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Miles Davis Quintet: Live In Europe 1969 The Bootleg Series Vol. 2
Box Set
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Audio CD, Box set, CD+DVD, January 29, 2013
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Track Listings
Disc: 1
1 | Introduction by Andre Francis |
2 | Directions |
3 | Miles Runs the Voodoo Down |
4 | Milestones |
5 | Footprints |
6 | 'Round Midnight |
7 | It's About That Time |
8 | Sanctuary |
9 | The Theme |
Disc: 2
1 | Introduction by André Francis |
2 | Directions |
3 | Spanish Key |
4 | I Fall In Love Too Easily |
5 | Masqualero |
6 | Miles Runs the Voodoo Down |
7 | No Blues |
8 | Nefertiti |
9 | Sanctuary |
10 | The Theme |
Disc: 3
1 | Introduction by George Wein |
2 | Bitches Brew |
3 | Paraphernalia |
4 | Nefertiti |
5 | Masqualero (incomplete) |
6 | This |
Disc: 4
1 | Introduction by John O'Brien-Docker |
2 | Directions |
3 | Bitches Brew |
4 | It's About That Time |
5 | I Fall In Love Too Easily |
6 | Sanctuary |
7 | The Theme |
Editorial Reviews
LIVE IN EUROPE 1969 lives up to the Miles Davis Bootleg Series mission of presenting live performances that are previously unreleased, have previously only been bootlegged, or are very rare. This new set is the first collection of Miles's Third Great Quintet, the "Lost" Band of 1968-1970 with Miles Davis, Wayne Shorter, Chick Corea, Dave Holland, and Jack DeJohnette at their peak (they were never recorded in the studio). The album captures the short-lived quintet in three separate concert settings, starting with two full-length (one hour-plus) sets at the Antibes Jazz Festival in France, in Stockholm as part of "The Newport Jazz Festival In Europe," and completed with a stunning 46-minute performance at the Berlin Philharmonie, filmed in color.
DISC 4 (DVD Content)
Recorded 11/7/69 at Berliner Jazztage in the Berlin Philharmonie
1. Introduction by John O Brien-Docker
2. Directions
3. Bitches Brew
4. It s About That Time
5. I Fall In Love Too Easily
6. Sanctuary
7. The Theme
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.99 x 5.57 x 1.03 inches; 8.32 ounces
- Manufacturer : Sony Legacy
- Original Release Date : 2013
- Run time : 3 hours and 43 minutes
- SPARS Code : DDD
- Date First Available : November 12, 2012
- Label : Sony Legacy
- ASIN : B008YCMM2A
- Number of discs : 4
- Best Sellers Rank: #66,941 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- Customer Reviews:
Customer reviews
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Top reviews from the United States
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In this case Bootleg Vol 2 has more than acceptable sound. I have listened to the music several ways, in the car, on the home system and through the lap top as I'm doing now while writing this review.
Admittedly I only have access to 5 tracks thus far, "Paraphernalia" "Footprints" "Nefertiti" "No Blues" and "Bitches Brew", I did take at least one from each disc to get a sense of the sound quality.
If you were wondering why I only have 5 tracks? Well, I am still waiting for the, whom I thought was a good third party seller to actually ship the item, as of February 4th, still no sign of shipment or a non canned response from the third party seller about what's going on?
I can tell you the recordings I have, sound stellar, sonically and performance wise. Any complaints about sound are asinine.
These are Bootleg performances, they weren't specifically intended for commercial release, you do have to take into consideration the context of the recordings, No! they are not perfect. but the sound is full and rich enough to my ears not to take away from the music.
By the way, I can't tell you how cool it is to hear "Nefertiti" and "Footprint" in this context.
If you thought Miles was completely electrified and head long into rock, you are in for a real surprise. this music is electric post bop.
Disc 3's music was recorded in November of 69! Brew would be released 5 months later.
I have reassessed what I thought Miles was doing at this time, This doesn't sound much Sly and the family Stone you know? I have the DVD that was in the Brew 40th Anniversary set, it was from 69 (different DVD than the one in this set,) and I was surprised at the style on that too, so I was anxious to get this music.
This is high quality, bordering on avant garde post bop jazz, electric piano just happens to be involved in most of it, actually Corea is on fire here, he cuts through the mix wonderfully.
