The New Miles Davis Quintet (CD)

• Category:  Music  »  Jazz  »  Trumpet
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: April 18, 1989
• Label: Original Jazz Classics
• UPC: 025218110624
• WAPI (Tower ID): 106644847
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• Tower.com Sales Rank: #74443 in Music (See Top 100 Music Bestsellers)
• #6329 in Jazz (See Top 100 Jazz Bestsellers)
• #401 in Trumpet (See Top 100 Trumpet Bestsellers)

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Miles Davis Quintet: Miles Davis (trumpet); John Coltrane (tenor saxophone); Red Garland (piano); Paul Chambers (bass); Philly Joe Jones (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on November 16, 1955. Originally released on Prestige (7014). Includes liner notes by Ira Gitler and Robert Levin.

Digitally remastered by Joe Tarantino (1982, Fantasy Studios, Berkeley, California).

Miles Davis Quintet: Miles Davis (trumpet); John Coltrane (tenor saxophone); Red Garland (piano); Paul Chambers (bass); Philly Joe Jones (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on November 16, 1955. Originally released on Prestige (7014). Includes liner notes by Ira Gitler and Robert Levin.

Digitally remastered by Steve Hoffman.

Personnel: John Coltrane (tenor saxophone); Miles Davis (trumpet); Red Garland (piano); Paul Chambers (upright bass); Philly Joe Jones (drums).

THE NEW MILES DAVIS QUINTET made its first visit to the recording studios on November 16, 1955. By October 26, 1956, when they made their last session for Prestige, Miles had signed with recording giant Columbia, had the most influential band in all of jazz (which would spawn the most charismatic musician of the 1960s), and was well on his way towards international stardom.

Listen to THE MUSINGS OF MILES, an earlier quartet with bassist Oscar Pettiford, then listen to the difference bassist Paul Chambers and tenor saxophonist John Coltrane make. Philly Joe Jones' dancing hi-hat reverie introduces "How Am I To Know," and the band takes it a galloping tempo. The youthful bassist pushes the music into more modern directions with his solid time, driving beat, ringing tone and uncanny sense of melodic counterpoint. He opens the music right up, and his rhythmic flexibility frees up Philly Joe to play ahead of the beat and instigate an insistent polyrhythmic dialogue.

From the finger snappin' opening groove of Benny Golson's "Stablemates," it's clear that this rhythm section just swings harder (and in more different styles) then anyone this side of Basie's All-Americans or the drummer-led bands of Art Blakey and Max Roach. In Red Garland, the trumpeter found a pianist who understood his idea about touch, voicings and space, and was able to orchestrate in the lush, expansive style Miles favored. (Listen to his discreetly rocking, two-handed intro to "Just Squeeze Me," or his rhapsodic responses to Miles' little boyish Harmon mute on "There Is No Greater Love.")

And John Coltrane...in whose restless, searching, turbulent lines Miles found his perfect foil (much as the trumpeter's taciturn, introspective lyricism complemented Charlie Parker's voluminous harmonic flights). On "S'Posin'" Trane follows Miles lilting, floating mute work by getting right on top of the beat with relentless syncopations. On the vaudevillian airs of "The Theme" we find him answering Miles' coy, playful melodies by scurrying about with the screaming intensity of a blues guitarist, playing catch-up-and-fall-behind, trying to double and triple-up with every other breath.

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