Theo Croker: Jazz at Berlin Philharmonic XII: Sketches of Miles

Let us just cut to the chase and say this is a terrific collection of live concert interpretations and arrangements of acoustic Miles Davis music, drawing from recordings originally released between 1956 and 1968. This period arguably includes his most beloved output, with a place in the hearts of most jazz fans. The first disc in the set focuses on the Miles Davis Quintet, as played by the Theo Croker Quartet. The second disc is devoted to Davis's large ensemble collaborations with arranger Gil Evans: three of them are arranged as suites, played by the quartet and the Berlin Philharmonic.

The quartet set opens with a medley of Wayne Shorter's "Pinocchio" from Nefertiti (Columbia, 1968) and "Milestones" from Milestones (Columbia, 1958). Despite the decade separating them, the tunes work well together: "Milestones" was always especially forward-looking, as one of the first modal jazz pieces. While none of the players do anything obviously imitative, they nevertheless clearly evoke the sound of the originals. Croker's trumpet playing is especially notable, stepping up to what must have been a daunting task. Given how foundational this music is to the contemporary jazz language, perhaps this should not be surprising. Wayne Shorter's "Footprints" from Miles Smiles (Columbia, 1967) begins with a rubato treatment of the entire tune before easing into time, including the iconic bass line. The performance is more evocative of freer live performances than the original recording.

"My Funny Valentine" is a standard that Davis performed frequently. The first recording was on Cookin' With the Miles Davis Quintet (Prestige, 1956). Still, it is probably best remembered as the title tune on My Funny Valentine (Columbia, 1965), a live performance by the second Miles Davis Quintet (but with George Coleman on saxophone, just before Wayne Shorter joined the group). "So What" comes from the hit album Kind of Blue (Columbia, 1959). As the theme is played by the double bass, it is appropriate that it begins with an unaccompanied solo from double bassist Joshua Ginsburg . Berlin Philharmonic conductor Magnus Lindgren joins the quartet on tenor sax (also taking the first solo).

The second disc opens with "Miles Ahead Suite," a carefully curated selection of music from the album Miles Ahead (Columbia, 1957), Davis's first album-length collaboration with arranger Gil Evans. The original album was also presented as a suite, the ten pieces flowing together without interruption. As in the original, Dave Brubeck's "The Duke" is a highlight; and the suite also concludes with a sprightly "I Don't Wanna Be Kissed (By Anyone but You)." "Sketches of Spain Suite" from Sketches of Spain (Columbia, 1960) opens with the same arrangement of the Adagio movement from Joaquin Rodrigo's guitar concerto Concierto de Aranjuez. The original recording was longer than this entire suite, so after a brief exploration of the theme the music moves on to Manuel de Falla's "Will o' the Wisp," before ending with the martial rhythm of Gil Evans' "Solea" (based on a Spanish folk song).

"Porgy and Bess Suite" from Porgy and Bess (Columbia, 1959) presents a condensed version of the adaptation of George Gershwin's opera of the same name. ''Gone" leads into "Summertime," the first immediately recognizable song from the show. This is the most truncated of all of the suites, but the atmosphere is there all the same. All of the suites are like that: a brief recollection of a beloved album, a sweet memory in which memorable sections emerge. The album concludes with a spirited version of "All Blues," a jam session standard from Kind of Blue. It features all of the quartet members, along with Lindgren on flute (demonstrating both conventional technique and skill at singing through the flute). A fine ending to a wonderful celebration of the acoustic Miles Davis.

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