MILES DAVIS Birth Of The Cool JAPAN VINYL RE NM OBI [MONO] CAPITOL ECJ50050 1980

$

24

I had 5 brick and mortar stores in Portland, OR, Boise, ID, Fairbanks, AK, and 2 stores in Anchorage, AK. I operated under the name Nickelodeon Records & Tapes from 1973 to 1978, hence the eBay name Original 1976 Nickelodeon Records.

All of my Listings are NEAR MINT VINYL By Visual Inspection UNLESS OTHERWISE NOTED
Not Play Graded

EACH COVER CONDITION is INDIVIDUALLY NOTED

THIS LISTING is for MILES DAVIS Birth Of The Cool  [MONO] CAPITOL ECJ-50050 1980
THIS IS A RE RELEASE OF ORIGINAL MONAURAL RECORDING T-762 RELEASED IN 1957

PRESSED IN JAPAN BY TOSHIBA-EMI, LTD.

LISTED AS NUMBER 19 IN THE JAZZ RESOURCE TOP 25 JAZZ ALBUMS PART 1

Includes Insert of Japanese Liner Notes and ORIGINAL ROUND PLASTIC INNER SLEEVE  
COVER, LABELS, VINYL, OBI, and INSERT are ALL NEAR MINT UN PLAYED
  COMPLETE and ABSOLUTELY PRISTINE

Birth of the Cool - Miles Davis

"In 1949, Miles was still playing alongside Charlie Parker and Dizzy Gillespie. He was ready to break out of the current standard of bebop and explore some new musical territory. He teamed up with arranger Gil Evans and created a masterpiece which was a quite different than the blazing fast bebop of the time. The music is very lush and mellow but not lacking energy. It's the perfect backing for Miles' introspective and emotional trumpet style". Jazz Resource Top 25 Albums Part One.

"The year 1949:stepping out from under the wing of Charlie "Bird" Parker and Dizzy Gillespie, a 24-year-old Miles Davis realizes he is wasting his time attempting to replicate the dizzying harmonic flights of his bebop mentors. His solution: collect a hip young cast of New York City sidemen and set upon de- and reconstructing bebop's vocabulary into a fresh improvisational space. And space, for Miles, is the pivotal creative place on this, his first session as a leader.                                                                                                                                     Threading his muted trumpet tones through urbane orchestral arrangements from the likes of Gil Evans, Gerry Mulligan, and John Lewis, Miles shapes a harmonic "cool" jazz signature that owes as much to European classical music as the "hot" jazz of bebop or ragtime.  His vibrato-less horn solo on the opening "Move" sets the pace for a series of impressionist tone poems that offer an understated corollary to bebop's chord-obsessed excess. But this is a cool that still swings: witness Miles trading licks with Lee Konitz's airy alto saxophone on "Jeru".                    Photographer Aran Avakian captures precisely this interplay between controlled detachment and focused emotional power in his iconic album cover shot.  Critics too identified the albums's "quietly audacious" attitude--the public however disagreed.  "Cool" was overlooked until its resurrection in the West Coast revisionism of Mulligan's mid-1950s groups. And Miles? Well, he would ease his cool into the cinema on Louis Malle's L'Ascenseur Pour L'Echafaud (1957), distilling it into his masterpiece, Kind Of Blue (1959) and a career-spanning penchant for collaboration and idiomatic renovation". Miles Keylock. 1001 Albums You Must Hear Before You Die.Dimery,Robert, ed. New York: Universal Publishing, 2014. p 34.