Details zum Tracking finden Sie in der Again and again, in music and in life, Miles broke with convention—and when he thought his work came to represent a new convention, he changed it again. Ursprünglich wurden einige der Kompositionen, die an zwei Studioterminen 1949 und an einem 1950 aufgenommen wurden, von Capitol Records auf Schellackplatten veröffentlicht; diese acht Stücke waren bereits 1954 auf einer Vinyl-EP der Classics-in-Jazz-Reihe zusammengefasst worden. Birth of the Cool ist ein Jazzalbum von Miles Davis, das am Übergang vom Bebop zum Cool Jazz steht. Subsequent releases have been based on this last arrangement. Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in February or March 1957 on Capitol Records. [1] 1971 wurde bei einer Neuauflage der LP als zwölfter Titel „Darn That Dream“ (mit Sänger Kenny Hagood) hinzugefügt, der seitdem in allen weiteren Auflagen enthalten ist. [16][14] Thornhill's band gave Evans the opportunity to try his hand at arranging small-group bebop tunes for big band, a practice few others were participating in. It made him a star—it also made him incredibly difficult to live with, for the people who loved him most. [10], Die Musikzeitschrift Jazzwise nahm das Album in die Liste "The 100 Jazz Albums That Shook the World" auf. [36] The album was included in the book 1001 Albums You Must Hear Before You Die. Web. [16][19] According to Evans: Miles had liked some of what Gerry and I had written for Claude. and "Darn That Dream" only). Full access to Davis' estate provides rare footage and photos, outtakes from recording sessions and new interviews. Instead, Davis signed with the new jazz specialty record label, Prestige, for whom he would record his first album in 1951.[42]. In the short term the reaction to the band was little to none,[32] but in the long term the recordings' effects have been great and lasting. The tracks from the January 1949 session were released soon after recording as two pairs of singles. Summary: Miles Davis: Horn player, bandleader, innovator. From 1944 to 1948, Miles Davis played in Charlie Parker's quintet. Instead, when the doc focuses on this period (after a fine summary of Davis' youth and early musical experiences), its emphasis is more social than musicological. Der Dokumentarfilm "Miles Davis: Birth Of The Cool" will Werk und Leben des Jazzmusikers in knapp zwei Kinostunden erzählen. [11], In der CD Complete Birth of the Cool (1998) sind neben den klanglich überarbeiteten Originaltiteln weitere Aufnahmen des Nonetts vom 4. und 18. Diese Seite wurde zuletzt am 6. Arrangements by the composer unless otherwise noted. The band did not return to the studio again until March 9, 1950. The instrumentation for the Miles session was caused by the fact that this was the smallest number of instruments that could get the sound and still express all the harmonies the Thornhill band used. January 21, 1949 – "Jeru", "Move", "Godchild", "Budo" (matrix numbers: 3395, 3396, 3397, 3398), April 22, 1949 – "Venus De Milo", "Rouge", "Boplicity", "Israel" (matrix numbers: 3764, 3765, 3766, 3767), March 9, 1950 – "Deception", "Rocker", "Moon Dreams", "Darn That Dream" (matrix numbers: 4346, 4347, 4348, 4349), All tracks recorded at WOR Studios, New York, New York, The Complete Birth of the Cool: The Live Sessions, *sales figures based on certification alone^shipments figures based on certification alone, "Miles: the Autobiography", Miles Davis with Quincy Troupe, 1989, pg.105, Crease, Stephanie. Die Musiker spielten mit leichtem, vibratolosem Ton. 2, Live at the Fillmore East, March 7, 1970: It's About that Time, Black Beauty: Miles Davis at Fillmore West, Miles at the Fillmore – Miles Davis 1970: The Bootleg Series Vol. The very embodiment of cool. In der Dokumentation Miles Davis: Birth of the Cool … Editors: Lewis Erskine, Natasha Livia Mottola, Yusuf Kapadia. Miles Davis: Birth of the Cool ist ein Dokumentarfilm aus dem Jahr 2019 von Stanley Nelson.. Featuring never-before-seen archival footage, studio outtakes, and rare photos, Miles Davis: Birth of the Cool tells the story of a … 1949 spielten sie auch im Clique Club. 6, In Person: At the Blackhawk, San Francisco, The Complete Live at the Plugged Nickel 1965, Live in Europe 1967: The Bootleg Series Vol. As the title suggests, these recordings are considered seminal in the history of cool jazz. They brought down the tempos of their music ... they adopted a more lyrical approach to improvisation ...[8]. The man with a sound so beautiful it could break your heart. Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. The March 1950 date featured Mulligan's "Darn That Dream", "Rocker", and "Deception", and Evans's arrangement of Chummy MacGregor's "Moon Dreams", which had been released in a jazz arrangement by Glenn Miller and the AAF Band in 1944 on V-Disc.
