Sold Date: July 17, 2023
Start Date: July 10, 2023
Final Price: $14.99 (USD)
Bid Count: 1
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MILES DAVIS: "MAKIN' WAX: ORIGINAL PERFORMANCES 1953-58"   MILES DAVIS w/ SONNY ROLLINS, JOHN COLTRANE, BILL EVANS FIRST U.S. PRESSING ~ CHAKRA LABEL ~ PRINTED COVER
MILES DAVIS "MAKIN' WAX: ORIGINAL CONCERT PERFORMANCES 1953-1958"  ORIGINAL CONCERT PERFORMANCES (RADIO?) 1953-1958 LABEL: CHAKRA CH 100 MDA/MDB RECORDED: 1953 (ONE TUNE) 1957/58 (ALL OTHERS) RELEASED: CIRCA 1980, POSSIBLY LATE 70s EDITION: ORIGINAL US PRESSING ~ BLUE PRINTED COVER w/ YELLOW LABELS MILES DAVIS w/ SONNY ROLLINS, BILL EVANS & JOHN COLTRANE MATRIX (SIDE A): CH-100 MD-A (Etched)
CONDITION: VINYL & JACKET EX-
I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 40 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I am offering up this fantastic, clean First Pressing copy of this rare and odd Miles Davis 'Collector' record of vintage live performances.
This is my original copy, purchased back in the early 80s that I've taken great care of for many years.  I don't know much about this unusual release and I can't find much info about it on-line either. Like most 'collector' records, it's a bit of a mystery.
~~~~~~~~~~~~~~~~~ The songs on this album include the following:
BYE BYE BLACKBIRD (MAY 17, 1958) ROLLIN' AND BLOWIN' ('WALKIN') (MAY 17, 1958) I GOT RHYTM (MAY 16, 1953) FOUR SQUARED (JULY 13, 1957) BYE BYE BLACKBIRD (JULY 13, 1957) ROY'S NAPPIN NOW (JULY 13, 1957) IT NEVER ENTERED MY MIND (JULY 13, 1957) FOUR PLUS ONE MORE ('FOUR') (MAY 17, 1958)
The dates for these performances are in question. Different pressings have different dates listed and different sites also have the dates different. The above dates are the best I can determine based on my research. There is only one track (I got Rhythm) from 1953, the rest are from the classic years of 1957/1958. 
This 'Collector' record does a poor job of documenting the dates and locations of these classic  performances.
Probably Recorded at Birdland, NYC, May 16, 1953 Probably Recorded at the Cafe Bohemia, NYC, July 13, 1957. Probably Recorded at the Cafe Bohemia, NYC, May 17, 1958.
~~~~~~~~~~~~~~~~~ The bands behind Miles, as far as I can tell, include:
July 13, 1957 Miles Davis (trumpet) Sonny Rollins (tenor) “Red” Garland (p) Paul Chambers (b) Art Taylor (d) ~~~~ May 17, 1958 Miles Davis (trumpet) John Coltrane (tenor) Bill Evans (p) Paul Chambers (b) Philly Joe Jones (d) ~~~~ May 16, 1953 Miles Davis (trumpet) Sahib Shihab [Edmund Gregory] (baritone sax) Wade Legge (p) Lou Hackney (b) Al Jones (d)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ If you're interested, here's the story of the classic late 50's Miles Davis Quintet. Condition details of this record are below after the 'story'
~~~~~~~~~~~~~~~~~~ THE STORY OF THE FIRST GREAT MILES DAVIS QUINTET
By 1955, Miles Davis was in a much better shape than he was in a long time. After kicking his heroin habit at his father’s house in 1953, he returned to New York City a much better and stronger musician. His tone on the trumpet improved and so did his ability to lead groups of musicians at recording sessions and in the clubs. 
The quality of his 1954 studio output for Prestige greatly exceeded most of his earlier 1950s recordings and yielded some of the best records in his career.
He was ready to move on from his deal with Prestige, start a new band, and start the next stage of his career.
First, he needed to sign with a larger record company to get better distribution, promotion, and recognition, and secondly, he needed a new working band of excellent musicians. 
On June 7, 1955 Miles Davis went into Rudy van Gelder’s Studio in Hackensack, NJ to record a session for Prestige. This was a quartet date, significant for being the first session with pianist Red Garland, who Miles was familiar with and shared a love of Boxing with.
Miles felt that Garland could add ‘melodic understatement and lightness’ to his band, similar to the style of Chicago pianist Ahmad Jamal, who Miles admired.
They recorded some new tunes, some covers of Jamal's tunes, and the session led to Garland getting a new long contract with Prestige.
That June 1955 quartet session led to the 'Musings Of Miles' album on Prestige.
In July 1955, Miles appeared at the Newport Jazz Festival with an all-star band including Zoot Sims on tenor, Gerry Mulligan on baritone, Thelonious Monk on piano, Percy Heath on bass and Connie Kay on drums. 
His performance on Monk’s ‘Round Midnight was outstanding. Davis' excellent performance got him noticed, not only to jazz fans, but to record executives in the audience.
Columbia Records producer George Avakian offered Miles a lucrative contract, but Miles was currently signed to Prestige and owed them 5 more albums.
Avakian realized that Miles was 'hot' and marketable and started to record Miles at Columbia's NYC studio, promising not to release anything until Miles' recording obligations to Prestige were fulfilled.
The first of the 'classic quintet' recordings was done at Columbia in the Fall of 1955, but wouldn't be released until 1957, after Davis left the Prestige label.
