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| Plays It Cool |
| Miles Davis |
első megjelenés éve: 2008
61 perc |
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| (2008)
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CD |
| 2.847 Ft
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| 1. | Billie's Bounce
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| 2. | Now's The Time
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| 3. | Yardbird Suite
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| 4. | Donna Lee
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| 5. | Chasin' The Bird
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| 6. | Cheryl
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| 7. | Buzzy
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| 8. | Milestones
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| 9. | Little Willie Leaps
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| 10. | Half Nelson
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| 11. | Sippin' At Bells
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| 12. | The Hymn
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| 13. | Scrapple From The Apple
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| 14. | Quasimado
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| 15. | Another Hairdo
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| 16. | Bluebird
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| 17. | Klaunstance
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| 18. | Barbados
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| 19. | Au-Leu-Cha
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| 20. | Perhaps
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| 21. | Marmaduke
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| 22. | Steeplechase
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Jazz
22 classic cuts from the legendary trumpeter's formative years when he was a vital part of the leading modern jazz group of its day and became not only a formidable bop player but the founder of a new school of trumpet playing.
The legendary Miles Davis, born in1926 in Alton, Illinois, was a phenomenally talented and influential trumpet player as well as an innovative bandleader and composer. When he was eighteen, he studied at the Julliard School of Music in New York but dropped out to join the city?s exciting jazz scene. After playing with with Coleman Hawkins and Rubberlegs Williams, Davis replaced Dizzy Gillespie in the leading modern jazz ensemble of its day, the Charlie Parker group. He became not only a formidable bop player but also the founder of a new school of trumpet playing, as revealed in these 22 classic recordings from the trumpeter's formative years (1945-48) when he learned to play bop and learned to play it cool. Outstanding tracks include Yardbird Suite (with Davis on cup mute), Parker's riff blues Buzzy, a powerhouse version of The Hymn, Scrapple From The Apple, the leisurely Quasimado and Steeplechase (one of Davis's last recordings with the Charlie Parker group in 1948).
--- John Pitt
A little time before he became one of the greatest figures of 20th century music, the young Miles Davis made his way from St Louis to New York in 1944. Ostensibly coming to the Big Apple to study at Juilliard, he was really following the trail of alto sax genius Charlie ‘Bird' Parker with whom he had played briefly when Billy Eckstein's band came through town. Miles, like every impressionable young musician with ears, was in thrall to Bird, trumpeter Dizzy Gillespie and the new modern jazz called bebop. He couldn't play fast and high like Diz, but he understood the music. "You do play like me," Dizzy assured him, "but you play it down an octave lower."
The 19-year-old Miles replaced Dizzy in Charlie Parker's group in 1945 and stayed until 1948. Influenced by trumpeters Clark Terry and Freddie Webster - and his father's advice to "be your own man, have your own sound" - Miles developed a clean, mid-register sound and delivered steady, thoughtful melodies. He went from being a nervous, overawed player who felt so inadequate he "quit every night" to (in the words of Ross Russell in Record Changer magazine in 1948) "leading the way to, or even founding, the next school of trumpet playing."
Here we present 22 classic cuts from Miles Davis's formative years when, in the musical maelstrom that was the Charlie Parker group, Miles not only learned to play bop, he learned to play it cool.
1. Billie's Bounce
2. Now's The Time
Charlie Parker (alto sax), Miles Davis/Dizzy Gillespie (trumpet), Argonne Thornton (piano), Curly Russell (bass), Max Roach (drums). NYC, 26th November 1945.
A pair of bop blues themes from Miles's first date with Bird. Opinions are still divided as to whether Davis's ruminative, probing lines (in startling contrast to Bird's assertive shiver of brilliant ideas) are the hesitant offerings of an anxious youngster or the early signs of a developing originality. Certainly pianist Red Garland thought enough of Miles's solo on "Now's The Time" to block-chord the whole thing for his own solo on another blues-in-F "Straight No Chaser", which appeared on Miles's 1958 album Milestones.
3. Yardbird Suite
Charlie Parker (alto sax), Miles Davis (trumpet), Lucky Thompson (tenor sax), Dodo Marmarosa (piano), Arvin Garrison (guitar), Vic McMillan (bass), Roy Porter (drums). Hollywood, 28th March 1946.
Miles followed Bird out to California and they picked up some L.A.-based musicians who all get to blow on this leisurely, faintly melancholy medium-tempo piece Parker had concocted back in 1941 with the Jay McShann band. Parker directed the band verbally, without written charts and Miles, on cup mute, sounds completely at home on his ¾ chorus.
4. Donna Lee
5. Chasin' The Bird
6. Cheryl
7. Buzzy
(Parker) Screen Gems / EMI Music Publishing Ltd .
Charlie Parker (alto sax), Miles Davis (trumpet), Bud Powell (piano), Tommy Potter (bass), Max Roach (drums). NYC, 8th May 1947.
