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Accueil arrow JAZZ arrow COLLECTION QUINTESSENCE arrow MILES DAVIS - THE QUINTESSENCE VOL.2
 
Réf. : FA3060

MILES DAVIS - THE QUINTESSENCE VOL.2

NEW YORK - PARIS 1954-1960

MILES DAVIS
Direction artistique : ALAIN GERBER AVEC DANIEL NEVERS ET ALAIN TERCINET
Nombre de CD : 2

LIVRAISON GRATUITE ET EXPEDITION SOUS:

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Prix 29.99 €
 
ut sketching a true theme, Miles installs a new climate. The atmosphere was as new to jazz as it was to film-music. The ultra-fast tempo in Sur l’autoroute does nothing to change this, and the accompanying brushwork dispensed by Kenny Clarke, or the notes held by Barney Wilen, merely extend Miles’ austere discourse. The fact that this experiment was conducted in a context which favoured fragments (and accommodating the “incomplete”), caused Miles to superficially lose much of his radicality. Despite this, the music for “Lift to the Scaffold” evidently shows Miles Davis’ irresistible attraction to modal jazz; a harmonic choice with some of Gil Evans’ options. In The Maids of Cadiz he uses three different modes, and when Miles was recording “Porgy and Bess”, he would say to Nat Hentoff, “When Gil wrote the arrangement of I Loves You Porgy, he only wrote a scale for me. No chords…”Back in New York after the “Scaffold” episode, Miles made some calls again and re-hired Red Garland, Paul Chambers and Philly Joe Jones while appending Cannonball Adderley to the group. After hearing Coltrane with Monk — and seeing that the tenor had rid himself of his habit — Miles asked Trane if he’d like to come back. Coltrane accepted and everyone trooped into the studio for a session whose importance would be judged in relation to Milestones, the second tune of that name written by Miles. The first had been recorded in 1947 on a session for Charlie Parker; Bird had made a terrible fuss over the number of harmonic progressions the tune implied. In the new Milestones, “The forty bars of the new structure AABBA now merely set the soloist against two chords: G minor for the A parts, and A minor for the B parts. Here Miles tackles what they call modal jazz.”(14) Taken at a fast tempo, Milestones is very successful; Miles, Cannonball and Trane express themselves with ease and a freedom that is equally evident.     The next day, they went back into the Columbia studio on 30th Street. Red Garland was late, which obliged Miles to sit in for him on piano to accompany Coltrane and Cannonball on Sid’s Ahead. The tune explores a blues which the trumpeter more or less extrapolated from his own piece Walkin’, and Miles takes an admirable chorus which extends the research he’d begun during the “Lift to the Scaffold” recordings. Cannonball carefully avoids the clichés that the tune might otherwise have slipped under his fingers, and Paul Chambers contributes as irrefutably as Philly Joe Jones throughout the trumpet/drums exchanges, although Miles wasn’t totally satisfied.Following the advice of George Russell, a pioneer of modal jazz — in 1953 Russell published “The Lydian Concept of Tonal Organisation” — Miles had gone to hear Bill Evans, who was playing during intermissions at the Village Vanguard. “He plays piano like it should be played,” said Miles, who offered him Red Garland’s seat in the Quintet after Red went off to seek new adventures. “I needed a piano player who was into the modal thing, and Bill Evans was […] Bill played underneath the rhythm and I liked that, the way he played scales with the band. Red’s playing had carried the rhythm but Bill underplayed it and for what I was doing with the modal thing, I liked what Bill was doing better.”(15) After a few bookings, at the Cafe Bohemia and the Storyville club in Boston, the Sextet went into a studio in New York to record On Green Dolphin Street (amongst others). Throughout this piece alternating “static” and “walking bass” passages, Paul Chambers’ bass creates an ebb and flow — tension/release — over which Miles, Trane, Cannonball and Bill Evans improvise in turn. After this performance, Ahmad Jamal — it was fair reward — would add this Bronislav Kaper tune to his repertoire and play it at the Blackhawk in San Francisco in 1961… With Philly Joe Jones having left the Sextet, Miles took Cannonball’s advice and hired Jimmy Cobb to play drums. As solid as a rock, in addition to being gifted with a wonderful imagination, Cobb would have trouble being recognized by discographers and various sleeve-note writers: the drumming you can hear throughout On Green Dolphin Street was for a long time wrongly attributed to his predecessor.Six months later, Bill Evans would no longer be a regular member of Miles’ group: there was too much pressure, too much hostility