120772bk Miles2 9/6/05 12:13 PM Page 2 1. Venus De Milo 3:12 9. Donna 3:10 17. For Adults Only 5:30 Tracks 1-8: Miles Davis & His Orchestra (Gerry Mulligan) (Miles Davis) (Al Cohn) Tracks 9-18: Miles Davis All Stars Capitol 7-1221, mx 3764 Blue Note 1595, mx BN 430-1 Prestige LP 154, mx 426 Transfers & Production: David Lennick Recorded 22 April 1949 Recorded 9 May 1952 Recorded 19 February 1953 Digital Restoration: Graham Newton 2. Rouge 3:14 10. Dear Old Stockholm 4:08 18. Floppy 5:59 Discographical information courtesy of The Jazz (John Lewis) (Traditional) (Al Cohn) Discography by Tom Lord (www.lordisco.com) Capitol H 459, mx 3765 Blue Note 1595, mx BN 428-1 Prestige LP 154, mx 425 Original monochrome photo of Miles Davis Recorded 22 April 1949 Recorded 9 May 1952 Recorded 19 February 1953 from Gerrit Schilp / Redferns 3. Boplicity 3:00 11. Chance It 2:59 (Cleo Henry, arr. Gil Evans) (Oscar Pettiford) Capitol 57-60011, mx 3766 Blue Note 1596, mx BN 429-3 Recorded 22 April 1949 Recorded 9 May 1952 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded 4. Israel 2:16 12. Woody’n You 3:21 music, in the best and truest sound that contemporary technology can provide. To achieve this aim, (John Carisi) (Dizzy Gillespie) Naxos has engaged a number of respected restorers who have the dedication, skill and experience to Capitol 57-60011, mx 3767 Blue Note 1596, mx BN 431-2 produce restorations that have set new standards in the field of historical recordings. Recorded 22 April 1949 Recorded 9 May 1952 5. Deception 2:47 13. Yesterdays 3:40 Also available in the Naxos Jazz Legends series ... (Miles Davis) (Jerome Kern–Otto Harbach) Capitol H 459, mx 4346 Blue Note 1597, mx BN 432 Recorded 9 March 1950 Recorded 9 May 1952 6. Rocker 3:05 14. How Deep is the Ocean 4:34 (Gerry Mulligan) (Irving Berlin) Capitol H 459, mx 4347 Blue Note 1597, mx BN 433 Recorded 9 March 1950 Recorded 9 May 1952 7. Moon Dreams 3:18 15. Tasty Pudding 3:19 (Chummy MacGregor–Johnny Mercer) (Al Cohn) Capitol H 459, mx 4348 Prestige 864, LP 154, mx 423 Recorded 9 March 1950 Recorded 19 February 1953 8. Darn That Dream 3:23 16. Willie The Wailer 4:24 8.120607 8.120700 8.120708 (Eddie deLange–Jimmy van Heusen) (Al Cohn) These titles are not for retail sale in the USA Kenny Hagood, vocal Prestige LP 154, mx 424 Capitol 7-1221, mx 4349 Recorded 19 February 1953 Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 9 March 1950 NAXOS RADIO www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120772 6 8.120772 120772bk Miles2 9/6/05 12:13 PM Page 1 MILES DAVIS group also including pianist Duke Jordan, bassist exuberant while Gil Evans’ arrangement of Moon known as “Dig” and utilizing the chords of Miles Davis’s ‘comeback’ began at the 1954 Vol.2 Tommy Potter and drummer Max Roach. Davis’ Dreams is atmospheric, purposely dreamy and “Sweet Georgia Brown”), Chance It and Dizzy Newport Jazz Festival when his solo on “’Round ‘Boplicity’ Original Recordings 1949-1953 quiet and thoughtful approach contrasted well haunting. Johnny Carisi’s one contribution to Gillespie’s Woody’n You, are among the earliest Midnight,” played with backing by its composer with Bird’s exciting virtuosity. the Nonet sessions is Israel, a straightforward examples of hard bop. The traditional Swedish Thelonious Monk, alerted East Coast music One of the giants of 20th century music, Miles and Charlie ‘Bird’ Parker. Although his own While he was still a member of the Parker blues given all types of unusual twists and turns. folk song Dear Old Stockholm would be critics that he was ‘back’. Soon he would Davis stands out as one of the most significant technique was faulty at this point, Davis worked Quintet, Davis made his first serious stab at The third and final of the Nonet dates starts recorded again by Davis in 1956 when John record the hard bop gem “Walkin’” and form jazz musicians of all time. Unlike most players hard to master bebop, trying to play like leading his own band. He had become fond of with Davis’ Deception. It has a tricky Coltrane was in his quintet. How Deep Is The his first classic quintet with John Coltrane. For who develop their sound and style early in life Gillespie. the sound of the Claude Thornhill Orchestra, a arrangement but swings hard and has the Ocean and Yesterdays are superb early the next 37 years until his death on and then spend the rest of their careers polishing After graduating from high school, he moved big band that used French horn and tuba as part trumpeter’s best solo of the session. Gerry examples of Davis’ ballad style. 