Miles Davis Bootleg Series Vol. 6

[felser]

36 minutes ago, bluesoul said:

Import CDs selling this set for $33.26 plus shipping. 

Still cheaper at amazon.co.uk,  even shipped to USA.

https://www.amazon.co.uk/gp/product/B077ZCTV18/ref=oh_aui_detailpage_o02_s00?ie=UTF8&psc=1

[sidewinder]

It was £17.99 in the HMV store today. I resisted, 

[CJ Shearn]

Going to a local Barnes and Noble to pick up a copy that I reserved in a bit.  The last B&N I did that at was when Vol. 1 came out

[medjuck]

1 hour ago, felser said:

Still cheaper at amazon.co.uk,  even shipped to USA.

https://www.amazon.co.uk/gp/product/B077ZCTV18/ref=oh_aui_detailpage_o02_s00?ie=UTF8&psc=1

Yup. Cost me $26.55 including shipping. 

[CJ Shearn]

Listening to the first two discs now, the Olympia show.  It's hard to imagine how the audience must have felt hearing Trane solo, because that vocab is so common place.  A real laugh out loud moment (in  good way) are the multiphonics he plays on "All Of You" and the audience starts whistling, Trane's playing here is as indispensable I think as Wayne Shorter on the Plugged Nickel stuff.  I guess these moments are akin to the famous "Rite of Spring" premiere, maybe not that intense as it incited a riot if I recall correctly, but this is great stuff thus far.

[Scott Dolan]

Yes! The Rite of Spring premiere is a perfect analogy. Like that, this was an almost primitive display that simply had no historic context which could have prepared the audience. It was especially shocking to hear him playing in this way against the backdrop of a rhythm section of Chambers/Kelly/Cobb, as compared to the more aggressive rhythm sections he played with in the following years. 

[CJ Shearn]

 "While My Lady Sleeps" from "Coltrane" must have circulated in Europe since it came out three years earlier, but Atlantic stuff like "Harmonique", I'm not sure... on some level the audience must have known he was exploring these techniques.   Live must have been a totally different animal entirely, because what Miles was playing was conventional music and Trane was adding these things, challenging the limits.  The sense of revolution and social chhange in this music and the audibl tension like Miles is trying to reign him in (the fluttering guitar like figure he plays somewhere on disc 2 as Trane begins soloing and his asides in other places) makes this stuff thrilling.

[Scott Dolan]

While My Lady Sleeps is a kindergarten class, whereas the Olympia set is at the university level. I doubt playing that for three seconds at the end of a tune in no way prepared anyone for that night. 

[CJ Shearn]

True, point taken on that for sure, because "Lady" was a glimpse.  These tunes here were a backdrop for Trane's explorations.  I think while the 1961 VV set remains my favorite Trane, this  new box is great and I look forward to diving in more time and time again.  Trane's development in the relatively few short years he was around is still staggering, awe inspiring, as was his wisdom as a person that came through the music, his entire recorded spectrum is so valuable.  It's like when I hear Bird, Tony Williams, Elvin, Sonny, Jimmy Smith solos I'm still in wonderment of what that was and what they were doing for their instruments.

Edited March 29, 2018 by CJ Shearn

[David Ayers]

I don’t know. I don’t like that sssion and sold my copy because, while it is a striking event, it doesn’t work as music. Yes, Davis wants to deliver a show, Coltrane is evidently exasperated and wants to roll out his new stuff. So be it, but not one I keep wanting to hear again. 

[Scott Dolan]

Interesting. You seem to be in the minority of one so far. 

[JSngry]

Marchel Ivery was stationed in France, with the Army, and was at this concert. Until the day he died (figuratively, of course), he said that Trane just fucked everybody up that night. Everybody. including himself, a young African-American South Dallas Tenor Player who had been very tuned into everything that was going on with Trane, Sonny, Hank, everybody.

I an maybe understand somebody today not getting hit by it, whatever, but to be there that night and not hear what was happening, whether or not you liked it or not, hey, but hearing that and not knowing that something was happening (c.f. Mister Jones), you would have do be deaf, literally or figuratively, and/or culturally obtuse.

[Scott Dolan]

If listening to Coltrane were like being in the military, I’d be a fucking retired five star general! Yet hearing this recording last Saturday still fucked me up! 

