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1958 Miles
1958 Miles is a compilation album by American jazz musician Miles Davis, released in 1979 exclusively in Japan on CBS/Sony. These recordings along with the Milestones sessions from earlier that year, are considered elemental in Miles Davis' transition from bebop to the modal style of jazz and lead the way to his best-known work, Kind of Blue.
The recording session from May 26, 1958 at Columbia's 30th Street Studio, which made up most of album, featured John Coltrane and Cannonball Adderley on saxophone, Bill Evans on piano –his first recording with Davis–, bassist Paul Chambers and Jimmy Cobb on drums. Three of the songs were already released as part of the album Jazz Track in November 1959. "Love for Sale", a further track of this session date, was added, as well as a recording of "Little Melonae" from earlier that year, on March 4, on which Philly Joe Jones was still the drummer of the band, and Red Garland played the piano. "Love for Sale" was previously released in 1975 on a Columbia compilation album on two LPs called Black Giants produced by Teo Macero.
In 1991, after digital restoration and mastering the album released internationally on CD (and on Musicassette) as '58 Sessions Featuring Stella by Starlight as part of the Columbia Jazz Masterpieces series. Three tracks of about another 30 minutes were added, taken from Jazz at the Plaza Vol. I, the sextets live performance at a party at the Plaza Hotel in New York City on September 9, 1958, released for the first time only in 1973. Sony remastered the original album again for their Japanese series Master Sound in 1996, and re-released it in 2001 with two bonus tracks. The complete 1958 sessions for Columbia were finally issued alltogether in the box set The Complete Columbia Recordings of Miles Davis with John Coltrane.
The tracks from May 26 were also released on a bonus disc of the 50th anniversary collector's edition of Kind of Blue. They were remastered again and reissued for themselves (without any additional tracks) on vinyl, CD, and digital platforms in 2024 under the album title Birth of the Blue.
No chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically inventive you can be ... fewer chords but infinite possibilities as to what to do with them.
In 1958, Miles Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering musical creativity. Five years earlier, jazz pianist, composer and theorist George Russell published his Lydian Chromatic Concept of Tonal Organization (1953), which offered an alternative to the practice of musical improvisation based on chords. Abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using musical scales, or a series of scales, for improvisations. Russell's approach to improvisation came to be known as modal in jazz. Davis viewed Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled as "thick".
In contrast to the conventional method of composing during the time, modal compositions were to be written as a series of sketches in which each performer is given a set of scales that defines the parameters of their improvisation. Modal composition, with its reliance on musical scales and modes, represented, as Davis called it, "a return to melody". According to Davis, "Classical composers—some of them—have been writing this way for years, but jazz musicians seldom have". In early 1958, Davis began using this approach with his sextet, a jazz ensemble made up of alto sax player Julian "Cannonball" Adderley, tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of Milestones (1958), which was based on two modes, recorded in April of that year. Instead of soloing in the straight, conventional, melodic way, Davis's new style of improvisation featured rapid mode and scale changes played against sparse chord changes. Davis' acclaimed collaboration with Gil Evans on Porgy and Bess gave him an opportunity to experiment with Russell's concept, as Evans' third stream compositions for Davis contained only a musical scale and no chords, the basis for modality.
Following the Milestones sessions, Davis made significant personnel changes. By the time Coltrane had returned from Thelonious Monk's quartet to Davis's sextet, pianist Red Garland and drummer Philly Joe Jones were replaced by Bill Evans and Jimmy Cobb. Problems with money, tardiness, attitude and heroin preceding the Milestones sessions troubled Garland and Jones. During one of these sessions, an incident occurred between Davis and Garland when he was playing piano on the song "Sid's Ahead". Apparently, Davis leaned over his pianist's shoulder, commenting on his piano playing. What was said by Davis is unknown, but it made Garland leave the studio for good, with Davis then playing piano on the track, and straining the friendship between the two musicians.
