![]() Sun Ra’s accomplished tenorman John Gilmore was another. Davis – with time running out – shifted his recruiting drive into top gear.Ī number of possibilities topped the list: Julian 'Cannonball' Adderley, the new alto sensation from Tampa was one. Rollins, it later turned out, checked himself into a barred-window facility in Kentucky to kick his own drug addiction. Miles’ chosen tenorman from Harlem – blessed with a free-flowing horn-style and dexterous sense of rhythm – had long been threatening to leave town. And Davis had the foundation of his dream quintet firmly in place: Texas-born Red Garland on piano, young Paul Chambers from Detroit on bass and the explosive (and his former junk-partner) Philly Joe Jones on drums.īut Sonny Rollins had disappeared. His popular comeback had been hailed when, unannounced, he had walked on to the Newport Jazz Festival stage in July and wowed a coterie of America's top critics with a low, laconic solo on 'Round About Midnight'. He was clean and strong, six months after kicking a narcotics habit he described as a ‘four year horror show’. To Miles, an alumnus of Charlie Parker’s groundbreaking bebop quintet, ’group’ meant a rhythm trio plus two horn players, but he still had only one: himself.įor the up-and-coming trumpeter, the preceding summer had been filled with promise. 'If you can get and keep a group together, I will record that group,’ George Avakian, Columbia’s top jazz man, had promised. Columbia Records – the most prestigious and financially generous record company around – was looking over his shoulder, checking on him. He was preparing for his first national tour arranged by a high-powered booking agent. September, 1955: the trumpeter was desperate. Miles’ 1959 classic album Miles Davis – Kind of Blue marking the apex of their collaborative years – stands as the most popular jazz album of all time, loved by a vast, non-partisan spectrum of music consumers. Their absence has only succeeded – like Sinatra, like Presley, like a rarefied few – in intensifying their recognition and elevating their legend. The music they created together during an almost five-year union still resonates, entrances, influences and sells, sells, sells. Their names now command reverence, and rarely induce less than eulogy. When Miles Davis raised his trumpet, he played the sensitive introvert, blowing brief, hushed tones, exuding vulnerability. ![]() John Coltrane, with saxophone in hand, became the unbridled one: long-winded, garrulous. But on the bandstand and on record, they reversed roles. The other was cocksure, demanding running with friends rather than running scales. Offstage, one was quiet, pensive, self-critical to a fault, practising obsessively. Ice and fire they were: a two-horned paradox.
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