Cheap Olympia 11 Octobre 1960, Pt. 1 (Music) (Miles Davis) Price

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Customer Reviews of Olympia 11 Octobre 1960, Pt. 1

Extraordinary album.
Admittedly, this won't come close to being an "essential" acquisition even for jazz enthusiasts and devoted Miles Davis fans let alone newcomers who don't have much classic Miles and Coltrane in their collections. But for a few musicians, scholars, and aficionados the album may come as a welcome discovery if for one reason only: the presence of Sonny Stitt. Ever since learning that Sonny had had a brief tenure with Miles following the departure of Coltrane, I've carried an overwhelming curiosity about the musical outcome. Until now, I'd given up hope of locating a recording of this quintet--basically Miles' "Kind of Blue" group with Stitt replacing Coltrane (Bill Evans had been replaced by Wynton Kelly prior to "Kind of Blue"). To find not one but two CD's by the group (I have yet to listen to volume two of this Paris concert, which was recorded Oct. 11, 1960) is tantamount to striking gold.

I love Sonny Stitt, even though I'm the first to admit he's a predictable, "formula" improvisor, prone to return to the tonic note every few measures. How could his finished, "perfect" solos and flawless execution possibly fit in with the restless, adventurous style of Miles let alone prove a credible successor to Coltrane's "sheets of sound"?

The results are surprisingly satisfying, producing the expected and unexpected in equal amounts. Sonny is the only saxophonist I'm aware of who played both tenor and alto with Miles. On tenor his affinity with the Chicago South Side r&b-influenced tenor men is unmistakable, especially on a blues during which Miles lays out--the wobbles, alternate fingers, bebop licks, climactic top tones are all in place--far too much packaged "soul" for a Miles-led ensemble. On alto, however, his affinity with Charlie Parker comes to the fore, and in the context of Miles' group he plays freer than I've ever heard him, even though he perhaps stops short of genuine risk-taking. Undeniably, he's the most technically sound, musically articulate partner Miles would have after Bird.

As for Miles, far from being the cool, minimalist foil to the volcanic energy of a Coltrane or Julian Adderly, he plays like a man possessed. Almost as if to offset Stitt's constant need for melodic, harmonic, and rhythmic "closure," Miles is all over his horn, spending the better part of his solos in the upper register and creating unresolved tensions at every opportunity. Although Jimmy Cobb plays more to Miles' than Sonny's strengths, Wynton Kelly's blues-inflected, happily funky style in many respects meshes more with Sonny's than Miles' approach. In fact, like his predecessor, Bill Evans, and his successor, Herbie Hancock, Kelly drops out entirely during many of Miles' harmony-bending choruses.

The audio quality, even for a live recording, is no better than acceptable. Paul Chambers' bass is quite distant, and Miles' rare display of over-playing unfortunately produces no small amount of distortion. Still, this is in more than one respect a remarkable set. Some of the experts will no doubt point to the recording as evidence of why Miles was all but forced to move to Wayne Shorter, Hancock, youth, and eventually fusion and electronics. As for me, I can't wait to get my hands on volume two.

One caveat: the liner notes are in French.

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A must!!!
Hear the working versions of your favorite tunes. Well worth the cash, get it before it becomes unavailable. Miles Davis (tpt), Sonny Stitt (ts), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d). The music is peaceful, intense, divine!!! 1960 lives Miles Davis is my favorite, streching out, but still keeping to the music.