There will be more Miles to come, but I've been revisiting this as of late, reading about it. If you haven't delved in, I suggest you do so, even casually. It's rather tame now in hindsight, but it's moodiness and unquestionable performances justify the endurance, like setting a standard and creating a gateway.
The mood and tone of this record are virtually unmatched. I've listened to it in it's entirety at least 35 times. Great great great great GREAT record.
Miles of the day... kind of blue, wake up....on the corner, drive to work....anything from the 80's, midday...a tribute to jack johnson, sex time...in a silent way, bed.
I'd also recommend checking out the often overlooked "Sketches of Spain". And if you come across it give a listen to Miles's live version of "My Funny Valentine"...simply perfect.
'tis indeed the masterpiece. although its output shares very little sonically, the indulgences of The Free — or improvisors — that shortly followed could not have 'concluded' its aspirations without the musical model Kind of Blue set forth. i also find great interest in the chronology of its creation — right smack in the middle of his partnership with Gil Evans, which was some of the most meticulously orchestrated, tasking music he was ever a part of — as if the sessions were of casual interest, an unconfirmed experiment. never was his musical palette as varied, or less determined, than at this time.
also of interest — not sure if this says more of one's taste in miles or that of one's own intimacy, but i prefer to wake up to InASilentWay and take OnTheCorner to the sack — or this case, floor.
you should check out Ashley Kahn's book about KOB... there were a lot of factors that "put" KOB where it ended up. It is weird where it "landed" and I think a lot of things factor into the general weirdness of the record, the weirdness being the comparison to that which was apparently going on at the time.
Just got in the Plugged Nickel, Night One, Set One down.
I've found myself digging into the second half of the Second Quintet some late nights, Nefer, Sorc, Filles, particularly "Tout De Suite." It's unfortunate that my current employment doesn't really facilitate morning listening... save for street sounds and underground, headphone-muted, treble-crackling "Empire State of Mind."
ya know, after thinking for a few minutes, it's interesting that you'll see the same sort of "Spread" if you will amongst the later stuff from Miles as well. There are pieces of On the Corner in Bitches, Silent, etc, just as there are pieces of KOB in Milestones, 'Round, etc. Gives him the definite impression of being a puppeteer, specially when you think about what he was doing live.
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There will be more Miles to come, but I've been revisiting this as of late, reading about it. If you haven't delved in, I suggest you do so, even casually. It's rather tame now in hindsight, but it's moodiness and unquestionable performances justify the endurance, like setting a standard and creating a gateway.
The mood and tone of this record are virtually unmatched. I've listened to it in it's entirety at least 35 times. Great great great great GREAT record.
i "rock" this album out here and there especially once I heard q refer to it as his tea and bread in the morning
Miles of the day... kind of blue, wake up....on the corner, drive to work....anything from the 80's, midday...a tribute to jack johnson, sex time...in a silent way, bed.
I'd also recommend checking out the often overlooked "Sketches of Spain". And if you come across it give a listen to Miles's live version of "My Funny Valentine"...simply perfect.
'tis indeed the masterpiece. although its output shares very little sonically, the indulgences of The Free — or improvisors — that shortly followed could not have 'concluded' its aspirations without the musical model Kind of Blue set forth. i also find great interest in the chronology of its creation — right smack in the middle of his partnership with Gil Evans, which was some of the most meticulously orchestrated, tasking music he was ever a part of — as if the sessions were of casual interest, an unconfirmed experiment. never was his musical palette as varied, or less determined, than at this time.
also of interest — not sure if this says more of one's taste in miles or that of one's own intimacy, but i prefer to wake up to InASilentWay and take OnTheCorner to the sack — or this case, floor.
you should check out Ashley Kahn's book about KOB... there were a lot of factors that "put" KOB where it ended up. It is weird where it "landed" and I think a lot of things factor into the general weirdness of the record, the weirdness being the comparison to that which was apparently going on at the time.
Just got in the Plugged Nickel, Night One, Set One down.
I've found myself digging into the second half of the Second Quintet some late nights, Nefer, Sorc, Filles, particularly "Tout De Suite." It's unfortunate that my current employment doesn't really facilitate morning listening... save for street sounds and underground, headphone-muted, treble-crackling "Empire State of Mind."
ya know, after thinking for a few minutes, it's interesting that you'll see the same sort of "Spread" if you will amongst the later stuff from Miles as well. There are pieces of On the Corner in Bitches, Silent, etc, just as there are pieces of KOB in Milestones, 'Round, etc. Gives him the definite impression of being a puppeteer, specially when you think about what he was doing live.
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