DCC GOLD CD GZS 1100: The NEW MILES DAVIS Quintet - OOP 1996 SS
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Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.

On October 7, 2008, his 1959 album Kind of Blue received its fourth platinum certification from the Recording Industry Association of America (RIAA), for shipments of at least four million copies in the United States. Miles Davis was inducted into the Rock and Roll Hall of Fame in 2006. Davis was noted as "one of the key figures in the history of jazz". On December 15, 2009, the U.S. House of Representatives passed a symbolic resolution recognizing and commemorating the album Kind of Blue on its 50th anniversary, "honoring the masterpiece and reaffirming jazz as a national treasure.

Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of music. He has been described as “one of the great innovators in jazz”. The Rolling Stone Encyclopedia of Rock & Roll noted "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music". His album Kind of Blue is the best-selling album in the history of jazz music. On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the United States House of Representatives to recognize and commemorate the album on its 50th anniversary. The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music." It passed, unanimously, with a vote of 409–0 on December 15, 2009.

As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. Many well-known musicians rose to prominence as members of Davis's ensembles, including saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, Keith Jarrett and Kei Akagi; guitarists John McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster. Miles' influence on the people who played with him has been described by music writer and author Christopher Smith as follows:

Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary. [...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance.
His approach, owing largely to the African American performance tradition that focused on individual expression, emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz musicians.

In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music. Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. In 2010, Moldejazz premiered a play called Driving Miles, which focused on a landmark concert Davis performed in Molde, Norway, in 1984.

Miles: The New Miles Davis Quintet is an album by jazz musician Miles Davis released in 1956 on Prestige Records, catalogue 7014. It is the debut record by the Miles Davis Quintet, and generally known by the original title Miles as indicated on the cover.

In the summer of 1955, Davis performed a noted set at the Newport Jazz Festival, and had been approached by Columbia Records executive George Avakian, offering a contract with the label if he could form a regular band. Davis assembled his first regular quintet to meet a commitment at the Café Bohemia in July, by September the line-up stabilizing to John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.

Still under contract to Prestige, an arrangement dating back to January of 1951, Davis convinced Avakian to buy out his contract with Prestige. The terms of the deal between Avakian and Weinstock allowed Davis to record for Columbia but not release any of the material until Davis fulfilled his remaining duty to Prestige. Davis took the quintet into the Columbia's studio first, on October 26, to record titles that would be issued on Round About Midnight. Three weeks later the quintet entered the studio of Rudy Van Gelder in Hackensack, New Jersey, yielding the six titles for this album.

The songs were a mix of pop and jazz standards, items familiar enough to present few problems to the fledgling band, given the Prestige policy of offering no compensation for rehearsal time. "The Theme" would continue to be Davis' standard set closer, and Coltrane does not play on "There Is No Greater Love."

Recorded at the Van Gelder Studio, Hackensack, New Jersey on November 16, 1955. Originally released on Prestige (7014). Includes liner notes by Ira Gitler and Robert Levin. Digitally remastered by Steve Hoffman. 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, Miles had signed with recording giant Columbia, had the most influential band in all of jazz (which would spawn the most charismatic musician of the 1960s), and was well on his way towards international stardom. Listen to THE MUSINGS OF MILES, an earlier quartet 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 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 Philly Joe 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) then 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 lush, expansive style Miles favored. (Listen to his discreetly rocking, two-handed intro to "Just Squeeze Me," or his rhapsodic responses to Miles' little boyish Harmon mute on "There Is No Greater Love.") And John Coltrane...in whose restless, searching, turbulent lines Miles found his perfect foil (much as the trumpeter's taciturn, introspective lyricism complemented Charlie Parker's voluminous harmonic flights). On "S'Posin'" Trane follows Miles lilting, floating mute work by getting right on top of the beat with relentless syncopations. On the vaudevillian airs of "The Theme" we find him answering Miles' coy, 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.

GOLD CD - DCC RECORDINGS // PRESTIGE series CD item - this item is FACTORY SEALED and in MINT condition
GOLD CD was made in the USA (possibly Japan - can’t tell for certain until the item is opened)
GOLD CD pressing is in MONO
GOLD CD pressed and Issued by DCC RECORDINGS under license from PRESTIGE
GOLD CD issued in: 1996
GOLD CD Record Catalog Number: GZS 1100

Featured on this GOLD CD -

MILES DAVIS

Performers on this disc include -
Miles Davis – trumpet, bandleader
Paul Chambers – double bass
John Coltrane – tenor saxophone
Red Garland – piano
Philly Joe Jones – drums

GOLD CD Title -
MILES - THE NEW MILES DAVIS QUINTET

Track Listings -
1. Just Squeeze Me
2. There Is No Greater Love
3. How Am I to Know?
4. S'Posin
5. Theme, The
6. Stablemates

CONDITION Details:
The GOLD CD is from the very rare DCC Recordings series of audiophile CD titles.

GOLD CD re-mastered by Steve Hoffman
Pictures with this listing are of the actual item
Jewel Case IS the original flip up type
This item DOES come with the paper outer slip cover - it is complete and near perfect.
The original LP was issued on the PRESTIGE record label, in 1956 (recordings are from 1955, in MONO)

The GOLD CD, Jewel Case and INSERTS are all in MINT condition. The CD is actually FACTORY SEALED!!

The GOLD CD is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Don't let this rarity slip by!!!

  • Item #: DCC GOLD CD GZS 1100 SS
  • Manufacturer: DCC - Digital Compact Classics Recordings
  • Condition: New

DCC GOLD CD GZS 1100: The NEW MILES DAVIS Quintet - OOP 1996 SS

Price: $224.99
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