Customer Reviews

Workin' With The Miles Davis Quintet

5 star:		(15)
4 star:		(1)
3 star:		(3)
2 star:		(1)
1 star:		(1)

 

 

The set of albums on Prestige, [Workin', Steamin', Relaxin', and Cookin'] has always been a favorite of mine. These albums were made in marathon sessions over a weekend so that Miles could be free to record under heavier promotion and a far more lucrative contract on Columbia Records. Albums like "Kind of Blue" and "Miles Ahead" that are traditionally thought of as the peak of Miles' art benefit from the increased budget of Columbia for recording and studio time as well as the opportunity to higher the best arrangers [like Bill Evans] or keep the best musicians together on the road for an extended period of time. The best albums on Columbia are not always known for hard-swinging [with the exception of Milestones] or conventional interpretations of hummable standards.

These Prestiges [Workin', Steamin', Relaxin', and Cookin'] are some of the hardest swinging albums in Miles' discography thanks to the tremendous rhythm section of Philly Joe Jones, Paul Chambers, and Red Garland. Besides Miles' own fabulous playing on the ballads, the work of that rhythm section is what makes these albums so much fun to listen to. Even Miles wants to listen to them. Miles sits out on Ahmad's Blues and allows the rhythm section to play as a trio in a tribute to Ahmad Jamal, whose delicate chamber jazz and reinterpretations of standards inform the swing of this group.

I'd recommend any of the Prestige's equally as five star albums although I realize many people won't have the budget to splurge for all four and those that do may go all the way and purchase Miles' complete Prestige albums, even though some of that material is not up to the consistently high standard here.

Workin's is best thought of as "a plays the blues set". It gives a feel for what a club date might have sounded like. They record two versions of "the theme" to close out each side of the original album, just like they used the tune to close out club sets on the road. "In Your Own Sweet Way" and "It Never Entered My Mind" are buttery ballads ideal for a romantic mood or just for savoring Miles' muted trumpet. "Four" is a standard tune that Miles wrote or borrowed that's given a solid reading. "Trane's Blues" is interesting for the gospel reference to "If you do't go don't hinder me" taken from Charlie Parker's "the hymn" before the melody is repeated at the end of the song. "Half Nelson" is a solid swinger with some nice work by Philly Joe Jones. "Ahmad's Blues" depends on what you think of the rhythm section. I dig it because I like Red Garland and enjoy the spotlight on a rhythm section that can be underappreciated. Little things like Philly Joe Jones work on the hi-hat stick out more in a trio setting. Others who just listen to Miles may prefer an album like "Steamin" in the series instead.

I'm amazed by the 'Trane bashers who are reviewing this album. If you are listening to any 'Trane before "Giant Steps" you will be hearing a man who has not fully matured as an artist and you have to take the good with the bad. No, 'Trane isn't at his best here. That's part of what jazz is. The thrill is hearing him struggle with ideas and trying to find where the seeds of greatness for his later work. To trash this album because 'Trane isn't a master yet is to kind of miss the point of purchasing this album. You get it for a focused Miles [unlike some of his fusion stuff or late Columbia stuff] and an amazing rhythm section first.

Yikes, a meandering review, but I hope this helps some folks dig an album I've enjoyed for over 10 years and come back to often.

--5 stars
SD

In many ways, "Workin" is my favorite of the 4 lps made that day (Steamin, Relaxin, and Cookin the other 3)for Prestige Records.

In my view, Miles' playing on "It Never Entered My Mind" is some of the most emotional playing he ever did..add to that Garland's superbly understated piano and Paul Chambers going so far as to use a bow on his bass to make it "cry" at the end of the piece, and the emotions come out and then some. A true tour de force for this lp.

No less amazing, and a lot more fun, is Red Garland, Chambers, and drummr Philly Joe Jones working out on Ahmad Jamal's (Miles' favorite piano player) "Ahmad's Blues," in a tight trio setting. The 3 were a great match, with Garland's sublime playing carrying the day. A wonderful selection.

Davis' originals "Half Nelson, " Four," and "The Theme" (which will close all Davis concerts from that point until 1973)all show Davis' impeccible sense of time and space, and all will become concert staples.

John Coltrane's playing is sporadic at best and downright terrible at worst (he flubs the 1st few bars of his 1st solo pass on his own "Trane's Blues" and never really recovers) on some of these sides. The Trane we all know and love is nowhere to be found on these sides (a forced sabbatical from the group was very near in coming, as Trane was battling alcohol, heroin, and overeating in 1955), but he still gives a very credible effort on Dave Brubeck's "In Your Own Sweet Way."

