In case you didn’t know, the technology for making stereophonic albums didn’t get going until around 1958. Up until then, the goal of Columbia Recording Studios (which was THE state of the art label for sonic reproduction at the time) was to create as warm and “live” sound as possible in the studio for one speaker. That’s why they used to have that famous logo “360 Sound, Guaranteed High Fidelity” which gave many a listener the seal of approval. When artists such as Ellington, Brubeck, Bennett and Davis finally started recording in stereo, the separated sound between the “novelty” of two speakers was at first quite unnatural and forced. Many people, then and now, preferred the wholeness of what was then called “mono.” Here, Columbia has released the 9 albums that Miles Davis recorded from 1956-61 in the way it was intended. You might be surprised-this material sounds warm, snappy and utterly inviting!!
Not only that, but these years when he was with Columbia, Miles Davis was…well, MILES DAVIS. He had the tone, he had the ‘tude, he had the threads, the ‘serati and the chicks. This was still pre-rock, and Davis was the epitome of what a hip guy was supposed to look, act and sound like. These albums represent the apotheosis of style, class, taste and whatever that intangible thing was that was “cool.”
So, what you’ve got here are those last sessions from Davis’ first “classic” quintet with John Coltrane/ts, Red Garland/p, Paul Chambers/b and Philly Jone Jones/dr, put together right after Davis left the small Fantasy label for (literally) greener pastures. 1957’s ‘Round About Midnight, with “All of You,” “Dear Old Stockholm” and the title track, are what dreams are made of.
1958 has him performing on a hip French soundtrack Ascenseru pour L’echafoud. This is an underrated gem, with his muted and open tone never sounding more vulnerable. The three ground breaking albums that he then did with arranger Gil Evans actually sound better than the artificial results that came from the stereo releases. ‘57’s Miles Ahead punches like Sugar Ray Robinson, particularly on “New Rhumba,” while Sketches of Spain from ’60 coalesces to a rich thick paella. Porgy and Bess is bright, light and clear, and the sharp edges of the orchestra have a nice crispness likea an Italian suite that is quite attractive.
Davis started playing around with his group, adding as well as mixing and matching Cannonball Adderley/as, Bill Evans/p, Jimmy Cobb/dr and throwing in Hank Mobley/ts for good measure with the original crew. Milestones from 1958 and Kind of Blue from 1959 are de rigueur for any self respecting fan of western music, with both being on almost everyone’s Desert Island list. 1961’s Someday My Prince Will Come with both ‘Trane and Mobley on the team is not too far behind, with “Old Folks” and “Teo” quintessential Davis.
Davis meets with Thelonious Monk at the 1964 Newport Jazz Festival and surprisingly sound like simpatico buddies on “Straight, No Chaser” with an extra bonus of Monk’s Quartet teaming up with Pee Wee Russell on 3 beauties, with “Blue Monk” winning the bathing suit contest.
The other nice thing about this 9 cd boxed set is that you get the album the way it was originally conceived. No filler, fluffs or fantasies. Go time travel a bit-you’ll definitely hear these pieces with new ears.
Sony Legacy
www.sonylegacy.com