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Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 Arrives November 8th via Columbia/Legacy Recordings Available as a 6CD / 8LP set featuring over four hours of previously-unreleased music and new liner notes by Marcus J.Moore 2LP break-out set features all recordings from Paris 1964 with The Second Great Quintet Preview Miles In France today with a never-heard version of “So What” Live at the Festival Mondial Du Jazz, Antibes/Juan-Les-Pins: LISTEN HERE The acclaimed Miles Davis “Bootleg Series” has spanned years as early as 1955, and as late as 1985, but it has not yet touched 1963 or 1964 – a pivotal period in Miles’ musical evolution and the auspicious beginnings of the Second Great Quintet – until now. Today, Columbia Records and Legacy Recordings, the catalog division of Sony Music Entertainment, announce the newest box set in the Miles Bootleg Series out November 8th — Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 which includes all the music made at the 1963 Festival Mondial Du Jazz in Antibes (July 26-28 of that year) and the 1964 Paris Jazz Festival (October 1). The 1963 recordings feature George Coleman, Herbie Hancock, Ron Carter and Tony Williams – while the 1964 recordings feature Wayne Shorter’s arrival on tenor saxophone as the final member of the Second Great Quintet. Miles In France will arrive November 8th as a 6 CD and 8 LP set with more than four hours of previously unreleased music and new liner notes by journalist Marcus J. Moore. A 2LP break-out set, of just the 1964 recordings, pressed on French flag-inspired blue-white-red vinyl will also be available. The release will also be available digitally in its entirety on DSPs. Pre-orders begin today - https://milesdavis.lnk.to/France Miles in France – Miles Davis Quintet 1963/64: The Bootleg Series, Vol. 8 was produced by the multi-GRAMMY winning team of Steve Berkowitz, Richard Seidel and Michael Cuscuna (marking one of the last productions for Cuscuna, who passed away earlier this year) and mastered by multi-GRAMMY winning Sony Music engineer Vic Anesini at Battery Studios in NYC. Preview the set today with a never-released, nearly ten-minute version of “So What” Live at the Festival Mondial Du Jazz, Antibes/Juan-Les-Pins on July 26th, 1963: HERE France was important to Miles on both a professional and personal level, quickly becoming his preferred live market. He played in France more times than any other country outside the U.S. and recorded there frequently. His history in the country goes back as far as 1949 – when he appeared at the Festival International De Jazz at just 22 years old – and as late as July 1991, for a concert in Nice just two months before he passed. In the early 1960s, Miles came to France having altered the course of jazz. His 1959 landmark album Kind of Blue eschewed hard bop for a modal style that allowed room for a freer type of improvisation – an overcast slow-burner evoking ease and tension. But when compared with the studio version of Kind of Blue, the music coming out of the Quintet in Antibes and Paris had very little room for space and silence. The highs were dramatic and the lows were filled with powerful phrasing – adding fresh perspective to this landmark album in all of jazz. Miles officially hired the rhythm section of Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums in the Spring of 1963, and they went into the studio in May of that year with George Coleman on tenor saxophone to record the second half of the Seven Steps To Heaven album. Two months later they arrived in Europe, and Downbeat deemed their performances at the 1963 Festival Mondial Du Jazz to be: “superb… [Davis] was in clean, decisive form and at his lyrical best…” Ron Carter recalls the experience in the new liner notes, adding, “I had never played with anyone like that, of course, and certainly not for this extended period of time. It was just stunning to hear him play like this, play with that intensity, play with that tempo, play with that direction night in and night out and not turn it on to the band and say, ‘Stop that.’ He allowed us to do whatever the chemist allowed his proteges in the lab to do. Take these chemicals I’m giving you guys and see what we come up with. Just call the fire department if necessary.” Miles would return to the U.S. with a new sense of musical purpose, spurred on by the bands he took to France, reveling in the stages they played. By the time Miles recorded E.S.P. with the Second Great Quintet in 1965, he proved that – despite whatever physical and spiritual challenges he may have endured – he was the barometer by which jazz moved and evolved. Some 60 years removed from these recordings, and more than 30 since his passing, Miles is still the summit and pinnacle, the essence of audacity, the monument of all monuments. MILES IN FRANCE – MILES DAVIS QUINTET: The Bootleg Series, Vol. 8 Festival Mondial Du Jazz, Antibes/Juan-Les-Pins, July 26, 1963 1. Introduction by André Francis (:46) 2. So What (9:46) 3. All Blues (11:59) 4. Stella By Starlight (14:13) 5. Seven Steps To Heaven (11:01) 6. Walkin’ (10:43) 7. My Funny Valentine (9:55) 8. Joshua (11:02) 9. The Theme (2:59) 10. Closing announcement by André Francis (0:37) Festival Mondial Du Jazz, Antibes/Juan-Les-Pins July 27, 1963 1. Introduction by André Francis (:52) 2. Autumn Leaves (13:55) 3. Milestones (9:23) 4. I Thought About You (11:47) 5. Joshua (11:31) 6. All Of You (16:44) 7. Walkin’ (16:16) 8. Bye Bye Blackbird (16:49) 9. The Theme (6:06) Festival Mondial Du Jazz, Antibes/Juan-Les-Pins July 28, 1963 1. Introduction by André Francis (1:21) 2. If I Were A Bell (12:46) 3. So What (12:41) 4. Stella By Starlight (15:47) 5. Walkin’ (18:19) 6. The Theme (:28) Paris Jazz Festival, Salle Pleyel, October 1, 1964 (1st concert) 1. Autumn Leaves (12:49) 2. So What (9:39) 3. Stella By Starlight (11:05) 4. Walkin’ (9:07) 5. The Theme (0:38) Paris Jazz Festival, Salle Pleyel, October 1, 1964 (2nd concert) 1. All Of You (16:05) 2. Joshua (12:35) 3. My Funny Valentine (12:18) 4. No Blues (13:13) 5. The Theme (1:05)

