Live in Europe 1967: The Bootleg Series Vol. 1

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Live in Europe 1967: The Bootleg Series Vol. 1
Live album by Miles Davis

Publication
(s)

2011

Label (s) Columbia Records

Format (s)

3 CD, DVD

Genre (s)

jazz

Title (number)

34

running time

3:18:21

occupation

production

Michael Cuscuna , Richard Seidel

Live in Europe 1967: The Bootleg Series Vol. 1 is a jazz album by Miles Davis . It contains radio recordings of three different concerts in Antwerp , Copenhagen and Paris , recorded on October 28, November 2 and November 6, 1967 and released on September 20, 2011 by Columbia Records . Also included is a DVD with TV recordings of the concerts in Stockholm on October 31 and in Karlsruhe on November 7, 1967.

After The Complete Live at the Plugged Nickel in 1965, this edition was the second official re-release of Miles Davis recordings from the 1960s on CD, which was edited by Michael Cuscuna and Richard Seidel .

The album

Under the title Live in Europe 1967: The Bootleg Series Vol. 1 , Columbia released concert recordings that the Miles Davis Quintet with saxophonist Wayne Shorter , pianist Herbie Hancock , bassist Ron Carter and drummer Tony Williams in Europe won. As additional material, the edition contains a DVD with concert recordings from Germany and Sweden. The title chosen by the Columbia label continues a series of releases by the label that began in 1991 with Bob Dylan's recordings under the same title. Until then , recordings of the concerts in Antwerp, Paris and Stockholm as well as the Berlin Jazz Days were published as bootlegs . The robbery appeared under the titles Miles Davis - His Greatest Concert Ever (Antwerp), Miles Davis - Tempo Di Jazz (Stockholm), Miles Davis Quintet Live In Europe ( Philharmonie Berlin ) and No Blues (Paris).

The titles of the first CD were created at a concert of the quintet in the Queen Elizabethzaal in Antwerp on October 28, 1967, the second CD contains the concert from November 2, 1967 in Tivoli Gardens in Copenhagen and the third CD contains the recording from November 6, 1967 the Salle Pleyel in Paris. The box is supplemented by TV recordings from Südwestfunk and Sveriges Radio TV , which show concert recordings from the city ​​hall in Karlsruhe on November 7th and the Konserthuset in Stockholm on October 30th, 1967. The concert in Karlsruhe was heard and seen on September 17, 1968 as episode 51 of Jazz - broadcast on ARD.

The album Live in Europe 1967: The Bootleg Series Vol. 1 was followed in January 2013 by Volume 2: Live in Europe 1969 , with Miles Davis, Shorter, Chick Corea , Dave Holland and Jack DeJohnette . The set again contains three CDs and a DVD.

The tour

Newport Jazz Festival in Europe

The Miles Davis Quintet toured Europe a few months after recording the studio album Nefertiti as part of a touring program organized by George Wein , founder of the Newport Jazz Festival , under the title Newport Jazz Festival in Europe . In 1967, with the sponsorship of Pan American Airlines and US Travel Service , a US government agency, eight groups appeared in various combinations in major European cities such as Antwerp, Belfast, London, Rotterdam, Stockholm, Helsinki, Copenhagen, Berlin, Paris and Barcelona.

Jack Chambers calls the tour of Wein in his Miles Davis biography perhaps "the most complicated journey ever undertaken with musicians". Jazz stars who performed there included Davis, an octet by Thelonious Monk , Sarah Vaughan with the Bob James Trio, the Gary Burton Quartet with Larry Coryell , a number of guitarists ( George Benson , Buddy Guy , Jim Hall , Barney Kessel , Elmer Snowden ), the Archie Shepp Quintet (with Roswell Rudd , Grachan Moncur III and Beaver Harris ), Clark Terry and finally the Newport All Stars by George Wein (with Ruby Braff , Buddy Tate and George Wein himself on piano).

