Customer Reviews

'58 Miles Featuring Stella by Starlight

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If you've been impressed by `Kind of Blue' and you're looking for more of the same, where do you go? Well, there isn't anything quite like that album, and it depends what it is you like about it that you would hope to find elsewhere. `Milestones' is an obvious one to consider, as it's by the sextet with Coltrane and Adderley on saxophones - but with the magnificent Philly Joe Jones on drums instead of the more `contained' Jimmy Cobb, and pianist Red Garland rather than Bill Evans. Its style is more `hard bop' than anything on `KoB' with most of the pieces at faster tempos. It's only "Sid's Ahead" - a `walking' blues with some majestic improvising from Miles - which approaches the kind of relaxed groove you find on `KoB'. That's not to say the album isn't recommended, but `Kind of Blue 2' it isn't. Nor is this one. But it is, I think, the only other album which is entirely by the KoB personnel (some other tracks by them - for example, from the 1958 Newport Jazz Festival - occasionally appear on compilation discs). This CD is compiled from two different sessions recorded in 1958 - the year before `KoB'.

"On Green Dolphin Street", "Fran Dance", "Stella by Starlight" and "Love for Sale" are from a studio session, the first three at slowish tempos and played in a mostly warm, mellow and genial style (unless you think that those adjectives couldn't possibly apply to Coltrane's playing). Miles uses a mute on all four pieces (in fact, "Straight No Chaser" is the only track on the disc on which he doesn't play muted) and he plays well, in his intense, lyrical mode. If you like that side of Miles's music you will like these pieces. If they don't rise to the heights of the best of `KoB', there are nevertheless some good solos from Coltrane, Adderley and Evans and some memorable moments, like the one in "Stella by Starlight" when Miles's solo hands over to Coltrane's with a dramatic high held note. You might be disappointed that Adderley doesn't play on this track. Or you might not. The up-tempo "Love For Sale" is a lively performance with good solos from Adderley and Evans (Coltrane seems to struggle a bit with the chord changes) and Evans's sparky introduction and prodding accompaniment drive the rhythm forward with remarkable confidence, considering that he was something of a `new boy' with the group. "On Green Dolphin Street" is at a relaxed but well-judged pace and everyone solos well on this piece, with the rhythm section adapting well to each soloist.

The other tracks are from a live session at the Plaza, part of a `function' at which Columbia was showing off some of its top jazz artists. The sound quality is inferior to that on the studio session - although both are in what the liner note describes as `pre-stereo' sound (could they possibly mean `mono'?). Miles and the saxes come across clearly enough, but Paul Chambers' bass and Evans's piano suffer some distortion. The piano sounds as if it is being played in a different, less congenial, acoustic and although it can be heard clearly it suffers from a peculiar echo effect that detracts from the tonal beauty of Evans's playing. This is a pity on the quartet performance of "My Funny Valentine" as Evans is strongly featured here and plays what sounds like a superb solo, which makes me regret that he and Miles never recorded a quartet session. "Straight No Chaser" is taken much faster than on the `Milestones' album and I think it suffers in the process, sounding a bit frantic and lacking that bouncing swing which gives the `Milestones' version its special character. Sonny Rollins's tune, "Oleo", was always intended to be a fast piece but I think it too loses something by being a bit faster than the group as a whole seems comfortable with, although Miles, Evans and Adderley are still able to construct some good lines.

I'd have to call this CD recommendable, partly because it's the only other one which is entirely by the Kind of Blue sextet, but also because the music has its own solid merits. A pity it lacks the quality of `post-mono' recorded sound we get on `KoB', although the sound on the four studio tracks is acceptable enough - clear, well balanced and in a warm acoustic.

This was the first "jazz music" I ever bought, it must have been around 1990 or 1991 (I'm only 25, cut me some slack!). I was just beginning to enter the world of improvisational music and someone told me "Miles Davis is a jazz guy, he improvises". Based on that expert analysis I randomly picked something with Miles on it, this just happened to be the one.

Miles and Bill Evans got to me, but I wasn't in love. The saxophonists were tougher for me to grasp. For whatever reason I just couldn't "get it". After listening to this cd maybe once every three months for about a year one day it just hit me! The voracious swing of STRAIGHT, NO CHASER just crawled into my soul and I've never been the same since.

