"This version of Round Midnight is one of my favourite pieces of all time. Why..? Because its sharp, singin and continues to reach, up there. It cries and smiles at the same time, is dark yet light, because it carries so much feeling that would take many moons to explain. Enough said, the rest of the tracks are splendid too, and if you like Miles muted horn and Trane in his early stages, plus one of the most excellent rhythm sections ever in jazz, this is it. Listen carefully to the easy intro and you might notice the great potential which is about to unfold, but like always with Miles, each thing in its own little time."
Best after Kind of Blue
rash67 | USA | 06/05/2004
(5 out of 5 stars)
"Very Cool MilesThe Miles Davis I listen to most, after Kind of Blue. All time best recordings of Round Midnight and Blackbird. You feel like Miles is there in the room with you, Harmon mute and all. You feel his loneliness, melancholy and great joy. Communicates true emotion like no other Miles recording.Miles Davis first record with a major label.The SACD is even better.
I can't understand why this doesn't sell better?"
FROSTED AT THE SPEED OF VICE
finulanu | 03/07/2000
(5 out of 5 stars)
"This magnificent "cool" jazz record contains the first appearance of the "new" Coltrane. His playing on the previous Davis records had been promising but a little sloppy, Miles carried those records. Here he has clearly become Superhuman. Kicking junk might've had something to do with it according to Miles' autobio. The version of "Round Midnight" on this record, as great as it is, is arguably topped by the magnificently beautiful version on the LEGRAND JAZZ record. So click on over and pick that up if you think perfection can't be improved on."
A true jazz masterpiece, and one of the greatest records eve
finulanu | Here, there, and everywhere | 07/24/2006
(5 out of 5 stars)
"Miles Davis has been responsible for many fantastic records, and this definitely belongs in the first rank of them. It might not be as good as Kind of Blue or In a Silent Way, but it's still one of my most-played Miles Davis albums. Other than the mediocre but enjoyable "Tadd's Delight," every song here is classic Miles.
The album starts off with "'Round Midnight," the definitive version of an already classic Monk tune. Miles' pensive muted trumpet carries the song's odd but gorgeous melody, and Coltrane kicks things into high gear with an explosive solo. Then the song settles down into moodiness once more. After that comes "Ah-Leu-Cha," a furious cover of Charlie Parker's bop classic. Philly Joe Jones' madman drumming is the big highlight of the song, though the weird melody also deserves mention. And, for another violent contrast, "All of You" is a swinging pop song, highlighted by the sensitive interplay between Miles, Trane, and bassist Paul Chambers.
And then there's side two, which contains my two favorite songs on the record. His cover of "Bye Bye Blackbird" is my pick for the album's best song, and one of the greatest tunes of Miles' whole career. It's genius, right from Red Garland's brilliant piano intro. The solos are wonderful, the melody is made beautiful by Miles' mute, and I love the sad-but-optimistic vibe it gives off. "Tadd's Delight" is a bit of a letdown, but the melody's nice enough, and it's not a bad song. Besides, the closing "Dear Old Stockholm" makes up for it. The bass playing, Coltrane's explosive solo, and the melody (which eventually becomes a harmony part) come together to make it a jazz classic.
This is an unbeatable album. It's one of my most-played Miles Davis albums, and it's also one of his best. An essential for any Miles fan, or any jazz fan in general."