UK based Discovery Records continues its series of limited edition Legendary Jazz Albums with five beauts from John Coltrane and Miles Davis. Each album includes photos done by legendary French photographer Jean-Pierre Leloir. All of these are “must haves” for any jazz fan.
One of the most important sax players in history, John Coltrane is with his “classic” quintet almost intact on this 1960 session with McCoy Tyner/p, Elvin J ones/dr and Steve Davis/b. His soprano sears on “Blues to Bechet” while the team gels on “Mr. Syms” and “Mr. Day.” A swinging session with Milt Jackson/vib, Hank Jones/p, Paul Chambers/b and Connie Kay/dr stretch out on “Blues Legacy” while a ’59 session with Miles Davis’ rhythm section deliver a visceral “Equinox” and “Some Other Blues.” Pre-modal ‘Trane.
The For Lovers album cherry picks mellower tunes performed by John Coltrane from 1957-1962. A wondrous duo with guitarist Kenny Burrell produces a definitive “ Why Was I Born,” while the tenor saxist stretches out on a ten minute “I Want to Talk About You.” Coltrane’s tone was well suited for tender pieces such as “I Love You” and “Soul Eyes” while he creates sweet ripples on “ While My Lady Sleeps.” If you’re not ready for the future wails of the sax star, this is an excellent place to get into his soul and mind.
The summit meeting between John Coltrane and pianist Thelonious Monk back in 1957 is still one of the most symbiotic musical get togethers. The quartet sessions which produced “ Nutty,” “Ruby My Dear” and “Trinkle Tinkle” is 
one of the world’s wonders, with Trane at his exuberant best. The jam session with Coleman Hawkins and Art Blakey which delivered “Well You Needn’t” and “Epistrophy” is the apotheosis of hard bop. A desert island disc, if there ever was one.
Miles Davis’ “’Round Midnight” included his first “classic” quintet of John Coltrane/ts, Red Garland/p, Paul Chambers/b and Philly Joe Jones/dr. This 1955-56 session includes the clarion call of the title track, the be-bopping “Ah-Leu=Cha” and haunting “Dear Old Stockholm.” Also included is the classic Walkin’ session that started the “hard bop” movement with Davis, JJ Johnson/tb and Lucky Thompson/ts delivering rich solos over the gospel drenched rhythm section of Horace Silver/p, Percy Heath/b and Kenny Clarke/dr on “Walkin’” and Blue ‘N’ Boogie.” Did jazz ever get any better than this?
From around the same era, Miles Davis’ Workin’ album has Davis using his Harmon mute to maximum effect on “It Never Entered My Mind” and “In Your Own Sweet Way” while Garland taps into his cocktail lounge best on “Ahmad’s Blues.” In a quartet setting, Davis bears down on “A Night In Tunisia” and a dreamy “Will You Still Be Mine?” with “Green Haze” another example of Davis at his ballad best. When one thinks of vintage Miles, this is the epoch.
The Ballads album ranges from 1952-58 and includes material from Davis’ influential meetings with Gil Evans’ orchestra. Evans created the perfect sonic foil for Davis on “Bess, Oh, Where’s My Bess” and “My Man’s Gone Now” while the classic Christmas Eve 1954 session with Milt Jackson/vib and Theolonious Monk/p delivered “The Man I Love.” Davis pioneered the use of the Harmon Mute, and his influence from pieces such as “Just Squeeze Me” and “There Is No Greater Love” cannot be under-estimated. This is the Miles Davis that gets the chicks.
Discovery Records