Whether it's your first Bonnaroo or you’re a music festival veteran, we welcome you to Inforoo.
Here you'll find info about artists, rumors, camping tips, and the infamous Roo Clues. Have a look around then create an account and join in the fun. See you at Bonnaroo!!
This is always more of a weekend morning record, for me - so playing it now. Nelson's sax on Stolen Moments is some of the best non-traditional scale work I've ever heard.
Amen, brother. That record was what really made jazz click for me. I was completely blown away the first time I heard it, and honestly, it doesn't ever stop blowing me away. I understand the arguments for stuff like Kind Of Blue or A Love Supreme being the greatest, but in my opinion it's The Blues And The Abstract Truth. Just a completely perfect record.
I'm still have my training wheels on when it comes to Jazz, so:
I'm still have my training wheels on when it comes to Jazz, so:
Miles Davis - Kind of Blue
Oh believe me, monster, there's a reason it's pretty widely considered the greatest. It's perfection as well. I just personally prefer The Blues And The Abstract Truth; not really even sure why. I like to think it's a little 'edgier' while still retaining the level of accessibility that Kind Of Blue has. I highly recommend you check it out if you haven't.
I will fight you. Seriously though, I hear what you're saying, and obviously respect your opinion. The use of four horns, new modalities and space for Evans, Hubbard and Dolphy to solo alongside Nelson give it some edge.
But I mean Miles showed up with a basic progression for some songs and they never even rehearsed - just let it all fly to see what sticks. No one had taken modal jazz this far ever. And I think Nelson was perfecting in 1961 what had already been started as a trend by Miles back in 58-59. Today Kind of Blue holds up and is considered "accessible" but man, imagine what it must have sounded like in 1959 to folks still sucking at the teat of Benny Goodman. Man, I would have loved to have been Teo Macero - sitting there for both KoB and Time Out and watching magic happen.
Oh believe me, monster, there's a reason it's pretty widely considered the greatest. It's perfection as well. I just personally prefer The Blues And The Abstract Truth; not really even sure why. I like to think it's a little 'edgier' while still retaining the level of accessibility that Kind Of Blue has. I highly recommend you check it out if you haven't.
I will fight you. Seriously though, I hear what you're saying, and obviously respect your opinion. The use of four horns, new modalities and space for Evans, Hubbard and Dolphy to solo alongside Nelson give it some edge.
But I mean Miles showed up with a basic progression for some songs and they never even rehearsed - just let it all fly to see what sticks. No one had taken modal jazz this far ever. And I think Nelson was perfecting in 1961 what had already been started as a trend by Miles back in 58-59. Today Kind of Blue holds up and is considered "accessible" but man, imagine what it must have sounded like in 1959 to folks still sucking at the teat of Benny Goodman. Man, I would have loved to have been Teo Macero - sitting there for both KoB and Time Out and watching magic happen.
Haha - I just reread this - my use of "man" as a word of emphasis increases dramatically when I'm talking about jazz.