Miles Davis : Bags Groove
Miles Davis : Bags Groove
Miles Davis (trumpet), Sonny Rollins (tenor sax), Milt Jackson (vibraphone), Thelonious Monk, Horace Silver (piano), Percy Heath (bass), Kenny Clarke (drums)
Analogue Productions : LP 200 gram
Brand New and Sealed Record
A1 - Bags' Groove (take 1)
A2 - Bags' Groove (take 2)
B1 - Airegin
B2 - Oleo
B3 - But Not For Me (take 2)
B4 - Doxy
B5 - But Not For Me (take 1)
Recorded on June 29 and December 14, 1954 at Rudy Van Gelder Studio in Hackensack, New Jersey.
Bags' Groove (PRLP 7109) is compiling material from two 10" LPs recorded in 1954, plus two alternative takes.
Both takes of the title track come from a session on December 24, 1954, the first version having been previously released on Miles Davis All Stars, Volume 1 (PRLP 196). ("Bags" was vibraphonist Milt Jackson's nickname.) The other tracks recorded during this session may be found on Miles Davis and the Modern Jazz Giants (PRLP 7150), and all of them are also featured on the compilation album Thelonious Monk: The Complete Prestige Recordings. The rest of the album was recorded earlier in the year, on June 29, and four of the tracks had already been released as Miles Davis with Sonny Rollins (PRLP 187), with the fifth being a previously unreleased alternative take.
There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course, says All Music Guide, there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session — featuring Thelonious Monk — which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver’s (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering.
Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections.
Part of the ultimate audiophile Prestige mono reissues from Analogue Productions, 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at state-of-the-art plant Quality Record Pressings and plated by Gary Salstrom. Deep groove label pressings, tip-on jackets on thick cardboard stock.