Miles Davis with John Coltrane- March 22, 1960 Konserthuset, Stockholm [1st concert]
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- เผยแพร่เมื่อ 23 พ.ค. 2024
- Beautifully recorded concert from Miles' & Trane's final tour
March 22, 1960
Konserthuset, Stockholm, Sweden
1st concert
MILES DAVIS QUINTET
Miles Davis- trumpet
John Coltrane- tenor saxophone
Wynton Kelly- piano
Paul Chambers- bass
Jimmy Cobb- drums
So What (M. Davis) 0:00
Fran Dance (M. Davis) 10:49
Walkin' (R. Carpenter) 18:15
The Theme (M. Davis) 34:37
Concert recording, broadcast by Sveriges Radio
Great bands often have sown within them the seeds of their own destruction. A talented sideman will spend their time with a leader gaining experience, confidence, plaudits, and fame. Generally, the next move is to form their own band. Great artistic statements are often made by groups on the brink of imploding.
So it proved with Miles Davis' Kind of Blue sextet. First out was Bill Evans; indeed, he had already left by the time KoB was recorded, replaced by Wynton Kelly. Miles invited his ex-pianist back for the session, having concieved of music based on Bill's impressionistic playing. Next to go was altoist Cannonball Adderley, who had often recorded and performed alongside his brother, cornettist Nat, since the pair arrived in New York in the summer of 1955. They decided the time was right to form a new working band.
John Coltrane, too, had recorded as a leader for Prestige, Roulette and Blue Note but signing to Atlantic Records in 1959 brought about a creative rebirth- less than two weeks after the final KoB session, Trane started recording his classic Giant Steps, followed later in the year by Coltrane Jazz with the Davis rhythm section. He was ready to strike out on his own. Davis, however, was reluctant to lose another key player and persuaded Coltrane to stay for one final tour of Europe in the spring of 1960.
This was the second date of Norman Granz' three week Jazz At The Philharmonic package tour, where Davis shared the bill with Stan Getz and the Oscar Peterson Trio. This was the first of two concerts that day, starting at 7pm and both beautifully recorded for Swedish radio (you can hear the second concert here: • Miles Davis with John ... ). The repertoire consists of some of Davis' recent hit recordings, plus two pieces from Kind Of Blue, released the previous summer, So What and All Blues.
Davis continues to play superbly- he seems to be in a very good period for his chops and he plays with a great deal of expression, subtlety, strength and poise. A device often used on the standard tunes is an extended, repeated turnaround at the end of the form over which the soloist plays, ending it with a melodic cue to signal a break into the next soloist (an early version of the 'coded phrases' Davis would deploy to introduce the next tune in the continuous sets of the late 60s and 1970s). Wynton Kelly is also brilliant across these recordings, an often undervalued pianist in the pantheon of Davis accompanists; he plays with impeccable swing, taste and drive and his dialogues with Davis are consistently fascinating. And Chambers and Cobb are there every step of the way. One of the great rhythm sections in jazz.
But the real revelation is Coltrane. A reluctant participant in the tour he apparently remained in a sour mood, rarely conversing and spending his free time practicing obsessively. He brings this tension to the bandstand- he seems determined to experiment publicly, pushing the limits of the saxophone and of his own playing. This was different even to the advanced 'sheets of sound' one might have been familiar with from recent Coltrane records or Kind Of Blue. He seems a touch less confrontational on the Stockholm concerts than on the Paris date the day before, where parts of the French audience erupted with boos and catcalls while others were cheering, but explores many of the same ideas to often exciting, sometimes bewildering effect: melodic cells that repeat and mutate, overblowing, split tones, multiphonics, altissimo register phrases above the tenor's normal range, anguished cries, lightning fast arpeggios, purposely out of key phrases, harmonies stacked on harmonies.
Jazz relies on tension and release but here Trane is adding tension on top of tension, often at great length- Coltrane once said to Davis "it seems like when I get going, I just don't know how to stop," to which Miles replied, with typical dryness, "why don't you try taking the horn out of your mouth?". Still, Davis allowed Trane the space to conduct his experiments, perhaps sensing he was working towards something revolutionary.
The Paris date had been the gold standard for this tour but this excellent recording is almost as essential.
