Customer Reviews

Olympia Oct 11 1960

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On page 249 of the autobiography, Miles recounts driving around Philly with Jimmy Heath, recalling that he "probably was complaining to him about Sonny Stitt playing the wrong [stuff] on 'So What,' because he would always [mess] up on that tune."

The marvel is that Miles called on Sonny to replace Coltrane in the first place. But Wayne Shorter wanted to stay on with Art Blakey, so the most complete and polished bebop player of them all, a saxophonist embodying, but not extending beyond, the previous tradition took the coveted chair. Until these recordings came to light--of a 1960 Paris concert in October (there's an earlier Paris date the same year, only with Coltrane)--it was assumed the Stitt edition of Miles' group had never been recorded.

So now we know what Miles was talking about. Sonny's musical style--about melodic "formulas" and rhythmic/harmonic "closure"--is clearly "wrong" for Miles, but not necessarily for Sonny. On all of the tunes, including the modal "So What," Sonny "locks" into the time, much like a Coleman Hawkins, and plays within the harmonies of the tune, coming back to the tonic note at every opportunity. Miles if anything overplays, as though he's determined to rub Sonny's nose in the new music until he gets it. Sonny will have none of it. He counter-punches with his very best shots, exhausting the melodic/harmonic vocabulary inherited from Bird and Diz. The result is a dazzling display of disparate pyrotechnics--perhaps the last time Miles would play this aggressively on record. For my money, this quintet is more exciting, perhaps even breath-taking, than the Shorter-Hancock-Carter-Williams unit that would soon succeed it.

A few caveats: there's considerable audio distortion, especially of the trumpet. And of course this is not an album for anyone who is just beginning a Miles collection. But for certain saxophonists I know and perhaps careful listeners who are knowledgeable about styles and traditions, this rare album will be an endlessly fascinating if not essential addition to a vital jazz collection.

This is a very exciting concert and a rare document with both Sonny Stitt and Miles Davis. They are both in excellent form and the stylistic tension between the two at this transition in Miles' music is right there to an attentive listener. I loved the way Miles pushes in a modal direction and Stitt responds with a little nod in that harmonic direction, but with the most impressive virtuosity and intense swing, as if to say "I hear what you are saying, you call bebop "old fashioned"...but what do you think of this !!"

This is definitely not indicative of Miles Davis or the first place to start with Miles. It is, however, one of the most powerful non-fusion, non-progressive jazz albums of all time. It's a very clean crisp recording of a very on ensemble. Burning from start to finish without Coltrane or Shorter. Maybe the last statement in traditional jazz.

Do not buy this if you are looking for experimental music. This is just great trade offs and solid backup. Do buy it if you want to squint your eyes and bob your head. Try not to. You won't be able to.

I love experimental and complicated music, but, I think this is the one album I can put on and listen to from start to finish over and over.