Overall, this cd is a great one, as all 4 are. It shows the group (save Coltrane, who is his ususal, frantic self) in a very relaxed mood, enjoying themselves, and the results prove that. Great listening.

This Lp, along with his three other classic Prestige albums - Cookin', Steamin', and Relaxin'- is from Miles' first classic Quintet; one of the greatest small goups in jazz history, right up there with the Hot Fives and Sevens and the Kansas City Six. This set is one of the strongest of the four Lps (although, if you like one, you really should get all four) with the surpassing beauty of "It Never Entered My Mind," followed with "Four" - (a beatiful bit of relaxed yet spirited blowing) typifying the cohesion and remarkable flexibility of the band and it's way with both ballads and up- tempo numbers; standards and originals. Miles is really in his early prime and 'Trane is rapidly finding his voice - already showing the searching, adventurous brilliance the Miles had seen in him as a young man and that he would expand on with "Blue Trane" and his appearance in "Kind of Blue" and, of course, take to unbelievable peaks on Atlantic and Impulse. Don't overlook "the best rhythm section in Jazz," either. The interplay of the young Paul Chambers on bass, the somewhat underappreciated Red Garland on piano and the always wonderful Philly Joe Jones on drums really drives the music and is constantly flawless. A model for Jazz bands everywhere in the 50's, this music can, and should be enjoyed by all fans of the genre.

Back in college circa 1986, I found this album in a second hand bookshop. I knew nothing about jazz at the time... but the cover design was so wonderful (I was a graphic design buff at the time) I just had to have it. Then I played it. Wow. To this day that moment remains one of the top 3 most seminal experiences in my love affair with music. Since then I've bought over 20 Miles records, most of which are outstanding but somehow none of them have the classic, simple beauty and economy of this record. This record will always occupy a favored spot in your collection should you wish to purchase it. Everything that makes people fall in love with jazz in in this recording. I cannot recommend it highly enough.

Following the theme set by the previous Prestige titles of the Miles Davis Quintet (Cookin', which cooks and Relaxin', which is ultra mellow), Workin' is a good demonstration of what the group might have played on stage on any given night. Ballads like the lovely version of "It Never Entered My Mind" mix well with more uptempo numbers, like classic Miles "Four" and "Half Nelson." This is an excellent recording of one of the greatest jazz ensembles of all-time and should not be missed.

Admittedly I'm no expert at jazz and wouldn't know where to start with who plays what and all that ( forgive me ). But I do like this CD. I do like each of the sounds that each one contributes. They mesh well for that late-night easy listening on the radio. It Never Entered My Mind sounds so sweet and Trane's Blues does really sound good. It kinda feels a bit mournful in places but the overall effect is really lovely. Great to relax to when you've had a hard day and want an easy stress-free night.

This first track alone is worth the price of this album. Miles had a way with ballads that no one could touch. This album was my only clue that there may be a god...

Not even some of the greatest talents in music achieved what Miles and his band did with this album and the three others all recorded on one day in 1956 to fulfill a contract so the trumpeter could start recording for Columbia. This is all great stuff. True, some of Coltrane's improvs sound a little strained, but the rhythm section is sterling, as are all the improvs of Miles. You should own this if you are reading this.

I only own Relaxin' out of the four at this point but I have one thing to say to the Trane bashers. He was searching for his sound and his solos are fine. As for the comment about Trane not fitting that's just stupid. Trane's restlessness was an excellent counterpoint to Miles' relaxed playing. If you had a cool saxaphone player with him it could have been boring even. Basically, even though Trane was on drugs, he still had a pretty good sound.

This is one of the four big Prestige recordings from 1956 (the others being,'Relaxin', `Steamin' and `Cookin with the Miles Davis Quintet) that would signal the launch of Miles' elevation to superstar status. It has a great mix of tracks that reflect the versatility of Miles, gleamed over many years on the road and playing with many of the greats of the era. There are still hints of `Birth of the Cool' in "Tranes Blues' and `Half Nelson', but there are also suggestions of what was to come with the sultry tones of `It Never Entered My Mind' and `In Your Own Sweet Way'...brilliant!! At this point in his career Miles was really beginning to find his own distinct style and was on the brink of something big. After all `Kind of Blue' was not too far away. While Coltrane (tenor sax) remains a little more subdued on this particular album, he contributes solidly to a tight unit that also includes Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums). This series of albums are significant to Miles' evolution as an artist and this one is arguably one of the best that came from the two recording sessions.