Jazz

Miles Davis Birth Of The Cool Jazzmp3 320h33tschon55

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Miles Davis - Birth Of The Cool
Label - Capitol
Years - 1949/1950, release - 1958
Bitrate: 320 kbps

Recorded at WOR Studios, New York, New York on January 21 & April 22, 1949 and on March 9, 1950

So dubbed because these three sessions — two from early 1949, one from March 1950 — are where the sound known as cool jazz essentially formed, The Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions — arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach — is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise ( probably the result of the running time of singles, but the results are the same ), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result — the very thing that came to define West Coast or "cool" jazz — but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream. ~ Stephen Thomas Erlewine, AMG

"Birth of the Cool" was where Miles Davis made his first mark in jazz. Possibly the most influential jazz artist of all-time, Miles was on the forefront of the music for several decades, essentially steering its path during that time, and with the landmark recordings that make up this CD, Miles Davis ( as well as Gerry Mulligan and Gil Evans, who deserve just as much credit ) gives birth to "cool" jazz. Though it has had a few detractors who've dismissed it as 'boring' and 'bland,' a majority of listeners are really taken by what Davis & Co. have accomplished here. That nonet only recorded 12 pieces in the studio, and the whole dozen have been collected in this remarkable compilation.
Davis's lyrical, anti-virtuoso trumpet finds a beautiful soulmate in Gerry Mulligan's baritone sax ( who also had a huge hand in writing much of the material as well ). The recordings are most famous for the arrangements Evans, Mulligan, and a few others have given the music; elegant and sophisticated, it charts new territory in "big band" music, something that would ultimately lead to the quasi-orchestral music produced by Davis and Evans in the late 50's and early 60's.

A few years ago, it was thought that the definitive version of "Birth of the Cool" was released on a CD titled "The Complete Birth of the Cool," a remastered disc that also contained live radio performances of the music. However, recently, famed recording engineer Rudy Van Gelder discovered the original master tapes that were used for the original 78's (all 12 tracks were initially released as 78's; they weren't compiled on to an album until several years later). As it turned out, every Lp and CD of the album since then were made from Lp masters that were essentially safety copies. Capitol was reluctant to remaster this material after just doing so, but supposedly Van Gelder convinced them to do so due to the quality of the masters. Now remastered and reissued under Blue Note's RVG Series, this latest edition is simply incredible to listen to. Far better than older editions of this CD, it even outstrips the "Complete Birth of Cool" disc. ~ Amazon 'A Customer'

This album not only put Miles Davis on the map, it started a whole new style of jazz music. Miles worked with Gil Evans on this 1949 project and the results were pure magic. The supporting cast of musicians are a nice group too. He even had french horn players (Junior Collins on one session, Sandy Goldstein on another and Gunther Schuller). Most of the musicians Miles worked with on this album were white, because those were the only people he could get hired at the time. Of these musicians, Gerry Mulligan (baritone saxophone), Lee Konitz (alto saxophone) and Kai Winding (trombone) all shine the most. Tracks like "Move" showcase the band's chemistry and innovative, playful harmonies. This song was originally recorded as a bebop tune, but Miles and company give it a little bit more of a cool, swinging style. "Jeru" is the ultimate definition of cool jazz. This Gerry Mulligan composition shows off Miles and Gerry's soloing abilities. It also has a nice theme and some good ensemble playing. "Moon Dreams" is kind of like a musical "still life", this ballad is played with a slow seriousness that makes it a classic. The ensemble playing here is beautiful. "Venus De Milo" is another Mulligan composition and has a somewhat laid-back latin feel. I like this tune because it just sounds nice to sit back and listen to. "Budo" is a classic Bud Powell tune, while this track only lasts about two and a half minutes, it's a classic instantly. The ensemble playing is very energetic and Miles, Lee Konitz and Kai Winding all take great solos. This tune was also recorded by Miles around the time of the 'Round About Midnight sessions. "Deception" is a track that Miles is given credit for writing but it's really another track called "Conception", that Miles recorded later on in the Dig session of 1951. It's a nice tune, with a kind of tension-building theme sequence, along with a nice solo from Miles. "Godchild" has a great theme because all the lower instruments play it making it a fun, playful track. Once again, Miles plays a nice solo and Kai Winding takes a good trombone solo as well. "Boplicity" has credit given to Miles Davis's mom, although she didn't actually write the piece, Miles and Gil Evans did. "Boplicity" is a masterful cool composition and has been recorded many times by other musicians. Gerry Mulligan starts it off with a great sax solo and Miles leads in with the group and then playing a good solo. Other tracks like "Rocker" and "Israel" were very influential in structure and composition, along with John Lewis's "Rouge", which has string bass played and is a very fun and amusing piece. The album ends with the Kenny Hagood vocal feature "Darn That Dream", which is a slow piece that wasn't recorded until 1950 (along with a couple other tracks from the "late" sessions). Hagood's vocal is cool, and Miles plays an outstanding solo in the middle of the piece. The band backs the vocal very well ending the album nicely.
This is a classic album, as everyone else has previously stated. Not much left to say. ~ Mister Hip-Hop

Personnel:
1,2,5,7:
Miles Davis, Trumpet;
Kai Winding, Trombone;
Junior Collins, French Horn;
John Barber, Tuba;
Lee Konitz, Alto Tax;
Jerry Mulligan, Bari Sax;
Al Haig, Piano;
Joe Schulman, Bass;
Max Roach, Drums.

4,8,10,11:
Miles Davis, Trumpet;
J.J. Johnson, Trombone;
Sandy Siegelstein, French Horn;
John Barber, Tuba;
Lee Konitz, Alto Sax;
Gerry Mulligan, Bari Sax;
John Lewis, Piano;
Nelson Boyd, Bass;
Kenny Clarke, Drums.

3,6,9,12:
Miles Davis, Trumpet;
J.J. Johnson, Trombone;
Gunther Schuller, French Horn;
John Barber, Tuba;
Lee Konitz, Alto Sax;
Gerry Mulligan, Bari Sax;
Am McKibbon, Bass;
Max Roach, Drums;
Kenny Hagood, Vocal (12 only).

Miles Davis - Birth Of The Cool track list:
01 Move Best 2:35
02 Jeru Mulligan 3:10
03 Moon Dreams MacGregor, Mercer 3:21
04 Venus de Milo Mulligan 3:14
05 Budo Davis, Powell 2:34
06 Deception Davis 2:50
07 Godchild Wallington 3:12
08 Boplicity Henry 3:02
09 Rocker Mulligan 3:07
10 Israel Carisi 2:19
11 Rouge Lewis 3:17
12 Darn That Dream DeLange, VanHeusen 3:26

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