Historians always like to place a starting point on when the “real” 1960s began. For jazz fans, how about right at the actual start, in the spring of 1960? It was then that Miles Davis and John Coltrane, two musicians who were already well on their way toward shaping the future of the genre—and would continue to do so—toured together for the last time. The Jazz at the Philharmonic European Tour took them to Paris, Stockholm and Copenhagen, where, fortunately, the tape recorders were hard at work, capturing them in a for-the-ages quintet that also featured Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums). They’d all played together on Miles’ Kind of Blue, the recently released album that would go on to be considered one of the most important (and bestselling) in jazz history but, in the year since, both Davis and Coltrane had moved beyond that music, taking more experimental routes. Trane, especially, was restless at the time, and this would be his last time working as a sideman for any extended basis. Two of the five tracks that comprised Kind of Blue, “So What” and “All Blues,” are among those performed at the European shows, but for Trane, there is a greater urgency here in his soloing, a willingness to vacate the basic melody and reach outward, take a fiercer attack. Not that Miles held back: By the fourth version of the tunes on the four-disc set, he’s in a zone that was inconceivable even a year earlier, foreshadowing the more cerebral music he’d soon create. Other staples of the Miles discography—“‘Round Midnight,” “On Green Dolphin Street,” “Walkin’”— are also given extended examinations, the total package a study of jazz moving into an unknown future, which is what it’s always done best.