If you are lunatic for Miles of any period like I am, or the post bop and beyond, you must own this music.
I can't wait until mine actually arrives. you can bet I will be on phone crying some myself to Amazon about having to purchase 5 dollars worth of downloads just to hear some of the music.
UPDATE: Finally arrived, 10 days! That crazy, took third party seller 6 days to ship.
I have watched the DVD 2 times, the sound is well above average, not perfect but very good. the picture is pretty good too, the camera work is so so, but not bad.
The Performance:
Well, Wayne sure can play a mean soprano, I am telling you, if your down with the funk side of Miles only, you may be disappointed with this set, the music throughout the whole package is really just an extension of Post Bop, Chick is amplified most of the time, but he is playing free jazz, really I'm not kidding.
Eric Dolphy's ghost would have sounded great with his slightly off kilter alto sound. oh man could you imagine Dolphy's Bass Clarinet on this? It's sad, I just thought, man where would Dolphy have went style wise? I wonder if he would have funked out?
It is ironic, Miles was not a big fan of Cecil Taylor, or Eric Dolphy, but this music would make them proud.
I love Vol.1 in the bootleg series. A persistent image, inelegant as it may be, that resides in my mind is that of cosmic river otters at play -- the runs and lines and eddies of sound are so free, natural and unfettered by time. The second impression of the second quintet is that of trust. Musically, the sense of trust is palpable. No one is left to fall. That which slows will be propelled, that which quickens will be given a soft landing, excursions are open and unconstrained send-offs heartfelt while returns are welcomed with refrains...
Vol.2 drifts into deeper and electric water. This is the transition that has been talked about in numerous reviews and essays. It will end with primal sacrifice music that goes deep into the collective DNA. In Live in Euorpe 1969 though, the reason that Miles could delve, and by delve I mean delve, into the "past" with moments such as "No Blues" and why this is considered a transitional period versus a jump into the abyss is the fact that as out-there and independent as Corea, Holland and DeJohnette can be,they play with an understated humility and respect for the art, obviously not afraid of the future, but reverent of the living past. Miles had to be responding to this quality that these musicians embodied. Many people may be coming to this set from the "future" since the live material of the 1970s has been available for some time. Others may be coming from the past from the rise of the two great quintets. Both, I think, will be happy here in this intertidal zone.
Top reviews from other countries
Solo alcuni vengono poi considerati geni creativi, musicisti che hanno tracciato momenti fondamentali della storia della musica, citati, omaggiati, studiati dalle generazioni successive; tra questi splende indiscutibilmente Miles Davis.
Dopo questo preambolo forse troppo incensatorio passiamo alla sostanza: se non avete ancora altri dischi di Miles Davis non comprate questo cofanetto! Potrebbe non piacervi e forse non riuscireste ad avvicinarvi nel modo migliore a questa musica.
Questi 2 cd+dvd riguardano concerti live registrati dal "quintetto perduto" durante un tour nel 1969 e pubblicati solo nel 2013; qui Miles si accompagna ad un Gotha di musicisti: Corea, Shorter, Holland e De Johnette che mi fa un po' rimpiangere di non avervi assistito (ma in quel periodo ascoltavo ancora solo lo Zecchino d'Oro!).
Ogni artista e non solo nella musica ha avuto periodi di cambiamento/evoluzione artistica e queste incisioni bootleg sono a mio giudizio importanti per conoscere la transizione di Miles dal periodo acustico a quello elettrico e che porterà al vero e proprio manifesto del jazz-rock che sarà il doppio album Bitches Brew; è in quel momento che nasce ufficialmente la Fusion.
I brani tendono a sfociare ancora talvolta nel free jazz e, mentre il basso è ancora acustico, Corea passa dal piano classico a quello elettrico.
Insomma Miles Davis, genio insofferente, curioso e creativo, sempre alla ricerca di nuovi stimoli si allontanava definitivamente dal periodo acustico celebrato da dischi come Kind of Blue (questo sì consigliato per un eventuale primo contatto con la musica di Miles) per seguire nuove strade più moderne e contaminate.
Il cofanetto è chiamato Bootleg Box ma la qualità audio è invece generalmente molto buona (certo sono presenti alcune imperfezioni ma parliamo di concerti live del '69) ed il dvd è una testimonianza video irrinunciabile. La confezione è esteticamente bella.
