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300

Album Review

Miles Davis: Miles Davis And The Modern Jazz Giants

by Douglas Payne
November 1, 1999

Hyperbole aside, this disc's title could hardly be more accurate. Miles Davis. Milt Jackson. Thelonius Monk. John Coltrane. That doesn't even count the legendary rhythm sections (Percy Heath and Kenny Clarke in one, Red Garland, Paul Chambers and Philly Joe Jones in the other). Miles Davis And The Modern Jazz Giants is made up of two sessions, with four tracks from an all-star group with Jackson and Monk from 1954 (which also yielded the title track to Davis's ...

413

Album Review

Various Artists: The Prestige Records Story

Read "The Prestige Records Story" reviewed by Douglas Payne

by Douglas Payne
October 1, 1999

From 1949 through 1971, Prestige Records was among the most famous and successful of the independent jazz labels. Perhaps only Blue Note, which had its reign during roughly the same period, provided Prestige with significant competition. Both maintained strong, unique identities--even shared many of the same musicians and, in most cases, engineer Rudy Van Gelder. But Blue Note lavished more money on rehearsals and their albums sounded more planned than those that came from Prestige. Still, it was the spontaneous ...

101

Album Review

Various Artists: The Prestige Records Story

Read "The Prestige Records Story" reviewed by Robert Spencer

by Robert Spencer
October 1, 1999

This is much more than the history of just one label: this is a primer of modern jazz. The sweep of Bob Weinstock and Prestige Records, particularly in the Fifties and early Sixties, was so broad that this collection encompasses a large part of the jazz that mattered in those days. There is a stunning roster of the biggest names possible, including Miles Davis, Gil Evans, John Coltrane, Thelonious Monk, Sonny Rollins, Coleman Hawkins, Eric Dolphy, and Dexter Gordon. There's ...

611

Album Review

Miles Davis: Kind of Blue

Read "Kind of Blue" reviewed by Philip B. Pape

by Philip B. Pape
June 1, 1999

Very few albums can match this Miles Davis's 1959 classic, often considered the greatest album in the history of jazz. Backed by an exquisite combo, this is an essential recording even for those who don't listen to jazz. With Davis himself on trumpet, Julian “Cannonball" Adderley on alto saxophone, John Coltrane on tenor saxophone, Wynton Kelly and Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums, we hear every creative counterposition imaginable.This recording was ...

473

Album Review

Miles Davis: The Complete Birth of the Cool

Read "The Complete Birth of the Cool" reviewed by Larry Koenigsberg

by Larry Koenigsberg
October 1, 1998

With the reissue of the Miles Davis BIRTH OF THE COOL sessions, accompanied by recordings of this seminal nonet’s slightly earlier live dates at New York City’s Royal Roost, we now have as complete as possible an account of this still fresh sounding and beautiful music. The array of talent alone is startling: Miles Davis in transition between his earlier bebop stylings, and his later gorgeous tone and sparer choice of notes; Lee Konitz on alto sax playing startling melodic ...

500

Album Review

Miles Davis: Miles Davis Live

by Douglas Payne
September 1, 1998

This fairly well-recorded concert captures the very electric Miles Davis octet live in the South of France sometime during the summer of 1988. It's hard to say if this is a legitimate release. But the quality of the recording and the performance places it above any of Mile's post- Pangaea “live" releases (pending Warner Brothers' choice to release any of its tapes from concerts Miles did in France during July 1986).This fifty-minute, five-song program, like most of Miles's ...

534

Album Review

Miles Davis: The Complete Birth of the Cool

Read "The Complete Birth of the Cool" reviewed by C. Michael Bailey

by C. Michael Bailey
July 1, 1998

Addendum. Alex Henderson reviewed this re-release in the June issue of AAJ, succinctly honoring it as an important re- release of some of the most essential jazz music produced. I wholeheartedly agree. I always prefer to offer context and that is what I want to add to Mr. Henderson's fine review. Move. The first time I ever heard Denzil Best's “Move" was on Art Pepper + 11: Modern Jazz Classics. I thought it was just groovin.' It was ...