Legendary Prestige Quintet Sessions

Miles Davis - Legendary Prestige Quintet Sessions

Legendary Prestige Quintet Sessions
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Music CD Cover

Artist: Miles Davis
Brand: DAVIS,MILES
Edition: Music CD
Audio: English (Original Language)
Format: Box set, Original recording remastered
CD Release Date: 2006-05-23
Music Label: Prestige
Soundtracks:
Music CD 1
  1. Stablemates
  2. How Am I To Know
  3. Just Squeeze Me
  4. There Is No Greater Love
  5. The Theme
  6. S'Posin
  7. In Your Own Sweet Way
  8. Diane
  9. Trane's Blues
  10. Something I Dreamed Last Night
Music CD 2
  1. It Could Happen To You
  2. Woody'n You
  3. Ahmad's Blues
  4. Surrey With The Fringe On Top
  5. It Never Entered My Mind
  6. When I Fall In Love
  7. The Theme
  8. S'Posin
  9. The Theme
  10. The Theme
  11. If I Were A Bell
  12. Well, You Needn't
Music CD 3
  1. 'Round Midnight
  2. Half Nelson
  3. You're My Everything
  4. I Could Write A Book
  5. Oleo
  6. Airegin
  7. Tune Up
  8. When Lights Are Low
  9. Blues By Five
  10. My Funny Valentine
Music CD 4
  1. Steve Allen Intro
  2. Max Is Making Wax (Aka Chance It)
  3. Steve Allen Intro 2
  4. It Never Entered My Mind
  5. Tune Up
  6. Walkin'
  7. Four
  8. Bye Bye Blackbird
  9. Walkin'
  10. Two Bass Hit

Free Music Notes for Legendary Prestige Quintet Sessions

Free Music Review: FROM THE VERY FIRST TRACK, JAZZ WAS NEVER THE SAME
Hit: 5 Stars

And it sounds so incredibly present even today in this wonderful re-mastering. Miles would have been 80 this year. These recordings, from more than 50 years ago, demonstrate unequivocably that Miles was not just ahead of his time, but still ahead. All the revisionist jazz historians wince at recordings like this, because Miles had already recast the standard by which the traditionalists now insist jazz must defer to. That's rubbish. Duke Ellington said that jazz was first and foremost about freedom of expression. In this fascist age of neo-con Republicans, it does no one any good to have some coca-cola know it all attempt to do to music what the Republican party would like to do to the notion of dissent and free speech.
And in these recordings, Miles and his colleagues make it clear that even in a repressive society like 1950's America, music can not and must not heed the reins of those who would restrict musicians and fans alike who would listen, and thereby take the message and essence of jazz out of its cave, to nod toward Plato's myth.
There was a lot that was revolutionary about these recordings: they were extremely successful commercially for a black man who wasn't afraid to defy oppression, musical or racial. In fact, had it not been for a spirit like Miles in music, it's highly doubtful much of the rest of the social injustices later attacked would have felt the same impetus to act up at that moment. This was revolutionary stuff. No one in jazz has had that same irrepressible force, Lincoln Center nothwithstanding. Even how he went about it spun the world of music on its head: a couple of junkie rhythm players, and r&b sax player from Philly and a broken down pianist. In Miles they found rebirth, a chance to re-write their own careers and in so doing impact jazz with an incendiary passion. Certainly with regard to the aforementioned sax player, even Miles may not have understood the untapped creativity he was about to unleash on an unsuspecting world.
From these recordings, Miles and the quintet set the template for absolutely every ensemble thereafter. These recording would springboard Miles to even more lucrative record deals with Columbia. With these releases, Miles presented the world with a calling card and established himself as an unrepentent African American succeeding in and against a white hegemony.
The music doesn't ring with these racial overtones. That's just the backstory and net effect of their impact. What these recordings do is open you to what is held within the silence between the notes. Miles often said his efforts were more about what it meant to frame the silence. Even in passion, it isn't the moans, but that silent intensity that preceeds them that counts.
Joe Tarrantino has done the world of Music an incredible service in remastering these sessions which were originally marvellously captured by Rudy Van Gelder in his home studio in Hackensack, NJ, and produced by Bob Weinstock. On disc 4 there is the added bonus of live dates from the Steve Allen rendition of the Tonight Show (how can the world stomach Jay Leno after Parr, Allen, and Carson?), a club date in Philly (and these two tracks are sheer genius), and an additional 4 live tracks from a NYC club. Plus, the enhanced part of disc 4 contains a number of transcriptions worth the ticket price by themselves.
I don't know what else his estate has planned to honour his 80th birthday, but if it were only these sessions, we have all been given treasure.
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Legendary Prestige Quintet Sessions Poster

MILES DAVIS The Legendary Prestige Quintet Sessions (2006 US 47-track four CD set featuring the first great quintet recorded in 1955 with disc four including an enhanced video section to accompany the bonus live tracks including the full content on the original albums The New Miles Davis Quintet Cookin Relaxin Workin and Steamin complete with forty page illustrated booklet in a wonderful 6 x 11 book pack PRCD4-4444-2)
So which was the greater Miles Davis quintet, the legendary postbop band of the '60s featuring Wayne Shorter, Herbie Hancock, Tony Williams and Ron Carter or the proto-bebop unit of the '50s featuring the emerging John Coltrane? As properly celebrated as the former is, a strong argument can be made for the latter, which in pouring out five albums' worth of material for Prestige in three marathon sessions (to fulfill a contract) took the group aesthetic to dazzling heights--and has been endlessly imitated ever since. Driven by the rhythm section of Red Garland, Paul Chambers and Philly Jones, this band was a remarkable blend of whiplash power and airy emotion--not always perfect or polished, but with the sublimely contained Davis and fiercely uncontainable Coltrane playing off each other, always eventful. (The familiar songs include "Oleo," "If I Were a Bell," "Four" and "My Funny Valentine.") To entice those who already own Chronicles: The Complete Prestige Recordings (1951-1956) or the individual quintet albums (including "Cookin'" and "Relaxin'"), The Legendary Prestige Quintet Sessions offers a bonus disc featuring previously unrecorded radio and TV performances from 1955-58 of acceptable sound quality. Two tracks are from a 1955 installment of The Tonight Show with Steve Allen (whose hipster reputation is retroactively diminished by his painfully square remarks). An intriguing later track, pointing toward Kind of Blue, features Bill Evans at the piano. The enhanced portion of disc four includes transcriptions of five Davis solos. Though the package's cover painting by Davis won't make anyone forget Picasso, the 40-page booklet boasts characteristically incisive notes by Bob Blumenthal. --Lloyd Sachs

More Miles Davis

Walkin'
Chronicle: The Complete Prestige Recordings (1951-1956)
Prestige Profiles

Kind of Blue
The Complete Bitches Brew Sessions
The Complete Columbia Recordings, Miles Davis & John Coltrane

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