#1: Miles Davis - Birth of the Cool
Miles Davis - Birth of the Cool
Released: 1957
Musicians:
Miles Davis - Trumpet
Kai Winding - Trombone
Junior Collins - French Horn
Bill Barber - Tuba
Lee Konitz - Alto Sax
Gerry Mulligan - Bari Sax
Al Haig - Piano
Joe Shulman - Bass
Max Roach - Drums
J.J. Johnson - Trombone
Sandy Siegelstein - French Horn
John Lewis - Piano
Nelson Boyd - Bass
Kenny Clarke - Drums
Gunther Schuller - French Horn
Al McKibbon - Bass
Kenn Hagood - vocals
Produced by: Walter RIvers, Pete Rugolo
Composed by Denzil Best (1), Gerry Mulligan (2, 4, 9), Chummy MacGregor/Johnny Mercer (3), Miles Davis (5,6), Bud Powell (5), George Wallington (7), Cleo Henry (8), Johnny Carisi (10), John Lewis (11)
Track listing:
Move
Jeru
Moon Dreams
Venus de Milo
Budo
Deception
Godchild
Boplicity
Rocker
Israel
Rouge
Darn That Dream
Lisa Simpson’s favorite album of all time is Miles Davis’ Birth of the Cool. Girl has damn good taste. I mean…makes sense for an 8 year old that plays with the skill of Charlie Parker.
…Maybe pre cymbal throw. She ain’t the Bird.
This album certainly cemented jazz into my DNA. My first brush with jazz of any kind came from Peanuts and Vince Guaraldi, as with most people. I didn’t really think about it though. More on that later.
The true love of jazz, when I actually was listening, really came from Blue Train. (Again…more on that later.). But Birth of the Cool is the album that really got me going.
I auditioned for jazz ensemble in high school on piano…but had no idea what I was doing. Too many people had been telling me to stick to sheet music and just read the ink. So a chart was put in front of me with chords and a melody line…I had no idea what to do with it other than play it straight up. Suffice to say…I didn’t get in.
I was quite devastated. I would love to tell you how I somehow ended up in the jazz ensemble anyway as a drummer… but honestly, I can’t remember. I remember the failure of auditioning on piano. (Christ, I can still hear the lame attempt at swinging the melody. *shudder*) But somehow…it ended in me playing drums.
My concert band teacher (who was also the jazz director) would give out albums to new members, á la Jack Black in School of Rock. I received 2. Blue Train and Birth of the Cool.
Birth was the first listen because one of the charts I’d be playing was on it. Boplicity. I just looked at the name and thought, “oh damn that’s gonna SWING.” (Look at me already trying to throw around some cool jazz vernacular.) So I threw it in my cheap little boom box. Skipped right to track 8 and listened excitedly.
…
It was kinda slow.
…
The sax solo was cool. Albeit…slow.
See…I was a drummer. In high school. I wanted loud. I wanted fast.
But ok…I grab my brushes. (The ones I bought at the Long Island Drum Center…cause…ya know…jazz…they do the brushing thing…so I should have them.)
I set up the chart on my stand. I put on headphones. And I start to play along.
This wasn’t working.
I threw the brushes down, grabbed a pair of sticks and did an angry, angsty flam of frustration.
I calmed down for a second and threw the track on, but played with the sticks. I had to play with a great deal more control to hear the track. I started bouncing with the horns a bit. The track was infectious. I was a poor reader then, (Some might say, I still am.) So I had just noticed the rhythms above the slashes matching up with the horns. Suddenly it clicked. The chart was giving me everybody else. All I had to do was support that.
So I see a hit coming up on the + of 1…I do a little (read: shitty) fill to get into it…and it works. But now I’m just playing over the track and can’t hear it. I throw down the sticks and grab the brushes. I play the track again…this time…I’m attempting to stir the soup. Not HORRIBLE for a first shot…but not so great. What WAS great was the the horn parts were in my head…and the chart was clueing me into when they’d be coming. Kenny Clarke’s drums had faded away and I felt like I was, unworthily, playing with Miles.
That was the first time I ever felt like I was actually understanding music I was reading. It was a transcendent moment.
I must’ve played through with Boplicity dozens and dozens of times. My parents couldn’t be happier because now as when I said I was gonna practice some drums…it was with a pair of brushes and not banging along to some Dave Matthews Band album. (yes…I use to do that.)
Come Jazz Ensemble that Tuesday…I was ready. I knew the cues…I was ready to support the band. I was the only one on the throne that day cause the other drummer, Victor, was out sick. I sat down. The band director came in and warmed us up through some modes, (me just keeping time). Then he said, “alright…first chart…let’s look at Jeru.”
And my stomach dropped as I took Boplicity and placed it on the floor to reveal Jeru. A much more involved chart. Which…as if mocking me…specifically requested sticks. He started giving the tempo…and counted off…and my brain shut down.
By the time my brain kicked back in and I was aware of my surroundings…we were on the last note and he cued the button. Nobody spoke. I have NO idea what happened. I just know the song was over and I had…done…something. The band director stood silent for a small moment which felt like 10 minutes. He looked over to me and said, “DeMaria…very nice. Saxes…let’s look at…”
*Sigh*
“I'll play it first and tell you what it is later.” - Miles Davis
Worked for me that day.