Miles Davis Bootleg Series Vol. 6

[Scott Dolan]

Agreed. Kelly was playing his ass off! 

His solo on All Blues is just spectacular. 

[CJ Shearn]

Especially how he dovetails into earthiness after the Trane solo.  Should be reviewing this in the next few weeks.

[ghost of miles]

My fourth time through this set and my appreciation for Kelly’s playing on these dates continues to grow. 

[Stefan Wood]

This is the only jazz multi disc set I have purchased this year and I have been playing it non stop.  Sound is excellent and the playing unbelievable.

[Scott Dolan]

I’ve been through it three or four times, and agree with your assessment 100%. 

[John L]

Can anyone compare the sound quality here with previous releases of this music?   

[felser]

To my ears it is much better.  But of course the previous releases were all over the place, and may have varied widely in sound quality.

[Rooster_Ties]

Just got this set in the mail last night.  Enjoying discs 1 & 2 today, for the very first time (I've had Stockholm on CD since back in 1991, but Paris and Copenhagen are totally new to me).

Skimmed a whole bunch of reviews on my phone, during my commute this morning, and several mentioned that Wynton Kelly is really a surprise standout on some of these recordings (and I have to agree).

It'll be interesting to see if my impression of Miles' playing is different by the the 5th or 10th times I spin the Paris and Copenhagen sets.  On first spin, though, I'm left still thinking that Miles really delivered much stronger on the next European tour (with Sonny Stitt, in the Fall of 1960, iirc), at least from the Stockholm sets (with Stitt) that we all know.  That said, I'm listening again, and Miles does play better on the second Paris set (than the first), so that's good.

I'm not totally down with Trane's experiments, but neither are they totally off-putting either.  After 30 years, I've *still* never gotten bitten super hard by Trane's playing, but maybe eventually I'll succumb.  Not that my tastes are super conservative, but I've just never gotten super fanatical about Trane, the way I have 2-3 dozen other players (not all sax).

Next I need to spend some time with the liners, which I've barely skimmed 20% of.  Many thanks to a board member who just hooked me up with his copy.

PS:  I'm REALLY digging the Copenhagen set.  One review I read said that they had to move mountains to find the tapes (tape) for it, and only got it at the 11th hour.  But for my money -- again, this is just based on ONE spin of the first 2 discs -- but for my money, *Copenhagen* may be the most cohesive 'set' of the entire bunch.  Like the whole band seemed more on the same wavelength (or more so than Paris, or Stockholm).

PPS:  Ok, second time through the 2nd disc, and that Paris material (the second disc) is really clicking more for me this time.

Edited October 11, 2018 by Rooster_Ties

[erwbol]

That's a real shame, but ...

Quote:"A volume covering the early 1980s was to include issued and unissued material from the Star People and Decoy sessions, along with some contemporary live performances, but that project has been canceled."

no way in hell I would have bought that.

 

[erwbol]

There are two great Rotterdam performances left from 1967 and 1969. Both were rebroadcast by the BBC in the early 2000s, so the tapes must still exist. How about releasing those.

[jlhoots]

1 hour ago, erwbol said:

There are two great Rotterdam performances left from 1967 and 1969. Both were rebroadcast by the BBC in the early 2000s, so the tapes must still exist. How about releasing those.

I believe the Rotterdam 1969 is being issued. Apparently Sony didn't have the "rights" to it.

[Late]

Damn. Sony never got around to collecting a bootleg series of Miles' various tours with Keith Jarrett.

At least the Cellar Door stuff is out.

[JSngry]

And the Pete Cosey/Mtume bands still do not get a full public hearing.

There was The Lost Quintet, lost no more. This band, live and unedited, would be the Severely Underexposed Electric Jungle Orchestra.

That's ok. Digital documentation always there, somewhere.

[soulpope]

So if even "Miles Davis" doesn't grant sufficient sales figures .... is this the forthcoming end of CD .... interestingly also the former ongoing wealth of reissues disclosed on the cdjapan site seems - since early summer 2019 - like discontinued ....

[Harbour]

That’s a real blow, they were quality releases, there must be tons of great material that is still worth reissuing.

i would like to see the sales numbers for them, the last one with Coltrane must have done pretty well surely, it got a ton of great press at the very least.

What with Dylan, the grateful Dead etc churning out endless reissues, is Miles really that far behind?

