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'Round About Midnight Original recording remastered

4.8 out of 5 stars 75 customer reviews

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Audio CD, Original recording remastered, April 17, 2001
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Editorial Reviews

Product Description

'Round About Midnight [Bonus Tracks] (Remastered) Miles Davis Label: Sony Release Date: 4/17/2001 1 'Round Midnight - 5:58 2 Ah-Leu-Cha - 5:53 3 All of You - 7:03 4 Bye Bye Blackbird - 7:57 5 Tadd's Delight - 4:29 6 Dear Old Stockholm - 7:52 7 Two Bass Hit [*] - 3:44 8 Little Melonae [*] - 7:22 9 Budo [*] - 4:17 10 Sweet Sue, Just You [*] - 3:40

In 1955, Miles Davis signed on with jazz powerhouse Columbia Records. With alto and tenor saxophonists Cannonball Adderley and John Coltrane, drummer Philly Joe Jones, bassist Paul Chambers, and pianist Red Garland, Davis released 'Round About Midnight, which evinces even more clearly what a phenomenal unit Davis was nurturing. Stylistically, Midnight encompasses standards (or soon-to-be standards) such as "Dear Old Stockholm," "Bye-Bye Blackbird," Tadd Dameron's "Tadd's Delight," and Jackie McLean's forward-thinking composition "Little Melonae." Miles and company reprise "Budo" from the historic Birth of the Cool sessions. The standout track is Davis's Harmon-muted reading of Thelonious Monk's ballad, "'Round Midnight, which is still a Miles standard bearer. Three alternate takes round out the session: "Two Bass Hit" and "Sweet Sue" feature adventuresome solos by Coltrane that preview his masterpiece "Giant Steps." And Garland moves away from his Ahmad Jamal pianisms with his introspective ivory ticklings. If you want to hear the origins of post-bop modern jazz, this is it. --Eugene Holley Jr.

Track Listings

Disc: 1

  1. 'Round Midnight
  2. Ah-Leu-Cha
  3. All of You
  4. Bye Bye Blackbird
  5. Tadd's Delight
  6. Dear Old Stockholm
  7. Two Bass Hit
  8. Little Melonae
  9. Budo
  10. Sweet Sue, Just You

