Requisites
Jazz at The Plaza, Volume 1 ~ The Miles Davis Sextet | By Eddie Carter
Submitted for your approval this morning is the first of two unique 1973 albums, capturing an unforgettable event. Jazz at The Plaza, Volume 1 (Columbia C 32470) is a live recording of a jazz party hosted by Columbia Records in The Persian Room of New York City’s Plaza Hotel on September 9, 1958. This celebration represented a significant moment in Columbia’s history, acknowledging the impressive talent of jazz artists on the label’s roster. The guests enjoyed a performance by The Miles Davis Sextet during the first set: Miles Davis on trumpet, Julian “Cannonball” Adderley (tracks: A1, B2) on alto sax, John Coltrane (A1, B1, B2) on tenor sax, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. My copy is the original U.S. Stereo release.
The album opener is misidentified as Jazz at The Plaza on the back cover and record label, but it is Thelonious Monk’s Straight, No Chaser. The song’s brisk pace sets the stage for the sextet’s lively introduction and theme. Miles delivers a vigorous opening statement, followed by John’s adventurous interpretation. Cannonball provides an energetic solo next. Bill makes a concise contribution before the ensemble returns for the finale and a brief presentation of the sextet’s theme. The pace slows for Bill’s introduction to the Rodgers and Hart classic My Funny Valentine. This highlight of the quartet sees Miles switching to the mute for the gentle melody and a beautiful solo. Bill follows with an enchanting statement, and Paul walks delicately toward the closing chorus and sensitive climax.
If I Were a Bell by Frank Loesser opens the second side with a short piano introduction that segues into the ensemble’s medium melody. Miles takes the lead with an agile, muted opening statement. John continues wailing in a spirited performance. Bill sinks his teeth into a captivating interpretation next, leading to the theme’s restatement and conclusion. Oleo by Sonny Rollins raises the tempo for Miles’s muted introduction, which leads to the sextet’s quick theme. Miles starts the opening statement with infectious heat, while John fuels the following performance with electrifying notes. Cannonball launches into a furiously hard-driving solo next, and then Bill keeps the fire burning with a concise comment. Paul has his turn in a short interlude before Miles guides the way to a speedy culmination.
Teo Macero and Irving Townsend produced Jazz at The Plaza, Volume 1, with recording engineer Russ Payne capturing the event for posterity. While the sound quality may not meet Columbia’s usual high standards, its unique charm conveys the exhilarating energy of the group’s performances. After listening to this album, I’ll be looking to find its companion, Jazz at The Plaza, Volume 2, featuring Duke Ellington and His Orchestra, Billie Holiday, and Jimmy Rushing. If you appreciate the trumpeter’s work from the fifties, I recommend exploring Jazz at The Plaza, Volume 1 by The Miles Davis Sextet, on your next record hunt. It offers a compelling snapshot of the ensemble’s fiery live performance and should make a worthy addition to any jazz enthusiast’s library!
Postscript: The owners of the long-out-of-print Mosaic Records box set, The Complete Columbia Recordings of Miles Davis With John Coltrane, also has a copy of Jazz at The Plaza, Volume 1.
~ Jazz at The Plaza, Volume 2 (Columbia C 32471), The Complete Columbia Recordings of Miles Davis With John Coltrane (Mosaic Records MQ9-191) – Source: Discogs.com
~ Straight, No Chaser – Source: JazzStandards.com
~ If I Were a Bell – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Barry Martyn was born Barry Martyn Godfrey in London, England on February 23, 1941. He began learning drums in 1955 and was leading his first band the following year. His first recordings were made in 1959.
His first visit to New Orleans, Louisiana was in 1961 where he studied under Cie Frazier, and founded Mono Records. He toured Europe with many famed New Orleans jazz personnel, including George Lewis, Albert Nicholas, Louis Nelson, Captain John Handy, and Percy Humphrey.
Moving to Los Angeles, California in 1972 he founded the Legends of Jazz, an ensemble which made several worldwide tours and recorded extensively. Returning to New Orleans in 1984 he worked with George Buck, reissuing much of the Circle Records back catalogue. He played with Barney Bigard in 1976, and recorded many dates as a leader.
Drummer Barry Martyn died on July 17, 2023 at the age of 82.
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Daily Dose Of Jazz…
George Holmes “Buddy” Tate was born on February 22, 1913 in Sherman, Texas and first played the alto saxophone. He began performing in public as early as 1925 in a band called McCloud’s Night Owls, then later in the decade was playing tenor saxophone around the Southwest with bands led by Terrence Holder, Andy Kirk and Nat Towles.
