This plays like a concept album, where an understated bass, drum, and piano paint a murky, foreboding, almost impressionist environment for Miles Davis’s crisp playing over top. Miles isn’t out to break any speed playing records on this, focusing on the mood and textures he’s playing with, a cool jazz mood piece that is perhaps the most evocative of the albums so far. Part of what makes this so unique in this listening experience is the lack of competition. Miles clearly takes the foreground the entire time, while his band truly keeps the atmosphere consistent in the background. And rather than the feeling of pure improvisation, Davis is acting on intention in his expressions.
I’ve had a few openings today to listen while I work, though I can’t help but be tuned in. I am glad I listened to the Miles Davis album right before this, which worked to sort of open my mind to what comes next. Similar really only in that it’s an incredibly evocative album, this one experiments with cool jazz much more. The title track is a genuine masterpiece of evocative instrumental music, rolling along on a relatively smooth plane until a number of chaotic interludes break its focus and serve as a breakdown not dissimilar to a mental breakdown. Following this is A Foggy Day, full of streetscape (2nd time on this journey) sound effects and completely mind bending sounds. Love Chant is the jam session every jam band wishes they had in them. Perfectly on point but able to wander into different sonic spaces. This is a great album and up there with the Monk pieces I raved about above.
I am not a huge vocals guy, though I can appreciate greatness when I hear it. Sinatra’s voice carries him, presumably in the middle of the night, through all ranges of hope, despair, longing, and desire for a love just outside his reach. The sort of left in a small space with nothing but your thoughts to entertain you kind of moment. It’s certainly something relatable and he captures that sense quite well. The music behind him is the sort of romanticized musical that I expect from a Sinatra, keeping the mood consistent through the musings of his mind, such that the space captured in the album cover doesn’t change while his thoughts travel to all corners of his mind. You wouldn’t confuse this for any favorite of mine, but I can see the beauty in it, and his voice soars in its moments.
The Essential Track: In the Wee Small Hours of the Morning
Up Next: Frank Sinatra - Songs for Swingin’ Lovers
As one could guess from the artwork, album title, and song titles alone, Sinatra envelopes a much more optimistic state of mind on this album. Rather than a bluesy atmosphere, this one swings, cracks jokes, acts befuddled at the state of society (in 1956 no less, imagine if he were to comment on an updated Anything Goes today!?). All this makes for much easier listening, the kind of thing you could easily keep in the background and tap your toes to. There’s a nice charm, Anything Goes aside, to the outdated references and old fashioned (now perhaps making their comeback) sense of gender roles, so take that for what it’s worth.
liebzz wrote:I think one of the things that might be a little odd for me is that typically by now I will have found something in a journey I flat dislike. Hasn’t happened yet and this is no exception
Something that has really struck me in my pursuit of jazz is just how much my dislike of certain bands/artists in other genres comes down to not connecting to something in the vocals -- an irritating timbre, not relating to the lyrics, some attitude that's conveyed in the words or the singing style, etc. Instrumental music provides less guidance on what to think and feel and I really connect to that at this point in my life.
liebzz wrote:
An interesting Miles album to choose for this journey! It's among his lesser-known records for sure, odd considering it's the one time he recorded with Mingus (for Mingus's label, I believe, Debut Records). A lovely, moody album, if a bit on the short side.
This is I believe King’s first of many many albums. He is such a cultural touchstone of the genre that this just sounds exactly what you think blues music is, well save for the surprise up his sleeve - it’s really not all that blue. Much of this is upbeat, and he really tours around much more than the prototypical chord progression one would associate with this music. It’s as much jazz and swing as it is blues. They all jump out in their way, but the one that most exemplifies excellence and a sense of surprise is Don’t You Want a Man Like Me.
The Essential Track: Don’t You Want a Man Like Me
Up Next: Sonny Rollins - A Night at the Village Vanguard
liebzz wrote:I think one of the things that might be a little odd for me is that typically by now I will have found something in a journey I flat dislike. Hasn’t happened yet and this is no exception
Something that has really struck me in my pursuit of jazz is just how much my dislike of certain bands/artists in other genres comes down to not connecting to something in the vocals -- an irritating timbre, not relating to the lyrics, some attitude that's conveyed in the words or the singing style, etc. Instrumental music provides less guidance on what to think and feel and I really connect to that at this point in my life.
liebzz wrote:
An interesting Miles album to choose for this journey! It's among his lesser-known records for sure, odd considering it's the one time he recorded with Mingus (for Mingus's label, I believe, Debut Records). A lovely, moody album, if a bit on the short side.
There will be, of course, lots of Miles Davis to go around before this thing is done.
So this is a live album, but when I researched internet lists for the greatest jazz albums this kept coming up, so I listened to it. Sonny Rollins is a pretty amazing sax player. A few years ago, I jumped on a recommendation to listen to The Bridge, which we’ll get to here, but this is fantastic by way of introduction because there’s so much of his personality shining through this release. His creativity is on point, his playing surpasses even that.
