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Miles Davis Bootleg Series Vol. 6


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Just now, medjuck said:

I've read that the whistling after Trane's solos was a sign of  disapproval.    Anyone here know if that's true? 

That’s the custom in European countries, yes. That was the beginning of the “anti-Jazz” sentiment that he and Eric Dolphy cemented at the Vanguard in ‘61. 

Either way, there’s a HELL of a lot more cheering than whistling. 

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2 hours ago, Scott Dolan said:

Olympia is fucking transcendent. And the audience knew it. Right then. In real time. 

Absolutely! Hallelujah! ;)

I picked up this set in Amsterdam today. I am happy that the Paris concert sounds even better than the original release on Trema ( the 1994 fat boy case and 2000 digipaks had the same mastering). There was some static/buzzing noise at one point that has apparently been removed. 

Don't get the Copenhagen LP. You need all three concerts, especially Paris.

1 hour ago, medjuck said:

I've read that the whistling after Trane's solos was a sign of  disapproval.    Anyone here know if that's true? 

 

1 hour ago, Scott Dolan said:

That’s the custom in European countries, yes. That was the beginning of the “anti-Jazz” sentiment that he and Eric Dolphy cemented at the Vanguard in ‘61. 

Either way, there’s a HELL of a lot more cheering than whistling. 

Apparently Kind of Blue was only just released (see picture in booklet on page 14) and nobody in Europe had heard Giants Steps and the likes yet. Most in the audience hadn't expected this.

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32 minutes ago, erwbol said:

 Most in the audience hadn't expected this.

I'm not sure that anybody could have.

I've got all the recordings from that tour, and nothing is like that night at Olympia. It's like Trane just let it all out, all at once, everything that he had eve3n been thinking about doing but was having to put on hold to do this tour with Miles. I't an almost literal crack in the fabric of time, seriously. I don't know what caused it, but nothing else on that tour sounds like this, it's all, to one degree or another, a bit more "reigned in".

I'd have to think that some people,, including those on the stage, might have been a little shook up (maybe eve4n scared?) by what they heard that night.

 

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Well said, gents. And I’ll add that whether the crowd had heard Giants Steps or not, even that was incredibly buttoned-down in comparison with the Olympia date. 

Look, I have nearly 100 discs worth of Coltrane. But he even caught me off guard a few times during that set! To the point where I occasionally let out a nervous, giddy laughter. This was 1965-level Coltrane playing, in a 1960 context. 

Add any superlatives you can think of to describe this set. They will all be 100% correct, and completely lacking at the same time.  The greatness of this set cannot be overstated. This is once in a lifetime stuff. 

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If I didn't have too much riding on it, I could maybe be convinced to wager tomorrow's lunch money that Miles spent the next 3-4 years recovering from and/or processing that one night in some form or fashion. I think Miles knew what he was hearing, and what the implications were, and wasn't sure if he was going to want to deal with it or not. We do know that Miles had to more or less bully Trane into making that tour, that Trane was all set to get his own thing going, ready to get going on something besides standards and blues, he did not want to continue riding the Miles wave. Miles knew it, and I have to think that at some part of him knew that he was going to become "old fashioned" if he kept on his same path, but Miles being Miles, he knew that his career was really just beginning to enter a new plane, he had plans, you know, life plans, and hearing Trane just tell him in such blunt terms (musically) hey, you can keep doing this if you like, but THIS is where I'm going, I think Miles must've thought back on Coltrane and alcohol and junkiedom and all the times he had bullied/fired him before and realized, oh shit, this guy is not that guy any more, what am I going to do...better hire Sonny Stitt for the next tour? And then what, what the fuck am I going to do going forth, how much longer do I have for THIS?

That's a lot of shit to process in a simple two-sets worth of a gig, but you know, this music, it can get real sometimes. Really real, like question the essence of your being real.

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Jim, as much as I’ve shit on your ramblings in the past (some deserved, others not), I have to humbly admit that post may be the most insightful words I’ve read in a really long time. 

Miles was very intuitive, and never passed up riding a tiger by the tail. His subsequent quintet with Shorter certainly showed that he took very tight mental notes. He saw the future before he knew he saw the future. 

Hey, he wasn’t a genius by chance. 

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15 hours ago, JSngry said:

If I didn't have too much riding on it, I could maybe be convinced to wager tomorrow's lunch money that Miles spent the next 3-4 years recovering from and/or processing that one night in some form or fashion. I think Miles knew what he was hearing, and what the implications were, and wasn't sure if he was going to want to deal with it or not. We do know that Miles had to more or less bully Trane into making that tour, that Trane was all set to get his own thing going, ready to get going on something besides standards and blues, he did not want to continue riding the Miles wave. Miles knew it, and I have to think that at some part of him knew that he was going to become "old fashioned" if he kept on his same path, but Miles being Miles, he knew that his career was really just beginning to enter a new plane, he had plans, you know, life plans, and hearing Trane just tell him in such blunt terms (musically) hey, you can keep doing this if you like, but THIS is where I'm going, I think Miles must've thought back on Coltrane and alcohol and junkiedom and all the times he had bullied/fired him before and realized, oh shit, this guy is not that guy any more, what am I going to do...better hire Sonny Stitt for the next tour? And then what, what the fuck am I going to do going forth, how much longer do I have for THIS?

That's a lot of shit to process in a simple two-sets worth of a gig, but you know, this music, it can get real sometimes. Really real, like question the essence of your being real.

23 hours ago, Scott Dolan said:

Olympia is fucking transcendent. And the audience knew it. Right then. In real time. 

I've read that the whistling after Trane's solos was a sign of  disapproval.    Anyone here know if that's true?

BTW I think that Wynton Kelly really steps it up in response to Trane. 

 

 

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