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Originally Posted by lucifer_sam
Well wasn't the distinguishing element to Kind of Blue was that it was the first album to feature modal, rather than chordal scales? I never developed a full appreciation for the album but perhaps it's because he was still early in his career.
I definitely agree with you about Bitches Brew, it's a fantastic album from both historical and artistic standpoints. And you can't downplay John McLaughlin's influence in the final sound, I think his guitar work on it is among the most impressive of his career.
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Notwithstanding the fact that modal systems of play had been making their appearance in jazz records here and there prior to
Kind of Blue, it was really Coltrane who brought that influence and style to the recording, and one way to really distinguish between Adderly and Coltranes's solos on the album is to listen to that Non-linear modal quality that a lot of Coltrane's licks have. It definitely did introduce the world to an unconventional style that of course was not recognized as being modal or anything else other than phenomenal.
What's most impressive to me about the album is Bill Evans ethereal piano work, the way it carries the band so beautifully and unobtrusively without calling any attention to itself. I've spent many spins focusing entirely on his piano work and he's definitely the unsung hero of that album.
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Originally Posted by lucifer_sam
I've always seen some of Miles Davis' more experimental work as the most easily accessible, in particular Sketches of Spain. Though the ties to jazz elements are tenuous at best, the melodies are wonderful, and Gil Evans' arrangement was top notch. "Concierto de Aranjuez" may be one of my favorite Davis tracks ever, the first five chords alone especially poignant.
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I definitely agree with you here, I love
Sketches of Spain and
Concierto de Aranjuez.
A Tribute to Jack Johnson is another one of his more experimental fusion-esque albums that gets swept under the rug in favor of some of his lesser works, but when you take a look at Davis' career as a whole, everything he did was experimental. The man has created more sub-genres of jazz than most jazz legends have albums in their discovery. Half of Davis' output was material that set the listening world on its ear, which is a reason why, of all his skills, I consider him a composer first, a band leader second, and a trumpet player last. That's far from saying that he hasn't any skills on the horn, far from it, it's just that the foundation of his legacy is really built upon his musical creativity and his ability to lead a group toward a unified musical vision.