Customer Reviews

New Miles Davis Quintet

5 star:		(2)
4 star:		(1)
3 star:		(4)
2 star:		(0)
1 star:		(1)

 

 

This cd features the initial recordings by Davis' first great group of Red Garland on piano, Paul Chambers on bass, Philly Joe Jones on drums, and John Coltrane on tenor. In the next two years this quintet would record "'Round About Midnight" for Columbia and the marathon sessions for Prestige that produced the landmark albums Cookin', Workin', Steamin', and Relaxin', leaving this album in their historical dust. Recorded four years before "Kind of Blue" this album is dominated by Miles laidback trumpet, which he plays muted for the first four tracks. Coltrane is uneven and his solos are relatively pedestrian as he was in the "searching period" of his carrer, still a couple of years from his breakthrough "sheets of sound" innovations. Gardland, Jones, and Chambers are rock solid throughout, providing a tight swing for the hornmen to work over. A highlight is "The Theme", which is kicked off with a nimble bass solo by Chambers who is followed by two solid solos by Miles that are split by one from Coltrane. This is an entertaining if not essential recording that is of historical interest, as it offers a look at this influential group at its formative stage. Newcomers should check out some of Miles' more important works, while diehard Davis fans and completeists will search it out for its historical value.

Unless you frequented jazz clubs in Baltimore or Philly in the fall of 1955, this would have been your first exposure to the Miles Davis-John Coltrane collaboration (a few tracks recorded for Columbia, the label Miles would soon be joining exclusively, a few weeks before this session weren't issued until much later). Davis settled on Coltrane as his replacement for the departing Sonny Rollins almost by default - no one else fit the bill or new the book. That they would stay together long seemed unlikely because their temperaments differed so much (Davis was a hands-off leader, Coltrane wanted constant input from Miles on his playing and music in general).

STABLEMATES (a Benny Golson tune) is the track that seems to draw the most attention. It's an excellent composition, and although Coltrane sounds somewhat tentative (nervous?), the performance is attractive. But my favorite side is THERE IS NO GREATER LOVE, even though Coltrane sits this one out: Miles plays beautifully, and I love the emotion he wrings from the tune.

True, this is an early effort by the group that would transform modern jazz, but it's a very good session nonetheless. The group plays well, the rhythm section is rock solid, and they are all off and running. Full speed ahead!

3 stars for this early adventure, however Stablemates - 5 stars - is classic sound and early glimpse of things to come. A must for any who collect more than one taste of miles (album) and TRANE.

Though not the first recording session for the new quintet - that was accomplished several weeks before in studio work for Columbia Records - the November 15, 1955, work for Prestige Records is a forgotten map for Miles, Red Garland, John Coltrane, Philly Joe Jones and Paul Chambers that would yield some impressive material for the label during the following year.

The six cuts clock in at 33:26 and are pretty straightforward in the arrangements, with the standouts being How Am I to Know? and S'posin', with Coltrane not appearing on There is No Greater Love. The remaining tracks are Just Squeeze Me (But Don't Tease Me), Miles' Theme and Stablemates.

This is a rare glimpse into musicians beginning to shape their sound and vision. Miles is the leader, but each band member is bringing something unique to the studio in what quickly will become highly-anticipated sessions that yield extraordinary music.

After his supposed "comeback" at the 1955 Newport Festival, Miles Davis realized it was finally time to form a working band. The group that he formed, one of the most important jazz units of the 1950s, is the "New Miles Davis Quintet" of the album title. And though the group had already made a session for Columbia a few weeks earlier, this album (recorded in November '55) was the first taste many fans had of Davis's new group.

The result was pretty unremarkable, particularly when you consider the five albums the quintet would record for Prestige and Columbia the following year. Tenor saxophonist John Coltrane, who until this point was almost completely unknown, has some interesting ideas but sounds tentative. The rhythm section (Red Garland, Paul Chambers, Philly Joe Jones) swings but isn't quite as tight as on later recordings. Miles's playing, on both open and mute trumpet, is on par with what you'd expect at this point in his career. The song selection involves a couple of standards and one bebop classic (Benny Golson's "Stablemates"). For what it's worth, the four performances recorded for Columbia (now available on the remaster of Round About Midnight) a few weeks earlier are much better.

Coltrane and Miles completists will want this album for sure. Others will find plenty to listen to by both of these giants before picking it up. In summary: nothing bad, nothing special.

This is truly one of Miles Davis best albums..!!

And YES, Coltrane could possibly have gone harder at times, but Philly Joe, Red Garland, and Paul Chambers each take their turns supporting the maestro with solid contributions throughout. And clear glimpses into their future acclaim.

"Stablemates" and "The Theme" I'll take a pass on.

I'll take the other 4 tracks and put them up against any 4 from any other original recording. Yes, he has better songs...but albums, this one is right up there.

"S'posin'" is perhaps the crown jewel. The perfect combination of each's talents and genius on display in the finest fashion. Coltrane really shines in this one. ---- Nuff said.

Given the this was originally recorded in 1955, I guess the quintet is no longer all that new, but given that this is essentially the aggregation that would go on to record the classic Kind of Blue, this clean-sounding mono CD documents a pivotal group in jazz history. The music is pretty well straightforward stuff, tasty but forgettable. Still, from DCC, a label that for a time seemed to be releasing totally useless bachelor pad music CDs and other clunkers as regularly as clockwork, this was a pleasant turn of events.

Jazz will never sound as it should when mastered on a digital format. Analog vinyl LP's or magnetic tape (as a distant second) is the best way to go. You will NEVER know what you are missing out on without a decent turntable and tube amplifier. Try listening to Miles Davis' "Kind of Blue" or Kenny Drew's "Undercurrent" mp3 album and then find someone who owns it on vinyl and listen... you will never buy another cd or mp3 again and you may want a refund for all those mp3's you bought. Digital jazz is garbage and should only be used while jogging or when not really paying attention to the music (i.e. mowing your lawn).