Jazz post-bop: «Mood» [ESP/ENG]

In 1945 Miles Davis made his first recording backing singer Rubberlegs Williams and then replaced Dizzy Gillespie in the alto saxophonist and father of bebop Charlie Parker’s quintet. Parker chose Davis, who was the stylistic polar opposite of Gillespie, because he preferred trumpeters who contrasted with his energetic improvisations, as later Chet Baker, Kenny Dorham and Red Rodney did, and who had a melodic, reflective sound. Davis’ early performances were sometimes shy and lacked the balance and clarity of Fats Navarro or the fireworks of Gillespie, but with his unique, intimate tone and fertile musical imagination he countered his technical shortcomings. That same year he participated in several recordings as part of Parker’s Reboppers group, such as “Now’s the Time”, with whose solo he anticipated cool jazz, and “Billie’s Bounce”.

Fuente

Later, Davis joined alto saxophonist Benny Carter’s big band and traveled to Los Angeles, where Parker and Gillespie were playing at Billy Berg’s club. He also recorded with Parker on several tracks, including “Moose the Mooche”, “Yardbird Suite” and “Ornithology”, for the Dial label. One day, Parker suffered a nervous breakdown due to the excesses with drugs and the bad life he was leading that forced him to stay at the Camarillo State Mental Hospital for six months. Meanwhile, Davis played in double bassist Charles Mingus’ group and toured with singer Billy Eckstine’s big band in 1946. He then returned to New York, where he worked with Gillespie’s big band and tenor saxophonist Coleman Hawkins’ All-Stars, and recorded with tenor saxophonist Illinois Jacquet’s big band in 1947.

Fuente

The rhythm section begins to play slowly and then Davis joins in with the mute. There is no theme and the melody Davis presents is basic and mysterious. Next Shorter enters and gently accompanies him below. Davis continues his solo introducing intermittent notes and silences, as if it were a contemplation. Shorter follows him with an equally unusual and surprising discourse, out of the ordinary. The whole composition has an enigmatic character and then Hancock arrives playing in the same reflective and exceptional way. Miles returns accompanied by Shorter to play a short passage and the rhythm section is left alone until the end.

Fuente

Translated with the help of DeepL

Fuente

℗ Columbia Records

Si te ha gustado el tema, quizá querrás escuchar también los anteriores de este álbum:

If you liked the track, you might also want to listen to the previous ones on this album:

• «Agitation» y «Iris»
• «Little One» y «R.J.»
• «E.S.P.» y «Eighty-One»