Privacy Center. Carlos Santana praises Davis for having the "courage to play a ballad" in a genre that prized Charlie Parker-like dexterity. Kenny Clarke) auch ein Waldhorn (teilweise Gunther Schuller) und eine Tuba (Bill Barber) als Melodieinstrument.
p. 86, "Miles: The Autobiography", Miles Davis with Quincy Troupe, 1989, pg.140, Parker's Sessions for the Savoy and Dial labels, "Pete Rugolo obituary: Jazz composer, arranger wrote TV themes", Acclaimed Music – Classics in Jazz/Birth of the Cool, http://www.oxfordmusiconline.com/subscriber/article/grove/music/07310?q=miles+davis&search=quick&pos=1&_start=1#firsthit, "The Miles Davis Nonet Manuscripts Lost and Found: From Manuscript to Publication", "British album certifications – Miles Davis – Doo Bop", "50 Great Moments in Jazz: Birth of the Cool", Miles Davis at Newport 1955–1975: The Bootleg Series Vol. Miles Davis: Horn player, bandleader, innovator. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long. [14] Thornhill has also been credited with launching the move away from call and response between sections and the move towards unison harmonies.[22]. Web. [3] Die Bläser wurden in den Arrangements häufig als selbständig geführte Stimmen eingesetzt. [5] By 1948, Davis had three years of bebop playing under his belt, but he struggled to match the speed and ranges of the likes of Gillespie and Parker, choosing instead to play in the mid range of his instrument. Miles Davis: Birth of the Cool. Besuchen Sie zeit.de wie gewohnt mit Werbung und Tracking. Starring: Miles Davis, Carl Lumbly. More From Miles Davis: Birth of the Cool (12) Even Fame Could Not Protect Miles Davis from Police Violence. Greedy Captain Fishbeard is stealing everybody's Halloween treats for himself, but StarBeam and Boost have some tricks up their sleeves to save the day. "Gil Evans: Forever Cool. [6] In 1948, Davis, becoming increasingly concerned about growing tensions within the Parker quintet, left the group and began looking for a new band to work with.[7].
Keeping an open door policy, Evans' apartment came to host many of the young jazz artists of late-1940s New York. [21] As arrangers, both Evans and Mulligan gave Thornhill credit for crafting their sound. Traten sie aber zusammen, so wurden sie parallel geführt, aber in sechsstimmigen, damals im Jazz ungewöhnlichen Akkorden. They explored new instrumental textures, preferring to blend the voices of the horns like a choir rather than pit them against each other as the big bands had traditionally done with their thrusting and parrying sections. Ihre Zustimmung ist jederzeit widerrufbar. The documentary Miles Davis: Birth of the Cool, by the African-American director Stanley Nelson, offers an amalgamation of good cinema and formidable music. Musicians, scholars, family and friends reflect on the life of jazzer Miles Davis to reveal the man behind the legend. Aus Ihrer Nutzung können Erkenntnisse und Daten über Zielgruppen abgeleitet und zur Produktentwicklung (z.B. Featuring never-before-seen archival footage, studio outtakes, and rare photos, Miles Davis: Birth of the Cool tells the story … [1] [2] [3] It compiles eleven tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950. In 1954, after persuasion from Rugolo, Capitol released eight of the tracks on a 10" record titled Classics in Jazz—Miles Davis (H-459). © 2020 The Hollywood Reporter. Nelson Boyd) und Schlagzeug (Max Roach bzw. [12] Gerry Mulligan's "Jeru" demonstrates another Nonet hallmark: the use of a unison sound and rich harmony throughout the horns. Birth of the Cool - The Rudy Van Gelder Edition beim Label Blue Note Records. [37] Birth of the Cool was voted number 349 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000). Two years after the murder of his son and father, a retired hitman sets in motion a carefully crafted revenge plan against the killer: his own brother. Ausgehend von der für Claude Thornhill geschaffenen Ästhetik, die auf dieses Orchester übertragen wurde, entstand eine eigentümlich introvertiert anmutende Musik.
Das Capitol-Orchestra vereinte einerseits afroamerikanische Musiker, die vom Bebop kamen, und andererseits weiße Musiker, die aus der Big Band von Claude Thornhill stammten.
Mulligan recalls Thornhill teaching him "the greatest lesson in dynamics, the art of underblowing." The film contains more rare footage and photos than can really be digested in two hours, and much is left off the table; most fans will wish this very enjoyable portrait lasted 10 or 12 hours, at a minimum. The second recording date came three months later on April 22, 1949 with Davis filling in for Fats Navarro in Tadd Dameron's band with Charlie Parker during the interim. An example of this can be heard on the John Lewis arrangement "Move". [23] The recordings of the nonet from its time at the Royal Roost were released as Cool Boppin.
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Seeing its title on a festival schedule, a jazz fan might reasonably expect a more tightly focused film — one exploring the late 1940s and early '50s period when the trumpeter made the music (some of it gathered later on an LP titled Birth of the Cool) that would help define "cool jazz," an evolution of bebop. Elegant, intellectual, vain. The band saw more substitutions, with Gunther Schuller on French horn and Al McKibbon on bass. Watch all you want for free. [16][17][18] Out of Thornhill's band came Lee Konitz, Gerry Mulligan, and Gil Evans, Miles Davis calling the Konitz-Mulligan-Evans incarnation "the greatest band" only after "the Billy Eckstine band with Bird. Januar 2020 um 08:12 Uhr bearbeitet. The Davis of this period owed much to another musician not interviewed here — Betty Mabry, who was married to him for one year and would make pungent funk records under the name Betty Davis. "[32] Though he did not recognize the record as jazz, Sargeant acknowledged that he found the record "charming and exciting". Davis' first records released under his own name were recorded with Parker's band, in 1947, and were more arranged and rehearsed than Parker's usual approach to recording. Davis did not call the band for any rehearsals or live performances between the second and third recording dates. Venue: Sundance Film Festival (Documentary Premieres) So konnten eigenartig schwebende, dunkle Sounds entstehen. <, Gioia, "The Birth and Death of the Cool".
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