Showing 1–12 of 14 results
Arnett Cobb – Sizzlin’
Another of Arnett Cobb's great Prestige sessions, this one from late 1960. Arnett Cobb and his tenor sax are joined by Red Garland on piano, J.C. Heard on drums and George Tucker on bass. The quartet cruises through six tunes – including two Arnett Cobb originals and a couple of old standards in 'The Way You Look Tonight' and 'Georgia On My Mind.'
Coleman Hawkins – The Hawk Relaxes
Despite the inherent modesty of its title, The Hawk Relaxes is far more than merely a tenor saxophonist – albeit one of the greatest who ever lived – at his ease. Recorded for Prestige's Moodsville subsidiary, the album presents Coleman Hawkins, paterfamilias of the tenor and one of its master balladeers.
John Coltrane – Standard Coltrane
Since his first recordings with the Miles Davis Quintet for this label, it was apparent that Coltrane was going to make some really startling and quite exceptional music. He is a leading for of the avant-garde. This recording documents a particularly important phase in the evolution of John Coltrane, but it is considerably more than an historical curiosity because in all stages of the saxophonist's development, he has been a very beautiful musician, capable of urgent, elevating music.
John Coltrane : Settin’ The Pace
Coltrane does not do the old Dexter Gordon/Leo Parker duet number, "Settin' the Pace," in this set. The overall title merely refers to his preeminence in the jazz world at the time the recording was released in the early Sixties. Recorded in 1958, this session comes from a time when Trane had already played in the Miles Davis Quintet and the Thelonious Monk Quartet and was frequenting Rudy Van Gelder's New Jersey studio in recording situations backed by the Red Garland Trio.
John Coltrane With the Red Garland Trio – Traneing In
The recordings John Coltrane made for Prestige, both with and without Miles Davis, helped establish his first substantial foothold in the jazz world. He showed that he could play the blues; and whether he was treating a ballad at the usual tempo or taking one upstairs, he combined thought and emotion in a completely individual manner. The Garland trio, itself a recording entity for the label, was a strong unit that was sensitive to Trane's musical attitudes.
Miles Davis – Miles Davis And The Modern Jazz Giants
Here are four tracks from one of the classic sessions of all time when a combination of giants gathered in Rudy Van Gelder¹s studio for a historic meeting on Christmas Eve afternoon, 1954. With Thelonious Monk and three-quarters of the Modern Jazz Quartet (Jackson, Heath and Clarke) as his accomplices, Miles blends sophisticated harmonic knowledge with raw, spontaneous invention to produce extraordinary music. The two takes of "The Man I Love" are quite different within their basic similarity.
Miles Davis – The Musings of Miles
This was a forerunner of the Miles Davis Quintet as it was his first session with Red Garland and Philly Joe Jones. Up to then, his Prestige dates had been of the "all star" variety. By the fall, John Coltrane and Paul Chambers would come aboard to help form the first of a continuum of great Davis working groups.
Miles Davis – The New Miles Davis Quintet
This is the first LP to be issued featuring the Miles Davis Quintet — a group that was to become one of the most influential small bands of the Fifties. It also introduced John Coltrane to the jazz public, launching him on his significant career. Davis’ singular mastery with a mute, exemplified on The Musings of Miles, is further emphasized, as is Red Garland’s penchant for picking “new” old standards for Miles. Mastered by Stan Ricker.
Miles Davis : The New Miles Davis Quintet
Miles Davis concluded a most successful year in 1955 from many standpoints. His playing was sharper than it had been in some time and as lyrical and probing as ever. Critics and fans alike re-acclaimed him as the leading trumpeter in numerous articles and several polls.
Miles Davis All Stars : Walkin’
AllMusic Review by Lindsay Planer The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums).
Miles Davis Sextet & Quintet – Walkin’
This title contains two of the classic Miles Davis sessions of 1954 which made all the critics who hailed his appearance at the 1955 Newport Jazz Festival a "comeback" seem like a pack of Rip Van Winkles. The story of Walking, insofar as I know it, goes back to 1950 when Prestige issued a record by Gene Ammons, its them is almost identical, but not note for note.