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Compilation album by Miles Davis
Released February 1957
Recorded January 21 and April 22, 1949; March 9, 1950; in New York City
Genre Cool jazz
Length 35:29
Label Capitol
Producer Walter Rivers, Pete Rugolo
Miles Davis chronology
Collectors` Items
(1956) Birth of the Cool
(1957) `Round About Midnight
(1957)

Birth of the Cool is a compilation album by American jazz trumpeter and bandleader Miles Davis, released in February 1957 by Capitol Records.[nb 1] It compiles eleven tracks recorded by Davis`s nonet for the label over the course of three sessions during 1949 and 1950.[5]

Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title suggests, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long.

Note from the 2000 Capitol CD reissue producer Michael Cuscuna:

All previous reissues of this material have been derived from the 1957 12-inch LP master, which turns out to be second or third generation. The original tapes of each tune were filed individually and sound considerably better. Rudy Van Gelder returned to these masters, transferred them in 24-bit to digital and worked his sonic magic. The result is a clearer and more present sound than ever before on these classic recordings.[26]

The band`s debut performance at the Royal Roost received positive, but reserved reactions.[35] Count Basie, the Roost`s headliner during the Nonet`s brief tenure, however, was more open to the group`s sound, saying, `Those slow things sounded strange and good. I didn`t always know what they were doing, but I listened, and I liked it.`[36] Winthrop Sargeant, classical music critic at The New Yorker, compared the band`s sound to the work of an `impressionist composer with a great sense of aural poetry and a very fastidious feeling for tone color... The music sounds more like that of a new Maurice Ravel than it does like jazz ... it is not really jazz.`[37] Though he did not recognize the record as jazz, Sargeant acknowledged that he found the record `charming and exciting`.[37] In the short term the reaction to the band was little to none,[37] but in the long term the recordings` effects have been great and lasting. They have been credited with starting the cool jazz movement[38] as well as creating a new and viable alternative to bebop.[39]

In 1957, after the release of Birth of the Cool, Down Beat magazine wrote that the album `[influenced] deeply one important direction of modern chamber jazz.`[40] Several tunes from the album, such as Carisi`s `Israel`, have gone on to become jazz standards.[41] The album was included in the book 1001 Albums You Must Hear Before You Die.[42] Birth of the Cool was voted number 349 in Colin Larkin`s All Time Top 1000 Albums 3rd Edition (2000). [43]

Many members of the Miles Davis Nonet went on to have successful careers in cool jazz, notably Gerry Mulligan, John Lewis, and Lee Konitz. Mulligan moved to California and joined forces with trumpeter Chet Baker in a piano-less quartet, before creating his Concert Jazz Band.[44] Lewis would become music director of the Modern Jazz Quartet, which would become one of the most influential cool jazz groups.[45] Evans would go on to collaborate with Davis again on the Davis albums Miles Ahead and Sketches of Spain.[46] Capitol Records were at the time disappointed with the sales of the nonet recordings, and did not offer Davis a contract extension. Instead, Davis signed with the new jazz specialty record label, Prestige, for whom he would record his first album in 1951.[47]

`Move` (Denzil Best, arranged by John Lewis) – 2:32
`Jeru` (Gerry Mulligan) – 3:10
`Moon Dreams` (Chummy MacGregor, Johnny Mercer, arranged by Gil Evans) – 3:17
`Venus de Milo` (Mulligan) – 3:10
`Budo` (Miles Davis, Bud Powell, arranged by Lewis) – 2:32
`Deception` (Davis, arranged by Mulligan) – 2:45
`Godchild` (George Wallington, arranged by Mulligan) – 3:07
`Boplicity` (Cleo Henry (i.e. Davis and Gil Evans), arranged by Evans) – 2:59
`Rocker` (Mulligan) – 3:03
`Israel` (Johnny Carisi) – 2:15
`Rouge` (John Lewis) – 3:13
`Darn That Dream` (Eddie DeLange, Jimmy Van Heusen, arranged by Mulligan) – 3:26
Recording dates
Tracks 1, 2, 5, 7 on January 21, 1949
Tracks 4, 8, 10, 11 on April 22, 1949
Tracks 3, 6, 9, 12 on March 9, 1950
Recorded at WOR Studios, New York, New York.

Personnel
January 21, 1949 – `Jeru`, `Move`, `Godchild`, `Budo` (matrix numbers: 3395, 3396, 3397, 3398)

Miles Davis – trumpet
Kai Winding – trombone
Junior Collins – French horn
Bill Barber – tuba
Lee Konitz – alto saxophone
Gerry Mulligan – baritone saxophone
Al Haig – piano
Joe Shulman – bass
Max Roach – drums
April 22, 1949 – `Venus De Milo`, `Rouge`, `Boplicity`, `Israel` (matrix numbers: 3764, 3765, 3766, 3767)

Miles Davis – trumpet
J. J. Johnson – trombone
Sandy Siegelstein – French horn
Bill Barber – tuba
Lee Konitz – alto saxophone
Gerry Mulligan – baritone saxophone
John Lewis – piano
Nelson Boyd – bass
Kenny Clarke – drums
March 9, 1950 – `Deception`, `Rocker`, `Moon Dreams`, `Darn That Dream` (matrix numbers: 4346, 4347, 4348, 4349)

Miles Davis – trumpet
J. J. Johnson – trombone
Gunther Schuller – French horn
Bill Barber – tuba
Lee Konitz – alto saxophone
Gerry Mulligan – baritone saxophone
John Lewis – piano
Al McKibbon – bass
Max Roach – drums
Kenny Hagood – vocal (on `Darn That Dream` only)
All tracks recorded at WOR Studios, New York, New York

The Complete Birth of the Cool: The Live Sessions

Miles Davis – trumpet
Mike Zwerin – trombone
Junior Collins – French horn
Bill Barber – tuba
Lee Konitz – alto saxophone
Gerry Mulligan – baritone saxophone
John Lewis – piano
Al McKibbon – bass
Max Roach – drums
Kenny Hagood – vocal (on `Why Do I Love You?` and `Darn That Dream` only)