Davis mentions in his autobiography a quarrel with George Wein in Spain ("we argued about the money") Davis didn't like the fact that Wein was telling the world about the large sums he paid Davis; Davis had also insisted on going to the gym regularly to be in shape for his gigs, which Wein apparently failed to organize. At the end of the tour in Barcelona Wein tried to give Davis an extra concert without additional payment, which Davis refused. When Wein then explained to Davis in jazz slang that he had no money for additional pay, Davis was upset and he flew home. His band then gave the concert as the Wayne Shorter Quartet , with Wein telling reporters that Davis had flown without telling anyone, including his own musicians, what Davis was denying (but they'd gotten into arguments and made up again because Wein paid well in and of itself, booked good hotels and first class flights).

Davis was satisfied with the concerts: “I had a good time in Europe because the band played well. And the band played really well sometimes. "

Miles Davis and Archie Shepp

George Wein often grouped the Miles Davis Band with the Archie Shepp Quintet, although most of the audience was less aware of Davis' new direction. During the tour, Davis was persuaded, as he writes in his autobiography, to play with Archie Shepp at Tony Williams' request. Ian Carr goes into more detail in his Davis biography on the concert of the touring group in October 1967 at Hammersmith Odeon in London, including the reaction of the audience. Miles allegedly insisted on appearing in front of Shepp because he did not want to appear in front of an audience "who would be sick" ("sick people") - Shepp's effect on the audience was accordingly polarizing. Various statements are known from Miles Davis that he could not do anything with this music. Miles hadn't performed in London in seven years; the band's music was advanced compared to the audience's expectations nourished from its records and the band's interaction was also unusual:

Archie Shepp in 1982 in France
"He played a long cohesive set that lasted over an hour ... and familiar themes came and went ... the boiling and sizzling drums created an ongoing dialogue with everything else ... but there was never a discharge the immense tension that was created ... the audience was denied the satisfaction of agreeing with the musicians during the performance ... they were kept out of the way, respectfully, attentively, but not really included. "

Quite in contrast to Archie Shepp who appeared afterwards (described by Carr as "attacking energetic music"); Carr sees what Shepp and Davis have in common: they both played longer group improvisations ("coherent sets with a lot of inner development, the structure of their appearance was organic, slowly growing out of the interaction of the group, a sound carpet that gave the impression of eternal ebb and flow" ). Carr sees the opposite of Shepp and Davis in the London concert as a prime example of the tribal war between avant-garde (Shepp) and tradition (Davis) in jazz, which was shaped by a much deeper change, the changed attitude of the concert audience in the second half of the 1960s through the dominance of rock and vocal groups, to which Davis was soon to respond with a complete reorientation of his music.

Jack Chambers also mentions that Shepp and Davis once played together, quoting eyewitness Barry McRae: After Davis invited Shepp to play with him at a concert, Davis stormed off the stage; "Shepp had selfishly appropriated the limelight with his solo and played music he had no understanding for."

Contemporary criticism of the tour

Valerie Wilmer , who, like Ian Carr , experienced the Miles Davis concert at the Hammersmith Odeon in London, reported on Downbeat : “A concert that everyone will listen to.” “Despite all claims to the contrary, Miles is a masterful showman in terms of sound and appearance . "On the special role of Tony Williams she wrote:

“It's loud, sure, but Miles likes it because it spurs him on to moments of absolutely great beauty. The excruciating scream from his horn is due not least to Tony Williams. The music was bittersweet perfection. "

The concert of the Miles Davis Band in the Berlin Philharmonie, which took place as part of the Berlin Jazz Days and is not documented in the Columbia Edition, was reviewed by a critic of the weekly newspaper Die Zeit , who was apparently disappointed with the quintet's performance:

“Two other ensembles with big jazz names, which is why many fans may have come to the concerts, which were completely sold out for four days, were disappointing. Trumpeter Miles Davis, from whom one hears that he has hired a lightweight boxer in order not to have to do without his daily boxing training on tour, should instead practice more often. His combo delivered a cold routine. "

The tour dates

The Miles Davis Quintet, usually coupled with the Archie Shepp Quintet, performed in ten cities on the tour:

The Hammersmith Odeon 2008
  • October 28: Koninging Elisabethzaal, Antwerp
  • October 29: Hammersmith Odeon, London (Jazzexpo)
  • October 30: De Doelen, Rotterdam
  • October 31: Konserthuset, Stockholm
  • November 1st: Kulturhuset, Helsinki
  • November 2nd: Tivoli Konsertsal, Copenhagen
  • November 4th: Philharmonie, Berlin ( Berlin Jazz Days )
  • November 5th: Lecco, Como
  • November 6th: Salle Pleyel, Paris
  • November 7th: City Hall, Karlsruhe

Music of the album

Miles Davis played his material without a song ending normally; instead it went smoothly into the next song. At the end of the last track of each set, he played The Theme , a hardbop theme. The five documented concerts each began with the then new Davis composition Agitation ; This was followed by a similar repertoire of reinterpretations of older titles, such as Walkin ' from 1954, Monks ' Round Midnight , Wayne Shorter's compositions Footprints , Riot and Masqualero as well as the standards On Green Dolphin Street and I Fall in Love So Easily .

According to Hank Shteamer, Miles Davis "visibly enjoyed the wide dynamic and emotional range of this band and constructed the sets accordingly." Unlike the studio recordings of the quintet, the concerts on Live in Europe 1967 would take the form of uninterrupted medleys . In four of the five sets, Wayne Shorter's stormy footprints are transferred to the Thelonious Monk classic 'Round Midnight , which each time begins as a simple dialogue between Davis and Hancock. Further transitions kept these long sets moving: “In Antwerp, a long version of Miles' medium-tempo swinging No Blues gave way to a tumultuous three-minute sprint through Hancock's Riot ; In Paris, No Blues jumps into Shorter's atmospheric, Spanish-inspired Masqualero , a compelling switch that immediately calls on the ear. "

Ron Carter at the European Jazz Expò 2007

Hank Shteamer says these recordings document "the musicians' departure from their bebop roots, both an ecstatic celebration and the courageous deconstruction of how ensemble jazz has been played in the two decades before." These performances represented the end of the soloist and - Accompaniment model of the combo -Jazz up to this point. Davis' second great quintet was not the first band to play in this way; Around 1967, Ornette Coleman , John Coltrane and Cecil Taylor had each made the jazz conventions of the 1940s and 1950s “explode in their own way. However, none of the other artists knew how to combine profound, daring interaction with such an ongoing coherence. ”At this level, just before the quintet broke up over the next two years when Miles got into electric jazz , Carter was the first to leave , followed by Williams and Hancock, "the interaction was the liveliest and clearest".

Track list

CD 1
  1. Agitation (Davis) 5:26
  2. Footprints (Shorter) 9:37
  3. 'Round Midnight (Monk) 7:37
  4. No Blues (Davis) 11:15
  5. Riot (Hancock) 3:39
  6. On Green Dolphin Street ( Bronisław Kaper / Ned Washington ) 8:26
  7. Masqualero (Shorter) 8:53
  8. Gingerbread Boy ( Jimmy Heath ) 5:56
  9. The Theme (Davis) 1:15
The Salle Pleyel in Paris (2008), location of the Miles Davis concert on November 6, 1967
CD 2
  1. Agitation (Davis) 6:14
  2. Footprints (Shorter) 9:01
  3. 'Round Midnight (Monk) 7:16
  4. No Blues (Davis) 14:40
  5. Masqualero (Shorter) 10:00
  6. Agitation (Davis) 6:36
  7. Footprints (Shorter) 10:35
CD 3
  1. 'Round Midnight (Monk) 8:06
  2. No Blues (Davis) 13:01
  3. Masqualero (Shorter) 10:08
  4. I Fall in Love Too Easily ( Sammy Cahn / Jule Styne ) 10:34
  5. Riot (Hancock) 3:39
  6. Walkin '(Davis) 9:01
  7. On Green Dolphin Street (Kaper / Washington) 9:04
  8. The Theme (Davis) 8:22
  • All tracks recorded on November 6th, 1967 in the Salle Pleyel, Paris.
The Konserthuset in Stockholm, site of the Miles Davis concert on October 31, 1967
DVD
  • Miles Davis in Germany & Sweden
  1. Agitation (Davis) 6:43
  2. Footprints (Shorter) 6:03
  3. I Fall in Love So Easily (Cahn / Styne) 11:34
  4. Gingerbread Boy (Heath) 5:34
  5. The Theme (Davis) 0:28
  6. Agitation (Davis) 6:57
  7. Footprints (Shorter) 9:06
  8. 'Round Midnight (Monk) 8:31
  9. Gingerbread Boy (Heath) 7:35
  10. The Theme (Davis) 1:34

