THE MUSINGS OF MILES [AKA: THE BEGINNING]

This is early MILES DAVIS and for the pure jazz fans

Although I wouldn't call THE MUSINGS OF MILES the most essential of releases by one of the greatest musical entities of the jazz world, namely MILES DAVIS, I really love to dig deep into the vaults to hear the evolution of his music since he was one of the greatest innovators of constantly changing it up from one album to the next. At this point in his career he was not quite as eclectic as he would become a few short years down the road but at this juncture in his still fairly nascent career he still offers some well played bop of the mid-50s which finds him developing his own techniques as well as worshiping his own heroes in the form of Dizzy Gillespie on his version of "A Night In Tunisia" as well as "I See Your Face Before Me" and "A Gal In Calico" by Arthur Schwartz. In fact only the two tracks "I Didn't" and "Green Haze" were written by DAVIS.

This album finds him at the point before he would form his first classic quintet which would be created shortly after the recording of this album and this is one of the few albums where MILES is the only horn player. It is he alone on trumpet delivering the one and only horn section accompanied by Oscar Pettiford on bass, Red Garland on piano and Philly Joe Jones on drums. For this reason MILES stands out more than on his other albums where he usually trades off and weaves the brass sections together. The music here is a mix of mid-tempo bop jazz alternating with slower numbers taking you on a fairly standard jazz ride of the era but with MILES DAVIS even a standard ride has a slight edge to it that keeps my attention. Also this is one of the earliest of recordings that has found a home on a the somewhat recent Rudy Van Gelder Remasters. Although this is hardly the peak of his lengthy and diverse output I still find this a wonderful listen for its stripped down quartet sound that allows MILES to steal the limelight as sole horn master. 3.5 rounded up

Melodic and inviting music. A quartet of Miles, pianist Red Garland, bassist Oscar Pettiford and drummer Philly Joe Jones. This is a young Miles who impresses the audience technically and draws in the audience with strong melody and affable swinging.

"Will You Still Be Mine?" begins with the perky, punctuated melody, then a solo by Miles that keeps things whimsical. Garland impresses with a rhythmically precise, immaculately articulated breeze of a solo. Miles pushes himself in the second, delving into quick, winding passagework over inventive and dynamic comping from the other three. A nice ride.

"I See Your Face Before Me" is a smooth ballad. Garland begins with a prelude of thick, impressionistic chording. Miles' mute seeks to seduce with a whisper in the main melody. These opening passages are magical. Garland's solo break continues the chordal explorations of the intro. Miles ends with more understated mute playing.

"I Didn't" is a somewhat obnoxious vamp on two chords in a minor-second relationship. Jones solos to intro and things settle into their IMO unpleasant groove. Miles buzzes like a bee. Garland's solo doesn't manage to do much with the vamp until some deft chording over brushes at the end. Miles' second solo leaves room for a couple drum breaks from Jones. The least successful track on the album.

"A Gal in Calico" is an audience-friendly number with cheeky muted playing by Miles.

"A Night in Tunisia" gives Pettiford an opening spotlight while Jones tinkles bell-clad drumsticks. The trumpet entry is harmonically confusing and perfectly stages Garland's comping wonderfully quizzical and mischievous comping to follow. The drum breaks and interaction at the end of the tune are maybe the most impressive moment on the album.

To end, a good-natured cool blues called "Green Haze" keeps the mood light. Garland lays his lush chording over the opening stretch. Miles solos unmuted with eloquence.

There are signs of exploration in the quirky harmonies of "I Didn't" and "A Night in Tunisia" here. But for the most part, this album treads safe ground, content with laying a foundation that qualifies the players as big talents to watch out for. The clear and well-staged recording is a strong point.