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Miles Davis In Stockholm 1960 Complete


jacknife

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I just saw this 4cd set on Dragon Records at my local store and am curious. It has a great line up with Miles, Coltrane, Sonny Stitt, Wynton Kelly, Paul Chambers and Jimmy Cobb. Can anyone recommend this one? How is the sound quality? They want $50 for it so I'm not sure if it's worth it or not.

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This is (deleted, I believe) 2 discs of the Miles/Trane/Kelly/Chambers/Cobb group, and 2 discs from the next tour with Stitt replacing JC.

Do you have the French concerts from the same tour? If you do, it is more of the same. I'd grab it if you like Miles and/or Trane and/or Stitt and/or the dandy rhythm section. Then get the 4 French discs.

If the Dragon set is back in print, get the French discs first.

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Do you have the French concerts from the same tour? If you do, it is more of the same. I'd grab it if you like Miles and/or Trane and/or Stitt and/or the dandy rhythm section. Then get the 4 French discs.

The 2 Paris shows are recommended also .

I picked up this one (with Sonny Stitt) recently

36151.JPG

for only £5.99 (less than $10) for a double CD.

i've had the Trane Paris shows for a little while but im sure that set is as cheap on this side of the pond.

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Yeah, Paris is one of those rare times when you get to literally hear the course of history being changed as it happens. A lot of what Trane's into here, especially in terms of intensity, doesn't surface on record again until the Impulse! years. You hear barriers being torn down right before your very ears. To call it a shattereing experience, both musically and emotionally, might seem like hyperbole to some, but that's how it gets me.

But Paris was the first stop on that tour, and nothing else that's been captured from that tour quite reaches that level, although it's all still pretty intenese. I wonder if Trane, who was not happy about doing that gig, just got all his venting done up front, and went on from there, or if somebody told him that he was freaking people out (the Parisian audience, as Claude implied, was less than ready if their reaction is any indication) and him being the sensitive soul that he was, he pulled back the reigns for the rest of the tour. The stuff w/Stitt is all well and good, but it's a totally different dynamic w/oTrane. Whatever, everything from that Spring tour is priceless, and if you see the Dragon set, don't hesitate.

And if you see the Paris stuff, grab it immediately and run for cover before you listen to it. ;)

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I'll second the comments on the shattering nature of Trane's playing during the tour, and hearing Sonny is pretty cool, too. However, one shouldn't overlook Miles -- he is incredible on both the spring and fall tours. The difference in his playing between the two tours, only a few months apart, is very interesting as well; he appears more fiery in the Paris and Stockholm shows from the fall tour, as if to balance for the loss of Trane. Essential music, I think.

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I'll second the comments on the shattering nature of Trane's playing during the tour, and hearing Sonny is pretty cool, too. However, one shouldn't overlook Miles -- he is incredible on both the spring and fall tours. The difference in his playing between the two tours, only a few months apart, is very interesting as well; he appears more fiery in the Paris and Stockholm shows from the fall tour, as if to balance for the loss of Trane. Essential music, I think.

Yes, essential indeed! I have both the Paris and the Stockholm 4CD sets and like them very much!

And Miles' playing harder, edgier, sort of compensating Trane's departure, that's something I hear in the autumn concerts, too. It's like with Trane, Miles was playing the softer counterpart, while later with Stitt taking the softer part, Miles plays more fiery, trying (and succeeding, in my opinion) to provide sort of an edge which went away with Trane.

Then, I love Wynton Kelly on all these sets! Many great solos!

An as an aside: there exists some story about Miles having given Trane his first ever soprano on the spring tour.

ubu

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I'm not sure I'd go so far as to call this set essential, but, IMO, it's darn close. For all the reasons mentioned earlier but also for some "center cut" Wynton Kelly. He is really on his game...a pleasure to listen to. I have the Dragon 4 CD set. Sound is fine. I don't recall how much I paid (I got mine at Tower Records) but I think it was in the $50 range. If you're a fan of Miles, there's no way you'll regret picking this one up.

Up over and out.

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  • 3 years later...

I'm not sure I'd go so far as to call this set essential, but, IMO, it's darn close.

I'd argue that at least some 'live' document from both of these tours is pretty damn close to essential for anyone who already owns 25 or more hours of Miles, period.

Miles and Trane (live) from that 1960 tour is an eye-opener cuz of Trane (nuff said), and I think Miles' playing with Stitt on this particular set is pretty dad gum important in its own right. Miles' playing is even stronger with Stitt (I'd argue), simply because he didn't have Trane in the band doing what Trane did so uniquely on that tour.

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Guest donald petersen

one of my friends who is a jazz drummer-this live davis/coltrane recording would bring a tear to his eye, he was so moved by the playing (especially coltrane's). just his opinion...but it's definitely worth a purchase.

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one of my friends who is a jazz drummer-this live davis/coltrane recording would bring a tear to his eye, he was so moved by the playing (especially coltrane's).

I feel the same. Coltrane outplays everyone on the 1960 Stockholm (and Paris) concerts.

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I just gave disc one a spin earlier today (to refresh my memory) and was summarily blown away by Trane's playing. The solo on the first version of So What is almost frightening, there was something ferocious brewing that day! Great stuff.

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I'm not a fan, but I get a little tired of the Oscar bashing that goes on. However I gotta say that Kelly's playing on this tour is nearly as strong as Coltrane's. He really stepped up to the challange. Miles is of course great, but he doesn't seem to me to have responded to Coltrane the way he did later to Shorter, Hancock and Williams.

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