Awards

The album was named re-release of the year in 2012 by both the 2012 Down Beat Readers Poll and the American Down Beat Critics Poll ; it was honored in the same category at the JJA Awards of the American Jazz Journalists Association . The British magazine Jazz Journal International also included the album in their top 10 list of reissues in 2011.

Reception of the album

Thom Jurek rates the album with 4½ stars on Allmusic and is of the opinion that the recordings capture Miles Davis' second quintet "at their creative peak". Although the set list of the three concerts is similar, that does not mean that the repetition is monotonous. These appearances are strong, as the quintet play a "fiery mixture of post-hardbop , modal music and echoes of free jazz ". The versions of titles like 'Round Midnight , On Green Dolphin Street and Gingerbread Boy are each radically different; just listen to the opening title Agitation to see how different the different interpretations would have been every night.

Nate Chinen wrote in the New York Times that the recordings captured "Davis' best working band at its peak", where they "stretched to the limit of post-bop perfection". The music sounds "stunningly contemporary, points in the direction of key attributes of our contemporary jazz era and just confirms the unique dynamics of Davis' quintet of the 1960s". Chinen compares the quality of the recordings with those of the recordings that were released in 1995 as The Complete Live at the Plugged Nickel 1965 . Live in Europe 1967 shows “a radically self-assured band, with a freer, more inflammable teamwork.” Chinen refers to Ashley Kahn's assumption that the death of John Coltrane a few months earlier, but also the more open European audience, had driven Miles Davis to action and influenced the tenor of the music. While there were moments in the Plugged Nickel recordings in which the band played away from him, Miles Davis remained the clear authority in Live in Europe 1967 , even if it was wilder every step of the way. He no longer plays the stuffed trumpet , the last remnant of his cool period , and his tone is mature and sharp. While On Green Dolphin Street , I Fall in Love Too Easily and 'Round Midnight are already known from the Plugged Nickel repertoire, it is the new compositions that made the quintet sound more energetic, such as in Hancock's Riot and in Shorter's compositions Masqualero and Footprints . Tony Williams is the doer of this river, and he is most daring and inspiring here. Of the five concerts in Live in Europe in 1967 , the one at the Tivolis Concert Hall in Copenhagen was the most fiery . From the beginning of Ágitation , the quintet fired with pressure. Wayne Shorter begins his solo "with a strategic awkwardness", honking single notes , "as if he were stuck in traffic" before he set about working out the subject. Hancock's solo begins hardly less remarkable, with a chromatic rumble in 7/8 meter , nothing one would expect from a jazz pianist in 1967 - followed by a transition to fast-track swing . The entire Copenhagen concert follows this pattern of “throwing yourself off a steep slope”. If this concert had ever been released as a single album, it would be considered "one of the most exciting live recordings in Miles Davis' career."

In his review of the recordings in JazzTimes, George Varga also emphasized the quality of the second CD, which contains the five previously unreleased titles from the Copenhagen concert: “In its emotional intensity, instrumental energy and musical richness, the quintet's playing is so rousing that some listeners may find this both intoxicating and draining. "

Herbie Hancock Nice Jazz Festival 2010

Their glowing performances sound “so thoroughly fresh, contemporary and daring” that one wonders why Davis finally broke up this quintet and turned to what became known as jazz-rock . Varga gives the assessment of Herbie Hancock, who said about the tour:

“We knew that this was new territory. It was what we wanted, this exploration, only the different approaches were clearly our own. We didn't realize the extent of what this would mean for other musicians in the jazz world. For a long time, other musicians didn't know how we did it. "

Despite the fact that all of these concerts were recorded over a ten-day period with a similar list of titles, the "seemingly telepathic" performances differed dramatically; the musical intentions, twists and turns and times of ignition are never the same, the Paris version of the final The Theme lasts only 76 seconds, while the Antwerp version lasts eight “absolutely great” minutes.

