Officially Available For First Time in New Box Set in Latest Volume in Award-Winning Miles Davis Bootleg Series
By Harvey Kubernik c 2018
In March, Columbia/Legacy Recordings, a division of Sony Music Entertainment, released Miles Davis & John Coltrane-The Final Tour: The Bootleg Series, Vol. 6
Available in 4CD boxset and digital configurations, Miles Davis & John Coltrane-The Final Tour: The Bootleg Series, Vol. 6 brings together, for the first time in an authorized edition with state-of-the-art production, five mythic concert performances as heard by lucky audiences during the epochal Spring 1960 Jazz At The Philharmonic European Tour presented by impresario Norman Granz.
Showcasing the musical chemistry shared by Miles and Trane, Miles Davis & John Coltrane-The Final Tour: The Bootleg Series, Vol. 6 offers five of the best recorded shows from that pivotal 1960 tour (Coltrane’s last as sideman): two shows from Paris’s L’Olympia Theater on Monday, March 21; two shows from the next night at Stockholm’s Konserthuset; and one from Copenhagen’s Tivolis Koncertsal three days later, on March 24.
The box set was produced by the multi-Grammy winning team of producers Steve Berkowitz, Michael Cuscuna and Richard Seidel. And mastered by multi-Grammy winning Sony Music engineer Mark Wilder. The set is authorized for official release by the Miles Davis Estate, the John Coltrane Estate, and Columbia Records/Legacy Recordings. Erin Davis, Cheryl Davis and Vince Wilburn, Jr. are Executive Producers. Continue reading
By Harvey Kubernik c 2017
Saxophonist John Coltrane died on July 17, 1967 in Huntington Hospital in Huntington, New York in Long Island after a brief bout with liver cancer.
“Mourned by as many rock musicians as those from the jazz world, he was a courtly, soft-spoken gentleman from North Carolina, who pursued the roiling, labyrinthine currents of improvisation, from the postwar abandonment of big-band swing in favor of the fractious sounds of bebop and beyond,” observed keyboardist and author Kenneth Kubernik.
“In each step of his evolution, beginning with Dizzy Gillespie’s orchestra, through his tenure with Miles Davis and his own stentorian ‘classic quartet,’ Coltrane revised and refined his ‘voice,’ a burnished, muscular tenor, liquidly velvet on ballads, coruscating on up-tempo numbers.
“Coltrane recognized that music’s capacity for astonishment, for both the performer and the alert listener, was much more than diligent practice—his fearsome virtuosity would often lead him into thickets of stifling verbosity, as off-putting as an electric guitar’s noxious feedback. The sounds he heard in his head—the quest for pure intent—compelled him to eschew the Great American Songbook, that litany of Broadway standards that were long the heart and soul of jazz, for an unforgiving ascent into cacophony.” Continue reading