Tag: albumoftheweek

Miles Davis, Dig

Album of the week, February 12, 2022.

We’re going to be featuring a lot of Miles Davis over the next while here on #albumoftheweek, so strap in!

Today we’re talking about Dig, which is credited to Miles Davis Featuring Sonny Rollins. I dig Dig — partly for what it is, partly for what it isn’t.

Miles recorded these sessions, which also included two numbers that showed up on the Prestige Records compilation Conception, on October 5, 1951, and they were among the earliest music he released on Prestige. The music wasn’t originally released on a 12” LP, though; it originally came out on two 10” LPs, The New Sound and Blue Period. Thus, this music includes Miles’ first tracks on an LP as a leader (the Birth of the Cool sessions, featuring Davis’ nonet with arranger Gil Evans, wouldn’t be released in compiled form until 1957), and his first full album as a leader for Prestige. It also happens to be Jackie McLean’s jazz recording debut.

It’s also, perhaps more contentiously, the first album to feature Miles’ “first quintet” sound, though it isn’t actually a First Quintet album. The players—McLean and Rollins on saxophones, Walter Bishop Jr. on piano, Tommy Potter on bass, and Art Blakey on drums—have no overlap with the personnel of the group that Miles assembled for Prestige later in the decade. But the hallmarks of the classic “hard bop” sound are all there, including Miles’ relatively open chordal voicings and tempi that were less “cool” than his nonet material but also more relaxed than his earliest recordings with Charlie Parker. Put simply, it just sounds like Miles. And it sounds great.

Unfortunately, the sessions were also recorded while Miles was in the throes of his addiction to heroin, so he wouldn’t maintain the high standard of performance on this record for long. Several uneven records for Prestige followed, and he would even turn to pimping during the next few years, all to make money for his drug habit. He wouldn’t turn to greatness until he left New York for St. Louis and Detroit in 1953, kicked heroin, and found a different way to approach the music. We’ll see the fruit of that approach next time.

My copy of this album is a 2015 mono repressing on translucent blue vinyl, bought at Newbury Comics. I was relatively new to buying records at the time and didn’t realize that the translucent vinyl meant that the optical sensor on my Denon turntable, which tries to automatically select 33 1/3 or 45 RPM based on the size of the record on the turntable, would get confused and refuse to play! I now have a slipmat that eliminates the problem by covering the sensor in the platter, since translucent vinyl is, for better or worse, a common feature of 21st century repressings…

Eddie Costa, Mat Mathews & Don Elliott At Newport

Album of the Week, February 5, 2022

For every Miles, Trane or Monk, there is an Eddie Costa.

Even the most enthusiastic jazz reissue program inevitably falls into a rut. You get the umpteenth repressing of Kind of Blue, you get (admittedly fabulous) live concert recordings from a high school janitor who just happened to be taping Thelonious Monk. But you don’t see too many revivals of interest in players like Eddie Costa, Mat Mathews and Don Elliott.

The Clef Series, issued on Verve in the US and Columbia in the UK, consisted of recordings related to Norman Granz, the impressario behind Verve and Ella Fitzgerald. In this particular case, Granz was making a bet on some of the lesser known musicians that played the afternoon sets at the Newport Jazz Festival in 1957.

Eddie Costa was on his way up then, a rising star on both piano and vibes, and was recording prolifically with his own groups and as sideman for Gigi Gryce, Gunther Schuller, Shelly Manne and others. He appeared on over 100 recordings before being killed in a car crash in 1962.

Mat Mathews, a Dutch jazz accordionist, was less well known, but he still recorded sessions with Herbie Mann, Oscar Pettiford, Kenny Clarke, Art Farmer, Percy Heath, Carmen McRae, Charlie Byrd and others. And Don Elliott was a multi-instrumentalist, recording on trumpet, vibes, mellophone and vocals in his career.

The sessions on this record are loose and swinging, up tempo and genuinely fun to listen to. They are not momentous, save perhaps in featuring an early recording by Don Elliott’s pianist, who had been studying with George Russell: Bill Evans. Evans would record one more album with Elliott before auditioning in early 1958 to replace Red Garland in Miles Davis’s sextet, and the rest is history.

I found this copy, of the first UK pressing, in my local bargain bin in Burlington. When I want to remind myself that jazz is supposed to be fun, I put this on the record player (or cue up the ripped tracks in Apple Music) and listen.

There doesn’t appear to be a full copy of the album anywhere, but here are a few tracks:

Eva Cassidy, Live at Blues Alley

Eva Cassidy, Live at Blues Alley 25th Anniversary Edition

Album of the Week, January 29, 2022

It was the day after she died that I first heard of her.

I was listening to a jazz radio show on a Sunday morning in November 1996, probably driving back from church in McLean, Virginia, and I heard the announcers talking about a local performer who had passed away the previous day. They talked about her voice and how incredible it was to hear it coming from a small blond girl. They talked a lot, and I had to get out of the car before they actually played any of her music. But it made me want to seek her recordings out.

At that time there were two recordings available: an album of R&B duets recorded with the Godfather of Go-Go, Chuck Brown, and her only solo album, a recording called Live at Blues Alley. I opted to pick up the latter. And was blown away. Cassidy’s voice was pure but it was also passionate, vital, and utterly unforgettable. And she brought vulnerability with her to the stage; you could hear it in her voice as she introduced her cover of Buffy St. Marie’s “Tall Trees in Georgia.” What she did to Sting’s “Fields of Gold” helped me to understand the impact an interpreter could have on a song. And her bravura performance on “Cheek to Cheek,” the album’s opener, was alternately jaw-dropping, moving, saucy, and brilliant as her voice pivoted from high belting to subdued precision within the same chorus.

Needless to say, I was hooked. And disappointed; I had found an amazing talent and she was gone. After the Chuck Brown duets, there wasn’t anything else to discover.

Except, of course, there was. In 2000, when I was in grad school, I found Eva by Heart. Then the Songbird compilation, which would be the one that would vault her to posthumous fame. I think her official discography lists six studio albums and three live; not bad for someone who died at the age of 33.

Anyway, I’m writing about her today because the New York Times flagged the 25th anniversary double-vinyl reissue of Live at Blues Alley as one of their best recordings of 2021, and I had to pick it up. And it sounds better than ever, after all these years. Heaven… I’m in heaven.

Bonus video: there is actual footage of one of those two nights at Blues Alley, which appears to include songs from the eventual album release with others that wouldn’t see release until Nightbird, a few years later. You can really get the full impact of her performance here. Enjoy!

Bonus bonus: documentary on the Blues Alley performance and how it came about, with interviews with the surviving band members.

Footnote: I had forgotten I had written about this, some eighteen years ago, but thanks to her rediscovery in the UK, Eva was the #5 top selling musical artist on Amazon in their first ten years of business, beating out the likes of Frank Sinatra, Bob Dylan, and others.