blistering IN PERSON, FRIDAY/SATURDAY NIGHT AT THE BLACKHAWK, SAN FRANCISCO, VOLUMES 1 & 2 (but released first), SOMEDAY MY PRINCE WILL COME captures Miles Davis and his second great rhythm section at the peak of their collective interplay. By March 1961, the rhythm team of Wynton Kelly, Paul Chambers and Jimmy Cobb had attained a finger snapping level of relaxation and swing that was equal parts grits and grace (check out their soulful blues vamp on "Pfrancing"). They had become so attuned to each other during their tenure with Miles that they left in tandem to form the Wynton Kelly Trio--forcing Miles to search for new conscripts, precipitating his boldest period of exploration.
Miles' had a penchant for turning offbeat standards and show tunes into personal jazz classics, and certainly few songs have come to be as closely identified with an artist as "Someday My Prince Will Come." From the rhythm section's evocation of a clock striking midnight and Kelly's big band-styled comping, through Miles' famous muted rendition of the theme and the contrasting tenor styles of laid-back Hank Mobley and a testifying John Coltrane, this is a defining moment in the history of jazz and the pop song form.
The title tune tends to overshadow the understated power of Miles' muted horn on such exceptional ballad performances as "Old Folks," "I Thought About You" and the trumpeter's own "Drad-Dog." But it's "Teo," an extra funky, Spanish flavored vamp (shades of "It Ain't Necessarily So") that elicits the most heat from each improviser, particularly Mr. Coltrane, only months away from his own epic Iberian "Ole."
* Allen Weinberg - Art Direction
* Amy Herot - Series Coordinator
* Gary Pacheco - Series Coordinator
* Ira Gitler - Liner Notes
* Mike Berniker - Series Coordinator
* Nathaniel Brewster - Research
* Teo Macero - Digital Producer, Producer
* Tim Geelan - Digital Remixing
* Tony Tiller - Package Coordinator
After both John Coltrane and Cannonball Adderley left Miles Davis' quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and "Teo." The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an "elfin" feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it's coming from somewhere else. Mobley's real moment on the album is on the next track, "Old Folks," when he doesn't have Coltrane breathing down his neck. Mobley's soul-stationed lyricism is well-suited to his soloing here, and is for the rest of the album except, of course, on "Teo," where Coltrane takes him out again. The closer on the set, "Blues No. 2," is a vamp on "All Blues," from Kind of Blue, and features Kelly and Chambers playing counterpoint around an eight bar figure then transposing it to 12. Jones collapses the beat, strides it out, and then erects it again for the solos of Davis and Mobley. This is relaxed session; there are no burning tracks here, but there is much in the way of precision playing and a fine exposition of Miles' expansive lyricism.
--Thom Jurek, All Music Guide |
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