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{{Infobox Album |
Name = 'Round About Midnight
Type = Studio Album
Artist = Miles Davis
Cover = RoundAboutMidnightMilesDavis.jpg
Released = March 18, 1957
Recorded = October 26, 1955 and September 10, 1956

30th Street Studios

(New York, New Yorkmarker)
Genre = Jazz
Length = 38:47 (Original LP)

58:18 (Reissue)
Label = Columbia

CL-949
Producer = George Avakian
Reviews = * All About Jazz (favorable) link
Last album = Workin' with The Miles Davis Quintet

(1957)
This album = 'Round About Midnight'''''
(1957) | Next album = ''[[Miles Ahead]]''
(1957) }} ''''''Round About Midnight''''' is an [[LP album|album]] by [[jazz]] musician [[Miles Davis]]. It was his debut on [[Columbia Records]], and was originally released in March 1957 (CL 949). The album took its name from the [[Thelonious Monk]] song "[['Round Midnight (song)|'Round Midnight]]". Recording sessions took place at Columbia Studio D on October 26 1955, and at Columbia's 30th Street Studio on June 5 and September 10 1956. '''Round About Midnight'' is widely recognized by jazz critics as a landmark album in [[hard bop]] and one of the greatest jazz albums of all time. On April 17 2001, [[Sony]] reissued the album for [[compact disc]] on its Columbia/Legacy label, which featured [[24-bit]] [[remastering]] and included bonus tracks and master takes from the initial sessions. A further two-disc reissue on June 14, 2005, was released, as part of Sony's ''Legacy Edition'' series, which featured the 2001 reissue and a second disc containing Davis' celebrated [[Newport Jazz Festival]] of 1955 performance of "[['Round Midnight (song)|'Round Midnight]]", along with a recording of the quintet's set from the 1956 Pacific Jazz Festival. ==Conception== At the [[Newport Jazz Festival]] in 1955, Davis performed the song "[['Round Midnight (song)|'Round Midnight]]" as part of an all-star jam session, with the song's composer [[Thelonious Monk]], along with [[Connie Kay]] and [[Percy Heath]] of the [[Modern Jazz Quartet]], [[Zoot Sims]], and [[Gerry Mulligan]]. Davis's solo received an extremely positive reception from many jazz fans, and critics.{{cite book | last = Chambers | first = Jack | authorlink = Jack Chambers (linguist) | title = Milestones: The Music and Times of Miles Davis | publisher = Da Capo Press | date = 1998 | pages = 205–206 | isbn = 0306808498}} It was viewed as a significant comeback and indication of a healthy, drug-free Miles (he had in fact been free from [[heroin]] addiction for well over a year).{{cite book | last = Davis | first = Miles | authorlink = Miles Davis | title = Miles: The Autobiography | publisher = Simon & Schuster | date = 1989 | pages = 167-170 | isbn = 0671725823}} Miles's response to this performance was typically laconic: "What are they talking about? I just played the way I always play." [[George Avakian]] of [[Columbia Records]] was in the audience, and his brother Aram persuaded him that he ought to sign Davis to the label.{{cite book | last = Carr | first = Ian | authorlink = Ian Carr | title = Miles Davis: The Definitive Biography | publisher = Thunder's Mouth Press | date = 1999 | isbn = 1560252413 | page = 88}} Davis was eventually signed to [[Columbia Records]], and was able to form his famous "first great quintet" with [[John Coltrane]] on saxophone. '''Round About Midnight'' was to be his first album for his new label. Davis was still under contract to [[Prestige Records]], but had an agreement that he could record material for Columbia to release after the expiry of his Prestige contract. The recording dates for the album were at [[Columbia Records]] studios; the first session was on October 27 1955 at Studio D, during which the tracks "Tadd's Delight", "Dear Old Stockholm" and the soon-to-be standard "Bye Bye Blackbird" were recorded. This is the first studio recording of the quintet. The remainder of the album was recorded during sessions on June 5 and September 10 1956 at Columbia's 30th Street Studio. During the same period, the Miles Davis Quintet was also recording albums to fulfill its contract with Prestige. ==Reception and influence== On release, '' 'Round About Midnight'' received an average reception. Ralph Berton of ''The Record Changer'' described it as "orthodox, middle-of-the-road conservative progressive jazz." ''[[The Penguin Guide to Jazz|The Penguin Guide to Jazz Recordings]]'' states that the recording "sounds like a footnote" to the Prestige contractual obligation sessions (eventually released as the albums Miles, [[Relaxin']], [[Workin']], [[Steamin']], and [[Cookin' with The Miles Davis Quintet|Cookin']]), and that "the material is fine but somehow fails to cast quite the consistent spell which the Prestige recordings do."{{cite book|last=Cook|first=Richard|authorlink=Richard Cook|coauthors=[[Brian Morton (Scottish writer)|Brian Morton]]|title=The Penguin Guide to Jazz Recordings|origyear=1992|edition=8th ed.|series=[[The Penguin Guide to Jazz]]|year=2006|publisher=Penguin|location=New York|isbn=0-141-02327-9|page=321}} Throughout the years following its initial reception, '''Round About Midnight'''s standing among critics has improved significantly.
Music writer Eugene Holley, Jr. later praised the album in a review, writing:

