Miles Davis Quintet – Steamin’ With The Miles Davis Quintet
Steamin’ with the Miles Davis Quintet is an album by the Miles Davis Quintet, released in 1961 through Prestige Records. The recording was made at two sessions on May 11 and October 26, 1956, that produced four albums: Steamin, Relaxin’ with The Miles Davis Quintet, Workin’ with The Miles Davis Quintet and Cookin’ with the Miles Davis Quintet.
Reception
The AllMusic review by Lindsay Planer awarded the album 5 stars stating “Although there is no original material on Steamin’, it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.”
Personnel
Miles Davis – trumpet
John Coltrane – tenor saxophone
Red Garland – piano
Paul Chambers – bass
Philly Joe Jones – drums
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Landmark jazz album that revolutionized improvisation with its complex harmonic structure and rapid chord changes. The title track showcases Coltrane’s legendary technique, introducing the now-famous "Coltrane changes" that challenged and inspired generations of musicians. Tracks like Naima add a lyrical, emotional depth, balancing technical brilliance with soulful expression. A must-listen for any jazz enthusiast, this album cemented Coltrane’s status as one of the greatest saxophonists of all time.
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The greatest contribution jazz has made in music has been to replace the role of the conductor with a member of the ensemble who, instead of waving his arms to keep time and convey mood, is an active member of the musical statement. That person is the drummer.
John William Coltrane (September 23, 1926 – July 17, 1967) was a jazz saxophonist and composer. Coletrane worked in bebop and hard bop early in his career. He later helped bring the style of free jazz and avant-garde. Towards the end of his long career, he experimented with different sounds and styles. During that experimental time, he made albums that dealt with spirituality and abstract viewpoints in music. When he was in that period, he released one of my favorite albums, Interstellar Space. He worked as a sideman with jazz greats like Miles Davis and Thelonious Monk. He has a very distinct sound that sets him apart from other musicians. Coltrane influenced several musicians and remains one of the most significant saxophonists in music history.
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I picked up this 1959 mono copy of Miles Davis’ “Jazz Track” the other day and bought it right off the turntable at a shop where it was playing. I had instantly fallen in love with the first track on side two, “On Green Dolphin Street,” which finds him trading off solos with John Coltrane. Like all infatuations in life, however, that flush of excitement made me overlook a major flaw—namely the massive piece of old-school masking tape on the cover. I spent a good 20 minutes at home anxiously peeling it off with the aid of a hair dryer set on “incinerate” so that it would melt and reactive the long-dried glue underneath the tape. It worked, but the process was nerve wracking!
Ronnie Cuber & Gary Smulyan – Tough Baritones (Steeplechase)
Tenor tandems have a vaunted and venerated stature in jazz lore. An annotated list of notable encounters could swiftly fill the word count of this review without even really scratching the surface. Baritone tandems are rarified by comparison and commonly include a third horn in the equation. John Coltrane’s Dakar is a classic example and the fact that it was originally a session co-led by baritonists Pepper Adams and Cecil Payne, repackaged to capitalize on the tenorist’s ascendant cachet, helpfully proves the point. Tough Baritones does its modest part to remedy and rectify this historical tendency by placing emphasis justly on two of the most talented purveyors of the burly horn currently in action. Ronnie Cuber has the superior years and experience, but Gary Smulyan is every bit his equal when it comes to bringing out the best in the instrument.
Title and principals inherently make any rhythm section something of an afterthought, but its testament to the co-leader’s confidence and prowess that they opt for one of such excellence. Gary Versace and bassist Jay Anderson are Steeplechase regulars, the former balancing both leader and sideman sessions while the latter is arguably the house bassist for the imprint. Versace plays piano in this context but is also a formidable organist. Jason Tiemann’s fewer credits belie the credible versatility he brings to the cans. Cuber and Smulyan lean into the blowing session amiability of the date with a program dialed into hardbop precedent. “Blowing the Blues Away” is the first of four Horace Silver covers with both baritones belting out of the gate before Cuber bustles to the front for first solo honors.
Red Prysock’s “That’s a Groovy Thing” continues the cerulean sentiments with Cuber again firing off the first salvo after a swinging call and response opening section. Smulyan answers with a throaty rebuttal and both players wear the influence of the aforementioned Adams proudly and prominently. Versace is third in line as soloist but keeps his improvisations within the climates dictated by the horns. Anderson and Tiemann occupy the ensemble passages with equal parts poise and passion. What they forgo in the way of regular individual statements is compensated for by conscientious attention to the greater good. That diligence to utility frees up the co-leaders to concentrate on spirited conversations, as with the angular explosions that surround a rendering of Monk’s “Well You Needn’t.” Freddie Hubbard’s “Little Sunflower” demonstrates the duo’s dexterity with a ballad line, while Cuber’s closing “Intervals” test the team’s mettle on a devious original. Safe to say that the baritone tandem lineage has a new benchmark.