Miles didn't record with Bird for over a year (six months of which Parker was in Camarillo sanatorium) but on the saxophonist's return to New York in 1947, the pair hooked up again and recorded extensively for the next eighteen months. Their first recording date of the year featured "Donna Lee", a bop classic long attributed to Parker, but since recognised as Miles Davis's first original recorded composition. A labyrinthine, complex tune over the chords of "Indiana", it shows
he trumpeter - in his leader's absence - had not only got stronger as a player, he had also studied and absorbed the intricacies of the bop idiom and already created something quite extraordinary within it. There was also Parker's attractive blues "Cheryl" (named for Miles's daughter), his riff blues "Buzzy" and "Chasin' The Bird". Though the technique would be used more in the later West Coast or Cool school of jazz, the latter cut's counterpoint (Miles's trumpet creates a secondary melodic line behind Parker's lead) was rare in bop. While the title has obvious musical meaning, the metaphor is clear too. In 1947 all musicians, including Miles, were chasin' Bird.
8. Milestones
9. Little Willie Leaps
10. Half Nelson
11. Sippin At Bells
Miles Davis (trumpet), Charlie Parker (tenor sax), John Lewis (piano), Nelson Boyd (bass), Max Roach (drums). NYC, 14th August 1947.
The trumpeter's first date as leader and the clearest indication yet that Miles Davis had something to offer beyond the bop orthodoxy. With Parker on tenor and all the tunes brought to the session by the trumpeter, the temperature of the date is several degrees cooler than the average Parker session. The tempos are measured, the rhythm section relaxed, the textures are light and airy. The numbers too are complex and surprising, with twisting tunes and a surfeit of chords. Though still in the presence of a modern instrumental genius (albeit not on his first instrument), Miles stamps his authority as a player and composer all over this music. Though over a year before Miles's so-called ‘Birth Of The Cool' nonet first appeared in September 1948, in retrospect, this fascinating session can be seen at least as the glint in the father of Cool's eye.
12. The Hymn
13. Scrapple From The Apple
Charlie Parker (alto sax), Miles Davis (trumpet), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). NYC, 28th October 1947 (The Hymn) and 4th November 1947 (Scrapple From The Apple).
It wasn't all proto-cool in Miles's 1947 music world. While still a member in the foremost bop band of its day, he still had to deliver and his blistering work on "The Hymn" shows he was more than capable of holding his own. His buzzing, muted bop lines are full of detail and clearly articulated ideas, despite the punishing tempo. Miles's solo on "Scrapple" is a good example of his increasingly capricious phrasing, awareness of space and attraction to the long held note within an otherwise propulsive musical line.
14. Quasimado
15. Another Hairdo
16. Bluebird
17. Klaunstance
Charlie Parker (alto sax), Miles Davis (trumpet), J.J. Johnson (trombone on "Quasimado" only), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). NYC, 17th & 21st December 1947.
The addition of trombonist J. J. Johnson to the Parker ensemble brings a depth to the theme of the leisurely paced "Quasimado" (a Parker original based on the chords of Gershwin's "Embraceable You"), which seems to pre-figure the density of the favoured West Coast sound of a few years hence. Miles's solos on the two blues tunes "Another Hairdo" and "Bluebird" display his growing authority and individuality as a trumpeter while his offering on the up-tempo "Klaunstance", a variation on Kern's "The Way You Look Tonight", bares favourable comparison with other young lions of the bop trumpet, Fats Navarro and Kenny Dorham.
18. Barbados
19. Au-Leu-Cha
Charlie Parker (alto sax), Miles Davis (trumpet), John Lewis (piano), Curly Russell (bass), Max Roach (drums). NYC, 18th September 1948 .
Miles flirts with double-time virtuosity (Parker's natural mode of expression) on the medium tempo blues "Barbados" and "Au-Leu-Cha", Parker's other famous contrapuntal bop piece, this time with Miles taking the lead. However, the trumpeter's emerging musical character can be heard in the teasing, mildly elliptical melodic lines that comprise the majority of his musical statements.
20. Perhaps
21. Marmaduke
22. Steeplechase
Charlie Parker (alto sax), Miles Davis (trumpet), John Lewis (piano), Curly Russell (bass), Max Roach (drums). NYC, 24th September 1948.
A delightful session. Miles's mid-register roundness of tone is beautifully captured on the blues "Perhaps", the attractive "Honeysuckle Rose" variation "Marmaduke" and the "I Got Rhythm" adaptation "Steeplechase". By late September 1948, Miles had already appeared at the Royal Roost club with the Birth Of The Cool nonet and Parker had begun to appear as a star attraction with Norman Granz's Jazz At The Philharmonic. Although Parker would reprise his tenor role on a Miles Davis session three years later in 1951, this was the trumpeter's final recording session as a member of the foremost bop group of its day. Musical history had already been made, now it was time to move on to make some more .
---Chris Ingham
Chris Ingham plays jazz piano and writes about popular music. He contributes to Mojo and is author of Rough Guide To The Beatles and the forthcoming Rough Guide To Frank Sinatra. |
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