Even better, says Varga, is "the boisterous manner" in which individual parts are tied together to create expansive, suite- like pieces that merge, often before the audience (or, in a few moments, all of them Members of the quintet). "This flexible playing posture can be seen in how surprising it is to hear the applause at the Antwerp concert after five tracks and 33 minutes". This is the rare case of a live album “in which the noise of the audience sounds like interference. Sometimes silence and patience could be beneficial ”.

Wayne Shorter

Maik Brüggemeyer reviewed the album for Rolling Stone and gave it four stars. Since Davis' work was already "excessively documented", he was amazed at the title of the album and the planned "new series of rarities". Nevertheless, the album shows this band from Davis "at the height of their work"; Like Chinen, he said that the album was “even superior to The Complete Live at the Plugged Nickel 1965 box, which is now part of the Davis canon . Wayne Shorter and Herbie Hancock never played more freely and more inspired under Davis, and yet this ingenious rhythm section composed of Ron Carter and Tony Williams catches them again with great ease every time. Davis always maintains control, despite the music that is unbounded for his standards, plays ... precisely and at the same time lyrically. "

Hank Shteamer believes Live in Europe 1967 is "definitely not a footnote" in Miles Davis' work; Rather, it offers the chance to listen to one of the greatest bandleaders of the twentieth century, how he drives his colleagues into creative ecstasy with his "anti-hierarchical aesthetic" and brings them to the riskiest and most committed performances of their careers. No player can achieve this more than Tony Williams, who is in top form with the version of Footprints from November 2 in Copenhagen. For Shteamer, Live in Europe 1967 marks the point in time "when we first hear this band dealing with such a wide range of material"; the previous live box of the second quintet, The Complete Live at the Plugged Nickel 1965 , however, would have mostly contained well-known jazz standards .

The improvisational audacity in the Copenhagen Footprints is impressive ; Herbie Hancock plays like “a confused outsider.” Instead of giving Wayne Shorter's saxophone solo a solid foundation, he offers ornate little phrases, like jumbled fragments from the inventory of the classics of the twentieth century; At the end of the title he answers the theme presented by the winds with a mocking paraphrase . Meanwhile, Ron Carter designed the waltz-shaped bass line of the piece.

The decisive factor is that freedom, as understood by this band, does not equate volume and density; one of the strongest moments of Live in Europe 1967 was also one of the calmest. While Masqualero (November 6th in Paris on CD 3), as Miles Davis plays a poignant, slowly building solo, Hancock immerses himself in a haunting, repetitive figure and Williams calm down on the hi-hat with a whispered, suggested tempo . Later, when Hancock's solo begins, Williams falls out entirely, leaving the pianist and Carter to play a delicate, free-flowing duo. During the same set, in Walkin ' , Williams and Carter take Wayne Shorter into a quick ecstasy and then slowly fade into silence. The saxophonist goes into a (rare) unaccompanied passage and "plays an abstract kind of bebop, full of chafing phrases and muttering excursions."

Davis in the mid-1950s

Some of the titles on Live in Europe 1967 are "played like cooperative action paintings " in which everyone is allowed anything, only not entitled to be the center of attention in the time available to them, combined with the all-encompassing principle that Compositions to keep the chaos under control.

