Kind of Blue

Greatest Jazz recording of all time 

@simonmoon - Miles did not like the term 'jazz', at least for this; as he said, it's 'music'. 

Kind of Blue

with

Miles Davis

Julian Cannonball Adderly

Paul Chambers

James Cobb

John Coltrane

Bill Evans

Wynton Kelly

Nuff Said.

coltrane my favorite things, ole, africa. man! 

These are in no particular order:

Miles Davis - Kind of Blue, In A Silent Way, The Complete Bitches Brew Sessions, Nefertiti, Filles De Kilimanjaro

John Coltrane - A Love Supreme, The Complete Africa Brass Sessions, Coltrane’s Sound, Complete 1961 Village Vanguard Recordings

Herbie Hancock - Empyrean Isles

Sun Ra - Angels and Demons at Play, The Nubians of Plutonia

Cassandra Wilson - Blue Light Til Dawn

Don Cherry - Brown Rice

Alice Coltrane - Journey in Satchidananda

Wayne Shorter - Juju

Stan Getz / Charlie Byrd - Jazz Samba

If you poured your heart, mind, body and soul, blood, sweat and tears into creating something, would you appreciate it being summarily reduced to some generic label?
Or would you rather your creation was taken on it’s own terms for the thing it is?

I did not bother myself with labels anymore...

Music is done by musicians ... Labels are only useful to use on a wall to class the cd or vinyl by countries and era ....

For sure if we write a book about jazz for example, labels will appeal decisions about what we must put in the book at which place or not...

i dont write book about jazz then... labels means little for me ... 😁

When i was young "labels" mattered much for me because i excluded most labels genres 😁... I was "snob" i guess...

But after 40 years i begun to listen out of my innate taste (choral music before Bach mostly ) even jazz, eastern music and all eras in classical...

I discovered that my innate taste was limiting me , that music is done by musicians. it is not a written matter not a labelling matter. it was about each individual musician uniqueness gesture playing...

i am less snob now than i was once ... Less ignorant too ...😊

In my next life i would want to be a musician ... 😊

Probably poor ...

This one is certainly one of the great tune of Jazz masterfully played as if someone was speaking to you seated near you at midnight ...

No drugs could kill this melodic genius...

Walt Dickerson an underscored musical genius with Sun Ra as sideman... Sun Ra did not accept often to stay a sideman save with a genius...😊 ... But Sun Ra do it again as full  partner this time  with Dickerson in "Visions" album a less easy album to appreciate but my favorite...

Interesting article critic from amazon which i concur with :

Michael F. Hopkins

5.0 out of 5 stars Walt Dickerson: Struck From The Finest Mettle.

Reviewed in the United States on June 2, 2005

 

Of all the music presented by master vibraphonist Walt
Dickerson, 1965’s sadly rare IMPRESSIONS OF A PATCH OF
BLUE tends to be the album which many Dickerson
enthusiasts swear by the most. Small wonder. Its
chamber dynamics, multiharmonic precision, compelling
swing and iridescently free balladry mark this Jazz
variation of Jerry Goldsmith film themes as an
unforgettable tone poem to gentle fascinate the
cautious ear, and boldly stir the adventurous soul.

Here, Dickerson showcases his artistry in the midst
of kindred spirits who’ve been dismissed or taken
for granted for far too long. In particular, catch
the probing delicacy of the one-and-only Sun Ra on
piano and harpsichord. Chromatically jabbing with
focused glee, swirling the changes with nimble
poise, the Myth Realist strikes home with memorable
charm, class, and delight.
Bassist Bob Cunningham is steady on the tempo while
elusively dancing about the beat. Likewise for
drummer Roger Blank, boiling with rhythm, simmered
and stirred to a tempestuous tee. With the vibraphonist,
these men form a quartet for the ages.

For decades, Walt Dickerson has been recognized as
one of the most dynamic innovators in all of Music.
The measure of his instrumental orignality places
Dickerson on a par with the likes of Louis Armstrong,
Thelonious Monk, and John Coltrane; all of whom have
singularly redefiened the voice of their respective
instruments, and have richly nurtured the overall
conception of Music as a whole.
Time and again, albums such as PEACE (Steeplechase),
TO MY QUEEN (OJC/Prestige/New Jazz), and LIFE RAYS
(Soul Note) have showcased the malleteer’s seamless
ability to merge the straight-ahead, the avant-grade,
and the soulfully down-home into resurgent rhapsodies
of epic, highly motivational, incredibly unique Jazz.

