Considering his astonishing body of work today, one can be easily overwhelmed by the cornucopia of riches produced by Miles Davis. Arguably America's most important artistic contribution to the world, Jazz today has faded into the background when heard at all. Miles is both victim and in some ways a party to the music's current state. An artistic genius who often drug his faithful cult kicking and screaming into the mainstream as he pursued a wider audience, he literally changed the music at least half a dozen times during his long career. Sadly today, the popular masses of Jazz fans were fractured into ever smaller and smaller shards until today they represent a tiny fraction of the public and the music has been relegated to urbane backdrop for sophisticated restaurants and dinner parties.
In the late fifties, however, Jazz was adult America's music, not yet supplanted by the kid's Rock and Roll music. With the formation of his "Great Quintet", an ambitious Miles Davis had his sites on the big time. His performance of the Thelonious Monk tune "'Round Midnight" at the 1955 Newport Jazz Festival caught the attention of Columbia Records executives (along with virtually everyone else) and the nation's most powerful record label prepared to elevate Miles to stardom.The Miles Davis Quintet, consisting of Red Garland, Paul Chambers, Philly Joe Jones and John Coltrane, performed popular standards with a rhythmic drive and elegant sophistication. Miles trumpet sound, light and airy, danced over the breathing pulse of the rhythm section and most importantly, contrasted perfectly with the earthy density of Trane's saxophone.
The group wrapped up their contract for Prestige Records over a two day recording session that yielded four classic albums worth of material. Relaxin', Steamin', Workin' and Cookin' showcase the band at the full height of its powers, but Miles was clearly just warming up for their major label debut.Calculated to make him a star, 'Round About Midnight, Miles constructed the album like a set list introducing the listener to his body of work.
The cover image shows him looking sharp and intense. The over-saturated color, a little unworldly; Miles is listening, not blowing. The music rewards close listening, but works fine ambiently as well.
The album opens with 'Round Midnight, the tune that everyone was talking about since Newport. Quiet and moody, Miles muted trumpet sets a late night vibe, both intimate and immediate. Ah-Leu-Cha and Two Bass Hit are played at a somewhat slower tempo than when Miles performed them with Bird and Diz, emphasizing tone over the be-boppers' technique. Budo, a track from Miles first masterpiece, Birth Of The Cool, stretches out from the original with a more relaxed groove. And of course, there are the standards: Cole Porter's All of You and Bye Bye Blackbird.
Ever mercurial, Miles would disband the quintet a year later and create a string of masterpieces during the final years of the decade including his works with Gil Evans and of course Kind Of Blue. Making it clear that this introduction was, after all, just the beginning of a beautiful relationship between the artist and his wider audience.