28 September 1991, Miles was the most famous their approach without making any major to New York in September 1944 to study at of its tonal colours. Gil Evans was Thornhill’s Mulligan’s Rocker came close to becoming a jazz The other session reissued on this recording and continually intriguing musician in jazz. changes, Davis was always looking ahead Juilliard but was soon spending more time in most adventurous arranger and, after they met, standard when Charlie Parker added it to his is one of the more unusual ones that Miles But as the music on Boplicity shows, Miles towards new innovations and styles. While he clubs on 52nd Street and he dropped out of Davis and Evans became best friends. Along repertoire. The catchy Boplicity was co-written Davis had during this period, teaming him with Davis was a major force even earlier. matured during the bebop era, he was at least school after a few months. He found Charlie with baritonist Gerry Mulligan, they decided to by Evans and Davis with the former contributing the swinging Lester Young-influenced tenors of partly responsible for founding and popularizing Parker, worked a bit with Coleman Hawkins and form a smaller version of the Thornhill band but the classic arrangement. Darn That Dream, Al Cohn and Zoot Sims. Cohn provided all four Scott Yanow cool jazz, hard bop, modal music, his own brand made his recording debut on 24 April 1945, one that was more bop-oriented. The resulting featuring the singing of Poncho Hagood, is a originals and arrangements. Each song is both – author of 9 jazz books including Jazz On Film, of avant-garde jazz and fusion. While his cool sounding nervous on a date backing singer- Nonet and its dozen recordings became known lesser item but has some interesting harmonies obscure and well worth reviving, particularly the Swing, Bebop, Trumpet Kings and Jazz On Record melancholy sound on the trumpet remained the dancer Rubberlegs Williams. Although Davis as “The Birth Of The Cool.” written by Mulligan. joyful Floppy and the catchy For Adults Only. 1917-76 same, his settings were always up to date and he was not quite ready for the big time yet, Charlie The ironic part is that the group was only By the time the “Birth Of The Cool” was a masterful talent scout, only equalled by Parker saw his potential and used him on a able to get one job during its existence, two weeks recordings became very influential, inspiring Fletcher Henderson and Art Blakey. record date later in the year that included the as the intermission band for Count Basie at the West Coast Jazz, Miles Davis had already moved Personnel Miles Dewey Davis was born on 25 May original versions of “Now’s The Time” and Royal Roost in the fall of 1948. Fortunately the on. After leaving the Charlie Parker Quintet in Tracks 1–4: MILES DAVIS & HIS ORCHESTRA. Tracks 9-12: MILES DAVIS ALL STARS. 1926 in Alton, Illinois, growing up in East St “Billie’s Bounce”. band was signed to Capitol and recorded three December 1948, Davis successfully appeared at Miles Davis, trumpet; J. J. Johnson, trombone; Miles Davis, trumpet; J. J. Johnson, trombone; Louis, Illinois. While his mother had hoped that By then, Miles Davis was realizing that he four-song sessions during 1948-50 that made it the 1949 Paris Jazz Festival. 1950-53 is Sandy Siegelstein, fluegelhorn; Bill Barber, Jackie McLean, alto sax; Gil Coggins, piano; he would play classical violin, Davis was given a was never going to be another Dizzy Gillespie. immortal. The second and third sessions are considered his lost period for the trumpeter had tuba; Lee Konitz, alto sax; Gerry Mulligan, Oscar Pettiford, bass; Kenny Clarke, drums trumpet by his father for his thirteenth birthday. He sought to find his own way and came up reissued on this recording in full. become a scuffling heroin addict and was baritone sax; John Lewis, piano; Nelson Boyd, Tracks 13-14: MILES DAVIS ALL STARS. Early on, he considered his early influences to be with a quieter cooler-toned variation of bebop. From the start of Gerry Mulligan’s Venus De overshadowed by other players. But although bass; Kenny Clarke, drums Miles Davis, trumpet; Gil Coggins, piano; Bobby Hackett (loving his lyrical solo on the He stripped the bebop vocabulary to its essential Milo, it is obvious that the Miles Davis Nonet he did not have much publicity during this time, Tracks 5-8: MILES DAVIS & HIS ORCHESTRA. Oscar Pettiford, bass; Kenny Clarke, drums 1938 recording of “Embraceable You”), Harry and made every note count, using silence had an unusual sound of its own.