Miles Davis - Round About Midnight
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Canadian Music Store CD DetailsArtist: Miles DavisBrand: Columbia Edition: Music CD Format: Original recording remastered CD Release Date: 2001-04-17 Music Label: Sony Soundtracks:
Music reviews of Round About MidnightMusic Review: Timeless classic; some of the best work Miles accomplished.
After going through a lengthy depression period for almost four years, 1954 was sort of a rebuilding year for Miles Davis. But in 1955, the year he put together his great quintet consisting of himself on trumpet, John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums, everything completely clicked. Miles plays strongly throughout this album, so well in fact, that there are very few trumpet performances on record that are both as smooth and proficient as what Miles played on these sessions. In my opinion, Miles only sounds better than this on Milestones, E.S.P., Miles Smiles and Kind Of Blue. John Coltrane, also coming out of drug-related depression, plays beautifully throughout the album, with mind-blowing trills and the tone and style that could only come from him. Of course, nothing powers two great soloists more than a great rhythm section. Red Garland's light-hearted, Ahmad Jamal-influenced soloing and perfect back-up chords are a definite highlight. Paul Chambers keeps the pulse with his precise basslines and creative in-put to the group. Philly Joe Jones is an energetic drummer and comes from the school of "hard" percussionists, he is the spark-plug that keeps the quintet moving in the right direction. On the Monk-penned "'Round Midnight", Miles plays a beautiful, muted solo on this very complicated piece, and when the slow tempo speeds up to andante`, Coltrane takes a great solo full of excellent ideas and sounds. Red Garland supports them with the clock effect after Miles finishes, which is clever. "Ah-Leu-Cha" is a song written by Charlie Parker. Miles recorded the original version of this track with Parker in 1947, although this new version makes the original look like child's play. The arrangement and soloing sounds so much more mature, it makes me wish Bird was still alive to contribute, along with Miles, Coltrane and Garland putting in fascinating solos over the swift-paced tune. "All Of You" is a standard which has Miles playing with the mute again. This was the perfect tune for the quintet to play, and they swing blissfully through the whole song. Garland especially shines with his brilliant octave jumps and clear upper-register playing. Overall, a great group effort. "Bye, Bye Blackbird" is probably the most familiar tune on this album to the average listener, once again a standard, but with Miles playing a long, effortless muted solo. Coltrane swings so easily it appears he could still sound good even if he didn't try to, and Garland's solo is famous and immediately interesting here. Few pianists could bring that same joy and inspiration to that song. "Tadd's Delight" goes back to hard-bop, a tune written by Tadd Dameron, a pianist Miles worked with in the bebop era. All three soloists sound extremely good on the tune, no one outshining the other, working well as a group. The final track is "Dear Old Stockholm", a Swedish tune that Stan Getz made into a jazz song and it became a standard. It features a long bass solo by Paul Chambers near the beginning which is one of the best bass solos I've heard ever. Then Coltrane comes out with his motivated tenor, and Miles picks the song back up and finishes the song and the album. |
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