Jeru - Miles Davis - Birth Of The Cool
Label: Capitol Records - DT 1974 • Format: Vinyl LP, Album, Compilation Duophonic • Country: US • Genre: Jazz • Style: Bop, Cool Jazz
Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphonyand marked a major development in post- bebop jazz. As the title suggests, these recordings are considered seminal in the history of cool jazz.
Most of them were originally released in the inch rpm format and are all approximately three minutes long. As ofLee Konitz is the only surviving member of the Birth of the Cool sessions. From toMiles Davis played in Charlie Parker 's quintet.
Davis recorded several albums worth of material with Parker during this period, including Parker's Sessions for the Savoy and Dial labels.
Davis' first records released under his own name were recorded with Parker's band, inand were more arranged and rehearsed than Parker's usual approach to recording. At the same time, arranger Gil Evans began Jeru - Miles Davis - Birth Of The Cool gatherings of like-minded, forward-looking musicians at his small basement apartment, located on 55th Street in Manhattan, three blocks away from the jazz nightclubs of 52nd Street.
Evans had gained a reputation in the jazz world for his orchestration of bebop tunes for the Claude Thornhill orchestra in the mids. Keeping an open door policy, Evans' apartment came to host many of the young jazz artists of lates New York. The participants engaged in discussions about the future of jazz, including a proposed group with a new sound. According to jazz historian Ted Gioia :. In their work together, they relied on a rich palette of harmonies, many of them drawn from European impressionist composers.
They explored new instrumental textures, preferring to blend the voices of the horns like a choir rather than pit them against each other as the big bands had traditionally done with their thrusting and parrying sections. Jeru - Miles Davis - Birth Of The Cool brought down the tempos of their music While Evans had originally hoped to work with Charlie Parker on this project, Evans felt that Parker was too dedicated to his own solo voice and not an ensemble sound that Evans was hoping to tap into.
Arranger, and baritone saxophonist Gerry Mulligan joined the project, having previously written for Gene Krupa 's orchestra, as it was felt he could bring a Chanson du temps perdu - Gilles Vigneault - Gilles Vigneault sound that Davis and Evans were looking for. The arrangers came to the conclusion that the ensemble should feature two saxophones, four brass, and rhythm section for a total of nine players.
Evans and Mulligan spent the winter working out instrumentation, augmenting the traditional bop quintet of saxophone in this case, alto saxophonetrumpetand rhythm sectionwith baritone saxophonetromboneFrench hornand tuba. The two men looked to create pairings within the ensemble, Mulligan stating: "We picked instruments [with matching timbres] We had a high section with a trumpet and the alto, we had a middle section with the trombone and Jeru - Miles Davis - Birth Of The Cool French horn, and a low section with the baritone and tuba.
So we had those Davis, Evans, and Mulligan then went about assembling the members of the nonet, Davis and Mulligan taking trumpet and baritone saxophone respectively.
For alto saxophone, Davis originally wanted Sonny Stitt for the part, but it was decided that Jeru - Miles Davis - Birth Of The Cool sound, much like Parkers, was too bop for what the nonet was pursuing. Konitz had played with Mulligan in Claude Thornhill 's orchestra, and was seen by some as a stylistic alternative to Parker, with a much lighter and airier sound.
Trombonist J. Johnson was the first choice for the band, but due to engagements with the Illinois Jacquet band could not originally play with the nonet, though he was able to record with the group on the final two sessions.
Drummer Max Roach had been a member of Parker's quintet with Davis and was a natural choice for the group due to his enthusiastic engagement in the ideals of the nonet.
For the band's book, Mulligan contributed six arrangements, Lewis three, Evans two, and composer John Carisi arranged his own composition, " Israel ", for the band. On Davis's insistence, a sign was placed outside the Roost saying, "Arrangements by Gerry Mulligan, Gil Evans, and John Lewis," an unusual advertisement that highlighted the collaborative nature of the venture.
There was a further short residency the following year at the Clique Club, these three sets making up the nonet's only live appearances. Arranger and Capitol Records talent scout Pete Rugolo heard the nonet at the Royal Roost and offered them a chance to make a record. The nonet recorded twelve tracks for Capitol during three sessions over the course of nearly a year and a half. Davis, Konitz, Mulligan and Barber were the only musicians who played on all three sessions, though the instrumental lineup was constant excepting the omission of piano on a few songs and the addition of Hagood on "Darn That Dream".
