Miles Davis’ Blue Moods is a magical wonder from jazz's mid-century era. (Not to be confused with Blue Mitchell’s Blue’s Moods, released five years later.)
It’s one of those rare recordings combining an intimate ensemble, lush compositions, and an evocative yet restrained, moody, and hazy atmosphere. Released in the summer of 1955, this album is Davis’s first release on Debut Records, founded by Charles Mingus. Following the success of his previous work with both small and large ensembles, Blue Moods was tight, working with an impressive lineup of musicians that included Mingus on bass, Elvin Jones on drums, Britt Woodman on trombone, and Teddy Charles on vibraphone. Each artist brought their unique range to this album, forming a blend of smooth and subtle dynamics that set forth what would come from Miles Davis and his sound throughout the 1950s.Â
The tracklist features four pieces, beginning with ‘Nature Boy,’ originally recorded by Nat King Cole in 1948. Davis and his group approached this opening track with a reflective, lazy, or laid-back tempo that underscores its haunting quality. ‘Easy Living’ and ‘Alone Together’ allow Davis to explore the ballad form in conversational ways, as though the trumpet is telling a story. Throughout, Davis’s trumpet is restrained, giving off that ‘Kind of Blue’ sound that many are familiar with in his early work—a contrast to his more fiery performances in hard bop that would come later in the 1960s.
Blue Moods was met with a mix of appreciation and intrigue. Some viewed it as understated compared to other contemporary releases at the time, but it was cool! It was Cool Jazz, which Miles made famous in the 1950s. It’s a lighter sound than bebop and, for some, more accessible. Blue Moods had slower tempos and softer textures, but Davis showed his knack for innovation and mood-setting. Over time, Blue Moods has been adopted as a key piece of Davis's catalog. It is appreciated for its quiet brilliance and foreshadowing of the more meditative and atmospheric directions he would explore in later years.Â
For those new to Davis or longtime fans, the album offers a deeply immersive listening experience that reveals the subtler shades of jazz. Besides the trumpet, I can’t get enough of Teddy Charles’ vibe playing and Mingus’ subtle yet punchy bass lines. Blue Moods has been remastered and reissued by OJC in 1990.
Favorite track: ‘There’s No You’
Until next time… Â