In summary, Shteamer states why Live in Europe 1967 is so essential:

“You get to hear exactly how these virtuosos act before the big change takes place. They still operate in the old form, acoustic ensemble jazz, but they question this relentlessly to see how far they can expand its conventions without completely overturning them. Before you can venture into the bigger world of pop , you have to achieve jazz nirvana, and that's what you get in Live in Europe 1967 . Its aesthetic is hardly easier to describe than the one heard on Kind of Blue and Bitches Brew , but no less significant. Basically, jazz develops through courageous, sensitive interaction, and Live in Europe 1967 embodies the pinnacle of this practice. "

Even Michael Rüsenberg compare the recordings with the previous live recordings from the Plugged Nickel 1965 and comes to the conclusion:

“The musical achievements of the“ Plugged Nickel ”concerts - in one word: the flexible use of time - are even more pronounced here.” ´ Round Midnight , which is known almost exclusively as a ballad , “hisses here with a rollercoaster Groove and time changes that at best allow it to remain recognizable in fragments. ”Rüsenberg emphasizes the“ rather disrespectful ”way of dealing with foreign works, but also with one's own works; nor would the listener get tired of being presented with “umpteen times“ Round Midnight ”or the monkey tooth from“ Gingerbread Boy ”or the horn theme from“ Mascalero ”- the five play it differently every time. They dare to do anything because they can do everything. "

"Freebop", as introduced by Ashley Kahn in the liner notes of the album, is "an attractive term for it," wrote Rüsenberg:

"The only doors they don't open are the one to atonality and another one to the dissolution of meter (as happened just two years later, in March 1970,“ Live at Fillmore East, March 7, 1970 ”)".

Kevin Davis said in All About Jazz that the "only frustrating thing" about Live in Europe 1967: The Bootleg Series Vol. 1 was the fact that it took 44 years for "that most glaring missing link " to be closed in Davis' discography has been. Compared to the studio albums, Live in Europe 1967 is better than any of them, an album that ultimately documents "the fundamental importance of Miles Davis as an artist".

The Bootleg Series

Columbia / Legacy's Bootleg Series with recordings by Miles Davis currently (2018) includes the following editions:

  1. Live in Europe 1967: The Bootleg Series Vol. 1 (ed. 2011)
  2. Live in Europe 1969: The Bootleg Series Vol. 2 (ed. 2013)
  3. At the Fillmore - Miles Davis 1970: The Bootleg Series Vol. 3 (ed. 2014)
  4. At Newport 1955-1975: The Bootleg Series Vol. 4 (ed. 2015)
  5. Freedom Jazz Dance: The Bootleg Series Vol. 5 (rec. 1965–68, ed. 2016)
  6. The Final Tour: The Bootleg Series, Vol. 6 (rec. 1960, ed. 2018)

