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Miles Davis & The Modern Jazz Giants Original recording remastered


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Audio CD, Original recording remastered, October 7, 2008
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. The Man I Love (take 2) 7:54Album Only
listen  2. Swing Spring10:43Album Only
listen  3. 'Round Midnight 5:21$0.99  Buy MP3 
listen  4. Bemsha Swing 9:27Album Only
listen  5. The Man I Love (take 1) 8:28Album Only

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Miles Davis & The Modern Jazz Giants + Bag's Groove + Walkin
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Product Details

  • Audio CD (October 7, 2008)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Prestige
  • ASIN: B001FBSMLC
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #123,753 in Music (See Top 100 in Music)

Editorial Reviews

Despite not wanting Theolonius Monk to play, Miles Davis managed to record these brilliant sessions that included The Man I Love and Swing Spring .

Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

26 of 26 people found the following review helpful By Sean M. Kelly on September 25, 2000
Format: Audio CD
This lp consists of the rest of the tunes recorded during the "Bags Groove" sessions in 1954, with Milt Jackson on vibes,, Thelonious Monk, piano, Percy Heath, bass, and Kenny Clarke, drums.... the exception to this is track 3, "Round About Midnight," which is Miles with Red Garland, John Coltrane, Paul Chambers, and Philly Joe Jones, which was recorded on 26 October 1956 during the sessions for the "Cookin," and "Workin'" lps.
Despite what internal friction might have existed between Miles and Monk, the quality of play on these tracks are breathtaking, with Miles and Jackson coming to the fore. Monk's playing on his own "Bemsha Swing" is top rate, with his idiosyncratic style fitiing in perfectly with the ensemble.
My only hope is that one day, all of these tracks (minus "Round About Midnight," which is great but clearly out of place on this lp..it should be placed on any of Davis' 4 final Prestige offerings with his 1st great quintet) and those of "Bag's Groove" will be combined on 1 lp to showcase everything these groups did without having to jump from cd to cd to find it all. Despite the obvious money making strategy used here, the listener would be better off having it all in one place (of course, the 8 cd set of Miles' Prestige recordings does infact do all of this).
Great tunes and great groups help make this lp a very nice one indeed.
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12 of 12 people found the following review helpful By Bomojaz on October 15, 2005
Format: Audio CD
Fireworks. The session on which Miles and Monk almost came to blows - yet both produced some of their best work of the decade. Miles hated the way Monk comped behind his solos and they argued about it, until Miles told Monk he wanted him to stop playing when he (Miles) soloed. Monk, of course, didn't care for that idea too much. They bickered and some of those vocal exchanges appear right on the recording. But somehow it also inspired them because they play intense, brilliant music at the same time. Unfortunately, the CD doesn't include the whole session: besides the two takes of THE MAN I LOVE, there were two takes of BAGS' GROOVE recorded, neither of which make it on this CD. (You'll find those on the Prestige CD titled BAGS' GROOVE, OJC 245). And ROUND MIDNIGHT isn't from this date at all.

BEMSHA SWING might be the most amazing track here because on it Miles allowed Monk to play behind him. The transition from Miles's solo to Monk's is brilliant, with Miles laying down Monkian phrases which Monk then picks up on. SWING SPRING is one of Davis's earliest modal compositions, a terrific tune. The two takes of THE MAN I LOVE are quite different, with the second take's angry musical exchanges between Miles and Monk, with Miles's desire to be lyrical and Monks's to be experimental, causing a tension for the listener that is almost unbearable - and magnificent. It's amazing to hear these two headstrong, magisterial musicians "fighting" for dominance right before our ears - no holds barred. A fantastic recording date. A must-have CD.
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9 of 9 people found the following review helpful By Amazon Customer on August 13, 2000
Format: Audio CD
Overall this album is a collection of "bonus track" type material, but it is not without its highlights. Four of the five tracks feature Miles' cool toned trumpet, Thelonious Monk on piano, Percy Heath on bass, Kenny Clarke on drums, and Milt "Bags" Jackson on vibraphone. Miles' and Monk's solo work is typically interesting, but never really rises to the level of inspired. It is really Bags' vibework that shines through with his solo on Monk's "Bemsha Swing", and his sensitive intro and hard swinging solos on both takes of "The Man I Love". With all of the stories of Miles making Monk lay out, or not play, behind his solos, and general studio tension heard on chatter at the head of "The Man I Love take 1" aside, this album is still a solid swinging affair. Track three was recorded two years after the other four and features Miles great quintet of John Coltrane on tenor, Red Gardland on piano, Paul Chambers on bass, and Philly Joe Jones on drums performing a prototype of their take on Monk's "'Round Midnight". This cut does not approach the classic featured on Miles' Columbuia album, but it is interesting for fans to hear this early, and somewhat muddled, take. Overall this album is a good one to pick up if you fan of the personnel or, already own "Bag's Groove" and want to hear more from that session.
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9 of 11 people found the following review helpful By continentalpong on September 10, 2004
Format: Audio CD
To the reviewer below who claims "Thelonious Monk is by far the most overrated musician of all time," you obviously don't get it and are throwing out opinions on subjects of which you know nothing. The "genius" label is reserved for those who truly deserve it, such as people like Mozart, Miles and Monk. I defy you to name a single credible jazz musician that doesn't have a library of Monk tunes they can pull from their head and play from memory. The fact you weren't sure where Monk was coming from or was going to go was an essential part of the genius in his playing itself. I'm also not sure you would call the man who wrote "Round Midnight," "Epistrophy," and "Straight, No Chaser" (if I may be so bold as to include a woefully inadequate list of his classic standards) "overrated". Likewise, were it not for Monk, the man who almost single-handedly invented bebop, we wouldn't know jazz as it stands today.

Lastly, comparing Monk to Oscar Peterson is like comparing a Dodge Viper to a bowl of fruit. To paraphrase Jules from Pulp Fiction: "They ain't no same ballpark. Hell, they ain't even the same sport!".
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