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| 3.713 Ft
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| 1. | It Never Entered My Mind
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| 2. | Four
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| 3. | In Your Own Sweet Way 4:+4
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| 4. | The Theme [Take 1]
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| 5. | Trane's Blues
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| 6. | Ahmad's Blues
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| 7. | Half Nelson
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| 8. | The Theme [Take 2]
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| 9. | Will You Still Be Mine? [*]
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| 10. | I See Your Face Before Me [*]
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| 11. | I Didn't [*]
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| 12. | A Gal in Calico [*]
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| 13. | A Night in Tunisia [*]
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| 14. | Green Haze [*]
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Jazz / Hard Bop, Jazz Instrument, Trumpet Jazz
Recorded: Hackensack, New Jersey
Tracks 1-6: May 11, 1956
Track 7: Oct 26, 1956
Tracks 8-14: "The Musings of Miles": June 7, 1955
Rudy Van Gelder Remasters
Miles Davis - Trumpet
John Coltrane - Sax (Tenor)
Red Garland - Piano
Paul Chambers - Bass
Philly Joe Jones - Drums
Milt Jackson - Vibraphone
The complete classic album "Workin'" (1956), showcasing the Miles Davis Quintet with John Coltrane & Red Garland in top form. As a bonus, the quartet album "The Musings of Miles" (1955) in its entirety, with Garland again on piano.
"Workin'" is the last in a series of four quintet albums ("Cookin'"/"Steamin'"/"Relaxin'") featuring the classic : Davis-Coltrane-Garland-Chambers-Jones line-up - and recorded in a series of marathon sessions to fulfil his Prestige contract before moving to Columbia.
Includes 8-page booklet with complete original liner notes and Down Beat reviews.
* Akira Taguchi - Supervisor
* Alan Yoshida - Mastering
* Bob Weinstock - Producer, Supervisor
* Chris Clough - Project Assistant
* Del Costello - Executive Producer
* Esmond Edwards - Cover Photo, Photography
* Jack Maher - Liner Notes
* Joe Goldberg - Liner Notes
* Nick Phillips - Reissue Producer
* Rikka Arnold - Project Assistant
* Rudy Van Gelder - Author, Engineer, Remastering
* Shigeo Miyamoto - Mastering
* Steve Hoffman - Mastering
* Stuart Kremsky - Reissue Production Assistance
* Tamaki Beck - Supervisor
* Terri Hinte - Project Assistant
Undeniably one of the best small bands in the history of jazz, the Miles Davis quintet of the mid-1950s made history at the Cafe Bohemia on Manhattan's Barrow Street and in the New Jersey studio of Rudy Van Gelder for Prestige. This is the third in a series of four LPs taped in two marathon studio sessions, done in the style of sets at the Bohemia and producing music of high energy and immediacy.
Preceded by Cookin' (OJCCD-128-2) and Relaxin' (OJCCD-190-2), Workin' is a mix of standards and originals, up-tempos and ballads, and a trio number, "Ahmad's Blues." The music this quintet made in the mid-Fifties period will live forever: the excitement of the emerging John Coltrane; the informed, melodic swing of Red Garland; the tremendous snap and pop of the rhythm trio of Garland, Paul Chambers, and Philly Joe Jones; and Miles's poignancy and intense swing.
Workin' is the third in a series of four featuring the classic Miles Davis Quintet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin' and Relaxin', Workin' is the product of not one -- as mythology would claim -- but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin' is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band's interaction on "Four" extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, Garland, and Jones, with Paul Chambers chasing along with his rhythmic metronome. Beneath the smouldering bop of "Trane's Blues" are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers' solo stands as one of his defining contributions to this band. In sly acknowledgement to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with "The Theme" -- a brief and mostly improvised tune -- indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin', the final Miles Davis Quintet recording to have been culled from these historic sessions.
---Lindsay Planer, All Music Guide |
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