Product Details

  • Audio CD (April 17, 2001)
  • Original Release Date: April 17, 2001
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Sony Legacy
  • Run Time: 58 minutes
  • ASIN: B00005B58W
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (75 customer reviews)
  • Amazon Best Sellers Rank: #2,415 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
This is Miles Davis' debut with Columbia records, and since 1955, the year in which "Round About Midnight" was released, neither Columbia nor the world of jazz would remain the same. While others point to "Kind of Blue" as his classic, some of Davis' most thrilling work can be found here. On this album, Davis ropes in John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones to form a quintet that would stand as a tremendous force to be reckoned with. "Ah-Leu-Cha" bristles with energy, and it brilliantly shows the interplay between Davis and Coltrane throughout the track. There's also the relaxed cool of "Bye Bye Blackbird" and the uptempo bounce of "Tadd's Delight," which has nice piano work from Red Garland and head-bobbing bass from Paul Chambers. But, of course, the CD's towering moment is the title track, brilliantly adapted by the quintet. It would serve as one of THE greatest pieces of work in Miles' catalogue. I can seriously listen to this CD fifty gazillion times and never tire of it. And that's the way all great albums should be. After each listen, "Round About Midnight" reveals something new that I didn't catch before. This is the remastered version, and while the term "remastered" gets bandied about very casually when marketing releases, I can assure you that the folks at Sony did a great job here. The bass projects more fully, the drums sound crisp, and Davis sounds like he entered the studio last year. Very little of the recording sounds like it was done in the 1950s. The disc also has 4 bonus tracks; my personal favorite is the terrific 7-minute "8 Little Melonae." Those who are new to jazz or Miles Davis should definitely make this historic masterpiece among their first purchases.
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Format: Audio CD
This is my personal favorite of Miles' small group records, and his first for Columbia. It's simply a matter of taste whether you prefer the first quintet or the second. Those who tend a little more towards the free jazz choose the second, but I prefer the delicate swing of the earlier one, even though Coltrane was not yet fully formed as a sax player. Still, their rendition of Cole Porter's "All of You" has to be one of Davis' most perfect recordings, where Red Garland's piano block chords work to irresistible effect (as they do on "Bye Bye Blackbird"). Miles told Red that he wanted Ahmad Jamal's style transplanted into his band, and a good argument could be made that it was Garland's swing that set the tone for the direction of the band. At the very least, Miles always turned to Red for suggestions of which standards to play. The other highlight is the downright otherworldly performance of Monk's "Round Midnight" (of which Monk apparently did not approve), where Coltrane shows early signs of breaking through. Not very surprising that it was Coltrane's brief stint with Monk that finally set him loose for good. Also worth noting is a fantastic version of "Dear Old Stockholm" which features an extended and brilliant bass solo by Paul Chambers, who very rarely got any soloing time on Miles' studio records. Great, great music.
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Format: Audio CD
'Round About Midnight' is the first album Miles Davis would record during his long tenure at Columbia, and is the beginning of the most prolific and consistentally impressive output in jazz music history. You can see where the level of sophistication and innovation is flourishing in these recordings, even though this is still more or less considered "traditional" jazz. But the improvised lines, and the cool, muted playing are already becoming apparent as a Miles standard. The album opens up with 'Round Midnight', which is a rich and stirring late-night ballad, starting out with Miles' brooding, muted trumpet playing over Paul Chambers' slowly rolling basslines, then changing pace slight with Coltrane's reflective tenor sax smoothing out the edges, and making it into a smoky nightclub classic. Truly a work of art. 'Ah-Leu-Cha' is a throwback to the classic bebop style of jazz, and is more uptempo, with some impressive soloing from Coltrane and Davis. Red Garland's piano work is great here as well, as he manages to keep up with every chord change being thrown at him. 'All of You' is an old pop standard that the quintet plays through easy and relaxed. The same goes for the cool and subdued interpretation of 'Bye Bye Blackbird'. This is one of the best renderings of this old standard that you will find, and Davis varies his playing softly and then brings it back up to higher notes to compilment Coltrane's tenor sax. The musicianship all blends together seamlessly on this song as Garland's excellent piano solo brings Davis back in to close it out with a final sweet, muted refrain; just beautiful. 'Tadd's Delight' is another nice throwback to hard bop, with rollicking drumming from Philly Joe Jones, and more impressive piano playing from Garland.Read more ›
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Format: Audio CD
This record is one of those rare records that you can put on from the first song and to the last and never get bored or want to skip a song.
'Round Midnight is a perfect song, from start to finish. Both Miles and Trane express what they want with gorgeous melodies and tone.
Ah-Leu-Cha is a great rendition of the classic Charlie Parker tune, especially with the intertwining melodies at the beginning.
All of You shows the depth of Miles' Harmon mute, and is the best take of this song I've heard (better than the Blackhawk recording or some of the Plugged Nickel stuff).
Bye Bye Blackbird contains what I think is Miles' best solo ever. His use of the Harmon mute is gorgeous and the entire song is unbelievable. Listen specifically to Philly Joe Jones brush strokes and Garland's comping skills on this one.
Tadd's Delight is a great bop-style tune with one of Coltrane's best solo's on the disc. Jones' drumming is also unbelievable on this track.
Dear Old Stockholm is the baddest jazz track ever. Period. That track is just bad as sh*t, from the first note to the end. And the highlight of this track is Paul's rare extended solo and Coltrane's solo. If there is a "best" song on this album, this is it. And Miles probably put it at the end purposely to make sure every listener knew that his band was the baddest there was and will ever be.
Although there are extras which are great, I'm not going to talk about them because they weren't in the original album (even though Budo is awesome).
If you should get anything out of this album, it should be this: this group was the tightest group there ever was and listening to this album proves it. Everyone is right in time and right on top of the music--no one one this record even though about doing a half-ass job when it came to producing some of the best music ever laid down on record. Enjoy
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