Album Info
| Artist: | The Miles Davis Sextet |
| Album: | Jazz At The Plaza Volume 1 |
| Released: | US |
Tracklist:
| A1 | Straight, No Chaser | 10:54 |
| Written-By - T. Monk | ||
| A2 | My Funny Valentine | 10:06 |
| Written-By - L. Hart, R. Rodgers | ||
| B1 | If I Were A Bell | 8:14 |
| Written-By - F. Loesser | ||
| B2 | Oleo | 10:37 |
| Written-By - S. Rollins |
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- Happy Listening!
Details
Visually Graded Record: |
EXC |
Visually Graded Sleeve: |
EXC |
Catalogue #: |
PC 32470 |
Format: |
LP Vinyl Record |
Genre(s): |
Jazz, Hard Bop, Modal, Post Bop |
Description
The Miles Davis Sextet's "Jazz at the Plaza," recorded in 1958 but not released until 1973, captures a remarkable live performance by one of jazz's most influential ensembles at the Plaza Hotel in New York City. This recording provides a snapshot of a pivotal moment in jazz history, featuring a lineup of legendary musicians including Miles Davis on trumpet, John Coltrane on tenor saxophone, Cannonball Adderley on alto saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums.
The album opens with "If I Were a Bell," a lively rendition of the Frank Loesser standard. Davis' muted trumpet introduces the theme with a cool, understated elegance, setting the stage for solos that showcase the individual brilliance of each band member. Coltrane's tenor saxophone solo is particularly noteworthy, displaying his evolving style and hinting at the modal explorations that would define his later work.
"My Funny Valentine" is a highlight of the album, featuring Davis' introspective and lyrical trumpet playing. The performance is a masterclass in emotional expression through jazz, with Davis exploring the ballad's melodic contours with a haunting sensitivity that has made this track one of his most celebrated recordings.
The album's production captures the spontaneity and energy of the live performance, with the audience's reactions adding to the atmosphere. The recording quality, while not up to studio standards, provides a raw and authentic listening experience that transports listeners to that historic evening at the Plaza.
"Oleo," a fast-paced Sonny Rollins composition, showcases the sextet's virtuosity and cohesiveness as a unit. The track's breakneck tempo and intricate solos demonstrate the technical prowess of each musician, with Evans' piano solo offering a moment of melodic clarity amidst the whirlwind of activity.
"Jazz at the Plaza" also includes "Straight, No Chaser," a Thelonious Monk tune that the sextet transforms into a hard-swinging jam session. The playful interplay between Davis, Coltrane, and Adderley, over the driving rhythm section, exemplifies the creative synergy that made this incarnation of the Miles Davis Sextet so influential.
Lyrically, the album is an instrumental work, but the band's communication through their instruments tells a rich story of innovation, collaboration, and the sheer joy of making music. The solos are like individual chapters, each contributing to the overall narrative of the performance and showcasing the unique voice of each musician.
In conclusion, "Jazz at the Plaza" by The Miles Davis Sextet is a historic recording that captures a moment when some of jazz's greatest talents converged. The album offers a glimpse into the evolution of jazz in the late 1950s, marked by a transition from bebop to modal jazz and beyond. This recording not only highlights the individual genius of its participants but also the extraordinary collective expression that defines jazz at its best. "Jazz at the Plaza" remains a vital document of a golden era in jazz, celebrating the spontaneity, creativity, and collaborative spirit that are at the heart of this quintessentially American art form.