from the band’s Afro-American fans. Had he accomplished the task which Miles had set him? Paradoxically, he would do so only after regaining his freedom, and once Wynton Kelly had replaced him, when one of the most famous records in jazz history was being made. “Kind of Blue” was the result of an extremely close collaboration between Miles and Bill Evans, even though the former, as was his habit, deliberately drew all the attention to himself; and it was an album which, while displaying both their signatures under all its titles, was covered with enough rewards, medals and plaudits to put a Russian General’s ribbons in the shade. The title which stood out from the rest of the album — its overture — was So What. “A simple figure based on 16 measures of one scale, 8 of another and 8 more of the first, following a piano and bass introduction in free rhythmic style.” In his sleeve-notes, Bill Evans gave a sober description of what many considered to be a modal jazz masterpiece. And yet, as Dick Katz observed, “The only ones who were really playing on the scales were Bill Evans, Miles and Coltrane a little bit, but Cannonball was just playing Cannonball.”(16) Somewhat unsettled by Bill Evans’ accompaniment, for a while Trane devotes himself to meeting Miles’ expectations, before instinctively picking up again the language to which he’d put the finishing touches during his partnership with Monk. But, whichever way you look at it, So What remains a major work in the history of jazz on record.For Freddie Freeloader — a blues dedicated to Fred Tolbert, Miles’ factotum — the pianist was Wynton Kelly, a man used to blowing a breath of optimism over every piece to which he contributed; it was quite the opposite of the insidious melancholy distilled by Bill Evans, who had this to say about Freddie Freeloader, “I think Miles’s blues solo on that track is one of my favourites. There are a couple of places where just one note contains so much meaning that you can hardly believe it.”(17)At the end of that year Cannonball would leave the Sextet; Coltrane would carry out one more tour in Europe with Miles (in 1960), and then throw in the towel. Two months after “Kind of Blue” he’d recorded his first album for Atlantic, “Giant Steps”, which made somewhat of a noise. And so an era came to an end for Miles Davis. His great records with Gil Evans had been completed, and modal jazz no longer held any secrets for him. “Kind of Blue” constituted one of the peaks of his career. After a few tentative steps he would begin a new era, this time in the company of Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams.Adapted by Martin Davies from the French text of Alain Tercinet© 2015 Frémeaux & Associés(1) Eric Nisenson, “Round About Midnight – A Portrait of Miles Davis”, Da Capo Press, 1996.(2), (3) Miles Davis with Quincy Troup, “Miles: The Autobiography”, Simon & Schuster, 1990.(4) Bret Primack, “Remembering Miles”, in “JazzTimes”, January/February 1992.(5) Franck Bergerot, “Miles Davis – Introduction à l’écoute du jazz moderne”, Seuil, 1996.(6) cf. (2)(7) cf. (4)(8) Marc Myers, “George Avakian (Part 4)”, interview on the “JazzWax” website dated March 18, 2010.(9), (10) Laurent Cugny, “Las Vegas Tango – Une vie de Gil Evans”, coll. Birdland, P.O.L., 1989.(11) cf. (8)(12) cf. (2)(13), (14), cf. (5) Modal jazz is no longer based on chord progressions but on the progression of notes within the same key, playing on the diversity of modes. For a more complete definition, cf. Philippe Baudoin’s article in “Le dictionnaire du jazz” and, on Miles Davis in particular, the book by Franck Bergerot.(15) cf. (2)(16), (17) Ashley Kahn, “Kind of Blue – The Making of the Miles Davis Masterpiece”, Da Capo Press, 2007.« Nous avons compris, en découvrant The Man I Love à un âge tendre, qu’il était et resterait longtemps l’homme que nous aimions. Pour le motif irrationnel que cet amour, inlassablement, nous transporte au cœur même de cet ailleurs où couve en se dissimulant à nos yeux notre propre secret. »     Alain Gerber“On discovering The Man I Love at a tender age, we understood that this was the man we loved and would still love for a long time to come. The irrational motive being that it was the kind of love which tirelessly transports us to the very heart of that elsewhere in which our own secret lies simmering, in hiding from our own eyes.”    Alain GerberCD Miles Davis The Quintessence 1954-1960, Miles Davis © Frémeaux & Associés 2015.
« Nous avons compris, en découvrant The Man I Love à un âge tendre, qu’il était et resterait longtemps l’homme que nous aimions.
Pour le motif irrationnel que cet amour, inlassablement, nous transporte au coeur même de cet ailleurs où couve en se dissimulant à nos yeux notre propre secret. »
ALAIN GERBER

