The Miles Davis Quintet was an American jazz band from 1955 to early 1969 l… Read Full Bio ↴The Miles Davis Quintet was an American jazz band from 1955 to early 1969 led by Miles Davis. The quintet underwent frequent personnel changes toward its metamorphosis into a different ensemble in 1969. Most references pertain to two distinct and relatively stable bands: the First Great Quintet from 1955 to 1958; and the Second Great Quintet from late 1964 to early 1969, Davis being the only constant throughout.
In the summer of 1955, Davis performed a noted set at the Newport Jazz Festival, and had been approached by Columbia Records executive George Avakian, offering a contract with the label if he could form a regular band. Davis assembled his first regular quintet to meet a commitment at the Café Bohemia in July with Sonny Rollins on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. By the autumn, Rollins had left to deal with his heroin addiction, and later in the year joined the hard bop quintet led by Clifford Brown and Max Roach.
At the recommendation of drummer Jones, Davis replaced Rollins with John Coltrane, beginning a partnership that would last five years and finalizing the Quintet's first line-up. Expanded to a sextet with the addition of Cannonball Adderley on alto saxophone in 1958, the First Great Quintet was one of the definitive hard bop groups along with the Brown-Roach Quintet and the Jazz Messengers, recording the Columbia albums Round About Midnight, Milestones, and the marathon sessions for Prestige Records resulting in four albums collected on The Legendary Prestige Quintet Sessions.
In mid-1958, Bill Evans replaced Garland on piano and Jimmy Cobb replaced Jones on drums, but Evans only lasted about six months, in turn replaced by Wynton Kelly as 1958 turned into 1959. This group backing Davis, Coltrane, and Adderley, with Evans returning for the recording sessions, recorded Kind of Blue, considered "one of the most important, influential and popular albums in jazz". Adderley left the band in September 1959 to pursue his own career, returning the line-up to a quintet. Coltrane departed in the spring of 1960, and after interim replacements Jimmy Heath and Sonny Stitt, Davis plus Kelly, Chambers, and Cobb continued through 1961 and 1962 with Hank Mobley on tenor sax.
The two rhythm sections from the Davis Quintet also achieved fame on their own. Garland, Chambers, and Jones recorded as a unit on Art Pepper meets The Rhythm Section and Sonny Rollins' Tenor Madness, while Kelly, Chambers, and Cobb toured and recorded as a trio under Kelly's name, in addition to appearing on the albums Coltrane Jazz and the solo debut of Wayne Shorter, as well as backing Wes Montgomery on Full House and Smokin' at the Half Note. The Kelly-Chambers-Cobb trio also backed Art Pepper on the album Gettin' Together, which included trumpeter Conte Candoli.
Mobley, Kelly, Chambers, and Cobb all left Davis by the end of 1962, and during 1963 he struggled to maintain a steady line-up. By the late spring, he had hired the core of the Second Quintet with Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. Initially with George Coleman or Sam Rivers on tenor sax, the final piece of the puzzle would arrive in late 1964 with saxophonist Wayne Shorter.
The performance style of the Second Great Quintet was often referred to by Davis as "time, no changes", incorporating elements of free jazz without completely surrendering to the approach, allowing the five men to contribute to the group as equals rather than as a leader and sidemen peeling off unrelated solos. This band recorded the albums E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro, and the live set considered by The Penguin Guide to Jazz to be their crowning achievement, The Complete Live at the Plugged Nickel 1965.
When Davis began to become more interested in the rock, soul, and funk music of the late 1960s, the Second Quintet unraveled. Carter departed during the sessions for Filles de Kilimanjaro, and Williams left in early 1969 to start his own band, the Tony Williams Lifetime, staying on with Davis to record the groundbreaking In a Silent Way. Davis would continue his innovations into jazz fusion with the album Bitches Brew and his work in the 1970s. As a result, the Second Quintet came to an end, though Hancock would contribute to subsequent sessions with Miles and appear on Jack Johnson, On the Corner, and Get Up with It. Players on In A Silent Way and Bitches Brew would go on to form the core jazz fusion bands of the 1970s away from Davis: Shorter and Josef Zawinul to Weather Report; John McLaughlin and Billy Cobham to the Mahavishnu Orchestra; Hancock and Bennie Maupin to Headhunters; and Chick Corea and Lenny White to Return to Forever.
Columbia/Legacy Recordings released Freedom Jazz Dance: The Bootleg Series Vol. 5, a collection of previously unreleased tracks recorded by the Second Great Quintet between 1966 and 1968.
In the summer of 1955, Davis performed a noted set at the Newport Jazz Festival, and had been approached by Columbia Records executive George Avakian, offering a contract with the label if he could form a regular band. Davis assembled his first regular quintet to meet a commitment at the Café Bohemia in July with Sonny Rollins on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. By the autumn, Rollins had left to deal with his heroin addiction, and later in the year joined the hard bop quintet led by Clifford Brown and Max Roach.
At the recommendation of drummer Jones, Davis replaced Rollins with John Coltrane, beginning a partnership that would last five years and finalizing the Quintet's first line-up. Expanded to a sextet with the addition of Cannonball Adderley on alto saxophone in 1958, the First Great Quintet was one of the definitive hard bop groups along with the Brown-Roach Quintet and the Jazz Messengers, recording the Columbia albums Round About Midnight, Milestones, and the marathon sessions for Prestige Records resulting in four albums collected on The Legendary Prestige Quintet Sessions.
