Album Review: Miles Davis' 'Round About Midnight
Miles Davis' 'Round About Midnight, released in 1957, is often heralded as one of the most essential jazz albums of the 1950s. This record marks Davis’ first album with Columbia Records and features his first great quintet, which included John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Together, this ensemble created an album that not only showcased the technical prowess of its members but also captured the emotional depth and innovative spirit that characterized Davis' approach to jazz.
Track-by-Track Breakdown
"'Round Midnight"
The album opens with its most famous track, a rendition of Thelonious Monk's "'Round Midnight." Davis' interpretation of this classic ballad is both haunting and lyrical. His muted trumpet introduces the melody with a sense of melancholy and introspection, setting the tone for the entire album. Coltrane’s solo is rich and filled with the searching, angular lines that he would become famous for, while Garland’s piano provides a delicate, understated accompaniment that complements Davis' playing perfectly.
"Ah-Leu-Cha"
The second track shifts gears into a lively bebop tune composed by Charlie Parker. "Ah-Leu-Cha" is a brisk, up-tempo number that allows the quintet to demonstrate their technical mastery and tight ensemble playing. The interplay between Davis and Coltrane is particularly striking, with each musician pushing the other to new heights. The rhythm section, led by Jones’ dynamic drumming, provides a driving, energetic foundation that propels the track forward.
"All of You"
On this rendition of Cole Porter's "All of You," Davis and his quintet slow things down again, returning to a more relaxed, reflective mood. Davis' muted trumpet leads the way with a cool, laid-back interpretation of the melody. Coltrane’s solo is more restrained than usual, focusing on the lyrical qualities of the tune rather than his more typical exploratory approach. This track showcases Davis' ability to convey deep emotion with economy and grace.
"Bye Bye Blackbird"
A standard that would become one of Davis' signature tunes, "Bye Bye Blackbird" is rendered here with a sense of warmth and comfort. Davis’ trumpet is unmuted, giving his tone a more open, airy quality that contrasts with the muted sound of the earlier tracks. Coltrane’s solo is expressive and fluid, navigating the changes with ease. The rhythm section shines here as well, with Garland’s piano and Chambers’ bass providing a smooth, swinging backdrop.
"Tadd's Delight"
This composition by Tadd Dameron offers a return to the bebop roots that were so crucial to Davis’ early career. The track is a fast-paced, intricate number that highlights the technical skill of the quintet. Davis’ solo is concise and focused, while Coltrane delivers a flurry of notes with his trademark intensity. The rhythm section handles the complex changes with aplomb, particularly Jones, whose drumming is both inventive and supportive.
"Dear Old Stockholm"
The album closes with a traditional Swedish folk song, "Dear Old Stockholm," which Davis had previously recorded with Stan Getz. This version is slower and more contemplative, with Davis using his muted trumpet to great effect. Coltrane’s solo is more spacious and melodic, offering a fitting conclusion to the album. The track fades out gently, leaving the listener with a sense of calm and resolution.
Overall Impression
'Round About Midnight is a landmark album in Miles Davis' career and in the history of jazz. It captures a moment of transition for Davis, as he moved from the hard bop of his earlier recordings towards the modal jazz that would define his work in the late 1950s and early 1960s. The album is also significant for its role in establishing Davis as one of the leading figures in jazz, both as a bandleader and as a musician with a unique and influential voice.
One of the album's strengths is the cohesiveness of the quintet. Each member contributes something essential to the overall sound, and there is a palpable sense of chemistry between them. Coltrane, in particular, stands out for his inventive and passionate playing, while Davis' trumpet is the unifying thread that ties everything together. The rhythm section provides a solid foundation, with Garland, Chambers, and Jones all delivering performances that are both technically impressive and deeply musical.
The production quality of the album is also worth noting. Recorded at Columbia’s 30th Street Studio in New York, the sound is clear and well-balanced, with each instrument given space to breathe. The album’s mix emphasizes the clarity and warmth of Davis' trumpet, allowing the listener to fully appreciate the nuances of his playing.
In terms of its place in jazz history, 'Round About Midnight is often seen as a bridge between the bebop era of the 1940s and the more exploratory jazz of the late 1950s and beyond. It contains elements of both styles, blending the fast-paced, intricate melodies of bebop with a more relaxed, introspective approach to ballads and standards. This balance makes the album accessible to a wide audience, while still offering plenty of depth for more seasoned jazz listeners.
Conclusion
'Round About Midnight is a masterpiece that belongs in the collection of any serious jazz enthusiast. It represents a key moment in the evolution of Miles Davis as an artist and offers a snapshot of the incredible talent that made up his first great quintet. The album’s combination of technical brilliance, emotional depth, and innovative spirit makes it one of the most important jazz recordings of its time, and it continues to be a source of inspiration for musicians and listeners alike. Whether you are a long-time fan of Davis or new to his music, 'Round About Midnight is an album that deserves repeated listening and close attention.
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