THE NEW MILES DAVIS QUINTET JOHN COLTRANE PRESTIGE 7014 LP GREEN COVER W 50th ST
  $   389

 


$   389 Sold For
Aug 20, 2014 End Date
Aug 15, 2014 Start Date
$   20 Start price
10 Number Of Bids
  USA Country Of Seller
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Description

THE NEW MILES DAVIS QUINTET~JOHN COLTRANE~PRESTIGE 7014 LP~GREEN COVER~W 50th ST

Product Description

  New Miles Davis Quintet Prestige ‎– LP 7014
VERY RARE FIRST PRESSING OF THIS 1956 CLASSIC!! GREEN COVER ONLY WITH THIS ISSUE! DEEP GROOVE PRESSING! PRESTIGE "FIREWORKS" LABEL WITH WEST 50th STREET ADDRESS. HEAVYWEIGHT LAMINATED COVER IS IN VG+ CONDITION WITH A PARTIAL SPLIT IN THE SPINE AND A SMALL SPLIT IN THE TOP RIGHT CORNER. VINYL IS IN VG++/EX CONDITION! GREAT OVERALL CONDITION FOR AN ALBUM WHICH IS 58 YEARS OLD!!
Notes 1st issue of this album. Green cover with Prestige lp 7014 in upper right hand corner. 
Yellow fireworks label with  PRESTIGE RECORDS INC. • 446 W. 50th ST., N.Y.C. around the edge 
PRLP 7014 HI FI on label. 
Recorded November 16, 1955

The New Miles Davis Quintet made its first visit to the recording studios on November 16, 1955. By October 26, 1956, when they made their last session for Prestige, Davis had signed with recording giant Columbia, he had featured the most influential band in all of jazz (which would spawn the most charismatic musician of the '60s), and was well on his way toward international stardom. Listen to The Musings of Miles, an earlier quartet date with bassist Oscar Pettiford, then listen to the difference bassist Paul Chambers and tenor saxophonist John Coltrane make. Philly Joe Jones' dancing hi-hat reverie introduces "How Am I to Know," and the band takes it at a galloping tempo. The youthful bassist pushes the music into more modern directions with his solid time, driving beat, ringing tone, and uncanny sense of melodic counterpoint. He opens the music right up, and his rhythmic flexibility frees up Jones to play ahead of the beat and instigate an insistent polyrhythmic dialogue. From the finger-snappin' opening groove of Benny Golson's "Stablemates," it's clear that this rhythm section just swings harder (and in more different styles), than anyone this side of Basie's All-Americans or the drummer-led bands of Art Blakey and Max Roach. In Red Garland, the trumpeter found a pianist who understood his idea about touch, voicings, and space, and was able to orchestrate in the expansive style Davis favored. (Listen to his discreetly rocking, two-handed intro to "Just Squeeze Me," or his rhapsodic responses to Davis' little boyish Harmon mute on "There Is No Greater Love.") And Coltrane's restless, turbulent lines show how Davis had finally found his perfect foil, much as the trumpeter's introspective lyricism complemented Charlie Parker's harmonic flights. On "S'Posin'," Trane follows Davis' lilting, floating mute work by getting right on top of the beat with relentless syncopations. On the vaudevillian airs of "The Theme," he answers Davis' playful melodies by scurrying about with the screaming intensity of a blues guitarist, playing catch-up-and-fall-behind, trying to double- and triple-up with every other breath.

Tracklist  A1 Just Squeeze Me Written-By – Ellington*, Gaines* 7:27 A2 There Is No Greater Love Written-By – Jones* 5:19 A3 How Am I To Know? Written-By – King* 4:40 B1 S'Posin Written-By – Denniker* 5:14 B2 The Theme Written-By – Miles* 5:49 B3 Stablemates Written-By – Golson* 5:22
Credits Bass – Paul Chambers (3) Drums – "Philly" Joe Jones Engineer – Van Gelder* Liner Notes – Ira Gitler Photography By, Supervised By [Supervision] – Bob Weinstock Piano – Red Garland Tenor Saxophone – John Coltrane Trumpet – Miles Davis
 
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