Search - Miles Davis :: Friday Night at the Blackhawk (Vol. 1)

Sorry, Miles.

Samuel Chell | Kenosha,, WI United States | 02/01/2003

(5 out of 5 stars)

"It's commonplace for Miles' followers to dismiss the groups between Coltrane and Shorter. By his actions on the stand and his comments away from it, Miles made it clear that he was unhappy with Coltrane's immediate replacements--Sonny Stitt, George Coleman and, most pointedly of all, Hank Mobley. But Miles' own insistence on the progressive, the revolutionary, the newest thing, should not be confused with the actual musical statements by his groups. No player was more welcome in a Van Gelder recording studio than Hank Mobley who, though hardly an innovator or trend-setter, was one of the most soulful, melodically inventive players on the scene. It's especially refreshing to hear him away from the Blue Note stable of players and in the company of Miles' rhythm section on this Columbia recording, which captures Hank's inspired lyricism at its best (his solo on "Blackbird" eclipses even Coltrane's on the same tune from the "'Round Midnight" session). In the case of this "transitional" group, Miles' proclaimed loss is the listener's gain.Cautionary note: Columbia's about to reissue a newly-remastered version."

4 1/2* Excellent Live Set in San Francisco!

M. Allen Greenbaum | California | 12/15/2000

(4 out of 5 stars)

"Friday Night at the BlackhawkExcellent playing all around in this quintet. The players were cooking individually and collectively, each player complementing the other superbly. What a surprise (for me) sax player Hank Mobley is! On "Walkin'", he mixes short bop riffs with longer lines, and he has much of the tone and dexterity of Coltrane. Excellent sound quality: Remember, this is a live session in 1961.Miles displays his exquisite economical playing. He blows short bursts of notes as well as long, assured sonic explorations ("Bye Bye Blackbird" is exceptional; this same cut is featured on the 1988 release "Ballads."). Kelly gets an interesting style going here, laid-back but ripe with spontaneity. Miles' mute is outstanding on "All of You." This longer song is a little more challenging than the others, and didn't completely sustain my interest. However, it's worth several repeated plays to get the most out of it. Miles sounds clean and bold on "No Blues"... his absolutely beautiful lines open up the entire band. This has the most Miles of all the songs. Miles is generous with his playing, prepare yourself for a lot of Mobley and Kelly. For me, that is a good thing; others may want to get a Davis CD which features him more prominently. The CD sounds fresh - - as it should in a live set - - but with no annoying/distracting noise from the audience!"

Great stuff

Sean M. Kelly | Portland, Oregon United States | 09/24/2000

(5 out of 5 stars)

"While not as good as vol 2 of this series, this cd showcases Miles' quintet at that time (Miles/Hank Mobley/Wynton Kelly/Paul Chambers/Jimmy Cobb) and they are in great form, I think.This cd is more about the ballads, like "Bye Bye Blackbird," "All of You," and "Love,I've Found You." Miles' playing is suprelative, as is Hank Mobley's. His soulful approaches to the numbers offers them fresh perspectives, and a great counterpoint to Miles' style.As always, the future Wynton Kelly trio (Kelly/Chambers/Cobb) are the consumate rhythm section, laying down a great foundation for Miles and Hank to work on.Best if heard with the Saturday Night cd to show what a difference a night can make, both Blackhawk shows are invaluable listening and great fun, too."