The first session occurred on January 21,recording four tracks: Mulligan's "Jeru" and "Godchild" as well as Lewis's "Move" and "Budo". Jazz critic Richard Cook hypothesizes that Capitol, wanting to get a good start, recorded these numbers first because they were the most catchy tunes in the nonet's small repertoire.
The second recording date came three months later on April 22, with Davis filling in for Fats Navarro in Tadd Dameron 's band with Charlie Parker during the interim. The band returned to the studio with five substitutions in personnel: J. The band did not return to the studio again until March 9, Davis did not call the band for any rehearsals or live performances between the second and third recording dates. Kenny Hagood returned for vocals on "Darn That Dream".
One Jeru - Miles Davis - Birth Of The Cool the features of the Davis Nonet was the use of paired instrumentation. An example of this can be heard on the John Lewis arrangement "Move".
In "Move", Lewis gives the melody to the pairing of trumpet and alto saxophone, baritone saxophone and tuba supply counterpoint, and trombone and French horn provide harmonies. One of the largest stated influences Fever - Elvis Presley - A Double Date At The Gate the sound of The Birth of the Cool was band leader Claude Thornhill and his orchestra.
Miles had liked some of what Gerry and I had written for Claude. The instrumentation for the Miles session was caused by the fact that this was the smallest number of instruments that could get the sound and still express all the harmonies the Thornhill band used. Miles wanted to play his idiom with that kind of sound.
Davis saw the full piece Thornhill orchestra as cumbersome and thus decided to split the group in half for his desired sound. Mulligan recalls Thornhill teaching him "the greatest lesson in dynamics, the art of underblowing. The tracks from the January session were released soon after recording as two pairs of singles. From the April date, "Israel" and "Boplicity" No Skill To Kill - Noisy Bastards - Learn How To Touch Type doubled together on a 78 and released as well.
Of the twelve tracks recorded, Capitol released relatively few. Subsequent releases have been based on this last arrangement. The album has since been reissued many times in various formats.
All previous reissues of Que Queres Tu De Mim - Altemar Dutra - Bis material have been derived from the inch LP master, which turns out to be second or third generation. The original tapes of each tune were filed individually and sound considerably better.
Rudy Van Gelder returned to these masters, transferred them in bit to digital and worked his sonic magic. The result is a clearer and more present sound than ever before on these classic recordings. The band's debut performance at the Royal Roost received positive, but reserved reactions. I didn't always know what they were doing, but I listened, and I liked it. The music sounds more like that of a new Maurice Ravel than it does like jazz They have been credited with starting the cool jazz movement  as well as creating a new and viable alternative to bebop.
Inafter the release of Birth of the CoolDown Beat magazine wrote that Birth of the Cool "[influenced] deeply one important direction of modern chamber jazz. Mulligan moved to California and joined forces with trumpeter Anarchitect - Something For Kate - Elsewhere For 8 Minutes Baker in a piano-less quartet, before creating his Concert Jazz Band  Lewis would become music director of the Modern Jazz Quartetwhich would become one of the most influential cool jazz groups.
Instead, Davis signed with the new jazz specialty record label, Prestigefor whom he would record his Jeru - Miles Davis - Birth Of The Cool album in January 21, — "Jeru", "Move", "Godchild", "Budo" matrix numbers:, From Wikipedia, the free encyclopedia.
Birth of the Cool Compilation album by Miles Davis. Miles Davis. Jazz portal. US: Oxford University Press. Retrieved February 22, US: Hal Leonard. Archived from the original on November 6, Oxford University Press : 7—9. New York: Oxford University Press, The Birth And Death of the Cool. Golden, Colo. New York: Schirmer Books, The Musical World of J. Scarecrow Press, New York: Oxford University Press, p. The History of Jazz. Evans recall. Los Angeles Times. Los Angeles: Tribune Company.
Retrieved April 26, Jeff B. Milwaukee, WI. Ecstasy - Lou Reed - Through The Years (DVD) Birth of the Cool. Retrieved on Acclaimed Music. Apr 24, Jeru - Miles Davis - Birth Of The Cool Time Top Albums 3rd ed. Virgin Books. Journal of Jazz Studies. Retrieved April 1, Rubberband Tutu Amandla Doo-Bop.
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