Birth of the Cool - No further explanation needed

2/20/11 –  The Birth of the Cool (Miles Davis)

I know what I've done for music, but don't call me a legend. Just call me Miles Davis. - Miles Davis

Miles Davis is the Beetles of jazz – there’s a different sound to each era of his work, and they’re all brilliant in their own respects while still completely different.  Likewise, I think there’s a Miles sound for everyone.  I, like most, put Kind of Blue at the top of my list, but need to branch out from there into some of his other stuff.  (Oh, and Bitches Brew is at the bottom of his stuff I’ve heard so far.)  This hits a nice spot – post bebop “cool jazz” as the name states.  The hard swinging lines of bop are taken at a slower pace (where you can actually appreciate them without having to squint with your ears to pick up on every last grace note.)  Likewise, the Miles Davis Nonet strikes a perfect balance between the intimacy of a chamber group and the versatility and power of a big band.

“Move” is closer to a bebop tempo than most on here, but it provides the energetic kick to get the album moving off to a good start.  Max Roach throws down some mean drum solos, often overlooked in the jazz realm.  “Jeru” brings things back a bit into something closer to a Glenn Miller-style big band sound, which is in its own right impressive.  “Moon Dreams” hits my usual ballad nerve – focused more on the rich trombones than the upper horns.  Also, the usage of tuba sticks out here in particular, but works well; its French horn-like rounded tone fits well as opposed to the more present bass trombone.

“Venus De Milo,” is another iconic track with a catchy little melody and some descent trumpet work from Davis.  As I read someone say the other day, Miles was a great innovator – perhaps the best.  His chops as a performer, though were not his forte.  They were good, but not anywhere near the genius of his creativity.  “Deception” follows suit, as another great tune for the whole band.

“Godchild” however, switches gears.  The tune itself is a little more than a shout chorus, leaving lots of space for some sweet solos.  The balance seems shifted more toward the brass than the saxophones; perhaps a direct result of being fronted by a trumpeter.  “Boplicity” is similarly driven by solos, including what I believe to be the album’s first solo appearance by pianist John Lewis.  Just from the name alone, I can imagine this (and the following tune, “Rocker”) as being originally written as bop charts, to be taken at approximately twice the speed performed here.  Perhaps I just need to drink more caffeine before functioning at a high enough level to appreciate good bebop jazz.

“Israel” takes a slightly more modal shift than most of the other tracks here.  Perhaps it’s a precursor to Kind of Blue, I’m not sure.  Speaking of comparisons with that great album, I find it strange that the sound of Miles’ trumpet throughout the album is left open – there’s not the harmon muted sound most closely associated with Davis.  I kind of miss it, but think it may have been an appropriate decision for the tunes on this particular album.

“Darn That Dream” features the only vocal work on the opus, but to be honest, I feel it takes away significantly from the album.  Kenny Hagood’s tone is so dark and smooth it sounds forced; like every parody you’ve ever heard of a cheap Vegas lounge singer.  The tune and arrangement are fine, but perhaps it’s just the choice of singer that disagrees with me.

It’s funny, the second time I was listening through this album, I was grabbed by the next track – again, a total departure from what had come before, but still hip and interesting.  The peculiar thing was, there are no more tracks on this album.  ITunes kept playing into the next album on its list.  Bitches Brew.  Perhaps my tastes are again shifting…

Tomorrow –  Bernstein: Symphony #3 “Kaddish”

Next week – The Trombone Master (J. J. Johnson)