Miles Davis – 56: The Prestige Recordings (Craft Recordings)

Indispensable, classic jazz, sounding better than ever

Imagine that you just took a new job with a much bigger company; this means better pay and more benefits.  There’s only one problem: your old boss tells you that, you can leave, but you’re under contract for a few more projects.  How invested are you going to be in the work you do for your old job?  Probably not very much.

These were essentially the circumstances surrounding Miles Davis 56: The Prestige Recordings.  The trumpet player’s stock had risen considerably since he played the Newport Jazz Festival in 1955.  Colombia Records was interested in signing Davis to a lucrative deal.  Only problem was, he still owed his old label, Prestige, several more albums.  

A compromise was made: Davis signed with Columbia, then booked time at Rudy Van Gelder’s studio with his first great quintet, featuring Miles, along with John Coltrane on sax, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.  In two mammoth sessions, one in May, the other in October, his quintet laid down enough material for four albums, known as Cookin,’ Relaxin,’ Workin.’ and Steamin.’  

Prestige would take these recordings and release them over several years, grouped essentially by mood.  This new set is the first time these sessions are presented in the chronological order they were recorded.  

Since the set is called Miles 56 – we get not just the famous quintet recordings, but a few extras too.  Disc one opens with Davis, joined by the great Sonny Rollins on sax and Tommy Flanagan on piano.  There’s an early version of the ballad, “Your Own Sweet Way,” and it’s gorgeous.  “No Line” is an upbeat number, giving both Rollins and Flanagan time to solo with Davis, while “Vierd Blues” is a swinging number.

The classic quintet material kicks off with a redo of “Your Own Sweet Way” – and it’s remarkable to hear the difference.  The first three cuts feature jazz legends, for sure.  But, the quintet version of this song in comparison, is just symbiotic.  First of all, Davis seems to stretch more – he’s taking more chances with a band that he’s played countless live shows with.  Second off, Coltrane’s solo seems to be prodding at the possibilities.  Third, the rhythm section doesn’t keep a steady beat, instead surging and pulsing – responding to each soloist.  There’s a very noticeable edit at 2:47 – which I hadn’t caught before.

These recordings sound absolutely fantastic.  They were run through Plangent Processes, which corrects slight variations in tape speed, etc.  Everything here is in mono – yet, there’s so much depth and air. “Diane” features s gorgeous Davis muted trumpet, and then soaring Coltrane sax.   I love how Jones and Chambers seem to wrap themselves around Garland’s piano as he solos. 

You hear Davis’ gruff voice opening “Trane’s Blues,” and this is another fantastic example of five musicians behaving like one, breathing entity, ebbing and flowing as the music rises and falls.  And, man does it swing!

You can literally sit and just focus on one musician, and be amazed.  Dig Jones’ ride cymbal on “Woody ’n You,” or how Garland’s shines on “Ahmad’s Blues,” before Chambers pulls out a bow for a solo!  Then, it’s Jones’ turn to add fills near the end.

This group gets so much credit for being trailblazing, that what might be overlooked is how versatile they were.  “It Never Entered My Mind” is just spellbinding – Davis’ muted trumpet croons away, while Garland lays down these spiraling notes on piano.  Meanwhile, Chambers’ bass beats like a heartbeat, and Jones adds swirling brushstrokes.  For a band that’s known for being wild – this is heavenly restraint.  

Consider that, after recording one more pretty ballad, “When I Fall in Love,” the band launched into the psychotic “Salt Peanuts” – talk about changing moods on a dime.  Dig Jones’ three minute drum solo, which somehow manages to still swing.  Davis is sure to pull out “Four,” a staple of his live sets, to showcase the prowess of this band.

Amazingly, during the May 1956 recording session, FIFTEEN different songs were recorded, with only one repeat, “The Theme.”  This is the only time, so far, where it sounds like the recording levels are too hot, and some things are distorted.  

I love hearing Davis say, “I’ll play it, and tell you what it is later” before jumping into “If I Were a Bell,” another of the too-many-to-count highlights.  The group just seems to be having a blast here – listen to how Chambers’ bass seems to be having a dialog with Garland while he solos on piano.

Disc three encompasses the entire October 1956 session, opening with “Round Midnight,” a track that had already been tracked for Columbia Records, four months earlier.  The differences in the two versions provide an interesting contrast.  Although featuring the same personnel, the Prestige rendition here seems to have a more relaxed feel, and Miles isn’t mic’ed so close.  The rhythm section has more punch here too.  Perhaps it’s the difference from being in a big, expensive studio?  This version was not included on any of the four quintet albums.

Because these songs were laid down quickly, we get some interesting banter that’s left in.  Like Davis telling Garland “play some block chords, Red,” before going into “You’re My Everything.” You could argue that Davis never played with so much beauty as he did on these recordings.  I love the way Jones just suddenly starts swinging on his drums to uplift the romance, and then quiets down again.  Even Coltrane shows restraint here.

“I Could Write a Book” spotlights the walking bass skills of Chambers – and that rhythm section is the very definition of in the pocket.  “Oleo” is good fun – the drums keep dropping out, leaving just bass and trumpet, or sax, or, the best combination, piano and bass.

These October sessions seem to have a shrillness to them that the May session did not.  Coltrane, especially, seems more abrasive.  I found myself lost in Jones’ excellent cymbal work on “Airegin.”

There’s a workman like feel to many of these songs – they are hard bop in some cases, and have more opportunities for individuals to solo, rather than mood pieces.  

The real stunner is “My Funny Valentine” – Miles at his sweetest.  I love how the band kicks in, and his solo isn’t even finished and they just start swinging.  

Done simply to fulfill a contract, these recordings have become some of the most hallowed in all of jazz.  That almost all of these were first takes, with no overdubbing whatsoever, just adds to the legend of Miles Davis and his first, great quintet.  Miles Davis ’56 – The Prestige Recordings features almost three hours of essential, classic jazz – and it’s never sounded better.  —Tony Peters