The "Birth of the Cool" sessions, as they came to be known, grew out of an informal series of gatherings in the dingy 55th st (Manhattan) apartment of arranger and unsung jazz hero
Gil Evans, between 1948 and 1950.
Miles Davis had come to New York to study
trumpet at Julliard, but he found it much more rewarding to play at the
52nd St. jazz clubs till late at night, then head on over to Gil's to play with the likes of saxophonist
Gerry Mulligan, John Carisi, and the musically adventurous
Gunther Schuller, an opera musician who also loved to mix classical ideas in with
jazz, and who would arrange some of Miles Davis' biggest hits. Gil Evans, a mediocre pianist and former arranger for
Claude Thornhill, was the musical director of the
nonet that emerged from the first exchanges of ideas. The nonet, "Miles Davis and His Orchestra", played a few gigs in 1948, opening for
Count Basie, but was rejected by the public. The music played in these sessions, and the "
cool jazz" that followed, was a reaction against the overly virtuosic
bebop styles of
Charlie Parker and
Dizzy Gillespie, and marked the return of the
arranger and the
composer to the jazz spotlight. And these composers weren't just sticking to the old forms, either. They broke the rules set by
Henderson,
Basie, and
Armstrong. The
rhythm section was understated, the music was full of rich, thick textures and dark sonorities, and the emphasis was back on cooperation (versus bebop, where
solos dominated). Arrangers started to explore the timbral possibilities of combining many different instruments (like Fletcher Henderson), but added
oboes,
bassoons, and more to the mix. Instruments that had previously been relegated to the rhythm section, such as the
tuba, were now being tried out as bearers of the melody.