9. Kind of Blue- Miles Davis.
Miles Davis decided to go in a different direction with this album. Instead of using the chordal structure that was the norm for hard bop, he decided to go in a modal direction, using scales and modes to create a more melodic atmosphere. This removed some of the structure of the pieces and let the players stretch out a little in their improvisation. There is a rumour that the whole album was done in one take, but apparently that is not true. I wasn't there, so I cannot confirm or deny whether this is the case; and generally I find that fact checking destroys a good story.
The album starts out with So What, which is instantly recognizable, and continues with four other tracks. The lack of the rigid chordal structure allows the music to seem to wander, although there are patterns if you know what you are listening for. I'm not sure that I possess this knowledge myself. The fact is, the mood is so laid back that if you don't get in your own way, you can drift down the musical river, letting Miles and the boys take care of the steering. I found last night on the headphones I was locked in on the percussion for a little while. The sound of a brush on the snare drum. It captivated me. There was just this little sound in the background, and despite the more upfront soloing and bass, that was what I was picking up at that moment. The depth of the album is such that you can listen to it and pick up different facets of the recording each time. Which is beautiful.
It seems almost universal that this is considered one of the best jazz albums out there. I have very little knowledge of jazz, but I have had this album for a while. For someone who is interested in learning about jazz, this is a very easy listen, and apparently a very good place to start. The trumpet is silky, and the rest of the band is perfect; while there is some soloing that can get a little busy, it is tastefully done, and retains a relaxed vibe. The players on this album, including John Coltrane, went on to become successful musicians themselves. Oddly enough, though this album is widely considered Davis' masterpiece, he didn't want to revisit the tracks later on in his career. He took a been there, done that attitude towards it.
It's hard to pin down one favourite part of the album. I liked Blue in Green a lot, but the whole thing is excellent. It exudes class, but without pretentiousness. I recommend a dimly lit room, just enough volume and a glass of your favourite red wine. Enjoy the ride. Rolling Stone slotted this at number 12 of the 500 Greatest Albums of All Time.
The album starts out with So What, which is instantly recognizable, and continues with four other tracks. The lack of the rigid chordal structure allows the music to seem to wander, although there are patterns if you know what you are listening for. I'm not sure that I possess this knowledge myself. The fact is, the mood is so laid back that if you don't get in your own way, you can drift down the musical river, letting Miles and the boys take care of the steering. I found last night on the headphones I was locked in on the percussion for a little while. The sound of a brush on the snare drum. It captivated me. There was just this little sound in the background, and despite the more upfront soloing and bass, that was what I was picking up at that moment. The depth of the album is such that you can listen to it and pick up different facets of the recording each time. Which is beautiful.
It seems almost universal that this is considered one of the best jazz albums out there. I have very little knowledge of jazz, but I have had this album for a while. For someone who is interested in learning about jazz, this is a very easy listen, and apparently a very good place to start. The trumpet is silky, and the rest of the band is perfect; while there is some soloing that can get a little busy, it is tastefully done, and retains a relaxed vibe. The players on this album, including John Coltrane, went on to become successful musicians themselves. Oddly enough, though this album is widely considered Davis' masterpiece, he didn't want to revisit the tracks later on in his career. He took a been there, done that attitude towards it.
It's hard to pin down one favourite part of the album. I liked Blue in Green a lot, but the whole thing is excellent. It exudes class, but without pretentiousness. I recommend a dimly lit room, just enough volume and a glass of your favourite red wine. Enjoy the ride. Rolling Stone slotted this at number 12 of the 500 Greatest Albums of All Time.
Buy it here.
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