On the evening of September 9, 1958, The Persian Room at New York City’s iconic Plaza Hotel became the epicenter of the jazz universe. Columbia Records, eager to showcase its unparalleled roster of talent, hosted an extraordinary concert featuring many of the most influential jazz musicians of the era. Known today as Jazz at the Plaza, this event wasn’t just a performance; it was a unique opportunity for the audience to witness jazz history in the making. Beyond its immediate impact, this night left behind two albums that captured the spirit of jazz in transition: Jazz at the Plaza, Vol. 1 by the Miles Davis Sextet, and Duke Ellington’s Live at the Plaza. Though neither album was released immediately, they became crucial documents of a golden era in jazz.

         The Persian Room, synonymous with elegance and exclusivity, has hosted countless luminaries. This night provided an intimate setting for some of jazz’s greatest artists to perform, experiment, and enchant. Columbia Records, keen to assert its dominance in jazz, used the event to promote its top-tier talent while treating industry insiders and tastemakers to an unforgettable evening.

The Star-Studded Lineup

The musicians who took the stage that night represented jazz’s past and future. To name a few:

• Miles Davis Quintet: Miles Davis (trumpet), John Coltrane (tenor saxophone), Bill Evans (piano), Paul Chambers (bass), and Jimmy Cobb (drums). Fresh off groundbreaking performances and on the brink of recording Kind of Blue, this group epitomized jazz innovation.
• Duke Ellington: The towering figure of jazz, whose career spanned decades, was joined by his orchestra. Ellington’s presence lent a sense of regal continuity to the proceedings.
• Dave Brubeck Quartet: Featuring Dave Brubeck (piano) and Paul Desmond (alto saxophone), known for their relaxed, cerebral approach to jazz.
• Bill Evans Trio: The introspective pianist led his trio with a delicate, harmonically rich style that was redefining the possibilities of jazz piano.
• Gerry Mulligan: The baritone saxophonist, a pioneer of the West Coast cool jazz movement, added his uniquely lyrical voice to the evening.
• Thelonious Monk: Though not a Columbia artist at the time, Monk’s innovative compositions were celebrated by many musicians performing that night.
• Johnny Hodges: The alto saxophonist, known for his smooth, dynamic sound, represented the Ellington orchestra’s enduring legacy.

The music was as diverse as the lineup, spanning a rich tapestry of styles and eras. Highlights included:

• Miles Davis Quintet: Their set likely featured early explorations of modal jazz, with tunes such as “Straight, No Chaser” and “If I Were a Bell” showcasing the interplay between Davis’s cool lyricism and Coltrane’s fiery intensity.
• Duke Ellington Orchestra: Classic Ellington compositions like “Take the ‘A’ Train” and “Mood Indigo” enthralled the audience, blending sophistication with swing.
• Dave Brubeck Quartet: The group brought their signature blend of intricate time signatures and melodic elegance, perhaps previewing pieces from their Time Out sessions.
• Gerry Mulligan: Known for his warm, airy tone, Mulligan’s baritone saxophone added a distinct texture to the night’s soundscape.
• Johnny Hodges: With his lyrical alto saxophone, Hodges delivered soulful renditions of Ellington standards, a poignant reminder of jazz’s emotional core.

The performances were largely unrehearsed, capturing the raw spontaneity and improvisational brilliance that define jazz.

          The Persian Room was filled with a who’s who of the jazz world and New York’s cultural elite. Music critics, Columbia Records executives, and influential tastemakers mingled with fellow jazz aficionados. The intimate setting allowed guests to feel a close connection to the artistry, with the sound of clinking glasses and murmured admiration blending into the music.

The event underscored jazz’s transitional moment in 1958. Miles Davis’s modal explorations hinted at the revolutionary shifts that would culminate in Kind of Blue. Meanwhile, Duke Ellington and Johnny Hodges reminded the audience of jazz’s roots, blending swing and big band traditions with modern sensibilities. Columbia Records, at the forefront of jazz innovation, used the concert to reinforce its brand as a genre champion. Though initially not intended for release, the recordings from the evening were later issued, capturing this historic night for posterity.