Considered by most to be one of the pinnacles of the hard bop era, the song selection on Midnight represents a summation of the earlier bebop era, with the performances tempered by Davis' inherent lyricism but rooted in the new style as promoted by hard bop pioneers Art Blakey and Horace Silver with the Jazz Messengers, and the Max Roach / Clifford Brown quintet, in 1956 featuring ex-Davis foil Sonny Rollins. It should be noted that Coltrane had yet to become an iconic figure in jazz history, his presence in the Davis Quintet a let-down to many in lieu of the aforementioned Rollins. His style, while embryonically frenetic and searching, was not quite the sheets of sound approach celebrated later in the decade. In April 1957 Coltrane's heroin use would lead to his leaving Davis and working with Monk, and under Monk's tutelage the saxophonist's playing style solidified considerably.

Track listing

Side one

  1. "'Round Midnight" (Monk, Williams) – 6:00
  2. "Ah-Leu-Cha" (Parker) – 5:55
  3. "All of You" (Porter) – 7:05


Side two

  1. "Bye Bye Blackbird" (Henderson) – 7:59
  2. "Tadd's Delight" (Dameron) – 4:33
  3. "Dear Old Stockholm" (Traditional, arranged by Getz) – 7:55


Legacy edition

Disc one:
Bonus cuts from the 2001 reissue. All songs from October 1955 session, except where noted.
  1. "Two Bass Hit" (Gillespie, Lewis) – 3:47
  2. "Little Melonae" (McLean) – 7:24
  3. "Budo" (Miles Davis, Powell) – 4:17
  4. "Sweet Sue, Just You" (Harris, Young) – 3:39 (September 1956 session)


Disc two:
All tracks from the Pacific Jazz Festival of February, 1956 except where noted
  1. "'Round Midnight" – 6:00 (live from the Newport Jazz Festival 1955)
  2. Introduction by Gene Norman – 1:35
  3. "Chance It (Max Making Wax)" (Pettiford) – 4:33
  4. "Walkin'" (Carpenter) – 10:02
  5. Dialogue by Gene Norman and Miles Davis – 0:27
  6. "It Never Entered My Mind" (Rodgers, Hart) – 5:17
  7. "Woody 'n' You" (Gillespie) – 5:45
  8. "Salt Peanuts" (Gillespie, Clarke) – 4:33
  9. "Closing Theme" (Davis) – 0:27


Personnel

Musicians



Newport Jazz All-Star Personnel:


Additional Personnel

  • George Avakian - Producer, Liner Notes
  • Frank Laico - Engineer
  • Teo Macero - Mastering
  • Don Hunstein - Photography
  • Aram Avakian - Photography
  • Dennis Stock - Photography
  • Seth Rothstein - Reissue Project Director
  • Michael Cuscuna - Reissue Producer
  • Bob Belden - Reissue Producer
  • Randall Martin - Reissue Design
  • Ray Moore - Reissue Engineer
  • Mark Wilder - Reissue Engineering and Mastering
  • Howard Fritzson - Reissue Art Director
  • Bob Blumenthal - Reissue Liner Notes


See also

Prestige albums recorded by the same personnel in 1955-1956:

Notes



References




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