Miles Davis: February 4th, 1958—in pictures

On Tuesday, February 4th, 1958, at Columbia Records' studio on Manhattan's 30th St., a session was booked for the afternoon. It lasted from 2 to 6.30 pm, with Harry "Chappy" Chapman, an in-house veteran going back to the early 1940s, manning the control room. 

The musicians and producer involved may have not known it at the time, but this was to be the first of two momentous occasions: this session and the following one, on March 4, were to be the last produced for Miles Davis by George Avakian, who had put him in the map by signing him to Columbia, the label he ended up staying with for thirty years, between 1955 and 1985. 

These sessions on February and March 4 would also be the last ones by Davis's "first quintet", with Red Garland on piano and "Philly" Joe Jones on drums. Together, they'd form Milestones, a, er, milestone in Miles Davis's career, which may have seemed unsurpassable at the time. Not for long, though: his next small group album would be Kind of Blue.

Cover of Milestones. Photograph by Dennis Stock.

Random Dameronia

Tadd Dameron, c. 1946-48
(Bill Gottlieb/LoC)

Jazz has improvisation at its core, true, but ignoring composition and arranging would be a gross oversimplification and a mis-representation of the music. One of the great composers in its great tradition was Tadd Dameron, born on a day like this in 1917.

This is just a random sample of his compositions.

Kenny Clarke's centenary

Kenny Clarke (source: drummercafe.com)

Kenny Clarke, born one hundred years ago today, is one of the great drummers in the history of jazz. Any reference text will tell you about his role in the development of be-bop, his bomb-dropping, his shifting of the rhythm from the hi-hat to the ride cymbal and all that, which is correct and just fine, but there's much more.

Like Don Byas, he's one of those musicians whose place in posterity has been diminished because they left the US, the "out of sight, out of mind" principle. Before that, he played in the major leagues, he was part of the original line-up of the Modern Jazz Quartet (the rhythm section of Dizzy Gillespie's big band), with whom he recorded this

which seems to be the basis for what Miles Davis recorded as "Two Bass Hit". Interestingly, in the MJQ's version Milt Jackson quotes Clarke's "Epistrophy", a tune he co-signed with Thelonious Monk with origins in Minton's and the sessions with Charlie Christian (the theme was figured out by Clarke while playing some phrases Christian taught him on the ukulele).

A favourite piece of Clarke is the famous recording of "Topsy" from Minton's, with Christian on guitar, Monk on piano, and Nick Fenton on bass. Clarke's time, swing, and punctuation are flawless, but do listen for the way he interacts with Christian. That's peerless, on the spot creativity.