Miles Davis - 'Miles Ahead'

 

'Miles Ahead' was recorded on May 6, 10, 23 & 27, 1957 at the Columbia 30th Street Studios, NY.

To be honest, I'm not the biggest fan of the Miles Davis/Gil Evans collaborations.  Yes, 'Sketches Of Spain', 'Porgy & Bess' and 'Miles Ahead' are beautiful albums.  All three show off what the academics have termed as the "Third Stream" movement, which is a blend between classical music and jazz but, the end results of these albums just don't have that inventive and spontaneous conversation between the improvising musicians, that I love so much.

All that said, 'Miles Ahead' is a great album, and undoubtedly a classic, as we do have the tremendous talents of Miles and Gil (who worked together earlier on the legendary 'The Birth Of The Cool' sessions) at a time when both were realizing the enormous possibilities for where their talents could take them.  Miles sounds fantastic on the flugelhorn, which is not surprising since he was coming off of the creative outburst marked by his time at Prestige with his first great quintet (the albums Workin', Steamin', Relaxin' and Cookin').  Miles is the only soloist on Miles Ahead, and while there are no real overpowering or memorable moments, when he does step up to the mic he rides the melodies laid down by the orchestra perfectly.  He is still very much in his lyrical "cool" mood, with his flugelhorn dancing and floating through Evan's arrangements.  'Miles Ahead' is my favorite of the Miles Davis/Gil Evans collaborations, and to my ears, also the jazziest.

When this album was released, Gil Evans was still an obscure figure to jazz audiences, although according to the liner notes he was not only well known to jazz musicians, but highly regarded as well. The notes quote Gerry Mulligan from a 1957 Downbeat interview with Nat Hentoff:

"Not many people really heard Gil; those who did, those who came up through the Claude Thornhill band, were tremendously affected, and they in turn affected others."

Obviously after his time spent with Davis at Columbia, Evans would become a household name in jazz, and while he would go on to make a couple great albums under his own name and produce some fine albums for others, his three Columbia albums with Davis will always remain his greatest jazz legacy.

A Note On The Cover:
The original cover artwork, had a white woman and child sailing along the water. The image is a somewhat appropriate metaphor for the music contained within, but definitely not a great cover for a Miles Davis record.  It led to the famous quote by Miles to Columbia Records executive George Avakian, "Why'd you put that white bitch on there?" Avakian later said the question was made in jest, and I don't doubt that, but I also don't fault Miles for asking, sarcastically or otherwise.

So, what did Columbia do?  They replaced the cover with what is, in my opinion, the least visually pleasing of all the album covers in Miles' discography.  It is a drab cover with a generic image of Miles blowing his trumpet, and to my eyes the way the text is laid out makes for an awkward reading of the title and artist information.  It's obvious the new artwork was rushed out with no regard for aesthetics.  Future releases reverted to the original cover.  Myself, I'm not thrilled with either cover.

Along with Miles on Flugelhorn, are:
Gil Evans - Arranger, Conductor
Johnny Carisi - Trumpet
Bernie Glow - Trumpet
Taft Jordan - Trumpet
Louis Mucci - Trumpet
Ernie Royal - Trumpet
Lee Konitz - Alto Saxophone
Joe Bennett - Trombone
Jimmy Cleveland - Trombone
Frank Rehak - Trombone
Tom Mitchell - Bass Trombone
Edwin Caine - Flute, Clarinet
Sid Cooper - Flute, Clarinet
Romeo Penque - Flute, Clarinet
Danny Bank - Bass Clarinet
Jim Buffington - French Horn
Tony Miranda - French Horn
Willie Ruff - French Horn
Bill Barber - Tuba
Paul Chambers - Bass
Art Taylor - Drums

The freeload, is the Sony Master Sound Reissue Series (SRCS 9703) mini-LP CD from Japan.  Moto Uehara was the Mastersound producer, and Kouji C Suzuki was the DSD engineer.  This is the release "Audiophools" like myself love.

To qualify for the free load, tell us, what are some of your favorite and least favorite album covers.