Let there be no doubt that Walt Dickerson is a
hallmark of excellence which distinguishes the
legacy of African American musical achievement.
Classics such as IMPRESSIONS OF A PATCH OF BLUE
are more than momentary curios to titillate
merchantile hobbyists.
Exciting and inspiring, such work resounds with
deep passion, sharp pertinence, and resilient
life in the Here and Now; touching all who
listen, and dare to hear.

Despite the odds.

Read less

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@simonmoon This, “No, no, no!”  business, this “(Tubular Bells) is firmly in the prog-rock genre, or progressive music genre” business, is all a bit much.  
Tubular Bells sounds like Steve Reich, Phillip Glass, Terry Riley, etc., stuff typically referred to as “contemporary classical,” “minimalist,” etc.  
When we get into the ‘60s and up to today, the whole thing of “avant-garde,” “classical,” and “jazz” gets pretty well intertwined to where I think we can just avoid this “No, no, no!” genre-mongering ideation.  
If someone thinks something sounds like jazz, so what?
It’s music.  
We can listen to music on it’s own terms without bending over backwards to pigeonhole something with generic, over-simplified label-mongering, “genre”-mongering (i.e. ‘No, no, no! Tubular Bells is firmly in the prog-rock genre, or progressive music genre.”). 
How is it constructive to do that? Is it helpful for either the artist or the listener to have someone from the peanut gallery “telling” everyone what a piece of music “is” via a generic label of “genre?”  
If you poured your heart, mind, body and soul, blood, sweat and tears into creating something, would you appreciate it being summarily reduced to some generic label?  
Or would you rather your creation was taken on it’s own terms for the thing it is?

@larsman 

 I don't much like 'jazz', but I do like Miles Davis's early 70's stuff, as it doesn't sound to me like 'jazz' and it's really interesting music to me. Much of it reminds me of Grateful Dead space jams (and I've seen Branford Marsalis and Ornette Coleman jam with the GD a few times in Oakland). I got that Vinyl Me Please box set of 'Miles Davis - The Electric Years', and that is perfect for me. Herbie Hancock's 'Crossings' is like that too; doesn't sound like 'jazz', just 'music'. 

I am gathering that the reason why you are saying you don't consider early 70's Miles and "Crossings" jazz, is because they don't sound like all those 50's post bop jazz recordings, that seem to have become the mainstream music listener's entire idea of what jazz sounds like. 

Jazz is not a "style" of music that has a certain sound. It is a way of thinking about music, using sophisticated musical vocabulary, spontaneous composition ability, amazing levels of musicianship, musical communication with musicians while playing, etc. 

Make no mistake, those early 70's Miles recordings and "Crossings", are most definitely jazz. The musicians are all using jazz techniques, the vocabulary of jazz, jazz improv, etc.

There are subgenres of jazz, that sound even less like the jazz most people think of when they think of the "way jazz sounds", than those 70's Miles recordings or Crossings. 

Chamber-jazz, M-Base, avant-garde, fusion, jazz noir, just to name a few.

Some great examples, I had forgotten about, thanks for that.

I have been enjoying of late, Tord Gustaven Trio-The Other Side and Chet Baker-Chet.

 I don't much like 'jazz', but I do like Miles Davis's early 70's stuff, as it doesn't sound to me like 'jazz' and it's really interesting music to me. Much of it reminds me of Grateful Dead space jams (and I've seen Branford Marsalis and Ornette Coleman jam with the GD a few times in Oakland). I got that Vinyl Me Please box set of 'Miles Davis - The Electric Years', and that is perfect for me. Herbie Hancock's 'Crossings' is like that too; doesn't sound like 'jazz', just 'music'. 

@audioman58

How about Mike Olfield Tubular bells 1&2 is this considered Jazz ?
this was considered a classic for its time ,what category is that in ?

No, no, no!

Not even close to jazz.

It is firmly in the prog-rock genre, or progressive music genre. which is such a broad genre of music, with some of the widest variation in any musical genre I know of.

While several subgenres of prog are highly influenced by jazz, and may even be as much jazz as prog, Mike Oldfield is certainly not.

For example: the Zeuhl subgenre of prog, started by a drummer, Christian Vander, who idolized John Coltane. And that core of jazz tends to run through many bands that are in this subgenre. Or, the so called Canterbury scene of prog, has much in common with jazz fusion.

The one jazz artist I find myself going back to more than any other is Kenny Drew.  Especially his recordings on the Steeplechase label, which itself is a goldmine of brilliant jazz recordings.

So agree with recording quality of late 1950's ... Art Pepper Meets the Rhythm Section is sublime!!   

I'm into Japanese jazz artists and mainly into jazz-rock and fusion.