Anyone heard this record before? How did stay under the radar for so long? That or I just live under a rock. Al Tanner Quintet

Oh right! There’s enough footage now for a TikTok

Cheers to that

Absolutely. I've spent years post Berklee and just plain living in that world of what scale / mode is the player thinking... I've gone back to thinking (speaking) like a child and working on trying to hit chord tones and tell a story. Another revelatory moment was working through this Konitz Tenor solo on Indiana - https://photos.app.goo.gl/xMaMMz9avuAAhEnb8 - and marveling at how he plays w/ the rhythmic nuances of the lines across the bar and STILL hits the chord tones where it counts. THAT'S WHERE IT'S AT FOR ME

Yeah I LOVE Stitt as well. And "Newk's Fadeaway" - Yeah I was working one that one about a year ago. ...gonna pick that one up again!

Hell Yeah! I never saw one of those before until the box came through the other day! Love the gatefold!

Thanks! The "Theme" solo I've been playing longer actually... I'm not even bothering to write these out on manuscript. Right now, I'm internalizing a these licks, mixing/matching and working them into my own lines.

That's exactly right in this case. It's one of these hoarder / collector types who is just clearing space. Good man and he's thrilled that a nut like me wanted them!

Haha! In all seriousness, these solos are really best-in-class examples of how to play this music. I thinking of starting a YT channel to break down and teach but have a feeling 0 people will give a shit.

Years ago when I was a student at Berklee, everyone said, if you wanna learn Bop, dig into Sonny Stitt. I did a bit of that and there's no question, Stitt is one of the great codifiers of the bop language. But! I've been spending some time digging into Mobley's solos on the Rhythm Changes form of which there are many. He clearly LOVED these changes going so far as to use the A section for "Old World, New Imports" and "Three Way Split" w/ different bridge changes for each. Here are the solos I've been working on: The Theme (April 59 w/ Blakey) - https://photos.app.goo.gl/KJ1WDTwv9oAUu7N98 Tenor Conclave (Sept. 56) - https://photos.app.goo.gl/tV1x64oLrUAx64oS8 *I also have the 2nd player's solo (Zoot?) and I'm aiming to grab the Cohn & Coltrane <-YIKES in the near future. Please note these are practice videos so you'll see lots of mistakes and me still working out the kinks so while I'd love any advice / critique on where I can improve - i.e. lay behind the beat more, lighten up on the picking more etc. - Just please don't be cruel :-) W/ regard to the information I'm learning from Hank's lines. Holy fucking wow! This is a man who keeps it simple and the beauty of the line takes precedence over what hip notes or subs he could slip in. However, there are also some very hip ideas that he slips in (Flat Major subbing for V Chord coming out of the bridge leading into the last 8). In summary - I feel like I am really learning the bop language far more fluidly by studying Hank's playing. IMO, he should be positioned at the forefront of essential players that should be studied (following Lester, Wardell & Bird) for students going through the journey to learn the foundations of the bop language. I don't think his name ever came up in any classes I took as a source. Unfortunately, they jump from bop to Coltrane which becomes its own universe. However, if you don't learn this foundational stuff first and leapfrog straight to the advanced harmonic stuff Coltrane was architecting it feels a bit abstract to grasp. Looking forward to thoughts.

A friend tipped me off to a guy who was unloading Mosaic Vinyl boxes: Complete Commodore Vol 1 (23 records) $100 Buddy De Franco /Sonny Clark Complete Verve $20 Edmond Hall//Syd DeParis /Vic Dickerson BlueNote $25 Pete Johnson / Earl Hines / Teddy Bunn BlueNote session $10 Benny Morton / Jimmy Hamilton BlueNote Swingtets $10 $165 Total for all Larger Pic Here Not only was the deal too good to resist, these things have never been played! First stop - LP5 of Commodore V1. Those KC6 records...man oh man! Lester Young just jumps out of the speakers he sounds like he arrived from the future. When he solos, they sounds like an early swing/bop group. Would love thoughts on these sets from y'all, your favorite tracks / sessions from each etc.

Such a great club. Really sad to see it go. I worked for Don Sickler years ago and helped him assemble a couple of shows at the Standard. Here are the pamphlets / cards we put together for those gigs: Here's the collection: https://photos.app.goo.gl/Zd9i2dAjeM9ts5j77 and the individual images below. Billy Higgins True Blue All-Stars - A: https://photos.app.goo.gl/UcfYFFbyA7GVSu7Y9 B: https://photos.app.goo.gl/Lin5u8ny2zwLBLJ28 Kenny Dorham 75th Birthday Festival - A: https://photos.app.goo.gl/iLwNbZs9aTAs5hhL8 B: https://photos.app.goo.gl/j6REmrkPF1usk9KE7 C: https://photos.app.goo.gl/cpmYPuc2K2mi383d8

Here's a little taste - https://photos.app.goo.gl/cUn1ZPnyARYaMtwM6