Miles Davis
Birth Of The Cool

"Birth Of The Cool" has the merit of being a starting point in the evolution of jazz music. It is an album that came to light in 1957, the result of jam sessions between 1949 and 1959 by the incredible Miles Davis and his excellent companions: J. J. Johnson and Kai Winding on trombone, Lee Konitz on alto sax, Gerry Mulligan on baritone sax, Max Roach on drums, Sandy Siegelstein Junior Collins and Gunter Schuller on the French horn, John Barber on tuba, John Lewis and Al Haig on piano, Joe Shulman Nelson Boyd and Al McKibbon on bass.

Good old Miles has a long apprenticeship behind him alongside Charlie Parker and Dizzy Gillespie. His sound obviously has its roots in the '40s and '50s bebop jazz, but it is incredibly personal and evolved. Speaking of a subgenre is unfair. Davis's skill lies entirely in pursuing a very personal interpretive key to jazz and without too much thought, he breaks away from bebop to create (as he himself defines in the album title) a cool jazz. Cool jazz is more orchestral, smooth, and receptive, undergoing swing influences and rich arrangements (indeed, it seems that the arrangements were also curated by the orchestra conductor Gil Evans). The tried and "rustic" formula of the trio or quartet fades, transitioning to a rich and considered sound. Many instruments and many performers do not sacrifice the opportunity to highlight the individual skills of those who nevertheless do not refrain from performing in solos, the substantial key of jazz. If in 1949 it was the tuba and horn, for example, that varied the typical jazz sound known until then, in the following years more daring contaminations and the inevitable evolution of the sound with rock or fusion variants were to come. In this sort of big band, Miles produces a jazz that is linear, studied, and relaxed, with curious sonorities. In short, cool jazz.

The album, which is Miles Davis's first solo work, makes history in the genre and is remembered for the virtuosity of the individuals and for the mental order of an artist who over the years would be the author of experiments. Davis is a genius monster who has always wanted to cross unknown boundaries, thus difficult to understand at a glance. Incredibly, this work, which I would almost describe as "timid", illustrates little of what will characterize the evolution of this great jazz artist, although for the more attentive, behind the moderation of a well-thought-out and meticulously curated work, one can perceive a subtle thread of spontaneity and immediacy, certainly more evident in the bolder works of the '60s-'70s (see acid jazz or electric jazz). An innovator, multifaceted, multicolored, hated and loved. An international star.

In "Birth Of The Cool", Davis might at most appear a bit restrained, but the work denotes maturity, professionalism, and a strong team spirit. The resulting sound is smooth and doesn't often indulge in standards of objective unpredictability. Chewable jazz, structured, receptive, human, and mediated. High quality, to be clear. Substance and fun in the 12 tracks of the album. Right from the first piece "Move", the band spirit is felt with Miles's solo in the middle part. "Jeru" gives space to the tenor sax. "Moon Dreams" is twilight, funeral-like, while "Venus De Milo" is a dreamlike work that evokes different sensations, in short, believe it: quite a variable interpretative mood. "Budo" is turbulent, rhythmic, and segmented, but free in the great trumpet solo. "Reception" is mysterious, "Godchild" is bold and joyful. Swing experiments in "Boplicity".

Truly magnificent, to be remembered as a symbol of cool jazz is "Rocker", readable, passionate, complete. An essential example. The most "adventurous" variant of this excellent album, with acidic hints and angles of unpredictability, is the "corrosive" and less linear "Israel" where the be-bop origins and Parkerian influences can be perceived. "Rouge" highlights Haig's piano and has a full-bodied and aesthetic sound. It ends with "Darn That Dream", with clear hints of swing-romantic singing, in my opinion, a bit peripheral to the album.

Personally, Davis confuses me viscerally. Listening to him always gives me different emotions. Once I realized how he moved me to tears, other times to irritation, but always and whenever I think of him, I find myself smiling for such a surprising and precious character. I was crafting the review last night, swayed by the beauty of this CD. "Rocker" tortured me all night. I woke up at 3:28, and it was in my head, still at 5, and then again. I am thrilled and thus teetering between being professional and using an over-the-top tone. If so, it doesn't matter. Miles deserves it.