Les coffrets « The Quintessence » jazz et blues, reconnus pour leur qualité dans le monde entier, font l’objet des  meilleurs transferts analogiques à partir des disques sources, et d’une restauration numérique utilisant les  technologies les plus sophistiquées sans jamais recourir à une modification du son d’origine qui nuirait à   l’exhaustivité des informations sonores, à la dynamique et la cohérence de l’acoustique, et à l’authenticité de   l’enregistrement original.
Chaque ouvrage sonore de la marque « Frémeaux & Associés » est accompagné d’un livret   explicatif en langue française et d’un certificat de garantie.

“On discovering The Man I Love at a tender age, we understood that this was the man we loved and would still love for a long time to come.
The irrational motive being that it was the kind of love which tirelessly transports us to the very heart of that elsewhere in which our own secret lies simmering, in hiding from our own eyes.”

ALAIN GERBER

Frémeaux & Associés’ « Quintessence » products have undergone an analogical and digital restoration process which is recognized throughout the world. Each 2 CD set edition includes liner notes in English as well as a guarantee. This 2 CD set presents a selection of the best recordings by Miles Davis between 1954 and 1960.

DIRECTION ARTISTIQUE : ALAIN GERBER, AVEC DANIEL NEVERS ET ALAIN TERCINET
DROITS : DP / FREMEAUX & ASSOCIES

CD 1 (1954-1956) - MILES DAVIS QUARTET/ QUINTET/ ALL STAR SEXTET (BLUE NOTE & PRESTIGE, 6/03, 3 & 29/04/1954) : IT NEVER ENTERED MY MIND (R.RODGERS- L.HART) • SOLAR (M.DAVIS-C.WAYNE) • WALKIN’ (R.CARPENTER). MILES DAVIS ALL STARS (PRESTIGE, 24/12/1954) : THE MAN I LOVE (TK.2) (G. & I. GERSHWIN). MILES DAVIS QUARTET (PRESTIGE, 7/06/1955) : A GAL IN CALICO (A.SCHWARTZ-L.ROBIN). MILES DAVIS NEW QUINTET (PRESTIGE, 11/05/1956 & COLUMBIA, 10/09/1956) : IN YOUR OWN SWEET WAY (D.BRUBECK) • ‘ROUND MIDNIGHT (T.MONK-M.WILLIAMS). MILES DAVIS NEW QUINTET (PRESTIGE, 26/10/1956) : TUNE UP (M.DAVIS) / WHEN LIGHTS ARE LOW (B.CARTER-S.WILLIAMS) • OLEO (S.ROLLINS) • MY FUNNY VALENTINE (R.RODGERS-L.HART).