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![Miles Davis with John Coltrane- March 22, 1960 Konserthuset, Stockholm [2nd concert]](http://i.ytimg.com/vi/2Q1Id17jZJI/mqdefault.jpg)
![Miles Davis with John Coltrane- March 22, 1960 Konserthuset, Stockholm [2nd concert]](/img/tr.png)
THE SPRING 1960 EUROPEAN TOUR:
March 21, 1960 Olympia Theatre, Paris: th-cam.com/video/8VE_dP90V84/w-d-xo.html
March 22, 1960 Konserthuset, Stockholm [1st concert]: th-cam.com/video/HgaAM4pTIqw/w-d-xo.html
March 22, 1960 Konserthuset, Stockholm [2nd concert]: th-cam.com/video/2Q1Id17jZJI/w-d-xo.html
March 24, 1960 Tivoli Konsertsal, Copenhagen: th-cam.com/video/P5euQkE61yk/w-d-xo.html
March 30, 1960 Kongresshalle, Frankfurt: th-cam.com/video/wpvATm-54_s/w-d-xo.html
April 3, 1960 Kongress-Saal, Munich: th-cam.com/video/sAoIzcNOcY0/w-d-xo.html
April 8, 1960 Kongresshaus, Zürich: th-cam.com/video/edyadk0cWB0/w-d-xo.html
April 9, 1960 Kurhaus, Scheveningen: th-cam.com/video/-EDuIQ9sAQQ/w-d-xo.html
April 9-10, 1960 Concertgebouw, Amsterdam: th-cam.com/video/4-UwM9s0svc/w-d-xo.html
Good Lord, this is so freaking good...hard to believe ANYONE was ever this good...oh, wait...no one else ever was... :)
that's right. you're right and they're not. you're the best, yay
"A few years ago I had one of the worst nights of my life," he recalls. "I heard a Miles Davis bootleg, featuring John Coltrane, from Stockholm. Trane was massive, intense. I wanted to quit. It wasn't like I could say, 'Well if I start to do this or that, I might get there.' Forget it. How do you explain that to people who say, 'You're on "The Tonight Show," isn't that the ultimate achievement?' I think to myself, 'Obviously you've never heard Trane live in Stockholm.' "--B.Marsalis
This is such an iconic Jazz recording. Listening to Coltrane absolutely ripping apart the concrete with his Tenor Saxophone, blasting out scales like a well oiled machine, also Miles who's musical prowess exceeded, what reality could handle, and the both of them on one stage ripped a hole in time. Luckily, they took a cigarette break and it was able to repair itself.
Man no fear of the unknown it doesn’t get more real let it all out 😮☮️💗🔥💥✨
Here because of Jerry Maguire Movie. To listen for myself.
me too hahaha
YO TAMBIEN 😎
Me too
#blessed that someone recorded this in such pristine quality.
Combination of two maestros, explosion!
If you listen---I mean--REALLY LISTEN --to Coltrane's so very long solo on the last blues, (Listen now) and you'll hear that each and every chord -or "change" he played had Only the chordal notes. It took me a few times listening before I realized this. Then, his solo meant WAY MORE for me. I hope you can dig it like I FINALLY DUG IT. Need I say that this just makes me love him MORE. WHAT A GENIUS.
hat
i don't know what you mean by chord tones, but if you mean the triad notes, 1-3-5, he's using a lot more than those.
@@joek6729 No. I meant he played all the notes in any chord which was in the tune. If it was a "fifth", he would play, e.g., C-E-G-B flat. If it was an "augmented" he would play, e.g., C-E-G sharp-B. And, like that. He practiced unceasingly. And he had concepts of what he WANTED TO PLAY. He played with lots of emotion in his musicianship.
@@charlesliles2966 Impressive, but does it all sound good and fit into the context of this "concert"? Meh.
Amazing... Winton, Chambers, Miles, and of course Coltrane, all took it to the next level. My understanding is that at the time it left some fans behind... some just could not hear.
Wynton Kelly is killing it.
When all else fails...
Fuck, this is fantastic....
It seems like Coltrane is a bit more constrained here in comparison to the show from the night before in Paris. I wonder If the boos in that show got to him or Miles told him to tone down a little bit. It's clear they're going in different directions.
Obviously he's great here but in the March 21st show he is blowing his horn like a furious caged animal trying to escape, It's amazing. I'll be listening to the other gigs in this run to see where the music goes. This is so good. Thanks!!
John's playing especially on the second track is intimidatingly good.... :D
Fully agree with you Charles Liles... J.C is a genius in the best meaning of it. Must say that M.D is killing too. And what about the others P.C, W.K and Jimmy Cobb no need to say they are at the top. All the concerts of this European tour in March/April 1960 were seminal... Obviously!
Beautiful
love how the excitement make the tempo change upwards....a lot....from the beginning....for reals.
still love this music!!
It's interesting at around 25:35 to see Coltrane work his way around to Harmonique and then hit the main refrain at 27:30. I guess he was really ready to do his own thing
Yeah he was exploding on this tour, you can hear him doing stuff he'd work out with his group over the next four, five years
what is greater than great, bigger than large and tremendous more than and extremely durable like a Bach, Beethoven - these two musicians! The so what guys. great!!!
This duo’s combined genius made me realise that like
Yo-yo creating their format as they play. My appreciation for their creativity lay toward
Îb
Iîbg*
They must have got the plane from Paris that morning because they played there the night before, and then in Stockholm played two totally insane sets, just at the very peak of anything.
I'm here for Jerry Maguire.
hahahahaha yes!!!
me too hahaha
A reminder that one of the most stunning musical documents of the past fifty-plus years, was down-voted here nine times.
this stuff aint for deafs...
Anyone have the Coltrane solo on So What transcribed?
제리맥과이어 영화에 소개된 테잎
Ok