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Jazz - Paru le 1 juillet 1957 | Prestige

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Enregistré le 26 octobre 1956 pour le label Prestige Records
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Jazz - Paru le 1 décembre 1959 | Prestige

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Jazz - Paru le 1 mai 1961 | Prestige

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Jazz - Paru le 16 septembre 2019 | RevOla

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Jazz - Paru le 1 avril 1956 | Prestige

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Jazz - Paru le 23 mai 2006 | Craft Recordings

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De novembre 1955 à octobre 1956, Miles Davis enquille trois sessions avec son premier quintet pour le compte du label Prestige. Un marathon créatif capté par le grand Rudy Van Gelder dans son studio d’Hackensack dans le New Jersey, qui donnera naissance à cinq albums évidemment essentiels de la discographie du trompettiste à peine trentenaire : Miles: The New Miles Davis Quintet (1956), Cookin’ (1957), Relaxin’ (1958), Workin’ (1959) et Steamin’ (1961). A ses côtés, le pianiste Red Garland, le contrebassiste Paul Chambers, le batteur Philly Joe Jones et le saxophoniste John Coltrane (alors loin d’être déifié) rédigent l’acte de naissance du hard bop tout au long de 32 titres présentés ici chronologiquement et remastérisés en Hi-Res 24 bits. Le second quintet de Miles Davis que la grande histoire du jazz a tendance à mettre au sommet de son panthéon (de 1965 à 1968 avec Herbie Hancock, Ron Carter, Tony Williams et Wayne Shorter) ne doit pas faire de l’ombre à cette formation du milieu des 50's pourtant tout aussi essentielle. Le style épuré de Miles, l’originalité de la complexité de ce que propose Coltrane et la justesse des interventions de Garland donnent des versions renversantes de compositions tantôt populaires, tantôt originales. Indispensable. © Marc Zisman/Qobuz
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Jazz - Paru le 1 mai 1961 | Prestige

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Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin', Relaxin', Workin', and ultimately, Steamin'. A primary consideration of these fruitful sessions is the caliber of musicians -- Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) -- who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo's musical group mind. The end results are consistently astonishing. At the center of Steamin', as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians. "Surrey With the Fringe on Top" is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their "Salt Peanuts." Philly Joe Jones' mimicking cymbal speak -- which replicates Gillespie's original vocals -- is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin', it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications. © Lindsay Planer /TiVo
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Jazz - Paru le 1 janvier 1989 | Prestige

Enregistré entre mai et octobre 1956 pour le label Prestige Records
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Jazz - Paru le 1 janvier 1958 | BnF Collection

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Jazz - Paru le 1 juillet 1957 | Prestige

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Jazz - Paru le 1 mars 1958 | Prestige

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Enregistré entre mai et octobre 1956 pour le label Prestige Records
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Pop - Paru le 15 février 2021 | Poems of Jazz

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Jazz - Paru le 1 décembre 1959 | Prestige

Workin' is the third in a series of four featuring the classic Miles Davis Quintet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin' and Relaxin', Workin' is the product of not one -- as mythology would claim -- but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin' is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band's interaction on "Four" extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, Garland, and Jones, with Paul Chambers chasing along with his rhythmic metronome. Beneath the smoldering bop of "Trane's Blues" are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers' solo stands as one of his defining contributions to this band. In sly acknowledgment to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with "The Theme" -- a brief and mostly improvised tune -- indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin', the final Miles Davis Quintet recording to have been culled from these historic sessions. © Lindsay Planer /TiVo
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Jazz - Paru le 21 juillet 2018 | Music City Entertainment

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Jazz - Paru le 31 mai 2007 | edel records

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Jazz - Paru le 1 janvier 0 | Prestige

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The Very Best of the Miles Davis Quintet features tracks the legendary jazz trumpeter recorded with engineer Rudy Van Gelder for the Prestige label in the 1950s. Included are such cuts as "Oleo," "Four," "My Funny Valentine," "In Your Own Sweet Way," and more. These are superb, swinging acoustic jazz sessions from Davis' classic hard bop period. © Matt Collar /TiVo
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Jazz - Paru le 1 mai 2013 | Trunk Records

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Jazz - Paru le 1 janvier 2006 | Prestige

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Jazz - Paru le 1 juillet 1957 | Prestige

Enregistré le 26 octobre 1956 pour le label Prestige Records
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Jazz - Paru le 1 janvier 1964 | Columbia - Legacy

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L’affiche de ce disque publié en 1964 fait saliver mais est en fait bien trompeuse. Non, Miles et Monk ne se produisent pas ensemble sur ce disque mal nommé. Unique point commun de ses deux faces, le lieu d’enregistrement : le fameux Newport Jazz Festival. Enregistrée en mai et juillet 1958, la face Miles réunit autour du trompettiste, les saxophonistes Cannonball Adderley et John Coltrane, le pianiste Bill Evans, le contrebassiste Paul Chambers et le batteur Jimmy Cobb. La seconde face de Monk a quant à elle été captée en avril 1963 et permet d’entendre le clarinettiste Pee Wee Russell, le saxophoniste Charlie Rouse, le contrebassiste Butch Warren et le batteur Frankie Dunlop. Sans être indispensables, ces cinquante minutes de prestation live sont un vrai délice post bop interprété par la crème des musiciens de leur temps. © MD/Qobuz

L'interprète

Miles Davis Quintet dans le magazine