AAA Vinyl

As noted in my coverage of the press event that happened in NYC back in December 2024, Miles Davis’ Birth of the Blue assembles, “in a single release, music recorded in 1958, one year prior to the landmark Kind of Blue.” That album, of course, features the storied lineup of Miles Davis on trumpet (“and leader”), Julian “Cannonball” Adderley on alto saxophone, John Coltrane on tenor saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums.

And, as we’ve also noted elsewhere, the four tracks on Birth of the Blue — “On Green Dolphin Street,” “Fran-Dance,” “Stella by Starlight,” and “Love for Sale” — have indeed appeared in their original form on various compilations over the years, including 1959’s Jazz Track, 1973’s Basic Miles, and 1974’s 1958 Miles, all on Columbia. (More about the key differences in a moment.)

For all you inquiring specs geeks like us, we have confirmed that the original 3-track recording-session tapes for Birth of the Blue (a.k.a. BOTB) were mixed down to a new 30ips quarter-inch stereo master tape by mastering engineer Vic Anesini at Battery Studios. The very busy Matthew Lutthans at The Mastering Lab cut the lacquers from Anesini’s tape using Doug Sax’s all-tube system and cutting lathe. The lacquers were plated and pressed on 180g vinyl at Chad Kassem’s Quality Record Pressings in Salinas, Kansas. (The BOTB release was Kassem’s idea.) A Stoughton Printing tip-on gatefold jacket and updated artwork beautifully replicate a Columbia LP release circa 1959. Liner notes from acclaimed jazz historian Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, blanket both sides of the inner-gate, and they’re tremendously informative.

The SRP for Birth of the Blue is $40, and it can be ordered directly from Acoustic Sounds here, or via the Music Direct link graphic at the end of this review that appears before the tracklisting section. Since BOTB had sold out of its initial run almost immediately during the holidays, AP editor Mike Mettler wanted to wait until the LP was back in stock before running my review so that you had the option to purchase it immediately after reading this, if you so choose. (If BOTB is again out of stock at either of those outlets, you can click on the respective be-notified-directly options once it’s back in stock.)

Despite featuring the same ensemble that recorded Kind of Blue on March 2 and April 22, 1959, Birth of the Blue exhibits a markedly different sonic and musical character. This session — recorded within the confines of Columbia’s 30th Street Studio in New York City on May 26, 1958 — captures the sextet in a free-flowing, exploratory mode, akin to a spontaneous blowing session. The precise origins of this session remain unclear. It’s possible that the group was performing locally and was spontaneously invited to the studio by Columbia executives. Alternatively, Miles may have sought to evaluate the group’s dynamic in a studio setting, contrasting it with their live performances.

The reasons behind these tracks’ confinement to a few subpar compilation releases remain elusive. Columbia, much like Blue Note in the 1960s, was prolific in its output, perhaps leading the label to deem a compilation the most suitable outlet for this seemingly impromptu session. Operating under a studio system akin to Hollywood’s, Columbia retained ownership of the recordings, granting them ultimate authority — or so it seems.

Sonically, Birth of the Blue stands in stark contrast to Kind of Blue. While the latter, to my ears, evokes the intimacy of a small recording space — musicians closely gathered, captured with a close-mic technique — Birth of the Blue, leveraging modern technology, fully realizes the grandeur of the 30th Street Studio. Previous releases, such as 1973’s Basic Miles and other compilations, presented these tracks with a thin, lifeless, and unfortunately bass-deficient sound. The team behind BOTB deserves immense credit, as this recording boasts a breathtaking range, spaciousness, and dynamic depth. Some have complained that these tracks have been available for years — but they’ve never sounded like this.

While the album features interpretations of standards from the Great American Songbook — excluding the lone Davis original, “Fran-Dance” — Birth of the Blue is a revelation, serving as a fitting bookend to the iconic recordings on Kind of Blue. While Kind of Blue exemplifies a meticulous approach characterized by careful composition and brilliant execution, Birth of the Blue embraces a more spontaneous and improvisational spirit, capturing the essence of a true blowing session.

