Billboard : 10/13/1956
Score of 77

Re-mastering by Rudy Van Gelder of some choice sides by Miles Davis and his Quartet and Quintet in the 1953-1954 period. Material includes all of Prestige 10-inch LP 161 (When Lights Are Low, Smooch, etc.) and Old Devil Moon and I’ll Remember April, released as singles. Underappreciated at the time of the original release, these brilliantly styled solos by Davis are now certain to find a more perceptive and receptive audience. Sound has been brightened.

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Pittsburgh Courier : 10/20/1956
Harold L. Keith : 3.5 stars

Miles is backed up by Davey Schildkraut on alto; Horace Silver, piano; Percy Heath, bass, and Kenny Clarke, drums, on I’ll Remember April.

Charlie Mingus and John Lewis take over the piano chores on other offerings and Art Blakey and Max Roach split the skins between them in two sets.

Here is a great opportunity to compare the styles of Roach, Clarke and Blakey on one and the same disc.

Horace Silver’s disjointed style of piano-playing is out of this world on I’ll Remember April.

However, Miles and crew made a mistake when they tackled Old Devil Moon… a devil of a piece to improvise on.

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Wichita Falls Times
Bob Herdien : 11/04/1956

Miles Davis‘ Blue Haze (Prestige LP 7054) puts the great trumpet man on display in a showcase of fine material, to which he does justice, as usual. Three of the tracks are Davis originals – Tune Up, Miles Ahead, and Four, with startling exchanges between Davis and drummer Max Roach featured.

Others are John Lewis, piano, and Percy Heath bass. On one tune Smooch, talented Charlie Mingus is at the keyboard for his own composition, with Davis contributing a haunting solo. Horace Silver, Kenny Clarke and Art Blakey fill in on some spots – with Kenny’s slick brushwork tops on the old standards I’ll Remember April.

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Liner Notes by Ira Gitler

Up to the time of the Newport Jazz Festival of 1955, Miles Davis was bidding fair to become the forgotten man of 1955 just as he had been in 1954. A chance appearance on the Festival’s final night, as part of an all-star group, woke the slumbering critics suddenly. They couldn’t say enough in praise of Miles. I thought he had played well but not fantastically enough to awaken the writers who had snored through ’54 while he made many excellent records.

Here, in this collection, is proof that it was not Miles who made a comeback at Newport but rather the men of the fourth estate. Why he was so good, he even awakened the talent scavengers.

When The Lights Are Low is a delicate solo by Miles at medium tempo. John Lewis contributes a thoughtful chorus between Miles opening and close.

Tune Up is a Davis original with a long string of exhilarating choruses by Miles. After John solos, Miles and Max trade “fours”.

Miles Ahead is another original by Miles. Based on the changes of Milestones, it features the same format as Tune Up with the exchanges between Miles and Max especially interesting. John’s comping underlines and punctuates beautifully.

Smooch was composed by Charles Mingus and because John Lewis was forced to leave because of an emergency, the composer had the opportunity to assist in the playing of his piece. Miles solos throughout, conveying the haunting mood perfectly.

Four, written by Miles, shows his certain something wonder fully in both its theme and his solo. Horace Silver who would swing even if he was trying not to, has a sparkling solo here.

Old Devil Moon is a tune of a number of years back which Miles seems to have revived. Since his recording, both Sarah Vaughan and Carmen McRae have also done it. The stopping and then swinging is most effective as Miles romps with Art Blakey adding timely comments with his sticks.

Blue Haze could be easily subtitled “When Lights Are Out” for that was the situation in the studio when this was made. Only the light from the control room shed slight illumination. The blues mood was aided greatly as everyone relaxed in the haze. Percy Heath sets the pace and then Miles takes an extended set of choruses, Horace has a short but moving solo before Miles closes it out,

I’ll Remember April is rendered at uptempo with two choruses each by a muted Miles, Horace, and Dave Schildkraut. Horace comes back for another and then the rhythm section comes to the fore with Kenny’s impeccable brushwork outstanding and Percy’s rock of a beat a joy to hear.