miles davis you f***s - Page 2

On the Corner is some bad ass shit. Miles was a motherfucker's motherfucker.

It was the first jazz record I ever heard and I was left really unimpressed. Ironically, "so what" was my least favorite track. I can appreciate it now, but I view it as the Beethoven's 9th of jazz.






FALSE.

I love the Miles/Coltrane quintet of the 50's. Miles playing the head and Coltrane ripping the changes was always a win. Coltrane when on and changed his style, but I still have a special place for his early solo stuff.

This is the title track from "Round Midnight".

Perfect from beginning to end. The drum roll and Coltrane's entrance is one of my favorite moments in jazz.



Only Monk's versions comes even close for its rawness.

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No his post was about your odd post about liking Chet and not Miles.

It's understandable. Both are excellent.

Kind of Blue was my first jazz album, but it didn't do it for me on first listen. It took My Favorite Things and Time Out to "get it."

I would be curious as to why Kind of Blue doesn't "do it" for certain people. What specific elements of the record are disliked?

It's a brilliant conceptual thing, above the obviously high level of playing exhibited. I can't really understand why a jazz aficionado would have cause to dislike it.

I don't dislike it. It a great great album. It just doesn't bond with me as well as some other recordings. The fact that many times it's a person's first jazz record does not help either. People might think, "it's slow and not too obviously complex so it should be simple enough for a beginner" but they are dead wrong.

I like Miles Davis but there's quite a few trumpet players I listen to much more often. Freddie Hubbard, Kenny Dorham, Dizzy, Lee Morgan, and Chet Baker all spend more time in my CD player than Miles does.

You should add Clifford Brown, Booker little and Woody Shaw.

+1,000. There's an out-of-print Columbia recording of Miles playing with Kenny Clark, Barney Spieler (a Dutch bassist), James Moody and Tadd Dameron at the 1949 Paris Jazz Festival and it's truly a revelation. First, you hear how much bop trumpet Miles could play (he's much more of a virtuoso than on the sides with Bird; his solo breaks on "Good Bait" rival in their intensity anything Fats Navarro played with Dameron). Second, you hear Miles' voice as a young man introducing the tunes - very sweet and modest and unlike the famous croak of his later years.

I have Woody Shaw on Larry Young's "Unity", and Booker Little on a Frank Strozier album. I don't own any recordings with Clifford Brown, although I'm aware of his great reputation.

Try Brown and Roach Incorporated and Sonny Rollins Plus Four, both recorded by the Clifford Brown - Max Roach Quintet, except that Harold Land plays tenor on the first LP and Sonny on the second.