Miles Davis - Highlights From Plugged Nickel
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CD Details
Artist: Miles DavisEdition: Music CD
Audio: English (Unknown)
CD Release Date: 2008-02-01
Music Label: Sbme Special Mkts.
Soundtracks:
- Milestones
- Yesterdays
- So What
- Stella by Starlight
- Walkin'
- 'Round About Midnight
Music reviews of Highlights From Plugged Nickel
Music Review: Miles & Company send bebop to bed
Rating: 4 Stars
If you are reading this review and are interested in the Plugged Nickel recordings, then you are probably a Miles Davis fan and own at least some of his earlier recordings. In late December of 1965, Miles and his second great quintet, assembled around 1960 and consisting of Wayne Shorter on tenor sax, Herbie Hancock on piano, Ron Carter on bass, and the amazing and young Tony Williams on the drum kit, played two nights at Chicago's Plugged Nickel club. The set list was a bit surprising in that it conisisted of tunes that Miles had recorded with his previous quintets from the 50's at the heart of the bebop movement, typically with John Coltrane on tenor sax, Red Garland or Horace Silver on piano, and a core rhythm section of Paul Chambers on bass and Philly Joe Jones or Jimmy Cobb on drums. Miles played with LOTS of different sidemen during the 50's but the latter lineup were his more consistent sidemen from that time, especially with these tunes.
At their core, the Plugged Nickel recordings represent Miles and his then-current band revisiting and more to the point - REINTERPRETING - a handful of great bebop tunes over two late December nights in Chicago: "Milestones (one of two versions)," "Yesterdays (only version)," "So What (only version)," "Stella By Starlight (one of three versions)" "Walkin' (one of two versions)" and "Round Midnight (only version)." The "Complete" box set of 8 discs adds another 13 cuts (some in multiple versions) to the material and in the interest of brevity I would recommend you visit the wiki to learn more about the complete set list.
If you like the traditional bebop form of these tunes included here, you are in for a big surprise and whether it is a good surprise depends largely upon your commitment to the music in terms of understanding (or at least desiring to understand) the evolution of jazz. The versions of these tunes in this live format represent a new direction for Miles to the free harmonic movement that he did not necessarily invent, but with these recordings, he provides a sort of confirmational clearing ground for the movement. He basically puts these tunes into the free form blender and turns it on high.
I am a huge bebop fan and decided to first buy this very affordable sample of the Plugged Nickel sessions after reading about it and how it represented such a shift away from bebop. The "Complete" version is out of print, and can be found in fine used condition for just under $200 at the time of this writing, not a small investment. So, given that as my background and after a few listens, here is my opinion.
I am struck first and foremost, by the amazing rhythm work of Carter and Williams, with the latter just cooking throughout with crisp cymbal work and flawless timing. It is almost as if Miles told them before they hit the stage, "hang on fellas, it's going to be a wild ride," causing the young Williams to look at Carter for guidance, who may have responded, "just stick with me and all will be fine." These amazing musicians had been together some five years at this time, but the shift that was to take place this night I believe represents the true hall mark of great jazz: improvisation. Miles definitely seems to be going for the shock effect in his playing, with a wide range of phrasing that at times is reminiscent of the original melodic lines of the earlier versions of these tunes (listen closely). Shorter, who in my opinion took the best of Coltrane and Rollins in finding his unique voice, more than answers Miles' free form approach in his soloing. Also, the sound quality at least on this highlight recording, is very good.
The complete recordings are often cited by the "real" critics as highly important in the evolution of Miles Davis, if not simulataneously the jazz movement in general in the sixties and it is hard to argue that point. So for that reason alone, they are worth some attention. But, like the growing pains my 5 year old son is encountering these days, this "turning point" for Miles is not the most enjoyable from this listener's perspective; rather, serious jazz fans (and you know who you are) need to spend some time attempting to grasp what was really happening here: Miles putting his bebop days to rest and if you really love bebop like I do, it does not make for easy listening at times.
My favorite tunes on this highlights record are the last three - "Stella By Starlight", followed by "Walkin'" and then "Round About Midnight." They represent at least a modicum of adherance to the original versions. Having not heard the complete recordings, I cannot tell you which sessions/evenings these samples come from, not that I'm sure it really matters as they are all likely indiscernible from one another anyway, in keeping with the new approach the band was taking.
Will I acquire the complete recordings? At the right time, and at the right price. I must admit I am curious to hear the Plugged Nickel interpretations of other Davis compositions such as "All Blues," "No Blues," and even Sonny Rollins' "Oleo," however, not just yet. Listening to Miles wave goodbye to bebop (or slam the door in its face) is kind of painful for me, but I respect his decision to continue to grow and push the boundaries of modern jazz.
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