In mid-1958, Bill Evans replaced Garland on piano and Jimmy Cobb replaced Jones on drums, but Evans only lasted about six months, in turn replaced by Wynton Kelly as 1958 turned into 1959. This group backing Davis, Coltrane, and Adderley, with Evans returning for the recording sessions, recorded Kind of Blue, considered "one of the most important, influential and popular albums in jazz". Adderley left the band in September 1959 to pursue his own career, returning the line-up to a quintet. Coltrane departed in the spring of 1960, and after interim replacements Jimmy Heath and Sonny Stitt, Davis plus Kelly, Chambers, and Cobb continued through 1961 and 1962 with Hank Mobley on tenor sax.
The two rhythm sections from the Davis Quintet also achieved fame on their own. Garland, Chambers, and Jones recorded as a unit on Art Pepper meets The Rhythm Section and Sonny Rollins' Tenor Madness, while Kelly, Chambers, and Cobb toured and recorded as a trio under Kelly's name, in addition to appearing on the albums Coltrane Jazz and the solo debut of Wayne Shorter, as well as backing Wes Montgomery on Full House and Smokin' at the Half Note. The Kelly-Chambers-Cobb trio also backed Art Pepper on the album Gettin' Together, which included trumpeter Conte Candoli.
Mobley, Kelly, Chambers, and Cobb all left Davis by the end of 1962, and during 1963 he struggled to maintain a steady line-up. By the late spring, he had hired the core of the Second Quintet with Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. Initially with George Coleman or Sam Rivers on tenor sax, the final piece of the puzzle would arrive in late 1964 with saxophonist Wayne Shorter.
The performance style of the Second Great Quintet was often referred to by Davis as "time, no changes", incorporating elements of free jazz without completely surrendering to the approach, allowing the five men to contribute to the group as equals rather than as a leader and sidemen peeling off unrelated solos. This band recorded the albums E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro, and the live set considered by The Penguin Guide to Jazz to be their crowning achievement, The Complete Live at the Plugged Nickel 1965.
When Davis began to become more interested in the rock, soul, and funk music of the late 1960s, the Second Quintet unraveled. Carter departed during the sessions for Filles de Kilimanjaro, and Williams left in early 1969 to start his own band, the Tony Williams Lifetime, staying on with Davis to record the groundbreaking In a Silent Way. Davis would continue his innovations into jazz fusion with the album Bitches Brew and his work in the 1970s. As a result, the Second Quintet came to an end, though Hancock would contribute to subsequent sessions with Miles and appear on Jack Johnson, On the Corner, and Get Up with It. Players on In A Silent Way and Bitches Brew would go on to form the core jazz fusion bands of the 1970s away from Davis: Shorter and Josef Zawinul to Weather Report; John McLaughlin and Billy Cobham to the Mahavishnu Orchestra; Hancock and Bennie Maupin to Headhunters; and Chick Corea and Lenny White to Return to Forever.
Columbia/Legacy Recordings released Freedom Jazz Dance: The Bootleg Series Vol. 5, a collection of previously unreleased tracks recorded by the Second Great Quintet between 1966 and 1968.
Half Nelson
Miles Davis Quintet Lyrics
We have lyrics for 'Half Nelson' by these artists:
Miles Davis สหย หสบ ไข วหบกห ากน ากา ื นไจ งหบ าหน รหรา บไข…
Wayside Live a little Die a lot Up a level Control your mind Live a…
Yes Please Run to me baby run run it right no (Oooh Yeah) I…
We have lyrics for these tracks by Miles Davis Quintet:
'Round Midnight It begins to tell, 'round midnight, midnight. I do pretty …
A Foggy Day I was a stranger in the city Out of town were…
Ahmad's Blues I go through the strangest kind of changes Tryin' to find…
Autumn Leaves The falling leaves drift by the window The autumn leaves of…
But for Me Old man sunshine listen you Never tell me dreams come true J…
Bye Bye No one here can love or understand me Oh, what hard…
Dear Old Stockholm Dear old Southland I hear you calling me. And I long…
Four Of the wonderful things that you get out of life…
I When the mellow moon begins to beam Every night I dream…
I Could Write a Book If they ask me, I could write a book About the…
I fall in love too easily I fall in love too easily, I fall in love…
I'll Remember April This lovely day will lengthen into evening We'll sigh goodb…
If I Were a Bell Ask me how do I feel, Now that we're cosy and…
Just Squeeze Me Want you to know I go for your squeezin' Want you…
Love Me Or Leave Me Love me or leave me and let me be lonely You…
No Blues It seems like a dream, yet I know it happened A…
Round Midnight It begins to tell, 'round midnight, midnight. I do pretty …
So What Miles Davis walked off the stage That's what the folks are…
Something I Dreamed Last Nigh I can't believe that you're not here with me To have…
Stella By Starlight The song a robin sings, Through years of endless springs, …
There Is No Greater Love There is no greater love Than what I feel for you No…
When Lights Are Low Listen to the melody entrancing Blending in a soft and swee…
You Go to My Head You go to my head And you linger like a haunting…
You're My Everything You're my everything underneath the sun You're my everythin…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@musedvy
This composition was named after my Grandfather and band mate Nelson Boyd ( he was the bass player )
@pstrawser1
Just great, really though this album should've been called Steamin' instead of the one two years later--there's a steamroller behind Miles on the cover!!
@lHaveNoIdea
my favorite miles davis original composition. so tight!
@dneil8867
th3 t1nm4n I thought Charlie Parker composes this...
@peterwelsh1932
Just noticing how it sounds like pieces of Donna Lee. Miles also claimed he wrote that one
@joshuachang5210
the chords are 100% based on lady bird though
@musedvy
The composition was said to be create based on the way my Grandfather Nelson Boyd walked he was the bass player for the much of the beginning of the movement ❤
@7deepbreaths.sounds
Genius improvising this is... 🎷 🎺 🥁
@pilimaccise1114
Always stop the bad thougts , this guy , love him
@davidbaise5137
On these 50s recordings I picture Miles Davis as an acrobat or trapeze performer without any net.