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Miles Ahead session details

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April 22, 1949 (4 items; TT = 11:34)
WMGM Studios, New York NY
Commercial for Capitol

Miles Davis (tpt); J.J. Johnson (tb); Sandy Siegelstein (frh); Bill Barber (tuba); Lee Konitz (as); Gerry Mulligan (bs); John Lewis (p); Nelson Boyd (b); Kenny Clarke (d)
1 Venus de Milo (take 7) (G. Mulligan) 3:10

Arranged by Gerry Mulligan
2 Rouge (J. Lewis) 3:11

Arranged by John Lewis
3 Boplicity (take 2) (M. Davis-G. Evans) 2:59

Arranged by Gil Evans
4 Israel (take 2) (J. Carisi) 2:14

Arranged by John Carisi

1 Venus de Milo (take 7)
78 rpm: Capitol 7-1221
45 rpm: Capitol EAP 1-459
10" LP: Capitol H-459
12" LP: Capitol T 762, Capitol DT 1974, Capitol CAPS 1024, Capitol M 11026, Classic Records T762 (180 gram), Classic Records ACAP 762Q (200 gram), Toshiba ECJ-50050
CD: Toshiba TOCJ-5301, Capitol CDP 94550, Definitive Records DRCD 11159, Capitol CDP 30117

2 Rouge
45 rpm: Capitol EAP 2-459
10" LP: Capitol H-459
12" LP: Capitol T 762, Capitol DT 1974, Capitol CAPS 1024, Capitol M 11026, Classic Records T762 (180 gram), Classic Records ACAP 762Q (200 gram), Toshiba ECJ-50050
CD: Toshiba TOCJ-5301, Capitol CDP 94550, Definitive Records DRCD 11159, Capitol CDP 30117

3 Boplicity (take 2)
78 rpm: Capitol 57-60011
45 rpm: Capitol EAP 3-459
12" LP: Capitol T 762, Capitol DT 1974, Capitol CAPS 1024, Capitol M 11026, Classic Records T762 (180 gram), Classic Records ACAP 762Q (200 gram), Toshiba ECJ-50050
CD: Toshiba TOCJ-5301, Capitol CDP 94550, Definitive Records DRCD 11159, Capitol CDP 30117

4 Israel (take 2)
78 rpm: Capitol 57-60011
45 rpm: Capitol EAP 2-459
10" LP: Capitol H-459
12" LP: Capitol T 762, Capitol DT 1974, Capitol CAPS 1024, Capitol M 11026, Classic Records T762 (180 gram), Classic Records ACAP 762Q (200 gram), Toshiba ECJ-50050
CD: Toshiba TOCJ-5301, Capitol CDP 94550, Definitive Records DRCD 11159, Capitol CDP 30117

This is the second of three Capitol studio sessions with the Davis Nonet, which had long since stopped working as a regular group. Perhaps the group would have been recorded earlier if the American Federation of Musicians recording ban had not been in effect.

Capitol Records did not have its own recording studio in New York, and WMGM's studios were used for many Capitol jazz sessions in the 1940s. In 1952 WMGM bought an interest in Fine Sound, and on October 10, 1953 Billboard reported that "Fine Sound Takes Over N.Y. Studios." Henceforth the studios would be known as Fine Sound Studios, and many memorable sessions for Verve and other jazz labels were recorded there.

I am grateful to Leif Bo Petersen for help with this session.

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