This isn't the wide open, scary Coltrane of later years but it IS a Coltrane who plays with such rhythmic thrust and density that he can really tuck you into all sorts of spacial and rhythmic nooks and crannies within this music. Miles uses the mute most of the time, Cannonball's tone and "straight-ahead soul" playing is gorgeous.

Rarely mentioned but undeservedly so, this is a great cd.

This collection of 1958 goodies shows a new lineup for Miles, as pianist Red Garland was replaced with Bill Evans by this point. Evans was a very different player than Garland, as his arrival foreshadow Miles' move in the modal direction. Evans was certinly better equipped to handle such a move than the more traditional Garland.

The tracks on this disc are wonderful, mostly showcasing ballads and slower numbers. As always, Miles' playing was in great form, his harmon mute making his tone more distant yet vulnerable. The whole group is boosted by the addition of Evans, who's style is more open and allows for more flexability than Garland's did. Miles, Coltrane, and Adderley certainly take full advantage of this on all the tracks, but its more noticable on the ballads. Their interpretations of "On Green Dolphin Street," "Fran Dance," "Stella by Starlight," and "My Funny Valentine," are all second to none.

The 2 uptempo numbers, "Love For Sale," and Monk's "Straight, No Chaser," must have been breaths of fresh air for Philly Joe Jones and John Coltrane, as their playing is on fire. Adderley, certainly the most flexible sideman on this project, offers his blues interpretations to the songs, lifting them to new heights of possibilities. More a showcase for Coltrane,Adderley,and Jones, Miles, while certainly not laying out, allows his 2 sidemen much of the spotlight, as a good leader does.

These tracks are priceless, showing the transitional phases of Miles'late 50's groups, (Jones would soon be replaced by Jimmy Cobb) and showing what an amazing group they were. These tracks are also on the Columbia box set for this period, and that comes more highly recommended than this lp, though certainly this cd is top rate by itself.

This album showcases one of Miles's best groups (even though he had so many great groups) featuring Cannonball Adderley on alto saxophone, John Coltrane on tenor saxophone, Bill Evans on piano, Paul Chambers on bass and Jimmy Cobb on drums (the same band that recorded Kind Of Blue). Miles shows his mystical trumpet playing here better than ever before, and the results are simply magical. Coltrane's solos are just classic. The man was unbelievable, and Cannonball Adderley refuses to take a backseat. Bill Evans's piano playing is under-stated and tasteful, yet also swinging and virtuosic. Evans opens up the rendition of Kaper's classic "On Green Dolphin Street" with flair, and Miles takes it with the harmon mute for some magical choruses. Cannonball and Coltrane both rip it on this piece, and Evans solos wonderfully. Listen to Paul Chambers's amazingly accurate bass work also. Miles keeps the harmon mute in for most of this album, and his composition "Fran-Dance" (dedicated to his wife) is no exception. The song is elegant and light, and they all play wonderfully. However, the show-stopper is "Stella By Starlight". Never has this standard received better treatment. This is essential Miles Davis work with the harmon. Just beautiful. Coltrane's solo is so full of heart and Evans brings it back to Miles with sophistication. The recording of "Love For Sale" is one of Miles's recordings of the commonly played standard. Here, Miles builds it up, but Coltrane and Cannonball really bring the fire on this song, and Evans also takes a brilliant solo. Miles finally takes out the harmon mute on side two with a brilliant bop rendition of Monk's "Straight No Chaser" (from a live performance at the Plaza). Everyone rips into it here. Then Miles and company play a haunting rendition of "My Funny Valentine", which brings the house down. Bill Evans and Miles interact beautifully here. Finally, they end with a song by Sonny Rollins called "Oleo". This is a fun little tune and it's played at a rip-roaring fast pace, but still stays clear and cohesive throughout.

This is another favorite Miles album. If you don't have it, you either should not consider yourself a fan of Miles Davis or you should get it.

I listened to "On Green Dolphin Street" for the first time on this record in 1988. I kept searching for the same mood in different versions of this theme, but never found it. Some historians say Miles was influenced by Ahmad Jamal's treatment of silence and pause and this was one of Jamal's favorite tunes. The arrangement surpasses any concept Kaper or Jamal might have hinted. "Love for sale", as approached by Miles here is a class in modal improvisation, and, of course, enthusiasm. The rendering of "Straight, no chaser" is an all-time spirit lifter. I think this was Miles's best unit ever.