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1958 Miles
1958 Miles is a compilation album by American jazz musician Miles Davis, released in 1979 exclusively in Japan on CBS/Sony. These recordings along with the Milestones sessions from earlier that year, are considered elemental in Miles Davis' transition from bebop to the modal style of jazz and lead the way to his best-known work, Kind of Blue.
The recording session from May 26, 1958 at Columbia's 30th Street Studio, which made up most of album, featured John Coltrane and Cannonball Adderley on saxophone, Bill Evans on piano –his first recording with Davis–, bassist Paul Chambers and Jimmy Cobb on drums. Three of the songs were already released as part of the album Jazz Track in November 1959. "Love for Sale", a further track of this session date, was added, as well as a recording of "Little Melonae" from earlier that year, on March 4, on which Philly Joe Jones was still the drummer of the band, and Red Garland played the piano. "Love for Sale" was previously released in 1975 on a Columbia compilation album on two LPs called Black Giants produced by Teo Macero.
In 1991, after digital restoration and mastering the album released internationally on CD (and on Musicassette) as '58 Sessions Featuring Stella by Starlight as part of the Columbia Jazz Masterpieces series. Three tracks of about another 30 minutes were added, taken from Jazz at the Plaza Vol. I, the sextets live performance at a party at the Plaza Hotel in New York City on September 9, 1958, released for the first time only in 1973. Sony remastered the original album again for their Japanese series Master Sound in 1996, and re-released it in 2001 with two bonus tracks. The complete 1958 sessions for Columbia were finally issued alltogether in the box set The Complete Columbia Recordings of Miles Davis with John Coltrane.
The tracks from May 26 were also released on a bonus disc of the 50th anniversary collector's edition of Kind of Blue. They were remastered again and reissued for themselves (without any additional tracks) on vinyl, CD, and digital platforms in 2024 under the album title Birth of the Blue.
No chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically inventive you can be ... fewer chords but infinite possibilities as to what to do with them.
In 1958, Miles Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering musical creativity. Five years earlier, jazz pianist, composer and theorist George Russell published his Lydian Chromatic Concept of Tonal Organization (1953), which offered an alternative to the practice of musical improvisation based on chords. Abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using musical scales, or a series of scales, for improvisations. Russell's approach to improvisation came to be known as modal in jazz. Davis viewed Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled as "thick".
In contrast to the conventional method of composing during the time, modal compositions were to be written as a series of sketches in which each performer is given a set of scales that defines the parameters of their improvisation. Modal composition, with its reliance on musical scales and modes, represented, as Davis called it, "a return to melody". According to Davis, "Classical composers—some of them—have been writing this way for years, but jazz musicians seldom have". In early 1958, Davis began using this approach with his sextet, a jazz ensemble made up of alto sax player Julian "Cannonball" Adderley, tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of Milestones (1958), which was based on two modes, recorded in April of that year. Instead of soloing in the straight, conventional, melodic way, Davis's new style of improvisation featured rapid mode and scale changes played against sparse chord changes. Davis' acclaimed collaboration with Gil Evans on Porgy and Bess gave him an opportunity to experiment with Russell's concept, as Evans' third stream compositions for Davis contained only a musical scale and no chords, the basis for modality.
Following the Milestones sessions, Davis made significant personnel changes. By the time Coltrane had returned from Thelonious Monk's quartet to Davis's sextet, pianist Red Garland and drummer Philly Joe Jones were replaced by Bill Evans and Jimmy Cobb. Problems with money, tardiness, attitude and heroin preceding the Milestones sessions troubled Garland and Jones. During one of these sessions, an incident occurred between Davis and Garland when he was playing piano on the song "Sid's Ahead". Apparently, Davis leaned over his pianist's shoulder, commenting on his piano playing. What was said by Davis is unknown, but it made Garland leave the studio for good, with Davis then playing piano on the track, and straining the friendship between the two musicians.