Lo ho acquistato ad un prezzo molto competitivo (20 euro) ma vedo che ora è aumentato; decidete voi se aspettare un ribasso o acquistarlo subito.
Da parte mia non posso fare altro che consigliarvelo caldamente.
Reviewed in Italy on March 10, 2019
Solo alcuni vengono poi considerati geni creativi, musicisti che hanno tracciato momenti fondamentali della storia della musica, citati, omaggiati, studiati dalle generazioni successive; tra questi splende indiscutibilmente Miles Davis.
Dopo questo preambolo forse troppo incensatorio passiamo alla sostanza: se non avete ancora altri dischi di Miles Davis non comprate questo cofanetto! Potrebbe non piacervi e forse non riuscireste ad avvicinarvi nel modo migliore a questa musica.
Questi 2 cd+dvd riguardano concerti live registrati dal "quintetto perduto" durante un tour nel 1969 e pubblicati solo nel 2013; qui Miles si accompagna ad un Gotha di musicisti: Corea, Shorter, Holland e De Johnette che mi fa un po' rimpiangere di non avervi assistito (ma in quel periodo ascoltavo ancora solo lo Zecchino d'Oro!).
Ogni artista e non solo nella musica ha avuto periodi di cambiamento/evoluzione artistica e queste incisioni bootleg sono a mio giudizio importanti per conoscere la transizione di Miles dal periodo acustico a quello elettrico e che porterà al vero e proprio manifesto del jazz-rock che sarà il doppio album Bitches Brew; è in quel momento che nasce ufficialmente la Fusion.
I brani tendono a sfociare ancora talvolta nel free jazz e, mentre il basso è ancora acustico, Corea passa dal piano classico a quello elettrico.
Insomma Miles Davis, genio insofferente, curioso e creativo, sempre alla ricerca di nuovi stimoli si allontanava definitivamente dal periodo acustico celebrato da dischi come Kind of Blue (questo sì consigliato per un eventuale primo contatto con la musica di Miles) per seguire nuove strade più moderne e contaminate.
Il cofanetto è chiamato Bootleg Box ma la qualità audio è invece generalmente molto buona (certo sono presenti alcune imperfezioni ma parliamo di concerti live del '69) ed il dvd è una testimonianza video irrinunciabile. La confezione è esteticamente bella.
Lo ho acquistato ad un prezzo molto competitivo (20 euro) ma vedo che ora è aumentato; decidete voi se aspettare un ribasso o acquistarlo subito.
Da parte mia non posso fare altro che consigliarvelo caldamente.
le son est très bon, ça dépends aussi du matos d'écoute,enceintes Davis avec ampli Marantz et un ancien lecteur cd Yamaha pour écouter ce concert à Juan les pins datant de 1969, ne pas écouter sur une mini chaine en plastoc, quoique le résultat peu être étonnant, sinon le package est sympa pas encore déballé le poster et la notice
en piste pour le cd trois
du tout bon
The music is outstanding with all band members on top form. Miles has a full trumpet sound and only rarely uses his mute. Chick Corea plays electric piano mostly, but does play some exceptional acoustic piano solos on the third CD. Although this quintet was short-lived and represented the later stages of Miles performing live in a quintet, all musicians have clearly settled in well and complete a dynamic unit. The playing is quite wild at times, but is not as outlandish as the later Cellar Door sessions.
Sound quality is good in comparison with other live sets, but Dave Holland seems to get a bit lost in the rhythm section mix and can only be heard clearly in his solos, which are strong. Wayne Shorter is often in Coltrane mood and mode, on both tenor and soprano.
Several of the pieces that are new to the repertoire were played on the albums by a larger and more varied group of musicians, so these live versions are markedly different from the studio versions, but are strongly performed regardless. Paraphernalia is very different to the version on the Miles in the Sky album (the unusual guitar work from George Benson on the original could never be repeated and wisely no one tries to cover for it) but is still very enjoyable.
As with Volume 1 several tracks are feature at several venues but, as with the earlier Volume 1 set, no two performances are alike – for example there are three versions each of Sanctuary and Directions. Varying lengths of performances help remove any hint of repetition across the four concerts – for example It’s About That Time comes in at 9 minutes in one version but stretches to 14 minutes in another.
