This was not the first time the two collaborated on a recording for Columbia, having recorded the albums Miles Ahead and Porgy and Bess.
We start this review with two of Columbia’s biggest jazz stars, both them following up on milestone albums they released with the label the previous year.Īt the end of 1959, after releasing the album Kind of Blue, a watershed moment in the history of jazz, Miles Davis came back to the legendary Columbia recording studio at 30 th street in New York and recorded a jazz interpretation of Joaquín Rodrigo’s Concierto de Aranjuez, arranged by Gil Evans. Columbia jazz artists were even featured on the cover of Time Magazine (1949 – Louis Armstrong, 1954 – Dave Brubeck, 1956 – Duke Ellington, 1964 – Thelonious Monk). Columbia also spent the required marketing dollars to promote these artists, and most of them became household names. Columbia had on its roster the genre’s biggest names, offering them lucrative contracts that small independent labels could not match. But – those were the days when such labels put out some of jazz’s most celebrated albums. The majority of these releases lay outside of jazz, as the comfortable zone for the label was mainstream, middle of the road music that appealed to masses of listeners. Along with Capitol, Decca, Mercury and RCA, Columbia was all over the air waves with over a hundred releases every year.
Columbia Records was one of the big five record labels in the 1950s.
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