CD 2 (1957-1960)
- MILES DAVIS WITH GIL EVANS AND HIS ORCHESTRA (COLUMBIA, 10 & 23/05/1957) : MILES AHEAD (M.DAVIS G.EVANS) • SPRINGVILLE (J.CARISI). MILES DAVIS ENSEMBLE (ASCENSEUR POUR L’ÉCHAFAUD, FONTANA, 4/12/1957) : GÉNÉRIQUE (M.DAVIS) • SUR L’AUTOROUTE (M.DAVIS). MILES DAVIS SEXTET (COLUMBIA, 2 – 3/04/1958 & 26/05/1958) : MILESTONES (M.DAVIS) • SID’S AHEAD (M.DAVIS) • ON GREEN DOLPHIN STREET (N.WASHINGTON-B.KAPER). MILES DAVIS WITH GIL EVANS ORCHESTRA (COLUMBIA, 4 & 18/08/1958) : BUZZARD SONG (G.GERSHWIN-DUBOSE) • SUMMERTIME (G.GERSHWIN-DUBOSE). MILES DAVIS SEXTET (COLUMBIA, 2/03/1959) : FREDDIE FREELOADER (M.DAVIS) • SO WHAT ? (M.DAVIS). MILES DAVIS WITH GIL EVANS’ ORCHESTRA (11/03/1960) : SAETA (G.EVANS).
- « Une introduction recommandable » par Jazz Magazine – Jazz Man
Tout ceci est disponible sur les catalogues originaux. Mais qui – en français tout du moins – a décrit, comme Alain Tercinet le fait dans le livret de la présente compilation, comment Miles Davis interprète It Never Entered My Mind, l’oreille collée à la version de Frank Sinatra ? Les plumes combinées d’Alain Gerber et Tercinet font de ce nouveau volume de la collection Quintessence, toujours aussi médiocrement présentée, une introduction recommandable. FB - JAZZ MAGAZINE - JAZZ MAN
- « Un son tout en grâce » par Tout prévoir
« On fait toujours confiance à Frémeaux et associés pour la qualité sonore des documents historiques d’origine et le traitement de restauration qui leur est appliqué, ainsi que sur la pertinence des informations et illustrations contenues par les livrets. Ces deux volumes consacrés à Miles Davis, prince des trompettistes, couvrent les années quarante-cinq à soixante. On se laisse charmer par ce son tout en grâce, si peu athlétique mais voluptueux et qui n’est qu’à lui. Ces deux volumes regorgent de pépites comme It might as well be spring et Mean to me avec Sarah Vaughan (1950), les sessions réalisées avec Charlie Parker et bien sûr les célèbres prises pour Ascenseur pour l’échafaud (1957). »Par Olivier BRUNEL – TOUT PREVOIR
Liste des crédits sur ce CD :
Miles Davis Quartet, L. Hart , R. Rodgers , Miles Davis Quintet, Wayne , Miles Davis All Stars Sextet, Carpenter , G. And I. Gerschwin , L. Robin , A. Schwartz , Miles Davis New Quintet, Dave Brubeck , Williams. , Thelonius Monk , B. Carter , Sonny Rollins , Miles Davis With Gil Evans And His Orchestra, John Carisi , Miles Davis Ensemble, Miles Davis Sextet, N. Washington , B. Kaper , Miles Davis With Gil Evans Orchestra, Dubose , G. Gershwin
CDPisteTitreArtiste principalDuréeEnregistré en
11It never entered my mind Miles Davis Quartet00:04:051954
12Solar Miles Davis Quintet00:04:441954
13Walkin' Miles Davis All Stars Sextet00:13:281954
14The man i loved Miles Davis All Stars00:07:581954
15A gal in calico Miles Davis Quartet00:05:191955
16In your own sweet way Miles Davis New Quintet00:05:451956
17Round midnight Miles Davis New Quintet00:05:581956
18Tune up when lights are low Miles Davis New Quintet00:13:071956
19Oleo Miles Davis New Quintet00:05:561956
110My funny valentine Miles Davis New Quintet00:05:591956
21Miles ahead Miles Davis With Gil Evans And His Orchestra00:03:361957
22Springville Miles Davis With Gil Evans And His Orchestra00:03:301957
23Générique Miles Davis Ensemble00:02:501957
24Sur l'autoroute Miles Davis Ensemble00:02:201957
25Milestones Miles Davis Sextet00:05:451958
26Sid's ahead Miles Davis Sextet00:13:021958
27On green dolphin' street Miles Davis Sextet00:09:511958
28Buzzard song Miles Davis With Gil Evans Orchestra00:04:081958
29Summertime Miles Davis With Gil Evans Orchestra00:03:201958
210Freddie freeloader Miles Davis Sextet00:09:481959
211So what Miles Davis Sextet00:09:251959
212Saeta Miles Davis With Gil Evans Orchestra00:05:071960
Label : FREMEAUX & ASSOCIES

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Dernière mise à jour :: 23-07-2017 04:41
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