Miles Plays for Lovers

Miles' version of 'Round Midnight will put you in a black and white French movie. You can smell the cigarattes, hear the rain, taste the booze, and see The Girl.

This is Miles in the 50s.


From Concord:
One of the most haunting sounds to emerge from the 20th century emanated from Miles Davis’s trumpet. Whether the bell of that horn was open or filled by his trademark Harmon mute, Davis (1926-1991) soloed with surpassing beauty. From 1953 to 1956 he established himself as one of the preeminent balladeers; it was also during this period that he formed his first great quintet, featuring a rapidly-developing tenor saxophonist named John Coltrane. On “’Round Midnight,” “It Never Entered My Mind,” and “My Funny Valentine” (which Coltrane sat out), Davis’s band brought new depth and intimacy to love songs, with the trumpeter’s restrained lyricism offset by Coltrane’s voluble approach. Elsewhere, Davis is joined by such giants as Horace Silver, Charles Mingus (co-composer, with Miles, of the moody blues “Smooch”), and Elvin Jones. Here is a great artist playing for lovers—and offering nary a sentimental note.



From AMG:
Miles Davis Plays for Lovers collects a number of ballads from the trumpeter's mid-'50s albums to create a lovely late-night disc for friends, night owls, and couples in love. The core band for three-quarters of the album consists of trumpeter Davis, tenor John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. There's an elegant beauty to pieces like "My Funny Valentine" and "You're My Everything," featuring the rhythm section's spare, tasteful backdrop and the carefully chosen notes of Davis and Coltrane's horns. Even when this lineup shifts occasionally, the low-light mood remains. Bassist Charles Mingus lends a hand on "Smooch" and "Easy Living," while pianist Horace Silver chimes in on "You Don't Know What Love Is." There are fabulous takes of "'Round Midnight," originally recorded for Miles Davis and the Modern Jazz Giants, and the peaceful, melancholy closer, "When I Fall in Love." Davis' refined trumpet style, with its full-bodied notes and use of quiet spaces, has reached an early peak here. One also notices the intricate ensemble work by these various groups, with each musician playing just the right number of notes. Plays for Lovers is an exquisite disc that will also serve as a fine introduction to Davis' 1953-1956 work.