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Pianist Walter Bishop, bassist Tommy Potter and drummer Art Blakey, thatĬontained his compositions Dig and Denial,ĭavis retired from the scenes to kick his heroin additions. This approach dramatically altered theīalance between the improviser and the arranger.ĭig (october 1951), his pioneering album in the hard-bop style with a sextetįeaturing alto saxophonist Jackie McLean, tenor saxophonist Sonny Rollins, Tonal qualities without relying on speed, an idea that he had already pioneered Mulligan's Venus De Milo (april 1949) and Jeru (january 1949), Lewis' Rouge (april 1949), andĭavis challenged the fundamental premises of bebop by creating music of haunting Was a self-defining manifesto, and became one of the mostįeaturing Gunther Schuller on French horn, the album included Originally released as 78 RPM singles and 45 RPM EPs between 19,Īnd eventually released as a 12" LP in 1957, The nonet's album, Birth of the Cool (september 1948), Were Gil Evans' most daring experiments to date. Rediscovered the tuba, indulged in the French horn, and removed all barrierīetween different instrumental sections, thus further upsetting the traditionalīalance of power within the jazz orchestra.Ĭhalmers MacGregor's Moon Dreams (september 1948) and Cleo Henry'sīoplicity (april 1949), with James "J.J." Johnson on trombone, John Lewis on piano, Max Roach on drums, trombone, French Horn, tuba, bass) (two whites on saxophones, Lee Konitz on alto and Gerry Mulligan on baritone,
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Had been doing with Claude Thornhill's orchestra: emphasize the timbric Up with white arrangers Gil Evans and Gerry Mulligan, who simply continued what they Left Charlie Parker's band in 1948 and teamed Miles Davis and The Modern Jazz Giants (1954), 6.5/10 ( Copyright © 2006 Piero Scaruffi | Terms of use) Miles Davis: biography, discography, review, ratings