The Essential Track: Old Devil Moon
Up Next: Louis Armstrong and Ella Fitzgerald - Ella & Louis
Louis Armstrong and Ella Fitzgerald - Ella & Louis
Primarily composed of ballads, this duet with very different voices, Fitzgerald’s smooth delivery again Armstrong’s gravely deep voice, they have a nice chemistry together over mostly mellow music. It’s really a toss up here for me on whether I prefer Cheek to Cheek or the opening Can We Be Friends? I’ll take the latter but most of the songs here are quite nice.
I am not a huge vocals guy, though I can appreciate greatness when I hear it. Sinatra’s voice carries him, presumably in the middle of the night, through all ranges of hope, despair, longing, and desire for a love just outside his reach. The sort of left in a small space with nothing but your thoughts to entertain you kind of moment. It’s certainly something relatable and he captures that sense quite well. The music behind him is the sort of romanticized musical that I expect from a Sinatra, keeping the mood consistent through the musings of his mind, such that the space captured in the album cover doesn’t change while his thoughts travel to all corners of his mind. You wouldn’t confuse this for any favorite of mine, but I can see the beauty in it, and his voice soars in its moments.
The Essential Track: In the Wee Small Hours of the Morning
Up Next: Frank Sinatra - Songs for Swingin’ Lovers
this is a favorite for me. Also best cover of all time.
Listening without any context, you would never know that this came from 3 sessions. This brilliant set is really all things at once: cool jazz in its mood, yet the performances themselves intricate and intense. This is also the beginning of what I already know of Miles Davis, at least in terms of highlights, where he moved traditional jazz into this expressive movement that manages to keep from boiling over while still running hot. Venus De Milo seems like the most instantly recognizable track, but my favorite on this set is Rocker.
For those running low on steam for the relentless jazz and blues, the coming albums over the next few days will also mix in 50’s rock n roll, with some Ray Charles, Little Richard, Chuck Berry, Elvis, and Buddy Holly along along with some more jazz and blues mixed in.
tragabigzanda wrote:Top 10 maybe?
Hello Morning
Close Captioned
The Kill
Place/Position
Do You Like Me?
Latest Disgrace
Recap Modotti
Nightshop
Break
Life & Limb
I'd maybe bump Life & Limb for Epic Problem
Last edited by tragabigzanda on Sun January 11, 2026 9:06 pm, edited 1 time in total.
This King album is packed with classics, more in line with expectations there, but also building on his first album. Everyday I Have the Blues, Three O’Clock Blues, and Woke Up This Morning (My Baby She Was Gone) are bonafide blues all timers. Granted, the rest of this album has much to offer, but these guys take center stage in the end.
The Essential Track: Woke Up This Morning (My Baby She Was Gone)
Up Next: Ray Charles - Ray Charles (aka Hallelujah, I Love Her So)
This self-titled album, later retitled Hallelujah, I Love Her So, is a moment that’s truly on to something. Taking elements of jazz, blues, soul, and gospel, and throwing that cocktail into a varied and creative spark, Ray Charles is pushing rhythm and blues to new places while still playing homage to the artists that came before him. When this album romps, like on album closer I Got a Woman, it’s exceptional. But the slower more gospel tinged moments like Sinner Man are just as valuable. Great album.
Notwithstanding what’s contained within the four corners of this album, it stands as one of the more important albums as the first rock n’ roll album to hit the top of the album charts. Having the benefit of television, Elvis was the perfect storm for a pop takeover. That said, this album is comprised of songs written by others, and I am relatively sure you can find other artists doing stronger versions, but there’s still the pull of an intoxicating combination of rhythm and blues, rockabilly, country and blues to carry you through a concise album. The opening blast of Blue Suede Shoes is exemplary of the kind of change happening in real time in that moment.
To my ears, this is a far superior album to its predecessor. The performances are much less watered down, even if he’s coming back for much of the same. Long Tall Sally is pretty darn good here, as is album closer How Do You Think I Feel, and Rip It Up. He might be whitewashing, but at least it’s with gusto here.
On this album, Monk takes the benefit of additional time afforded on the LP to create longer compositions. Of note here is his use of Sonny Rollins and Max Roach, the former given the space and time to really shine on this record, and the latter filling any potential gaps with all world playing. Monk’s ability to throw things into and out of focus is fascinating, and here he starts the album and ends it with songs that can jump in and out at a moment’s notice should the listener get too comfortable. The middle 3 songs of this record, though, show a lot of heart and emotion, and are beautifully composed. Monk puts all these pieces together wonderfully, again demonstrating a sort of genius that puts this one just as much near the top of my lists so far.
The Essential Track: Brilliant Corners
Up Next: Louis Armstrong & Ella Fitzgerald - Porgy & Bess