So, no. I can’t understand it not hitting anyone even lightly acquainted with Coltrane’s music. 

[CJ Shearn]

1 hour ago, David Ayers said:

I don’t know. I don’t like that sssion and sold my copy because, while it is a striking event, it doesn’t work as music. Yes, Davis wants to deliver a show, Coltrane is evidently exasperated and wants to roll out his new stuff. So be it, but not one I keep wanting to hear again. 

Very interesting.  I think for me what make it works as music is that tension and the pushing to break out of conventional forms.  I am listening again now and  Trane's solos are still revelatory, especially if like said above, you know his music.  But hey, if it doesn't hit your soul, that's the most important thing, but it's still easy enough to recognize it's brilliance and merits even if you don't like it.

[Scott Dolan]

BTW, I’m listening to the set again today. That part of Trane’s solo on All Of You with the long stretch of multiphonics? 30 seconds worth. Even for a veteran listener, that can be quite exhausting. 

[CJ Shearn]

Exhausting and exhilarating at the same time, and somehow its tied in with the theme.

[Scott Dolan]

Yes, of course. But I was trying to imagine what it would have been like for even the most hardcore listeners at that time, in that moment. We have the luxury of having been down that highway multiple times, to the point where we’re disappointed when we DON’T get the wild and the wooly harmonics/multiphonics. 

What did the hardcore Jazz fan have to go on back then? Reminds me of the first time I heard some of the melody-less, rhythm-less, beat-less European Free Improv cats. Even with a ton of Free Jazz in my rearview mirror, what they were doing sounded like silly random noises to me. Now it’s my primary listening concern. 

So I can only imagine that at that time, in that moment, there’s at least a small chance I may not have been so welcoming to his approach, either. 

[CJ Shearn]

Right, that's true. What was it like for those people at the concert? Certainly at the time what was on records of Trane was not that, and it must have been a seismic mega shock. I always try to imagine what did Bird or Diz sound like to those back then who only liked swing for example or trad jazz, and from the accounts of Louis Armstrong, we know.  Or that quote from Roy Eldridge on Ornette.    And it's funny the first time I heard Ornette's "Free Jazz", I hated it, I was a place in time in my life where it didn't make sense.Now it does, and the first time I heard extreme levels of out, like a "Machine Gun" I was like "what?" but because I know its in a different aesthetic, I can take it on those terms and not inject what I think it should be.  Also just for clarification I meant that when the stream of multiphonics is tied in thematically, I'm hearing it tied into the "All of You" theme, not just the basic premise the music was filled with tension, sorry about being less clear there.  Usually the music I've disliked the most I ended up coming around to later.  I have to be in a definite mood for balls out free improv, like the album releases my friend Brian Kastan does, for example., but when I'm in the mood for something not melodic, or straightforward, it fits the bill.

[Scott Dolan]

And that’s exactly what I was thinking. We often “come around”, but that takes time and often repitition. Those cats had neither of those luxuries that night.

I’d be willing to bet MANY of the folks that whistled and booed (!) Trane that night later on in life were blissfully grooving to Sun Ship and Live In Japan. By that time they’d had time to come to terms with what they were hearing. 

Edited March 29, 2018 by Scott Dolan

[CJ Shearn]

Trane's exploration, obsession, with a classic blues lick and multiphonic asides for over a minute on disc 4 had me howling with laughter.  That was a bit over the top, but man it really is unlike any Trane I heard, essential music for that reason.

[Scott Dolan]

Which tune? I’ve not heard disc four yet, as I’ve been constantly returning to the first two. 

[CJ Shearn]

"All Blues". 

[Scott Dolan]

After about fourty seconds in even I was pleading for their mercy! Cat was ruthless! 

This crowd seemed to enjoy it, though. If he’d done that in Paris I think they would have stormed the stage. 

Actually went for almost 1:40! 

[CJ Shearn]

He really had to work that idea out to it's logical "conclusion"? LOL. I don't know, I was just like "really?" I don't think I could sit through that part now ever without laughing like that.

[Stefan Wood]

Ordered from Amazon UK.  

Been enjoying a non jazz box set lately, The Fall Singles, which has turned out to be one of the best boxed sets I have ever heard.