This is a compilation of various recordings from Miles Davis' elegant 1958 group. The first three tracks are studio recordings that originally appeared on 1961's "At Newport." "Love for Sale" is from the same session, but sat unreleased until 1970's "Circle in the Round." The last three tracks are live cuts orginally released on "Jazz at the Plaza," recorded at a Columbia Records press party. This mixture of sessions splits up the continuity of the album a little bit, but this is music that is definitely worth hearing.
The studio tracks are sensuous, exploring some fairly standard songs (and Davis' original "Fran Dance") and creating lush new versions. Davis sticks to muted trumpet and leaves plenty of space for his band members' talents to shine through - and they shine indeed. Cannonball Adderley's solo on "Love for Sale" makes this whole disk worthwhile. Joy and love radiate from this man's horn, transforming the usually-downbeat song into something hopeful. This is the band that recorded "Kind of Blue," so you know the sounds are going to please. CORRECTION TO SEAN'S REVIEW BELOW: Philly Joe Jones does *not* play drums on this record! It is Jimmy Cobb all the way. Cobb's gentle brushes and subtle pulse carry this band from start to finish.
The live tracks are a little streaky. The performance was impromptu, and although the repertoire is basic, the performances do not shine quite as much as the studio material (although nothing by this band can be considered "bad"!). Nevertheless, it is an interesting opportunity to hear this short-lived band in a live situation. Oh, and Bill Evans' solo on "My Funny Valentine" (Davis' last recording of this tune) is a gem, despite a slightly out-of-tune piano. Also a gem is Paul Chambers' solo from the same song.
As one of only a handful of recordings made by this short-lived group, this CD is highly worth picking up.

Do not take any stock in James Dollison's review, his facts are all wrong. The first four tracks are studio recordings and they are regarded as some of this sextet's finest performances - that is straight out of Chamber's biography "Milestones" which is highly regarded by Davis collectors (I am one of those guys) as THE word on Miles Davis. Also note that Chambers never holds back his criticism of Miles, almost to a fault (his book will make ya mad in places he's such a snot). So for Chambers to call this some of his finest work is really saying something. Also, critic Ira Gitler - one of the most respected critics in jazz music, also raves about this release. In fact, he even wrote the liner notes. Anyway, the first four tracks are studio recordings, only the last 3 are from Jazz at the Plaza. Dollison claims the rest of the material is from Jazz at the Plaza so it's clear he doesn't know what he's talking about. Ignore his critique. This collection is worth owning, especially for "On Green Dolphin Street

Miles had all the heavyweights on this one. This group is at the height of it's powers. 'Trane, Cannonball, Bill Evans.... This was one of the great working bands from a man who had THE great groups.

Miles' playing is in absolute top playing form here. All these pieces have been done by other jazz artists but NOT QUITE LIKE THIS. This is jazz in high form. They embellish improvise, stretch out and bring their best to each piece. One of the most striking versions and my favorite version of "Green Dolphin Street". Many are acquainted with Miles' later version of "My Funny Valentine". Here Miles offer up a version distinct from those with some beautiful interplay and soloing.

You can't go wrong with this recording. There are several live cuts here showing this, one of his greatest ensembles, in excellent and often brilliant form.

Each musician compliments the others. If you loved "Kind of Blue" you MUST have this. This was THE band of it's era. Very seldom do you get a recording of jazz standard that exemplifies the quintessential jazz approach of embellishment and re-interpretation overt or subtile.

Miles,Coltrane,Cannonball together make this disc Rock.while Kind of Blue gets all the glory and rightfully so this disc is just as tight.Bill Evans is tight as well on this set.On Green Dolphin Street sounds Fantastic.My Funny Valentine is something special to the ears as well.this disc was Just a Warm up to What the Genius Minds of Miles&Coltrane would do going into the 60's.CannonBall had Moments as well during the 60's.but this is a Must Have.

Miles shows his muted style on this one. Bill Evans plays great piano on this track. John Coltrane also shows tremendous skills on these previously unreleased performances.