Milestones

タイトル曲のキャッチーな響き一発でモダン・ジャズの名盤と化したモード・ジャズの幕開けとなった一枚。この後のマイルス・ミュージックの幕開けを告げるかのように、古い形式にとらわれず自由に演奏を展開していくマイルスの才能が開花した一枚。マイルスが参加しないピアノ・トリオによる“ビリー・ボーイ”もこのアルバムの隠れた名曲。

The title does not refer to the trumpeter's composition from his first recording date but is an acknowledgement of this session's visceral impact. Tenor saxophonist John Coltrane had left the trumpeter in the spring of 1957 to join Thelonious Monk for his engagement at New York's Five Spot, and was replaced by a rising star on alto saxophone, Julian "Cannonball" Adderley. When he returned, Davis had a formidable three-horn front line to go with "The Rhythm Section".
MILESTONES is a bracing rhythmic tonic, coming after the refined ballad moods and lush orchestral pastels of MILES AHEAD. And from the furious, adults-only hyper-drive of the opening "Dr. Jekyll" (with its thrilling tenor/alto battle and daredevil drum breaks), through a dazzling Dizzy Gillespie/John Lewis bebop anthem ("Two Bass Hit") to the bright dancing groove of "Straight, No Chaser", MILESTONES is an epic historical event--even by Miles' standards.
The slow, bluesy "Sid's Ahead" first appeared as "Weirdo" on Miles' March 1954 Blue Note session, and offers tantalising portraits of the horns. Coltrane attacks his line like a blues guitarist, in short bursts of vocal cries and loping syncopated tangents; Miles comes out jabbing, slow and purposeful, feinting and fading behind the beat with lovely long tones and bends; Cannonball comes out all agitated and excitable, with little quicksilver runs and sing-songy asides (such as "Skip to my lou my darling"). Pianist Red Garland's famous feature on the traditional "Billy Boy" highlights his mastery of a two handed orchestral style, his brilliant use of space in blues phrasing, and his interplay with the driving young Paul Chambers (with his enormous beat and impeccable bow work) and the fiery Philly Joe Jones (whose complex melodic variations transcend the technical limitations of the drums).|