The Recordings: Capturing the Magic

Miles Davis Sextet: Jazz at the Plaza, Vol. 1

The jazz at the Plaza album, recorded live that evening, wasn’t released until 1973, long after the event. The reasons for the delay were both technical and cultural. The Persian Room’s acoustics, designed for intimate cabaret performances, presented challenges for capturing the full range of the sextet’s sound. Moreover, live jazz albums were only sometimes seen as commercially viable compared to studio recordings.

When the album finally surfaced, it showcased the sextet’s brilliance on tracks like “Straight, No Chaser” and “If I Were a Bell.” These performances highlighted the group’s transition toward modal jazz, a style that would revolutionize the genre with the release of Kind of Blue in 1959. The album also provided a rare glimpse into the interplay between Davis, Coltrane, Adderley, and Evans in a live setting, making it an essential piece of jazz history.

Duke Ellington: Live at the Plaza

Ellington’s performance that night also resulted in a live album, Live at the Plaza, released much later. Like Davis’s recording, it was initially shelved due to technical imperfections and the industry’s focus on studio releases. When it eventually appeared, it captured Ellington and his orchestra in full swing, performing classics like “Take the ‘A’ Train” and “Mood Indigo.”

The album revealed the enduring vitality of Ellington’s music in an era increasingly dominated by smaller combos and modernist experiments. His ability to adapt his big band sound to the intimate setting of the Persian Room demonstrated his genius and flexibility as a composer and bandleader.

Why the Albums Weren’t Released Immediately

The delay in releasing these recordings can be attributed to several factors:

1. Technical Challenges: The acoustics of the Persian Room were not ideal for capturing the full dynamic range of large ensembles and high-energy improvisation.
2. Market Priorities: Studio albums were prioritized over live recordings at the time due to their polished sound and broader appeal.
3. Changing Context: By the time the albums were considered for release, jazz had moved into new territories, and the historical significance of these performances became clearer in retrospect.

When they were eventually released, the albums were not just musical treasures but also historical artifacts that offered a window into a transformative period in jazz.

The Importance of the Recordings

These albums are crucial for understanding the trajectory of jazz in the late 1950s:

• Miles Davis Sextet: The Jazz at the Plaza album captures Davis’s group as they refined the modal approach that would redefine jazz with Kind of Blue. It provides rare insight into the chemistry between Davis and his bandmates in a live setting.
• Duke Ellington Orchestra: Live at the Plaza underscores Ellington’s ability to bridge eras, reaffirming his relevance in an age dominated by smaller combos and bebop-inspired innovations.
• A Moment in Time: Together, these recordings document a unique convergence of jazz legends, styles, and eras, capturing the genre at a crossroads.

Musical Highlights from the Night

• Miles Davis Sextet: Tracks like “Straight, No Chaser” and “If I Were a Bell” showcase Davis’s cool, introspective sound alongside the fiery virtuosity of Coltrane and Adderley.
• Duke Ellington Orchestra: The lush arrangements of “Take the ‘A’ Train” and “Mood Indigo” exemplify the timeless elegance of Ellington’s music.
• Johnny Hodges: The alto saxophonist’s soulful interpretations reminded listeners of the emotional depth at the heart of Ellington’s work.

Little-Known Facts and Memorable Moments

• A Nervous Bill Evans: Playing alongside Davis and Coltrane, Evans later admitted feeling anxious, though his performance was masterful.
• Ellington’s Humor: Ever the showman, Ellington charmed the crowd with his wit and charisma between numbers.
• Spontaneity Reigns: With little rehearsal, the night’s performances showcased the musicians’ ability to craft brilliance in the moment.
• The Persian Room’s Acoustics: While stunned, the room’s acoustics challenged the recording engineers, resulting in a uniquely intimate sound on the eventual release.

For Columbia Records, the evening was a strategic showcase of its unparalleled jazz roster. It was a promotional event, a networking opportunity, and a celebration of the genre. Hosting the concert at the prestigious Plaza Hotel underscored the label’s commitment to elevating jazz to the level of high art.

Today, Jazz at the Plaza is remembered as more than a concert; it was a defining moment in jazz history. The recordings offer a rare glimpse into the live interplay between some of the greatest musicians ever. The event’s legacy lies not only in the music but in its role as a cultural milestone, celebrating the richness and diversity of jazz at its peak.

For those fortunate enough to attend, it was an unforgettable night. For the rest of us, the echoes of that evening continue to inspire, reminding us of jazz’s timeless power to connect and captivate.