Full performer name: Miles Davis/Stan Getz/Lee Konitz.
Personnel: Miles Davis (trumpet); Sonny Rollins, Zoot Sims (tenor saxophone); Stan Getz, Lee Konitz, Charlie Kennedy, Gerry Mulligan (saxophone); J.J. Johnson, Kai Winding (trombone); Walter Bishop, Sal Mosca, Al Haig, Tony Aless (piano); Billy Bauer (guitar); Tommy Potter, Arnold Fishkin, Gene Ramey, Chubby Jackson (bass); Art Blakey, Roy Haynes, Max Roach, Stan Levey, Don Lamond (drums); Chubby Jackson's Orchestra.
Recorded at the Van Gelder Studio, Hackensack, New Jersey between June 21, 1949 and October 5, 1951. Includes liner notes by Ira Gitler.
Digitally remastered by Phil De Lancie (Fantasy Studios, Berkeley, California).
Personnel: Miles Davis (trumpet); Billy Bauer (guitar); Gerry Mulligan, Lee Konitz, Stan Getz (saxophone); Jackie McLean, Charlie Kennedy (alto saxophone); Sonny Rollins, Zoot Sims (tenor saxophone); J.J. Johnson , Kai Winding (trombone); Tony Aless, Walter Bishop, Sr., Al Haig, Sal Mosca, Walter Bishop, Jr. (piano); Don Lamond, Max Roach, Roy Haynes, Art Blakey, Stan Levey (drums).
Liner Note Author: Ira Gitler.
Recording information: New York, NY (10/05/1951).
Unknown Contributor Roles: Chubby Jackson; Gerry Mulligan; J.J. Johnson ; Walter Bishop, Sr.; Kai Winding; Max Roach; Roy Haynes; Art Blakey; Sonny Rollins; Tommy Potter; Zoot Sims; Charlie Kennedy.
CONCEPTION collects seven 1949-51 sessions by some of the musicians who were transforming bop into cool jazz. Half the album features Konitz-led sessions, with the leading alto player of his day (backed with Davis and drummer Max Roach) setting cerebral, abstract interpretations of standards like "Indian Summer" alongside Konitz's fluid original "Hibeck" and his gorgeously lyrical "Duet for Saxophone and Guitar." This is essential music that sounds as forward-looking today as it must have at the time.
The album's second half features two tracks apiece by Davis, Getz and Mulligan. "Conception" and "My Old Flame" find Davis edging from his Nonet's cool sophistication into the earthier feel of his later Prestige sides, with then-unknown Sonny Rollins contributing some Bird-like licks. Getz's lovely, intimate quartet sessions sit somewhat uneasily beside Mulligan's large bands, but the disparity only emphasizes the varied directions in which these four exceptional talents were expanding contemporary jazz.
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