The final tour

"[Coltrane] left [Miles'] band at the end of 1959 and reportedly had to be talked (hard) into taking [this] gig by Davis. It was the trumpeter's first European tour as an international jazz star, and the band (...) were among the cats who recorded 1959's Kind of Blue ... From the opening moments of "All of You" in the first Paris show, it's obvious that what's happening on-stage wasn't planned. It took everyone, with the possible exception of Coltrane, by surprise, and is more than 17-minutes long. The lengthy solo by the saxophonist greets the changes with dissonance, sharp angles, and a (then) atypical fury as he tries out new sounds, fingerings, and breathing techniques ... Interestingly, while the tour established Davis' international rep for good, it was Coltrane who benefitted most from the tour - he was all but unknown before it, and unforgettable after. The tape sources are all official: The Copenhagen gig is remastered from a state radio broadcast and the othertwoconcerts are from producers' archives, making this historic set among the most essential in the Bootleg Series".

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""The Bootleg Series, Vol. 6" [is] truly a vital link in our ongoing understanding of the Davis/Coltrane equation and the music that erupted from it ... The three week run of shows was noteworthy on several fronts, primarily being Miles' first as an internationally accepted jazz voice traveling with his own ensemble ... Additionally, this would be Trane's last sideman gig. Those footnotes aside, the roof quickly raises from Paris' stately L'Olympia Theater, if not with the quintet's opening musing "All Of You," but certainly with the charging and recalcitrant swing of "So What." Chambers tears into his intro like he can't wait to get the riff started and let Cobb do his thing, and from there, the band and audience are either white-knuckling it, free-falling, or flying high-flying take your pick. The joy of listening to Kelly accentuate his way through Miles' limber solo and Trane coming up on Miles from behind is mind bending".

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"Best new reissue" - "The audible friction between Davis and Coltrane on almost every number of this four-disc set makes for a fascinating listen, a live document of two players undergoing tectonic shifts in their style".

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