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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RÉMI BOLDUC PRESENTS THE NEXT GENERATION
Rémi Bolduc is a Canadian jazz saxophonist, bandleader and composer. He teaches jazz at the Schulich School of Music, McGill University in Montreal, Canada.
had an early start to his career, playing the saxophone professionally at 15 years of age. In 1982, he moved to Montreal, Quebec where he would work with established saxophonists Sayyd Abdul Al-Khabyyr, Simon Stone and Bob Mover. In the 1980s, Bolduc joined the hard-bop Bernard Primeau Jazz Ensemble and the Vic Vogel Big Band. He studied with New York-based alto saxophonist Steve Coleman and composer Vince Mendoza.
The saxophonist is now bringing into the forefront a host of young musicians who will become the torchbearers in the future of Canadian jazz.
Tickets: 3 sets: 7pm ($12.50+tax), 8:15pm ($10+tax) & 9:30pm (Free)
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ARTEMIS
Fresh off their 2nd consecutive win for “Jazz Group of the Year” in the Downbeat Readers Poll, Aretemis returns with their third Blue Note album Arboresque. The album and the group features the quintet helmed by pianist and musical director Renee Rosnes, trumpeter Ingrid Jensen, tenor saxophonist Nicole Glover, bassist Noriko Ueda, and drummer Allison Miller.
A paean to the sheer joy of collaboration and creativity, the album also explores a theme of natural and environmental beauty. This is the debut performance of Artemis and celebration of their album release at the legendary New York City venue.
Tickets: $40.00 + fee
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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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