Release date: 24-09-2010 (originally released in 1954)

2010 EU limited edtion High-definition premium 180gm vinyl-Originally recorded in December 24, 1954  This collection essentially documentsan important summit meeting from some of the greatest individuals jazz has ever known. Hyperbole aside, the results are significant and timeless.  =stickered & sealed.

Tracks:
A1 BAGS’ GROOVE [take 1](Milt Jackson)  
A2 BAGS’ GROOVE [take 2](Milt Jackson)
A3 BEMSHA SWING(Thelonious Monk-Denzil Best)
B1 THE MAN I LOVE [take 1](George & Ira Gershwin)  
B2 THE MAN I LOVE [take 2](George & Ira Gershwin)
B3 SWING SPRING(Miles Davis)

Artists:
    Bass – Paul Chambers (3) (tracks: B3), Percy Heath
    Drums – Philly Joe Jones* (tracks: B3), Kenny Clarke
    Piano – Red Garland (tracks: B3), Thelonious Monk
    Tenor Saxophone – John Coltrane (tracks: B3)
    Trumpet – Miles Davis
    Vibraphone – Milt Jackson

an unusual session held on Christmas Eve of 1954 at Rudy Van Gelder's Hackensack, New Jersey, studio. Gathered there were five giants of the bop movement, most linked by the highest musical sympathy. Vibraphonist Milt Jackson, drummer Kenny Clarke, and bassist Percy Heath were all members of the Modern Jazz Quartet, having worked extensively with the session's pianist, Thelonious Monk, while Clarke and Heath had worked throughout the year as Miles Davis's rhythm section. The only incompatibility was between Davis and Monk, and it shows in what isn't here: though they shared an almost sculptural sense of musical structure, Davis hated Monk's comping and asked him not to play during his solos. The hurt feelings never show in the music, though, with two profound and distinct takes of "The Man I Love," a lively version of Monk's "Bemsha Swing," and Davis's first exploration of scale composition, "Swing Spring," all linked by focused musical invention and inspired swing. Whatever he thought of Monk's playing, Davis had the highest regard for his compositions. It shows here in the arrangement of "'Round Midnight" recorded at Davis's final Prestige session in October of 1956, with its thoughtful contrast between Davis's pensive, muted theme statement and John Coltrane's aggressive tenor solo. --Stuart Broomer