Having honed their craft on timeless standards like “Stella by Starlight” and “Love for Sale,” these jazz giants reveal their true artistry not in the familiar frameworks of the tunes, but in the breathtaking flights of their individual solos. Evans and Coltrane’s improvisations on “Stella by Starlight” are particularly poignant, while Adderley, Chambers, and Cobb consistently shine throughout the album. Miles’ muted trumpet, as ever, weaves its magic with unparalleled grace.

Miles sets the stage for each piece with his signature opening solo. What follows is an unqualified display of collective brilliance, with each musician contributing stunning solos. These masters, equally at home in familiar standards and the uncharted realms of improvisation, make the art of jazz brilliance child’s play.

Miles takes the first solo on “On Green Dolphin Street” (Side 1, Track 1), the texture and touch of his trumpet extraordinary. Trane enters with a bittersweet commentary, via hard bop and quasi “sheets of sound” approaches. Jimmy Cobb fires the solo with brushes, then sticks, launching Cannonball Adderley’s alto fusillades, contrasted with the stately, sparse chords of Bill Evans’ piano solo. The album continues in this vein — brief introductions that state the melody, followed by equally tumultuous and subtle, extraordinary solos that the assembled group play like a walk in the park.

Paul Chambers’ beautiful backing frames the introduction of semi-ballad “Fran-Dance” (Side 1, Track 2), gently supported by Evans’s cascading piano chords. A graceful, sensuous solo by Adderley is both gentle and fiery, contrasting buttery alto delicacy with herculean dynamics. Chambers’ upper-register support behind the alto solo is equally fascinating, confirming what Jimmy Cobb once told me: “Every bass player wanted to be Paul Chambers.”

“Stella by Starlight” (Side 2, Track 1) unfolds, a tapestry of grand solos interspersed with moments of profound interplay. Each musician, upon concluding their solo, artfully prepares the stage for the next. Miles’ solo, after a mesmerizing three-against-two intro from Evans, subtly cues Coltrane with a downward melodic glance. Coltrane’s ensuing solo, arguably the album’s pinnacle, is a sweeping, lyrical masterpiece — a life-affirming and emotionally resonant statement of intent, a dark and stunning clarion call of melodic beauty.

“Love for Sale” (Side 2, Track 2) unfolds with a breezy, almost idyllic charm, reminiscent of a solitary sailboat gliding across a summer sea. Miles’ heroic opening statement soars above Cobb’s insistent brushwork, while Adderley’s wailing alto saxo evokes the elegance and rhythmic grace of Fred Astaire. The group swings with effortless power, yet maintains a delicate, almost gazelle-like grace.

Our ratings for Birth of the Blue are 10 for the Music (as comparison, Kind of Blue is a stone-cold 11), and 10 for the Sound. We suggest you indulge in the Birth of the Blue LP for its loose-knit renditions of American songbook classics. Savor the breathtaking solos that showcase one of the greatest jazz ensembles ever assembled, their artistry in full bloom. Complete your Miles Davis collection with this ode to elegance, alongside the recently released Miles ’54: The Prestige Recordings 180g 4LP box set (Craft Recordings) and the Miles Davis Quintet’s Miles in France 1963 & 1964: The Bootleg Series, Vol. 8 8LP box set (Columbia/Legacy). Or simply acquire Birth of the Blue to deepen your appreciation for the incomparable genius of Miles Dewey Davis III.

Author bio: Former musician, former artist, and former legal wastrel Ken Micallef has written numerous hi-fi equipment reviews for Stereophile and Analog Planet, and his byline has also appeared within Mojo, Electronic Musician, and The Grammys. You can also find him at YouTube (Ken Micallef Jazz Vinyl Audiophile).

MILES DAVIS
BIRTH OF THE BLUE
180g 1LP (Analogue Productions/Sony Music APJ 172)

Side 1
1. On Green Dolphin Street
2. Fran-Dance

Side 2
1. Stella By Starlight
2. Love For Sale