Edited October 23, 2019 by Harbour

[jazzbo]

I honestly think the estate may have thrown a wrench in the works somehow.

[king ubu]

54 minutes ago, jazzbo said:

I honestly think the estate may have thrown a wrench in the works somehow.

The same estate that gets glorified in the liner notes to the new "Rubberband" disc ... actually I'd be curious to hear how those tapes sounded before the workover (which included, so the notes say, even note-for-note/tone-for-tone re-enactments on some tracks), that is beyond the couple of tracks that were included on the French Warner box ... but much more I'd have been interested in half a dozen or more further volumes of the MD bootleg series.

[jazzbo]

I haven't yet become bored and desperate enough to even sample "Rubberband." There's a slim chance this news is premature and may change. We can hope.

[Kevin Bresnahan]

Wasn't this whole bootleg series just a way to keep this stuff out of the public domain. Was it the EU that put in a "use it or lose it" clause? Whatever - I was under the impression that the Bob Dylan & Miles bootleg series were created to "use it" so that these recordings are now protected.

[king ubu]

3 minutes ago, bresna said:

Wasn't this whole bootleg series just a way to keep this stuff out of the public domain. Was it the EU that put in a "use it or lose it" clause? Whatever - I was under the impression that the Bob Dylan & Miles bootleg series were created to "use it" so that these recordings are now protected.

In part, I guess ... but the Dylan series has gone far beyond the copyright threshold (music from the 70s and 80s). Similar, but not as clearly, with the MD series.

[mikeweil]

12 hours ago, Late said:

Damn. Sony never got around to collecting a bootleg series of Miles' various tours with Keith Jarrett.

Jarrett surely wouldn't be delighted to hear them again.

[Big Beat Steve]

33 minutes ago, bresna said:

Wasn't this whole bootleg series just a way to keep this stuff out of the public domain. Was it the EU that put in a "use it or lose it" clause? Whatever - I was under the impression that the Bob Dylan & Miles bootleg series were created to "use it" so that these recordings are now protected.

Cannot be true. I don't recall such a clause as a key feature of the updated EU copyright law passed in 2012. (This would have made headlines within the music scne for sure) If I understood this correctly, these recordings were not issued before. So they do not even fall under the updated EU copyright law that came into effect in 2012 and will extend the copyright protection for recordings up to 70 instead of 50 years after they were first issued.
Besides, others from that series date from way after mid-1962, so even if the recording date would have been decisive (not the first release), these are protected by the current EU law in effect since 2012.

Edited October 23, 2019 by Big Beat Steve

[Kevin Bresnahan]

4 hours ago, Big Beat Steve said:

Cannot be true. I don't recall such a clause as a key feature of the updated EU copyright law passed in 2012. (This would have made headlines within the music scne for sure) If I understood this correctly, these recordings were not issued before. So they do not even fall under the updated EU copyright law that came into effect in 2012 and will extend the copyright protection for recordings up to 70 instead of 50 years after they were first issued.
Besides, others from that series date from way after mid-1962, so even if the recording date would have been decisive (not the first release), these are protected by the current EU law in effect since 2012.

https://www.theregister.co.uk/2008/07/16/ec_copyright_term_extension/ 

As far as I can tell, Sony is issuing these Bob Dylan & Miles Davis recordings so that *they* retain the protections and to prevent Dylan & Davis' estate from profiting off of these works.

[Big Beat Steve]

Info about that clause duly noticed .... but keeping the artists/estates out and preventing the music from falling into the P.D. isn't exactly the same thing, is it? Because if the artists/estates had regained control the music would not have returned to the P.D. either.

BTW, this source is from 2008, four years before the law actually went into effect. Did all this go through as planned? I am surprised this use it or lose it clause did not make huge headlines in 2012 (as it would have been bound to, because this clause took care of one of the major complaints by collectors - in any area of popular music).

Edited October 23, 2019 by Big Beat Steve

[felser]

7 hours ago, Harbour said:

That’s a real blow, they were quality releases, there must be tons of great material that is still worth reissuing.

i would like to see the sales numbers for them, the last one with Coltrane must have done pretty well surely, it got a ton of great press at the very least.

What with Dylan, the grateful Dead etc churning out endless reissues, is Miles really that far behind?

Coltrane's "The Lost Album" sold over 250,000 copies.  There's still a market.