Miles Davis' recordings of 1951-1954 tend to be overlooked because of his erratic lifestyle of the period and because they predated his first classic quintet. Although he rarely recorded during this era, what he did document was often quite classic. The two sessions included on this CD (which includes three alternate takes) are among the earliest hard bop recordings and would indirectly influence the modern mainstream music of the 1960s. The first session features Davis in a sextet with trombonist J.J. Johnson, altoist Jackie McLean, pianist Gil Coggins, bassist Oscar Pettiford, and drummer Kenny Clarke; highlights include "Dear Old Stockholm," "Woody 'n You," and interpretations of "Yesterdays" and "How Deep Is the Ocean." The remaining six numbers showcase Davis in a quartet with pianist Horace Silver, bassist Percy Heath, and drummer Art Blakey, really stretching out on such numbers as "Take Off" and "Well, You Needn't." However, on "It Never Entered My Mind," Davis' muted statement (his only one on this set) looks toward his treatments of ballads later in the decade.
This previously unreleased live album features Miles Davis on trumpet, George Coleman playing the tenor saxophone, Herbie Hancock on piano, Ron Carter playing bass and Tony Williams on drums. Produced by Jimmy Lyons, this album was recorded live at the Monterey Jazz Festival on September 22, 1963. All proceeds from this recording go to Monterey Jazz Festival-supported jazz education programs.
A dynamic front line of Davis, trombonist J.J. Johnson and the bassist's brother Jimmy Heath on tenor saxophone, gives each tune big band weight and texture. J.J. Johnson's lilting "Kelo" and tragic "Enigma" proceed from the orchestral tradition of BIRTH OF THE COOL, and his taut velvety tenor trombone counterpoint contrasts nicely with Davis' burnished midrange and brassy cry. Tenor man Jimmy Heath seems to take the Basie and Gillespie big bands as the jumping off point for his jazz classic "C.T.A.," and ends his own solo with an affectionate nod to Lester Young.
Miles' ballad turn on "I Waited For You" is one of his most alluring performances, while his effortless swing on "C.T.A." and "Ray's Idea" sums up his innovations in blues phrasing. But his solo and arrangement on "Tempus Fugit" are simply transcendent. This Bud Powell anthem for modernists generates a challenging set of symphonic variations, driven along by the emotional intensity of Art Blakey. The joy with which Miles and Blakey morph between swing and Afro-Cuban rhythms, blues and bop phrasing, is what jazz is all about.
While beginning in the Navy, Jaehoon devoted himself to the study of card color changes. Over the past two years, he has developed amazing and practical color changes. Jaehoon is now ready to share this material in his new DVD, Navy Effects. Navy Effects focuses on brand new and practical card color changes. Jaehoon shows you each color change in detail with multiple video angles, slow motion video, (A,B) cards and transparent cards to make learning faster and easier.