1958年発売 マイルス・デイヴィス『マイルストーンズ』をモービル・フィデリティ社のSACDハイブリッド盤で復刻

第1期黄金メンバーに キャノンボール・アダレイが加わった 『カインド・オブ・ブルー』とともに モード手法を確立した金字塔的作品。ジョン・コルトレーンやレッド・ガーランドも急成長を示し、マイルスのトランペットも絶好調。非の打ち所のない、大迫力のサウンドが全編にわたって繰り広げられる。親しみやすいテーマ・メロディ、音数を極限までそぎ落としたマイルスのプレイが痛快だ。

パーソネル: マイルス・デイビス(tp) キャノンボール・アダレイ(as) ジョン・コルトレーン(ts) レッド・ガーランド(p) ポール・チェンバース(b)フィリー・ジョー・ジョーンズ(ds)

発売・販売元 提供資料 （2023/08/17）

What is immedately noticeable upon listening to Miles Davis' classic first -- and only -- album with his original sextet is how deep the blues presence is on it. Though it's true that the album's title cut is rightfully credited with introducing modalism into jazz, and defining Davis' music for years to come, it is the sole selection of its kind on the record. The rest is all blues in any flavor you wish you call your own. For starters, there's the steaming bebop blues of "Dr. Jackle," recorded in 1955 for a Prestige session with Jackie McLean. Davis is still in his role as a trumpet master, showing a muscularity of tone that reveals something more akin to Roy Eldridge or Louis Armstrong than Dizzy or Fats Navarro. The tempo is furious, as all the members of the sextet solo except for Jones. The saxophonists trade choruses and come off sounding like mirrored images of one another in the slower, post-bop blues that is "Sid's Ahead," which is followed by "Two Bass Hit," written by Dizzy and John Lewis. It's an off-kilter blues with a wide middle section, no doubt for Lewis' piano to fill. But then comes "Milestones" with its modal round and interval, where harmony is constructed from the center up. It is a memorable tune for not only its structure and how it would inform not only Davis' own music, but jazz in general for the next seven years. The album's closer is Monk's "Straight, No Chaser," which became a signature tune for the sextet even when Garland and Jones left to be replaced by Bill Evans and Jimmy Cobb, and later Evans by Wynton Kelly. ~ Thom Jurek

Rovi