References and comments

  1. ↑ a b c d e f g h i Review by Hank Shteamer in Pitchfork Farm 2011
  2. ↑ Review of the album The Bootleg Series, Vols. 1-3 (Rare & Unreleased) 1961–1991 by Stephen Thomas Erlewine for Allmusic (English). Retrieved October 16, 2012.
  3. ↑ See Miles Davis Discography
  4. ↑ Jazzbrief 2007 of the Jazzinstitut Darmstadt ( Memento from January 5th, 2014 in the Internet Archive )
  5. ^ Announcement of the album in JazzTimes
  6. ↑ a b c d e Jack Chambers: Milestones 2. The Music and Times of Miles Davis Since 1960. Beech Tree Books, William Morrow, New York 1985 (Vol. 2), pp. 114 ff.
  7. ↑ Including with Ray Copeland , Jimmy Cleveland , Johnny Griffin , Phil Woods , Charlie Rouse
  8. ↑ The tour lasted four weeks and went through 20 cities. The Newport Jazz Festival in Europe went through the following cities: Baden-Baden, Barcelona, ​​Belfast, Berlin, Copenhagen, Dublin, Epernay, Helsinki, Karlsruhe, Lecco, London, Lugano, Lyon, Mainz, Paris, Rotterdam, Stockholm.
  9. ↑ Miles Davis; the autobiography, Heyne 2000, p. 388.
  10. ↑ In the original by Jack Chambers: “I had a nice time in Europe because the band played good. The band plays pretty good sometimes. "
  11. ↑ a b c Ian Carr, da Capo, p. 219
  12. ↑ In the original: "He played one long continuous set lasting about an hour ... and familiar themes appeared and disappeared, .. the drums boiled and bubbled keeping up a continuous dialogue with whatever else happened, however: there was never any proper release of the immense tension that was generated, ... the audience were denied the satisfaction of complicity in the performance ... they were kept on the outside, respectful, attentive, but not really involved. "
  13. ↑ "energy music with a vengeance"
  14. ↑ Carr: "..continuous sets with much internal movement, the structure of their performance was organic, arising largely out of group interplay, a soundstream given the impression of an eternal ebb and flow."
  15. ↑ Jazz Journal, June 1975 Avant-Courier: Miles Davis since Philharmonic Hall, Berlin 1964
  16. ↑ In the original: "Shepp had hogged the solo limelight, playing music with which he had little sympathy."
  17. ↑ In the original: "A concert that had everyone standing on their ear." "In spite of all pretensions to the contrary Davis is by dint of both sound and appearance the master showman."
  18. ^ A b Valerie Wilmer: London Lowdown. Downbeat, December 28, 1967
  19. ↑ In the original: “He's loud sure, but Miles likes it that way because it spurs him into moments of starkly screaming beauty. The excruciating cry of the Davis horn owes more than little to Williams. The music was bittersweet perfection. "
  20. ↑ Jazz festival with hippies and beat - dev Jazz found its way back to a large audience in Berlin via pop. In: Archive Die Zeit
  21. ↑ Tour dates with Peter Losin
  22. ^ Ashley Kahn , Liner Notes.
  23. ↑ The DVD was also released as part of the 70-CD set Miles Davis: The Complete Columbia Album Collection , released in 2009.
  24. ↑ 2012 DownBeat Readers Poll ( Memento of the original from December 12, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.downbeat.com
  25. ↑ Information from Radio France ( Memento des original dated April 6, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / sites.radiofrance.fr
  26. ↑ 2012 Nominees - JJA Jazz Awards 2012 Nominations
  27. ^ Jazz Journal International - Jazz Journal Critics' Poll 2011
  28. ↑ Live in Europe 1967: The Bootleg Series Vol. 1 on Allmusic (English)
  29. ^ Review in The New York Times
  30. ↑ a b c d George Varga, review of the album in JazzTimes
  31. ↑ In the original: "The quintet's playing is so galvanizing in its emotional intensity, instrumental vigor and musical richness that some listeners may find the experience both exhilarating and draining."
  32. ↑ In the original: “We were aware it was new territory. That's what we wanted to do, that exploration, but the different approaches each of us used were uniquely our own. We didn't know the extent that it would impact other musicians in the jazz world. For a long time, other musicians didn't know how we were doing it. "
  33. ^ M. Brüggemeyer Miles Davis - Live In Europe 1967, Rolling Stone 12/2011
  34. ↑ The new freedom leads to a coexistence of raids with almost silence, so Shteamer further; But the mix also contains funk  : In the Masqualero version on October 28th in Antwerp (on the first CD) Williams and Carter hold an infectious Latin pulse as the accompaniment of the soloists and provide a danceable basis on which Shorter uses his heated phrases can tear off and thus foreshadow the groove-based experiments that were implemented on In a Silent Way in 1969 .
  35. ↑ In the original: “You get to hear exactly how these virtuosos were behaving just before the big change occurred. They were still operating in an old mode, small-group acoustic jazz, but they were interrogating it relentlessly, seeing how far they could stretch its conventions without ditching them altogether. Before they could break into the larger world of pop, they had to reach jazz nirvana, and that's what they attain on Live in Europe 1967. The aesthetic here is less easily definable than those heard on Kind of Blue and Bitches Brew, but it's no less significant. At its heart, jazz thrives on bold, sensitive interaction in the moment, and 'Live in Europe 1967' represents the pinnacle of that practice. "
  36. ↑ a b Michael Rüsenberg in jazzcity 2011 ( memento of the original from May 22, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.jazzcity-net-edition.de
  37. ↑ Review of Kevin Davis' album in All About Jazz
This version was added to the list of articles worth reading on January 8, 2013 .