Miles recruited drummer Philly Joe Jones, who he had first recorded with back in 1953, and worked with intermittently since.
For a Bass player, Miles had his eye on a young NYC bassist named Paul Chambers who was rising in the local scene. Chambers agreed to sign on.
The last piece of the puzzle was a Sax player.
Miles wanted to enlist Sonny Rollins, who he had worked with earlier in the 50s. Rollins signed on for some club dates, but then suddenly vanished. It turns out that Sonny had returned home to Lexington, Kentucky to kick his own heroin habit.
Davis then sought out Cannonball Adderley who was playing with Oscar Pettiford, but the alto player was also a music teacher and had teaching commitments back in his home state of Florida.
Miles briefly considered John Gilmore, Sun Ra's Tenor player, who had a unique sound and style, but that didn't work out.
Miles' drummer Philly Joe then recommended a Tenor player he knew from back in Philadelphia called John Coltrane. Miles had played with Coltrane before and was reluctant, but eventually they hooked up. Coltrane was playing in Philly with organist Jimmy Smith’s trio at the time.
With the final piece added, the classic Miles Davis quintet of the 1950s, one of the finest jazz ensembles in the history of the genre, was born.
Miles realized the quality, skills and possibilities of his new quartet right away.
Miles was making good money with his new Columbia contract and was popular enough to demand top fees for club dates, so he could afford to pay his musicians well and create a stable group of working and touring musicians.
He now had the ultimate Quintet; Trane on sax, Philly Joe on drums, Red Garland on piano, Paul Chambers on bass, and himself on trumpet. 
The band did a rehearsal tour around the east coast clubs and then booked their first recording session for Columbia in October 1956.
Davis still owed Prestige some albums, so on November 16, 1955, a few weeks after their first Columbia session, the quintet went into Rudy Van Gelder’s studio to record a session for Prestige, who released it as 'Miles: The New Miles Davis Quintet,' Now Miles only owed them 4 more records.
The Quintet was very popular and toured constantly from the Fall of 1955 through the Summer of 1956. They got progressively better and started to fuse into a tight unit.
Famously on May 11, 1956, producer Bob Weinstock booked a marathon session at Rudy van Gelder’s Studio. Davis knew he had to produce lots of quality takes, so the band basically performed their live show right there in the studio.
On that single session the band completed 13 pieces in 14 takes. A follow up session in October yielded 12 tracks in 15 takes. Now Prestige had enough material to make up the 4 albums that Miles owed his old record label.
Those sessions resulted in the classic Miles Davis albums; Cookin’  Relaxin’  Workin’  and Steamin’ with the Miles Davis Quintet. All fantastic releases.
The Quintet continued to record at Columbia Studios as well, doing sessions on June 5, 1956 and September 10, 1956. Those sessions ended up being the 'Round Midnight' album for Columbia which contained a classic version of Monk's title track.
Unfortunately, that last session for Prestige proved to be the last studio recording for the band.  The band continued to tour thru early 1957, with Miles taking a break to go on the 'Birdland All-Stars' tour of Europe, but things were starting to fall apart.
Drugs, alcohol and heroin were destroying the band. During a show at the Café Bohemia in April of 1957 Miles had enough and fired John Coltrane and Philly Joe Jones. That was the end of the first Classic Quintet.
The band only lasted only 18 months, but recorded 6 classic albums worth of material for Prestige and Columbia.
John Coltrane took his firing poorly, returned to Philadelphia, and decided to get clean. He then joined Thelonious Monk's band and started his spiritual journey in music.
Miles went on to work with Gil Evans and released he classic 'Miles Ahead' album. The Quintet's rhythm section all found club and session work with various other artists and had long careers.
Jazz critic Ira Gitler summed it up in his liner notes to the Cookin' album; “It is said that all good things come to an end. One did in the spring of 1957 when the Miles Davis Quintet was dissolved. They were THE group — the best small combo in modern jazz.”
THANKS TO THE FACEBOOK PAGE 'THE MUSIC AFICIONADO' FOR HELP WITH THIS INFORMATION AND ALL THE GREAT ARTICLES AT HIS SITE.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I purchased this copy in the early 80's, nearly 40 years ago, in Greenwich Village, on one of my regular digs in those days, and have taken great care of it since. 
VINYL: The vinyl looks great. Clean and Bright. The vinyl looks fantastic. I'll say conservative EX-, no scuffs, scrapes. I tried to show some close-up pictures of the vinyl to show how good it looks. I'm sure you'll be happy with it.
LABELS: This is pressed on custom yellow 'Chakra' records labels. The sides are labeled 'MDA' and 'MDB'. The labels are clean and bright. No marks or damage. The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years.
JACKET: As you can see, this is still in nice condition. I believe this is the First American pressing. The front cover art is printed directly on the jacket in Blue. Later pressings were in Yellow. I've also seen copies of this at record shows with paper slipsheet inserts and different colored labels (pink) which I believe are later dubs or re-issues.
The back cover on all copies I've seen, including this one, are blank.
This has been sleeved and stored properly for years, and is still quite nice. Clean and bright. The corners are sharp and there is no ringwear on the front and very little on the blank white back. You can see from my pictures it's quite nice.
This is a great record to add to any Miles, Coltrane, Rollins or classic Jazz collection. These don't turn up for sale often and it's a real gem.
I'm sure you'll love it.
~~~~~~~~~~~~ ** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
~~~~~~~~~~~~~~~ I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition. Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
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THANK YOU for looking and reading if you got this far.  -- JOHN