Unrecognised Classics

[Ian Thumwood]

Miles Davis' recorded legacy was hugely consistent up until he started dabbling with rock and fusion and the records he produced in the 50's and 60's pretty much define what was the pinnacle of jazz produced in that era. However, Listening to "Seven steps to heaven" all last week has prompted me to start a thread on jazz records which I think should be considered "classics" and whilst they may have been acknowledged as good, don't enjoy the kind of reputation they should within a particular artist's oeuvre.

"Seven steps to heaven" is probably the prime example in my opinion. I think "Miles Smiles" represents the apogee of all his work in the studio, "Seven steps" reputation as a transitional record eclipses the fact that it features his most compelling trumpet performance in the studio. I don't think that there is another Miles record where the timbre of his trumpet is so wonderfully captured. The ballad tracks are incredible and Victor Feldman's piano playing more than matches Bill Evans for inventiveness on "Kind of Blue." If you select any of the ballads "Basin Street Blues," I fall in love so easily" , "Baby wont you please come home" and "Summer Night" you will discover performances where the absence of a saxophone as a foil allows the leader to produce a series of performances which I feel are probably the most majestic on trumpet since Armstrong's Hot 5's and 7's. The more I listen to these recordings, the more impressed I am yet they are never cited a being as good as "Some day my prince will come", 'Round about midnight" or anything on Kind of Blue.

On top of that, the up-tempo numbers with Williams, Hancock and the hugely under-appreciated George Coleman are sensational and superior to the second quintet's official debut on "ESP." These are the tracks which really garner the attention when this record is discussed at all yet they are only one aspect to a record I would consider essential to any jazz collection.

I much prefer this record to "Milestone", "Kind of Blue" and even something like the excellent "Nefertiti." Even though it may be transitional, it is vastly superior to "SDMPWC" which is another oddity albeit salvaged by the ever-reliable Wynton Kelly. It is weird that none of the quartet sides get much attention from critics as these performances are nothing short of staggering.

[Tom Audustus]

Yep. The complete recordings set 64 -65 is a fascinating box set. I've probably listened to that more than any other of my Miles Davis sets.

[burning dog]

i loved this album since I first heard it and surprised that at that time (1972) it wasn't that highly regarded.

Two modern jazz standards on it as well, both by Victor Feldman. Although "Joshua" is much like Impressions and So What, he turns out a proper "tune"

[Ian Thumwood]

BD

I think that Feldman is a revelation on this disc. He had clearly picked up on the developments made by Bill Evans yet does seem a stepping stone towards Herbie Hancock who became the next pianist. However, I think that this record is probably the one where Davis' trumpet playing is at it's absolute peak.

As a whole, Davis' alleged "transitional" records are really good. "Filles de Kilimanjaro" is a fascinating effort too and the line ups with Cannonball Adderley are worth the money alone of only for the fact that they are the alto player's best playing on record in my opinion. The weakest "transitional" disc is "Some day my prince will come" where Davis is mismatched with Hank Mobley. This record always seems like Miles' attempt at a standard, Blue Note disc but it remains something of a compromise. I quite like Jimmy Cobb's unfussy drumming but, other than the appearances by Coltrane, Wynton Kelly is the star on this disc - I think that this pianist was probably the most complete "band" pianist of that era. However, if someone was to ask me to demonstrate Miles' ability as a trumpet player with one record, you would have to turn to "Seven steps" for the shear craftsmanship.

[burning dog]

I think Sorcerer, Nefertiti and Miles in the Sky are more transitional, after the post bop zenith of Miles Smiles. Live they were played a lot of older stuff and standards. ESP is more of a "classic" where the sound of the band is fairly settled, but it doesn't mean it's "better" . Filles De Kilimanjaro is contemporaneous with a lot of "In a Silent Way", definitely transitional. I think Miles playing on this album is also among his best. After Miles In the Sky various line-ups seemed to go into the studio and albums were created out of a pool of recordings which may only coincidently (and rarely) feature his working band of the time.

Love his solo on this one, the "Back Seat Betty" motif which can be heard much further back than this

[Serial_Apologist]

I think Sorcerer, Nefertiti and Miles in the Sky are more transitional, after the post bop zenith of Miles Smiles. Live they were played a lot of older stuff and standards. ESP is more of a "classic" where the sound of the band is fairly settled, but it doesn't mean it's "better" . Filles De Kilimanjaro is contemporaneous with a lot of "In a Silent Way", definitely transitional. I think Miles playing on this album is also among his best. After Miles In the Sky various line-ups seemed to go into the studio and albums were created out of a pool of recordings and which may only coincidently (and rarely) feature his working band of the time.

Love his solo on this one, the "Back Seat Betty" motif which can be heard much further back than this

One of my all-time favourite tracks - well chosen, and thanks BD. Straight-ahead could never be the same again after that period in Miles's output without ignoring what it achieved, I'd wager. All the best that wasn't completely free, the new ways of building tension by stretching underpinnings, flowed from it.

BTW I happen to think Mile's opening solo on ESP to have been one of his best - one of the best anywhere.

[Ian Thumwood]

I think one of the most perplexing jazz artists was John Coltrane. I am not too enthused by some of his earliest recordings and think, prior to his legendary quartet, his best work always seems to be alongside Miles Davis even if the music on "Giant Steps" transcends the tinny recording quality of the Atlantic level. Switch across to his Impulse work and it is a different story. I have got a number of these recordings over the years and must admit that even the records deemed as uneven such as the meeting with Duke Ellington have their rewards. The two albums that have never really appealed are "Ascension" and "Alove supreme" - the later is just too familiar and the final "prayer" movement an anti-climax to what has preceded.

The amazing thing is that you can look elsewhere on Impulse and discover stuff which is really prime Coltrane and superior to his most celebrated work. "Crescent" seems like the high point in the studio and I think is an essential record. It is my personal favourite even if the intensity of "One up, one down" is the finest work I have heard him perform in a live setting.

Today I have been listening to "Coltrane Plays" which is a record I have never heard before I bought it and one about which I have never read any reviews nor heard any opinions expressed. The record kicks off with "Chim Chim cherree" which plumps immediately into the chordal vamp territory of "My favourite things." I felt this was a good opening yet "Brazilia" is absolutely incredible. I can't understand why this one track seems so neglected. The rest of the record hold up extremely well too with "nature Boy" seemingly being distilled to a one chord vamp before collapsing in free jazz mayhem that seems totally unlikely when the piece started. I don't think it is quite "Crescent " standard but Coltrane's playing is amazingly intense on this record which does not deserve it's obscure reputation.