Masayoshi Takanaka

Casiopea

Masuro Imada

Carioca

Several years ago when I was playing saxophone tracks for a jazz gig, in the studio, the engineer put on a few Blue Note tracks. In the studio they were amazing and still my benchmark for how I would like my listening room to sounds like.

When I wan t to shock people with how good old recordings sound, I almost always pull out jazz examples.  Almost any late 50's or 60's "six-eye" Columbia sounds great (my demonstration go to is Ellington's "Blues in Orbit" which is late 50's stereo and better than most current stereo recordings for quality; the subsequent reissues, even is SACD do not sound as good).  Another demonstration choice is Sonny Rollins' "Saxophone Colossus" (a GREAT recording for music and sound quality and it is on available in mono).  

Old, original release Blue Notes are way too expensive for me to own, but, I have heard them and I like them fore than the premium reissues, although those are still quite good and worth having).

The Rudy Van Gelder remasters on Blue Note were an indication to me that digital had hope. These are all great! I’ve now crossed almost entirely to the Dark Side…

I like the album Something Else with Miles Davis and Cannonball Adderley. Anything that came out of Van Gelder Studio in New Jersey at that time sounds great. +1 on Ben Webster as well.

Cannonball Adderley: Something Else (Same personnel as KOB sans Coletrane) 

Oliver Nelson: The Blues & Abstract Truth, Screaming the Blues

Joe Henderson: Mode for Joe

Walter Booker: Bookiie's Cookbook 

Anything by Ben Webster

@simonmoon Thanks for that list.  I found some new to me discoveries.

How about Mike Olfield Tubular bells  1&2  is this considered Jazz ? 
this was considered a classic for its time ,what category is that in ?

Many greats back then ,reading  about them man6 had drug habits I was shocked even in the 50s . Many greats Live at the vanguard , I even go back to Glen Miller and enjoy ,people forget drinking was not considered a drug ,but being part of society. Greats like Mingus , Blakely, Chet Baker ,Sonny Rollins , they all contributed something .

I assumed back then Drugs was off limits I guess I was mistaken, the 60s much more so with a variety of mind benders ,which helped in creativity !!

Funny. I was a newbie a very long long time ago. I was shopping for classical music LPs at Twist & Shout here in Denver. I was talking to someone and mentioned I was unsure if I can enjoy jazz or not. Luckily, this guy was the co-owner of the shop, I think. He smiled and took me to the counter and gave me one CD and said, "Take this home. It is on the house. If you can enjoy this CD, then Jazz is for you. If you cannot, then safely move on to something else." Guess what was the CD? Kind of Blue by Miles Davis. That was it and rest was history. I still have that CD which was a gift from a music enthusiast.

I find the jazz recordings of the late ‘50’s and ‘60’s sound SO much better than the rock albums in later years, eg, Led Zeppelin, the Stones, etc. Wonder why that is? Better recording engineers in the jazz genre? 

Ouch… my ears…Holdsworth… after seeing Return to Forever and Kind of Blue I was not expecting that.

‘Kind of Blue” came out in 1959, the same year as two other albums I like at least as much—“Time Out” by Dave Brubeck, and ‘Shape of Jazz to Come” by Ornette Coleman.  There are MANY great jazz albums to collect.  Many sound really good on vinyl.  

@simonmoon : +1 for Holdsworth! I have several of his recordings.

Big jazz fan here!

Not a big KoB fan, though. I like Sketches of Spain, Silent Way and Bitches Brew much more.

Here’s a few more. Note, that my tastes in jazz (and music in general) is toward more progressive forms. So, YMMV.

John Coltrane - A Love Supreme

Pharaoh Sanders - Black Unity, Karma

Alice Coltrane - Ptah, the El Daoud, Journey in Satchidananda

Herbie Hancock - Maiden Voyage

McCoy Tyner - Sahara, Asanta, Extensions

Mahavishnu Orchestra - Inner Mounting Flame, Birds of Fire, Lost Trident Sessions

Allan Holdsworth - Metal Fatigue, Road Games, I.O.U.

Return to Forever - Romantic Warrior, Hymn of the Seventh Gallery

Art Ensemble of Chicago - Nice Guys, People of Sorrow, Full Force

Oregon - Out of the Woods

Steve Coleman and the Five Elements - The Sonic Language of Myth, Genesis & the Opening of the Way

Mary Halvorson - Amarylis, Belladonna, Cloudward, Code Girl

Bruford - One of a Kind

+1 for In A Silent Way.

I'm not a big Jazz fan but,Coltrane's  A Love Supreme is one of my faves.

I like In A Silent Way better! Bitches Brew is high on my list too!