He joined Count Basie in 1939 replacing Herschel Evans and stayed with him until 1948. After his period with Basie ended, he worked with several other bands before finding success on his own, starting in 1953 in Harlem. Buddy’s group worked at the Celebrity Club from 1953 to 1974. In the late 1970s, he co-led a band with Paul Quinichette and worked with Benny Goodman.
In 1979, Tate’s hometown invited him to play a concert at Austin College’s Sid Richardson Center as part of The Sherman Symphony Pops Series. Mayor Virginia Morriss issued a proclamation declaring October 6th as Buddy Tate Day. Accompanying Tate were Jay McShann, Claude Williams, Buster Smith and Paul Gunther.
In 1980, he was injured by scalding water in a hotel shower, which kept him inactive for four months. The 1990s saw him slow down, but he remained active playing with Lionel Hampton among others.
In 1992, Tate took part in the documentary, Texas Tenor: The Illinois Jacquet Story. In 1996, he recorded with reeds player James Carter on the younger man’s second release for Atlantic Records, Conversin’ with the Elders, along with trumpeters Harry “Sweets” Edison and Lester Bowie, and saxophonists Hamiet Bluiett and Larry Smith.
Living in New York until 2001, he moved to Phoenix, Arizona to be cared for by his daughter. Saxophonist and clarinetist Buddy Tate died in Chandler, Arizona twelve days before his 88th birthday on February 10, 2001.
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Daily Dose Of Jazz…
Ronald Thomas Verrell February 21, 1926 in Rochester, Kent, England. He initially showed little interest in music until he saw the Benny Goodman Quartet perform in the film Hollywood Hotel in 1938. From that point on he wanted to be a drummer, he taught himself how to play after only one lesson. In 1940, after the outbreak of World War II in Europe, the 14-year-old was evacuated to Porthcawl in South Wales, where he made his first public appearances drumming with local bands in the area.
Returning to Kent in 1943 he worked professionally for a while with the Claude Giddins band, before being conscripted to work as a Bevin Boy in the coal mines for the remainder of the war. Following the war Ronnie began performing with Scottish saxophonist Tommy Whittle and Belgian trumpeter Johnny Claes. Then between 1947 and 1951 he played with several big bands, including those led by Carl Barriteau and Cyril Stapleton.
In 1951 Verrell joined the Ted Heath Orchestra and remained with the band until Heath’s retirement in 1964. They toured America and became the first British big band to break into the US big band arena. His next move focused on session work where he backed Winifred Atwell, Jack Jones, Tony Bennett, Tom Jones, Shirley Bassey, Jonathan King, Petula Clark and Strawbs. He would go on to join Jack Parnell’s house band and Syd Lawrence’s band in the 80s.
Ronnie performed in several television shows, including The Muppet Show where he played drums for the show’s manic puppet drummer, Animal. He dueled Buddy Rich on the show as Animal and won after Animal smashed a snare drum over Rich’s head.
The mid-1990s had him forming his own quintet he modelled after Benny Goodman’s band. Then a serious road accident forced him to stop performing for almost a year. After his recovery he continued to play, touring with an all-star band, Best of British. His final appearance was on The Frank Skinner Show in 2001.
Drummer Ronnie Verrell died on February 22, 2002 in Kingston-upon-Thames, England from a chest infection he contracted during an operation to fix a crushed vertebra resulting from a fall down some stairs.
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The Jazz Voyager
Delray Beach is the next destination for this Jazz Voyager. Had a great time in Buenos Aires but we know all good things must terminate on another ten hour flight returning home. The Arts Garage is this week’s destination and is a venue that presents a wide variety of music to a multi-cultural, multi-aged, multi-faceted South Florida audience. I’ll be arriving at Miami International, taking the tri-rail to Delray Beach and then a Lyft to the venue. The venue doubles as a gallery, and the performance space is set up with eight seat rounds so you get to meet new people each time you go.
Cyrille Aimée will be gracing the stage for this particular visit and brings her Afro-Caribbean sensibility of the Dominican Republic to the music. A matchless interpreter of song, she has worked with Wynton Marsalis and Roy Hargrove, performed at the Apollo in Harlem, got an invitation from Steven Sondheim to star in a tribute and has received a Grammy nomination.
Cover: $50.00~$55.00
Arts Garage is situated at 94 NE 2nd Avenue, Delray Beach, FL 33444. For more information visit artsgarage.org.
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