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.
Surrey With the Fringe On Top
Miles Davis Quintet Lyrics
We have lyrics for 'Surrey With the Fringe On Top' by these artists:
Ahmad Jamal Trio When I take you out tonight with me, honey, here's the…
Andy Williams Chicks and geese and ducks better scurry When I take you…
Billy Mure When I take you out, tonight, with me, Honey, here's the…
Bing Crosby When I take you out, tonight, with me, Honey, here's the…
Blossom Dearie Chicks and ducks and geese better scurry When I take you…
Emilie-Claire Barlow When I take you out tonight with me, honey, here's the…
Florence Henderson & John Raitt When I take you out, tonight, with me, Honey, here's the…
Frank Sinatra When I take you out tonight with me, honey, here's…
Hi-Los When I take you out, tonight, with me, Honey, here's the…
Lena Horne When I take you out, tonight, with me, Honey, here's the…
Mary Stallings Chicks and ducks and geese better scurry When I take you…
Mel Torme & The Marty Paich Orchestra When I take you out, tonight, with me, Honey, here's the…
Nancy Lamott Chicks and ducks and geese better scurry When I take you…
Nat King Cole When I take you out, tonight, with me, Honey, here's the…
Oscar Peterson Chicks and geese and ducks better scurry When I take you…
Oscar Peterson Trio Chicks and geese and ducks better scurry When I take you…
Peggy Lee Chicks and geese and ducks better scurey When I take you…
Rodgers When I take you out, tonight, with me Honey here's the…
Si Zentner His Trombone & Orchestra When I take you out tonight with me Honey, here's the…
The Esther Williams Trio Curly: When I take you out tonight with me Honey, here's…
The Hi-Lo's When I take you out, tonight, with me, Honey, here's the…
The James Walker Chorus & Orchestra When I take you out tonight with me Honey, here's the…
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…
Budo Goodnight my love, the tired old moon is descending Goodnig…
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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@343ramana
This was my first "modern" jazz album, and I remember sitting in my living room with a pencil and piece of paper counting out the bars in the melody, and following them in the solos. I still remember how deeply I was effected by Miles' sparse playing and contrasted with Coltrane's harmonically complex dazzling solo. Man, I feel so lucky to understand and love jazz!
@ghairraigh
Otaku:
On October 30, 1973, before heading to a Grateful Dead concert, my friend played this for me. After hearing this tune and "Steamin' with the Miles Davis Quintet" everything changed in my musical taste and interests. That Christmas, i asked my sister for a Coltrane album, and she, at random, gave me "Coltrane" {IMPULSE Records). The following March I spent three days at a friend's house in Rhinebeck, NY, listening to all of Monk's Columbia Records, over and over. After that, it became easy for me to "get" all kinds of advanced music from Mingus, Ornette, etc. In May, it was "Friday and Saturday Night at the Blackhawk" by Miles Davis, again played for me by a friend.
It's good to have friends like that!
..and fellows like you who post so much music that is full of great memories - Thanks!
@60otaku4
Thank you so much, ghairraigh-san!!
I am very glad for your having always enjoyed my much music videos.
Otaku4 d(^_^)b
@ronaldchambers8901
@@60otaku4 ght!
@brandonanderson7406
Well as a Deadhead with a huge passion for Miles and a lot of jazz I can't not be curious if you stopped seeing the Dead as well? Because man, I would give so much to see Keith play with Jerry...
@ghairraigh
@@brandonanderson7406 I saw the Grateful Dead in August, 1970, at the Auditorium Theater in Chicago. I was jet-lagged as hell, and they still had the tie-dyed amplifiers and an old school Voice of the Theater P.A. System. Someone at the back of the stage was blowing fire out of his mouth like he was on a beach somewhere, and the Auditorium management banned Rock Concerts for five years. I caught them again at the International Ampitheater in a LONG double bill with the New Riders of the Purple Sage, and Jerry played pedal steel with the Riders and a full four hours with each band. The last time was at an October 30 Halloween gig at Northwestern University, incidentally one year after "Dead Europe '72". Regretably, I never saw the Dead again, but retain very affectionate memories of those days.
@fabioceresani4837
Incredible groove
@brandonanderson7406
I savor every cut of Miles and Trane. The latter's tone on this cut always stops me in my tracks. Thank you, otaku
@60otaku4
You're very welcome, Brandon-san!!
Otaku4 (*^_^)/
@franguccio1
An absolutely flawless rendition....Grazie