This wonderful 4-LP vinyl set chronicles the emergence of the Miles Davis jazz legacy.
Miles 54 – The Prestige Recordings – Prestige Records (1954)/Craft Recordings (2024) Deluxe 4-LP 180-gram box set [11/22/2024], 131:50 *****:
(Miles Davis – trumpet; Sonny Rollins – tenor saxophone; Art Blakey – drums; Thelonious Monk – piano; Horace Silver – piano; Kenny Clarke – drums; Percy Heath – double bass; Milt Jackson – vibraphone; Lucky Thompson – tenor saxophone; J.J. Johnson – trombone; Dave Schildkraut – alto saxophone)
Miles 54 – The Prestige Recordings represents a seminal ascension in Miles Davis’ development as a band leader (at only 25 years of age). The set is sequenced in chronological order. Side A features quartet arrangements, beginning with Art Blakey, Percy Heath and “newcomer” Horace Silver. “Four” exudes a breezy resonance as Davis’ vibrato-less trumpet is nimble. Silver adds a lithe solo with precise notation. “Old Devil Moon” is a pop song that the group translates into jazz. With a pulsating rhythm section, Davis handles the melody flawlessly. Silver executes a left-hand vamp as the group eases into medium swing. In a change of pace, “Blue Haze” kicks off with double bass and then delicate cymbal work from Blakey. The somewhat restrained tempo creates a late-night bluesy feel. A certain highlight is “Solar”. Davis (on his trademark muted trumpet) here is joined by Kenny Clark and alto saxophonist Dave Schildkraut. This group coalesces on up tempo numbers like “Love Me Or Leave Me” (which features frenetic runs by Davis and Silver and exchanges with trumpet and piano) and “I’ll Remember April” (with emphatic soloing and more complex musical chemistry, including tempo changes).
Reaching back to his bebop roots, Dizzy Gillespie’s “Blue ’N’ Boogie is a furious jam with long, percolating solos by Lucky Thompson (tenor saxophone), Horace Silver, and a shorter one by Davis. The musicians intermingle during the solos. It is relentless. With hard bop aesthetics. Gene Ammon-inspired “Walkin’” is blues-based, and Davis’ sultry nuanced trumpet is nothing short of magnetic. J.J. Johnson and Lucky Thompson shine on trombone and tenor saxophone respectively. There are notable harmonic exchanges with Thompson and Miles and a coda-driven finish. Amazingly, the incomparable Sonny Rollins joins the ensemble, beginning with a pair of originals. “Airegin” and “Oleo”. Both are played with alacrity and demonstrate the polyrhythmic and melodic complexity that Davis and Rollins bring to jazz. This accelerated tempo is evident on both takes with the Gershwin standard, “But Not For Me” which completely reinvents this tune. Rollins’ final contribution “Doxy” is sinewy and cool. He, Davis and Silver lay down soulful runs and play in breathless unison.
Things get more interesting as Milt Jackson comes aboard. There are two versions of “Bags Groove” (Jackson’s future standard that he brought new to the session) that are uplifting and include another icon, Thelonious Monk. The harmonic first verse leads to some of Davis’ most evocative play. Overall, Davis, Jackson and Monk engage in spirited improvisation (especially Monk on the second take), but they always re-engage as a cohesive quintet. Monk’s “Besha Swing” feels like the advent of a changing jazz landscape. The three soloists are articulate and demonstrate subtle timing and phrasing. Heath and Clarke maintain a steady pulse. Miles Davis was always a musical innovator. On “Swing Spring”, he coaxes a swing groove, and opens with a verse that is deft. Jackson follows with a glowing run that is rhythmic. Davis returns with a solo that briefly touches on “Surrey With A Fringe On Top”, but is inventive. Monk again offers his trademark play that seems to weave through space and time. The group dynamics are compelling. The final side has two covers of “The Man I Love”. Davis injects blues and jazz motifs with unusual time signatures that capture and redefine this memorable Gershwin pop song. Monk’s halting melody exploration is impressive.
Kudos to Craft Recordings for restoring these epic sessions from 1954. The re-mastered sound (Paul Blakemore/CMG Mastering) is crisp and the individual instruments are showcased in a balanced way. The sturdy box packaging, glossy album covers and protective album sleeves will delight vinyl aficionados. There is an incisive booklet with anecdotal information (Ashley Kahn/Dan Morgenstern) on the recording sessions and great black & white photographs. The vinyl pressing (Kevin Gray/Cohearant Audio) is superior with no hisses or pops. (Note: This project was completed with the cooperation of the late artist’s estate.)
Highest recommendation!
—Robbie Gerson
Miles 54 – The Prestige Recordings
TrackList:
Side A: Four; Old Devil Moon; Blue Haze; Solar
Side B: You Don’t Know What Love Is; Love Me Or Leave Me; I’ll Remember April
Side C: Blue ’N’ Boogie; Walkin’
Side D: Airegin; Oleo; But Not For Me (Take 1); But Not For Me (Take 2)
Side E: Doxy; Bags’ Groove (Take 1)
Side F: Bags’ Groove (Take 2); Bemsha Swing
Side G: Swing Spring
Side H: The Man I Love (Take 1); The Man I Love (Take 2).