There is less ensemble work in the concert performances than the studio albums, but much of that has to be sacrificed when there is no opportunity for tweaking of the tapes by Miles and Teo Macero in the studio. Bitches Brew and many other tracks could not be played live in the same way as the studio versions, but it is great to hear what the band makes of them. All the performances in the set are much stronger than the Double Image album of a set recorded in Paris, one of the few to document a similar period.
Watching the DVD after listening to the three CDs is very illuminating. The band make an edgy start, similar to that on the first CD, looking as if they have been rushed to start before they were happy with the setting up of instruments and mikes, but then they settle – initially Chick Corea looks as if he does not want to be there at all! The venue is also quite difficult with the musicians exposed on a smallish island stage surrounded by the audience. The frenzied nature of parts of the performances also comes across once the band hits its stride– De Johnette clattering his drums, Holland sawing at his bass and Corea stabbing at his keyboard - and all musicians are clearly playing with both great passion and sensitivity. The CD draws to a close with some superb delicate duo work between Miles and Corea, with both musicians playing intelligently and subtly. This section of the music is quite magnificent and throughout all the concerts Chick Corea has been a revelation, to me at least.
As the music fades and the audience applaud the band thoughts turn to the question of will there be a Volume Three.
Is there anything else to be released? I hope so.
Dieses Miles Davis Quintet, das immer den Beinamen Lost Quintet trug, weil kaum Aufnahmen vorlagen, die seinen richtungsweisenden Einfluss dokumentierten, ist nun durch die vorliegende Edition aus dem Zustand des Verlorenseins zurück geholt worden. Es sind im positiven Sinne historische Dokumente, weil der Übergang von Miles Davis selbst von der Modalität in eine von Fusion, Funk, Rock und psychedelische Moderne in beeindruckender Qualität zugänglich gemacht wurden. Seine Interpretation von Round Midnight (CD 1, Antibes), bei der er das Thema der Ballade mit einer modalen Wucht anbläst, als ginge es um eine testamentarische Festschreibung, um dann in ein Beschleunigungslabyrinth zu entschwinden, bei dem jede Rückkehr ausgeschlossen zu sein scheint, ist die wohl eigenwilligste dieses Stückes, die in der Jazz-Geschichte vorliegt. No Blues (CD 2) wird durch Davis Phrasierungen und die psychedelischen Eskapaden Chick Coreas und die lyrischen Etüden Wayne Shorters zu einem Referenzstück für archaische Wahrheiten im experimentellen Chaos. Und in Bitches Brew (CD 3) zeigen Jack DeJohnette und Dave Holland, wie strukturbildend Beschleunigung werden kann, wenn sich Individuen wie Davis und Shorter, die zu diesem Zeitpunkt wohl keine Grenzen mehr wahrnehmen wollten, auf halsbrecherische Exkursionen begaben.
Auf der DVD von den Berliner Jazztagen (mono, exzellente Qualität) wird dann auch sichtbar, wie zweifelsfrei und cool dieses Quintett zu Werke ging. Ob bei den Phrasierungen bei Directions, den kongenialen Tempiwechseln bei Bitches Brew, den Spannung erzeugenden Staccati bei It's About That Time, den lyrischen Pausen bei I Fall In Love So Easily oder den bewußt erzeugten Dissonanzen bei Sanctuary, hier bekommt man auch zu sehen, wie es in einem Labor, in dem an den Grundzügen musikalischer Zukunft gearbeitet wird, zugeht. Es wird gänzlich auf verbale Kommunikation, Gestik und Mimik verzichtet, ausschlaggebend ist die absolute Sicherheit am eigenen Instrument, die Gewissheit mit kongenialen Partnern unterwegs zu sein und ein überbordendes Selbstbewusstsein aller Akteure, ohne es ostentativ zur Schau stellen zu müssen.
Miles Davis Quintet. Live in Europe 1969. The Bootleg Series Vol.2 ist ein einzigartiges Dokument der Geschichte des modernen Jazz, eine Hommage an die konzeptionelle Offenheit, den Mut zum Experiment und eine so wohl nie wieder da gewesene Gemeinsamkeit von Ausnahmemusikern.