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Product Details
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Track Listings
| 1. Springsville |
| 2. The Maids of Cadiz |
| 3. The Duke |
| 4. My Ship |
| 5. Miles Ahead |
| 6. Blues for Pablo |
| 7. New Rhumba |
| 8. The Meaning of the Blues |
| 9. Lament |
| 10. I Don't Wanna Be Kissed (By Anyone But...) |
| 11. Springsville |
| 12. Blues for Pablo |
| 13. Meaning of the Blues/Lament |
| 14. I Don't Wanna Be Kissed |
Product Description
Amazon.co.jp
1957年録音の今作は、マイルス・デイヴィスとアレンジャーのギル・エバンスがColumbiaに残した最初の作品だ。1949年の『Birth of the Cool』を皮切りに何枚かの作品を生んだ2人が再び手を組んだ1枚。おそらくジャズのソロイストとアレンジャーのコンビという点では、この2人ほど重要な関係はなかった。エバンスはデリベスの「The Maids of Cadiz」のような新鮮な題材を見つけてきては、繊細なボイシングと斬新なアレンジで、デイヴィスのソロを引き立てるのがうまかった。エバンスのアイデアすべてが、デイヴィスの絶妙の間の取り方や刺激的なサウンドを支えていたのだ。複雑なアレンジを見事に昇華させ（1曲目のジョン・キャリシ作の「Springsville」はその典型）、デイヴィスのソロとチューバやクラリネットのコントラストを作り出している。また熱いスペイン風「Blues for Pablo」は、後に発表された『Sketches of Spain』の序曲とも言うべき雰囲気だ。(Stuart Broomer, Amazon.com)
From Amazon.com
These 1957 recordings were the first of Miles Davis's collaborations with arranger Gil Evans for Columbia, renewing a relationship that had begun with the Birth of the Cool sessions in 1949. It was perhaps the most important relationship ever forged between a jazz soloist and an arranger, for Evans excelled at finding fresh material (like Delibes's "The Maids of Cadiz") and then adding subtle voicings and blending unusual instruments to highlight Davis's central voice. Everything Evans does enhances the trumpeter's keen sense of space and his evocative sound. He could construct complex arrangements and make them fly (as on the opening "Springsville," by John Carisi), contrast Davis's voice with tuba or bass clarinet, or create the longing, Spanish-inflected "Blues for Pablo," a precursor to their later Sketches of Spain. --Stuart Broomer
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